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These Jersey artists helped blaze a trail for those who followed
Sunday, September 28, 2003
Here are 25 Jersey-based jazz artists who are no longer with us, but whose music remains fresh and important:
- William "Count" Basie (1904-1984) -- Born and raised in Red Bank, pianist Basie led an early band that many feel defined swing. This first band developed in Kansas City in 1936 and was noted for its dynamic swing feeling, blues flavor and great soloists -- Lester Young among them. Those same qualities were seen in every subsequent Basie ensemble, though his band in the�'50s -- with soloists and composers such as Thad Jones, Frank Foster and Frank Wess, as well as singer Joe Williams -- was a standout. Throughout his career, Basie's feel for tempos, his editing of arrangements and his minimalist piano style defined his bands. "The Complete Decca Recordings" (MCA) and "April in Paris" (Verve) exemplify the earlier and later Basie sound, respectively.
- Cozy Cole (1906-1981) -- Born and raised in East Orange, Cole was a versatile drummer and the only musician to have recorded with both New Orleans jazz pioneer Jelly Roll Morton and bebop pioneer Dizzy Gillespie. He also played with Cab Calloway, Louis Armstrong and Jonah Jones. He scored an international pop hit with "Topsy" in 1958.
- Johnny Coles (1926-1996) -- Born and raised in Trenton, Coles was a lyrical, modern trumpeter who knew the best notes. His intimate, personal sound and keen improvisational bent can be heard on recordings by James Moody, Gil Evans, Herbie Hancock and Charles Mingus and on his two best albums: "The Warm Sound" (Epic) and "Little Johnny C" (Blue Note).
- Bill Evans (1929-1980) -- Born in Plainfield and raised in Somerville, Evans was a magnetic post-bop pianist whose harmonic innovations and gentle touch influenced scores of modern pianists, from Herbie Hancock and Keith Jarrett to Kenny Werner and Brad Mehldau. His 1959-61 trio with Newark-born bassist Scott LaFaro (1936-1961) and drummer Paul Motian, where interaction was key, was revolutionary. Evans was central to Miles Davis' classic recording "Kind of Blue" (Columbia). His albums include "Sunday at the Village Vanguard" (OJC) and "I Will Say Goodbye" (Fantasy).
- Tal Farlow (1921-1998) -- The guitarist and North Carolina native could play as fast as the wind, and did with Artie Shaw's Gramercy Five, vibist Red Norvo's Trio, which also featured bassist Charles Mingus, and as a leader. He moved to Sea Bright in 1955 and worked as a sign painter, playing Jersey Shore clubs and restaurants. By the early 1970s, he had resumed his national and international career. Among his albums are "The Swinging Guitar of Tal Farlow" (Verve) and "Chromatic Palette" (Concord Jazz).
- (Walter) Gil Fuller (1920-1994) -- A native of Los Angeles who was raised in Newark, pianist-composer Fuller worked with such Newark swing bands as the Barons of Rhythm, the Savoy Dictators and Tiny Bradshaw's Orchestra. His arrangements and co-compositions for Dizzy Gillespie's�'40s big band, one of which is the driving "Things to Come," were full of bebop innovations. He also wrote albums for James Moody.
- John Birks "Dizzy" Gillespie (1917-1993) -- One of the great minds and instrumentalists of the bebop revolution, Gillespie was born in South Carolina and lived in Englewood the last three-plus decades of his life. The bebop pioneer also was responsible in great part for creating Afro-Cuban (or Latin) jazz. A virtuoso and a solid blues player, Gillespie was also a humorist who brought that aspect of his personality to the bandstand, making him an international jazz celebrity. His prot�g�, Jon Faddis, lives in Teaneck. Among Gillespie's scores of recordings are "The Complete RCA Victor Recordings" (RCA), "On the Sonny Side of the Street" (Verve) and "Dizzy on the French Riviera" (Philips).
- Babs Gonzales (nee Lee Brown) (1919-1980) -- A Newarker all his life, Gonzales was a "bebop daddy" (his own words) who could sing in a loose, bop manner and recite in beat-like language from the stage. He was part of the vocal group Three Bips and a Bop, and led bands and/or recordings that featured Tadd Dameron, Johnny Griffin and others. He wrote the self-published "I, Paid My Dues," a colorful if-often-inaccurate memoir.
- Sonny Greer (1895-1982) -- A native of Long Branch, Greer joined Duke Ellington in 1920 and stayed with the maestro until 1951. With Ellington, Greer's exotic percussion effects and large drum kit gave the band a dynamic rhythmic bottom. He was active on the New York jazz scene through 1975, often working with Ellington interpreter Brooks Kerr's trio. You can hear Greer on the Ellington collection "Masterpieces by Ellington" (Columbia).
- Milt "Bags" Jackson (1923-2000) -- Detroit native Jackson, who lived in Teaneck in his later years, was bebop's first vibist, playing and recording with Charlie Parker and Dizzy Gillespie. A marvelous blues and ballad player who could also swing you into the next room, Jackson was a founding member of the Modem Jazz Quartet, with which he played off and on until his death. Key Jackson albums include "Pyramid" (Atlantic) with the M.J.Q., "Roll Em Bags" (Savoy) and "Milt Jackson at the Kosei Nenkin" (Pablo).
- James P. Johnson (1894-1955) -- A native of New Brunswick, Johnson was the first of the great stride pianists, and made piano rolls as early as 1917. Johnson influenced "Fats" Waller, Willie "The Lion" Smith, Duke Ellington and, later, Thelonious Monk. He was also a successful composer, with such hits as "The Charleston," "If I Could Be With You" and "Carolina Shout." Johnson's artistry is heard on "The Original James P. Johnson" (Smithsonian Folkways) and "Hot Jazz on Blue Note" (Blue Note).
- Thad Jones (1923-1986) -- A native of Pontiac, Mich., Jones was an acclaimed cornetist, composer and arranger and one of the founders of the jazz studies program at William Paterson University in Wayne in the early�'70s. It has since become one of the top university-level jazz programs in the country. Jones wrote and played for Count Basie and led the Thad Jones-Mel Lewis Jazz Orchestra, a premier modern ensemble. The latter's albums include "At the Village Vanguard" (Solid State/Mosaic). Jones' work with Basie can be heard on "Chairman of the Board" (Roulette/Mosaic).
- Rahsaan Roland Kirk (1936-1977) -- This remarkable blind instrumentalist hailed from Columbus, Ohio, and lived for many years in East Orange. He played tenor saxophone and flute and other sax-like instruments called manzello and stritch that he dreamed about and eventually found. He played the three horns at once, creating a dynamic, orchestral sound. Kirk played with Charles Mingus and as a leader. His albums include "We Free Kings" (Mercury), "Rip, Rig and Panic" (Limelight) and "Bright Moments" (Atlantic).
- Donald "The Lamb" Lambert (1904-1962) -- Lambert was a legendary stride pianist who was born in Princeton and died in Newark. He rarely recorded and spent most of his life playing in small clubs in and around Newark. Contributing to his legend was his ability to play two and even three tunes at once, in different keys, and, although he did not read music, his penchant for jazzing up classical themes. He spent the last 14 years of his life playing solo piano at Wallace's, a bar in Orange.
- Hank Mobley (1930-1986) -- An Eastman, Ga., native who was raised in Elizabeth and Newark, tenor saxophonist Mobley was a superb improviser and composer who was always overshadowed by the dominant tenor saxophonists of his day, John Coltrane and Sonny Rollins. His strong compositions, lyrical approach and rhythmic acumen were spotlighted with Horace Silver, Art Blakey's Jazz Messengers and Miles Davis and on his own recordings. His albums include Silver's "Six Pieces of Silver," Blakey's "At the Jazz Corner of the World, Vols. 1-2) and his own "Soul Station" and "The Turnaround" (all Blue Note).
- "Big" John Patton (1935-2002) -- Born in Kansas City, Mo., organist Patton moved to East Orange in the 1970s and spent his last years in Montclair. A powerhouse at the Hammond B-3, he was a regular at such Newark jazz bars as the Key Club and Sparky J's, and made several solid albums for Blue Note, including "That Certain Feeling" and "Understanding," which are part of a new Mosaic Select boxed set.
- Bobby Plater (1914-1982) -- A Newark native and resident for most of his life, Plater was a consummate big band lead alto saxophonist, handling that chair in lengthy stints with Lionel Hampton and Count Basie. During the Swing Era, he played with Newark's Savoy Dictators and Tiny Bradshaw's band. His "Jersey Bounce" became a jazz standard.
- Ike Quebec (1918-1963) -- A big-toned, Hawkins-Webster-influenced tenor saxophonist from Newark, Quebec scored a jukebox hit with "Blue Harlem" in the mid-'40s. He was an A&R man/talent scout at Blue Note Records in the 1950s, and made such solid albums as "Blue and Sentimental" and "Heavy Soul" for the label.
- Gene Quill (1927-1989) -- A native of Atlantic City who died there, bebop-minded Quill was often heard in Jersey Shore music rooms. He played with the big bands of Gene Krupa, Claude Thornhill and Gerry Mulligan and in a quintet with fellow bop altoist Phil Woods. He can be heard with Woods on "Bird Feathers" and "Phil & Quill with Prestige (Prestige/OJC).
- Woody Shaw (1944-1989) -- A vibrant modern trumpeter and composer, Shaw was raised in Newark, where he played with such top locals as Larry Young. He went on to perform and record with Eric Dolphy, Art Blakey, Horace Silver and Chick Corea before establishing himself as a leader of scintillating bands. Among his recordings are Silver's "Cape Verdean Blues" (Blue Note), Blakey's "Anthenagain" (Fantasy), Young's "Unity" (Blue Note) and his own "Blackstone Legacy" (Contemporary), "Rosewood" (Columbia), "The Moonstone" (Muse) and "Woody Shaw: Live, Vols. 1-3" (High Note).
- Willie "The Lion" Smith (1897-1973) -- Raised in Newark, Smith was one of the great stride pianists, along with "Fats" Wailer and James P. Johnson. Smith was a sophisticated pianist with a lyrical bent, as evidenced by his classic composition "Echoes of Spring." Duke Ellington, who was influenced by Smith, honored him with the composition "Portrait of The Lion." His artistry can be heard on "Willie 'The Lion' Smith: 1938-40" (Classics) and "Luckey Roberts and Willie 'The Lion' Smith" (Good Time Jazz).
- Sarah Vaughan (1924-1990) -- Born and raised in Newark, where she first sang at Mt. Zion Baptist Church, Vaughan had a magnificent voice and remarkable rhythmic feel, talents that led to her becoming one of the greatest of all jazz singers. Vaughan was still a teenager when she joined pianist Earl Hines' orchestra as both vocalist and pianist after winning a talent show at the Apollo Theater in Harlem in 1943. Later, she sang with Billy Eckstine's bebop big band, which sported Dizzy Gillespie and Charlie Parker. After leaving Eckstine in 1945, she essentially spent the rest of her life as a headliner and recording star. Among her more than 100 albums are "Sarah Vaughan with Clifford Brown" (Emarcy), "Sassy Swings Soulfully" (Roulette), "I Love Brazil" and "Sarah Vaughan and the Count Basie Orchestra: Send in the Clowns" (both Pablo).
- Mary Lou Williams (1910-1981) -- The most accomplished female musician of the Swing Era, the Atlanta-born pianist, who grew up in Pittsburgh and later lived in Jersey City, worked with Andy Kirk's Clouds of Joy from 1929 to 1942, her arrangements helping to define the band's sound. She also arranged for Benny Goodman, Tommy Dorsey, Louis Armstrong and Jimmy Lunceford. Her Harlem home became a meeting place for young bebop musicians, and Williams embraced the new sounds, even writing arrangements for Dizzy Gillespie's big band. In the early 1970s, she debuted one of her three jazz Masses at Queen of Angels Church in Newark, with Gillespie as guest soloist. Her archives are held at the Institute of Jazz Studies at Rutgers University in Newark. Williams' recordings include "Zodiac Suite" (Smithsonian), "Live at the Cookery" (Chiaroscuro) and "Live at Keystone Korner" (High Note). �
- Sam Woodyard (1925-1988) -- Born in Elizabeth, drummer Woodyard first played with local jazz groups around Newark. After gigs with Paul Gayten's R&B band, trumpeter Roy Eldridge and organist Milt Buckner in the early�'50s, he joined Duke Ellington in 1955, remaining until 1966. He was part of the band's rejuvenating appearance at the Newport Jazz Festival in 1956. In his later years, he moved to Europe, often playing with the Claude Bolling Big Band. His recordings with Ellington include "Newport�'56" and "Festival Session" (Columbia).
- Larry Young (a k a Khalid Yassin) (1940-1978) -- A lifelong Newark resident, Young was the modern master of the Hammond B-3 organ and is clearly its most important and influential proponent after Jimmy Smith. He learned organ on instruments owned by his father and worked regularly around his hometown. First a soul-jazz advocate, Young used different aspects of the organ to give it a lighter, more vibrant sound that fit perfectly with the changes taking place in jazz in the '60s. He played in Miles Davis' early electric band in 1969 and was a member of the seminal jazz-rock fusion band Lifetime, a trio with drummer Tony Williams and guitarist John McLaughlin. In the mid-'70s, he organized his own version of Manhattan's avant-garde jazz loft scene at a former barn near Lincoln Park in Newark, where young musicians came and jammed for hours under his tutelage. His recordings include "Testifying" (Prestige), the classic "Unity" and "Contrasts" (Blue Note).
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Our friends at Disney XD have sent us over an exclusive preview of this new short that will run this Sunday morning during the Marvel Universe block on Disney XD. The Fury Files are short pieces highlighting various members of the Marvel pantheon, and this time we get Hawkeye, in an animated, and more true-to-the-comics incarnation. He also seems to know how to draw a bow a bit better than his big-screen counterpart.
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In this Issue - December 2007
Message from the Director: $1 million added to 2008 budget
The 1909 Alaska-Yukon-Pacific (AYP) Exposition. $200,000 of the Office's budget will fund preparations for the centennial of the AYP Exposition in 2009.
Public investment in the arts improves quality of life by supporting cultural institutions and initiatives that provide services essential to Seattle's creative vitality. We know investing in the arts results in big returns. Arts and culture add one-third of a billion dollars a year to Seattle's economy. That's a lot of economic activity.
We're not the only city department to receive dollars earmarked for arts and culture. The parks budget includes $2.7 million to renovate the west wing of Building 30 at Warren G. Magnuson Park to create a 28,000-square-foot multi-arts facility, including studios (30 to 40 spaces for visual and performing artists), exhibition and office space for artists and arts and cultural organizations. The city-owned building was part of the former Sand Point Naval Air Station. KUOW's Marcie Sillman recently reported on the project.
The $1 million add for our agency amounts to a 17-percent increase in the Office's 2007 budget of $6.5 million. When the mayor proposed his budget earlier this fall, we outlined his proposed investments in this newsletter. Here's a recap of what we plan to do with the dollars.
Celebrate the holidays with free concertsFrom medieval choral music to Latin Jazz, the Seattle Presents concerts series will bring good tidings and great music to City Hall and the Seattle Municipal Tower with six holiday-themed performances, noon to 1 p.m., Dec. 4 to 20. Tuesday concerts will take place at Seattle Municipal Tower. Thursday performances will take place at City Hall. See our Web site for the line-up.
The performances are part of the free lunchtime Seattle Presents concert series presented year round by the Mayor's Office of Arts & Cultural Affairs. Concerts at Seattle Municipal Tower are presented in partnership with the city's Fleets and Facilities Department.
Alejandra E., Untitled.
City Hall Gallery features Youth in FocusPike Place Market is one of Seattle's dominant icons for both residents and visitors. In celebration of the market's centennial, four youth photographers and their mentors from Youth in Focus have captured imagery of Pike Place Market, its people, its products, its history and its significance to the city.
Pike Place Market as Seen by Youth in Focus, on view Dec. 3- Jan. 1 at the City Hall Lobby Gallery, consists of 27 black-and-white photographs. Countless pictures have been snapped of the market, but this exhibition offers the unique opportunity to see the market from the eyes of Seattle's youth.
The exhibition was developed by The Friends of the Market, The Market Foundation and Youth in Focus and is presented in partnership with the Mayor's Office of Arts & Cultural Affairs.
City Hall is located at 600 Fourth Ave. and is open to the public Monday through Friday, 7 a.m. to 6 p.m.
Stephen Rosen, City Hall West Side (detail), 2005, 23" x 30".
Proposals for City Hall galleries due Dec. 21Artists and community organizations are invtited to submit exhibition proposals for display in City Hall galleries in 2008. The application deadline is Friday, Dec. 21. Two City Hall galleries - the City Hall Lobby Gallery and the Anne Focke Gallery - focus on works that reflect the broad diversity of Seattle's communities and highlight the work of regional artists, community organizations and city departments. Group and solo exhibitions are welcome and will be displayed for six to eight weeks beginning in February 2008. Exhibitions should showcase the life of the city through the activities of its residents and organizations. A panel of city employees, administered by the Office of Arts & Cultural Affairs, will review the applications and select 2008 exhibitions. Click here to apply online.
Theresa Batty, Pelorus, 2007, Broadview Branch, The Seattle Public Library.
Library branch reopens with new artworkThe Broadview Branch of The Seattle Public Library, closed for expansion since May 2006, will reopen Saturday, Dec. 8 at 12 p.m. with two new works by Seattle artist Theresa Batty. Selected through a roster-based panel in 2005 as the public artist for the renovation, Batty often works with transparent images embedded into cast glass that offer the viewer a sense of history and place. Pelorus is a wooden vessel that hangs over the library's circulation desk, and Mercator is an installation of cast glass in Venetian plaster. Both pieces reference navigation through the use of iconic imagery.
The Broadview Branch, located at 12755 Greenwood Ave. N., has been expanded from its original 8,405 square feet to 15,000 square feet. It includes an updated collection of books and materials, more seating and computers, improved lighting and energy efficiency and a larger meeting room. The Office of Arts & Cultural Affairs manages the library's public art program.
Perri Lynch, Radius. Photo by Perri Lynch.
Sustainability Forum features artist Perri LynchUsing live improvisation and raw field recordings, public artist and phonographer Perri Lynch will present RADIUS, a performance installation exploring the beats, harmonies, rhythms and tones of sustainable practice at a 5 p.m. catered reception prior to the Urban Sustainability Forum, Creating the Greenest Neighborhoods in North America, Monday, Dec. 10 at City Hall, 600 Fourth Ave. The forum is 5:30 to 7 p.m. The free forum and reception are sponsored by Seattle's Department of Planning and Development (DPD) and Artist Trust in partnership with the Office of Arts & Cultural Affairs.
Drawing inspiration from the ten principles of One Planet Communities, Lynch's sounds are reduced, reused, repaired and recycled to frame new perspectives on built environments and the natural world in a global context.
The DPD presentation is part of an energizing series of public forums in which nationally recognized leaders discuss how we can transform Seattle into a 21st century city that is climate-neutral, pedestrian-friendly, transit-oriented, community-focused and sustainably-designed.
The OnHold mix features artist Ben Thomas, with Welcome Rain from the CD Triskaidekaphobia.
New OnHold mix live on city phone linesAcclaimed classical pianist Byron Schenkman and the alternative indie rockers of Downpilot have never shared the stage or airways, but the latest Seattle OnHold rotation, live as of Nov. 1, features their music back to back in an eclectic mix of local talents. African, Norwegian, klezmer, French and other musical traditions are also featured on the mix.
Seattle OnHold, managed by the Office of Arts & Cultural Affairs, treats callers to a broad selection of local music if they are placed on hold. An innovative program, OnHold uses the city's telephone lines, Web site, and podcasting technology to spotlight local artists and promote Seattle's vibrant and varied music scene.
The latest OnHold mix features ten tracks. Music selections change every three months. Local musicians are invited to submit recordings for consideration. For details and to listen to music by OnHold artists, visit the OnHold Web site.
Public art profiled on Seattle ChannelEmbark on an engaging video tour of the studios and sites where public art is created and sited in Seattle. Public artworks and the artists who created them are the subject of Seattle's Public Art, a new series of short video profiles airing on Seattle Channel. Seattle filmmaker and producer John Forsen produced the videos with support from the Office of Arts & Cultural Affairs and Seattle Channel.
New profiles feature four public art projects: Ashley Thorner's JUMs, which consists of whimsical sculptures that combine three common Northwest elements: jellyfish, umbrellas and mushrooms; Gerard Tsutakawa's The Urban Peace Circle, the culmination of a gun buy-back program by an organization called Stop The Violence; Kristin Tollefson's WaterLogs + Leaf/Hull, a work that blurs the boundaries between land and water, past and present, nature and our imprint on it; and Preston Singletary's Raven Crest Hat, featuring Singletary's signature style of Northwest Coast Native art in glass designs.
Ethnic Arts Connection showcase deadline is Dec. 21Ethnic Arts Connection is Friday, Dec. 21. Ethnic Arts Connection, a free one-day gathering of artists and presenters, provides a link between arts presenters looking for ethnic performing artists and ethnic artists looking for venues. The event will take place 9 a.m. to 7 p.m., Monday, March 10, 2008 at Intiman Theatre at Seattle Center, and will feature a rich roster of showcase performances, workshops and booking and networking opportunities.
Don't delay as space is limited for showcase performances. The general registration deadline for presenters and performing artists is Monday, Feb. 4, 2008. Click here to register online. Registration is open to Washington performing artists, presenters and community organizations.
Performing artists are invited to attend a free pre-event workshop Preparing an Effective Promotion Packet, 7 to 10 p.m., Thursday, Feb. 7, 2008 at 911 Media Arts Center. To sign up, contact Paul Rucker at (206) 684-7084. Workshop registration deadline is Monday, Jan. 25, 2008.
The Ethnic Arts Connection is a collaborative project of the Office of Arts & Cultural Affairs, Seattle Center, 4Culture, Washington State Arts Commission, Ethnic Heritage Council, Festál, Northwest Folklife and Arts Northwest.
Tamara Childress
Tamara Childress joins OfficeWe welcome Tamara Childress, who joins our staff as a public relations specialist. Tamara comes to us from the city's Department of Planning and Development, where she worked for two years on the department's communications team developing public information materials and implementing community outreach initiatives.
Prior to joining the city, Tamara spent five years as communications director for the Glass Art Society. An international non-profit organization based in Seattle, the Glass Art Society promotes the development and appreciation of the glass arts through an annual conference, publications and professional development for glass artists. Tamara managed the Glass Art Society's newsletter and other publications, Web site development, publicity and media outreach. She assisted in planning, marketing and worked onsite in multiple capacities for the organization's annual conference held around the globe, including Seattle in 2003.
A shutterbug, Tamara studies photography at Photographic Center Northwest. She received her bachelor's degree in English from the University of Tennessee and has worked in publications positions at the Federal Bar Association in Washington D.C., and the University of Texas and Texas Society of Architects in Austin, Texas.
Members sought for Design Review BoardMayor Greg Nickels is looking for qualified candidates to fill upcoming openings on the city of Seattle's Design Review Board. The positions will be available in April 2008 when retiring board members' terms expire.
The city is looking for professionals in the design and development fields, who have proven skills and established careers. It also seeks community and business leaders with an interest in shaping new development in their neighborhoods, and a passion for keeping Seattle a great place to live, work and play.
Board members are appointed by the mayor and City Council and serve two-year terms that may be renewed once. Members serve on one of seven boards that review projects in the city's major geographic districts.
The application deadline is Dec. 10. Click here to download an application. For more information, read the press release.
Vote for Seattle as top arts destinationExercise your right to vote and encourage others who appreciate our fine contemporary arts scene here in Seattle! Visit AmericanStyle magazine's Web site to select your favorite contemporary arts destination in the United States. This year, Seattle finished fifth among the nation's big-city arts destinations in AmericanStyle magazine's Top 25 Arts Destinations readers' poll. We are in good company, finishing behind first-place New York, then Chicago, San Francisco and Washington, D.C. All ballots received by Jan. 31, 2008 will be entered to win a $500 airline travel certificate. Click here to cast your ballot and move Seattle up the artistic ranks.
Linda Beaumont, Current, 2005. Photo by Spike Mafford.
Online slide show features Northwest artistsThe Office of Arts & Cultural Affairs collaborated with 4Culture to develop a slide show of the work of northwest artists for the International Sculpture Center's annual conference held in October at the Seattle Art Museum. The conference, with the theme of sculpture gardens and parks, focused on the new Olympic Sculpture Park and its art and brought many attendees from around the country. To showcase the work of local artists, the public art programs of the two agencies selected four images each from 50 sculptors and public artists and presented them to attendees - artists, curators, arts administrators - in an informal session that highlighted the breadth of regional talent. The full presentation can be viewed here.


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text: Getty Images Best Option for Legal Marijuana in South Dakota is 2016 General Election Ballot By Gene Hetland November 25, 2014 | 1140 KSOO-AM The leader of an effort to make marijuana a legal medical drug in South Dakota says the best way would be an initiated measure. Read More|Comment Category: News Tags: Marijuana, South Dakota Send to a friend! Share on Facebook Share on Twitter Pin it! Reddit This! Share on Tumblr!


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Volvo S60L under development - report
Could go into production later this year
According to a recent report, Volvo is developing a long-wheelbase S60 for the Chinese market.
Expected to be called the S60L, the model will reportedly go into production at the company's Chengdu plant later this year.
The car will apparently be sold alongside the S80L which hasn't been able to sway buyers away from more established models like the Audi A6L, BMW 5-Series Li and Mercedes E-Class L.
Source: China Car Times via Autoblog
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DaaS (Desktop as a Service), what is it? DaaS is a form of computing where your workstation is in the Cloud. You connect to your virtual desktop, using any internet-connected device (even a thin-client, like a tablet or iPad). What you see on your monitor is just a virtual image of the processing happening in a data center off-site.
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The all new Killjoy Industries Adjustable Picatinny Rail APR V2 is now available. Perfect for mounting scopes and sights to your paintball marker or airsoft gun. In a nutshell, paintballs drop in their trajectory over a short distance due to lack of speed and gravity. Most sights, red dots, and scopes were not designed with paintballs in mind. So once a sight got dialed in (if it even got dialed in), it would only be good for one distance. That meant guessing at any other distances.
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text: BBC Two HD to launch in March as BBC HD channel is axed Technology 19 February 13 by Nate Lanxon Gordon Bell / Shutterstock.com The BBC will launch BBC Two HD on 26 March for Sky, Virgin Media, Freesat, Freeview and BT Vision customers in the UK.BBC Two HD joins BBC One HD, which launched in 2010, and will replace the BBC HD channel on all platforms.Content on the new high-definition channel will be identical to that of BBC Two's standard-definition broadcasts; programmes will be simulcast, so listing information for broadcasts apply to both variations of the channel.An HD version of BBC Two was initially proposed as a cost-cutting effort in 2011, as the closure of BBC HD would free up funds the corporation needed in order to save over half a billion pounds.The BBC is behind certain other UK broadcasters in its HD offerings. ITV broadcasts four channels in high-definition; Channel 4, along with E4 and its film counterparts, offers several more still.When launched, BBC Two HD can be found on Sky HD 169, Freeview HD and YouView 102, Virgin Media 187, Freesat HD 109 and BT Vision 852. Comments This is the BBC's most annoying plan. They will be unable to show BBC3, BBC4, CBBC, Cbeebies, BBC Parliment or BBC News Channel output. They also will be unable to show any 3D productions. Finally BBC Two HD will show hardly any HD programmes as during the day most of the shows are old repeats never recorded in HD Peter Glover Mar 9th 2013 The best programmes by far are found on BBC4. It seems perverse to exclude the best content from the HD service. Especially as about half of BBC2's schedule is padded out with repeats and cheap cookery/quiz/antiques programming. Tim Mar 20th 2013 These upper comments are quite right and what about those who don't even have BBC1 HD, let alone BBC4. SD channels should be cut, it could save some money one never knows. Keep only the HD! Sad to lose BBCHD with it's great contents. BBC could be no more so good. Kate Mar 20th 2013 This is a huge stepback, as we'll lose practically all of the great BBC4 documentary & series content in HD. Instead, we'll get to see endless cooking programmes in their fullest glory - yikes! Oliver Mar 21st 2013 Reply to a comment Name Email Comment Submit » Latest on wired.co.uk


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Like the traditional British bitter or more accurately referred to as an English mild ale, this is a light ale, and not too bitter. Medium bodied, light amber in color, and a well balanced, light hop character. Contains organic malted barley, organic hops, organic dry malt extract (DME) for bottling, Irish Moss, recipe, and instructions. Produces an original gravity of approximately 1.045. IBU's: 32. Recommended yeast for this kit (Not included! Order separately): Wyeast #1968 Special London Ale, or White Labs Burton Ale.
***NOTE: If you choose the option to purchase the kit without DME or corn sugar for bottling you will need to supply your own bottling sugar (corn sugar, DME, etc.). You may not need bottling sugar if you plan to keg your beer.
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The competition for places may have been cranked up in recent weeks, but Suso insists he's in no way daunted by the challenge of trying to hold down a regular place in the Liverpool first team.
The arrival of Daniel Sturridge from Chelsea, coupled with the return of Fabio Borini from injury, has significantly bolstered Brendan Rodgers' options in attack.
It's meant Suso has not figured since the FA Cup third-round win at Mansfield Town on January 6 - but the Spaniard knows the only way to get back into the team is by showing what he's capable of on a daily basis at Melwood.
He told the official LFC matchday programme: "With Daniel Sturridge coming in and Fabio Borini back from injury there is going to be extra competition for places. Playing for Liverpool's first team is going to be difficult and it should be because it is one of the best teams in Europe.
"The competition is good for me because it makes me determined to work even harder and to get better. But the most important thing is always the team."
Since making his first-team debut against Young Boys in September, Suso has notched up 19 senior appearances.
He added: "I'm really happy with the way this season has been going. I think I can still do better but it is my first year and I am getting experience with every game.
"The Premier League is really difficult and I am only 19 years old so I need to keep working to improve and try to learn from all the great players that we have here with lots of experience.
"The biggest thing is that you cannot fall asleep in this team. You always have to work hard every day and show the boss and everyone here that you are playing well. There are a lot of good players and not everyone can play every week but if you don't, the next week you need to show that you are doing well."
Tagged: Suso
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43 CFR 11.32(a)(2)(iii)
- The authorized official shall send a Notice of Intent to Perform an Assessment to all identified potentially responsible parties. The Notice shall invite the participation of the potentially responsible party, or, if several parties are involved and if agreed to by the lead authorized official, a representative or representatives designated by the parties, in the development of the type and scope of the assessment and in the performance of the assessment. The Notice shall briefly describe, to the extent known, the site, vessel, or facility involved, the discharge of oil or release of hazardous substance of concern to the authorized official, and the resources potentially at risk. The Notice shall also contain a statement of authority for asserting trusteeship, or co-trusteeship, over those natural resources identified as potentially at risk.
- The authorized official shall allow at least 30 calendar days, with reasonable extensions granted as appropriate, for the potentially responsible party or parties notified to respond to the Notice before proceeding with the development of the Assessment Plan or any other assessment actions.


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Sep 23 2008
Friends of Compassion
Hello friends! Glad you're here.
I haven't met all of ya yet, but I do knows a lot of ya. If you're new to our blog, please leave a comment, I'd consider it a privilege to make your acquaintance.
So that you feel welcome, let me introduce you to a few of the folks who are…


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August 30, 2004
Shorts, 8/30.In Logos, Jonas Mekas remembers avant-garde and doc pioneer Alexander Hammid (more), who inadvertently introduced him to Maya Deren several years before they actually met. The journal is also running two pieces written by Hammid in the 30s, "Film and Music" and "The First Screening of Avant-Garde Films in Prague at the Kotva Cinema." Then, though you may be sick of Fahrenheit 9/11 by now, Kurt Jacobsen's piece is a keeper. Michael Moore actually pops up in Benjamin Noys's review in Film-Philosophy of Guy Debord: Complete Cinematic Works, translated and edited by Ken Knabb. Noys opens with an excellent and concise description of what Debord was after in his films, and actually, the example of Moore - and for that matter, of Godard, too - serves as a defining contrast. For more on - and of - the book, including Knabb's introduction, see the Bureau of Public Secrets. Via Perlentaucher:
August 29, 2004
Sunday shorts.There's development hell, and then, there's development hell. DM Thomas has spent two decades in one of its deeper circles, watching screenwriters, directors and actors come and go, attach themselves to and fall away from an elusive film adaptation of his bestselling novel, The White Hotel. At the very least, this journey to nowhere has given him stories to tell, and they tumble one after another, dropping names left and right. One of my favorites involves the incarnation of the screenplay in around 1990: A day of Biblical rain in New York... a winey dinner... On parting, [Dennis] Potter's face streamed with tears as his crippled, arthritic hands grasped [David] Lynch's lapels. If they didn't screw it up, he said, if they saw it through to the end, this would be the work they would both be remembered by. "This movie will be the Madame Bovary of our time." They screwed it up. Or actually, Lynch did. And on the story rolls. Also in the Guardian and Observer:
August 27, 2004
Shorts, 8/27.The National Film Theatre in London will be running a Jim Jarmusch retrospective throughout September, and the Guardian has made a smart move, asking Jonathan Rosenbaum for a few hundred relevant words. He begins with an assessment of what happened to the notion of independence in the 90s, thanks in no small part to Quentin Tarantino, a time when "the Mecca of 'independent' film-making became a film festival launched by a movie star and kept vital by Hollywood agents" and "flourishing as an 'independent' meant being distributed by Disney." Jarmusch, in the meantime, has stuck to his guns, retaining all his own negatives (with the single exception of Year of the Horse), while his work, intentionally or not, has shown "an increasing drift towards content" rather than style, and a more political sort of content to boot. Also in the Guardian:
August 26, 2004
Shorts, 8/26."Life," the Guardian's science supplement, is devoting an issue to sci-fi because, as Alok Jha and Adam Rutherford explain, "at its core is the desire to understand humanity's place in the universe." So they've asked some - well, several... lots - of scientists to name their top sci-fi authors and films (rather than books and filmmakers). Top of the tops: Isaac Asimov and Blade Runner, "the runaway favourite in our poll."
In Germany.When it comes to movies, the talk in Germany these days is, for the most part, about Der Untergang. It's enough of an event to warrant a cover story in Der Spiegel and even a bit of press in the UK (see, for example, the BBC and Kate Connolly's piece in the Telegraph), even though it won't open in cinemas until September 16. In part, because this is another Bernd Eichinger production, in part, because it's directed by Oliver Hirschbiegel, but mostly, of course, because the center of gravity in this story of the final days of the Third Reich is Hitler himself, portrayed no less by Bruno Ganz who rarely fails to drag a ton of pathos with him to whatever role he takes on. Pathos plus Hitler equals... a very touchy equation, to put it mildly. I've seen comments pointing out that Hitler has been portrayed in movies before, naturally, and even in a few German films, but they're missing the point. In these films, Hitler is usually raging far outside the constellation of the main characters, a destiny-forging force rather than a presence. Even if you don't speak German, the trailer alone ought to alert you that this is something entirely different, and for me, far more frightening: a reminder that Adolf Hitler was actually a human being. I remember attending a symposium at which Slavoj Zizek, whom I still very much enjoy reading and listening to, was going on about a doc he'd seen about neo-Nazis, and he was disgusted at the filmmaker's trying to dredge up his subjects' human qualities. He didn't want to see neo-Nazis as humans, didn't want to relate to them in any way, shape or form. These comments were met with enthusiastic cheers, as many of Zizek's often are. As for not wanting to relate, fine, but as for the refusal to recognize the humanity in anyone, well, I find that both wrong and dangerous. I can't help but see a relation to the way politicians and pundits, with increasing frequency since Reagan, casually toss around the word "evil," sling it at anyone from those merely in the way to those who truly have done some very hideous, almost unthinkable things. But dehumanization is the easy way out, sliding what we don't want to contemplate into the category of the supernatural, as if places and times like Stalin's Gulag or Hitler's Auschwitz were an anomaly, a tear in the space-time continuum through which the devil himself arose and roamed freely until we put him back down, never to arise again. Of course, he always does. Because it ain't him. It's us. Human nature is the constant in our world and we've seen many, many scouts throughout the centuries exploring its edges, discovering new things it's capable of, sometimes horrible, sometimes beautiful, sometimes utterly amazing. (For what it's worth, I have the same problem with the whole idea of "genius"; as if Einstein or Leonardo were mutant offspring of a completely different species.) To get back to the point, it's understandable in the years, even decades after WWII and the end of one of the most horrendous chapters in human history that filmmakers, especially German filmmakers, didn't want to look Hitler in the face. Or, the few of those that did knew their audiences wouldn't want to. But it's high time we got over our reluctance now that what some have called the second Belle Epoque (1989 - 2001) is well over and the new century has been blasted wide open to reveal itself as potentially every bit as gruesome as the last. We'll need to recognize certain faces. Speaking of which. Another film being talked about around here is Das Goebbels-Experiment (or Inventing Dr. Goebbels, which must have been the working title in English), a documentary by Lutz Hachmeister. Yesterday, Perlentaucher pointed to a piece in the Frankfurter Allgemeine Zeitung by Nils Minkmar and plucked a quote from it I think warrants translation: Just a few years ago, it would have been unthinkable to produce a film comprised exclusively of quotes from Goebbels and without showing the famous images of the piles of corpses at Bergen-Belsen and the liberation of Auschwitz. Today these images are deeply anchored in the collective consciousness and the film can make use of that. One sees Goebbels in February 1933 standing in a sports stadium, his arms akimbo, wagging a finger, smiling and saying, "Some day our patience will come to an end, and then the brash lying mouths of the Jews will be stuffed shut." The horror with which one sees this smile can hardly be conjured by any other image.
August 25, 2004
Shorts, 8/25.Sean Spillane of Bitter Cinema has made a wonderful discovery. Radio France is running the series of interviews conducted in 1962 between François Truffaut and Alfred Hitchcock which eventually became the basis of Hitchcock-Truffaut, now of course, a standard text in many a film school. Sean Spillane: "The series is beautifully bilingual, as Truffaut did not speak English, nor Hitchcock French; but both are ably assisted by the seamless translation skills of Helen Scott, who worked for the French Film Office in New York at the time. The entire series is archived here." Again: If you don't speak French, don't be put off by the first minute or so. The English comes swiftly and smoothly enough. Great stuff. "A guide to the upcoming season's movie, music, art, theater, and dance highlights can't help but become a kind of cultural X ray." Johnny Ray Huston introduces the San Francisco Bay Guardian's fall arts preview with its nice-sized section on what we have to look forward to film-wise in the coming weeks: Huston and Cheryl Eddy pick a top ten that goes to eleven, then annotate a selection of 20 more. Then Eddy sorts out eight biopics - just men this year? - and Huston notes the hours and the times of the many, many upcoming local festivals. Whether or not you'll be in or near Washington DC from September 16 through October 31, you'll want to click this: Korean Film Festival DC 2004. If you can make it, there's the schedule. If you can't, you'll still find at the site "A Short History of Korean Cinema," by Tom Vick, one of the programmers who also happens to maintain his very fine Asian Cinema Blog, and "Korean Cinema's Resurgence," by co-programmer Hyunjun Min. Ah, new international film festival regulations. Charles Masters sifts through them: "The key changes, outlined in a summary given to The Hollywood Reporter, include scrapping the ban on films competing in more than one international festival, a revision of [the International Federation of Film Producers Associations'] festival classification to better reflect the status of each event and a more specific and tougher stance on piracy." Speaking of which, digital technology makes it easier, but it doesn't necessarily make it new. Mike Sizemore has found a copy of Private Screenings, the "Film Pirate Issue," from the summer of 1975. Back when the pirates were copying films on film. Sizemore contextualizes the issue superbly and offers a six-page PDF file. Via Cinema Minima, where Brandon Chalk is still blogging away from the Copenhagen International Film Festival. As festival freaks will know by now, the complete line-up for the Toronto International Film Festival (September 9 through 18) has been unveiled. But if you're planning to follow North America's premiere fest, either virtually or live, you'll also want to be following the torontoBLOG at indieWIRE, where you'll find more than just the line-up. The "Festival's Hot 400," for example. And for more news, iW's got its special section already set up as well. IW's also looking ahead to the Venice International Film Festival, which, after all, happens earlier: September 1 through 11. Anthony Kaufman: "This year's line-up portends good things to come for [new director Marco] Mueller's tenure." Also: Nick Poppy asks Ross McElwee about his new one, Bright Leaves and the state of the doc in general. Who is Nikke Finke? In case, like me, you've ever wondered, RJ Smith's got your profile in Los Angeles Magazine. Via Movie City News (which we'd bet Finke checks regularly). Good bit on the Graydon Carter affair: "Talk about a postmodern echo chamber. Just consider: Here was a journalist reporting on journalists who were reporting on a journalist whose journalism was being called into question." But as for Finke herself, she's "a kind of journalist rapidly going extinct in a wave of corporate buy-ups and human resources department memos. The obnoxious kind. Not to mention the fanatic, operatic, and unwieldy kind. With a stick." Roger Avary, who would know: "It's Bogus. A lot of people have been emailing me about this alleged Quentin Tarantino Blog, which is obvious bullshit.... Still, it's kind of a fun read."
August 24, 2004
Outlook India. Satyajit Ray.Satyajit Ray's first film, Pather Panchali, turns 50 on August 26, prompting Outlook India to devote a special issue in tribute. Sandipan Deb: In the sparest and the most refined of cinematic idioms, he gave us a world. Other than Abhijan, Shatranj Ke Khiladi and Sadgati, his body of work is an exquisitely crafted narrative of a century in the life of a society. If Joyce captured a man in full through the relentless description and analysis of a day in Dublin, Ray's films are delicate vignettes sculpted in time recording an entire culture. Chidananda Dasgupta, author of The Cinema of Satyajit Ray: "[A]s in Tagore, myth is an inseparable part of the Ray consciousness. The contemplative space with which he surrounds his characters, differentiating his narrative mode from that of the West, comes from a profoundly Indian spiritual base." David Robinson was one of the first Europeans to see Ray's first film: "There was no way that we could ignore the quality of Pather Panchali. It was and remains one of the truly great films, of powerful poetic quality, the work of an artist of exceptional creative personality." Namrata Joshi explains what she means when she thinks of PP as "pure cinema." Ashish Rajadhyaksha, respectfully: "Put one way, the impact of 30 years of experimenting with realism has been enormously generative: that impact is still being discussed. Put in another, Ray has been a millstone round the neck of Indian cinema." Eight Indian directors describe Ray's impact on cinema - and themselves. Then, clips and quotes from the rest of the world. And of course, a complete filmography, but more intriguingly, "12 Ray Films You Cannot Miss." Further exploration: SatyajitRay.org.
August 23, 2004
Shorts, 8/23.New York shines a spotlight on The Imaginary, All-True Leni Riefenstahl Show: "In this extremely ambitious, multimedia bio-drama - as vintage stills and captioned asides cover the backdrop - Jen Ryan and cohort Rik Sansone reenact real moments from the infamous filmmaker's life and take creative license by staging surreal scenes of pop culture superstardom with Leni Riefenstahl on The Match Game and Rowan & Martin's Laugh-In." Heavens. That's even wilder than Marleni, in which playwright and novelist Thea Dorn imagines a meeting between Riefenstahl and Marlene Dietrich in Dietrich's room in Paris on the night of her death. Do check the trailer. Kenneth Anger is now 75, and we haven't heard much from him in the last several years. But he's currently working on three films and an exhibition of stills from his 1969 film Invocation of My Demon Brother will open in September at the London gallery Modern Art. For the Observer, Sanjiv Bhattacharya takes Anger to lunch and a stroll through the Hollywood Forever Cemetery, listening all the while to a few rattling stories that may or may not make it into Hollywood Babylon III and, in a few touching paragraphs at the end, worrying about him. For more on Anger as a filmmaker, see Maximilian Le Cain's profile in Senses of Cinema: "Cinema, he claims, is an evil force. Its point is to exert control over people and events and his filmmaking is carried out with precisely that intention." Back in November 2001, David del Valle told an eerie story in Films in Review about Anger, Keith Richards and 9/11. Back to the Observer:
August 21, 2004
Weekend shorts.Early estimates are showing Exorcist: The Beginning to be the winner at the box office this weekend. The film was not previewed for the press and Manohla Dargis, who's whipped up an immediate pan for the New York Times - it "may soon be known as Exorcist: The End" - knows why. The film "exists solely to rake in cash during its opening weekend and settle into a long shelf-life in the DVD hereafter." But that doesn't mean the routine necessarily has to play out as dully as usual. By way of Movie City News comes a little surprise from Jason Pritchett, former Director of Development for Intertainment, who, back in November 2000, read and evaluated a screenplay by William Wisher for what was then being called "Exorcist: Dominion." Infuriated by Renny Harlin's version, he's sent his highly favorable coverage of Wisher's script to MCN where we can all have a look, wonder what might have been and if Paul Schrader and Caleb Carr's version will resemble it in any way. Back to the NYT. Looking back on the summer, AO Scott finds several films, more this year than in many others, that, even if they aren't scary, "take fear as their subject." After wandering and sorting and remarking for a while, he comes to an odd conclusion: that The Terminal is "a necessary reminder that the true antidote to fear - most likely the only thing capable of counteracting both its immediate causes and its long-term effects - is decency." Coincidentally, Craig S Smith has a piece on the man - the real one, the offscreen one - in Terminal 1 at Charles de Gaulle Airport. He's still there: "But Mr. Nasseri's story is hardly the heartwarming tale of a stateless refugee who finds love in an airport terminal, as Mr. Hanks's character does in the movie. Nor is it the rags-to-riches story of a hapless homeless man who sells his story to Hollywood, as many news reports suggest. It is far more dismal and can be summed up in a few harsh words: mental illness, isolation, abandonment." Also in the NYT, Sharon Waxman listens to Trey Parker and Matt Stone complain about how tough it was making Team America: World Police. Then: It's hard not to wonder: are these guys just out to provoke? Or do they actually have something to say? Underneath all the kidding around, it seems possible they're angry. But if so, at whom? "We don't know," Mr. Parker said, hanging his head as if embarrassed. "People who go will be really confused about whose side we're on. That's because we're really confused." Yep. Meanwhile, far, far away, in another land and another time, Evelyn Waugh. He, too, had a "snarling anarchic spirit," writes Charles McGrath, but at least he knew why and, equipped with "a withering satiric exactness that doesn't turn up again in English fiction until Martin Amis," what to do with it. But does Stephen Fry know what to do with Vile Bodies? McGrath appreciates Fry's adaption and notes that the few additions "are dead on and very funny," but overall, Bright Young Things is all a little too Masterpiece Theater. The more "daring" move would have been "to set the story, say, in 2010, when King Charles has already been dethroned (and perhaps beheaded, like his namesake, but in a tragic surfboard incident) and when Harry now rules with his consort Jenna (Bush or Jameson, take your pick). Sir Mick and Sir Elton could be models for the dotty peer, and the big party scene could take place at Windsor Castle, now of course a wholly owned subsidiary of Halliburton." Bright Leaves is the latest film by Ross McElwee and as it begins, writes James Ryerson, he "clings to the idea that in Bright Leaf, the Gary Cooper picture, he has found a 'cinematic heirloom,' a home movie about his great-grandfather 'reenacted by Hollywood stars.'" "Introducing Plato in a futurist kung-fu film is an amusing idea, but once you add Schopenhauer, Descartes, Buddha, Jesus, the Gnostics, and theoreticians of artificial intelligence, the atmosphere quickly becomes stifling." Left the NYT now. We're circling Film-Philosophy, where Duncan Chesney is reviewing Matrix, machine philosophique, a book with half a dozen editors. Therefore, if the film is to be seriously studied, its interest must lie elsewhere. Should the film be seriously studied? Two things are certain: first, that the film was extremely successful, but in a somewhat unusual way - both a blockbuster and a cult classic, The Matrix is a generation-defining film like Star Wars, and one that has elicited youthful speculation (judging from chat rooms and web sites) of a much more proto-philosophical nature than the adventures of Luke Skywalker ever did. Second, and equally undeniable, is that the film is very useful for teaching philosophy.
To the Guardian. Richard Eyre notes that while many audiences "love films but hate the theatre," many filmmakers are drawn to the theater as a setting because it's an enclosed world. There's more of that before he turns his attention to Stage Beauty, set in the late 17th century and starring Billy Crudup. And Rupert Everett, interviewed in today's Independent by Liz Hoggard. It's "the story of the first female actor to appear legally in England and the last male actor to make his career by playing women."Also in the Guardian:


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The Wastewater Collection and Sanitary Engineering sections within the Lincoln Wastewater System are responsible for cleaning, inspecting, and repairing the City's sanitary sewer system. Employees strive to provide the most reliable service possible to Lincoln citizens by implementing a comprehensive preventative maintenance program.
Components of the Maintenance Program
One component of the maintenance program is to provide cleaning maintenance of sanitary sewers on a scheduled basis. The City has been divided into 122 areas, which are divided among four 2-man crews, which clean and inspect these areas about every two years. The City of Lincoln has approximately 880 miles of sanitary sewers serving approximately 230,000 residents and numerous industrial/commercial locations.
Prior to the acquisition of modern high pressure cleaning equipment in the late 1970's, much of the City's sewer system had never been inspected or cleaned and the City experienced numerous complaints along with over 100 stoppages per year. A stoppage is a clogged sewer which can cause backups and odors and often results in flooded basements and property damage. The current on-going preventative maintenance program has reduced complaints and stoppage incidences to approximately 15-20 per year.
Root Removal
Another maintenance effort involves the removal of tree roots from sanitary sewers. Tree roots can be a real menace, damaging sewers and causing sewers to plug. Tree roots seek the moisture and nutrients offered by leaky pipe joints usually found in the older and often broken sewer pipes. Traditional root removal methods were limited to rodding with a circular toothed bit which often proved ineffective in dense root areas.
Wastewater Collection currently controls roots by applying a mild herbicide foam from within the sanitary sewer which kills the roots in a confined area, within and around, the sanitary sewer. The herbicide is effective in killing the problem roots, is not harmful to the tree, and is approved by the EPA as an acceptable root control product which does not interfere with wastewater treatment processes.
Internal T.V. Inspection
One of the critical components of the preventative maintenance program involves internal inspection of sanitary sewers using a T.V. camera. A sealed T.V. camera is mounted on a device similar to a small sled which is pulled by an electric winch through the sanitary sewer. As the T.V. camera is pulled through the sanitary sewer and viewed by inspection personnel above ground, sewer defects are recorded for future reference and repair. A computerized ranking system analyzes the defects found in many individual sewer line segments and systematically prioritizes repairs for City line repair crews.
Along with finding sewer system deficiencies and prioritizing maintenance activities, the T.V. crew is also responsible for inspecting all newly constructed sanitary sewers before they are put into service.
Sewer Line Repairs and Construction
Sanitary sewer lines and manholes found to have major structural defects through T.V. inspection are repaired by Wastewater Collection crews when possible. Our department averages 75-125 line repairs per year at various sites throughout the City.
Hundreds of sanitary sewer manholes are also repaired each year due to poor structural condition or because they are a source of extraneous ground or surface waters.
When the scope of repair or replacement exceeds the capabilities of our equipment, we target that sewer line as a capital improvement project which is funded by user fees and constructed by a private contractor. These CIP projects are reviewed and approved by the Lincoln City Council.
I/I Removal and Reduction
Infiltration/Inflow (I/I) is extraneous water that enters the sanitary sewer system through broken pipe joints, leaky manholes, illegally connected roof drains and foundation drains, or through cross-connections with storm sewers. An important on-going task for this department is to locate and remove these sources of I/I. Excessive I/I can overload the sewer system and cause basement flooding and overload the sewage treatment facilities increasing costs and reducing treatment efficiencies.
In 1995, our department purchased and installed 30 flow meters throughout the City's sanitary sewer system. These meters incorporate the latest metering technology and accurately measure the rate of sewage flow within the sanitary sewer. The flow data received from these meters is analyzed to target areas of the City where I/I is excessive. Once an area is designated as an excessive I/I area, our field crews inspect the area looking for the specific areas where extraneous water is entering the sanitary sewer system.
Sanitary Service Problems
Our department provides 24-hour service to City of Lincoln customers. Employees are on-call to respond to your service problems or questions throughout the year. If you experience sewer service problems you should call 441-7961. A field crew will investigate the nature of the problem as soon as possible.
General Questions
If you have additional questions or comments regarding the Lincoln Wastewater System, the following contacts may be made at these numbers:
- For questions regarding construction and repair activities, complaints and maintenance program call: 441-7988
- For questions regarding current projects, capital improvement projects, funding, or sources of infiltration/inflow call: 441-7987


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Gold Declines as Europe's Debt Crisis Strengthens Dollar
July 16 (Bloomberg) -- Gold futures fell for the fourth time in five sessions as the Federal Reserve has refrained from announcing more stimulus measures amid mounting signs of slowing global growth.
The International Monetary Fund cut its 2013 global-growth forecast to 3.9 percent from a 4.1 percent estimate in April amid Europe's prolonged debt crisis. Fed Chairman Ben S. Bernanke will testify before the Senate tomorrow. At its June meeting, the U.S. central bank expanded its program to replace short-term bonds with longer-term debt, while holding off from announcing additional purchases.
"The market wants to know what Bernanke is thinking," Frank Lesh, a trader at FuturePath Trading in Chicago, said in a telephone interview. "The question now is will there will be any hint of new stimulus measures to stem the slowdown."
Gold futures for August delivery fell 40 cents to settle at $1,591.60 an ounce at 1:45 p.m. on the Comex in New York. The precious metal has declined 0.8 percent this month.
Hedge funds and other money managers cut their bets on higher gold prices by 18 percent in the week ended July 10, U.S. Commodity Futures Trading Commission data show.
"Gold has been pulled and pushed on the back of expectations of further quantitative easing and remains under pressure from the stronger U.S. dollar," Suki Cooper, an analyst at Barclays Plc in New York, wrote today in a report.
The dollar gained 3.3 percent against a basket of currencies last quarter, while bullion retreated 4 percent.
Silver futures for September delivery slipped 0.2 percent to $27.321 an ounce on the Comex.
On the New York Mercantile Exchange, platinum futures for October delivery fell 1.2 percent to $1,417.30 an ounce. Palladium futures for September delivery retreated 1.3 percent to $577.85 an ounce.
To contact the reporters on this story: Debarati Roy in New York at email@example.com; Nicholas Larkin in London at firstname.lastname@example.com
To contact the editor responsible for this story: Steve Stroth at email@example.com


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Rm 112
Building #322 Rm 112
Great Lakes, IL 60088-0000
Monday thru Friday 0730-1600 Saturday 0800-1200. Please note that the last customer is taken 15 minutes prior to closing and the waiting room hours vary according to occupancy.
Naval Station Great Lakes
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The ID lab is located on the first floor of the PSD Bldg 322. When entering the front doors please proceed straight down the hall, the office doors will be the last door on your right. Please note that you CANNOT enter thru the doors on the Northside of the building.
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Defiantly proclaiming "it doesn't really matter" who the Republicans nominate against him, President Obama declared that he is ready to take on either Newt Gingrich or Mitt Romney and ask voters to contrast his vision with that offered by the GOP nominee. In an at-times feisty interview with CBS's "60 Minutes," the president suggested there is little difference between the two front-runners for the nomination.
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"The core philosophy that they're expressing is the same," he told Steve Kroft in an interview conducted in two parts last week and aired Sunday night. "And the contrast in visions between where I want to take the country and… where they say they want to take the country is going to be stark." He predicted "a good debate" and a clear choice for the voters.
(RELATED: Obama: Economy May Be a Job for More than One President)
Pressed by Kroft to explain Gingrich's recent surge in the polls, Obama attributed it to the former speaker's longevity. "He's somebody who's been around a long time, and is good on TV, is good in debates." Despite his repeated insistences that he is not closely following the debates, the president also made sure to cast Romney as a politician, a theme often heard by Romney's Republican opponents. "Mitt Romney has shown himself to be somebody who's good at politics, as well. He's had a lot of practice at it," he said, adding that he expects the GOP fight for the nomination to be protracted. "I think that they will be going at it for a while," he said. "When the Republican Party has decided who its nominee is going to be, then we'll have plenty of time to worry about it."
He boiled down the 2012 campaign to a single question to be answered by the voters: "Do they see a more compelling vision coming out from the other side?" He characterized the Republican vision as more tax cuts for the wealthy and corporations and "gutting" regulations. "If the American people think that that's a recipe for success and… a majority are persuaded by that, then I'm going to lose."
(RELATED: Perry Says Romney is 'Out of Touch')
He also brought up his vision when Kroft asked him if it was not his job as president to find solutions no matter how much the other party fights him. "It is my job to put forward a vision of the country that benefits the vast majority of Americans," he said. "It is my job to make sure that my party is behind those initiatives, even if sometimes it's breaking some china and going against some of the dogmas of our party in the past. We've done that on things like education reform. And it's my job to rally the American people around that vision."
And he left no doubt that the vision he will champion during the upcoming campaign was reflected in last week's speech in Kansas in which he decried income inequality and the decline in the middle class. Obama strongly disputed Kroft's suggestion that his speech was either socialistic or promoting class warfare. "Everybody's concerned about inequality," he said, adding that he will continue to ask, "What's happened to the bargain? What's happened to the American deal that says, you know, we are focused on building a strong middle class?"
(RELATED: Punches Thrown in Spirited Iowa Debate)
The talk of class warfare, he said, reflects the debasement of today's politics. "Our politics has gotten to the point where we can't have an honest conversation about the greatest income inequality since the 1920s. And we can't have an honest conversation about the irresponsibility that resulted in the worst financial crisis since the Great Depression, without somebody saying that somehow we're being divisive." Instead, he insisted, he is just "being honest" in raising the issue.
He was asked if he and first lady Michelle Obama had ever considered not running for a second term. The president joked that his wife had often reminded him that "You volunteered for this thing." But he said they had never doubted that he would run in 2012. "Not because our quality of life might not be better if I were not president. Not because Michelle is so enamored with me being president. But because we both think that what we're doing is really important for a lot of people out there."
The president refused to engage Kroft when he pressed him on why there has been no criminal prosecutions of anyone on Wall Street responsible for the financial collapse in 2008. "I can't, as president of the United States, comment on the decisions about particular prosecutions," he said. But he added, that "some of the most damaging behavior on Wall Street -- in some cases, some of the least ethical behavior on Wall Street -- wasn't illegal." He said that is why he pushed for "the toughest financial reform package since F.D.R. and the Great Depression."


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One taco that created 15,000 jobs
By Dan X. McGraw : April 16, 2013
Photo By David Paul Morris/BloombergA crispy beef taco from Taco Bell Corp. is arranged for a photograph in San Francisco, California, U.S., on Wednesday, March 13, 2013. Taco Bell sales began to pick up last year after its Doritos Locos Tacos mashup generated buzz even among food critics. Photographer: David Paul Morris/Bloomberg
Photo By Anonymous/HOEP
FILE - This undated image provided by Taco Bell shows an advertisement for Doritos Locos Tacos shells. Taco Bell has put the spice back in its U.S. sales after a nearly yearlong slump stemming from a short-lived lawsuit that created a stir. The Mexican-style chain saw its revenue at U.S. restaurants open at least a year rise 6 percent in the first quarter. And its parent company, Yum Brands Inc., is predicting more robust sales in the second quarter. Yum Chief Financial Officer Rick Carucci on Thursday, April 19, 2012 predicted sales growth in the high single digits or low double digits. He said the chain is rebounding thanks to a successful launch of its tacos that use shells made out of Nacho Cheese Doritos. The chain suffered a sales slump in the months after a now-dropped lawsuit last year questioned the beef content of its tacos and burrito filling. (AP Photo/Taco Bell)
The wildly popular Doritos Locos Tacos are taking thousands of people off the unemployment line, according to Taco Bell's chief executive officer.
CEO Greg Creed, 54, told ABC News that the taco has created 15,000 jobs because of the heavy demand for the product. Creed said roughly two to three employees have been added to 6,000 Taco Bell locations.
"And that's great, it makes us feel really good," he told ABC. "It's great we sold lots of tacos and it's great for our shareholders, but if you can get 15,000 people off the unemployment line and give them jobs - that to me is giving back to society."
Creed told ABC that the company used a spray gun to coat a regular taco shell with seasoning. Creed was sold after his first bite.
The company plans to introduce a new spicy Doritos Flamas taco, which is based on the chili lime-flavored Doritos, later this year.


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Item: MAM009
If you are dissatisfied for any reason, we'll give you a full refund and pay return shipping. Lee Swanson, President of Swanson Health Products
Each tablet contains: Organic Gelatinized Maca (binders: magnesium stearate and calcium phosphate).
Directions: As a dietary supplement, take 2-6 tablets a day as needed.
CAUTION: Nursing and pregnant mothers should consult their health care professionals before using this or any other product. Keep out of reach of children.
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