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Yoshihide Kiryu 10.01 (+0.9)
Main message board: for the discussion of topical track & field items only.
Re: Yoshihide Kiryu 10.01 (+0.9)
just curious... why is Jeff Demps' legal 10.01 not on T&FN's World junior record list, but is on the American junior record list?
Re: Yoshihide Kiryu 10.01 (+0.9)
Referring to the W100m "WR" ... how in heavens name does a governing body simply rubber stamp the use of new equipment without the old equipment serving as redundant backup ?.. Certainly dispassionate and objective officials did not give cheers of joy at such a decision. I suspect that had they been asked they would have weighed in vocally never to completely supplant the old reliable gear cutting all chords with the past and allowing a packaged pallet of new equipment to be air dropped onto the infield.
Change that is slow and deliberate and never "all-or-nothing" is always safest in these matters. Bring back the impeller wind gauges!!!
Re: Yoshihide Kiryu 10.01 (+0.9)
read my post 4 above yours.
Re: Yoshihide Kiryu 10.01 (+0.9)
My bad.. fell asleep on the posting and was late. Surprised '08 Oly Trials didn't have the most strict wind reading guidelines in place, so if any WR was set there (senior or junior) with applicable wind readings, they would not been counted, as Demps' wasn't?
Last edited by gktrack on Thu May 16, 2013 10:54 am, edited 1 time in total.
Re: Yoshihide Kiryu 10.01 (+0.9)
I don't know. It's possible the zero test was performed at other times in the meet. The Demps mark was set in the quarterfinals, which isn't usually viewed as WR-setting territory. (It's also possible it was never run; I have no data ne way or the other)
Re: Yoshihide Kiryu 10.01 (+0.9)
i do like video evidence - and i would say the 10.01 was a bit windy.
so the ruling is not so bad. though it sucks a bit the way things panned out.
moving forward, "our man" beat a sub 10 guy in tokyo.
we know kiryu is fast. the intrugue remains.
kiryu has all the time in the world to emulate and better 10.0.
there will be tons of pressure on the kid, but if he's the real deal, he'll deal with it.
Re: Yoshihide Kiryu 10.01 (+0.9)
I mean, I don't think I would, but... I'm not gonna lie... I'd be at least a little bit tempted
Re: Yoshihide Kiryu 10.01 (+0.9)
On what evidence do you think the 10.01 "was a bit windy"? LOL. You can see 0.9 wind, on video, with no flags?
Re: Yoshihide Kiryu 10.01 (+0.9)
re: looked a bit windy.
the flaggy thingy was blowing at half mast,
but clip boards indicated no wind and
people's hair was not blowing around as well.
so a bit windy it was. not much. a trifle but not a truffle. a smidgen if you will..
Re: Yoshihide Kiryu 10.01 (+0.9)
I call utter and complete BS. There is no "flaggy thing blowing at half mast" in the entire video of his 10.01 race. At all. It was definitely not "windy".
Why are you making it up?
http://www.youtube.com/watch?v=DrOH4xJwyTs - Here is a view from side/behind
http://www.youtube.com/watch?v=-oCe6_ocbeg - From the side/Front
Re: Yoshihide Kiryu 10.01 (+0.9)
I guess if you don't break or threaten a record our sport fails to keep abreast of significant progress, but ...
2 20.59 +1.6 Yoshihide KIRYU 15 DEC 1995 JPN 1 Kyoto 19 MAY 2013
that's the second fastest time by a junior this year (according to IAAF.com); fastest is by his countryman.
1 20.35 -0.3 Akiyuki HASHIMOTO 18 NOV 1994 JPN 1r3 Fukuroi 03 MAY 2013
Re: Yoshihide Kiryu 10.01 (+0.9)
gotta love the passion seen here in track and field.
the half mast thing showing wind is not so important.
i can't find the vid that shows it better, little gusts, but see at 52 seconds what i saw.
Re: Yoshihide Kiryu 10.01 (+0.9)
The direction of the movement does not appear to be down the track but across it. The 2mps is not the maximum speed of legal wind, it is the wind vector down the track that has a limit of 2mps. At 1:40 the horizontal jump board official raises a white flag that also looks like it might be getting wind going across the track, although the motion (and changing angle) of the flag makes that hard to determine. It might be interesting to get what the wind readings on the two jumps before and after (45 seconds) the 100m race were.
This link shows that same sock at 7 seconds and again the one across the track at 1:16; in the later case it looks like it is a bit more than 45 degrees (i.e., a bit more across the track [90 deg] than down the track [0 deg]), with the one closer to the stands appearing to be a bit larger angle (e.g., 55-65 deg).
Re: Yoshihide Kiryu 10.01 (+0.9)
The passion is always good, it's the FICTION we have to be aware of. You can't find it because it probably doesn't exist. No one said there was NO wind (the race registered 0.9 for heavens sake), just that the race was NOT "windy", which is how you are attempting to describe it to lessen the result (see below).
His result is no less valid than most/any other sub-10.10 race(s). In fact, gh, made mention of wind being one of the PRIMARY reasons why sub-10 is breached a few months back. 0.9 is on the LOW side, fwiw.
Re: Yoshihide Kiryu 10.01 (+0.9)
20.41 for 200m today, wind +0.5. New Japanese HS record, #2 on the junior list for 2013 (#1 Hashimoto is also Japanese).
Re: Yoshihide Kiryu 10.01 (+0.9)
I'm so pumped for this kid
Can't wait to see what he does in Moscow!!!
Good luck Yoshi!!!!!
Re: Yoshihide Kiryu 10.01 (+0.9)
loved his balance out of the blocks. While he is much more slight ( ) it reminded me a little of Borzov's smoothness.
Re: Yoshihide Kiryu 10.01 (+0.9)
You saw a close-up video of the race? Where? All I saw was this video taken by somebody in the crowd, with no zoom so they look like ants on the curve.
Despite the low-quality image, it's obvious that it was raining, so that makes the 20.41 more awesome.
Re: Yoshihide Kiryu 10.01 (+0.9)
i'm seeing a lot of drizzle type rain and a very legit 20.4.
20.0 is possible now for the lad in good conditions.
speaking of good conditions, what is this effort worth, say at mexico city with a 3+ wind (that the gauges show exactly 0.0)?
someone said that kiryu is slight,, huh? i see a MMA type body at light-middle weight. check it;
here is borzov, a man among boys, notice how slender the other runners are.
http://1.bp.blogspot.com/_W2oxhVu5JWI/S ... borzov.jpg
i'd say between the two, the japanese figure comes more from nature while the russian physique is more "engineered".
Last edited by gibson on Sun Jun 16, 2013 12:53 am, edited 1 time in total.
Re: Yoshihide Kiryu 10.01 (+0.9)
Its value would be 10,18w (+3,0) in Mexico city.
Re: Yoshihide Kiryu 10.01 (+0.9)
I saw the post on here. 100m not the 200. I just looked at that. pfft.
Crowd post, clear for the first 20 then he runs away. His rhythm and balance (not his size) is very much like Borzov - to me.
this one
He has a lot of 'work' to do in his last 50 though, especially the last 10. He didn't have the same control that the young lad who ran 9.99 in the high school meet displayed
Re: Yoshihide Kiryu 10.01 (+0.9)
I saw a pic of Borzov shirtless, and I will have to say that despite his leg development, he had the upper body of a couch potato who's "skinny fat" - no muscle to speak of. If it were all drugs the USSR would have had 10 Borzovs. I'm not saying there weren't PEDs involved, but Borzov was no specimen from the waist up.
Re: Yoshihide Kiryu 10.01 (+0.9)
http://www.gettyimages.ie/detail/news-p ... /108877984
http://ifitshipitshere.blogspot.com/201 ... rings.html
Re: Yoshihide Kiryu 10.01 (+0.9)
I see Kiryu is on the start list for the DL Birmingham 100m. So is Kim Collins. That means the youngest ever to run sub-10.10 is lining up against the oldest man to ever do the same.
Re: Yoshihide Kiryu 10.01 (+0.9)
comparing the latest HS phenom with one of the handful of OG 100/200 double gold winners in all of history ?... lets not get ahead of ourselves.
Re: Yoshihide Kiryu 10.01 (+0.9)
Actually good post. But I said he looked like him. Not that he had his quality.
However they both seem to run about the same time. Or is the kid faster? And the kid still has some 'growing' to do.
And looking like Errol Flynn doesn't make you a great "swordsman".
Re: Yoshihide Kiryu 10.01 (+0.9)
The Japanese meet schedule is posted earlier, but Japanese school years begin in the spring, so he's just a couple of months into his school year -- 3rd year HS? 4th year?
Japanese culture favors depth over breadth, so he'll be on the track team all year unless there are some special circumstances. Students will train all year in their discipline but race sporadically.
Curious about his high school, as facilities vary greatly from high school to high school (dirt tracks/no track), unless he's working with a special program outside of school. Rakunan High School is centrally located in Kyoto, so it's probably well-equipped. Better schools are centrally located to reward students who do well on entrance exams shorter commutes while the others have hour-long train rides up into the hills.
Exciting stuff!
Re: Yoshihide Kiryu 10.01 (+0.9)
His high school is not well equipped at all.
It is dirt ground with probably a rubber lane or two for long jump.
He said he has chances to run complete 100m only in races since the ground is so small.
Maybe that partly explains why he has great acceleration (he reaches his top speed at around 40m to 50m) but seems a bit weak in the last part of a race.
Re: Yoshihide Kiryu 10.01 (+0.9)
There is no track at his high school but the Nishikyogoku Athletic Stadium is about 3km away. It is mostly a soccer stadium with associated training track. I'm assuming that is where he trains but have no evidence of this.
Re: Yoshihide Kiryu 10.01 (+0.9)
Based on his 10.5 in the UK this week it is fair to guess that there was something wrong with the timing or wind gauge in his 10.0 a few months ago. Right now Id say he is a legit 10.3 talent and that is very impressive for a 16 year old.
Re: Yoshihide Kiryu 10.01 (+0.9)
I don't think its fair to guess anything.
Its in the record books. He's a kid. Stuff happens. Maybe his Wii broke and he was in a funk?
Re: Yoshihide Kiryu 10.01 (+0.9)
So people don't want to believe his time, but they believe that Kemar Bailey-Cole ran 10.3 and finished dead last at Pre and then ran 9.9 with a headwind just days later?
Kiryu is young and less experienced. Simple as that, in my opinion.
Re: Yoshihide Kiryu 10.01 (+0.9)
does kiryu have to run the 1st round of the 100 or does he bypass that round
for me the proff will be what he runs in Moscow
lomdon was a failure, but it really will count in moscow
Re: Yoshihide Kiryu 10.01 (+0.9)
You guys have to consider the fact that this was his first time competing in a competition of this level outside of his country. Of course he was a little off. Remember, he is 17!
Also, he did give Mike Rodgers a run for his money in May.....he is legit.
Re: Yoshihide Kiryu 10.01 (+0.9)
This from Japan Running News:
http://japanrunningnews.blogspot.com/20 ... -60-m.html
Kiryu runs 6.63, then 6.59 at Japan's Indoor Ch. Now 18yo (dob 15 December 1995) & a HS senior, these seem like pretty good marks -- afaik, this is his first indoor season. I wonder if he will run Asian Indoor Ch. this weekend. I don't have much other comparative contexts for these marks beyond what's stated on this JRN post, and am not arguing for their "world-historical" significance but these marks seem pretty good for a just-turned-18yo HS senior. Placed on the all-time US hs list, for instance, he would be #2.
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Today, 94 students take part in the after-school program, which has expanded to include instruction in four areas — creative writing, drama, choir and visual arts. The program is taught by three teachers and Principal Yolanda McCants; they volunteer on Thursdays for one hour to provide Cobb students with their only source of concentrated art instruction from the public school, McCants said.
"It gives them the chance to be able to explore different arts," Grimes said. "For so long here we weren't able to have any programs like that."
Like many area schools, Cobb doesn't have the time or money to fold concentrated art instruction into regular instructional hours, so administrators there sought alternatives for exposing children to the arts. That could change for Cobb and other Alabama public schools if a proposed budget from State Superintendent Tommy Bice is approved by the State Board of Education and the Alabama Legislature.
Bice's initial budget proposal includes $5 million in "new state funding" for arts education. If the funding is approved it will be used to expand or begin art programs in Alabama public schools, according to the Alabama Department of Education.
Specific information about how the funding would be dispersed was not available, but news of the spending proposal was enough to catch the attention of state arts in education advocates and some local school administrators. The funding is of particular importance to superintendents such as Jacksonville City Schools' Jon Paul Campbell, whose schools lack visual art instruction.
Neither of Jacksonville's two public schools — Kitty Stone Elementary and Jacksonville High — has a visual arts teacher. Students receive some art education through supplemental programs like the one at Cobb, but Campbell said he still wants more art for his students.
The $5 million, he hopes, will be a gateway to progress for the small school system he oversees. Not so long ago, he said, the schools had visual arts teachers.
"I feel that the arts are very important and that's on my short list of things to add back as funds become available," Campbell said. "We welcome any additional funding for the arts … I think we could use it very wisely to build on what we already have."
Campbell said his system doesn't receive enough state money to pay for art teachers. Many school systems pay such teachers with money from local tax revenue. But in Jacksonville's case, there isn't enough local funding to pay for certified art teachers, which would cost the system roughly $70,000.
Not all local school systems struggle to provide art education. Oxford City Schools, buoyed by loads of local sales tax revenue, is able to fund art education at all levels of instruction.
Oxford's schools have a designated art instructor for students in kindergarten through fourth grade, middle school piano laboratories, band and choir. High school students in Oxford schools have access to photography, choir, band, theater, and visual arts including sculpture and painting, said Oxford schools Superintendent Jeff Goodwin.
The school system there has eight teachers designated specifically to hold fine arts classes. Salaries and benefits for those teachers are roughly $480,000, according to Robby Jordan, the school system's chief financial officer.
It's not uncommon for school systems in urbanized areas with a strong retail business presence to excel in funding arts education or, conversely, for rural systems without a large tax base to struggle to develop arts programs, said Diana Green, arts in education program manager for the Alabama State Council on the Arts.
Green develops arts programs that are designed to supplement full-time arts instruction in public schools. She said she frequents rural school systems and has noticed a disparity in arts education between rural and urban systems.
"That's going to create an inequitable situation," Green said. "Equal access, I think, is very important."
At Saks Elementary School, Green is currently piloting a supplemental program that integrates arts into core curriculum.
The Saks program is designed to teach children about the different elements of storytelling, such as plot and character, through songwriting and singing. Green and Saks are partnering with a professional musician who will spend four weeks working in the school with one grade level.
Green said programs like those at Saks and Cobb work best as a supplement to full-time art instruction. But often such programs are the primary source of art instruction for students in public school.
"That would never replace what an art specialist could do," Green said.
Green and Donna Russell, executive director of the Alabama Alliance for Arts Education, both work to further arts education in Alabama. The women said they favor having a certified art specialist — someone certified to teach visual art, music education, drama or another artistic discipline — in each public school in the state.
Though the $5 million budget proposal from Bice wouldn't achieve that particular goal, it would be a step in the right direction, Green and Russell said.
Green said she would like to see the money, if approved, used to develop partnerships with local art organizations to offer supplemental instruction in the state's public schools. Such relationships last through good and bad economic times, she said.
There are still many variables that could prohibit the state from providing additional funding for the arts in Alabama public schools this year. But none of those variables prohibits art advocates from hoping the money is secured.
"The hope is it will be approved at 100 percent" Russell said. "I really can't predict, I wish I could, I am very optimistic, however."
Staff writer Laura Johnson: 256-235-3544. On Twitter @LJohnson_Star.

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In 2007 the team that underwent the biggest transformation was Philadelphia – by a long shot. A lot of experts still picked them to miss the playoffs (for the record, in Dobber's 2006-07 Fantasy Guide I picked the Flyers to get in), but we all saw what happened. Not only did they get in, but they also went to the semi-final.
This year the team that has made the biggest strides is the Tampa Bay Lightning. This team took Philadelphia's formula for success and, well, they butchered it.
The Flyers landed goaltender Martin Biron and Scott Upshall towards the end of the 2006-07 season, while the Lightning landed Mike Smith and Jussi Jokinen. Good move, but that is where the similarity ends.
The Flyers added rookie Steve Downie, a talented, but somewhat undisciplined forward. TB will be adding Steven Stamkos – an all-world talent. So far so good…but then the bottom drops out.
Philadelphia acquired the best free agent on the market in Daniel Briere; they added a top defenseman in Kimmo Timonen and a power forward in Scott Hartnell. Then GM Paul Holmgren pushed the stop button. His team was set.
In Tampa however, somebody jabbed at the machine with a screwdriver and knocked that stop button all to hell. Sure, they added a power forward in Ryan Malone. Then they added a scoring winger in Radim Vrbata. Both were good moves, now where is that stop button?
Gary Roberts, Mark Recchi, Olaf Kolzig, Andrew Hutchinson, Brandon Bochenski, Janne Niskala, Evgeny Artyukhin comes back, ditto for Vinnie Prospal, Adam Hall and David Koci. Oh, and they traded their top defenseman and minute muncher Dan Boyle for Matt Carle and Ty Wishart.
Individually, each of these deals are sound. Adding a veteran in Recchi is smart. Adding a dressing room presence in Roberts is smart. They need Artyukhin's toughness and hustle. Prospal clicks with Lecavalier. Hall has proven to be a good checker. Koci is the fighter that they lack. And so on…
But as a group, it's just too much. It's a mismatched patchwork of players. Look at these lines:
Vaclav Prospal - Vincent Lecavalier - Martin St. Louis
Radim Vrbata - Steven Stamkos - Michel Ouellet
Jussi Jokinen - Ryan Malone - Mark Recchi
Nick Tarnasky - Chris Gratton - Evgeny Artyukhin
To me, this is a great lineup (lines one and four are in stone, by the way…the other two will see some juggling). So what's the problem? Well, Roberts isn't in there. Neither is Ryan Craig. What about when Jeff Halpern comes back? No sign of Jason Ward. And didn't they bring in Hall? It's funny that they told Bochenski that he would have a chance to crack the lineup. As what – the ninth-line right wing?
Looking at the forwards, it would seem that this team is going for it here and now. Then they do the Boyle trade. That's a great trade for the future…but – and I see this all the time in fantasy hockey – you can't yo-yo the direction of your team. You either go for it, or you rebuild. You can go for it with an eye on rebuilding…but this trade was bigger than that.
Anyway, it's an improved team with no chemistry. As such, they'll miss the playoffs this year. This is how I see things shaking out under coach Barry Melrose:
1) Only Lecavalier, St. Louis and Stamkos will clear 70 points (Stamkos barely).
2) Recchi will be a frequent scratch and will possibly retire.
3) Craig will get hurt.
4) Roberts will get hurt.
5) Hall will be the 13th forward. Ward will be dealt when Halpern returns.
6) Koci will be lucky to play 15 games. Ditto for Bochenski.
That's how things will fall, but it won't help the chemistry any. Nope, they certainly aren't the Flyers.
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This policy governs the adoption, amendment, and/or repeal of policies of the Board consistent with HEPC Series 4 (Rules and Administrative Procedures).
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provides substance abuse services for pregnant women or women with at least one child less than six years old. Childcare is provided.
The Older Adults Program addresses mental health service needs for people over 60 years of age with severe mental illness.
Mental Health Clinicians are integrated into other Health and Human Service programs such as General Assistance, In-Home Supportive services, and Adult Protective services.
Organizational and Fee for Service Providers, located throughout the community, offer individual counseling for Medi-Cal beneficiaries and residential and day treatment services for persons with a severe mental illness.
County Home
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Nearly half the residents of West Virginia do not have access to high-speed Internet service. Yet when state government gets federal money to improve access to the Internet, it wastes millions of dollars.
About 845,000 West Virginians lack access to broadband Internet access, according to a federal report. Efforts are under way to remedy that, but progress has been slow.
In 2010 the state received a $123 million federal grant to provide high-speed Internet access at about 1,000 key institutions, such as libraries and schools. About $24 million was used to buy more than 1,000 expensive, high-capacity Internet routers. Many of them have not yet been installed because they are far more elaborate than the target institutions need. Some facilities need routers to handle only handfuls of computers; the state-purchased routers were built for hundreds.
Both state and federal investigations of the router purchase are being conducted.
Of course, the $123 million grant was not intended to extend high-speed Internet access to private homes. Still, the amount of waste involved in that program, contrasted with the need for better Internet service to so many households, leads to a troubling question asked too often about government programs: What's wrong with this picture?


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GFOA of the US & Canada
Leonard Wales
retired as Fairfax County's Debt Manager after 30 years of service. He now provides consultant services to the County on significant projects as Financing Advisor. He joined the County as a Budget Analyst in 1981 after a period of active duty with the U.S. Navy and served as Assistant Budget Director from 1989 to 2003. He was appointed to the position of County Debt Manager in December 2003. Since 1986, Mr. Wales has managed and led financing teams in borrowing over five billion dollars of capital funds for the County and affiliated subdivisions, utilizing both traditional and innovative methods. He is also active in both state and national organizations. He was recently appointed a Director of the Virginia National Defense Industrial Authority and formerly served as a Director of the Virginia Local Government Finance Corporation. He is currently a member of the Governmental Debt Management Committee of the Government Finance Officers Association of the U.S. and Canada. He has also been active in the local community, holding various volunteer positions with the Boy Scouts of America, the American Legion and a local credit union. In 2006 he retired from the U.S. Navy Reserve as a captain after 30 years of service, including recall to active duty for Operation Desert Storm. In 2010, Mr. Wales was awarded the County's highest employee award in recognition of his achievements in advancing and improving public service in Fairfax County. Mr. Wales is a graduate of the University of Virginia and holds a Master of Urban Affairs degree from Virginia Tech
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Not right?
Results 1-5of 5 Reviews
by am331
New Jersey, New Jersey
March 29, 2006
From journal Nice and the Cote d'Azur, Land of La Belle Epoque
by roza4
Cinnaminson, New Jersey
September 7, 2002
phone: (33)493013309
From journal Villa Ephrussi de Rothschild
February 24, 2001
Louis XVIth drawing room is really a very unique room. Here the walls are covered with wood panels, the ceiling has paintings on it and the furniture and carpets and doors are all authentic Louis XVI. The furniture has tapestries on it that depict La Fontaines fables. Next is Louis XVth drawing room which very much reminds of the previous room.
Next is the suite of the Baronesse. It's a small boudoire, full of light and exquisite furniture from the XVIIIth century. There is also a dining room full of Sevre porcelain that is exhibited in the show-cases.
The estate also offers guided tours of the collections which include the room of tapestries, the room of Far-Eastern art, the Fragonard room, and several other.
by Bob Nicholls
Regina, Saskatchewan
August 10, 2000
The Villa is a fascinating museum, with a wide collection of items including drawings of Fragonard, porcelain, furniture, and tapestries. As strange as it might seem,there is even a collection of shoes from China, including some from the times when women had their feet bound. The museum itself does not require a length visit.
However, the most impressive part of the Villa visit is the extensive gardens. They are divided into several sections representing different geographic and climate zones (Spanish, Provencal, Exotic, Florentine, Roses, and others). There are lovely walkways, some covered with trellises and vines, benches from which you can admire the view, statuary, and a huge reflecting pool, all amid gorgeous gardens. There is a truly amazing variety of flowers and foliage, beautifully organized and displayed. Given the heat, some areas might seem to be a bit in need of water, but overall, the effect is still well worth a visit. In fact, the gardens have even been the subject of garden shows on international television.
The Villa is an oasis from the usual crowds of the main cities nearby and is just a short hop from Nice, between Nice and Monaco. Having visited there in the spring and summer, there never seem to be be too many people.
Once you have enjoyed the Villa and the gardens, resplendent in their size, layout and beauty, stop in the Villa's tea room with a wonderful high ceiling, for a refreshing and relaxing break and pamper yourself. Sit back and even if only for a moment, imagine that it is your dream villa!
From journal Experience Nice and Area
by jp
Vevey, Vaud, Switzerland, Switzerland
May 6, 2001
From journal Easter WE on the French Riviera


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I graduated from Cobb Avenue Senior High School in 1963. I left the next day. I remember the great teachers we had who took great pride in teaching. I remember the great friendships I established.
After being away for more than 40 years, I returned to Anniston. People who were senior citizens then were getting sicker by the moment, and the ones of us who are now senior citizens are following suit.
All this sickness I speak of is not hereditary. Money can't heal but it can help the ones who are due money. This is a part of the Model City history that will never go away.
Darney White


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General Information
Expansion Planning Grants
Transition to Managed Long-Term
Planning & Development
Related Links
The Wisconsin Department of Health Services, Division of Long Term
Care, embarked on an initiative to expand
managed long-term care options in Wisconsin. In his February 2006 State of the State Address,
Wisconsin Governor Jim Doyle announced his goal to expand the Family Care
program and promote the integration of long-term care and health care
services over the next five years. The Department of Health Services awarded grants to ten groups to carry out intensive planning
activities to achieve this goal. This website was established to provide
information to these groups and stakeholders as the initiative progressed.
General Information on Long-Term Care
Reform and Expansion
Expansion Planning Grants
Transition to Managed Long-Term Care
Planning and Development
Related DHS Programs and Other Links
Last Revised:
January 30, 2014
Protecting and promoting the health and safety of the
people of Wisconsin
The Official Internet site of the Wisconsin Department
of Health Services


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Pedersen, Panka
MINNEOTA - Chesney Pedersen and Scott Panka announce their engagement. Parents of the couple are Tim and Linda Pedersen of Minneota and Gene and Diane Panka of Ivanhoe. Pedersen is a 2010 graduate of Minneota High School and is working toward a degree in elementary education. She is employed at Hy-Vee in Marshall. Panka is a graduate of Lincoln HI. He is a Southwest Minnesota State University graduate with a degree in ag business with a minor in finance. He works north of Ivanhoe on the family farm. The couple plans an Oct. 12, 2013, wedding in Minneota.
Article Photos
Pedersen, Panka


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Dana Davidson helped build SUVs at a General Motors plant near Dayton, Ohio for 11 years. Today she's unemployed and the automaker is closing the factory for good in December.
"You know, the people in the plant we look at as family. You build a network with people, you're close to them, you know about their children, their family, you've been to their homes. It's been a rocky road," says Davidson.
Democratic candidate for Ohio's 7th Congressional District race Sharen Neuhardt is accusing State Senator and Republican opponent, Steve Austria, of plagiarism. Austria wrote a column for the Xenia Gazette on Labor Day.
Neuhardt's campaign became aware of the article after an Ohio political blogger posted the column and did a side by side analysis with a Department of Public Labor factsheet on their website, highlighting very similar passages, some even verbatim.
First-time Democratic delegate Jerry Sutton started his journey to Denver back in January of 2008. He participated in a congressional district caucus in the 7th District of Ohio.
"Historically, our perception about what goes on at national conventions is viewed through the soda straw of the TV set, and the commentary that goes along with it. So I wanted to get involved," Sutton said.
Sutton was voted into his position at the caucus in January as a pledged delegate for Hillary Clinton. Each candidate for president receives several delegates, according to Sutton.
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Baby Shower Party Banner
Material List
- 2 sheets double-sided BasicGrey® paper of choice – Pattern 1
- 1 sheet double-sided BasicGrey® paper of choice - Pattern 2
- 1 sheet double-sided BasicGrey® paper of choice - Solid
- 1 sheet white cardstock
- Favorite adhesive
- Dimensional adhesive
- Diecut machine to cut title (or alphabet stickers in coordinating color)
- Trimmer or craft knife/cutting mat
- 1/8" hole punch
- 2" circle punch
- Scallop Border punch
- Martha Stewart™ Double Monarch butterfly punch
- Fine-tipped scissors
- White Opaque pen
- Black journaling pen
- Twine (or another string to thread the banner together)
- Triangle (banner) template
- Thin cardboard (optional)
Project Instructions
Cutout banner template and trace eight times onto double-sided BasicGrey paper of choice (pattern 1). Trace three more times onto a second sheet of double-sided BasicGrey paper of choice (solid). If desired, back banner pieces with thin cardboard for extra stability.
Layout the banner pieces point down so they are in this order: solid, four patterns, solid, four patterns then the final solid.
Draw a dashed line along the sides of the solid banners.
Punch out eight 2" circles from white cardstock. Draw dashed lines around the perimeter of each with black pen. Adhere a circle to each patterned banner so that it fits perfectly side to side.
Cut "Baby Girl" title with a diecut machine twice. Add a letter to each white circle as shown, then add it again using dimensional adhesive. (Alternate: Use alphabet stickers to create the title).
Trim three ½"x12" strips of double-sided paper (pattern 2). Trim each of these into 4" strips. Adhere a 4" piece horizontally across the top of each patterned banner.
Punch four ½"x12" strips of solid paper using a scallop border punch. Trim each of these into 4" sections. Adhere these horizontally across the top of each solid banner and under the patterned strip on the patterned banners.
Draw a dashed line across the top of each scalloped strip with a white opaque pen.
Cut out the floral elements (or any design element) from the remaining patterned paper. Adhere onto the three solid banners as shown. Raise some elements with dimensional adhesive for depth.
Punch fourteen butterflies using remaining scraps using the Double Monarch butterfly punch. Adhere one butterfly to each patterned banner near the alphabet letter as desired. Adhere two butterflies per solid banner where desired.
Overlap the top corner of one banner with the one next to it. Punch the corners with an 1/8" punch then separate and string with twine.


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DU has crashed!!!!!!
DU has crashed!!!!!!
Damn.....it is back.
Poor baby.Response to doublethink (Original post)
Tue Nov 6, 2012, 07:12 PM
1. Bye everybody...
I'll never be back either. All my spare change has always gon to Amnesty International. It was a promise to my father.
Thanks for locking me out on a class warfare decision on the biggest election night of my life.
Wish you all the best.
I now get this:We're sorry, due to extremely high traffic levels the administrators of this site have turned off access for non-registered members.
Click here to login or create an account
Like Mr. Wiggum said in another thread, you have to be a Registered member and soon a donating one...
|« Previous Thread | Next Thread »


text: One of our most popular and classic looks, you'll love our collection of Tiffany inspired etoile jewelry! Characterized by beautiful sterling silver set with sparkling cz stones, etoile jewelry shines like stars in the night sky. Check out our selection of beautiful etoile pendants, etoile earrings, etoile rings, etoile bracelets and more. With our etoile jewelry, putting together a matching set of jewelry has never been easier. Find the perfect set of etoile jewelry for you here at EvesAddiction.com!


text:
Naomi Klein
Naomi Klein
The Shock Doctrine
The Rise of
Disaster Capitalism
Special Announcement:
Naomi's new book will be published September 2014
This Changes Everything
will be published in the US/Canada/UK simultaneously
Get more info on the new book
talks to Bill Moyers about Hurricane Sandy, climate change, and capitalism
More about the Book
Disaster Capitalism in Action
Around the world in Britain, the United States, Asia and the Middle East, there are people with power who are cashing in on chaos; exploiting bloodshed and catastrophe to brutally remake our world in their image. They are the shock doctors. Thrilling and revelatory,
The Shock Doctrine
cracks open the secret history of our era. Exposing these global profiteers, Naomi Klein discovered information and connections that shocked even her about how comprehensively the shock doctors' beliefs now dominate our world - and how this domination has been achieved. Raking in billions out of the tsunami, plundering Russia, exploiting Iraq - this is the chilling tale of how a few are making a killing while more are getting killed.
Read More at
Tour Dates
See full tour schedule
New dates will be posted soon
Please note that Naomi is working on a new book and updating this site very infrequently.
› Articles tagged with 'new orleans'
Articles tagged with 'new orleans'
New Orleans: The City That Won't Be Ignored
By Naomi Klein - September 3rd, 2008
New Orleans
Shock Doctrine
The early results are in: Hurricane Gustav has helped John McCain's bid for the White House. This is nothing short of incredible.
In the combination of New Orleans and hurricanes, we have the most powerful argument possible for the necessity of "change." It's all there: gaping inequality, deep racism, crumbling public infrastructure, global warming, rampant corruption, the Blackwater-ization of the public sector. And none of it is in the past tense. In New Orleans whole neighborhoods have gone to seed, Charity Hospital remains shuttered, public housing has been deliberately destroyed--and the levee system is still far from repaired.
Gustav should have been political rat poison for the Republicans, no matter how well it was managed. Yet, as Peter Baker noted in the
New York Times
, "rather than run away from the hurricane and its political risks, Mr. McCain ran toward it." If this strategy worked, it was at least partly because Barack Obama has been running away from New Orleans for his entire campaign.
Tweets by @NaomiAKlein
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From science to humanities, ethics to medicine, we are partners in a world where collaboration is imperative to solve the world's issues and meet the needs of a diverse and multi-faceted student population. Our aim is to prepare leaders of change and promoters of ideas, and foster a culture of collaboration. We do this by providing resources to our researchers and administrators such as the new webpage for preparing T32 training grants and the Fostering Research Collaboration website; a doorway to interdisciplinary tools and resources. The UW's supportive climate for researchers benefits academic units by attracting top faculty and students who themselves are increasingly collaborative. We are here to support the research enterprise which in turn advances discovery at the University of Washington.
Mary Lidstrom
Vice Provost for Research


text:
Chris Schlarb: Are You Creative?
His first solo album, Twilight & Ghost Stories (Asthmatic Kitty, 2007), a four-year project with recorded contributions from fifty artists, is a collage of field recordings, music and voice which exerts a strangely hypnotic effect on the listener. It may be too early to call it a classic of our time, but it is at the very least a work of tremendous imagination which connects strongly with the emotions and stirs memory.
Chris Schlarb took time out to talk with AAJ's Ian Patterson about this fascinating project, and speaks about his independent record label Sounds Are Active, the underground scene in America, and the power of music as a catalyst for personal change.
All About Jazz: Let's start with your first solo album, Twilight & Ghost Stories, which is an unusual solo album in a number of ways, not least because there are contributions from fifty musicians. Can you take a deep breath and tell us how this album came together?
Chris Schlarb: I was going through a separation from my ex-wife, my family. She'd taken our children and moved away. I was still in the same home all of us had lived in. It was totally disorienting. I had basically quit my job, my entire family was gone. When you take out all of the things give you structure, order, you know, I honestly did not know what to do with my time.
Slowly, I cut off all interaction with the outside world. I was picking my kids up once a week at that point to see them, or I had them every weekend. But during the week I was completely alone and getting unemployment checks. I just totally stopped interacting with the world altogether.
And then a massive rainstorm came through town. You know, in Long Beach, California there aren't really any seasons other than summer [laughs] so when it started raining, and it rained for two weeks straight, a massive storm by southern Californian standards, the constant rain again altered the structure of my day. I ended up setting up two microphones, one on the north side and one on the south side of my apartment, and I just recorded forty minutes of rain.
When I went back to listen to the recording, which is exactly as it is on the album, I started thinking: "I could put something at twenty minutes, and then I could put something at seventeen minutes, and thirty-five minutes, and I started thinking I could compose one piece of music and throw linear time out the window, which was an interesting analogy for how I was feeling at the time because I had no centre.
So I sat down at the piano, which ironically had been given to me by my ex-wife's family, and interestingly, the first thing I really recorded was that kind of intro, that first section.
AAJ: That piano intro is very beautiful, and it sounds to me like rain.
CS: Yeah, maybe there was that kind of subliminal, sympathetic ear that came together with the guitar and the piano in that first section. It was interesting because I had actually tuned my acoustic guitar to a standard C tuning, so I was playing it in a tuning I'd never played before. And then I started messing around a little bit, and I recorded another piano part and another guitar part and then I brought them all together and that's really what you hear in that first section, parts recorded separately from one another.
AAJ: Would you describe this process as a kind of catharsis then?
CS: I didn't set out for it to be that but it definitely turned into that. I figured out over time that by asking all these different people to participate with me it was two things: in one respect it was an act of faith, I was hoping that people I had no relationship with would have enough faith in my idea, this construct that I was giving them, to send me something; the second thing was it was a way that I was able to interact with people and they wouldn't judge the situation I was in. I had stopped going to church, and I'd stopped mingling with friends because every time it was, "What's going on with your family? or, "What's going on with the divorce? I didn't want to have to keep repeating... you know?
AAJ: You didn't need to be reminded all the time?
CS: Exactly, and this was a way I was able to begin dealing with it. There are recordings on the album of my ex-wife in conversation with me, with our children, recordings of my wife Adriana, there are recordings of my children playing, my son's heartbeat is on there when he was still in the womb, and there's also a recording of my wife Adriana when she was a little girl.
There's commingling of all these things and at different times it was difficult to listen to these things, but I felt it was really important that history not be erased. So that, combined with all the music, is the underlying narrative.
AAJ: I've listened to the album a lot, and to me it sounds like an evocation of memory.
CS: Yeah, absolutely. In a weird way that's what the whole piece is about; it's about time and memory. There's recordings on there of my children playing this little wind-up pump-organ at around seven or eight minute mark, I mean, those are instruments that my kids were playing with. Then later on I have the music box that I took out of its casing and was playing the individual springs on it.
There's this weird concept that I've seen attributed to Frank Zappa, xenochrony I believe, and he used to do all these live recordings and then he would go back into the studio and overdub a guitar solo. He was constantly acting as though a piece was always in the process of being written. I found out about that a few months ago and I thought it was really interesting because it's a very similar idea, time is not a straight line here because not only was the piece composed out of order it was assembled and written completely asynchronous as if there was no beginning and no end and those things only happen because we really have no choice.
All these people were contributing parts to it and they had no idea where it was going to end up or in what context or anything.
AAJ: What has been the reaction of the musicians involved on hearing the final piece?
CS: Really, really encouraging and very positive. It's funny because maybe half the people on the album were people that I had never met before or had a relationship musically with them, and I'm really curious to know what they think now that I've been sending out copies of the record, because they heard from me once, maybe three or four years ago, and they never heard from me again. The next time I pop up it's like, "Do you remember participating...?
The feedback I got from a totally disparate group of musicians, like Bhob Rainey the saxophonist, who said it was a fantastic piece and said how much he enjoyed hearing his saxophone used in a completely foreign environment. Nick Rossi, who plays with Dave Douglas and Philip Glass, said it was a really interesting piece, and it goes on and on, I've been really happily surprised. It was really a wonderful experience from beginning to end.
I'm used to making, I don't know, maybe adventurous music that I'm not used to people connecting with on an emotional level, and that seems to be really happening with Twilight & Ghost Stories. People are connecting with it on a deeper emotional level, and it's kind of allowing them to absorb all of these weird things that are in the piece.
It takes a lot for an audience to get past the unfamiliarity of the musical environment; they get hung up on live sounds or dissonant sounds, and I thought that would happen with this too, but it's not and it's kind of disarming [laughs]!
I was constantly heartened by people's willingness to give something of themselves, without really knowing; you know it could have been a total disaster [laughs]! I think about that every once in awhile; I really could have done something that all these people disliked, shot myself in the foot, you know, all these great artists whom I admire so much.
AAJ: You are promoting the album in quite an interesting way, could you tell us about that?
CS: We're doing a number of listening events across the country with the album in quadraphonic sound. I've just completed a quadraphonic mix, and the relationship between all these sounds and listening to it on four speakers is totally different. The normal mix on the record is very dense, there's a lot constantly happening; on four speakers all of a sudden it hits that space in a very different way.
You know, I'm looking forward to seeing how these listening events go because all the people I was giving copies of the record too, the people that were really connecting with it, were all telling me, "I went on a bike ride... or "I went for a walk. And I put it on my iPod, or "I was driving in my car and I had to drive for three hours, and I listened to the record over and over again. Every single time somebody was forced to focus on it, forced to listen to it, and I started thinking that if we had some listening events that's going to be the probably the best way for people to be introduced to this piece of music, hopefully in an environment where there aren't a lot of distractions.
So there's going to be events all over the country and at each listening one of the people who collaborated on the project will be hosting that event. I didn't want there to be any listenings in any cities where there wasn't going to be an actual representative. I got invited to a festival in Athens, Georgia, and I'll actually be performing Twilight & Ghost Stories the same night all the listening events are happening all over the country.
AAJ: What are the challenges of performing this piece live?
CS: Oh man, I was actually really stressing out about that. I got invited to this festival, and as soon as they told me that they would pay for my ticket I thought, "absolutely, I'll do it, and I hadn't given a whole lot of thought into having to put an ensemble together, and I would only have a day to rehearse. So I got about four or five different musicians that lived in the area, and a few coming in from out of town.
I have a lighting box with five light switches, each corresponding to a light on an extension chord and each light will be assigned to a different musician so I'll be essentially conducting them with lights; I'll turn the light on when they're supposed to come in, so it'll be like a visual representation of what happened on the record. I want there to be a tether between the two, an audio-visual connect.
If I can, I'm also going to play some sounds in the audience, but that's dependent on the equipment that's available to me. Ideally I'd like to have to have prerecorded sounds in playback devices in speakers in the audience. It will almost confuse them even more [laughs]! Ambient sounds of people in amongst people... making ambient sounds [laughs] .
AAJ: Anyone on drugs is in for an interesting of a night!
CS: They might be trying to get into the speakers [laughs].
AAJ : Chris, can you tell us a little bit about Twilight Variations?
CS: Because the piece is so dense and so much is happening, I thought if I took a section of the composition it would be really neat if I opened it up and let people see what were all of the building blocks to what they're hearing. So I put all the raw audio files that I got from the musicians or recordings I'd made and put it all in a garage-band file or just in regular WAV files, so really high quality files.
They can go in, take things out or listen to only one element, or a few elements, kind of mix-and-match, and if they want they can add new sounds and then send it back to me and I'll catalogue them on the website and keep track of all these different variations. Not to trivialize it, I am also hoping it might deepen the listener's understanding of how much went in to this. It's dense and this is why it's so dense. I'm just sharing this with everybody; I'm opening it up, and not trying to hoard everything.
AAJ: It's an interesting concept for sure. I'd like to ask you about your record label, Sounds Are Active, which you founded about a decade ago; are you happy with the way it has evolved?
CS: Financially, Sounds Are Active has never been a profitable exercise. Emotionally and artistically, let's say I could never have put out Twilight & Ghost Stories or composed it without Sounds Are Active. I'm finally able to focus more on being an artist than being an administrator. I'm getting to a point where I want to concentrate more on being a musician rather than being an executor of all these responsibilities.
AAJ: Twilight & Ghost Stories came out on the Asthmatic Kitty label; why not out on your own Sounds Are Active?
CS: There area couple reasons, but the most important involved money and I think a certain amount of notoriety; Asthmatic Kitty has a larger infrastructure and they have a bit more of a cache. I'm certain that there wouldn't be as much attention for Twilight & Ghost Stories if I had released it on Sounds Are Active. It's amazing that those types of things make a difference.
At the same time a lot of the musicians on the album are on the Asthmatic Kitty roster; Liz Janes and Half-Handed Cloud and Castanets are all on Asthmatic Kitty.
AAJ: You are involved in a lot of projects and one which is particularly interesting one is Create(!), which is an interesting concept; could you explain how that started and how it has evolved?
CS: Create(!) really started for me and Steve Richardson and Orlando Greenhill, it was just a trio project. We'd played with each other at different points. I was coming out of a band in which I'd rehearsed for a year and played one show, or two shows, and then joined Create(!), and the second time we ever played was a live show so it was a total about-face. It was like boot camp, musically [laughs]. It was a total kick in the pants, to stop trying to refine and formulate, and just create, and just do something, just be something, right now. If it's good, great, and if it's bad, just keep moving forward.
To me it was probably the most perfect thing that I could have been involved in at that time. As the group evolved and changed it's been so many different kinds of band; it's never made a concession to anything, it's been its own, bizarre, metamorphic entity. For five minutes it could be a live drum 'n' bass, and a few minutes later it could be like a Latin jazz band and then total free-jazz chaos. We've played with live MCs with all these guys rapping over us, improvising, and we've had DJs sitting in with us, and we've had saxophone players and woodwind players sitting in with us at the next show.
For me it was a great way to just play music and not think about stuff and not over-analyze but just to do it. And it still exists in that space now. It's weird in a way, because Create(!) has never advanced commercially or even compositionally, because Create(!) was never anybody's band; nobody ever really took control of it. Nobody took ownership, which is kind of wonderful....
AAJ: It's a collective, isn't it?
CS: That word is so overused but it really is an honest-to-god, free-form organizational, collective entity. It doesn't really exist in the abstract. It's only when the community comes together does it actually exist.
AAJ: Create(!) conducts workshops in schools and public parks in LA County; what form do these workshops take?
CS: Usually they are with children, anywhere from three or four to teenagers, and what we try to do is break down the active being an artist, being a musician to the kind of root essentials of telling all these kids that you are artists, you are musicians. The heartbeat is the first instrument, this rhythm, this drum.
I think that so much of society is geared towards consuming culture and information, and not actually creating any, and what we try to do is just instill that fire that you can create something, you can make something. If you hear music on the radio you can play along with that music, it is not just a passive consumption.
I remember this one class that we did in a park and we asked these kids: "Raise your hand if you think you are creative, and not one kid raised their hand. There were twenty, twenty-five kids there. By the end of that class, we had given them all small percussion instruments to take home and the kids were like, "Now I can play along to the radio and "Now me and the kid who lives next door to me can play music together. It was a total change, "I can do something. It was empowering.
We try to educate them and we play them videos of Fela Kuti and Coltrane, try and expose them to different things. Then we'd have a hip-hop DJ and an MC come in and then we'd bring in a master African djembe drummer. We show them these different kinds of music and show them different ways of expressing yourself.
AAJ: So, you're like musical missionaries?
CS: In a way, it's so much fun. When you do something like that and you see the difference it makes, exponentially...you know Create(!) had a show last week and Orlando, the bassist has been doing these weekly workshops with kids for a year and these kids got up and opened for Create(!), these kids were playing punk songs! This little ten-year old black kid sits down on electric bass and plays "Smoke on the Water ! I couldn't believe it, it was so encouraging.
This kid was totally obnoxious, horrible and ill-mannered, and annoying, and then he sits down and concentrates and he's totally focused. It really can show immediately the difference. Imagine if this kid wasn't doing this? These kids who have no outlet, they feel confused, or angry or abandoned. They have no outlet. They don't know that there is a part of them that they can work through, this kind of cathartic experience. And all of a sudden you hand them a bass guitar and there they go, like a fish to water.
AAJ: I think whether its Los Angles, London or Paris there are a lot of disenchanted kids; you see the riots in France last week, there are a lot of angry kids who, never mind the future, haven't got much of a present and nobody helps them to realize potential or even to recognize that they have potential. It doesn't take an awful lot of encouragement for the creativity in a young kid to come out or want to come out, but someone's got to help them.
CS: Totally. There's no faster way to kill nihilism than to give the option to debate nihilism, to talk about something. They have to be empowered in some small way and then they can immediately begin to transform their surroundings. They are changing so, their surroundings will then change.
AAJ: In 2004, you and drummer Tom Steck founded I Heart Lung, and this year you released Between Them a Forest Grew, Trackless and Quiet which, I have to say, I think is a stunning album; you two seem to click very well together. What brought you together and how do you see your musical relationship with Tom?
CS: I'll be honest, I've probably never been more comfortable playing with any musician as I have with Tom. We both have a very skewed sense of rhythm. I play with very heavy strings on my guitar so sometimes my guitar playing can have a big, percussive angle to it and, from the very first time we played together, I thought this guy is playing the kind of drums that I've always wanted to play with; I wanted to play over it, and through it, and wanted his drums to play on top of my guitar.
Tom is a really gifted fine artist also, and he did the artwork for our first record and the next thing you know we went on a thirty-date tour across the country, really, with no résumé. We had done one thing that we were giving away free on the web.
AAJ: Money doesn't seem to be a massive motivator, the first Create(!) album is also available on your website for free; why do you give this music away? It's not common.
CS: in some ways I think it's becoming more common. There's so much competition for peoples' attention: TV, video, movies, and I think sometimes as an artist you have to show an act of good will; if you give something to someone first it's almost like you're shaking their hand, and saying, "I'm going to put the ball in your court, you can decide what you want to do with this.
People want to listen to it first, live with it a little, decide, you know? With Create(!), with I Heart Lung, we just wanted to get it out, we wanted some feedback and we got it immediately. I'll never forget, we played in Rochester, New York, all the way on the other side of the country and we had people requesting songs, shouting out song titles, Wheelchair Graduation!
Nobody's really making a living playing the kind of music that we are playing and we don't have that expectation. I think that's the worst thing as an artist is to expect something in return, and we don't. We just do what we do and if people like it, awesome.
AAJ: I imagine it's quite difficult for Create(!) and I Heart Lung to get gigs, given the type of music you play.
CS: There's definitely an active underground in the United States, and in almost any city you're going to have this group of outcasts [laughs] who are going to be open to what we're doing, and we've probably played in all those places [laughs]. A few months ago, Tom and I did this gig in Denver, Colorado, at this really run-down, kind of putrid venue, the smell of wet garbage, this amazing perfume of filth, but the show we had was amazing! They were so into what we were doing. The only downside to that show was that we had to sleep in the venue. Other than that it was amazing, and these places are all over the country, and you can get shows and tours together.
AAJ: Sounds Are Active released a very interesting DVD in 2006 called Forty Bands/Eighty Minutes (Soundsareactive, 2006). Can you tell us about your involvement in that project?
CS: I found out about the actual event a couple of weeks prior, and then I sent the organizer Sean Carnage an email saying, "I Heart Lung were just back from a tour and we'd love to do this is if you have a spot for us, and he said, "Absolutely. He's a big King Crimson fan, Robert Wyatt, and he's putting all these crazy experimental shows together. He's an educated music listener and music fan, and he knew that what we were doing would add a different texture that night.
Tom and I drove out there, it was raining and there were more people in such a small place than I've ever seen. You could barely get up to the area to plug my guitar in. I'd sprained my ankle prior and I was having a hell of a time getting up to the front. I couldn't even wedge in between people. But it was amazing, we played and people went crazy! What kind of parallel universe did we wander into?
I figured this was going to be something special and I called Sean up a couple of weeks after the event and I said, "Look, I have a record label, I have to put this out. I saw that twenty years from now people would look back to this as a legitimate document of what was going on in the Los Angeles underground music scene.
At the time when the movie came out, we got a fair amount of press attention, but a lot of people in the current music establishment, or unde rground, independent music scene, they thought it was too fringe, too experimental, and too not what they thought the independent music scene was like, and I have this feeling that ten or fifteen years from now people are going to look back and think, "Wow, I can't believe all these people were together and doing this stuff. Already a year later, five or six of the bands in that film are starting to get a lot of press attention from the same venues, the same publications who shunned the movie when I sent it to them. The irony! It never ceases.
AAJ: Just a curiosity, but where did you get the title from for Between Them a Forest Grew, Trackless and Quiet?
CS: I think it's from a Toni Morrison novel. Tom said, "I don't know why, but I've got this Toni Morrison line stuck in my head. It's such a beautiful, lyrical line.
AAJ: It is, and I have to add that the artwork for Sounds Are Active is fantastic. The presentation of the CD covers is really beautiful.
CS: Thank you very much. It means so much to me, the aesthetics of each record, how it sounds and how it kind of feels, how it looks. My wife did the photography for the Create(!) A Prospect of Freedom record, and remembers seeing that photograph and thinking, "That's an album cover, and there can't be any words on it because that would totally ruin it. Those things are so important to me, from beginning to end, down to the most minute detail.
AAJ: You seem to be involved in so many projects, that I wonder how you manage your time?
CS: I don't know what most people do but I don't really drink, I don't watch TV, I don't smoke and I'm not very good at making small talk with people. I have two children and a wife, and if I'm not spending time with my kids then I'm watching a movie with my wife. I have a really healthy family environment now, and if I have to take a couple of days to record, or go to a show, my wife is totally supportive of that. It makes such a big difference to have a spouse who is totally supportive, and she knows that I'll come home after a show and do a load of laundry or do some dishes.
AAJ: Listening to your music, whether it be I Heart Lung, or Create(!) or Ghost Stories, I find it very hard to imagine that you were ever an insurance adjustor.
CS: [laughs] That was probably the worst job I've ever had. It totally sucked the life out of me. You're trying to help people, talking to people all day who've been in accidents, but the whole structure is not necessarily set up to help them as much as it is to put them on a conveyor belt. If you listen to Twilight & Ghost Stories, there are some recordings of peopleI recorded their messages to me, and there's one guy who you can hear him saying, "You're the only person that helped me. You're the only person who took five minutes to talk to me. [laughs] I ended up throwing that in.
I stuck it out as long as I could. I was there for a year-and-a-half and, although there were some great people there, I knew that if I didn't get out I was going to be fifty years old and miserable. One day my daughter had a ballet recital, just down the street from my job, and I told the people at the insurance company that I was going to move my lunch hour up half an hour, and they said, "You can't do that. I said, "I'm not asking you, I'm telling you, I'm not taking more time I'm just changing the lunch hour, and I thought, "Yeah, I've got to get out of here, or I'll kill somebody if I have to keep putting up with this kind of decision making.
AAJ: What are you working on now, what can we expect from you in the near future?
CS: I'm actually working on the music, the soundtrack for a video game which I'm really enjoying. I'm doing some engineering and mastering for a couple of records and the next big project I have is I'm arranging and producing a record with Liz Janes; this is going to be a soul, R&B record, which I'm really looking forward to because I've always wanted to do a really good soul record.
Then there's the new I Heart lung record, Interocean, and Tom and I have been working on that record for a couple of years. It's four longer drum-based compositions, each ten or fifteen minutes long. Nels Cline plays electric sitar and guitar on a few tracks, and Dave Easley from the Brian Blade Fellowship plays pedal steel guitar. Honestly, two total heroes of mine and to be able to collaborate with them in a decent, intimate way is totally mindboggling.
Selected Discography
Chris Schlarb, Twilight & Ghost Stories (Asthmatic Kitty, 2007)
I Heart Lung, Between Them a Forest Grew, Trackless and Quiet (SAA, 2007)
Anthony Shadduck Quartet, Debut (SAA, 2007)
Ellul, Ellul (SAA, 2007)
Create(!), A Prospect of Freedom (SAA, 2006)
Various Artists, 40 Bands/Eighty minutes (SAA, 2006) (DVD)
Bizzart, Bloodshot Mama (SAA, 2006)
I Heart Lung, The Kannenberg Sessions (SAA, 2006)
I Heart Lung, I Heart Christmas (SAA, 2006)
Liz Janes & Create(!), (SAA, 2005)
I Heart Lung, Blood and Light (SAA, 2004)
Create(!), Patterns (SAA, 2001)
Create(!), Moth Nor Rust (SAA, 2000)
Photo Credit
Adriana Lucero-Schlarb


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Another Sunny Day
Aug 17, 2011 | 1044 views | 0 | 20 | | | permalink
The weather has been incredible with plenty of sunshine and just enough clouds passing to cool me off. The sidewalk cafe is really fitting the bill for this weather.
We are having a WILD TOGA Party tonight, Wednesday August, 17. I am sure there will be some recreations of Animal House.
I hope everyone has fun! I'll find out tomorrow!
Tonight is our flank steak, grilled onions and peppers over mashed potatoes for $9.99. Wonderful Special
I think Roscoe is gathering ideas and mushrooms for the Mushroom Festival this coming weekend. A little moisture always helps those mushrooms spread.
Til next time....Florie


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I haven't used it yet, but it is such a fun and great idea for a special project. I ordered a few more of the matching products, so once I have everything of Heidi's, I will start putting something together in this new project.
Perfect size for the memory file collection!


text:
How do I start a video chat on AIM.com?
If you want to start a video chat with a buddy, please follow the instructions below:
Note: You'll need to have a webcam installed and set up on your computer in order to participate or start a video chat.
1. Start a chat with a buddy.
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3. If the Adobe Flash Player Settings window appears, select Allow and then click Close.
4. If your buddy accepts the video chat invitation, the window will display what's on their camera. Go ahead and start video chatting!
If your friend hasn't yet updated to the new AIM, we'll send them invitation to upgrade to the new AIM.
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text:
FFE Transportation Services increases used of Bendix-equipped trucks
FFE Transportation Services, Inc., added 257 International ProStar trucks to its fleet – all of which are equipped with the Bendix ESP Electronic Stability Program full-stability system.
FFE Transportation Services, Inc., added 257 International ProStar trucks to its fleet – all of which are equipped with the Bendix ESP Electronic Stability Program full-stability system. FFE also added 50 Volvo tractors, on which Bendix ESP is standard, bringing its total number of Bendix ESP-equipped trucks to more than 300. The FFE fleet also relies on Bendix AD-9 air dryers.
FFE boasts a tradition of improving its fleets through advanced technologies. With its roots going back to 1946, the company operated some of the first deep refrigeration trailers in the United States. Now a leading temperature-controlled truckload and less-than-truckload carrier serving the US, Canada, and Mexico, FFE employs 2,500 workers and operates a fleet of 1,700 trucks and 3,000 trailers. The company is headquartered in Dallas, Texas, and has been publicly traded since 1971.
"We place a tremendous emphasis on safety at FFE, and that includes providing our drivers with the most advanced safety technologies available," said Mike Bromhall, FFE vice president of maintenance. "Bendix ESP has been a part of our fleet for several years, and from an ROI standpoint and the peace of mind the system offers, we made the decision to begin spec'ing it on our new trucks. Our goal is to eventually have full-stability technology on every truck in the FFE fleet, helping ensure our drivers' safety and the safety of all motorists on the highways."
Bendix, the North American leader in the development and manufacture of leading-edge active safety and braking system technologies, was the first North American brake system manufacturer to make a full-stability solution – Bendix ESP – widely available to the commercial vehicle market.
Unlike roll-only stability systems, Bendix ESP addresses both roll and directional stability. The system also recognizes and mitigates conditions that can lead to rollover and loss-of-control situations, including snowy, ice-covered, and slippery roads.
Because full-stability systems include sensors that measure driver intent and vehicle direction, the technology typically assesses situations more quickly than roll-only systems, and tends to be more effective. Full-stability technology delivers automatic brake interventions involving the steer, drive, and trailer axles – unlike most roll-only systems, which lack directional sensors and only apply the brakes on the drive and trailer axles. By slowing the vehicle quickly, full-stability systems help mitigate rollovers faster, while slowing and redirecting can help the driver maneuver in loss-of-control situations.
Bendix ESP also serves as the foundation for other Bendix advanced active safety technologies, such as Bendix Wingman Advanced – A Collision Mitigation Technology, which helps drivers mitigate or reduce the intensity of potential rear-end collision situations.
"FFE has made investing in safe drivers and fleets a priority over its long history, and Bendix is proud to assist the company in its efforts to constantly improve roadway safety," said TJ Thomas, Bendix director of marketing and customer solutions, Controls group. "While fleets will always rely on comprehensive driver training and alert, safe drivers practicing safe driving habits, active safety technologies are powerful tools to help drivers and everyone on the highways reach their destinations safely."
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Manufacturers and fleets expand support of the industry's leading choice for full-stability.
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Full-stability technology brings improved highway safety and multiple benefits to fleets.


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Main Page
From bibdesk
BibDesk is a graphical bibliography manager for OS X, providing powerful BibTeX file management for Mac users. It is free and open-source. It is under active development by a small group of volunteer contributors and more are always welcome.
Have a question?
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from natural causes was uncommon (2 Kings 2:23; Isa. 3:24). It was included apparently under "scab" and "scurf," which disqualified for the priesthood (Lev. 21:20). The Egyptians were rarely subject to it. This probably arose from their custom of constantly shaving the head, only allowing the hair to grow as a sign of mourning. With the Jews artificial baldness was a sign of mourning (Isa. 22:12; Jer. 7:29; 16:6); it also marked the conclusion of a Nazarite's vow (Acts 18:18; 21:24; Num. 6:9). It is often alluded to (Micah 1:16; Amos 8:10; Jer. 47:5). The Jews were forbidden to follow the customs of surrounding nations in making themselves bald (Deut. 14:1).
SearchEnter the Bible passage (e.g., John 3:16), keyword (e.g., Jesus, prophet, etc.) or topic (e.g., salvation)
Resources » Easton's Bible Dictionary » B » Baldness


text: Not impressed. Put in a new well water eradicator/softener today. The valve is an electronic fleck, my other carbon filter is a fleck mechanical, anyway I install everything and plug it in and nothing, no display absolutley nothing! Can I use the unit for a day or two or should I put it in bypass till I get a new board or head? I was not able to do any initial backwash or anything as the dam thing is dead. I pulled the panel and checked the voltage and it was getting 24ac at the board.


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It won't show up on the regional bracket, but the Douglas football team's playoffs got under way last week.
Douglas needed a win against Carson to advance to the postseason, and did so in nail-biting fashion --beating the Senators 27-25 in Carson City.
"Carson was do or die for these kids," Douglas coach Ernie Monfiletto said. "It was the start of the playoffs for us. We've already been in that position for a while now and the kids understand the amount of stress that comes with it.
"Just beating Carson after two years of having their hearts broken in that …


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A 30-second commercial during the Super Bowl runs $3.8 million this year. Using our advanced mathematical skills, we figure that the two-minute spot from Samsung featuring Paul Rudd, Seth Rogen, and LeBron James may have run the tech giant a whopping $15.2 million to put on the air.
The spot features lighthearted bickering between Rudd and Rogen as they argue over which of them is best suited to endorse Samsung's "next big thing," the Galaxy.
Rogen to Rudd: "Maybe in 1998, you were the next big thing." Rudd to Rogen: "Let's find a favorable review to one of your movies. 'No results found.'" Rogen bounces back. He points out that with the Galaxy, he can digitally alter photos of Rudd so that he looks as if he's "still in his 40s" (Rudd is 43).
[ Related: Watch all of the Super Bowl ads ]
In the end, the joke's on both Rogen and Rudd. A marketing guru, played by Bob Odenkirk of "Breaking Bad," says to the pair: "Celebrity endorsements: very big, very big. You guys know anybody?" They end up settling on LeBron James.
While the ad will remind many of the back-and-forth between Rogen and Rudd in Judd Apatow's "The 40-Year-Old Virgin," this spot was directed by "Iron Man" helmer Jon Favreau.
The ad, which will air in the fourth quarter, is either a witty break with a couple of passive-aggressive friends or a chance to stretch your legs, hit the bathroom, check the fridge, play on your cellphone, and then be back in time for the next ad.
But if you do take a break, you might miss a few things. The ad has a lot of nice references and digs at other commercials. Take the crowdsourcing trend, for example. "Put on the Internet that you want people to send you ideas, then you don't have to think of any," says Rogen.
After LeBron has been cast, Rudd, desperate to stay in the commercial, suggests that he star in another Samsung ad, where he's hanging out and having breakfast with LeBron's kids. Only problem -- that commercial already exists. And of course, what 2013 Super Bowl spot would be complete without a reference to Psy?
The two-minute spot is among the longest Super Bowl ads in history. Back in 2011, the Chrysler commercial featuring Eminem also ran two minutes. At that time, a two-minute spot ran Chrysler around $12 million to air (and $9 million to make).
Chrysler's Jeep division will air a new two-minute ad at some point during the big game. Whether it will star Eminem, Clint Eastwood, both, or neither remains to be seen.
Watch the buzzy Super Bowl ads:
• Supermodel Bar Refaeli kisses super-nerd
• Clydesdale, trainer in emotional reunion
• Backlash over Calvin Klein ad


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text:
Matthew 13: 44-46
Introductory Prayer:
Lord, you have made me for yourself, and my heart is restless until I rest in you. I want to encounter you more deeply today so that you can be my treasure. Thank you for the gift of this new day. I know you love me. I wish to discover your love more deeply and give it to others.
Lord, help me to treasure the gift of your friendship.
1. In Search of a Treasure:
The restlessness in our hearts can be compared to a hunt for treasure. In different ways we all experience the desire for unconditional love, true goodness, the answer to our deepest questions. In Christ, God has come to give himself to us. He is the one we truly long for; he is our greatest treasure. During this time of prayer let us deepen our awareness of the greatness of his gift of friendship, and let us strengthen this friendship by our openness to his love.
2. The Priceless Treasure:
In Christ we have experienced the overwhelming faithfulness of God's love for us. In his mercy we discover that our life has infinite value in the Father's eyes. In his teachings we discover the wisdom to build our life on solid ground. In his grace we receive the strength to grow in love and holiness. This is where we can build a true future. This is where we can live up to our calling to greatness. But we must be willing to leave aside all other concerns to really possess this treasure. We must leave aside anything that tries to give us a false sense of security outside of God. Am I making my friendship with Christ the one value that guides my heart and my decisions?
3. The Unopened Treasure Chest:
Unpacking this treasure is the work of our spiritual life. We need to cooperate with Christ's grace in order to truly possess this treasure. The cultivation of faith, hope and charity helps us discover and live this treasure more fully each day. Our sacrifices and renunciations done to put on the new man help us dig this treasure out of the earthy make-up of our lives. Living generous charity helps us make this treasure truly last and enrich our lives. Am I sincerely allowing Christ's treasure to transform me?
Conversation with Christ:
Lord, thank you for the gift of your love. You are the treasure
I truly long for. Help me to enter more deeply into your heart
this day by doing things your way no matter what the cost.
Help me to value the gift of your friendship above everything else.
I will make a small sacrifice of my time to do something extra for someone who needs God's love.
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