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Race & Jazz
To the Editor:
Under the guise of shining light on an important issue, Terry Teachout ["The Color of Jazz," September], has revealed a rather dim and cliché-filled vision of the jazz world. First, he bemoans the release of a recent collection of jazz recordings, Black Legends of Jazz, which, he says, . . . chronicles a new low in racial divisiveness. Does he not know about the mid-60's, when racial stratification in jazz was far more pronounced than it is now? And what of the Black Giants of Jazz album that Columbia issued in the 70's?
Of greater significance is Mr. Teachout's trashing of two of our most eloquent writers, Albert Murray and Stanley Crouch, both of whom have done so much to foster a more honest . . . union between blacks and whites. If Murray . . . chose to focus on black artists in his book, Stomping the Blues, so what? If, in this estimable tome, he wished to explore the blues, why not deal with the folks who created the blues? Murray's analysis of the transmutation of the blues from a twelve-bar structure which began as accompaniment to a rigorously unsentimental world view into a marvelously coherent and profound vision of black life in America is a great accomplishment. . . .
Mr. Teachout then accuses Stanley Crouch of a sort of schizophrenia in his writing about jazz, something that is not borne out by even a cursory perusal of Crouch's work. For example, . . . the following (from New Perspectives on Jazz, Smithsonian Press, 1990):
Human meaning and human value are what make an idiom universal, nothing else. Specific stylistic estimates are the things that create individual, idiomatic identity, and style is inevitably a code for the perception of human life and human meaning in a particular context. When Leontyne Price performs Tosca, what we observe is that Italian opera is so inclusive that a Negro from Laurel, Mississippi, can meet its requirements and express her own artistic identity as well. Parallel truths are witnessed when we hear a white musician play good jazz, or when we listen to a Gypsy named Django Reinhardt light up the guitar. . . .
Are these the words of a "racialist," as Mr. Teachout brands both Crouch and Murray? . . .
As for Murray, Mr. Teachout does not mention any of his other books, the most noticeable omission being the classic The Omni-Americans. So as not to distort the record, Mr. Teachout should have addressed all of Murray's work. . . .
I believe that the basic impetus behind jazz was a black one, albeit a black American one. Instead of hurling the "racialist" epithet, why isn't Mr. Teachout equally incensed about the exclusion of the black contribution to other American genres in which blacks have been influential? One example: humor. So much of it is derived from Negro sources (subsequently distorted into minstrelsy), yet the "face" of American humor is not usually conceived of as a black one.
Given the upwardly mobile ladder jazz still represents to the black community in this age of gangsta rap, Bob Dole, crack, Rush Limbaugh, and the rest, I find it hard to cavil at what the Jazz at Lincoln Center concert series (directed by Wynton Marsalis, with Stanley Crouch as artistic adviser) has done to accomplish its goals. One of these, the integration (not only racially but across the board) of the core audience has been wonderful to witness. Another, the hope offered to black kids that jazz may be just the thing to increase what are their still small odds of leaving their disadvantaged neighborhoods, makes me want to be a little more lenient about what the jazz program at Lincoln Center stands for.
I understand the problem some musicians (and writers) . . . have with the relatively recent resurgence of the more traditional forms of jazz. For decades this repertoire was the exclusive domain of white players—Ruby Braff, Kenny Davern, Dick Well-stood, Don Ewell. . . . Now, all of a sudden, this music has been discovered by a slew of young, mostly black players who have gotten an inordinate amount of publicity (one wishes Dick Wellstood could have received even a meager portion of it during his lifetime). . . .
There will continue to be dues paid on both sides of the racial coin until things work themselves out—after all, we are still only a blink away from slavery in the true timetable of existence.
I share Mr. Teachout's fervor in championing Benny Goodman, Stan Getz, Dave Tough, Jack Teagarden, and other white players as jazz musicians with no superiors (save Louis Armstrong). But I also know that they all gave credit where credit was due as to what this music is about, and where it came from. Ultimately, what we love about them is their personal way of expressing themselves in this American musical dialect, one that they all acknowledged was at first truly black and is now truly American.
Loren Schoenberg
The New School
New York City
To the Editor:
Terry Teachout fails to substantiate his charge that Stanley Crouch and Wynton Marsalis are guilty of racial discrimination. It is clear that Mr. Teachout rejects Crouch's and Marsalis's beliefs that the roots of jazz are firmly planted in blues and swing, and that jazz musicians who fail to incorporate blues and swing into their music are playing a diluted form of jazz. Apparently Mr. Teachout's motto is de gustibus non est disputandum.
Mr. Teachout notes that Marsalis was "one of a number of stylistically conservative players of the late 70's and early 80's who rejected the avant-garde techniques of the 60's in favor of a 'neoclassical' approach." Yet rather than confront the neoclassicists' sense of aesthetics, he hurls the charge of racism at his ideological foes. In their stewardship of the jazz department at Lincoln Center, Marsalis and Crouch discriminate against both white and black musicians who fail to incorporate blues and swing into their music.
Throughout his article, Mr. Teachout is forced to make a string of admissions that ultimately undercut his charge of racial discrimination. He points out that "ever since he began giving interviews in the early 80's [Marsalis] has been quick to criticize other musicians, notably Miles Davis and Sonny Rollins, for 'selling out' to commercial music." And in addition to black jazz musicians, Marsalis also criticizes black rap artists. Mr. Teachout must also admit that Marsalis "uses white players both in the Lincoln Center Jazz Orchestra and in his own groups."
Mr. Teachout has not demonstrated that Lincoln Center's institutional bias flows from racism. In a feeble attempt to prove that Marsalis discriminates against musicians on the basis of race, Mr. Teachout relies on disparate impact, a nonargument favored by many civil-rights advocacy groups. He relies on the following reasoning: "the ratio of concert dates in [Jazz at Lincoln Center] . . . has consistently been in the neighborhood of ten black musicians to one white." Consequently, he says, Marsalis has discriminated against white musicians. This type of soft-headed argument has been effective on university campuses, but it will not make much headway in the jazz community. Mr. Teachout would have been on stronger ground if he had demonstrated that there is a large number of highly qualified white jazz neoclassicists who cannot get work with the Lincoln Center Jazz Orchestra. The inference of racial discrimination can arise only after such facts have been established.
Mr. Teachout states that the young jazz neoclassicists known as the "Young Lions" have "one thing in common: their race." He ignores the obvious fact that these musicians share a common vision of jazz, a vision that Mr. Teachout does not share. Jazz musicians and critics have had ideological wars over the canon for decades. These heated debates are welcome because jazz evolves through honest debate. Rather than engage the jazz community in a debate over the merits of the neoclassicists' approach to jazz, Mr. Teachout chose to malign the character of men who have played a central role in revitalizing jazz.
Linda Chavez
Gerald A. Reynolds
Center for Equal Opportunity
Washington, D.C.
To the Editor:
Terry Teachout's premise of reverse racialism in contemporary jazz founders on a basic misconception. . . . While race relations in the jazz world have certainly been more enlightened than in the broader society, the racially idealized environment Mr. Teachout describes never existed. The facts are (and this should not have to be repeated) that the integrated bands Mr. Teachout refers to were a rare exception and the black musicians in these bands could not stay in the same hotels or eat in the same restaurants as their white counterparts. (Duke Ellington and Cab Calloway circumvented segregation by traveling in private Pullman railroad cars.) Nor was integration common in the recording studio, although an integrated group of musicians did record as early as 1923. Local musicians' unions also were racially segregated until about 30 years ago, and few black musicians were able to penetrate the lucrative radio, television, and film-studio orchestras.
Furthermore, Mr. Teachout's implication that whites have played a role equivalent to blacks in the stylistic progression of jazz is simply not so. The primary stylistic innovators in jazz from its beginnings have been almost exclusively African-Americans. . . . Many white musicians have played jazz with proficiency and brilliance of the first rank, but they popularized and profited from interpreting styles that African-American musicians created. . . .
In connection with Jazz at Lincoln Center, Mr. Teachout's contention that "contemporary white composers [have not] been commissioned to write original pieces for the full orchestra" has some validity (although one can cite commissioned work by Gerry Mulligan and Joe Lovano). The problem with these commissions has been less racial exclusion than the unreadiness of the awardees to fulfill their requisite task. Others have taken issue with Jazz at Lincoln Center's exclusion of the music of contemporary jazz musicians, white and black, who navigate the music's speculative realm such as Cecil Taylor, Anthony Davis, and the late Julius Hemphill. But Mr. Teachout's primary complaint that at Jazz at Lincoln Center "the historic contributions of earlier white players, composers, and arrangers are systematically ignored" is absurd. . . .
Whether Wynton Marsalis and Stanley Crouch hold the views expressed in the isolated statements Mr. Teachout cites is open to debate. What is not debatable is that in a virtual vacuum they have worked to deepen public understanding of jazz and to inspire younger musicians to play it. The talent pool for jazz is larger today than it has been since the 1950's, but its audience is limited and largely ignorant of the music's legacy. A well-informed audience can construct a clearer aesthetic. When the history of jazz is understood as thoroughly by its critics as Western classical music, literature, cinema, and the visual arts are understood by theirs, we can have clearer discussions about the issues Mr. Teachout is concerned with.
Instead, we have "The Color of Jazz," where half-truths are posited as authentic facts. One may reserve judgment on the youth-centered marketing strategies of recording labels and regret that a white artist of Phil Woods's caliber is not signed to a recording contract with a major label. But Jimmy Heath, Benny Golson, and Cedar Walton, three sixtyish black artists of arguably greater stature than Woods, are also unsigned. . . .
Race cliquishness and interracial fraternity coexist in contemporary jazz as they always have. . . . Mr. Teachout could have raised his criticisms of contemporary jazz politics without distorting the painful realities of the music's history. While crying reverse racism, "The Color of Jazz" deals the "race card" from the very bottom of the deck.
Ted Panken
New York City
To the Editor:
. . . How would mainstream jazz be any different today if all the glorious B's-Bix (Beiderbecke), Bunny (Berigan), Bill (Evans), (Dave) Brubeck-had never played? How much would anyone's record shelf be shortened? To my ear, only Stan Getz, and perhaps Bill Evans, created original music. . . . Of the "Afro" masters, only Lester Young claimed that he had been influenced by a white player. . . .
There is no denying the fact that great white players had an important effect on jazz history. But their importance might not have come from their playing so much as from their success in legitimizing the music and thereby attracting other whites . . . as listeners, critics, and promoters.
Jazz is a distinctly Afro music, but it is distinguished from other Afro music by the unique racial mix of its audience. Jazz is an uncommon style and developed only in those few times and places where local custom and politics allowed mixed audiences. Performing for Afro audiences, Afro players have tended toward the same ritual expressions of bawdiness, misogyny, and machismo typical of much popular Afro entertainment. But the presence of even a few whites in the audience (or even if whites, especially critics or promoters, were only anticipated), in effect "kept the musicians honest" and challenged them to greater invention, skill, and even art.
So we find that whites . . . played a vital role in advancing jazz through appreciation, discernment, support, and promotion—all of which Afro communities by themselves were seldom able to sustain. And the vital contribution of great white performers in making jazz thrive consisted of attracting other whites into the audience. . . .
Richard Mermin
San Quentin Village
To the Editor:
It is ironic that in attempting to document reverse racism against white jazz musicians, Terry Teachout resorts to the same type of evidence . . . used by advocates of affirmative action, today's most menacing program of reverse racism.
Mr. Teachout begins his article by pointing out, correctly, that jazz, as an aesthetic medium, is not a racial phenomenon. However, he seems to conclude from this that all races should be equally or proportionately represented among jazz's ablest practitioners. So, when white composers appear to be given an "unfairly" small piece of the pie in Lincoln-C enter-Jazz-Orchestra commissions or when their works are seldom performed, he sees this as evidence that, in the terminology of affirmative action and multiculturalism, a cabal of elite black jazz critics and musicians (who were overrated anyway) are purging the "canon" of the accomplishments of white musicians and suppressing current ones.
Like all such demagogic accounts, this one includes one sad real-world example, the talented white musician, Phil Woods, who cannot get a record contract. We are offered no evidence that his problems are connected with his race, but we are supposed to infer that, since he is white and underemployed, he must be the victim of discrimination. Mr. Teachout then asserts that Woods's case is typical. He comes off sounding like a white John Conyers, Jr., the Michigan Congressman who was unhappy with the ratio of black to white musicians in the Smithsonian Jazz Masterworks Orchestra.
Mr. Teachout forgets that racism is an attitude and a policy, and cannot be proved by one isolated example or by citing percentages. A disproportionately small number of employed white jazz musicians is no more evidence of discrimination than the fact that there are so few black university professors. It is impossible to impute the existence of racist actions, let alone thoughts, from outcomes; actual racism must be shown. But Mr. Teachout's attempt to do this, with a few vague quotations from Wynton Marsalis and Stanley Crouch, is not convincing.
It is quite possible that blacks as a group are more talented at jazz than whites are. This does not mean that great individual jazz musicians like Benny Goodman and Bill Evans do not rank with their most accomplished black fellows. But until a pattern of discrimination and racism is proved, we should stick with the more parsimonious explanation of unevenly distributed talent.
E.V. Kontorovich
Plainsboro, New Jersey
To the Editor:
Terry Teachout's "The Color of Jazz" filled me with a great sense of sadness for the music I love with a passion, not unlike the pain caused by the death of a loved one.
Leading an all-white group for the past 25 years has certainly made me aware of the utter nonsense of the situation described in the article. Is Chico Freeman more important than Zoot Sims? Is Marcus Roberts better than Bill Evans? And on and on. Is this what jazz is all about? Who's better? My Daddy can beat up your Daddy? Oh, the shame!
Of course jazz is primarily of black origin, but the influences on it are diverse. I am reminded of this anecdote: Barney Kessel was berated by a black musician who claimed Barney had stolen his people's music. Barney said, "I'll tell you what. I'll give back ching-ching-a-ding if you return do, re, mi, fa, sol, la, ti, do!"
The folly of our bigoted society is well documented and the need for improvement is great. But in the past jazz has set an example for the rest of the world. I fell in love with jazz at the age of thirteen. I presume André Watts fell in love with classical music at some point. If whites can't play jazz, then logic dictates that blacks can't play classical music. I was part of a white quota system when I was hired for the 1956 Dizzy Gillespie band that toured the Middle East and South America under State Department sponsorship. But that is not why I worked with Dizzy on and off for over 30 years and became his close friend. And if I was good enough for him and Quincy Jones and Thelonious Monk, all of whom I worked with and considered good friends, why should I worry about what some young lion thinks of me? Because it hurts like hell. That's why. . . .
I can't get a performing grant for my group in my own town, from my local university (which thought enough of my efforts to award me an honorary doctorate), because I am white. That does not seem fair, and the policy is offensive. But the whole issue is divisive and further fuels enmity to the point of confrontation. And that is a very frightening thought.
Is it all Wynton Marsalis's and Stanley Crouch's fault? I don't think so. Surely the media, and especially record companies, have contributed to this abysmal state of affairs. Enough already! Let's play together and learn to love each other. It is our only salvation as a people. Let jazz represent this good side of our selves. Jazz speaks to the world and is a powerful force, but as it is, the music is already on the road to fossilization. Desist or perish!
The bad guys get all the press when good people don't speak out against this betrayal of America's gift to the world. I occupy that world and accept the gift as graciously as possible. I will not give it back.
Phil Woods
Delaware Water Gap
To the Editor:
Congratulations to COMMENTARY and Terry Teachout for shining light on one of the gloomiest of present-day social problems, reverse racism. . . .
The true tragedy of the present situation is that, against all the anti-black ugliness of the past 300 years, one glorious exception has been the world of jazz. No knowledgeable person denies that the African-American contribution to this beautiful art form has been dominant. The American white majority has always understood this. So far, so good. But for any black musician or layman to express contempt for the contributions of white jazz players is clearly morally unacceptable.
Although I played him in the movie, The Benny Goodman Story, I was never very fond of Benny personally, but it is simply a fact that to this day he is the best jazz clarinetist of them all.
Blacks still have enemies in white America. That being the case, it does not make a great deal of sense to be deliberately offensive to friendly whites who have never been guilty of racism.
Like many pale-faced observers, I have always been guilty of bias about blacks—in their favor. I once had fun with such bias by recording two jazz albums, The Discovery of Buck Hammer and The Wild Piano of Maryanne Jackson, both of which were attributed to obscure black pianists. Sure enough, the jazz critics—who were white—gave the albums much more respect than would have been the case if my own name had been on them.
Steve Allen
Burbank, California
To the Editor:
Long-time laborers in the jazz vineyards are indebted to COMMENTARY for publishing Terry Teachout's superb and much-needed article, "The Color of Jazz."
The ugly specter of "Crow Jim" or reverse racism in the jazz world goes back at least to the 1960's, but has never loomed as large as it does today, with such high-profile spokesmen as Wynton Marsalis, Albert Murray, and Stanley Crouch. . . .
As Mr. Teachout makes clear, Crow Jim is hardly the exclusive property of blacks. A white student in my jazz-history class at Stanford handed in a term paper that claimed: "Black musicians went into jazz for the Art, and white musicians went into it for the money." And this is not an isolated case.
One need not have to be Jewish, like me, to abhor the rampant anti-Semitism that seems an inescapable part of the current vogue for Crow Jim among the black reverse-racists in jazz. . . .
Grover Sales
Stanford University
Stanford, California
To the Editor:
In his article, Terry Teachout cites my book, Cats of Any Color. But here I would like to mention an incident that I did not describe in my book At the Chicago Jazz Festival three or four years ago, a certain black writer on jazz, knowing of my Canadian background, asked me, "Why are there no blacks in the [Toronto-based] Rob McConnell band?" An undertext of his question was that, as a Canadian, I owed him an answer, and indeed there was an implication in his tone that somehow it was my fault. He clearly knew nothing about Canada . . . , where the black population is not large, and consequently there simply are not many black jazz musicians.
There were three big bands at the Chicago Jazz Festival that year. There was only one white musician among the three. This did not seem to bother my inquisitor at all, if indeed he even noticed.
Recently a writer praised my book in a review for Jazziz, but the magazine refused to print it: it was not "correct." That is how serious this polarization has become. It is ironic that the Lincoln Center program, which was established for the purported purpose of preserving jazz, is destroying it through a process of prejudice combined with cronyism and political opportunism. . . .
Gene Lees
Ojai, California
To the Editor:
Terry Teachout's article is both timely and well-argued. The unhappy situation he identifies operates on several levels, and suggests a further point. . . It is possible that Murray, Crouch, Marsalis, and their acolytes are driven by a quite laudable intention: to raise consciousness and pride in a black generation whose basic aesthetic and cultural perceptions have been misshapen by ugliness and despair. If so, who would take issue with them? Each group has a right to role models and . . . a heritage of its own, and Armstrong, Ellington, et al. are towering figures, worthy candidates for enshrinement.
But by what means are such ends achieved? Armstrong, Ellington, and the rest won their preeminence in a field teeming with extraordinary musicians of both races. . . . As a jazz trumpeter and the author of a biography of Bix Beiderbecke (and a forthcoming book on white participation in jazz), I can state that for every Billie Holiday there was a Mildred Bailey, for every Roy Eldridge a Bunny Berigan, for every Coleman Hawkins a Bud Freeman. Many other whites made indispensable contributions: Red Norvo, master architect of jazz mallet playing; Frank Trumbauer, elegant model for Lester Young; Bix Beiderbecke, emissary of a lyric, Apollonian sensibility absent from jazz until his arrival. Their records, and those of countless others, provide easily available corroboration of their talent.
To deny them their well-earned place, rewriting them out of history as Crouch, Murray, and Mar-salis have apparently undertaken to do, is to deprive jazz of one of its great strengths—its real (as opposed to rhetorical) multiculturalism. It is also dishonest; and falsification of history, whatever its perceived goals, is never justifiable. But as Mr. Teachout so eloquently reminds us, reverse racism has already invaded and gone far toward compromising the "meritocracy of comrades" that used to be jazz. And that is little short of tragic.
Richard M. Sudhalter
Southold, New York
To the Editor:
Terry Teachout seems to be quite accurate about racism in jazz. I arrived in New York in 1966 and was taken into the jazz circle where I was fortunate to spend a great deal of time with the players who were then at the pinnacle of their careers: Phil Woods, Thad Jones, Mel Lewis, Frank Wess, Joe Farrell, Jerome Richardson, Jerry Dodgion, Snooky Young, Chico O'Farrill, Joe Newman, Oliver Nelson, Quincy Jones . . . the list is too long to go on with here. But the musicians represented a complete cross-section of all that was going on in the jazz world in the 50's, 60's, and 70's. . . .
Though I was raised in the South before integration, I never experienced problems of racism in the company of any jazz musicians I had known, and coming to New York only confirmed this; in other words, every gig I went to was peopled by musicians from all ethnic backgrounds, and it seemed that no one was conscious of differences in the "cats" except for musical style, personality, and personal idiosyncrasies. . .
But things seem to have snuck up on us over the last ten or twelve years; now we find tremendous separation in the jazz community. I hesitate to point fingers, but would prefer to find ways to bring us back together. . . . Eventually, maybe those who feel as I do will get things back to normal. Jazz is a joyous music that anyone of any background who feels it and has the talent to express those feelings can play. . . .
Marvin Stamm
Purdys, New York
To the Editor:
May I add a few footnotes to Terry Teachout's excellent article? Years ago Max Kaminsky (white cornetist) wrote that blacks
did fashion a wholly new music, but its roots were embedded in European music as well as the Negro. Without the American Negro there would be no jazz, and without the white man there would be no jazz. Jazz has never existed in Africa, and it doesn't exist there today. It was formed from the two musical cultures, from the African, which has the highest development of rhythm in the world, and from the European, which has the greatest development of harmony in the world, and it happened in America.
Coleman Hawkins (black saxophonist) wrote that in England he had trouble with people believing in the Crow-Jim concept of jazz. Hawkins declared that he had played
with Benny Goodman and all of them and I didn't know any clarinet player that played any more than Benny. . . . And the famous old Dixieland Jazz Band wasn't colored and that was before my time!
. . . When Jimmy Harrison (black trombonist) and Jack Teagarden (white trombonist) met in New York, they were surprised and delighted that although separated by thousands of miles in their youth, they had come up with similar new ways to play the trombone.
Robert M. Thornton
Fort Mitchell, Kentucky
To the Editor:
I applaud Terry Teachout's article. One of the cruelest effects of the situation he describes is that scores of worthy jazz artists over the age of thirty-five, black as well as white, are being denied opportunities and exposure that are rightfully theirs. As a result, vital artistic resources are in danger of being lost. The damage to jazz and our culture is unconscionable; if these current trends continue, the damage may also be irreparable.
Bill Kirchner
New York City
To the Editor:
I truly enjoyed Terry Teachout's article. Jazz came from two sources; the blues and the popular music of the day. The importance of the blues in jazz has never been questioned. . . . The playing of popular music by jazz musicians also has a history that dates back to the origin of jazz.
The earliest jazz bands played an upscale version of the music that was then being played by New Orleans marching bands. Often the same musicians played brass-band music in street bands as well as jazz in the clubs and brothels. This marching-band music was not the blues, it was European music that black musicians in New Orleans quickly made their own. For the next 80 years, jazz musicians everywhere played tunes from the treasury of American popular song.
In the 1970's there was fusion when, once again, jazz presented an instrumental and refined version of the rock music of this period. In the 1980's and 1990's musicians like Miles Davis did the same thing with hip-hop. For almost a century the blues and pop coexisted peacefully within jazz where they influenced and nourished each other.
Still, there is a grain of truth to the argument of the jazz racialists. White musicians, although they played the blues, were on the whole more comfortable with the other (pop) side of the jazz equation. Black musicians, however, were equally at home in both traditions. But the racialists' attempt to remove the non-blues element from jazz is a distortion of the facts. . . . The only reason for doing this is to superimpose a political bias on music that has always (if imperfectly) tried to recognize quality above skin color.
Michael I. Sims
British Columbia, Canada
Terry Teachout writes:
I am saddened that Loren Schoenberg, a jazz musician whom I greatly admire, has chosen to defend the racialist rhetoric of Albert Murray and Stanley Crouch, and to misrepresent the central argument of Murray's Stomping the Blues, which is accurately summarized in "The Color of Jazz." I also noted there that Crouch "has on occasion expressed admiration for certain white players," which hardly relieves him of responsibility for the other, more prominent occasions when he has written about the white contribution to jazz in terms whose racialist implications are blatantly self-evident. (It has always been part of Crouch's method to work both sides of the street.)
To the best of my knowledge, Linda Chavez and Gerald A. Reynolds do not have backgrounds in jazz. Presumably this explains the various forms of confusion evident in their letter, just as it explains much about the "aesthetic" theories of Murray and Crouch. To recapitulate: (1) Murray's contention is not that "jazz musicians who fail to incorporate blues and swing into their music are playing a diluted form of jazz." It is that jazz and the blues are consubstantial; that white musicians cannot play the blues; and that white musicians therefore cannot be "authentic" jazz players. Every term of this syllogism is demonstrably untrue, and the conclusion racialist on its face. (2) My article was not about neoclassicism in jazz, a movement which existed before Wynton Marsalis was born and of which I am, in fact, a vocal and enthusiastic supporter: it was about the effects Albert Murray's racialist ideas have had on the culture of jazz in America, with particular reference to Jazz at Lincoln Center. (3) My argument does not rest solely, or even primarily, on hiring figures: rather, it rests on the musical content of the programs devised and presented by Marsalis and Crouch.
A historically oriented jazz concert series which does not acknowledge in its programming the achievements of great white jazz musicians of the past is, once again, racialist on its face. This would be true even if every member of the Lincoln Center Jazz Orchestra, including Mar-salis, were white. The point is not that Jazz at Lincoln Center discriminates in hiring—it is that Jazz at Lincoln Center uses public monies to disseminate and legitimize a racialist theory of jazz. As for what does and does not "make much headway in the jazz community," I venture to suggest that the jazz musicians whose letters appear above know more about the views of the jazz community than Miss Chavez and Mr. Reynolds.
Ted Panken is also more knowledgeable about jazz than Miss Chavez and Mr. Reynolds, but the categorical assertions he makes in his letter should not be taken at face value by uninformed readers. For example, racially integrated jazz combos were common from the 40's on (Louis Armstrong, Charlie Parker, Miles Davis, Oscar Peterson, Gerry Mulligan, and Dave Brubeck were only a few of the many jazz stars who led integrated bands in the postwar period), and racially integrated recording sessions were common from the 3 O's on (of the 31 small-group sessions Teddy Wilson recorded under his own name between 1935 and the beginning of 1939, at least twenty were integrated).
As for the specific points Mr. Panken makes about Jazz at Lincoln Center, I am at a loss to know what he means when he says that my statement that white composers are not commissioned to write for the full Lincoln Center Jazz Orchestra (as opposed to smaller groups performing under the banner of Jazz at Lincoln Center) has "some" validity. Either it is true or not. Similarly, what is "absurd" about my saying that Jazz at Lincoln Center has "systematically ignored" the work of older white players, composers, and arrangers? Again, this is a matter of fact, not opinion. And while I, too, would like jazz audiences to be "well-informed" about the history of jazz, I fail to see how the promulgation by famous musicians, widely admired critics, and state-subsidized agencies of racialist theories of jazz will bring us any closer to that noble goal.
Indeed, I think it far more likely that such activities will encourage the spread of the sentiments found in Richard Mermin's letter, which is fully as racialist as anything Murray or Crouch have written about jazz (and racialist toward whites and blacks alike, which is no small trick). It requires no comment from me save to say it is simply not true that Lester Young was the only "Afro" jazz musician who "claimed that he had been influenced by a white player"—though judging from his tone, I doubt it would matter overmuch to Mr. Mermin were his ignorance to be compromised by the facts.
E.V. Kontorovich is equally ignorant of the facts, and with less excuse, since reading my essay more carefully would have solved his problem. His "more parsimonious explanation of unevenly distributed talent" bears no relationship to the musical environment described in "The Color of Jazz," in which talent is and has always been distributed without regard to race. Therein lies the problem with the Smithsonian and Lincoln Center jazz programs, where "pieces of the pie" are apportioned according to race, not talent—de jure in the case of the Smithsonian, de facto (so far as is known) in the case of Lincoln Center.
I thank the other correspondents—plus the many musicians, some of them very distinguished indeed, who privately expressed approval of "The Color of Jazz"—for their generous comments. Phil Woods and Gene Lees were, of course, mentioned in my original article; Steve Allen is known for his lifelong advocacy of jazz, going back to his days as host of the Tonight Show; Grover Sales is a well-known jazz educator and commentator; Richard M. Sudhalter's Bix: Man and Legend is the finest biography of a jazz musician yet written; Marvin Stamm is a trumpeter of the highest distinction whose long résumé includes stints with the Stan Kenton, Woody Herman, and Thad Jones/ Mel Lewis orchestras; Bill Kirchner is a jazz saxophonist, composer, and scholar of note. I list their credentials to give readers of COMMENTARY a sense of perspective about the response of the jazz community to the article.


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Last week, I had a chance to take a class with Ariella Chezar at New York's FlowerSchool. Located on the far east side of Midtown Manhattan, tucked inside a pretty ground-floor studio, the school offers classes with well-known florists for students of every level.
As the online editor of GardenDesign.com, I often edit and read our articles about flower arranging, but sometimes, I must admit, my theoretical knowledge outstrips my actual knowledge. So I was thrilled to be able to be able to put some of my book learning to use in this class. Almost all of my fellow students were florists, so I was the amateur among pros, but I had a great time. I've put together a slide show with some tips and thoughts about how you can recreate some of Chezar's style at home.
Left: Ariella Chezar (left) with Eileen Johnson, founder of FlowerSchool.

subset: commoncrawl


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Thank you!
Thank you Gallup - it was wonderful to be able to come to terms with my views on religion after a life time of questioning and doubt. I look forward to exploring this site as I get the time.
Thank you.
Why thank you!
I am very glad to be here and hopefully contribute something.
Hi there. I don't think we've interacted much, but I read a lot of things you've written. Never a dull moment!
Thank you... My loved one is in Rehab getting help they are Christian and Im obviously am not. I want the help in copeing with his alcoholism
But it always comes down to step 3, ha ha ha!
Hey! This cracker tastes like....people!!!
Sorry just saw your reply. Yes Tom Morello is in both bands.
Know this band?
Thanks for the add. Like the music here man. It helps the attitude. No prisoners taken.
You've got a friend.....James Taylor
Thanks for the invite!
You too, Gallup's Mirror :)
Welcome to the Think Atheist community Gallup!


text:
Dated: 29 May 2009
Yokohama Advan chosen as OE for Audi Q7
Audi has chosen the Yokohama Advan as OE for its luxury SUV, the Q7, a full time 4x4 vehicle , exceeding 5 metres in length, available on purchase with a huge 6.0 Litre V12 engine. in order to handle the vehicles performance output Audi has chosen to fit the Yokohama Advan as OE Tyres and will be available in 2 sizes, for both the front and rear wheels, - 275/45R20 110Y or 265/50R19 110Y.
The Q7 joins the Audi S6 and S8 in having OE tyres supplied by Yohohama. Yokohama commented that the tyre was chosen, for its high levels of overall performance, stability and comfort at high speeds combined excellent braking performance.


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Parallel Verses
New International Version
At that time the LORD said to Joshua, "Make flint knives and circumcise the Israelites again."
New Living Translation
At that time the LORD told Joshua, "Make flint knives and circumcise this second generation of Israelites."
English Standard Version
At that time the LORD said to Joshua, "Make flint knives and circumcise the sons of Israel a second time."
New American Standard Bible
At that time the LORD said to Joshua, "Make for yourself flint knives and circumcise again the sons of Israel the second time."
King James Bible
At that time the LORD said unto Joshua, Make thee sharp knives, and circumcise again the children of Israel the second time.
Holman Christian Standard Bible
At that time the LORD said to Joshua, "Make flint knives and circumcise the Israelite men again."
International Standard Version
At that time the LORD told Joshua, "Make for yourselves some flint knives and circumcise the Israelis who haven't been circumcised yet."
NET Bible
At that time the LORD told Joshua, "Make flint knives and circumcise the Israelites once again."
GOD'S WORD® Translation
At that time the LORD spoke to Joshua, "Make flint knives, and circumcise the men of Israel."
Jubilee Bible 2000
At that time the LORD said unto Joshua, Make thee sharp knives and circumcise again the sons of Israel the second time.
King James 2000 Bible
At that time the LORD said unto Joshua, Make you sharp knives, and circumcise again the children of Israel the second time.
American King James Version
At that time the LORD said to Joshua, Make you sharp knives, and circumcise again the children of Israel the second time.
American Standard Version
At that time Jehovah said unto Joshua, Make thee knives of flint, and circumcise again the children of Israel the second time.
Douay-Rheims Bible
At that time the Lord said to Josue: Make thee knives of stone, and circumcise the second time the children of Israel.
Darby Bible Translation
At that time Jehovah said to Joshua, Make thee stone-knives, and circumcise again the children of Israel the second time.
English Revised Version
At that time the LORD said unto Joshua, Make thee knives of flint, and circumcise again the children of Israel the second time.
Webster's Bible Translation
At that time the LORD said to Joshua, Make thee sharp knives, and circumcise again the children of Israel the second time.
World English Bible
At that time, Yahweh said to Joshua, "Make flint knives, and circumcise again the children of Israel the second time."
Young's Literal Translation
At that time said Jehovah unto Joshua, 'Make for thee knives of flint, and turn back, circumcise the sons of Israel a second time;'
Parallel CommentariesMatthew Henry's Concise Commentary
5:1-9 How dreadful is their case, who see the wrath of God advancing towards them, without being able to turn it aside, or escape it! Such will be the horrible situation of the wicked; nor can words express the anguish of their feelings, or the greatness of their terror. Oh that they would now take warning, and before it be too late, flee for refuge to lay hold upon that hope set before them in the gospel! God impressed these fears on the Canaanites, and dispirited them. This gave a short rest to the Israelites, and circumcision rolled away the reproach of Egypt. They were hereby owned to be the free-born children of God, having the seal of the covenant. When God glorifies himself in perfecting the salvation of his people, he not only silences all enemies, but rolls back their reproaches upon themselves.
Pulpit Commentary
Verse 2. - At that time. Ver. I is introduced in order to explain why Joshua ventured upon the circumcision of the children of Israel at so critical a period. Nothing could more clearly evince the spirit of confidence in Jehovah which animated not only Joshua, but all the children of Israel. We read of no murmurings, although it was well known that the performance of the rite of circumcision would unfit the Israelites for active service for some days. We may imagine, and even the silence of the sacred historian may be deemed eloquent on the point, that the marvellous passage of the Jordan had inspired the Israelites with an eager desire to renew their covenant with the God who "had done so great things for them already." And although, for religious reasons, they remained inactive for four or five days, a course of action from a military point of view highly injudicious, yet such was the terror the passage of the Jordan had struck into the hearts of the Phoenicians that no attack on them was attempted, and the inhabitants of Jericho (Joshua 6:1) remained under the protection of their strong walls. Sharp knives, or knives of stone (צוּר; cf. צֹר Exodus 4:25). The LXX., Vulgate, Syriac, and Arabic versions, as well as the margins of our Bibles, render thus. On the other hand, several of the Rabbis give the same translation as the text of our version. The LXX. translator, following no doubt an ancient tradition, adds after Joshua 24:30, that these knives were buried with Joshua (see note there). The idea which has found great favour lately of a "stone age," as anterior to an "iron age," of the world, will hardly derive support from this passage. That the use of stone preceded the use of iron scarcely admits of a doubt. But from Genesis 4:22 we learn that the use of iron had been known hundreds of years before Joshua, and yet we find him using stone knives. And we may go further. In spite of the advance of civilisation in our own day, there are still millions of human beings who have not advanced beyond the "stone age." The idea, then, of an age in which the universal use of iron has supplanted the universal use of stone is an idea which facts compel us to reject, while admitting that the use of stone must have preceded the use of iron in the infancy of the human race. In these "knives of flint," Origen, Theodoret, and others see an allusion to Christ, the rock. The second time. For "circumcise again the children of Israel the second time," the literal translation is, "return (שׁוּב) to circumcise," or, "return, circumcise" them the second time. This has perplexed the commentators and translators. It has been assumed that the text involves the idea of a former general circumcision of the people, and various are the expedients which have been resorted to in order to avoid the difficulty. Some copies of the LXX. would read שֵׁב for שׁוּב (or יְשֵׁב for וְשׁוּב Rosenmuller), and translate "sit down" i.e., halt), "and circumcise" The Vulgate leaves out the word altogether. The Syriac translates literally. The Arabic reads "tomorrow" for "again." The Rabbi Solomon Jarchi falls back on the expedient of a general circumcision ordered by Moses on the departure of the children of Israel from Egypt, on account of their neglect of that rite while they sojourned there, "Nam jam antea magna multitudo simul erat circumcisa illa nocte qua egrediebantur ex AEgypto." But this is rendered highly improbable by the fact that circumcision was an Egyptian as well as a Hebrew custom, and still more so by the improbability that such an important circumstance should have been passed over in silence. Knobel regards Abraham's circumcision with that of his household as the first time (Genesis 17:23). Perhaps the best explanation is that the word שׁוּב, though it is rightly translated "again" here, and in several other places in Scripture, carries with it the idea of a return into a former condition (kehre zuruck, Knobel). So Genesis 26:18; Genesis 30:31, Hosea 2:11 (Hosea 2:9, in our version). In 2 Kings 1:11, 13 we have the king's return to his former purpose in the second and third mission to Elijah. Thus here the word is used of the bringing back the children of Israel to their former state, that of a people who were in the enjoyment of a visible sign and seal (Romans 4:11) of their being God's covenant people. The meaning therefore would seem to be, "Restore the children of Israel a second time to the position they formerly held, as visibly bound to me, and placed under my protection, by the rite of circumcision." "The person must be in favour ere the work can hope to prosper; his predecessor Moses had like to have been slain for neglect of this sacrament, when he went to call the people out of Egypt; he justly fears his own safety, if now he omit it, when they are brought into Canaan" (Bp. Hall).
Gill's Exposition of the Entire Bible
At that time the Lord said unto Joshua,.... When the people had passed over Jordan, and had pitched in Gilgal, and Joshua had set up the stones there; and particularly when the dread of them had seized the inhabitants of Canaan, and deprived them of all their courage; and so was a fit time for the execution of what is next ordered, and seems designed in the providence of God among other things particularly for that:
make them sharp knives; not that Joshua was to make them himself, but to order them to be made; for a considerable number would be wanted for the use to be made of them: the Targum calls them sharp razors; and Ben Gersom says they were made of brass, more likely of iron or steel, which perhaps he means; but the Hebrew text is, "knives of rocks", "flints" or "stones"; and so Maimonides (p) interprets the words, and as they are rendered in various versions (q); with such an instrument Zipporah circumcised her son; and like them were the "samia testa" (r), with which the priests of the mother of the gods were castrated; and the "saxum acutum" of Ovid (s); and such the Americans used in slaying beasts, and the Egyptians (t) in the dissecting of their dead bodies; and which the Talmudists allow of as lawful; and in the east the Jews to this day use knives of stone in circumcision (u); See Gill on Exodus 4:25.
and circumcise again the children of Israel the second time; not that circumcision was to be repeated on them that had been circumcised already, who had found out ways and means to draw over the foreskin again, as some in later times did; or who had been imperfectly circumcised according to the rite enjoined by Abraham, which some Jewish writers say was not perfect; neither of which was the case. Kimchi, and so Ben Melech, interpret the word, "oftentimes", frequently, one time after another; as if the sense was, Joshua was to circumcise them, or take care they were circumcised, some at one time, and some at another, until the whole was finished; but this is not what is meant, it refers to a former general circumcision; not to the circumcision, as first administered in Abraham's time, for there had been a multitude of instances of it since that time; but to the circumcision of the Israelites at, about, or quickly after their coming out of Egypt; either before their eating of their first passover, the night they went out of Egypt, as Jarchi (w); or rather some time in the three days' darkness of the Egyptians, as Dr. Lightfoot (x) thinks; or else when they were about Sinai, just before the celebration of the passover there, Numbers 9:1; from which time it had been neglected; not cause unnecessary, while they were in the wilderness, to distinguish them from others, which was not the principal, at least not the only use of it; nor because forbidden the Israelites for their disobedience, murmurings, and rebellion, it not being probable that God should prohibit the observance of a command of his on that account; nor so much through criminal neglect, at least contempt of it, as because of their frequent journeying, and the inconvenience of performing it, being always uncertain, when they had pitched their tents, how long they should stay, and when they should remove, since this depended upon the taking up of the cloud; wherefore, unless they could have been sure of a continuance for a proper time, it was not safe to administer it; and now it was enjoined, partly because they were about to celebrate the passover, which required circumcision in all that partook of it, Exodus 12:43; and partly because they had now entered into the land of Canaan, which was given them in the covenant of circumcision, Genesis 17:8; wherefore it became them now to observe it, and as typical of spiritual circumcision, necessary to the heavenly Canaan, as well as to distinguish them from the uncircumcised Canaanites they were coming among; and they did not think themselves under obligation to observe it till they came to settle in that land, as some think, who hereby account for their long neglect of it.
(p) Moreh Nevochim, par. 1. c. 16. (q) , Sept. "cultros lapideos", V. L. "cultros petrarum", Munster, Montanus, Piscator. (r) Plin. Nat. Hist. l. 35. c. 12. Arnob. adv. Gentes, l. 5. p. 189. (s) Fast. l. 4. ver. 237. (t) Herod. Euterpe, sive, l. 2. c. 86. (u) Vid. Pfeiffer. Dubia Vexata, cent. 2. loc. 46. (w) So in Pirke Eliezer, c. 29. (x) Works, vol. 1. p. 40.
Jamieson-Fausset-Brown Bible Commentary
Jos 5:2-12. Circumcision Is Renewed.
2. At that time—on the encampment being made after the passage.
the Lord said unto Joshua, Make thee sharp knives—Stone knives, collect and make them ready. Flints have been used in the early times of all people; and although the use of iron was known to the Hebrews in the days of Joshua, probably the want of a sufficient number of metallic implements dictated the employment of flints on this occasion (compare Ex 4:25).
circumcise again the children of Israel the second time—literally, "return and circumcise." The command did not require him to repeat the operation on those who had undergone it, but to resume the observance of the rite, which had been long discontinued. The language, however, evidently points to a general circumcising on some previous occasion, which, though unrecorded, must have been made before the celebration of the passover at Sinai (compare Ex 12:48; Nu 9:5), as a mixed multitude accompanied the camp. "The second time" of general circumcising was at the entrance into Canaan.
Joshua 5:2 Additional Commentaries
The Circumcision at Gilgal
1Now it came about when all the kings of the Amorites who were beyond the Jordan to the west, and all the kings of the Canaanites who were by the sea, heard how the LORD had dried up the waters of the Jordan before the sons of Israel until they had crossed, that their hearts melted, and there was no spirit in them any longer because of the sons of Israel. 2At that time the LORD said to Joshua, "Make for yourself flint knives and circumcise again the sons of Israel the second time." 3So Joshua made himself flint knives and circumcised the sons of Israel at Gibeath-haaraloth.…
Cross References
Exodus 4:25
But Zipporah took a flint knife, cut off her son's foreskin and touched Moses' feet with it. "Surely you are a bridegroom of blood to me," she said.
Joshua 5:3
So Joshua made flint knives and circumcised the Israelites at Gibeath Haaraloth.
Treasury of Scripture
At that time the LORD said to Joshua, Make you sharp knives, and circumcise again the children of Israel the second time.
sharp knife. or, knife of flints. Before the use of iron was common, all the nations of the earth had their edge tools made of stones, flints, etc. Our ancestors had their arrows and spearheads made of flint; which are frequently turned up by the plough. And even when iron became more common, stone knives seem to have been preferred for making incisions in the human body. The Egyptians used such to open the bodies for embalming; and the tribe of Alnajab in Ethiopia, who follow the Mosaic institution, perform the rite of circumcision, according to Ludolf, cultris lapidibus, with knives made of stone.
Genesis 17:10-14 This is my covenant, which you shall keep, between me and you and …
Deuteronomy 10:16 Circumcise therefore the foreskin of your heart, and be no more stiff necked.
Deuteronomy 30:6 And the LORD your God will circumcise your heart, and the heart of …
Romans 2:29 But he is a Jew, which is one inwardly; and circumcision is that …
Romans 4:11 And he received the sign of circumcision, a seal of the righteousness …
Colossians 2:11 In whom also you are circumcised with the circumcision made without hands…
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Dienhart: Let's look at the week ahead
Can you see it? I can. It's stratification in this crazy Big Ten title chase. Ohio State, Michigan State and Michigan sit atop the standings with 5-2 league marks. Right behind that trio are Wisconsin, Illinois and Purdue with three conference defeats.
Find out more about: Big Ten Blast, Big Ten Whiteboard, Robbie Hummel, Tim Hardaway Jr., William Buford


text:
iSeeU brings FaceTime-like video calling to iPhone 3GS [Accessory]
There is an endless list of apps that allow you to make video calls with your iPhone 4, and aside from Apple's FaceTime, most of t hese are also compatible with the 3GS, but it can be quite awkward to video call without a front facing camera.
Korean company, PLAYMASS, have produced a new accessory that can solve the problem, iSeeU.
iSeeU clips onto your i Phone 3GS, and flips open to reveal a series of mirrors, that allow you make a video call using the rear facing camera. One neat thing about iSeeU is, you can easily swivel it off to the side to switch the cameras, so that you can still show your friend what the rear facing camera would normally see.
iSeeU is available in 5 colours, black, white, blue, pink and green, and comes with a stylish carry case, so you can easily store it away when you're not using it.
PLAYMASS is now offering the iSeeU accessory to pre-order on their website for $24.95. They will be shipping later this month. Will you be getting an iSeeU clip to video call with friends? Will this stop you from upgrading to an iPhone 4?
Video after the break.
by George Lim
Have something to say about this story? Leave a comment! Need help with something else? Ask in our forums!
Reader comments
iSeeU brings FaceTime-like video calling to iPhone 3GS [Accessory]
Is there an accessory for my iPhone 4 so I can make coffee or grill stuff on it?
Also works if you wanna look at the screen while you record yourself in HD with the iPhone 4. Nice idea.
On the other hand, high price point. You could just chat in front of an ordinary mirror and save $25.
Considering the iPhone 4 is basically the iPhone 3GS but with more power/better speed, and other features I don't feel is worth upgrading for at this time, I think I'll bite and get one of these, if I can use it over my existing phone case. Like igorsky said, save the big cash for the next iPhone version - 25 bucks is minor compared to 2 benjamins...
Seen it here for less than £15 inc p&p.
This is ridiculous.. Look at this sleepy guy wasn't up to talked with his dear friend but happy to see this pretty girl ? What a turn off. Wasn't the true friend important to him rather than look at pretty girl as tool ? SICKENING!
Anyway, this is an interesting tool since some people cannot afford iPhone 4. I tried skype 3.0 with mirror and it works great!
Tony, you can get it from the site mentioned above - getheapp.com for around $15 with free shipping.
If you want to record facetime calls - video and audio - you can use IMCapture for Facetime. It's the unique soft. http://www.imcapture.com/IMCaptureforFaceTime/
thanx for info, but i'd better recommend to use this nice FaceTime calls recorder http://www.imcapture.com/IMCapture-for-FaceTime/, i do enjoy it!)


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Nosy Sakatia, an island away from an island, is a nature's paradise. It is situated on the west coast of Nosy Be, Madagascar.
Nosy Sakatia offers the typical unspoilt tropical fauna and flora of this area. Only 6.5 km long and 2 km wide at its widest point, and has a current population of ±450 inhabitants. There are no roads, only foot paths. The island is perfect for one to wonder and explore its beauty and deserted beaches. The island is fringed by spectacular coral reef to be enjoyed by snorkelers or scuba divers alike.
Sakatia Lodge is situated on the south of the island at the foot of the Sacred Mountain. The maximum capacity of the lodge is twenty six guests, there is a lounge / bar area, separate restaurant all overlooking the ocean and fringed by the sacred forest of Sakatia. Be tempted by the chef's fantasy in a blend of tropical cuisine.
Scuba Diving is one of the main activities of Sakatia Lodge. The Dive Centre is affiliated to DAN SA and offers NAUI diving courses.
Sakatia Lodge also organises other activities such as quad biking, deep sea fishing, horseback riding, tracking and exploring other islands within its vicinity.
Our staff and ourselves would like you to have the getaway of your dreams.


text:
Welcome to The Fabric Shop Network!
...the trade organization for independent quilt
and fabric shopowners and design studios
Our goal is to help business owners grow, succeed, prosper, and enjoy business to the fullest. We strive to provide the most complete, comprehensive, and detailed source of business information available within the fabric retailing industry.
Become A Member Today!
- Timely Industry News
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- Educational Resources
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- and more....
Members of the FabShop Net Retailers' Association present a unified voice for independent fabric and quilt shops within the industry! Use the Association's combined buying power and services to contribute to your bottom line by saving you money!
Whether you're a new shopowner starting out or a seasoned veteran, the programs and benefits will help your business grow, boost sales, and improve your bottom line.
Since 1997, our growing organization has supported and enhanced members' business success.
Strategies for Business Success!
These are six of the articles in the most recent issue of the FabShop News Magazine.
- 'Ship Complete'
- Row by Row' Your Way to a Profitable Summer
- Samples + Signs = Super Customer Service
- Less Work, More $$$ —
A New Way to Vend
- Colchester Mill Fabrics
- McKenna Ryan, Pine
- Needles Andover Fabrics Evolves With the Trends
Look Who Advertises Within Our Pages
Every issue is jam-packed with thoughtful, useful information for the busy fabric shopowner written in clear, easy-to-put-into-practice terms.
Members: No need to subscribe. It's part of your Retailers' Association membership. Join today!
Non-members: 6 issues (1 year) for $45 in the US and $65 internationally. Subscribe today!
Join Our FabShop Hops!
September FabShop Hop
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Reach thousands of eager sewing and quilting cyber shoppers in the next wave of FabShop Hops! We'll help put your online business on the cyber map's road to success.
- Each month-long FabShop Hop, shoppers will explore your website as they search for the hidden bunny and work to qualify for randomly drawn prizes.
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e-newsletter, and return to shop when the FabShop Hop is over.
- You must be a member of the FabShop Net Retailers' Association in order to participate. Become a Member Today!
Online Classes:
Series Two
014 Purchasing Do's and Don'ts
by Sharon Stoffel
015 Shop Market Like a Pro
by Sharon Stoffel
016 Open-to-Buy Basics
by Laurie Harsh
020 Kitting for Profit
by Karen Montgomery
Series One
010 Develop a Strategic Plan
by Todd Gibson
011 Running a Successful Long Arm Rental Program
by Karen Hanson
012 Shop Market Like a Pro
by Donelle McAdams
013 Profitable Promotions
by Donelle McAdams
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By Shopowners For Shopowners
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FabShop Causes
Contact us about participating in these FabShop causes.


text:
Aliases for LEP Gene
Aliases for LEP Gene
External Ids for LEP Gene
- Entrez Gene: 3952
- Ensembl: ENSG00000174697
- UniProtKB: P41159
Previous Symbols for LEP Gene
Summaries for LEP Gene
This gene encodes a protein that is secreted by white adipocytes, and which plays a major role in the regulation of body weight. This protein, which acts through the leptin receptor, functions as part of a signaling pathway that can inhibit food intake and/or regulate energy expenditure to maintain constancy of the adipose mass. This protein also has several endocrine functions, and is involved in the regulation of immune and inflammatory responses, hematopoiesis, angiogenesis and wound healing. Mutations in this gene and/or its regulatory regions cause severe obesity, and morbid obesity with hypogonadism. This gene has also been linked to type 2 diabetes mellitus development. [provided by RefSeq, Jul 2008]
GeneCards Summary for LEP Gene
LEP (Leptin) is a Protein Coding gene. Diseases associated with LEP include obesity, morbid, due to leptin deficiency and congenital leptin deficiency. Among its related pathways are Signaling by GPCR and L1CAM interactions. GO annotations related to this gene include growth factor activity and peptide hormone receptor binding.
UniProtKB/Swiss-Prot for LEP Gene
May function as part of a signaling pathway that acts to regulate the size of the body fat depot. An increase in the level of LEP may act directly or indirectly on the CNS to inhibit food intake and/or regulate energy expenditure as part of a homeostatic mechanism to maintain constancy of the adipose mass
Leptin was initially thought to have a role in energy homeostasis and obesity. More recently, it has also been implicated in the regulation of reproduction, glucose homeostasis, bone formation, wound healing and the immune system. Leptin acts via leptin receptors, which are transmembrane catalytic receptors found on NPY/AgRP and alpha-MSH/CART neurons in hypothalamic nuclei. Leptin receptors (Ob-Rs) are coded for by one human gene that produces six different isoforms; Ob-Ra - Ob-Rf. Ob-Rs exist as constitutive dimers at physiological expression levels. Only the Ob-Rb isoform can transduce intracellular signals and does so through activation of the JAK2/STAT3, PI 3-K and MAPK signaling cascades. Activation of Ob-Rs mediates transcriptional regulation of the hypothalamic melanocortin pathway and downregulates endocannabinoid expression. Leptin resistance has been proposed as a pathophysiological mechanism of obesity. In obese individuals, Ob-Ra (which is involved in active transport of leptin across the blood-brain barrier) expression is downregulated and the individual may be unresponsive to leptin signals. Ob-R antagonists are of great interest in the development of pharmacological treatments for obesity.


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STARKVILLE, Miss.--Mississippi State doctoral student Jamie L. Boydstun is being honored as the National Center for Intermodal Transportation for Economic Competitiveness Student of the Year.
A former Winston County resident now living in Starkville, Boydstun is a graduate research assistant at the university's nationally recognized Social Science Research Center. She recently was selected in competition among students with research interests and experience in various transportation areas.
Boydstun completed MSU bachelor's and master's degrees in sociology in 1992 and 2009, respectively.
As this year's NCITEC winner, she will receive a $1,000 award and have travel expenses covered to attend the 2013 Transportation Research Board's annual meeting in Washington, D.C. As part of the mid-January meeting, she formally will be presented the honor at the Council of University Transportation Centers awards banquet.
Boydstun currently is exploring the social aspects of transportation. With assistant sociology professor Guangqing Chi, she has completed one research project titled "Gasoline Price Changes and Residential Relocation: Evidence from the American Housing Survey, 1996-2008."
Their research won a second-place award at the Fourth Annual Transportation Workshop held earlier this year at MSU.
NCITEC was founded in January as a University Transportation Center under the sponsorship of the U.S. Department of Transportation. A consortium of MSU, universities of Denver and Mississippi and Louisiana State and Hampton universities, it works to promote the development of an integrated, economically competitive, efficient, safe, secure, and sustainable national intermodal transportation system. For more, visit www.ncitec.msstate.edu.
With support from the organization, Boydstun and Chi are involved in a new project to examine intermodal transportation systems by using the 2009 National Household Travel Survey. It is the first attempt to comprehensively understand passenger usages of the intermodal transportation system.
Under the supervision of professor Lynne Cossman, she is completing a doctoral dissertation that explores how the relationship between obesity and morbidity has changed across cohorts.
In the future, she plans to investigate links between health and transportation, including explanations for increasing obesity prevalence in relation to transportation and transportation's role in socioeconomic differences of medical care access.


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Hold down Control (PC) or Command (Mac) key + mouseclick to select more than one option
|Avg. Dinner Entrée
|Greater than $25
|$18.01 - $25
|$12.01 - $18
|$7.01 - $12
|Less than $7
Posted by Angela Pink on 12/04/2013
I love Chikurin cafe, the best place in Brooklyn. Food is great, prices are right and best part is, you can watch sports !!! Waiters are friendly and place is awesome !!!
Posted by Anonymous on 03/12/2010
Very good food ,especialy beef teryaki,nice big pieces of meat!fast delivery !
Posted by pb on 12/05/2009
we just sort of chose this as our default when we first moved to the area although there are at least 5 other sushi spots in the vicinity. when chikurin closed for renovations a few months ago, we tried the other restaurants for our sushi fix and were seriously disappointed. we had assumed that because the sushi here was the cheapest in the area, that it might also be of poorer quality, but this turned out not to be the case. in fact, the fish at chikurin is by far the most fresh, the roll selection the most varied, and the service is awesome, and we always get comped on our second and/or third sake when we eat-in. plus, the delivery is fast and spot-on.
Posted by Swiftest on 11/06/2009
I avoided this place for a while, because I didn't like what I ordered. But I tried it again recently and everything was great and it really is a terrific deal. You won't be disappointed!
Posted by local reviewer on 08/04/2009
A lot of sushi chains have opened up around Kings Highway over the years but I've always found myself going back to Chikurin. It's a cozy restaurant, not as spacious as some of the newer chains, but my friends and I enjoy coming here because the sushi is fresh, the staff is really friendly, and frankly, $2.50 for a regular roll is a really really good deal.
Posted by Swiftest on 05/06/2009
The Sushi here is really bland. And about half the time, if you order regular salmon, smoked salmon is in its place.


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From installing solar panels to using "green" cleaning products, the University of San Francisco is stepping up efforts to minimize its impact on the environment.
"Doing the right thing for society is the first consideration," said Mike London, assistant vice president for facilities management.
As part of that process, USF is installing new solar panels on top of the Koret Health and Recreation Center, University Center, Cowell Hall, andA Kalmanovitz Hall. Together with the solar panels already on Gleeson Library, the panels will produce about 16 percent of lower campus' peak electricity needs.
Currently, USF's co-generation plant produces about half of lower campus' peak energy needs. Located in the basement of Gleeson Library, the plant converts natural gas into electricity. The plant gets its co-generation designation because it captures heat lost during the conversion process and uses that to provide some of the heat lower campus uses. The plant provides about 38 percent of lower campus' heating needs.
Additionally, the university uses thermal panels on top of Phelan, Gillson, and Hayes-Healy halls to provide some of the hot water needed in those halls.
Other green initiatives on campus include water conservation through the installation of automatic flush devices on toilets and a review of automatic devices on sink faucets; use of biodegradable, environmentally friendly cleaning products; and incorporation of "green" building practices in construction, including the renovation of Kalmanovitz Hall (formerly Campion Hall).
Already, some of the university's environmental efforts have garnered national attention. This year, USF earned fifth place in a recycling competition among more than 200 colleges and universities.
The competition also took into consideration composting, which the university began about a year ago. Through the composting of food waste from the kitchen and cafeteria, USF has been able to prevent about 36 tons of material per month from being thrown out. That is in addition to the 95 tons per month that are diverted through USF's recycling program. The result is about 63 percent of USF's waste being diverted from landfills.
As the composting program becomes more established, that diversion rate could increase. Bon Appetit, the university's food service provider, composts all food waste from its kitchens. In the cafeteria, compost bins are available for anything that was alive at one point—the cardboard to-go containers, paper napkins, paper sauce cups, wax-coated soda cups, and to-go utensils can all be composted.
Additionally, Bon Appetit at USF purchases 80 percent of its food from within a 150-mile radius, said Holly Winslow, resident district manager. Doing so cuts down on the gas needed to transport food to the university and, by extension, the university's impact on the environment.


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You will enjoy:
Includes tea tree soak, exfoliation, moisturise, nail tidy and top coat polish.
Treatment Room - Beauty
Online bookings let you pick date/time for your visit.
If you purchase an eVoucher you will need to book with the venue directly.
Our old Wahanda Gift Vouchers can still be redeemed at over 3,000 locations. Use them to pay as you would with cash. Please note, the Wahanda Gift Voucher's successor – the Wahanda Gift Card – can only be used for online purchases.


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Olympic Follies
Amateur glory of Olympics in the early twentieth century upheld in wacky marathon.
Even with some of the more dramatic American losses,[1] the 2000 Summer Olympics Games still warm the cockles of History House's heart. We thrill to the competition of amateurs, and boo those who think that "no-hope" athletes shouldn't be allowed to compete. "No-hopers" represent the true spirit of the original Olympics, which, believe it or not, actually rewarded the victorious competitors with only wreaths.[2] Indeed, abandoning all financial motives is what certain Games of the past were all about. For example, the Brazilian government couldn't afford to send its cadre of 69 athletes to the 1932 Games in Los Angeles, but desperately wanted to send them anyway. So they herded them onto a ship with 50,000 sacks of choicest Brazilian coffee, hoping to sell the beans to various undercaffeinated ports of call on the way to the California coastline.
Much to the Brazilians' chagrin, nobody wanted coffee. When they arrived in Los Angeles, only twenty-four athletes had enough money to pay the one dollar landing fee at the port. The other forty-five, with the ship's crew, sailed off into the gloom of the Northern Pacific, hoping to unload their wares on the beleaguered citizens of the Northwest. Coffee had not quite caught on up there; the Olympics never heard from the hopeful competitors again.[3] It was this kind of selfless striving that made early Games shine and joyously goofy to boot.
Havana Trump or Chump?
Accompanying the human drama of amateur, underfunded athletes is the tradition of having amateur, underqualified athletes at the Games. In 1904, arguably the most classic Olympics ever, the marathon had the potential to be upset by a squirrely little guy who had essentially hitchhiked from Cuba and ran the race in what amounted to dress shoes. His picture can be seen in the block image at the top left corner of this page. His name was not really Forrest. It was Felix Carvajal.
Carvajal was a postal worker in Havana who got it into his head that he was going to run the Olympic marathon. He was unsupported by governmental funds but, full of pluck, he quit his job and ran around the city square, trying to drum up cash or at least well-wishers. In a few months, he solicited enough donations to secure passage to New Orleans, no mean feat in an Olympics where some 525 of the 681 athletes were American because international travel was so expensive. Unfortunately, once in New Orleans he encountered the vices of that magnificent city and promptly lost all his money in a crooked streetside game of craps. He then walked or hitched the nearly seven hundred miles to St. Louis, where, in ragged clothes, was taken in by the United States weight team, who fed and sheltered him.
On the day of the marathon he arrived in long pants and a long-sleeved shirt, both of which were charitably shorn by an discus-tosser who happened to be toting scissors. It was, after all, St. Louis in the summer, where temperatures regularly topped 90 degrees (32 deg C). Felix faced a curious field: there were some thirty-two runners, mostly Americans and Greeks. Two black men and students at Orange Free State University, Len Tau and Jan Mashiani, were South Africa's first Olympians. However, they were billed as Zulu savages and were participants in the Anthropology Days segment of the competition.
White Man's Burden of Proof
The Anthropology Days of the 1904 Olympics were a "scientific experiment" wherein a variety of "savages", among them Pygmies, Filipinos, Patagonians and various American Indian tribes, competed in such undignified events as mud fighting and greased-pole climbing.[4] Olympics founder Baron de Coubertin righteously noted that such a charade "will of course lose its appeal when black men, red men, and yellow men learn to run, jump, and throw, and leave the white men behind them."[5] The Anthropology Days were designed to test the "startling rumors and statements that were made in relation to the speed, stamina and strength of each and every particular tribe that was represented," claims the Official Report of the Olympic Games of 1904.[6] The report expresses dismay in these men's running ("very poor"), javelin ("another disappointment"), archery ("another disappointment"), and weight-tossing abilities ("The savages did not take kindly at all to the 56-lb. weight,"). The missive concludes, "Lecturers and authors will in the future please omit all reference to the natural athletic ability of the savage, unless they can substantiate their alleged feats."
And They're Off
With Felix and the two Anthropology Day participants entered thirty-seven other runners, and, in the humid St. Louis weather, they all began the race. The fairly brutal weather conditions, and the existence of only one water station 12 miles in, led to a variety of injuries. American Bill Garcia collapsed with a stomach hemorrhage, Fred Lorz, an American, was ahead but dropped out at nine miles -- actually what he did was jump aboard a pace car and wave to the runners as it passed and sputtered dust and exhaust in their faces. These were not the only hazards: Len Tau was chased a mile off course through a cornfield by an angry dog and dropped to ninth place.
Meanwhile, our favorite Cuban continued merrily along, laughing, joking, running backwards and practicing his broken English on bystanders. He leaned into a car of officials and stole peaches out of their fat hands; he took a detour through an apple orchard to swipe himself some lunch. These apples would be Felix's undoing: he was soon afflicted with cramps and slowed his pace.
Yesterday's Rosie Ruiz[7]
Further upfield, Lorz's pace car broke down. It was a common enough occurrence for automobiles in 1904 to break down, so he headed to the Olympic stadium five miles away. He later claimed that his clothes were in the stadium, so he was sort of going that way anyway; when he entered the stadium to a thunderous roar he lifted his arms in triumph as though he'd just taken the gold. He posed with Teddy Roosevelt's daughter Alice, got wreathed, and reveled for a moment before the officials came crashing down on him. He was banned him from amateur competition for life, or at least until 1905, when he was allowed to run (and win) the Boston Marathon.
Everybody Must Get Stoned
Well-pampered Thomas J. Hicks of Cambridge, Massachusetts plugged along with the help of his trainers. After Lorz dropped out and into his automotive shenanigans, Hicks was in first place. Hicks' handlers trotted alongside him, giving him warm sponge baths and sips of water. He told his trainers he wanted to lie down, and they dosed him with egg white mixed with strychnine to keep him on his feet. When he started complaining, they started serving him brandy. The brandy ran out, and they had to borrow some more. By the time he reached the Olympic stadium, he was in such miserable shape and punch-drunk (well, actually, just drunk) that his trainers had to virtually carry him across the finish line. He walked and took breaks to lie down throughout the second half of the race, but after the debacle with Lorz, the audience was all too happy to confer a gold medal on a bona fide finisher even if he was doped up and supported by two other men. Four doctors sweated over Hicks for the remainder of the day before he was allowed (or was able) to leave the stadium, at which point he fell asleep on a trolley car and wasn't heard from until the next day. He then discovered that he had lost ten pounds, and cheerfully retired from running entirely.
As for Felix, he came in fourth. The Cuban weathered the ugly conditions well, and some spectators postulated that with proper training he would have easily taken the gold. It wasn't an altogether tragic ending for a naive country boy who found himself far from home and bereft of funds thanks to a crooked craps game.
Thus ended the 1904 Olympic marathon. The race had enthusiastic tribesmen, a plucky Cuban, an angry dog, and strychnine abuse. NBC's ratings for the 2000 Summer Games in Sydney are in the toilet. We here at History House feel that might very well be the price one pays for the sordid advancement of professionalism in the field of amateur sports. We figure, hey, amateurs are supposed to screw up like this.
|©1996-2006 History House Inc.
All Rights Reserved.


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Puree coconut meat and water and lemon juice in a blender until smooth. Top with blueberries and drizzle with honey.
To open a fresh coconut, cut away the outer husk of the top of the coconut until the shell is visible. Strike around the top of the shell with the heel of a chef's knife at a 45-degree angle. Pry the top of the shell off with the tip of the knife. Pour the liquid through a strainer into a pitcher. Use a metal spoon to remove the meat from the shell.


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RFT vs. Our Readers: Best Barbecue
As we celebrate the Riverfront Times Best of St. Louis 2012, Gut Check is asking you, dear readers, to settle the disagreements between our picks and our readers' poll.
For the final edition of our RFT vs. Our Readers polls, how about a real brother-vs.-brother doozy? Our pick for "Best Barbecue" is Bogart's Smokehouse (1627 South Ninth Street; 314-621-3107). Our readers' pick is none other than Pappy's Smokehouse (3106 Olive Street; 314-535-4340)
Jennifer Silverberg The smoked prime rib sandwich at Bogart's Smokehouse
Whose cuisine should reign supreme?
See Also:
- "RFT vs. Our Readers: Best Food Truck"
- "RFT vs. Our Readers: Best Pizza (Thick Crust)"
- "RFT vs. Our Readers: Best Restaurant When Someone Else Pays"
Click here to view the Riverfront Times Best of St. Louis 2012 "Food & Drink" winners.
Location Info
Bogart's Smokehouse
1627 S. 9th St., St. Louis, MO
Category: Restaurant
Pappy's Smokehouse
3106 Olive St., St. Louis, MO
Category: Restaurant
Sponsor Content


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New pedal from Malleus.
View Single Post
keep it simple
Platinum Member
Join Date: Jul 2009
Location: Herefordshire, UK.
Posts: 18,612
Re: New pedal from Malleus.
Originally Posted by
That hoop clamp and adjustable footboard pin is an awesome idea, I have a few questions regarding the setup though:
It looks like the pedal/clamp can rotate on that pin, does it ever turn sideways, especially if it gets some slop?
If that hoop clamp ever comes off the bass drum in transit, you'd better have another 1 handy- I imagine you can buy a spare separately?
The center shaft that everything attaches to seems to be round, I'm wondering if this will be prone to slippage, especially as more time/use goes on.
The adjustable angle beater head is cool, it doesn't seem to mess with the footboard angle.
I've never played a direct drive, only a strap drive(old leather slingerland from the 60's), a single chain camco, and now my dbl chain 3K.
Looks nicely engineered, with a lot of thought given to it for sure.
I'm sorry I'm late back on this. I have been on the forum in the last few days, but I've also been ultra busy. I spent some time with Mark (Malleus Pedals) the other day. Mark's machining shop is where we make all our Origin series hardware. He was showing me the latest pedal design adjustments, & they all make perfect engineering sense to me.
The pedal can rotate on the ball anchor fitted to the bass drum hoop. This is a deliberate feature to allow players to adjust the angle of the pedal to the drum. I tried a double setup, as their endorsing artist just happened to be setting up his kit to test the latest adjustments. Man, those doubles are as fast as hell. Way too fast for this old fart to fully exploit. Each pedal has a grip tape to the underside that keeps them nicely planted. No movement whatsoever.
I do want to take one design point, & that's the use of hex screws (cap head or otherwise) instead of drum key operated screws. Hex screws are stronger size for size, & also access with a hex key is typically better. For those reasons, we're using hex screws for the string/ribbon clamps on our new strainer. I get the 1 tool convenience of using tension screws for everything, but the fact is, they're not always the best engineering choice.
Originally Posted by
Someone needs to do a review!
- Reggae Mangle
Rhythm magazine have just done a comprehensive review. I believe it will appear on the Music Radar site over the next few weeks. i'm informed they gave Malleus pedals 5 stars.
Originally Posted by
That might have something to do with NO ONE on here besides Andy has tried them. And since he's fairly busy building drums this probably isn't the first thread he checks.
Yes, sorry this is a single source thread. These pedals were only launched at LDS in October, so they're very new indeed. I'm no pedal expert. It's not something I concentrate on, but I did think they were worthy of bringing to the attention of forum members.
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Performers bring high-flying and awe-inspiring stunts to Baltimore
"Dralion" show in Baltimore
They wow you with their acrobatics, high-flying stunts and fancy footwork. And starting Wednesday night, you can catch the performers with Cirque du Soleil in Baltimore.
This show is called Dralion and is described as a "harmonious blend of Eastern and Western acrobatic prowess," according to the website. The acts vary from hoop diving, to hand balancing and juggling stunts.
The show runs through Sunday at First Mariner Arena.
Ticket info
Ticket Prices: $147, $97, $77, $57, $37
*Tickets are $5 more on Saturday, August 25*
Wednesday, August 22 at 7:30pm
Thursday, August 23 at 7:30pm
Friday, August 24 at 7:30pm
Saturday, August 25 at 3:30pm and 7:30pm
Sunday, August 26, 1pm and 5pm
CLICK HERE -- to purchase tickets.
There are approximately 23,000 parking spaces in the general vicinity, and an 850-car garage attached to the facility on Howard Street for the convenience of patron parking. You can find parking at:
The Arena Garage is located on Howard Street. To contact the garage call 410-837-2060. Open 24 hours a day.
To reserve parking at the Arena garage for an event, please visit . Please note that the reserved space will not be in a designated section of the garage. This feature is not owned or operated by 1st Mariner Arena.
To contact them with any questions or concerns, please contact them directly at 1.800.800.PARK (7275).
Days Inn Garage, located at 221 West Lombard Street, across the street from the Arena on the corner of Lombard and Howard Street. To contact the garage call 410-576-1000. Open 24 hours a day.
Arrow Parking, located at 210 West Baltimore Street, located behind the Nancy S. Grasmick School building.
To contact the garage call 410-727-6811. Open 24 hours a day.
The Avalon Centerpoint, located at 310 West Baltimore Street. To contact the garage call 410-244-5766. Open from 7 am-11 pm.


text:
This is the official manual for the latest Org-mode release.
Next: noweb, Previous: no-expand, Up: Specific header arguments
:session header argument starts a session for an interpreted
language where state is preserved.
By default, a session is not started.
A string passed to the
:session header argument will give the session
a name. This makes it possible to run concurrent sessions for each
interpreted language.


text:
An Excerpt from "Exoneration" by Emily Arnow Alman and David Alman
In 1951, Emily and David Alman co-founded along with William A. Reuben, The National Committee to Secure Justice in the Rosenberg Case (later renamed the National Committee to Reopen the Rosenberg Case). For eighteen months the...Read more of this article
An Excerpt from "Phantom Spies, Phantom Justice" by Miriam Moskowitz
In the Summer of 1950, Miriam Moskowitz was arrested at her office along with Abraham Brothman, the owner. Both were charged with conspiracy to obstruct justice. The ensuing trial and its publicity were, in Roy Cohn's own...Read more of this article
The 2 Crimes in the Rosenberg-Sobell Case
The crime of non-atomic espionage by Julius Rosenberg and Morton Sobell, and the crime by the Department of Justice that ended in the government's murder of Julius Rosenberg and his entirely innocent wife Ethel. Click here...Read more of this article


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Thousands of nutritious recipes. Choose your kind of healthy. Learn more
I found this a bit too spicey fro my likes but that's easy to adjust next time I make it. And there will be a next time!!! I also added water because this is just too thick for me. It stood in the middle of the bowl! So for me the fixes are simple enough to continue making this delicious and easy soup!
This is a great recipe. Super simple and not time consuming. I did add more low sodium chicken broth because it was pretty thick and lots of hot sauce because I like it spicy. Deee -licious!
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Cardinals don't view Prince Fielder as fallback to Albert Pujols
Nov 16, 2011, 12:46 PM EDT
If the Cardinals' effort to re-sign Albert Pujols fails they won't pursue Prince Fielder as his replacement at first base, according to Joe Strauss of the St. Louis Post Dispatch.
Strauss writes that if Pujols leaves the Cardinals would replace him internally by shifting Lance Berkman to first base and making Allen Craig the everyday right fielder, which is certainly sensible given how well Craig played in a part-time role.
General manager John Mozeliak explained that attempting to re-sign Pujols and potentially pursuing Fielder are a "different set of circumstances." In other words, the Cardinals don't simply want an elite, power-hitting first baseman, they want their elite, power-hitting first baseman.
- stlouis1baseball - Nov 16, 2011 at 12:53 PM
Sooo…IF the intial (speculation) of the Marlins offering of $25 Million per is accurate…Lance it is huh?
- b7p19 - Nov 16, 2011 at 1:06 PM
Are you making that dollar amount up? I haven't seen any numbers on what the Marlins have offered. Just curious.
- stlouis1baseball - Nov 16, 2011 at 1:08 PM
Yeah…it is speculation…but I posted the link on the other AP article. Reference the 9 years article (I believe that was the one). Towards the bottom you will see my post.
- cintiphil - Nov 16, 2011 at 12:54 PM
Makes sense, but now it is time for him to step up or give up on Albert. Lets see how a Marlins uniform fits.
- b7p19 - Nov 16, 2011 at 1:06 PM
Says the Reds fan…
- stlouis1baseball - Nov 16, 2011 at 1:06 PM
Let's no Cincy. I wouldn't want you to piss yourself in excitement.
- cintiphil - Nov 16, 2011 at 2:38 PM
Lets not get too nasty about it. If you wish to be angry, tell the Cards management. They are being the cheapskates. The Ress can afford to pay him, but then we have an all star 1st baseman.
- cintiphil - Nov 16, 2011 at 2:40 PM
I am sorry, I should have said, the Reds already have a Gold Glove all star first baseman.
- stlouis1baseball - Nov 16, 2011 at 3:01 PM
Not getting nasty at all Cincy. I sincerely apologize for the missunderstanding. What I meant was…you have been salivating at the mouth at just the thought of the Cardinals (and NL Central) being without A.P. Hence…the piss yourself in excitement comment.
And considering you guys were well under the Cardinals payroll this year I would venture to guess…NO you can't afford to pay him. But you have Joey for a couple of more years anyway.
- cur68 - Nov 16, 2011 at 1:06 PM
This is a statement calculated to stroke Pujols's ego. The old "I could never replace you I can only try to get by" speech that Beldar made to Prymatt when she questioned him as to his actions on her hypothetical death. In fact I would say that moving Fat Elvis to 1st to replace Phat Al is the equivalent to saying this:
"If, for some reason your life functions ceased, my most precious one, I would collapse, I would draw the shades and I would live in the dark. I would never get out of my slar pad or clean myself. My fluids would coagulate, my cone would shrivel, and I would die, miserable and lonely. The stench would be great."
-B. Conehead, 1993
- b7p19 - Nov 16, 2011 at 1:08 PM
I'm sorry, but is that a Coneheads quote? Is that movie popular in Canada?
- stlouis1baseball - Nov 16, 2011 at 1:10 PM
LOL! Yep…only popular in Canada.
What do you expect?
Cur spells "Color" with a "u" on the end. You know I am only kidding Cur. LOL!
- Francisco (FC) - Nov 16, 2011 at 1:16 PM
HEY! I liked that movie and… oh yeah, now I live in Canada…. but at the time I liked it I WASN'T living in Canada…
- cur68 - Nov 16, 2011 at 1:22 PM
Well! Now I am drawing myself in hauteur. There is only one way to spell "Colour". The correct way. With a "u" after the "o". Do ya not know the Queen's English, man? Kids these days…
And, FYI, The Coneheads is one of the finest movies ever produced and stars that quintessential Canadian; Mr. Danny Akroyd. Defy me in this and you shall have to NARFTLE THE GARTHOK!
- Jonny 5 - Nov 16, 2011 at 1:39 PM
Seriously Coneheads is one of the best movies ever. And if you don't believe it then Cur will grab you by the base of your snarglies and make you like the movie. Or at least make you think twice about trash talking it.. either way, not pleasant.
- cur68 - Nov 16, 2011 at 2:24 PM
There is no way in hell I'm touching anyone's snarglies….well, maybe Jessica Alba's…
- spudchukar - Nov 16, 2011 at 2:30 PM
OK Cur, I can deal with the "U", but unless I am sadly mistaken Elwood spells his name Aykroyd.
- stlouis1baseball - Nov 16, 2011 at 3:06 PM
Cur: Another spelling comment/question.
In the Industry I am in…we "Anodize" Aluminum in different finishes. This is done by putting the material in "Anodizing" tanks. However, my Canadian counterparts in Toronto, Montreal and Lethbridge spell it "Anodising."
What gives? Another one we should chaulk up to the Queen?
- umrguy42 - Nov 16, 2011 at 4:48 PM
stlouis1… I suspect that cur & co. might not know this "aluminum" of which you speak. If you mentioned anodising aluminium, however…
- cur68 - Nov 16, 2011 at 7:57 PM
"Aluminum" without the extra "i" is how we say it round here, but this may be a regional affectation. As far as I am aware, only the Kiwi's, Ozzies and English throw in the extra "i". As for "Anodising", yeah that's an Oz,/Kiwi/Candian/UK thing I believe.
Hey, for amusement sake, try writing your graduate thesis using "Canadian" English sometime. You spend about a week trying to explain to your committee members who are from 1) New York, 2) China, 3) India & 4) Eastern Canada that there really are words like "flavour" & "colour" that are spelled as such in Canada but we do not use the spelling conventions "Foetus" or ""Haemorrhage". Then try to get them to agree on which to use. Get back to me when you graduate, if we all live that long.
- aceshigh11 - Nov 16, 2011 at 1:16 PM
Better Fielder than nothing, right?
I understand why they're saying it, but it would be foolish not to pursue Fielder if they legitimately can't reach an agreement with Pujols.
If you can't get your first choice, then going after your second choice should be a no-brainer, and Fielder is CLEARLY the next-best thing after Pujols.
- thefalcon123 - Nov 16, 2011 at 1:25 PM
Berkman and Craig are already under contract. I think the smarter move would be to move Berkman to 1st, start Craig in right and look to upgrade at SS or 2B instead.
- paperlions - Nov 16, 2011 at 1:27 PM
If they were going to over-pay a guy, why not over-pay the better player? By the time AP is in serious decline, Fielder will probably be DH-only material. I think they are just saying, if we are going to sign a long, expensive, risky contract…we are going to do it with the iconic, awesome player, not the fat guy that oscillates between good years and okay years.
- cintiphil - Nov 16, 2011 at 2:10 PM
I don't think that the Marlins are joking, they want Albert. The redbirds will not go after Prince, because if they wanted to pay a lot of money for a 1st baseman, they keep Albert. the Marlins are in excellent position to sign Albert with the low salary they are starting with. The Cardinals are near the top of their ability to pay him more. Probably, the redbirds can go as high as 125 Mil or so, max.
- cintiphil - Nov 16, 2011 at 2:35 PM
That is 125 Mil per yer for a team payroll.
- unlost1 - Nov 16, 2011 at 3:30 PM
KTRS reports insider rumor that Pujols has reached an agreement with the Cards & will be announced Friday
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