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Andy McKee: Tapping into New Territory
"I know a fair amount about theory and chord construction and things like that, but when I'm writing,
I try to use my ear and let things happen as naturally as I can."
It has been nearly a decade since Andy McKee's video for "Drifting" turned the former guitar teacher from Topeka, Kansas, into one of YouTube's first viral music stars. Millions of views and a spate of critically acclaimed albums followed, but it's McKee's ability as a live performer—one who can pull orchestral sound out of a single guitar—that has kept him on the road almost constantly.
Until last year, that is, when he finally unpacked his bags and found time to produce a long-awaited follow-up to 2010's Joyland. The result is the four-song EP, Mythmaker, the first release on his new Mythmaker imprint. While the collection showcases McKee's trademark two-handed acoustic technique, there are also a couple of surprises in store for longtime fans, including his first foray into recording electric guitar and even a solo piano piece. We caught up with McKee as he was getting ready to hit the road yet again with a tour that will kick off in China before returning to North America.
It has been four years since you released an album. Why the wait?
I've found it hard to write music when I'm touring. In 2013 I decided to take some time off to finish writing some tunes. On the road, I'll come up with some new chord progressions or riffs, and maybe a bit of a melodic idea, and use my iPhone to record them. I've been doing that for the last two or three years, so when I actually had time in the studio, I could review all those ideas and try to develop them—see where else I could take them. The two solo guitar tunes ["The Reason" and "Mythmaker"] were developed from riffs I came up with on the road.
Also, whenever I write, I have to put the songs down and come back. It's usually a matter of really thinking about the tunes and taking time away from the instrument. It can be a bit of a time-consuming process.
Do you hear something in your head and try to figure out how to execute it? Or do you get an idea while playing and start to develop that?
It's usually the latter. Using altered tunings helps me to get more creative with the guitar and try different things. I'll start to hear melodic ideas that will work with whatever sort of riff I'm coming up with. But sometimes I'll hear an idea without even having the guitar in my hand, so then it's just a matter of finding it on the fretboard.
How many different tunings do you use?
I don't know for sure. But almost all my songs are in a different tuning, though I've got a few I've used for multiple songs. If I were to take a guess, it would probably be around 20 to 30 different tunings so far.
What's your process for developing a tuning?
I have a few different ways. One example is a song called "Art of Motion." I'd found this really great chord voicing in standard tuning—an F#m11—but it had a really big stretch. I've got really small fingers and hands, so I thought, "Maybe I can find all these intervals and put them into an open tuning."
Sometimes I'll make a variation on a more common tuning—like DADGAD—and just experiment with it. Put an F# and an E in there so I end up with a major ninth. Other times, it's totally by accident—the tuning for "Blue Liquid," for example. Whenever I travel overseas, I always detune the guitar and take the tension off the neck. I got to my hotel one time and opened the case, and it was in this really cool tuning. I thought, "Oh, maybe I can use this."
How do you keep track of them all?
Before I start recording, I'll play all the open notes. But I also tried to work on my ear when I was starting out. It was hard to find sheet music back then for guys like Michael Hedges or many of my other favorite guitar players, so I would listen closely for open strings and harmonics and try to figure out the tuning that way.
"I didn't go direct out of the acoustic guitars this time—I thought using mics offered a bit more natural sound."
Let's talk about some of the songs on the new EP. How did "The Reason" come together?
I really wanted to focus more on melody, not so much on flashy guitar techniques. That tune was really inspired by my two sons. It has two distinct parts: It starts with the nice melodic part, where you've got a new baby. Then they grow up a bit and you get to play with them. For the second, more playful part, I wanted to go with a Travis picking kind of thing. It's in an open Emaj9 tuning: E–B–D#–F#–B–D#.
That song has a lot of textures.
I mentioned Michael Hedges earlier, and I'm going to mention him again now. I was really inspired by him and one of the main things I picked up was the idea of texture—how you can attack strings differently to get different sounds.
not so much on flashy guitar techniques."
In "The Reason," there's a point where I hammer on a note and then I pluck the note, and then pull off to the same note. The tonal characteristic of a note that's hammered is quite different from one that's plucked, or if the plucked string is fretted or open—they all have different textures.
Right up there with texture is dynamics, and the way you can control that. I really started to think about dynamics after doing a lot of performances. One time, there was a table near the front of the stage and the people were talking a lot. So I thought, "How can I get them to be a bit quieter so everyone can appreciate the show more?" I decided to just play softly and look at them for a bit and they got the hint. That was when it first struck me how dynamics can really affect the mood and the way everybody's experiencing the music.
Your guitar sounds big and natural. How did you record it?
All the acoustic guitars on Mythmaker were recorded the same way. I've got a studio at home, and I recorded and engineered everything myself. I had a small-diaphragm Lauten Audio ST-221 Torch condenser microphone near the guitar, and a large-diaphragm Mojavi Audio MA-200 condenser more in the room for some ambience.
Guitars Amps Effects Strings and Picks
Andy McKee's Gear
Greenfield G4.2
Greenfield HG1.2 harp guitar
Greenfield G4B.2 baritone
Greenfield G2B baritone
Music Man LIII
Music Man John Petrucci BFR7 7-string
D-TAR Solstice preamp
Shure GLXD14 wireless system
Ernie Ball Aluminum Bronze medium (.013–.056)
Ernie Ball M-Steel Regular Slinky (.010–.046)
Shubb S1 and S5 capos
Dunlop Jazz III Sharp 1.38 mm picks
Strings and Picks
How about "Mythmaker"?
That's on the baritone guitar, which is tuned from low to high: A–E–A–B–E–G#. So that's like an Amaj9. I came up with a couple of the parts over the years, and it was just a matter of gluing them together. With this EP, I was trying to let creativity take me where it might and not feel too boxed in by being a solo acoustic guitar player. I wanted to have a tune that was dedicated to the creative spirit. It's got a kind of funky, aggressive quality, but at the end there's a turnaround that builds into this majestic thing. I wanted to build the energy in a unique way. I slap harmonics on every other beat to create a driving element at the end of the song that leads into a finale that's a little more chilled. Then it concludes with a harmonic ending that's suspended and leaves you hanging.
Speaking of harmonics: Is it challenging to get them right all the time? Or is it second nature for you by now?
It's still challenging sometimes. It's practice and repetition, and getting comfortable with the angles you're using to play slap harmonics, or pinch harmonics, artificial harmonics—all different kinds.
What inspired you to add piano and electric guitar to "Lumine"?
I started on electric, playing rock and heavy metal, before switching to acoustic and getting into open tunings when I was about 16. I love solo acoustic guitar and I'm sure I'll do it forever, but I've always been into a lot of different kinds of music. So I wanted to experiment a little bit more and try some different things, which included electric guitar.
"Lumine" started out with just solo acoustic guitar parts. For the chorus, I came up with this really beautiful part on acoustic guitar with harmonics ringing out, but there wasn't really a melodic idea there. I thought piano would be really cool for that. For the bridge, I had the piano and acoustic guitar, and I thought, "Why not? I think it could use an electric guitar solo in here!" I've always loved really melodic and tasty lead guitar guys like Eric Johnson and Joe Satriani, so I think you might hear some of that inspiration in what I do on electric guitar. I'm really happy with the way it turned out. Maybe in the future I'll do some collaborative things with electric guitar players who I've had the good fortune to meet and who are interested in working together.
"Sometimes I'll hear an idea without even having the guitar in my hand,
so then it's just a matter of finding it on the fretboard," says Andy McKee.
Your acoustic playing is your trademark. How did it feel to introduce your electric side?
It was kind of liberating and fun. It reminded me of when I was younger, and it's a completely different approach for me, just trying to play those nice melodic lines on electric guitar is very different from trying to cover all the bases on an acoustic guitar. You have a bit more control over what you're saying in the melody and how you're expressing it. And you've got the whammy bar and all the different ways you can manipulate the melody.
What guitars did you use on "Lumine" and how did you get the electric sound?
The acoustic guitar is the baritone again, and it's the same one I used for "Mythmaker"—a Greenfield G4B.2. The tuning for the acoustic is G#–E–G#–B–E–B, and there's a capo on the 3rd fret. On the electric, I used a Music Man LIII through a Fender G-DEC practice amp. It's preset 8, if I'm not mistaken, a kind of Eric Johnson sound.
The solo piano piece, "June," was even more of a surprise.
I wrote it just last year. It's dedicated to my maternal grandmother, who sadly passed away before I met her. To be totally clear, sadly, she committed suicide. I was thinking about that subject and my grandmother who I never met, and it's just a sad thing. So it's dedicated to her memory and just the sadness that people can experience. It's unfortunate that people get so depressed or so down that it happens, but that's where it came from.
YouTube It
Andy McKee performs "Mythmaker," the title track off his new EP, and showcases his aggressive acoustic attack on his Greenfield GFB.2.
Do you ever play something on the guitar and try to learn it on the piano, or write something on the piano and try to bring it to the guitar?
I've come up with an idea on piano and put it on the guitar. It's more of an exercise, I guess. Come up with a line on the piano and try it on the guitar—that kind of thing. But my approach on both instruments is the same. I know a fair amount about theory and chord construction and things like that, but when I'm writing, I try to use my ear and let things happen as naturally as I can.
How do you maintain and develop your techniques? Are you still developing new ones?
I don't really try to develop new ideas spontaneously. If a new technique comes up, it's because I'm trying to make something happen that I'm hearing in my head. I definitely learned a lot of different techniques just from listening to guys like Michael Hedges and Don Ross and Preston Reed. I can't really say I'm this great technique pioneer in any way, but I learned a lot from those guys and tried to use those techniques to write the music that I want and the music I hear in my head.
Is a full-length album in the works?
I'm trying to stick to this idea of releasing EPs, like four or five songs, and doing that more frequently, rather than waiting so long to put an album together. We're so used to getting new things so rapidly with the internet. I think getting new music out faster is the most important thing right now.


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Two registered sex offender are now incarcerated at the Bulloch County Jail after Investigators determined that they were out of compliance with Registry requirements.
In early October 2014 Cpt Todd Hutchens, working with State Probation Officers, determined that Timothy Greene (35 yoa, Harry Hagan Rd, Pembroke) had moved from his previously declared address on Anderson St in Statesboro without notifying law enforcement. Greene made efforts to move to an apartment complex on Packinghouse Rd in Statesboro before finally taking up residence in Pembroke Ga. Greene was arrested and transported to the Bulloch County Jail where he remains without bond charged with 1 ct Failure to Register as a Sex Offender and Probation Violation. Greene was convicted in 2000 of Aggravated Assault with the Intent to Commit Rape and has been on the Registry since 2008.
Also in early October, officers of the Statesboro Police Department contacted Patrick Boyle Jr (48 yoa, Shelbyville KY) in Statesboro while on a call. A check of Boyle's name through NCIC revealed him to be a sex offender registered in the State of Kentucky. SPD officers notified Cpt Todd Hutchens of Boyle's presence in Statesboro. Cpt Hutchens determined that Boyle had moved to Statesboro from Kentucky without notifying authorities in either state. Boyle was arrested and charged with 1 ct Failure to Register as a Sex Offender. He remains without bond at the Bulloch County Jail. Investigators are in contact with US Marshals to determine if there is a prosecutable case under the Federal Adam Walsh Act, which makes interstate failure to register by a sex offender a Federal offense. Boyle was convicted in Michigan for Criminal Sexual Conduct (4th degree) before moving to Kentucky.
In order to address the growing number of registered sex offenders in Bulloch County and to ensure that compliance checks are conducted on each one, BCSO Investigators are each assigned a number of offenders to monitor in addition to their normal duties. This helps distribute the work load and ensures that each offender is contacted regularly. Any citizen with information on a sex offender who may have moved or changed employment without notifying this agency may submit an anonymous tip to firstname.lastname@example.com To determine which investigator is monitoring a specific sex offender, you may contact C.I.D. Assistant Ami Howell at 912-764-1744.

subset: commoncrawl


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Britain's largest retailer, Tesco, is finally ready for its American debut.
It has sent executives to board with American families, watching what they eat and where they shop. The scouts have built a clandestine store inside a California warehouse to test the reactions of selected people, telling any busybodies who inquired that it was a movie set. They have run computer models and pored over economic data and mapped demographic trends.
And, of course, they have sized up the competition.
"We've been looking at the U.S. for 20 years," said Greg Sage, a spokesman at the company's headquarters in Cheshunt, England.
Tesco - whose reputation in Europe rivals that of Wal-Mart in the United States - plans to open at least 100 Fresh & Easy Neighborhood Markets in the U.S. by February 2008. Among those will be six stores planned for Fullerton, Laguna Hills, Orange, Anaheim, Buena Park and Huntington Beach.
More local stores are likely, a Tesco official said Thursday.
"Ideally, we'd hope to have more," said Simon Uwins, Tesco's chief marketing officer. "We're trying to serve every neighborhood."
The retailer will also offer convenience stores in Los Angeles, Phoenix, Las Vegas and San Diego. Stores will be packed by familiar brands, as well as private foods free of artificial colors, artificial flavors and added trans fats, Uwins said.
It may sound like a modest parry for a company known for bold thrusts, but Tesco is treading lightly where other big British retailers have fallen before: the supermarket chain J Sainsbury left the American market in 2004, and the venerable dry goods retailer Marks & Spencer sold Brooks Brothers in 2001 for less than a third what it paid 13 years earlier.
Other retailers have found the United States perilous, too. The Dutch supermarket giant Royal Ahold has faced a series of crises, from accounting irregularities to restive unions, at its American operations.
The Tesco strategy can be considered an end run around the world's other giant retailers, Wal-Mart and Carrefour, which have recently been withdrawing from difficult markets after a race to plant flags in as many countries as possible.
Wal-Mart's growth at its superstores has faded while Carrefour is pulling back to concentrate on thinning margins in France, its home market. Tesco, meanwhile, is at the top of its game in Britain, where its business is generating plenty of cash for investment overseas. Tesco knows that confronting Wal-Mart head-on in Wal-Mart's home market would be suicidal. By slipping in through a neglected niche, Tesco hopes to build a business where even Carrefour fears to tread.
"One of the dangers for any company producing a lot of cash flow from their home market is that they invest poorly overseas," said Alastair Johnston, a retail analyst at JP Morgan. "That has not been the case for Tesco as it has been for Carrefour and Wal-Mart."
Tesco hopes to avoid the pitfalls that have tripped up other foreign retailers in the United States by starting small and growing organically rather than entering the market with a splashy acquisition. Still, it will spend $500 million on the new stores this year, and analysts predict that figure will grow to nearly $1 billion annually within two or three years.
"They are one of the few food-retailing expansion success stories internationally," said Tim Attenborough, an analyst at Exane BNP Paribas.


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Oil prices rise little as Gaza fighting continues
Sunday - 11/18/2012, 8:00pm EST
NEW YORK (AP) - Oil futures prices rose slightly in electronic trading Sunday night with the market apparently unaffected by fighting between Israel and Hamas.
In early trading, January benchmark crude futures rose less than 1 percent, by 60 to 70 cents per barrel, over Friday's close of $86.92. Brent crude, used to price many international varieties of oil, rose about 55 cents. It closed Friday at $108.95 per barrel in London.
Tom Kloza, chief oil analyst at the Oil Price Information Service, said the international futures markets have been relatively quiet, and he doesn't see that changing much as long as Gaza Strip fighting doesn't spread. If Saudi Arabia continues to produce extra oil and U.S. production keeps rising, gasoline prices in the U.S. should be insulated from the fighting, he said.
"You'd really have to see this spread into a Mideast conflagration to justify some sort of an increase over the last portion of the year for gasoline," Kloza said.
Prices at the pump have fallen by a penny from Friday's $3.43 per gallon, according to AAA. On Sunday, the average price of a gallon of gasoline nationwide was just under $3.42.
On Sunday, an Israeli missile leveled a two-story house in a residential neighborhood of Gaza City, killing at least 11 civilians, mostly women and children, Palestinian medical officials said. The attack, which Israel said targeted a militant, was the single deadliest incident of the five-day-old Israeli operation and hiked a toll Sunday that was already the highest number of civilians killed in one day, according to Gaza medics.
The bloodshed is likely to raise international pressure for a cease-fire, with Egypt taking the leading role in mediating between Israel and Hamas.
President Barack Obama said he had been in touch with the leaders of Israel, Egypt, and Turkey in an effort to halt the fighting. He cautioned against a potential Israeli ground invasion into Gaza, warning it could only deepen its death toll. At the same time, he blamed Palestinian militants for starting the round of fighting by raining rockets onto Israel, and he defended Israel's right to defend itself.
An Israeli envoy arrived in Cairo on Sunday and held talks with Egyptian officials on a cease-fire, according to Egyptian security officials.
But Israel and Gaza's militant Hamas rulers remain far apart on any terms for a halt in the bloodshed, which has killed 73 Palestinians _ including 37 civilians, according to Gaza health officials _ and three Israeli civilians.
(Copyright 2012 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.)


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On July 9, 2012, HHS announced the approval of 89 new accountable care organizations (ACOs) for participation in the Medicare Shared Savings Program. These new ACOs began participating in the Shared Savings Program on July 1, and HHS estimates that these ACOs will serve 1.2 million Medicare beneficiaries in 40 states and the District of Columbia.
All but five of the 89 ACOs will participate in the Shared Savings Program's "one-sided model" in which participants are eligible only for a portion of shared savings upon satisfying certain clinical quality measures and realizing minimum cost savings; the remaining ACOs will participate in the "two-sided model" and will be eligible for a larger portion of shared savings, but also may incur losses if the ACOs fail to realize cost savings.
In total, 154 ACOs are participating in the Shared Savings Program. The list of the 89 new ACOs is available by clicking here.
Reporter, Christopher Kenny, Washington, DC, + 1 202 626 9253, firstname.lastname@example.com.
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Peter Gratzinger is a litigation associate in the Los Angeles office of Munger, Tolles & Olson. His practice focuses on representing technology and entertainment clients in intellectual property, antitrust and commercial disputes.
Key Representations
Mr. Gratzinger also maintains an active pro bono practice and has provided pro bono representation in various cases involving immigration, First Amendment law, election law and other issues. For example, Mr. Gratzinger tried a case in the Lancaster Immigration Court that resulted in the release from detention of a Kenyan refugee seeking political asylum. Mr. Gratzinger is on the Board of Managers of the Ketchum Downtown YMCA, a non-profit serving the downtown Los Angeles community.
Mr. Gratzinger graduated with honors from Stanford Law School in 2003. During law school, he served as executive editor of the Stanford Law Review. Mr. Gratzinger completed his first year of legal studies at New York University School of Law, where he earned the John Norton Pomeroy Prize for academic excellence.


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Born: June 7The Hotep Idris Galeta biography is missing. Add it now.
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CG: Thatcher Projects Joins Chelsea Art Walk 7/28July 25, 2011 - by NYC News Desk
Join Thatcher Projects on Thursday, July 28, 2011 from 5 to 8 PM. for the second annual Chelsea Art Walk, a cooperative event organized by the neighborhood's galleries and art institutions. More than 125 galleries and institutions participating in Chelsea Art Walk 2011 will be open for extended hours, artist talks, live performances and other special events to showcase the vibrancy of the summer arts scene in Chelsea.
Thatcher Projects will be hosting a gallery talk at 5:30 that evening with Erin Brown, co-curator of w h i t e-h o t, our summer group show featuring works by twenty-two artists. Stop by to get an inside look at the show and learn more about the artists and work on display.
Check out the full schedule here: http://artwalkchelsea.com/
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The Slave Side of Sunday
For most sports fans, heaven would be to play in the National Football League. We see money, fame and no expectations of social responsibility beyond showing up on Sunday ready to play. In the mind of the fantasy sports fan, it means a big house, a garage full of cars and the promise of sexual gratification. The last thing any fan would believe--or want to believe--is that racism is endemic to the culture of the NFL.
That's the contention of NFL veteran Anthony Prior, whose new book, The Slave Side of Sunday, invokes an explosive metaphor to describe life in the NFL. Prior played six NFL seasons with the New York Jets, the Oakland Raiders and the Minnesota Vikings, and developed a reputation as a cornerback with blinding speed, if not blinding stats.
Prior contends that the NFL is rife with a racism that is both deeply institutionalized and largely unchallenged. "I was frustrated by not seeing the truth in print," Prior told me in a recent interview. "And I believe that if you want to see it, you should write it."
Prior is a self-published author. In addition to The Slave Side of Sunday, his publishing house, Stone Hold Books, produced Faith on 40 Yards: Behind the Silver & Gold of the NFL in 2003. The starting point for his new book is the much-derided 2003 statement by Tampa Bay all-pro defensive tackle Warren Sapp that the NFL acts as a "slavemaster" to its players. Sapp was pilloried for his comments, but Prior argues that there is a lot more truth to Sapp's statements than meets the eye.
Prior knows that, like Sapp, he will receive criticism for his statements. And on the face of it, his argument does seem ridiculous, if not offensive: How can people who make mega-salaries and play before adoring crowds be likened to slaves? Prior's response is that the answer lies in the lack of control NFL players are allowed to have in their daily lives and in the mega-industry they have helped create. He sees this lack of control being intimately tied with a dynamic where 65 percent of the players are African-American, yet only 18 percent of coaches, 6 percent of general managers and no owners are anything other than white.
"Black players have created a billion-dollar market but have no voice in the industry, no power. That sounds an awful lot like slavery to me," he says. "On plantations slaves were respected for their physical skills but were given no respect as thinking beings. On the football field, we are treated as what appears like gods, but in fact this is just the 'show and tell' of the management for their spectators. In reality, what is transpiring is that black athletes are being treated with disrespect and degradation. As soon as we take off that uniform, behind the dressing room doors, we are less than human. We are bought and sold. Traded and drafted, like our ancestors, and the public views this as a sport, ironically the same attitude as people had in the slavery era."
Prior names no names, but he contends that coaches and other authority figures in the game use racism to bully African-American players in an effort to instill obedience. "I've heard coaches call players 'boy,' 'porch monkeys,' 'sambos,' " he says. "Players don't get tested on their athleticism as much as they get tested on their manhood. Many players rail against this. They say, 'I'm being treated like a goddamn slave.' However, as soon as the coach is present, their life becomes doing whatever possible to please this man.
"The intimidation is immense...I've seen players benched because a coach saw them with a white woman, or overheard a criticism of his incompetence, or because a player didn't go to Bible study. I've been in film sessions where coaches would try to get a rise out of players by calling them 'boy' or 'Jemima,' and players are so conditioned to not jeopardize their place, they just take it. It's my understanding that management by intimidation is illegal, so why do we allow this to occur? I believe that due to the nature of the race of players who are being intimidated, people tend to overlook this. That is why I wrote this book. People must understand that this is not just intimidation, this is pure racism."
Prior says Southern-born athletes are particularly vulnerable. "Southern Black players call the coach 'boss' or even 'master.' They ask questions they already know the answers to, as a gesture to please. They let themselves be abused in all manner to keep their jobs. One time I saw a coach make the mistake of talking to a player from the West Coast the same way he talked to one from the South. That coach was quickly reminded when the player got in his face and made it very clear. 'I am a man and you will respect me as a man.' Words to live by."
Another institution that raises Prior's ire is Athletes in Action, an evangelical Christian group that is a presence in high school, college athletics and even the professional sports. Before the big game on Super Bowl Sunday, Athletes in Action is sponsoring an NFL-sanctioned prayer breakfast in Detroit.
"I call [them] Hypocrites in Action. Almost every time, the minister is white, and the subject matter is right off the plantation," Prior says. "One time I went over to the Bible study and asked, 'What's the subject matter?' I was told, 'Living in Obedience.' I just said, 'No thank you, I don't want to be brainwashed today.' On some teams, prayer becomes obligation, and God and Jesus become little more than a lucky rabbit's foot. Unfortunately, religion is used as a crutch to prey upon players who intend to be true to their faith but end up being slaves to it. This is a wrongfully instilled practice. I wouldn't have issue with this if the tools given were truly in good nature for the progression of mankind, not the regression of players."
Neither the NFL nor Athletes in Action returned calls for comment on Prior's allegations.
Prior says he has written the book as a way to advance the idea that African-American players can organize themselves to fight racism beyond the playing field. "As individuals we must create a collective. NFL's black players have a tremendous strength. This is a power we are scared to exercise yet dream to live." He believes that a workplace action on the eve of the Super Bowl could bring real change. Certainly, the thought of football players holding the multibillion-dollar spectacle hostage and making demands on the NFL ownership to give more back to the impoverished communities that produce their all-pros is a daring notion. The question is whether Prior and those who agree with him would risk the fruits of Super Bowl glory for the greater good of those who will never see an NFL contract.


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Nice trade for the Dodgers. Dewitt is terrible.
Nice trade for the Dodgers. Dewitt is terrible.
This is the time. The real Reds organization is back.
So is Theriot.
I don't think DeWitt's terrible. He's been jerked around a lot at positions and from the majors to the minors and hasn't had a full season as a starter. He's got potential to provide solid production for little to no money.
"Since I've been with the Reds in 1989, we've never had a farm system this loaded," Bowden said. "If we were the New York Yankees and had unlimited dollars, we could have traded for Colon, (Jeff) Weaver, Rolen, (Cliff) Floyd, (Kenny) Rogers and Finley and gotten them all -- and still held onto our top five prospects. That's an amazing statement."
Isn't Lilly a Class A FA at the end of the year? Seems like the two draft picks would have been a better deal for the Cubs. $5M salary dump I guess ($4M + $1M) and a few years of control for Dewitt vs. the picks.
So NL Central has moved out Oswalt, Berkman, Ludwick and now Lilly in the last 48 hours.
Board Moderators may, at their discretion and judgment, delete and/or edit any messages that violate any of the following guidelines: 1. Explicit references to alleged illegal or unlawful acts. 2. Graphic sexual descriptions. 3. Racial or ethnic slurs. 4. Use of edgy language (including masked profanity). 5. Direct personal attacks, flames, fights, trolling, baiting, name-calling, general nuisance, excessive player criticism or anything along those lines. 6. Posting spam. 7. Each person may have only one user account. It is fine to be critical here - that's what this board is for. But let's not beat a subject or a player to death, please.


text: Took my husband out to dinner here for his birthday. We had a great time. Reservations online were easy and convenient. It was winter and dark but from what I could see the grounds looked pretty and elegant. The restaurant was inviting. The food was great. My husband ordered the Jumbo Shrimp, I had... read more


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Las Vegas, Nevada
My Rating
Everything worked out as planned. As a plus our driver had a great sense of humor and a lot of knowledge of the area's we traveled thru. Worth every dime.
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Autism Screening and Diagnosis Center - Charleston, SC
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Charleston, South Carolina
Autism Screening and Diagnosis
Autism screening and diagnosis overview
Diagnosing autism spectrum disorders (ASDs) can be difficult, since there is no medical test, like a blood test, to diagnose the disorders. Doctors look at the child's behavior and development to m...
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