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Harris Eisenstadt: From Mbalax to Canada Day
All About Jazz: How have things been transpiring lately in New York for you?
Harris Eisenstadt: It's been a beautiful summer; our son was born June 13, so it's been a bit sleep-deprived, but wonderful. It makes everything else seem like "I'll get to it later," but of course in reality the balls have to keep rolling, I answer emails promptly, and so forth. It puts things in perspective. [Saxophonist] Ellery Eskelin has a ten-year-old, and I was asking the advice of everybody I could as my wife was getting ready to have our child. He said it helped him "skim the fat," and do the stuff he wanted to do. That's how I'm trying to approach it as: I have much less time to do other things.
AAJ: How has raising a child affected your musical outlook?
HE: The first concert I had on the books after Owen was born was a duo with Ellery when Owen was a week old; I was really nervous, as I was really sleep-deprived and hadn't thought about music or practiced much until a few hours beforehand. It turned out to be a really wonderful set. Having our son changed my playing right away; I felt like I was a little more patient and secure. Everyone has their insecurities, and if you're not keeping the nuts and bolts of what you do in order, it will show. But I feel like my patience has increased with each time I play these days. You adjust to your situation and you find a way.
AAJ: It's a curious perspective to tack on to one's artistic life and see how they merge.
HE: My wife, Sara Schoenbeck, is a bassoonist and has an active playing career. We wondered how we'd do it, but we have friends a decade or two older than us who have gone through it also. Most people I know whose careers I admire have kids or a family. It's a normal part of living.
AAJ: You speak of paring things downcould you extrapolate that from your daily life to your musical responsibilities and work as a composer?
HE: In some ways, whether it shows it or not, if you try to have a career as a bandleader and sideman, or a composer and interpreter and someone who plays both written and improvised musicall of these binariesit's inevitable that someone starts thinking of you as more one thing than the other. There was part of me who wanted to be the journeyman drummer, playing four gigs a day seven days a week. But early on I knew that wasn't for me, and I wanted to write music as well as play in others' groups. Increasingly, I want to make sure there are (ideally) two writing projects of my own that are active at any given time.
Like with Canada Daythat's a working band and we have a busy fall with the record coming out and touring. I also have a nonet, Woodblock Prints, which started in the spring, even though it's not easy to get together for gigs. Those are my two main projects going, and I also like to try ad hoc groups as well, so if someone has a gig that neither of those bands will fit, I'll call up another set of people. As far as the sideman thing, even though I feel it's a part of me to be the versatile journeyman/sideman, it's turned out that often people call me for my specific approach. In the end, this is what I'm after anywaysstriving to have an individual voice. And that's what I value most in the people I work with.
AAJ: Canada Day on paper looks like a reimagining of the classic Hard Bop/Free Bop quintet. Could you describe the impetus behind the group and how you differentiate it from other projects?
HE: If there's any kind of archetype for that group, I suppose that it's my love letter to the '60s Miles quintet filtered through '60s Blue Note records, with vibraphone replacing piano. It's not a large group and not a small group; it has a perfect combination of sparseness and richness in terms of orchestration. More than anything, I wanted to have a working group when I moved back to New York in 2006. I spent a lot of the last decade as a bandleader-composer taking Wadada Leo Smith's advice. Leo was a great mentor and teacher of mine. He said, "Once you get a group together, think about unusual instrumentation and sonorities, and think about challenging yourself from an orchestration or arranging concept." So a lot of my groups have tried to address these concerns.
The closest thing that Canada Day has to a progenitor is my first, self-released record, Last Minute of Play in This Period (Questionable Records), which I released when I was at CalArts in 2000. It was quartet music. Questionable was a label that started in 1997, when I was at the New School for a semester, by my friends [guitarist] Matt Richelson, [woodwind player/composer] Travis Just and I. We basically burned CD-Rs, had a now-defunct website and sold CDs at gigs. I feel like it was premature in a way to put out that record, but it was a document of my time at CalArts and a first foray into getting out there. The music of Canada Day is based on formseven if they're very open, they're still songs. I think of them that way, and there are grooves happening throughout, which is quite different from some of the stuff I was exploring early on with records like Ahimsa Orchestra on Nine Winds (2005). With the large ensemble music I was writing, there were written parts, but a lot of it was freely improvised. After a couple of trips to Africa and increasing interest in time playing, that's had a tremendous effect on organizing my music.
AAJ: Could you talk about Canada Day in terms of "place"?
HE: There's the title and the Canada goose on the cover, and a couple of songs that give it up for Canada. The band lineup was solidified on July 1, 2007, which is Canada Day. It just seemed like a good name, and it was appropriately titled. I've been living in the US almost as long as I lived in CanadaI was born there in 1975 and moved to the States in 1994. My wife has been trying to get us to move to Vancouver for years, and Canada is a big part of who I am. It's where I grew up. The record is all about dedicationthat's important in how I title my work. Of course, I do pine for Canada or at least for somewhere quieter. It could be accused of being boring compared to New York, but it's a great place as far as quality of life and social programs, so certainly I do have some nostalgia for it. But there's something that keeps me here, something vital, though it doesn't stop me from thinking about the mountains near Vancouver, or Toronto's green parks.
Canada Day (l:r): Chris Dingman, Eivind Opsvik, Matt Bauder Harris Eisenstadt, Nate Wooley
AAJ: With Guewel (Clean Feed, 2008), one notices this almost minimal approach to writing thematic material that's based on lots of repetition and encircling patterns. It seems like there's been a marked shift in your composing through those experiences. On Canada Day as well, there's a post-bop time playing approach, but it's filtered through these experiences with other styles.
HE: I think that's true with Guewel, as well as Jalolu (CIMP, 2004), which are personal excursions into finding a way of playing these West African songs. In both cases they are straight transcriptions of traditional drum patterns, while trying to make that work in a context with horns and rhythm and unusual harmonies. The material I was transcribing was without pitches; I was thinking of the brass and baritone saxophone as drums and I wasn't approaching them with a vertical palette in mind. There are cycles of rhythms going on in Guewel, repetition and variation, and then transcriptions of Senegalese pop songs, which we used as springboards for improvisation.
It's hard to think of Guewel and Canada Day along similar linesI had just returned from Senegal and was excited to try and turn these songs I'd collected into something else. Whereas Canada Day has songs that were written and performed over a few years with the artistic input of all the players involved, Guewel was a special topics kind of project. We played a couple of gigs and made a record. I'm hoping that band and Canada Day will both tour in 2010, but Guewel was a "Whew, I'm back, let's do this" situationjust trying it to see what happens.
AAJ: Well, it's easy to be tempted to draw lines between various workssimilar issues of repetition and expansion even seem to be confronted on "Portrait of Holden Caulfield" (The Soul and Gone (482 Music, 2005)).
HE: I think that throughout my workand I hope this is truethe greatest lesson from Leo Smith as a composition teacher (from 1999-2001), was when I would bring him material every week that he'd chop up and say, "Okay, here's what you've got left." He has an incredible knack for stripping away what's unnecessary in a composition, and what is left is a polished diamond. Forty minutes of music and it's from one page of writing. His rhythm units, cycles, and ideas of structure are totally unique and profound. "Halifax," one of the songs on Canada Day, comes to mind as a composition informed by Leoit's a very limited amount of material and you find a way to make music out of it.
You hope that the people you've chosen to be involved will find their own ways to make it into something meaningful. Some of the tunes are longer than others, but in general the idea of not overwriting is a lesson from Leo Smith (he'd probably still say there's too much). You're writing for improvisers in this music, and you've got to trust them. They're going to help make your composition collective and make it betteras soon as I open it up to [trumpeter] Nate Wooley, [bassist] Eivind Opsvik, [tenor saxophonist] Matt Bauder or [vibraphonist] Chris Dingman, they're going to make it really strong. Why tie them down?
AAJ: Could you talk about your experiences in Senegal a bit more?
HE: Sure, I was in Senegal just once, in 2007 when I was there on a Meet the Composer grant that I received along with a co-composer friend of mine from CalArts, Willow Williamson. We were there to teach film scoring to student filmmakers. The grant paid my ticket and living expenses, and I had enough money left over to study traditional Senegalese drumming. I spent my five weeks shuttling between my teachers' compound and going to hear Mbalax, which is the modern Senegalese music you hear in nightclubs.
It was one of those things that I could only do thenrun off to West Africa for five weeks while my wife was here. With my son I can't do thatat least not without bringing him and Sarabut it was a beautiful thing and it was my second time in West Africa. I took a harrowing overland car trip to Gambia from Dakar, and I reconnected with some of the people I met when I was there in 2002. I saw my teacher, Jalamang Camara, whom I had studied Mandinka drumming with. It's an extremely rich culture with so much hospitality, but it's so incredibly poor. It's heavy to experience these situations with impossibly deep culture in very harsh environments.
AAJ: Could you give us some background on how you got to Gambia and how these things developed?
HE: I owe two people a lot for this: Adam Rudolph, a drummer whom I've known since the late 1990s, and Foday Musa Suso, a kora player. They were both in the Mandingo Griot Society back in the 1970s and '80s. Suso has lived in the States since 1977, though he's Gambian and spends a lot of time there too. Adam connected me with him and I stayed with Suso and his family, and he organized traditional drumming teachers for me. I showed up at the airport in Gambia in the middle of December 2002, and the next day I was taken to the drummers' compound and every day for the next two months I studied traditional Mandinka drumming. I went to all the traditional events that they played forweddings, baby naming, life cycle changes, manhood and womanhood training, and things like that. Senegal was my second time in Africa and to compare it to the first time, well, the first time was like your first kiss in high school.
AAJ: In these cultures that you're spending time in, music is such a basic part of life and one uses instruments to communicate whether ceremonially or something much simpler; music is woven into the basic fabric of existence. As an improviser, have you had a resulting change in how you approach playing on a day-to-day basis?
HE: That's a tough question. Even though the roots of Jazz and improvised music are in large part African, the literal day-to-day involvement between African musicians and the jazz community these days seems pretty few and far between. I play Sabar drums for Senegalese dance classes in New York, and the lead drummer has played with [drummer] Joe Chambers and [trombonist] Craig Harris and a bunch of other jazz musicians, but this seems like the exception rather than the norm. He has an awareness of jazz but in general, he seems much more interested in morphing traditional Senegalese drumming and dance into a tightly-choreographed stage show. Music is part of the social fabric for them, and it was often perplexing to folks in Senegal and Gambia that I was interested in their traditional music"What do you care, you live in America and you're a tubab [white person/foreigner]."
They're flattered and they think it's cool, but I gave a copy of Guewel to the lead drummer of this Sabar group, who is a really fantastic, Art Blakey kind of drummer, Cheikh Mbaye. He's a big, strong guy who has a band called Sing Sing Rhythms and is an incredible, thunderous lead drummer, choreographing long patterns for musicians and dancers and so forth, and he never said a word about it. I wasn't surprised, but wanted to him to have it anyways. I do feel that, coming from my background, it's not the most logical or easy connection to make between the two musics, but it's always moved me.
AAJ: It's funny, you have the Dialogues of the Drums that Milford Graves, Andrew Cyrille and Rashied Ali were doing in the 1970s and '80sa sort of community-building effort through Free Jazz, and it seems like they were trying to do something in which art music could be woven into the greater cultural fabric.
HE: Right, and it's a beautiful idea, not disingenuous at all. But if you have a concert of improvised music, with four rumbling free jazz drummers in an African audience who are used to dancing, they're going to be confused and will ask where the beat is. It's a bit of a stretch, and the ideals of music in cultureit's not that they don't translate, it's just elusive to find the right metaphor to make it work.
AAJ: How did you get onto this musical path and become a drummer?
Guewel (l:r): Nate Wooly, Taylor Ho Bynum, Mark Taylor Harris Eisenstadt, Josh Sinton
HE: My dad was an amateur drummer who played in a rock band in college, the Checkmates. As a five-year-old listening to my dad playing along to Rolling Stones and CCR [Creedence Clearwater Revival] cassettes in the basement, it just seemed cool. Loving the drums came from loving my dad and wanting to be around him. I started with snare drum and then drum set, and I played in concert band in junior high and high school. I actually quit for most of high school, and came back to it in college and got serious again. I went to college in Maine to play hockey and baseball at Colby College, quit that the first year and played in a rock band doing gigs on campus and around New England. That's what I did throughout my entire undergrad until 1998, and after hearing Tony Williams and Elvin Jones I began distancing myself from rock music. It just went from there.
AAJ: That took you to CalArts, then?
HE: Yeah, in a roundabout way. After undergrad, I moved to New York in 1998-1999 and was working for the Knitting Factory Records label and doing some stage-managing for their Bell Atlantic and Texaco jazz festivals. I had formatively inspiring experiences there, seeing as many drummers as I could, and that's where I met Adam Rudolph, when he was playing with [multi-instrumentalist/composer] Yusef Lateef. He told me that Wadada Leo Smith had set up a program at CalArts, and as it was in its infancy, Leo was able to set up scholarship money and I ended up getting a two-year tuition waiver. I was really lucky to be in the right place at the right time, and I ended up staying in LA for five years until moving back to New York in 2006.
AAJ: What was the impetus for returning to New York? Was it always in the cards?
HE: It was, but LA is the kind of place where you blink and a year goes by so it happened later than I thought it would. Opportunities came up, and I took them.
AAJ: There are a lot of great players in LA, too.
HE: Indeed, and it's difficult because the profile of the music is so low in Los Angeles. There are musicians who have been out there doing great work for decades, and it's a testament to their belief and resolve in what they're doing because getting noticed is very hard. People like [cornetist] Bobby Bradford, [reedman] Vinny Golia, [bassist] Steuart Liebig, and [drummer] Alex Cline have been there forever. What's nice about LA is that I got to work both with musicians my own age and the older players who were glad to have young improvisers interested in what they were doing. In some ways, I am a product of that environment; when people see young and hungry players, they find a way to work them in real quick. I got to work with Leo, Vinny, Steuart, Adam, recorded a little with Bobby Bradford, and with many other great musicians as well. It was a very productive period. Living in LA also made me realize that New York is not the only place to have a life as a creative musiciana perspective I feel fortunate to have had.
AAJ: Some people think of the jazz world in New York as somewhat ageist against younger players. Is that a misconception?
HE: To speak about New York musicians as one thing is impossible, as there are hundreds of players doing interesting things that in some cases overlap, in others not. If you talk to one musician, they might say if you haven't logged your time as an apprentice/sideman, you're doing it wrong, whereas others might say that you should start documenting your work right away. There are so many perspectives here, but I do think that in some cases the ageist thing might be true. There are so many musicians from every generation and so many micro-scenes. I feel like even though I've been here three years, there are a lot of players younger than myself who have arrived since I got here. It's too difficult to talk about the entire creative environment here, and though that's a daunting concept, it's also very inspiring. That's why I came back.
AAJ: Obviously, with your schedule shifted towards family as well as music, things are different for youbut what's in the pipeline right now?
HE: I'm sort of wondering that myself. I knew when we got pregnant last year that I would have a quiet summer and a busy fall that's mostly local. Canada Day has a little East Coast tour for a week and Nate Wooley's quintet also has some gigs, as well as Mary Halvorson/Jessica Pavone Duo's new quartet. Clean Feed is starting a European booking agency this fall that will hopefully have some work for both Canada Day and the Guewel group in 2010. I'm looking forward to Canada Day coming out on October 6th and hoping that it will be well received. We have a ton of material that hasn't been recorded yet, and I'd like to put together another Canada Day record for sometime in 2010. My nonet, Woodblock Prints, will continuewe did a weekly month-long residency in March, and I have a book of compositions for that band that I'd like to record next year.
There are a bunch of gigs in town with other people's groups this fallprojects led by [reedman] Mike McGinnis, vocalist Kyoko Kitamura, pianist Ursel Schlicht, and saxophonist Jason Mears. There's a few ad hoc trio gigs with pianist Angelica Sanchez and Ellery Eskelin, bassist Trevor Dunn and guitarist Jonathan Goldberger, and stuff with trumpeter Dave Ballou and trombonist Ben Gerstein. Adam Rudolph's Organic Orchestra has some gigs this fall, and UK pianist Alexander Hawkins is doing some gigs and recording a bunch of the South African expats' music with [altoist] Rob Brown, [bassist] Mark Helias, and myself. Oh yeah, and John Zorn asked me to come play the November Stone improv nightthat should be fun. I'm probably forgetting some stuff but that's what comes to mind.
AAJ: You also teach, right?
HE: Well, the realities of New York being what they are, we have a nice place but it isn't cheap, so in addition to gigs I teach for three organizationsCarnegie Hall world music classes, the Brooklyn Conservatory, and the Manhattan New Music Project, for whom I teach music in high schools. For the most part, I'm going into New York public schools and underserved communities, and it's tough when I get home from a gig late and have to get up and teach all day. I definitely enjoy it, but between playing, writing and teaching, hanging with Sara and raising Owen, that's my daily grind.
AAJ: Getting back to the writing angle of things and how you're active enough with different pots, what are some of the things that you find factoring into your work, outside of music, that inform your day to day?
HE: It's difficult to make a connection between what you come up with at the piano and what you hear in your head and then sketch out, and where it all came from. I certainly draw great inspiration from other music and art forms, from cultures all over the world, as well as literature and film. Nature is also very importantthe four pieces I wrote for the nonet are inspired by depictions of nature in woodblock prints, small paintings on wood from the 19th century in Japan. I looked at prints that I liked a lotby Hokusai, Hasui, and Hiroshigesketched some ideas, and before I knew it I had these pieces. I certainly draw inspiration from composers Toru Takemitsu, Charles Ives, Gyorgy Ligeti, and Olivier Messiaen. I've been studying harmony and counterpoint with a wonderful teacher, Paul Caputo, over the past few years and that's been a tremendous source also.
AAJ: You mentioned teaching film music in Senegal.
HE: That came from the person I went with having a more concrete background in scoring film. I've only scored one film myself, but I played on a few soundtracks (a byproduct of living in LA). We worked with an amazing organization in Dakar, a center for student filmmakers with some access to cameras and film equipment. My co-composer friend said, "Why don't you bring some examples of your writing and talk about your work." I learned a lot during the process, and would like to do more film composing, but I always seem to return to writing for groups that I play in. Seems like it's the responsibility of the 21st century musician to be a composer as well as a performer. It's not that I wouldn't like to sit in the audience and hear my music performed... just doesn't happen that way too much.
AAJ: Who are some drummer-composers that have inspired you?
HE: It's a pretty under-represented populationMax Roach, Gerry Hemingway, and John Hollenbeck come to mind... there are others.
AAJ: One of the captivating things about your music is that one doesn't hear it as "drums first."
HE: I appreciate thatI'm pretty self-effacing in terms of the role that I play in my compositions, and maybe it's part of my personality. I'm not a particularly bombastic person or player, and I think my approach as an instrumentalist informs my approach to writing. I don't see a quintet composition as an opportunity for an extended drum solo with horn backgrounds, because I want to involve everybody in different ways. I feel like Paul Motian has been a big influence in a sort of non-drum-centered approach to ensemble writing and playing, being supportive first and foremost. That's what's really important to mebeing sensitive to a group situation.
Selected Discography
Harris Eisenstadt, Canada Day (Clean Feed, 2009)
Achim Kaufmann/Mark Dresser/Harris Eisenstadt, Starmelodics (Nuscope, 2008)
Harris Eisenstadt, Guewel (Clean Feed, 2008)
Adam Rudolph Organic Orchestra, Thought Forms (Ruby Red, 2008)
Convergence 4tet, Convergence 4tet (FMR, 2007)
Harris Eisenstadt, The All Seeing Eye + Octets (Poobah, 2007)
Paul Rutherford/Torsten Muller/Harris Eisenstadt, The Zone (Konnex, 2006)
The Diplomats, We Are Not Obstinate Islands (Clean Feed, 2006)
Harris Eisenstadt, Ahimsa Orchestra (Nine Winds, 2005)
Harris Eisenstadt, The Soul and Gone (482 Music, 2005)
Photo Credits
Pages 4, 5: Peter Gannushkin, Courtesy of Harris Eisenstadt
Page 2: Courtesy of Harris Eisenstadt
Page 3: Scott Friedlander, Courtesy of Harris Eisenstadt


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Welcome from the Program Coordinator
We are delighted you have an interest in advancing your education by earning a BSN at Ferris State University. Students in our program graduate from various nursing programs and work in diverse places to provide nursing care to a variety of populations all over the world. We use a learner-centered approach, which is advantageous to adult learners. It is our intent that the coursework be relevant to your current work environment, so you are prepared to make evidence-based decisions that improve the quality and safety of your clients. The RN to BSN program was designed to meet the needs of working nurses by offering several options to earn your BSN:
Admission Criteria
The following admission criteria are established for RN to BSN completion students:
Transfer Information
Many students want to know what classes transfer to Ferris from the community colleges. Most classes will transfer; the real question is what classes will meet requirements toward the BSN. The Transfer Services Office website is a valuable tool for navigating through transfer credits. There are two key requirements to keep in mind as you make choices for classes.
Deadlines for Application and Material Submission
Accreditation and Further Program Information
This program, accredited by the Accreditation Commission for Education in Nursing (ACEN), formally National League for Nursing Accrediting Commission (NLNAC) is designed to build on
your basic nursing education. Course repetition is reduced and college credit is granted
for basic nursing education without proficiency testing. (Proficiency testing is permitted
for some advanced courses.) Additionally, the program at Ferris offers the opportunity
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We are pleased you have contacted Ferris State University about the RN to BSN Completion program and look forward to helping you reach your educational goals. If you have any other questions once you have reviewed this information, please contact Debby Buck by email firstname.lastname@example.com.
Lisa Singleterry, PhD, RN, CNE
RN to BSN Program Coordinator
Academic Year 2013-2014
Updated 10/4/13


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The premise of Hockey Ultimate Team is simple. You get some packs of virtual cards. These cards represent your potential players, jerseys, coaches, skill upgrades, and contracts for your team. You build a roster from your starter pack and booster packs of cards as in any other CCG, and use them to ice the best team you can through upgrades of various types. You then ice those teams, either in single player games against the AI or online against other players.
You earn points for playing, winning and other skill-based efforts, which allow you to in turn buy new packs. The more expensive the pack, the more likely it is to contain rare cards. Rare cards may be NHL level players, large skill or contract upgrades, unique jerseys, or other modifiers. The more you play, the more quickly you can get new packs.
A not so small detail I didn't notice at first is that the various player cards all have a limit as to how long they can be kept on your roster. Eventually, the player's contract expires, and you'll need to replace the card, making earning new packs very important. Additionally, playing a roster of lesser players makes it harder to win, which makes the effort of gaining new packs all the more important.
After playing several of the online matches, I realized how hard it was to ice a team that was made up mostly of lower quality players. The games matching engine rates your team and tries to find you suitable competition. Unfortunately, if your opponent has an NHL goalie and you're using mostly European or CHL players, you're not going to have much luck, no matter how much better you are than your opponent when it comes to actual game play. Just as in the games primary mode, lower rated players can't pull off one-timers, flub passes and generally make errors that will wind up in the back of your net.
Of course once you get your team, whether it's a Hockey Ultimate Team or one of NHL 2011's many CHL, European, or NHL teams, on the ice; it's still about the realism of the game play experience that counts. One small change that can have huge impacts is the inclusion of broken sticks. As hockey sticks have moved away from wood and into graphite, carbon, and other technologies to reduce weight and add flex, they've also gotten flimsier in terms of resistance to breakage. Including broken sticks in the games adds a flavor of realism to shooting and slashing in particular. I can't tell you how many times I've seen a defenseman wind up to take a huge slapper, only to see his stick break and the puck caroms wildly away. It also makes a refs call pretty easy when you're hold the remains of your shattered twig in your hand after being on the receiving end of a slash. Now both of these features of a real game are included in NHL 11.
Another key feature is an entirely new physics engine for the hits delivered in the game. Player's bodies respond far more naturally to being hit, and it's rare to see two collisions end in the same resulting animation of the hit. It adds additional depth because hard hits against unprotected players result in penalties more frequently now, matching a similar tendency in the NHL.
One of the biggest but probably most overlooked improvements comes in the form of a completely revamped faceoff engine. Offering the option of fore or backhanded grips, this new change gives the player a significant number of options to win the faceoff. You can follow the traditional route and just try to time the puck drop, drawing the puck back to one of your defensemen or supporting wings. You can also attempt to tie up the opposing player letting one of your support players come get the puck. There are even options for winning the puck forward rather than back for when you just want to get the puck out of your defensive zone. It's a complex set of functionality, and as a hand-eye coordination skill, it takes a good bit of effort to get it down. After about 25 games, I'm still only winning at about a 45% clip.
There are tons of other minor new features as tweaks to the game play like quick dekes and the hit stick that add up to simply a remarkable game.


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This thread is more mocking than disagreeing IMO, but I do think that Hall is delusional.
What I don't get is why we have to mock anyone for being different. Sure, for your standards, you may think he is delusional, crazy or whatever, but mocking is just another form of bullying.
And it seems to be OK to all jump on the bandwagon and get that mob mentality going. So the guy is different. In the grand scheme of things, does it really matter to anyone here? Has his statement affected you adversely? At the end of the day, does mocking a total stranger make you a better person? A more important person? Do you have such a need to feel superior and oh so better?
I can understand people not being comfortable with someone else evangelizing--that I get. Everyone has their own beliefs/nonbeliefs/whateverbeliefs. And goodness knows when I see a pair of well dressed people on my doorstep with a Bible in their hand, my first reaction is What I don't get is the need to denigrate any person for what they believe/don't believe or how they choose to express that.
"Me, cutie/chicken, the egg cup, I am the hammer of my spoon!"--Jen_Faith translation
TG, I understand your frustration. I am really tired of people perverting the constitutional guarantees of freedom of speech and freedom of religion to mean that nobody can criticize what they say.
Athletes who are very vocal about their Christian beliefs know that some people aren't going to care for it. But they also know that lots of other people are going to become supporters precisely because of what they are saying about their faith. Tim Tebow is a prime example. There are people, including some of his own teammates, who don't care for how repeatedly vocal he is about his religion while he's playing football, but there are lots of people who have become big fans of his because of it.
Creating drama!
Thanks to PI .. I discovered I'm actually a Nontheist
"Love is better than Anger, Hope is better than fear" Jack Layton 1950-2011
Sometimes people come across sincere and sometimes not. Sometimes they come across as arrogant and annoying and sometimes not.
I have no doubt that Tim Tebow's faith is genuine. However, maybe because he plays a team sport and some of his teammates are tired and annoyed by his persistence when he's with them, I find him a bit on the arrogant and annoying side.
Look, it's the Olympics. I want to read about sports here. This thread isn't talking about Ryan Hall's chances in the marathon, if anyone's seen him training, how his chances are to either medal or place high in the standings. It's been derailed to argue about religion. Best as I can tell, he didn't go to CNN and demand to have them do a story about his quest at the Olympics, they came to him. So he told his story. And now it's getting sneered at.
It's not how I would train were I competing at such a huge event, but it's how he's choosing to do it. Like it or not, he's asking God for help. I cannot figure out why this is such a contentious issue. You think he's an idiot, many people don't. LET IT GO.
The thread is about him and his coach.
Other coaches are mocked as well
Think Morozov


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Children's Hospital of The King's Daughters is located in the center of a thriving medical complex that includes Sentara Norfolk General Hospital, Eastern Virginia Medical School, Norfolk Public Health Department, the Diabetes Institute, the Jones Institute for Reproductive Medicine and the Center for Pediatric Research in downtown Norfolk, Virginia.
Please click on the starting location that is best for you.
The EVMC/Ft. Norfolk stop of Norfok's light trail train, The Tide, is convenient to Eastern Virginia Medical Campus, which includes CHKD. For schedules and fare information, click here: http://www.ridethetide.com.
We are happy to provide free parking for one vehicle per patient per day. Each family will receive a punch card that allows one parking ticket to be validated for each day your child is an inpatient. Please keep this card handy and secure. We cannot provide a new card if it is forgotten, lost or stolen.
Beginning Tuesday, August 18, families arriving for emergency services at CHKD's Emergency Center will park in designated spots on the first floor of the Raleigh Staff Garage. They will receive a parking pass from a security guard to gain access to the garage.
For additional parking needs, you may purchase discount books by calling Edison Parking Corporation at (757) 446-5618, which operates all visitor lots in the Medical Center complex. Long-term discounted parking is also available.
Click on a Health Center to get directions, a map and a picture of the health center.
To locate and get directions to a physician's office, please use our Find a Doctor search to locate their practice and get driving directions.
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May 7 Free Comic Book Day Krypton Comics, 2819 S. 125th Ave. 10 a.m.-5 p.m., Free, freecomicbookday.com Let your inner little dude or dudette — the one that read comics and played with toys all day and all night — come out and play once again Saturday for Free Comic Book Day at Krypton Comics. Special guests include Helen Slater, who portrayed "Supergirl" in the 1984 movie, and Cynthia Martin, an Omaha...
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May 7 Meet Miss America! Strategic Air and Space Museum, 28210 West Park Hwy, Ashland, Neb. 402.944.3100, $12 Adults; $6 Children; Members Free; Military & Senior Discounts, sasmuseum.com Gering, Nebraska's Teresa Scanlan, holder of the 2011 Miss America Crown and the youngest winner in 74 years, can be found at the Strategic Air and Space Museum this Saturday for a public meet and greet. Scanlan has been an...
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May 7 Autopilot Art Gallery Show Hot Shops Art Center, 1301 Nicholas St. 7 p.m., $5, autopilot-art.com Those familiar with Alexia Thiele and her Autopilot Art clothing line know it is synonymous with quirky, whimsical and beautiful. It has been some time since we last saw a runway show for Autopilot Art, but the wait ends Saturday at Hot Shops Art Center. Thiele has been designing clothes for several years, and her...
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May 7 Spaghetti and Fish Fry Dinner Church of the Resurrection, 3004 Belvedere Blvd. Noon-6 p.m., $10 402.455.7015, COR-episcopal.org If you're a fish-fry fan, soul food connoisseur or urban adventurer, there's a feast with your name on it at a blended North O church. Deep fried whole catfish served alongside spaghetti topped by red meat sauce may sound strange to the uninitiated, but it's plain heaven to the...
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May 10 Bob Seger and the Silver Bullet Band Qwest Center Omaha, 455 North 10th St. 7:30 p.m., $31-$69 402.341.1500, 800.745.3000 or ticketmaster.com Just four days after his 66th birthday, the legend returns to Omaha. Bob Seger has some miles on him, but he also brings the goods, four decades or more into a Rock and Roll Hall of Fame career that began in Michigan. Expect classics like "Night Moves," "Turn the...
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Because I wasn't in the mood to witness my dreams of becoming the next Queen of England shatter before my very eyes, and because I have a strong aversion to waking up before noon, I slept through Prince William and Kate Middleton's royal wedding. Apparently, I'm the only one who missed it. More than 23 million Americans were up at the crack of dawn to watch the royal couple say their "I dos," and total of...
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* Assuming Mother Nature cooperates, this Wednesday's Naked Words Open Mic will meet on the Nebraska side of the Bob Kerrey Pedestrian Bridge downtown at 6 p.m. In the event it rains, the event will be held at its usual location — Soul Desires at 10th and Jackson in the Old Market. Questions? Email firstname.lastname@example.com for more information. * This Thursday, May 5, there will be a book release party for "In My...
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Beethoven Variations and Transformations
Beethoven Variations and Transformations
Friday, April 25, 12:00PM-1:00PM
Free and Open to the Public
BLUEBARN Theatre, 614 S. 11th ... more »
Infleunce of the Times-Symphony Joslyn
Mar, 23
INFLUENCE OF THE TIMES, Classical, Jazz, Romantic.
Omaha Symphony Symphony Joslyn
Carmelo Galante, clarinet
Thomas ... more »
Feb. 18-23
Orpheum Theater
409 S. 16th St.
Tues-Thurs: 7:30 p.m. Fri: 8 p.m. Sat: 2 & 8 p.m. Sun: ... more »
Outside The Lines: Unexpected Delights from Major Composers
Feb. 23
OUTSIDE THE LINES: Unexpected Delights from Major Composers
Omaha Symphony's Symphony Joslyn
Alexandra Rock, oboe ... more »
Feb. 20-Mar. 15
Blue Barn Theatre
614 S. 11th St.
Tickets: $20-$25http://www.bluebarn.org
Norwegian playwright ... more »
Killing Them Softly: The Return of King Buzzo
But as Melvins fans are well aware, an open mind can yield great rewards. Queen's "You're My Best Friend," for example, certainly ... more »
he Legendary Count Basie Orchestra featuring New York Voices
Feb. 14
Kiewit Hall, Holland Center
2200 Dodge St.
8 p.m. ... more »
Jan. 31-Feb 16
The Rose Theater
2001 Farnam St.
Fri: 7 p.m. Sat: 2 & 5 p.m. Sun: 2 ... more »
It was the case that shattered innocence and struck fear into an entire nation, inspired artists like Terrence Malick ... more »
South Omaha native son David Krajicek's crime writing has branded him Mr. Murder, so it's only apt he looks the heavy ... more »
Stop by the PS Collective at 6056 Maple Street this Thursday, August 4th at 7 p.m. for the Omaha Poetry Slam Team ... more »


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Transportation Security Administration officials say they did nothing wrong in a pat-down search of a 4-year-old girl at a Kansas airport not so long ago. But the youth's mother and grandmother say the child became hysterical during the examination.
What 4-year-old would not be frightened out of her wits in such a situation?
It happened after the child hugged her grandmother at the airport. Presumably, TSA agents have been trained to suspect that in such cases, contraband may have been transferred to a child.
So perhaps it was all "by the book."
But what if the "book" is wrong?
Surely some means of handling the situation without terrifying a child could have been found.


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He even laughed about it a few times.
This year, I'm unsure what to get Ben.
A new suit?
A gift card from Gene Robinson's Western Auto?
An invitation to Anniston Police Lt. Richard Smith's retirement party?
A plot of land on the soon-to-be Native American reservation most of us colloquially call McClellan?
Tough decisions.
Everyone — even deposed council members — deserves gifts under their trees. Don't be a Scrooge. Whether they've been naughty or nice, let's get:
A restaurant for the top floor of the Watermark Tower.
A coffee shop for Quintard Avenue.
A two-band bill for Brother's Bar in Jacksonville: Drivin' N' Cryin' and the Velcro Pygmies, though not necessarily in that order.
Funding for the second half of Veterans Memorial Parkway.
Ample work orders for Anniston Army Depot.
Jobs for laid-off depot workers. Incinerator workers, too.
Slanted parking for Noble Street. (There you go, Gene!)
A playoff victory for Jacksonville State's football team.
A long-term, viable future for Quintard Mall.
Home rule for Alabama's county commissioners.
An infusion of progressive policies for Gov. Robert Bentley.
Another Cam Newton for Auburn.
Another amendment for the state Constitution, because, like clean socks and close friends, you can never have too many.
Full cupboards for Maudine Holloway at Community Enabler.
A hobby for the few Democrats in the state Legislature.
A new Division I athletic conference for JSU.
An invitation to visit The Star's editorial board for U.S. Rep. Mike Rogers, who, being from Saks, ought to know how to get to our place.
Ditto for Anniston's Del Marsh, the president pro tem of the state Senate. (Might as well bring Bentley and Mike Hubbard, the House Speaker, along, too. We'll bake a cake.)
Ample funding and volunteers for Martha Vandervoort at Interfaith Ministries.
A reduction in dropout rates for Calhoun County's public schools.
A low, seldom-heard-from profile for state Sen. Scott Beason.
A title sponsor for the Calhoun County basketball tournament.
Perspective for those who revel in divisive conversations and political discord.
Muzzles for those who do it anyway.
Tenants for the collection of prominent empty buildings throughout Calhoun County; let's start with the Regions Bank building in Anniston, the grocery/pharmacy complex on South Quintard and the grocery in Oxford.
Health insurance for those who don't go to the doctor because they can't afford it.
A sports year like we had in 1989: Anniston won the Class 6A football title, Oxford won the Class 5A football title, Alabama played at Auburn for the first time ever, JSU played in the national championship game.
Free scoops of ice cream next summer for every kid in the county. (Wright's Dairy would be my choice.)
A traffic light for the Henry Road-Veterans Memorial Parkway intersection.
A public reprimand for the engineer who designed the Henry Road-Veterans Memorial Parkway intersection.
Sky-high expectations — and results — for Bill Clark, the Gamecocks' new football coach.
Likewise, expectations for JSU that Jack Crowe will not become the Gamecocks' version of Pat Dye.
A smidgeon of turmoil for Anniston Mayor Vaughn Stewart, since we're still curious how the city's new man will handle such things.
iPads for all Calhoun County students.
Food for Calhoun County's hungry.
Jobs for Calhoun County's unemployed.
Rain for Calhoun County's farmers.
Patience for Calhoun County's parents.
Astuteness for Calhoun County's leaders.
Shelter for Calhoun County's homeless.
Compassion for Calhoun County's poor from those with few wants.
Optimism for Calhoun County's soon-to-graduate high school seniors.
Hope for Calhoun County's downtrodden.
Phillip Tutor — email@example.com — is The Star's commentary editor. Follow him at Twitter.com/PTutor_Star.


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Should 'bad drivers' be told who accused them?by Opinion Staff
In Florida, if someone files a complaint with the state that accuses you of being a bad driver, you have no right to know who sicced the authorities on you.
Well-known auto dealer Earl Stewart recently filed a lawsuit challenging the state law that keeps the source of such accusations confidential.
If the Florida Department of Highway Safety and Motor Vehicles decides the complaint is substantiated, the driver must submit to a driving test.
As Post reporter Jane Musgrave has reported, the state assumes that any complaint by a police officer, doctor or other professional is substantiated. It checks further into complaints by family members or friends before requiring the target to take a new driving test.
Mr. Stewart thinks a police officer with a grudge filed the complaint against him because he had fired the officer's wife. Filing a complaint in retaliation would be an abuse of police authority, Mr. Stewart sways.
Safety officials defend anonymity. They say that without the promise of anonymity, people would not report drivers who – because of physical or mental limits – no longer should be allowed on the road.
Florida is one of the few states with blanket anonymity. Some states release the accuser's name on request. Others require a court order.
What do you think? Should 'bad drivers' be told who accused them? Leave a comment or click on the link below to take our poll.
Should 'bad drivers' be told who accused them?
Tags: bad drivers, Earl Stewart


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Tag: Emiquon research
Everyday Nature: Cartoonish Coot Chicks
Most baby birds, cute though they may be, are not exactly colorful. This makes good evolutionary sense: Baby birds, unable to fly, make easy meals for predators.
They thus must blend into their surroundings. A drake mallard or canvasback is a colorful, striking water bird, but baby ducks are nondescript. They disappear into the marshy reeds, making it harder for a hungry raccoon or mink to find them.
Not so the American coot.
Adult coots are fairly drab birds. But their babies? They look like they were designed by a deranged tattoo artist.
The front half of the coot's body is covered in orange-tipped plumes, giving them a jarring appearance. We're not used to seeing baby birds covered bright feathers. While this orange fades rather quickly—in about six days—it still leaves them conspicuous when they are at the most vulnerable stage of their lives.
This coloration makes them more susceptible to predation. What advantage would such feathers possibly confer?
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Watch the ospreys live 24/7 as they nest and raise their young -- and learn more about these fascinating birds from our scientist.
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Cool Green Science is managed by Matt Miller, the Conservancy's deputy director for science communications at the Conservancy, and edited by Bob Lalasz, its director of science communications. Email us your feedback.
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Where Have The Monarchs Gone?
Monarch butterflies are disappearing. What's going on? Is there anything we can do about it?
North America's Greatest Bird Spectacle?
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MedPage Today (02.21.13)
According to researcher Yung-Song Lin, MD of Taipei Medical University in Taiwan and colleagues, individuals aged 35 or younger with HIV infection had twice the risk of sudden hearing loss compared to HIV-negative controls. The researchers noted that up to 44 percent of persons with HIV infection have a chronic hearing impairment. In this retrospective study, they reviewed records from Taiwan's national health insurance system on a cohort of 8,760 HIV-infected persons diagnosed between January 1, 2001 and December 31, 2006, and those of 43,800 persons not infected with HIV. The subjects were divided by age into groups 18 through 35 years and those older than 35.
Sudden sensorineural hearing loss was defined as a loss of 30 decibels or more in at least three contiguous audiometric frequencies that develops over a period of a few hours to 3 days. The researchers found that among the younger HIV-infected individuals, there were 11 cases of sudden hearing loss in 25,439 person-years of follow-up, and among the controls there were 26 cases in 130,722 person-years of follow-up. These numbers meant incidence rates of 4.32 and 1.99 cases per 10,000 person-years, respectively. Also, the incidence rate ratio for sudden hearing loss was significantly elevated only in men and did not reach significance among the women. The hazard ratio in the younger group when adjusted for age, sex, geographic region, and annual income was 2.17 using a cox proportional hazards regression model with propensity score matching. Among older participants, there were five cases in 15,506 person-years of follow-up among individuals with HIV infection, and 38 cases in 87,570 person-years of follow-up and an incidence rate ratio of 0.72 for an incidence rate of 3.22 and 4.45 cases per 10,000 person-years, respectively, and a nonsignificant incidence rate ratio of 0.72.
The researchers were not clear why the effect was only among individuals 35 years or younger. They noted that possible risk factors, such as smoking history and noise exposure, were not included in the study. Also the study did not include information about severity of hearing loss.
The full report, "Increased Risk of Sudden Sensorineural Hearing Loss in Patients with Human Immunodeficiency Virus Aged 18 to 35 Years: A Population-Based Cohort Study," was published online in JAMA Otolaryngology – Head & Neck Surgery (2013;():1-5. doi:10.1001/jamaoto.2013.1709).
Copyright © 2013 -CDC Prevention News Update, Publisher. All rights reserved to Information, Inc., Bethesda, MD. The CDC National Center for HIV, STD and TB Prevention provides the following information as a public service only. Providing synopses of key scientific articles and lay media reports on HIV/AIDS, other sexually transmitted diseases and tuberculosis does not constitute CDC endorsement. This daily update also includes information from CDC and other government agencies, such as background on Morbidity and Mortality Weekly Report (MMWR) articles, fact sheets, press releases and announcements. Reproduction of this text is encouraged; however, copies may not be sold, and the CDC HIV/STD/TB Prevention News Update should be cited as the source of the information. Contact the sources of the articles abstracted below for full texts of the articles.


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Coastal cities consider backing away from the beach
For Goleta Beach in Santa Barbara County, the best way of beating coastal erosion might very well be to just let it happen.
According to the Associated Press, Goleta Beach is one of the California locales looking into a "planned retreat" of moving roads, utilities and other developments further inland, allowing shoreline erosion to take it's natural course.
This movement is in marked contrast to the more traditional methods of battling coastal erosion through seawalls and other barricades. As reported by AP, roughly 10 percent of California's coastline is fortified, with a whole third of the Southern California shore behind some sort of wall.
"I like to think of it as getting out of the way gracefully," said David Revell, a senior coastal scientist involved in planned California retreats including Goleta Beach, to AP.


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Tonight: Becoming cloudy Showers possible late. An overnight low near 60. A south wind at 10mph.
Friday: Showers likely ... More...
Georgia's Unemployment Rate Declines in August
The Georgia Department of Labor announced Thursday that Georgia's unemployment rate decreased to 8.7 percent in August, down from 8.8 percent in July. The rate was three-tenths of a percentage point lower than 9.0 percent in August a year ago. The decline follows three consecutive months of rate increases.
"The primary reason the rate dropped is that we had a significant reduction in layoffs, in fact, the fewest since September 2007," said State Labor Commissioner Mark Butler. "Also, we had a small increase in the number of jobs."
There were 35,503 new layoffs, represented by initial claims for unemployment insurance, 18,603, or 34.4 percent, fewer than the 54,106 in July. Much of the decline came in manufacturing, as workers who were temporarily laid off in July returned to work in August. Fewer claims also came in construction, trade, and administrative and support services.
"The job gains that we normally would have in August, especially in the private sector, occurred in June and July, two months in which we normally lose thousands of jobs," Butler said. "As far as the overall number of jobs, we are much better off this August than last."
Georgia gained 82,300 jobs, or 2.1 percent, since August 2012 when there were 3,962,800 jobs.
There were 176,300 long-term unemployed workers, down by 3,600, or 2.0 percent, from 179,900 in July. This was the fewest since 168,200 in December 2009.
More Business News
Last Update on April 24, 2014 07:31 GMT
TOKYO (AP) -- Asian shares lacked a clear direction today as players took a mostly wait-and-see view ahead of talks between Japan's prime minister and visiting President Barack Obama.
The focus is on what Obama and Prime Minister Shinzo Abe may say about negotiations on a wide-reaching trans-Pacific trade agreement, despite resistance from local interests on both sides to wiping out tariffs.
Sentiments on Asian markets were dampened by worries about the U.S. economy, highlighted by a surprise drop in new home sales as well as dismal earnings.
The pessimism overshadowed confirmation from the European Union that Greece achieved a primary surplus in 2013 -- what's left when interest payments are stripped out.
The dollar fell against the euro and was little changed against the yen.
Benchmark crude oil fell but remains above $101.50.
Major business and economic reports scheduled for today
WASHINGTON -- The government's weekly jobless claims report comes out today.
Also, the government will release March durable goods numbers and Freddie Mac will report weekly mortgage rates.
A slew of quarterly earnings reports will be released today.
Before the market opens, investors will hear from Aetna, Starwood Hotels & Resorts Worldwide, Altria Group, General Motors, Southwest Airlines, United Airlines, American Airlines, 3M , Caterpillar, Verizon, and UPS.
After the closing bell, Amazon.com, Starbucks, Visa and Microsoft will report their quarterly financial results.
Facebook 1Q results soar; CFO to step down
NEW YORK (AP) -- Facebook's first-quarter earnings and revenue grew sharply, surpassing Wall Street's expectations thanks to an 82 percent increase in advertising revenue.
The social network says it earned $642 million, or 25 cents per share, in the January-March quarter, up from $219 million, or 9 cents per share, in the same period a year ago. Adjusted earnings were $885 million or 34 cents per share.
Facebook says its revenue was $2.5 billion, up 71 percent from $1.46 billion in the same period a year ago.
Analysts expected adjusted earnings of 24 cents per share on revenue of $2.36 billion.
Facebook says its finance chief, David Ebersman, is leaving on June 1 after five years. He'll be replaced by David Wehner, currently vice president of corporate finance and business planning.
DALLAS (AP) -- Texas Instruments is giving an upbeat forecast for the current quarter after the chipmaker's first-quarter profit rose 35 percent.
Texas Instruments makes semiconductors used in consumer devices and industrial equipment and is reducing its reliance on chips used in smartphones and tablets. The company said that revenue from chips that convert analog signals to digital ones and from embedded technology such as microcontrollers accounted for 84 percent of first-quarter sales. Both segments grew by double-digit percentages.
Meanwhile, revenue from everything else tumbled by 28 percent.
Net income was $487 million, or 44 cents per share, including a gain of 2 cents per share from a sale that the company had not included in previous guidance to investors. The results compared with year-ago profit of $362 million, or 32 cents per share. Revenue grew 3 percent to $2.98 billion.
For the second quarter, the company predicted that earnings would be between 55 cents and 63 cents per share on revenue of $3.14 billion to $3.40 billion.
BEIJING (AP) -- China's government says it will open 80 projects in eight state-run industries to private and foreign investors as part of efforts to make its slowing economy more efficient.
The Cabinet announcement is the latest in a series of policy changes aimed at carrying out the ruling Communist Party's promises to give entrepreneurs and foreign investors a bigger role in the state-dominated economy.
The statement late Wednesday gave no indication whether private investors would be given any control over the newly opened industries, which include oil and hydro power.
Other industries cited by the statement were wind power, natural gas storage and distribution, solar power, coal, railways and port operations.
LOS ANGELES (AP) -- The Federal Communications Commission is set to propose new open Internet rules that would allow content companies to pay for faster delivery over the so-called "last mile" connection to people's homes.
The proposed rules also call for enhanced scrutiny of such deals so they don't harm competition or limit free speech.
That's according to a senior FCC official familiar with the matter who wasn't authorized to speak publicly and spoke on condition of anonymity. FCC Chairman Tom Wheeler is to present the proposed rules to the other commissioners on Thursday.
The new rules are meant to replace the FCC's open Internet order from 2010, which was struck down by a federal appeals court in January.
While the older rules technically allowed for paid priority treatment, such dealings were discouraged.
WASHINGTON (AP) -- The head of the National Transportation Safety Board says the Obama administration needs to take steps immediately to protect the public from potentially catastrophic oil train accidents even if it means using emergency authority.
Deborah Hersman, wrapping up a two-day forum on the rail transport of oil and ethanol, said the Transportation Department shouldn't wait for the usual federal rulemaking process to run its course. She urged regulators to use their authority to issue emergency orders or interim rules to bring about tougher standards for tank cars used to haul oil and ethanol.
She said the risks of such accidents are clear and waiting will only lead to a "higher body count."
Hersman praised Canadian authorities who announced Wednesday that they banning or phasing out older, more dangerous tank cars.
NEW YORK (AP) -- The pay of Wal-Mart Stores Inc.'s outgoing CEO fell 73 percent in 2013 because he didn't get stock awards that are given in anticipation of future performance as well as a lower performance-based bonus.
The world's largest retailer gave Mike Duke, 64, a compensation package worth about $5.6 million including a base salary of $1.4 million and a performance-based bonus of $2.8 million for the fiscal year that ended on Jan. 31.
Other compensation totaled $490,090, including retirement contributions and $144,586 for personal use of company aircraft.
The AP's calculation counts salary, bonuses, perks and stock and options awarded to the executive during the year.
NEW YORK (AP) -- Warren Buffett says he disapproves of Coca-Cola's highly contested pay plan for its executives.
Buffett, the beverage maker's largest shareholder, called the plan "excessive" in an interview on CNBC after the plan was approved at the company's annual meeting.
But Buffett said Berkshire Hathaway abstained from voting against the pay plan because he believes in Coca-Cola's management and CEO Muhtar Kent.
The pay plan came under scrutiny after Wintergreen Advisers took public issue with it last month. Wintergreen CEO David Winters said the plan was a "raw deal" for shareholders that would transfer roughly $13 billion to management over the next four years. He urged Buffett to vote against the plan.
In a statement, Coca-Cola Co. says it respects Buffett's "philosophical stance on equity-based compensation."
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DAILY GRINDER: Drexel U. Attacked for 'Abortion Clinic Escort Service'
Our dear friends at Life News have a new boogeyman: Drexel University. (All those engineering students in one place? Sounds fishy.) The school has a service in which students can escort women to abortion clinics, protect them from potential anti-choice protester harassment, observe protesters and make sure none overstep their bounds. This is terrible, according to the pro-life op/ed website. Also, people who chill out side women's health facilities aren't harassing anyone — they're simply "sidewalk counselors" (true story) so what's the big deal? "Facilitating the deaths of unborn children, intimidating pro-life sidewalk counselors with bogus legal threats, and misinforming students about constitutional law is a far cry from the public good!" reads this article. Life News is the same site that wrote women in Pennsylvania need government ultrasound legislation because as soon as they step inside an abortion complex, they can no longer think for themselves.
Hey friends: Former Massachusetts Governor Mitt Romney won another GOP primary last night. It was Illinois and news reports are saying it was the lowest attended GOP primary in 70 years.
And yet, Rick Santorum claims this is the most important presidential election since 1860. Because President Obama is set to wage a new Civil War, right? Oh, and Santorum will be hanging in Pennsylvania for the time being, now. No one dropped out of the race.
State Rep. Babette Josephs has unsurprisingly won the endorsements of the political action committees of Planned Parenthood of Pennsylvania and the Philadelphia Chapter of the National Organization of Women.
Public health officials testified before City Council yesterday on Governor Tom Corbett's 20 percent reduction in funds for the city. All agreed the cuts will "have a drastic effect on the care provided to the city's homeless, drug addicted and mentally ill," according to Newsworks.
Included at the hearing were officials from counties surrounding Philadelphia. Everyone is getting screwed this year.
The Philly chiropractor convicted of burning down his business and three others wants the federal government to return the 13 million Iraqi dinar seized from his home. Where's my dinar!
Even though the Philadelphia Police Department has backed off, the Fraternal Order of Police Lodge 5 still want former Police Chief and current Occupy protester Ray Lewis to take off his damn uniform. And not in that way. In that way. Union president John McNesby told the Inky, "If I was the city, I'd arrest him every time for impersonating a police officer."
And former Northeast Philly state Rep. John Perzel has been sentenced to 30-60 months for his part in Bonusgate.