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BEST ENTRANCE: JCPenney
LOCATION IN MALL: Across from the Food Court
(772) 232-9490 | Driving Directions | American Eagle Outfitters Website |
View Deals | Mall Map
More stores to consider
Fashions Menswear
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Computer, Internet, and wireless use policies
The library maintains access to the Internet as an electronic tool for customers and staff to locate information. As a matter of policy grounded in the First Amendment and existing law, the library affirms the right of individuals to have access to constitutionally protected material.
Rules for computer and Internet use
To maximize the availability of limited resources and to ensure fair access to all, customers are expected to follow the library's rules. Violation of these rules may result in loss of web access or library privileges. Library staff has full authority to enforce these policies and procedures as well as policies related to general behavior in the library.
- Public computers in the libraries shut down ten minutes before closing.
- Customers whose library card accounts are blocked because they owe $25 or more in fines or fees will not be able to use the libraries' computers. Read more about paying fines.
- Customers whose library cards have expired will not be able to use the libraries' computers. To renew a library card account, all fines and fees must be paid. Read more about renewing library card accounts.
- The time limits on Internet/Word/Excel/PowerPoint computers are:
- 30 minutes per session and 60 minutes total per day on Children's Room computers;
- 15 minutes on an Express computers; and
- 60 minutes per session and 120 minutes total per day on adult computers.
- Each individual may have up to 120 minutes per day. Even if that person has access to several cards, he or she may still only use up to 120 minutes per day.
- There is no time limit on the use of the catalog/database computers, unless a customer monopolizes the machine to the point where other customers are unable to access it.
- Customers must have their library card number and PIN to use the Internet, Word, Excel, or PowerPoint or to print from any PC. For cardholders who do not have their cards with them but have appropriate identification, staff will look up and provide their card numbers.
- If a staff member suspects that a computer user is using another customer's card without permission, the staff member may approach the computer user and ask for the name of the person who granted permission to use the card. The card owner may be contacted to ensure permission has been granted.
- People who want to use MCPL computers, but do not have a library account, can be issued an Internet Card. An Internet Card is good for one year. It can only be used to log onto MCPL's public computers.
- Customers using workstations should not interfere with or disrupt other users. The equipment must be shared and used in a manner that respects the rights of others. Library staff has full authority to manage the use of equipment to achieve these ends. Users must relinquish computers if a staff member asks them to do so.
- Equipment and software must be used as installed. Customers must not reconfigure the workstations, load new software, or run their own software.
- Customers use library computers at their own risk.
- Customers may bring their own headphones to use with library computers.
- Under State Law, it is a misdemeanor to damage the equipment in any way: " ... a person may not unlawfully take, detain, mutilate, injure or disfigure books ... or any property of any library." (Annotated Code of Maryland 23-408)
- Customers are expected to be considerate of others when viewing Internet materials. Staff will intervene to ensure compliance with State law: " ... a county library shall ... Adopt and implement policies and procedures to prevent minors from obtaining access through the library, by means of the Internet, the World Wide Web, Usenet, or any other interactive computer service to materials that are obscene or constitute child pornography ..." (Annotated Code of Maryland, Education 23-506.1) Many children are in the library, and may see materials on computer screens being used by others. Under some circumstances, so that the library can comply with Maryland law, customers may be required to use a privacy screen.
- If staff believes that a customer is printing, downloading, e-mailing or otherwise distributing child pornography, the police will be called to investigate.
- Users are responsible for compliance with all copyright notices and restrictions attached to web content as well as all applicable state and federal laws.
- Computers in children's areas are for children's use only. No one over 12 years may use these computers for any purpose unless they are a parent/guardian/caregiver accompanying a child.
- Branch staff have full authority to designate certain computers for specific purposes (for ex. e-mail only, library catalog only, health information only, etc.) in order to manage access to limited resources. These designations may change from day to day or even hour to hour depending on user needs.
- To book specific workstations:
- Customers wishing to use the ADA PC should identify themselves to the Information Desk staff. They will be placed first in the waiting list for that specific machine, getting it after the customer using it is finished. Customers with the special ADA sticker on the library card can be given up to 30 minutes additional time on the PC.
- Children, ages 12 and under, will first be assigned to a PC in the Children's Room by the session management software. If all PC's in the Children's Room are in use, the child will be assigned to a PC in the Adult area. If a child wishes to use a Children's Room computer instead of the assigned Adult one, the child must make this request to an Information Desk staff member, who will place that child next in the waiting list for a Children's Room PC.
Wireless use
Wi-Fi is available at all branches.
No special encryption settings, user names, or passwords are required. You cannot access the library's printers from your wireless device. Use at your own risk.
You may experience fluctuating bandwidth on the libraries' public wireless, depending upon how many people are using the wireless connection and what they are downloading. Streaming video and some online games consume large amounts of bandwidth. Some areas of our library buildings may not be close enough to a wireless router and may have lower signals and slower speeds.
- The library is not responsible for the privacy of information you transfer over our network. See tips for using public wi-fi networks safely from OnGuardOnline.gov.
- You are responsible for ensuring that your computer has security protection against viruses and other malware. You use the library's wireless network at your own risk.
- The library assumes no responsibility for damage, theft, or loss of a customer's equipment, software, data files or other personal property brought into or used at the library's facilities.
- Library staff is not able to provide technical assistance. You are responsible for your own equipment. The library does not take responsibility for any changes you make to your computer's settings and cannot make any guarantee about the compatibility of your equipment with the library's network.
- There is no guarantee that you will have wireless access at any library branch at any specific time or with any specific equipment. Service disruptions may occur, and some equipment may not be compatible.
- The library does not guarantee that you will have access to every Internet site using the Wi-Fi connection.
Restrictions, filtering, and privacy
MCPL reserves the right to block certain ports and protocols over the library network. Customers may receive a message that an activity is blocked and peer-to-peer applications will not work.
The following are restricted categories and protocols:
- illegal content
- spyware/phishing
- SMTP [Port 25]
- P2P file sharing
Computers designated for children are filtered for adult content and are restricted to children 12 years old and under.
Customers who wish to filter their Internet searches may use search engines with filtering options, such as Google SafeSearch or Yahoo SafeSearch.
The library cannot be responsible for passersby seeing what websites are being used in the library. Upon request, the library offers privacy screens that limit the ability of people passing by to see what is displayed on workstation screens.
When customers logout at the end of their computer sessions, nothing is saved on the computer's hard drive. The cache of Internet sites visited is cleared automatically. Customers who wish to may also clear the cache themselves prior to logout. The Pharos automated Internet sign-up system purges customer session sign-up records within 36 hours.
For more information about the confidentiality of computer use records, see MCPL's Privacy Policies.
Users may save information from the library computers to their personal flash drives or to free personal accounts on cloud-computing platforms, such as Google Docs or SkyDrive. Users may not save to the hard drives of library computers.
Printing charges and refunds
- Printing from all library computers is $.15 per page. You will not be able to use library printers from your wireless device.
- Circulation records, information about customer accounts, ILL information, and up to three pages of information to answer customer information/reference questions will be printed free by staff at the service desks.
- Fifteen cents is the minimum that can be added to a customer's session management printing account, and $15.00 is the recommended maximum that can be added. Payments by check must be for at least $1.00. Unused money from a session management printing account will not be refunded.
- MCPL will issue refunds for photocopies or computer print-outs only if the machine produced a blurred, black, or otherwise unreadable copy or if the paper leaves the machine torn or wrinkled.
- Customers should always use Print Preview before sending a print job to make sure that the number of pages is correct, that no blank pages show, and that the text on the page is complete. Printing a blank page or a page with missing text does not constitute a bad copy for refund purposes.
Guidance for using the Internet
MCPL cannot monitor or control the content of any individual Internet site and assumes responsibility only for the information provided on its own website. Links from the library's web page to any product, service, or information do not constitute an endorsement. With this in mind, please note the following suggestions:
- Users should evalute the accuracy, completeness, and currency of Internet sites. See Evaluating Internet Sites.
- Users are cautioned that the Internet is not always secure and that the privacy of credit card transactions and other communications is not assured.
- Parents/guardians/caregivers are urged to work with their children in the proper use of the Internet and its resources. Children's Internet use is the responsibility of parents, not of library staff. Internet computers in the children's areas of the branches are equipped with filtering software. Filters are an imperfect technology and do not provide a guarantee of complete content screening. MCPL's web pages for Kids have links selected for children. For more information on children and the Internet, see Child Safety on the Internet.
- Staff members are able to provide users with limited assistance for getting started on the Internet but cannot offer in-depth personal instruction. MCPL offers computer classes and circulates many titles about computers and the Internet.

subset: commoncrawl


text:
Hi All Experts,
I have installed Zimbra Open Source Edition 6.0 sucessfully. I am using samba4 AD for DNS resuluon.
Zimbra from internal authentication is working fine. Now i want to use my Samba4 AD External authentication.
My GAL and Auth setting are sucessful. But it is not showing any record form AD. My aim is to use Samba4
AD as user database. It should be aware of any change automatically nothing will be managed in zimbra server.
Zimbra is working on Centos 5.9 32 Bit. It there any one in the list, who used in this scenario.
kindly help.


text:
Track-Day Third-Gen CamaroWritten by Brandan Gillogly on September 19, 2012 Contributors: Wes Allison
At least half of the HOT ROD staff saw Austin Gerding's '87 Camaro carving up the autocross course during the '12 HOT ROD Power Tour®, and we were dying to know the secrets behind building a machine that looked so wickedly capable. It turns out that Austin is a mechanical engineer who works at GKN Driveline, a developer and supplier of CV joints, AWD systems, and transaxles. With that sort of background, it's no wonder his Camaro has evolved into such a neck-snapper. Here's how a moderate budget and a whole lot of engineering and fabrication talent made for an interstate-capable track car.
"It's not a drag car, but I ran a corrected 12.5 at 115 mph at Gateway Motorsports Park on street tires."— Austin Gerding
Austin bought the Camaro 15 years ago, and drove with the original TPI 305 for a few years before swapping to a 350. He limped through a cracked block during his ramen-noodle-and-SPAM-budget college days and really tore into it over the past five years, adding Trick Flow Heads and a single-plane EFI intake using a modified TPI harness and ECM. After that setup threw some gremlins his way in 2011, Austin rescued a 5.3L from the junkyard. It's an L33, which means it's the high-output, 315hp version, only available in '05–'07 extended cab, 4x4 Silverado and Sierra 1500s. Austin ported the 799 head castings himself and had them decked to achieve a 10.5:1 compression ratio. A Comp hydraulic roller cam with 0.581-inch lift and an advertised 273 degrees of duration activate the stock lifters and rockers. Besides the cam and PAC 1518 beehive valvesprings, the rest of the valvetrain is OEM. Even the induction and ignition uses production parts, with an LS1 intake and ECU and factory 5.3L truck coils. The only deviation is a set of 36-lb/hr injectors from FuelInjectionConnection.com. A major ally in the LS conversion was HawksThirdGenParts.com, where Austin found the 1.75-inch primary stainless headers and Y-pipe. The exhaust exits a third of the way back on the passenger-side rocker panel after passing through a Spintech muffler that Austin "mutilated to fit." According to Austin, the benefits of the exhaust are excellent ground clearance and low weight. Plus, it looks like a C6R.
A NASCAR-refugee Jerico four-speed was an eBay score. Its dog-ring gearset allows for quick, clutchless upshifting even at high rpm. An eBay store called Chevelle Parts had the aluminum bellhousing—the only one Austin could find that uses all eight bolts on the LS block and also matches the old-school Jerico. A Quartermaster 8.25-inch, twin-disk clutch and Quartermaster flywheel couple the two. The trans crashes and clangs a lot on the street, and a racing, multidisc clutch has very little pedal travel and can be tricky, but the glorious bang shifting makes it all worth it.
After seeing what the '87 was doing on the autocross course, we expected Austin to keep the suspension details under wraps, but as best we could tell, he didn't hold anything back.
You'll find lots of factory parts in the suspension; the key is tuning them correctly. Up front, Koni sport struts work with factory 36mm sway bars and control arms on a K-member modified with adjustable spring perches to customize ride height. The crossmember was notched to fit the LS oil pan, and the factory spindles were modified to fit C5 Corvette brakes. The rear uses Unbalanced Engineering's (UnbalancedEngineering.com) Panhard-bar lowering kit to lower the rear roll center, and a decoupled torque arm is based on an Unbalanced Engineering kit for fourth-gen F-bodies. Since that kit wouldn't work on the '87, Austin built his own. He explains, "The decoupled torque arm is two suspensions in one. During acceleration, it is a torque arm with a shorter length than stock to produce more antisquat, which ultimately puts more traction to the ground. In braking, it is essentially a three-link suspension with a long, stable instant center that reduces wheelhop and ultimately allows higher rear-brake bias and reduced stopping distance."
Austin was quick to give credit to Herb Adams for the design of the torque arm, but he can claim all of the credit for the lightweight 8.6-inch rear axle setup "The axle is unsprung weight, so it has a dramatic effect on your shock and springs' ability to keep a consistent force between the tire and road surface. I made it a personal challenge to get this axle as light as possible. The aluminum centersection is like what would have been used in a Trailblazer EXT or an SSR. The axletubes are made from 3.0x0.120-inch 4130 and machined to fit. I built a tool to press the axletubes in the centersection. The housing ends accept 9-inch Ford wheel bearings, and I had them offset-machined to add 0.5 degrees negative camber. Even with 50 pounds of brakes, the assembled weight is less than the 71⁄2-inch 10-bolt that I removed from the car and is 50 pounds lighter than a similar 9-inch or 12-bolt." The diff is filled with a 3.42 ring-and-pinion, a Torsen T2R limited slip, and Moser 30-spline axles.
It's hard to describe the suspension without mentioning the extensive, 1.75x.095-inch, DOM mild-steel 'cage that ties into the front and rear shock towers as well as the subframe connectors. The 'cage is so close to the exterior of the car that Austin calls it "ship-in-a-bottle" construction. Built to the NASA American Iron/American Iron Extreme rules, the 'cage was fully TIG-welded and uses halo bars that are as far away from the occupants' heads as possible. In true '80s Camaro fashion, the car was originally equipped with T-tops, but a donor car supplied a roof that was completely stripped of reinforcement steel. With the original top out of the way, Austin had full, 360-degree access to weld in the halo bars. The donor roof was tied into the 'cage at all four corners, and in some places the skin is only 1⁄8 inch from the cage.
Weight Savings
The rear hatch was replaced by an aluminum decklid Austin fabricated from 0.065-inch-thick aluminum sheet and a composite window from Percy's Speedglass. It's attached with Dzus fasteners. The front windshield is also Lexan. Add up the weight savings from going to an all-aluminum engine, an aluminum rearend centersection, VFN fiberglass bold-on hood, a gutted interior and stripped roof skin, and the final curb weight of 2,825 doesn't sound so surprising. It also explains how it is so speedy.
American Iron Racing
NASA, when it comes to racing, stands for National Auto Sport Association.
NASA's American Iron series is basically for '60-present cars made by Ford, GM, and Chrysler, but also includes Shelby, Roush, Saleen, Hennesey, FR500, and other tuners. Cars must have at least a 100-inch wheelbase and must retain the stock front clip, floorpan, and subframe. See NASAproRacing.com.
Third-Gen Camaro Facts
The third-gen was produced for the '82–'92 model years
The third-gen was the first factory Camaro with fuel injection, beginning in 1982.
In 1982, Camaro was Motor Trend's Car of the Year as well as the Indianapolis 500 Pace Car.
The IROC-Z debuted for 1985
The '87 was the first model year since '69 that the Camaro was available as a convertible.
Early third-gens were lightweight but flexible. Later, GM added frame and body reinforcements that greatly stiffened the cars but added weight.
More Photos From This Article View Slideshow
Keith Strong at Ice Nine Customs (IceNineCustoms.com) applied the BASF Code 50 paint, which is a match of the original color. "I did the metalwork and fabrication; Ice Nine made it look nice," says owner Austin Gerding.Despite the race car looks, the Camaro handles streets just fine, as long as you don't mind the clanky trans and a totally gutted interior. The '12 event marked Austin's second Power Tour(R).For the sake of headroom and weight distribution, both Sparco bucket seats were mounted 10 inches aft of stock. A Woodward Precision Power Steering (WoodwardSteering.com) collapsible column with detachable Grant wheel helps to make up for the rearward shift.Hypercoil 1,200-lb/in springs in the front and 400-lb/inch Suspension Spring Specialist coils in the rear lowered the car by about 3 inches. Adjustable spring perches at all four corners allow for fine-tuning ride height and corner weight.Aside from the blinker on the steering column, this is the only additional wiring that makes the Camaro a street car.A Wilwood reverse-mount pedal assembly offers adjustable-brake bias . The front master cylinder is 3⁄4 inch and the rear is 7⁄8 inch.That's an all-aluminum 5.3L. Air travels through a K&N filter, an LS1 MAF sensor, and LS1 intake before it meets fuel via 36-lb/hr injectors fed by a Corvette fuel regulator set to 58 psi. Tuning was done by Jesse Murray in Hartland, Michigan.
Hot Part (HotPart.com) caster and camber plates allow far more suspension adjustment than factory plates. Austin runs -21⁄2 degrees of camber, 6 degrees of caster, and zero toe. Note that the cage reinforces the strut towerThe cage follows the body and is tied into the pillars with dimple-died panels. Sparco Pro 2000 FIA seats will soon feature Schroth six-point harnesses.After the LS swap, electrolysis led to the early failure of three radiators, but the 31x16-inch Griffin race radiator has outlasted the previous three combined. That's the stock GM TPI fan.Here's a peek at the custom rear axle that shows off Unbalanced Engineering's Panhard-bar lowering kit.The fender lips were rolled for tire clearance, and the front ones only rub at full lock. All four corners use 275/35-18 Dunlop Direzza tires on 18x91⁄2-inch wheels for the street and Hoosier 275/35-18 tires on 18x101⁄2-inch wheels for the track.According to Austin, the plan is for the car to hit between six and eight track events per year, and so far the car has seen track time at Grattan, Gingerman, Mid Ohio, Nelsen Ledges, and Waterford Hills.More lightweight Lexan was used for the rear spoiler, along with an aluminum piano hinge, angle, and strut rods.
While the 'cage was being fabricated, Austin took the opportunity to swap a hardtop roof panel. With the T-top roof gone, he had full access to weld the halo of the cage.Corvette brakes, Camaro spindles and arms, and Koni struts with Hot Part camber plates make up the front suspension.Exhaust was kept short to reduce weight. The Spintech muffler had to be "mutilated" to fit in the rocker.An underneath view reveals the notched crossmember to fit the LS oil pan as well as the tight header fitment that maximizes ground clearance.The driver-side linkage on the Jerico four-speed meant Austin had to do some trans-tunnel modification.The trick aluminum centersection of the GM rear axle helps to give the car a 50-pound weight advantage over a similar 9-inch.The former NASCAR trans didn't have a provision for a speedometer, so Austin clamped this tone ring onto the output shaft.


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Railroad shipping: Volumes take a dip for week ending July 10, says AAR
The Association of American Railroads (AAR) today reported that monthly rail carloads for June 2010 were up 10.6 percent compared with last year, but still down 10.2 percent compared with June 2008.
July 16, 2010
Railroad volumes for the week ending July 10 were down year-over-year and compared to 2008, according to the Association of American Railroads (AAR).
Weekly carload volumes—at 252,963—were down 3.5 percent compared to 2009 and down 20.8 percent compared to 2009. This was below the week ending July 10, which hit 287,777 carloads. But the week ending July 10 included the July 4 holiday, and the comparison weeks in 2009 and 2008 did not, said the AAR. The week ending April 24, which hit 294,218 carloads, is the highest weekly carload level since December 2008, according to the AAR.
In October 2009, the AAR began reporting weekly rail traffic with year-over-year comparisons for the previous two years, due to the fact that the economic downturn was in full effect at this time a year ago, and global trade was bottoming and economic activity was below current levels.
Intermodal traffic—at 192,954 trailers and containers—was up 9.1 percent year-over-year and down 16.8 percent compared to 2008. This paled compared to the week ending July 3, which hit 231,286 trailers and containers and was its highest output since week 42 of 2008.
Despite the relatively low intermodal volume for the week ending July 10, which included the July 4 holiday, intermodal performance has been on a roll of late, due, in part, to a tightening of truckload capacity, which has some shippers converting to intermodal. This is indicative, said the AAR, of a years-long trend of domestic freight converting from truck trailers to containers on rail; truck trailers can be double-stacked, which makes them more cost-efficient and effective.
The AAR reported earlier this week that intermodal volumes for the month of June—at 1,101,333 containers and trailers—was up 19.2 percent from June 2009 and down 1.4 percent from June 2008. And the AAR said the weekly average of 220,267 trailers and containers in June was its highest since October 2008, topping the previous high compared to October 2008 from May, which hit 216,879 trailers and containers.
Intermodal's strength was apparent in J.B. Hunt's second quarter earnings release this week, with intermodal accounting for 57 percent of its quarterly revenue. Stifel Niclolaus analyst John Larkin wrote in a research note that this is reflective of intermodal "continuing its market dominating performance in the [second quarter]."
As LM has previously reported rail industry stakeholders remain optimistic about railroad growth throughout the remainder of 2010. Among the things they have pointed to include increased industrial production growth in the form of manufacturing and new orders indices, as well as gradual consumer spending, among other factors, as drivers for these gains. But even though volumes are slowly recovering, they are still well below previous peak levels.
And volumes are likely to remain strong on a year-over-year basis until at least mid-summer for most of the major carload categories, wrote Avondale Partners analyst Donald Broughton in a research note.
On a year-to-date basis, total U.S. carload volumes at 7,591,926 carloads are up 7.4 percent year-over-year and down 13.2 percent compared to 2008. Trailers or containers at 5,627,846 are up 12.8 percent year-over-year and down 6.6 percent compared to 2008.
Of the 19 carload commodities tracked by the AAR, 6 were up year-over-year. Metallic ores were up 72.8 percent and metals and metal products were up 42.4 percent.
Weekly rail volume was estimated at 32.0 billion ton-miles, a 22.0 percent year-over-year increase. And total volume year-to-date at 807.9 billion ton-miles was up 8.9 percent year-over-year.
Click Here for a (PDF) copy of Rail Time Indicators - A Review of Key Economic Trends Shaping Demand for Rail Transportation
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NVB offers a variety of payroll services. Find the one that fits your needs.
Now is the time to make your dream home a reality.
Keep your future looking bright with an NVIS Investment Plan.
The Five Forecasters still favor the continuation of the current bull market
and no recession.
The number of bulls is dwindling. In periods of extreme market volatility
such as we have experienced in recent weeks
The start of fourth quarter earnings season may help the stock market
find its footing.
It was a lackluster 2015 for the stock market with the S&P 500 managing a
total return of just 1.4% (dividends included).
Finally! For the first time in nine years, the Fed finally raised interest rates.
High-yield bond weakness has led investors to fear that a recession or bear
market may be forthcoming.
Gains in 2016 may require tolerance for volatility. Stocks historically have
offered a tradeoff of higher return for higher risk...
stocks to navigate the
eventual start of the
Fed rate hike cycle with
the benefit of a
continued U.S.
economic expansion
and earnings gains in
the months ahead.
Although Fed stimulus
and low interest rates
have played a role in
fueling the current bull
market, earnings
growth has been a far
bigger factor.
Fighting the Fed may be
a winnable battle for EM.
EM valuations are
compelling and, in our
view, have priced in a
fair amount of risk.
We see sufficient
upside potential to
maintain modest EM
equity allocations
despite significant
growth challenges.
In challenging market
environments, technical
analysis tools can
help us make better
investment decisions.
Our technical playbook
suggests recent market
weakness may present
a buying opportunity.
We are mindful of risks
that might impact our
playbook, including a
potential China hard
landing or a central
bank policy mistake.
This week we answer the
top 12 investor questions in
response to the S&P 500's
12% correction.
We expect the U.S.
economic expansion and
bull market may continue
through year-end, despite
the latest stock market
correction and
China uncertainty.
We reiterate our forecast
for stocks to produce midto
high-single-digit returns
in 2015.
As a bull market matures
over the second half of an
economic expansion,
periods of increased market
volatility are likely to
become more common.
Periods of volatility bouts
will likely create a more
challenging environment for
investors, and in the short
term, sentiment can control
markets as investor
sensitivity to certain
risks spikes.
We believe the
fundamentals and the
dynamism of American
corporations are likely
to drive further stock
market gains.
Expectations for the back to
school shopping season are
low, and this season may only
be flat versus last year.
Several consumer spending
tailwinds suggest the
consumer discretionary sector
may be poised to outperform
through year-end.
The additional supply
expected from Iran and the
slow response by producers
to reduce supply may
lengthen oil's stay in the
$5 0– 60 range.
We have tempered our
previous enthusiasm for the
energy sector and at current
oil price levels view it as a
market performer.
Q2 earnings season may look
a lot like Q1 as companies
once again face the twin
drags of the energy downturn
and strong U.S. dollar.
Corporate America may
impress in other ways, such
as its resilience to the latest
Greece and China flare-ups.
As earning season
progresses, we will watch for
evidence that earnings will
accelerate in the second half.
The referendum result this
weekend throws Greece's
future in the currency union
firmly in doubt.
Here we address the question
of whether the heightened
risk of a Greek exit from the
Eurozone might lead to
contagion for global markets.
We do not believe Greece is
another "Lehman moment"
and it may present an
attractive buying opportunity
for European equities.
We do not believe transports'
weakness is a signal of an
impending economic and
market downturn.
Historical data suggest
transports' underperformance
may actually be signaling a
buying opportunity for the
S&P 500 rather than a sell.
We believe transports
present an attractive
investment opportunity for
the second half of 2015.
We believe corporate
America will provide a much
needed boost for the second
half — providing the seventh
year of positive returns in
2015, in the 5 – 9% range
we forecast.
Our forecast is based on
expected mid-single-digit
EPS growth for S&P 500
companies, supported by
improved global economic
growth, stable profit margins,
and share buybacks in 2015,
with limited help from
valuation expansion.
The upcoming ACA
Supreme Court decision
may create a buying
opportunity for the
healthcare sector.
We believe the odds favor
the status quo, meaning
that any selling pressure
related to the risk of
losing insured patients
may present a
buying opportunity.
European earnings have
surprised on the upside
while guidance has led
to rising estimates,
contributing to strong
recent performance by
European stocks.
Japan's first quarter
revenue growth outpaced
both the U.S. and Europe,
while Japanese
companies beat revenue
forecasts at a solid rate.
Greece is unlikely to
maintain its debt
repayment schedule
without a resolution.
A default and a Greek exit
may add volatility to the
equity markets, but do not
appear to present a
systemic risk at this point.
This week we pay tribute
to David Letterman's last
Late Show with our own
top 10 list: the top 10 keys
for stocks.
A potential snapback in
the U.S. economy is the
number one issue for the
stock market, but here we
list nine other issues that
will be important in
determining where stocks
go in the near term.
The S&P 500 is on track
to post year-over-year
earnings growth of about
2% in the first quarter — a
solid result considering the
significant drags from the
oil downturn and strong
U.S. dollar.
Healthcare led the upside,
followed by energy,
technology, and financials,
while industrials struggled.
We believe emerging
markets (EM) score well
when evaluated along
some of the same
criteria that NFL football
teams use to assess
potential draft picks:
speed, strength, value,
upside potential,
and character.
According to our
evaluation, EM scores
very well on the first
four metrics, and the
fifth — character — is
sufficiently discounted
in terms of policy
and corporate
governance risks.
EM may make a good
draft pick to add to
your portfolios.
Investors continued to
embrace risk this past
week as the Nasdaq
reached a new high
while peripheral
European bonds and
emerging market
equities rallied.
Regional economic
growth continues to
diverge but slowly moves
ahead, largely pushed by
internal demand and
supported by liberal
monetary policy.
The Russell 2000 Index
hit a fresh all-time high
last week (on tax day,
April 15, 2015) and has
outpaced large caps by
205 basis points (2.05%)
year to date.
Although valuations are
on the high side, the
factors that have driven
recent small cap
strength, in our view,
remain largely intact.
Small cap technicals
appear bullish,
with positive relative
strength and an upward
sloping 40-week
moving average.
Regardless of whether
China hits its 7% GDP
target for Q1, its stock
market has already been
positive so far this year.
Despite strong recent
performance, Chinese
stocks may see
further gains.
We maintain our positive
view of broad EM, with a
preference for Asia.
A snapshot of
LPL Financial Research's
views on equity, equity
sectors, fixed income, and
alternative asset classes.
This biweekly publication
illustrates our current views
and will change as needed
over a 3- to 12-month
time horizon.
We are initiating a master limited partnership (MLP) view (neutral/positive) and
introducing several new alternative investment categories.
Upgrading technology and industrials to positive and munis (int.) to neutral/positive.
Read real-time insight into the trends that shape LPL Financial Research's recommended actions to manage portfolios, it has proven to be a useful investment decision-making tool.
While the certainty provided by an election
outcome has been positive for the stock
market over time, our positive stock
market outlook is based much more
on fundamentals.
It does not get more fundamental than
earnings, which are on track to grow by 10%
year over year for the second straight quarter.
Earnings season is not over, but with about
90% of S&P 500 companies having reported
results, we are ready to declare it a success.
It is important to recognize that the S&P 500
is not GDP. S&P 500 companies have different
drivers for earnings than the components that
drive GDP.
The backdrop of solid business spending within a
slower trajectory of overall GDP growth can be a
favorable one for the stock market.
Although stocks are at the low end of our target
10–15% S&P 500 return range for 2014, we see
further gains between now and year end as likely,
with profit growth as a primary driver.
We remain confident in corporate America's
ability to generate solid earnings growth in the
current global economic environment despite the
slowdown in Europe (and to a lesser
extent, China).
A number of U.S. companies have performed
relatively well in Europe, with some not yet
seeing signs of a slowdown in their business.
The business environment overseas appears
to be good enough for companies to largely
maintain their outlooks for the rest of the
year and into 2015.
We believe the oil sell-off is overdone and expect
the commodity to find a floor in the low $80s.
We expect firming global growth to increase
the market's confidence in global oil demand
despite weakness in Europe.
Energy service stocks are particularly oversold
and may be attractive as the services-intensive
U.S. energy renaissance continues.
We see the recent increase in volatility as normal
within the context of an ongoing bull market.
We do not believe the age of the bull market, at
more than 5.5 years old, means it should end.
We maintain our positive outlook for stocks for
the remainder of 2014 and into 2015.
Earnings season is here and may counteract
the negative headlines with another
dose of positive fundamental news.
We expect the third quarter of 2014 could
produce another good earnings season, which
we believe may positively impact stocks.
While there are some headwinds, Europe
in particular, the U.S. economic backdrop is
supportive and profit margins should remain
high, given the few signs of cost pressures.
The yield curve has a perfect record in
signaling recessions over the past 50 years.
One of our "Five Forecasters," the yield
curve tells us that a recession and significant
market downturn are likely a ways off.
Last week we discussed why buying
European stocks now, following the recent
stimulus announced by the ECB, is very
different from buying U.S. stocks during
periods of Fed stimulus in recent years.
This week we take a deeper dive into the
investment opportunity in Europe and evaluate
fundamentals, valuations, and technicals.
We recommend that investors "fight the ECB."
We do not believe the additional stimulus
is enough for us to recommend European
equities over U.S. equities at this time.
Buying stocks after the various QE programs
were announced by the Federal Reserve was
generally a profitable decision for investors.
To answer the question about whether
the ECB programs will have the same
impact on European stock markets, we
point out some key differences between
the United States then and Europe now.
We believe the "three Rs" are keys
to the outlook for the stock market:
revenues (and profits), reinvestment,
and the renaissance in manufacturing.
We expect stocks to garner support from
these three Rs in the form of continued
growth in revenues and profits, more
corporate reinvestment, and continued steady
gains for the U.S. manufacturing sector.
The resolution of election uncertainty — and
ending the predominantly negative rhetoric
surrounding the campaigns — has historically
been a positive for the stock market.
We continue to see opportunities for further
stock market gains over the course of 2014,
based upon fundamentals rather than the
potential for sweeping legislative change.
The first rate hike by the Fed has never been
an indication of a market peak.
On average, the first rate hike has taken place
37% into the economic cycle (measured peak
to peak).
The S&P 500 has returned on average,
another 58% after the first rate hike (price
return) before the market peak for the
economic cycle.
The initial market reaction to a rate hike is, on
average, negative, but the data show it pays to
be invested.
We believe the LEI is one of the better
indicators to foreshadow recession.
The latest information from the LEI suggests
a positive backdrop for stocks and low risk
of recession.
Volume has picked up during the recent downturn. No, we are not talking
about trading volumes; we are talking about the volume from your TVs with
talking heads warning about an impending stock market downturn. If you
turn off the TV and focus on what the market is telling you, rather than the
talking heads, you can tune out the noise.
Losing under 3% in a week seems a minor
concern given historical market ups and
downs; nevertheless, investors may begin
to wonder if stock market valuations are
signaling a decline.
Since the end of the last significant sell-off
for stocks, the market has been in a pretty
consistent upward trend.
Valuation is a poor market-timing
indicator; while valuation should always
be considered, it is a blunt tool that
should be taken into broader context.
Amid the barrage of nearly constant economic and market data, nothing is
more important to assess the health of corporate America than the quarterly
check-in that we affectionately call earnings season. As earnings season
approaches its halfway mark, it's a good time to take a look at what we've
learned so far.
If a tax holiday is enacted and the repatriated
funds by multinational corporations are used
to buy back shares or retire debt, it could
potentially act as a very potent market stimulus
equivalent to the height of the Fed's QE3.
A common worry among investors is that the
stock market may fall as the Fed gets closer
to hiking rates. In fact, the S&P 500 has
posted a gain in the 12 months ahead of the
first rate hikes over the past 35 years.
Much like the television comedy Seinfeld,
which celebrated its 25th anniversary this
past Saturday, July 5, 2014, the second
quarter earnings season is likely to be "a
show about nothing."
Similar to a farming
almanac, our Investor's Almanac is a publication containing a guide to
patterns, tendencies, and seasonal observations important to growing.
The goal of farming is not merely to grow crops, but to sustain living
things — investing shares the same goal.
Just as the World Cup has been heating up,
increasing the risk of player mistakes, the
world consumer price index (CPI) has also
been heating up, complicating the task for
policymakers at the world's central banks and
increasing the risk of mistakes that could have
market implications.
Emerging market stocks have now pulled ahead
of the performance of the S&P 500 Index for
2014, which may finally mark the beginning of
the turn for EM relative performance.
At the heart of it, all markets come down to
buyers and sellers. Taking a look at who is
buying and who is selling can tell us something
about the durability of the market's performance
and what may lie ahead.
No debate here: Over the past five years,
modest declines in bond yields in the range of
0 – 50 basis points occurred along with modest
gains of 0 – 10% for stocks.
Why — if the United States is producing more
oil and consuming less than it was a decade
ago — is the price of oil going up, and what does
it mean for investors?
If Godzilla-sized quantitative easing aligns with a
fading impact from recent tax hikes, increasing
political support for corporate tax cuts, and
a push by government pension funds into
stocks, it may mean a blockbuster summer for
Japanese stocks.
The volatility we call "market storms" is likely to continue to be a
characteristic of markets this year, caused by well-known factors, such as:
geopolitical conflict in Russian border countries, slower economic growth
in China, or a weak start to the year for the U.S. economy, among others,
but also lesser-known factors like the Oklahoma earthquakes, solar flares
disrupting communications, and the Ebola outbreak...


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Air Conditioner Louver Housings - French CurvesWritten by on December 4, 2009 Hammerforming A/C Louver Housings For A Curved Dash
Over the past two months we've covered the installation of a Vintage Air A/C system on my project '49 Chevy. Something you may have noticed missing were the louvers in the dash. The reason for this was because I didn't want to mount them under the dash where they'd be less effective at blowing air toward the driver and passenger's upper body, but I also didn't want to mount them in the dash, as I was hoping to maintain a period appearance inside the car. However, I finally decided to french them in the dash and make them as unobtrusive as possible.
I chose Vintage Air's Proline Rotary Vane louvers because I felt they were the most "retro" looking (if any aluminum A/C vents can be retro) and decided to make a hammerform to fabricate frenched housings that I could weld into the dash. Given that the dash is curved, I simply couldn't drill it and bolt the louvers in place anyway, so why not make a detail out of it?
Hammerforms are simple to make, and can be used to fabricate a variety of small panels. While I could have just welded a blind tube into the dash and ground the welds, doing the job this way allowed a nice radius to the edge of the hole in the dash, and made the welding easier. If you're going to make hammerforms, MDF is ideal, as it is available in various thicknesses, is easy to work with, and is strong. I used 3/4 inch plywood, as I only paid 20 cents for this offcut plus the hardware store had no MDF and I knew I'd only need to use it four times. However, MDF will last longer and won't split as plywood is wont to do.
More Photos From This Article View Slideshow
To form the recessed sections in which to mount the louvers I purchased a 1 foot length of 3-inch-diameter mild steel tubing into which the Vintage Air Proline Rotary Vane louver would fit.The end of the tubing was blanked off with a flat steel plate, which was MIG-welded into place. The welds were then ground and dressed.This cover plate section mounts in the center of the dash to the left of the speaker grille. Its curve matches the dash perfectly, making it a handy template to mark the curvature on the side of the 3/4-inch plywood used to make the hammerform.Using nothing more exotic than a 4-inch grinder with a softpad, a Surform, and 80-grit sandpaper on a block, the wood was shaped to match the curvature of the dash. While I'd usually use MDF, this plywood offcut from my local hardware store was ideal and should last the four times it needs to be used. As a bonus, the lines where each sheet is glued to the next made an ideal visual guide to getting the curve uniform.Obviously a compass and pencil would be ideal to mark the hole to be cut in the curved section, but a 3-inch-diameter mini grinder softpad worked just as well, as it could be bent to match the shape of the wood.Again, making do with what was on hand, I used a 2 5/8 inch hole saw in a drill press to start the hole cutting because that was the largest size in my toolbox.
Wanting to mark a line around the hole as a guide for sanding a radius, I taped an Allen wrench to a pen to ensure the line was equidistant from the edge of the hole around its circumference.With the radius sanded by hand, the wooden form was clamped to another, larger piece of plywood and screwed in place. As the edge of the hole nearest the camera was pretty thin, and I knew it'd split when hammering the steel over it, I made a quick sheet steel brace to hold everything together at this point.This is the completed hammerform, ready for use. This only took about an hour to make, and with a little thought and planning, similar forms can be made for a variety of tasks, such as taillight mounts and exhaust openings in rear pans or dash gauges. Your imagination's the limit!The closed end of the tubing was placed in the form and a Sharpie run around the circumference to provide a uniform mark for cutting.I then followed the mark with masking tape, adding an extra 1/4 inch to provide a decent sized lip for final welding once the work was completed. Add too much and the piece will be harder to hammer over the form.Though you can't see it, there's a reference mark on the outside of the tube (arrow) that aligns with the centerline on the hammerform, meaning the work piece can always be aligned. I cut a circle from 1/8-inch steel plate to fit inside the tube and clamped the work piece and the former to my bench, adding another clamp to stop it moving around.I used this cheap, high-crown faced body hammer to work the metal over the form-though a ball peen hammer would work just as well.With the 1/8-inch plate keeping the base of the work piece flat, I gradually worked around the perimeter until the steel was shaped over the form. I had to move the clamp to access the front section, using a couple of thick washers to raise the clamp over the edge of the wood. The extra 1/4 inch I marked using the masking tape allowed a nice, but not too wide, lip for welding to the dash.
With the hammerforming done, you can see how the work piece follows the curvature of the dash perfectly. A little dressing and filing of the lip to ensure it was flat and I was ready to move to the dash itself.The hole saw and drum sander came out again to ensure the louver was a snug fit, this time using a rotary air grinder in order to spin the sander faster for steel.Though I didn't want any modern components in my dash, I've driven this car without A/C and it sucked. I could have mounted the louvers under the dash, but I really wanted them pointing directly out at the passengers, like a modern car, so I decided to mount them with the top edge of the hole 1 1/2 inches down from the chrome molding that runs across the dash. This meant the headlight switch had to go on the driver side.Again, the hole saw and drum sander made light and accurate work of forming a hole into which the new section could be butt-welded.The reference mark was transferred to the outside of the work piece, allowing it to be aligned vertically. Here's the section tack welded in place.Finish welded and ground down, I'm pleased with the results. While they're obviously A/C louvers, the brushed aluminum finish is more in keeping with the car than black plastic versions, which is why I chose the Rotary Vane in the first place. A little body filler and primer to smooth things out and they'll hopefully look "factory".


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Under the Streetlamp is a new act storming the nation that presents audiences with a vocal performance spotlighting what they call the "American Radio Songbook." The ensemble took its classic approach and turned it into a full production that has been drawing packed houses all over. Under the Streetlamp is currently barnstorming across the country on the heels of its PBS special and debut self-titled album, which showcases UtS's strong Doo-Wop/Pop/Motown/Rock & Roll-oldies sound.
CityBeat recently spoke with one of the vocalists, Michael Ingersoll, of Jersey Boys fame, and discussed the rise and evolution of the group as well as where the sights are set for the future. Under the Streetlamp performs at the PNC Pavilion at Riverbend Music Center on Sunday night.
CityBeat: You guys have been around for a couple years but you are a fairly new group. Can you tell me the story of how Under the Streetlamp formed?
Michael Ingersoll: Absolutely. The four of us met when we were doing a play called Jersey Boys. Chris Jones and I did the first national tour of Jersey Boys and then he went off on his way and I met the other two fellows in Chicago and we did the production there. While we were in Jersey Boys, on our nights off we were putting together these concerts for clubs and local theaters to sing other music besides musicals, like things from The Beach Boys, The Drifters, The Beatles and songs like that.
After the show closed in Chicago, the momentum for us was actually following this band; this "side-gig" took off so we decided to pursue it rather than pursuing our individual career as actors. So we took advantage of that momentum and submitted a five-minute demo of what we were doing to (PBS outlet) WTTW in Chicago and they said they were interested in helping us develop this project.
That is the really short version. Once PBS was on board, we were able to book a 27-city tour, which is pretty ambitious for a new group.
CB: What is the biggest difference between performing in Jersey Boys on stage and the Under the Streetlamp group?
MI: Well, Jersey Boys, first and foremost, is a musical with a story and a book. We are a band; we are a concert. There is nothing Broadway about us at all. We have full artistic control over everything we do. This is a project that we guide. This is a project that we own.
That was really one of the big motivations for doing this because our acting careers where we were doing pretty well in the acting business.
It is a concert and we have a lot of fun with each other. We have a lot of the fun with the audience. We take the music very seriously but we don't take ourselves very seriously at all and the audience seems to enjoy that.
CB: I have been listening to the album this weekend. How did you pick these particular songs to perform or put on the album?
MI: The four of us — each of us is a lead singer. It is actually pretty rare for a band to have four lead singers. We wanted to lead with our strengths, our individual personality.
Michael Cunio, for example, has a crazy high singing voice so he did Etta James "At Last" in Etta's original key and it is always a big surprise to the audience when it is coming. Chris (Jones) has got a very powerful, kind of balladeer voice so we sing "I Come For You" for him. I am kind of a Folk Rock/Rockabilly guy. Shonn (Wiley) is an incredible tap dancer and Broadway showman so we do "When You're Smiling" for him.
So basically we just chose the songs as it suited our strengths and flowed for the evening. We also chose artists that are in that same genre that we learned when we were in Jersey Boys. So that's where we get The Beach Boys and The Drifters and The Beatles.
Our music is fun, it is life-affirming, it is joyful, it makes people feel good. That is probably the biggest criteria for how we choose.
CB: I know your family was an influence musically to you growing up. I also know that you are from Dayton, so you are a local to us. Did you have a good music program in Dayton growing up or did your family give you private lessons? How did you develop musically?
MI: Well, there are two major factors. My grandfather was a professional Jazz pianist and so there was always music around in that environment. He taught me to play piano by ear and really get into Jazz primarily.
There is also an amazing arts program called Muse Machine in Dayton, Ohio. It is a program where kids come from all over — high schools from probably a 30-, 40-, 50-mile radius and every year they put on a musical and they bring in Broadway caliber directors and choreographers and producers. I was lucky enough to be cast into one of those shows and that is really where my interest exploded in performing and what led me to go to college and study acting.
Check out the Muse Machine website, you can learn all about it, it is an amazing organization. I would credit them with the biggest influence, the biggest push.
CB: You are on the road now. You said you were doing 27 cities, which is a lot to take on. Is there anything about home or here you miss when you are on the road?
MI: Obviously my family is there, but who doesn't miss Graeter's ice cream and Skyline Chili and the Cincinnati Reds. I love those things. Those are the things I do as soon as I come back. I usually go to Skyline Chili and Graeter's and try to catch a Reds game. I am a huge Reds fan and Bengals fan. I live in Los Angeles now so I miss the change of seasons in Ohio, but (there are) good, friendly folks there and it was a wonderful place to grow up.
Cincinnati has a vibrant and rich arts community so we just can't wait to play. I also did a year at the Cincinnati Shakespeare (Company). That was my first actual professional acting job to work there for a year, so I got my start in Cincinnati.
CB: Where do you see yourself in five years?
MI: I think that we are on track to be a top tier act in the Adult Contemporary market, with Michael Buble, Norah Jones, Diana Krall and artists like that. I think we have a product that makes people happy. I think we have a got a very powerful team with PBS and our management. We are determined to take this to as many people as will possibly let us do it. We are doing every single thing we can to make sure we are here to stay. As long as we make people happy, we are optimistic that will happen in big ways.
CB: You said you play piano, but do you guys play any instruments during the show or is it just singing?
MI: No, we are four singers and we have a seven-piece band of incredible world-class musicians. These are folks that have played with Sinatra and Frankie Valli and huge, huge names. We have a rhythm section and then three horns. That horn section helps kind of give it that "streetlamp" character. It helps with that distinctive sound.
CB: Tell us, in summary, what can the fans expect to see in the show?
MI: There is a lot more music we perform live than on the DVD for the folks that are familiar with us from PBS. There is a lot more music and people come away from it often saying, "I can't believe I laughed that much" or "I didn't expect the show to touch me emotionally like it did."
I think people are going to laugh a lot. Hopefully they get up and dance a lot. When they leave, hopefully they feel better than when they came in from listening to this great, joyful music performed by people who really care about them having a good time.
And also, if you have got time, just check out the Under the Streetlamp Facebook page because our fans comment on there after every single show, and really their comments, and there are tons and tons of them, say it all.
CB: That was one of my next questions — are you guys using social media to promote the band?
MI: Absolutely. We have a great website and great designer. We use Facebook, we use Twitter. Any way that we can possibly interact with our fans, we do so. We answer our own e-mail. We maintain our own Facebook page. We spend a lot of time talking to our fans. Anybody that writes in and asks us a question or comments on Facebook, we interact with.
Without them, we are nobody. We make sure they not only feel welcome at the shows but feel welcome in the cyber universe 24/7.
CB: What music are you currently listening to or what is inspiring you right now?
MI: It is funny, a lot of the music that I listen to outside of the band is not music that has anything to do with what we do.
CB: That is pretty common though. I talk to Metal people all the time and they never listen to Metal music. It is really an interesting dynamic. I always find it interesting to see what people really listen to when they are not playing.
MI: Right now I am listening to Foo Fighters latest album, Wasted Life, (and) Ben Folds latest album.
Whether you call him Beelzebub, Satan, the Prince of Darkness, Mephistopheles, or just the plain ole devil (it's all about your preferred nomenclature, man) there is no denying the big guy downstairs has been a huge influence on Rock & Roll.
There have been a plethora of songs written about the dark lord (no I'm not talking about Voldemort, you posers) but the real question is — what are Satan's favorite songs about himself?
So, like the top-notch investigative journalism team we are at the CityBeat music department, my editor Mike Breen and I bought some pig's blood, drew a pentagram on the floor, lit some candles, recited some Latin and summoned the fallen angel himself.
After a long discussion on various human subjects — how Mitt Romney is in fact not the antichrist, but just an idiot; the state of Gene Simmons' soul and why he is going to hell (apparently, it's not for his satanic look or the thousand acts of pre-marital sex, but for turning KISS into the biggest whore in the music industry) — Mephistopheles disappeared back into the hell mouth as quick as he came. (Who said real journalism was dead?)
Yet, left in his place was an evil list compiled by the demon of his Top 10 favorite songs about himself, with the instruction to print them without changes. (Satan's actually a very polite guy but super narcissistic.) So, in honor of his wishes (and extra conscious of our agreement that riches will be bestowed on CityBeat if we completed the task), here are the Top 10 songs about Satan.
10. "Baptized in Flames" – Skeletonwitch
You ever wanted to know what Antichrist's birth would be like? If so, you're in luck because Athens, Ohio, natives Skeletonwitch give us a pretty vivid description of the scene.
Minus the death of the mother, inverted crosses burning, men dying and the overall end-times vibe, this birth isn't all that different from a normal one. But let's be honest, no matter who's being popped out, the birthing process is pretty disgusting.
9. "Super-Charger Heaven" – White Zombie
If I had never seen an interview with Rob Zombie (he seems like a really nice guy), I would truly believe this guy had some serious demonic connections. From his grade-A horror films to his music riddle with witches, blood rituals and general spine-chilling terror, he is the poster child for all things evil.
Although his later solo work is a little campy at times, White Zombie always brought the hellish vibe to their brand of Groove Meta and they showcased it no better than on their 1995 single, "Super-Charger Heaven."
8. "Beezleboss" – Tenacious D
Did you know it's in the demon by-laws to never turn down a rock-off challenge? I didn't either. Not until the cataclysmic disappointment, "Pick of Destiny," came out in 2006 at least.
Even though this movie was shittier than the end of The
Human Centipede, Satan's gut-busting drum solo (although impressive) wasn't
enough to outmatch Tenacious D's power of Rock and friendship, not only saving Kage's
eternal soul (and anal virginity) but sending the devil back to hell and
finally finding a way to pay their damn rent. (Satan says he found it "cute" that the band would write a fictional song about defeating him and picked this song because he's angling for a part in Kung Fu Panda 4 with Jack Black.)
7. "Con Clavi Con Dio" – Ghost
Sweden probably isn't the first nation you think of as a hotbed for satanic music (I know, ABBA was scary but definitely not satanic), but when Ghost's Opus Eponymous came out in 2010, the band took another step towards making that a reality.
This whole album is just one big love letter to the prince of darkness and the first four lines of "Con Clavi Con Dio" says it all: "Lucifer/ We are here/ For your praise/Evil one."
Overall, I don't know what's creepier — this band's all-inclusive scare factor or their borderline stalker obsession with Satan. (Lucifer, if you're reading this, you may want to consider a restraining order against these guys. I know they're from Sweden, but I don't think they are messing around.)
6. "Mean as Hell" – Johnny Cash
Besides making a star out of Honey Boo Boo and working as an investment banker on Wall Street, Satan says all he really ever wanted was a land to call his own. So God, like the sly dog he is, tried pull a fast one on his old nemesis, giving him the poorest land he had, the Rio Grande.
The Devil, being the mean son of bitch that he is, took God's offering and riddled the area with scorpions, thorn trees, tarantulas, rattlesnakes and 110-degree weather, making the best hell on earth he could (take that God!).
In the end, Satan proved God wrong, but what's more interesting is — who is meaner, Johnny Cash or Satan? Sure, Satan made the Rio Grande hell on earth, but Cash lived in it. My money's on the "Man in Black."
5. "Sympathy for the Devil" – The Rolling Stones
The devil has been a busy man over the years. He was "'Round when Jesus Christ/Had his moment of doubt and pain" and "Held a general's rank/When the Bliztkrieg raged/And the bodies stank."
Even though I'm not that particularly puzzled by the nature of his game (am I the only one seeing the trend of death here?), it's definitely one of the most iconic and politically-driven songs Satan ever inspired.
4. "The Oath" – Mercyful Fate
Kind Diamond is like the satanic equivalent of Pat Robertson. Sure, this guy isn't actually a Satanist but over his illustrious career, his distaste for organized religion, overtly satanic lyrical content and general creepy demeanor has surely put him in good standing with the minions of hell's army and their general.
I really could have picked almost any song from the King Diamond catalog, but this one — from the band he fronts, Mercyful Fate — really showcases his unconditional love for Lucifer. Really though, Diamond's undying love for Satan is only comparable to the love Ryan Seacrest has for hair gel and being a douche. If the song weren't so damn evil, it would almost bring me to tears.
3. "Hell Awaits" – Slayer
As if this song wasn't scary enough running normally, apparently if you play "Hell Awaits" backwards, about two minutes in there is a hidden message that repeats "join us" over and over again. Joining what exactly, I'm not sure. Slayer fans? An indoor soccer league? The wait staff at the Olive Garden? Who knows?
What's really funny, though, is that people freak out when they hear Slayer has a "satanic message" when you play it backwards. Really? If you listen to the song forward, the "satanic messages" are even more explicit. Jeez people, the whole thing is about Satan! It's Slayer, what do you expect?
2. "N.I.B." – Black Sabbath
Aside from "Sympathy for the Devil" this is the only other song on this list written from the perspective of Lucifer. Besides the monster riff and Black Sabbath general early awesomeness, what makes this track phenomenal is that it's about Satan falling in love and trying to become a good person.
Though knowing that information makes this song seem a little less evil and is slightly reminiscent of a Joss Whedon plotline (no dig there, it's just true), it exemplifies why Black Sabbath will always be the best Metal band of all time — its creativity.
Personally, I wish Ben Gibbard would do one of his so cute (it makes me want to puke) acoustic covers of this song so I can play it at my wedding (like that'll ever happen).
1. "Number of the Beast" – Iron Maiden
I've always been a bit confused when it comes to the actual logistics of this song. I mean, did he see this satanic ritual happening or not? My personal belief is that Steve Harris (lead guitar/writer) took one too many hits of LSD, watched The Omen II and had the most terrifying trip known to modern man.
Either way, "Number of the Beast" solidified Bruce Dickinson as Maiden's new lead singer (even though I'm more a Paul Di'anno fan myself) and made Maiden titans in the Metal genre.
Remember — I'm just the middleman here. If you have a problem with this list, I'm sure Satan would be willing to hear you out. (Here's his contact email: email@example.com.)
EDITOR'S NOTE: This morning I sent Blake's write-up to Satan for approval (we usually don't do that, but, hey, it's Satan), he responded with a curt, all caps message: "WHERE IS MY FAVORITE BAND HOGSCRAPER!!! I WILL BRING YOU DOWN HERE EARLY IF YOU DON'T ADD MY THEME SONG!!! THANKS!!! HAIL ME!!!" He's referring to the mysterious, undead Cincinnati "Satanic Bluegrass" band Hogscraper and I can only assume his "theme song" is the one below. When I texted him just before posting I informed him that Hogscraper was back from the dead and headlining this Saturday's "Grand Opening Redux" concert at the new Southgate House Revival. "NO SHIT. I'LL BE THERE WITH SCARY BELLS ON. PRE-GAMING @ HOOTERS BEFOREHAND IF YOU WANNA HANG OUT!"
Hunter Hayes is one of the fastest growing, most unstoppable forces rising in Country music. At just 20 years old, he recently released his debut self-titled studio album featuring the hit single "Storm Warning." In less than a year of truly being a part of the Nashville music scene he has found himself on tour with superstar acts Taylor Swift and Rascal Flatts and he will be taking the main stage at the CMA Music Festival next month in one of their nightly concerts in front of 70,000+ in attendance.
CityBeat spoke with Hayes by phone recently and discussed his uniquely introspective writing and recording process as well as his passion for the fans that come out to each of his shows. Hunter will be performing at Bogart's Friday night. It's a great opportunity to see an act that could be headlining stadiums and arenas very soon.
CityBeat: What made you decide to play all of the instruments and parts on your debut album? Do you plan to do this again on the next album?
Hunter Hayes: There is this part of my brain that I got from my Dad that is really technical, that loves technology, I guess, like fixing stuff — not fixing stuff as much as messing with it. I think that became an outlet for me. The more time I spent making music and writing the more I loved the technical side of it.
One Christmas, I asked for a 8-Track recorder and I got it and I didn't come out of my room for like three years after that. I literally learned more instruments and spent all my time on this machine making demos and I just started building my own recordings. I didn't know for sure but I felt inside that was the only way these songs were going to become completed and it became a way of working.
I continue to write during that process. When I moved to Nashville, I started songwriting and every time I would write a song with somebody I'd go home that night and I'd start working up a demo. It just became a way I love to work and now is the only way I know how to work. I have sat in a studio across the looking glass with some of the most phenomenal musicians in Nashville and I sit there and I am a very shy guy, naturally. I am naturally very reclusive so when I get nervous around songwriters, I am very intimidated and I don't share my thoughts a lot like I probably should. I kind of defer to someone else. So we decided to do the record this way because they knew I was comfortable working that way and there is something cool that happens when you start recording the song playing all the instruments. It is a very minute thing but you will notice the consistency in the emotion.
And by no means do I consider myself a professional player of any of the instruments I played on the record but I guess I was fluent enough to get where my mind wanted these songs to go with what I wanted to hear for these songs. I was able to translate it from the same heart I wrote the songs.
CB: What is your favorite song you have ever written and why?
HH: Oh God … to put it in perspective for you, we had 70 songs I wrote specifically for this record that we were considering. So, it is nearly impossible to pick a favorite.
I have to say I was really fortunate because I had a big say in what songs went on this record. I actually picked all but one. This one song on the record, it is not that I don't love it, but it is so out of character for me, I was worried about putting it on the record because I didn't want people to get the wrong idea, because it is a very bitter song.
I chose the songs on this record carefully but emotionally. I am definitely attached to every single one of them on this record. I could say that I love everything — "Wanted" "Love Makes Me" "Somebody's Heartbreak" and "Storm Warning." I was very adamant about having a song like "Faith," I wanted "Cry With You" on the record. I'm close to all the songs on the record.
I think my favorite song I have ever written is probably the one I wrote yesterday and that is always the case. Any time I write a new song, I am jazzed about it for like 24 hours and then I am over it and want to write another one.
CB: That makes sense. How does it feel to be one of the main acts at LP Field at CMA Festival this year?
HH: It's unbelievable. Last year, I was stoked to just play on a stage in front of the Bridgestone Arena. It was a great turnout and everybody knew my name, which was amazing. I had just wrapped up six weeks on the radio tour. The song had literally just started playing on the radio and there were already tons of people singing along to "Storm Warning" that day and that blew my mind. It was a time lapse thing. I started my radio tour with this big full band showcase in Louisiana. And we initiated it with this full band big showcase for all the industry to come down and make a day out of it.
Then I went out by myself on this radio tour. I would go to these stations. I would literally bring a little mobile studio and I would build "Storm Warning" for them, and they would get their own version of "Storm Warning" by the end of the day. We did that for six weeks straight. I went home only one day, for Mother's Day. It was just this crazy schedule.
Fast forward six weeks ahead, I come back to Nashville to play my second ever full-band gig with the band and we were playing to a crowd that was singing along to almost every song. It was really impressive and it was just mind-boggling. It is amazing what a year can do.
I am grateful that they considered me for this spot on LP Field. I have sat in the audience to watch shows there many times so it is really cool to be a part of it this time on the other side.
CB: I have seen your show several times. One of the things that always strikes me when you play is that the girls love you. Have you had any crazy fan experiences?
HH: No, not really. I will say we have a lot of fans that we see many times, a lot of repeat fans, which always makes me feel good. When someone sees a show and wants to see another one, that makes me feel like I am doing something right.
It is so funny, they will come up during the autograph signings and say "I promise you I am not stalking you." I am like "I don't mind! I am honored that you have taken the time to come to more than one show." There is this one girl who has driven thousands of miles and she is always almost apologetic about it, and you don't even know how much that makes my day. When I see her car in the parking lot and I know she is coming, that makes me feel like I am doing something right. It literally gives me a feeling I can't describe to you.
We have a lot of fans that are doing that. We have a lot of them who have met at our shows and have become best friends and they go everywhere together now. I just feel this unity at our shows, especially the "Most Wanted" shows, the headlining shows I get to do. They are smaller venues right now and they are growing. Tonight we are doing like 1,000 seats or something like that, but it is amazing this close feeling I feel with everyone in the room. I get to chit-chat with them during the show and goof off with them and it is fun. It is a blast. I am glad to say I have fans.
The effect My Morning Jacket has had on live Rock music in America over the past several years is hard to deny. Spawned from the fertile Louisville music scene, the band's legendary live show is an electrifying experience for all who attend. At the end of May, MMJ put out its sixth studio album, Circuital, which earned a career-high first-week entry into the Billboard Top 200 album chart, bowing at No. 5. Bo Koster, MMJ keyboardist since 2004, joining the band during the gap between its major label debut, It Still Moves, and the wildly diverse Z. CityBeat spoke with Koster about the band's Cincinnati stop Wednesday at PNC Pavilion with Neko Case, as well as My Morning Jacket's memorable live performances and passion for local record shops.
American Ska legends The Toasters perform a free show tonight at MOTR Pub in Over-the-Rhine. Showtime is 10 p.m. and — sorry, kids — you must be 21 or older to get in.
The band was one of the leading inspirations behind the "third-wave" Ska explosion of the '90s, but the band actually began 30 years ago, influenced by the 2-Tone Ska movement in the U.K. The Toasters blend of NYC Rock and 2-Tone made them cult heroes in the Ska underground, as did the band's D.I.Y. approach; founding member (the sole one in the current lineup) Robert "Bucket" Hingley formed the influential Moon Ska Records in 1983 to release his own albums, as well as those by acts like Mustard Plug, The Slackers and Hepcat. The label's various compilations also gave a boost to up-and-coming, non-Moon acts like Less Than Jake and No Doubt.
Here's The Toasters' first music video, for the tune "Radiation Skank" off of the band's debut release, 1985's Recriminations EP (which was produced by British singer/songwriter Joe Jackson; he is to The Toasters what Elvis Costello was to The Specials).
And here is "Modern World America" off The Toasters' 2002 release, Enemy of the System.
Head to MPMF.com right now to see the full lineup and schedule for the MidPoint Music Festival, coming up Sept. 26-28 at various venues in Downtown and Over-the-Rhine.
Due to the legal wrangling over the management of The Emery Theatre (widely covered in CityBeat and at citybeat.com), the classic Cincinnati venue — a favorite from last year's fest — will not be a part of MPMF in 2013. But MPMF's footprint is expanding to include downtown's Mainstay Rock Bar (which has participated in the fest in the past) and first-time MPMF venue The Ballroom at the Taft Theatre.
Like the activities on the MidPoint Midway, at the Contemporary Arts Center and in Washington Park, Taft's Ballroom will be open to MPMFers of all ages. Tickets for individual Taft Ballroom MPMF shows will be available to purchase through Ticketmaster.com (with lower than usual ticketing fees, or avoid the extra fees altogether and buy them in person at the Taft box office). On Sept. 26, the Ballroom will be headlined by just-announced performers The Thermals; Murder By Death, Cory Chisel and the Wandering Sons and Nicholas David perform at the Taft on Sept. 27; and, on Sept. 28, the lineup will feature Daughter, Bear's Den and Cincinnati's own Bad Veins.
At mpmf.cincyticket.com, you can buy three-day passes, VIP tickets and other "a la carte" tickets for single shows in Washington Park and at Grammers. Shuggie Otis and Cody ChesnuTT headline the Washington Park stage on Sept. 26; The Head and The Heart and Youth Lagoon head up the Sept. 27 lineup; and Sept. 28 in Washington Park will be "The Breeders Day Party," which starts at noon, with The Breeders performing their seminal Last Splash album at 7 p.m. Saturday's Washington Park lineup also includes Twin Peaks, Gauntlet Hair, Foxygen and Cincy's Tweens, who've been doing numerous tour dates with The Breeders.
On the Dewey's Pizza stage at Grammers (21-and-up only), Kurt Vile & The Violators, Snowmine and Cincinnati Psych Rock trio The Harlequins perform on Sept. 26, Warpaint and Secret Colours top the Sept. 27 bill and Black Rebel Motorcycle Club, METZ and Deap Vally are slated for Sept. 28.
The Cincinnati music scene is well represented once again at this year's MPMF. Here are some of the area artists confirmed for the fest: Eclipse; Seabird; The Pinstripes; Young Heirlooms; Us, Today; Saturn Batteries; Sun Country; Darlene; Jody Stapleton and The Generals; Electric Citizen; Magnolia Mountain; Allan Pray; The Tigerlilies; Kelly Thomas and the Fabulous Pickups; Public; The Ready Stance; Mad Anthony; Mama's Porch Band; Hickory Robot; Ben Lapps; Ohio Knife; Honeyspiders; New Vega; Archer's Paradox; The Perfect Children; You, You're Awesome; Goose; Chick Pimp, Coke Dealer at a Bar; Plastic Inevitables; redkattseven; SHADOWRAPTR; Halvsies; DAAP Girls; The Cincy Brass; We Are Snapdragon; Black Signal; The Happy Maladies; ADM; Molly Sullivan; Come On Caboose; SOHIO; Wussy; Alone at 3AM; The Natives; Wussy; and The Kickaways.
And Cincy Indie Pop greats The Fairmount Girls are slated to make their record 12th appearance at the 12th annual festival.
Here are a few links for and visuals from some of the most recently announced national acts coming to MPMF 2013.
Hunters (Brooklyn)
Sphynx - Hunger (Live in Austin) from Sphynx on Vimeo.
On this date in 1993, Elvis Presley died. For real this time. This according to the tabloid Weekly World News, which has given the world such groundbreaking stories as the trials and tribulations of Bat Boy (half-boy, half-bat, of course), the capture of various mer-people (mermen and mermaids) and the secret romantic relationship between Saddam Hussein (former gay porn star … ALLEGEDLY) and Osama bin Laden.
Presley died from diabetes, according to WWN's exclusive report.
Alas, the King didn't stay dead long in the pages of the tabloid. In 2005, everything in the universe was back in its right place as the Weekly World News published the cover feature "Elvis IS Alive." Not only was he still alive, but he was going to run for President. I don't recall that actually happening, but they wouldn't print it if it wasn't true, right? Either the lame-stream media just ignored Elvis' campaign or the King was just gearing up for a 2012 run. I hear the Republicans need a viable candidate.
What's Elvis been up to lately? Last summer, WWN reported he was hanging out on Barack Obama's tour bus. As for Obama, the President's foes are apparently way off base with the whole "secret Muslim" thing. Among other things, WWN has reported that Obama is a — duh! — alien from outer space. Oh, and he won the "Who is a bigger enemy of dogs?" war handily by kidnapping "Republican campaign dog, Huckabee." Holding him hostage? Nope. According to WWN, the President "had a Huckabee burger." (Actually, WWN seems almost reasonable compared to the "birther" movement. Now THAT'S scary.)
Until the next time Elvis dies, just remember the words of Mojo Nixon, poet and prophet:
Born This Day: Musical movers and shakers sharing a May 14 birthday include '50s/'60s Pop star ("Mack the Knife," "Beyond the Sea") Bobby Darin (1936); one of Rock's greatest bassists, Cream's Jack Bruce (1943); original drummer for legendary Canadian Rock trio Rush, John Rutsey (1952); frontman for British rockers The Cult, Ian Astbury (1962); guitarist for glammy Hair Metal heroes Poison, CC DeVille (1962); bassist for Alice in Chains, Mike Inez (1966); the still-alive half of Milli Vanilli, Fabrice Morvan (1966); one of the less-celebrated New Kids on the Block members, Danny Wood (1969); bassist for Modern Rock band AFI, Hunter Burgan (1976); half of the killer Hip Hop duo Clipse, Terrence Thornton, known professionally as Pusha T (1977); Disney actress/Pop princess Miranda Cosgrove (1993); and Soul/R&B singer/songwriter/musician/producer Raphael Saadiq (1966).
Saadiq's career began in the early '80s when he got a job as bassist for Sheila E and toured the world with Prince. He returned to his native Oakland after the tour and formed the R&B/Pop trio Tony! Toni! Tone! with his brother and cousin. The band scored several hits, notably the upbeat "Feels Good," their only Top 10 hit on the Billboard singles charts. In 1997, Saadiq formed Lucy Pearl, a supergroup of sorts, featuring members of A Tribe Called Quest and En Vogue.
Saadiq has worked behind the scenes with several popular artists. He collaborated with D'Angelo for "Untitled (How Does It Feel," which won D'Angelo a Grammy, and also worked with Whitney Houston, Macy Gray, Jill Scott, John Legend, Joss Stone and many other star performers. In 2002, he put out his first solo effort, Instant Vintage, a brilliant throwback/old-school R&B album that scored Saadiq five Grammy nominations. He has since released a string of strong solo works, including 2011's great Stone Rollin' and 2008's even better The Way I See It.
Recently, Saadiq was one of a small handful of musicians named one of Time magazine's "100 Most Influential People In the World," joining Rihanna, Adele and others. Elton John wrote the blurb about Saadiq for Time, writing "Immaculately dressed (a Saadiq trademark) and moving like the soul stars of old, (Saadiq) confirmed that great black music is alive and well and not just a string of hip-hop monotony."
Happy 46th birthday to Mr. Saadiq. Here's a clip for the title track from his most recent solo album.
Last week, Cincinnati's stars-in-the-making Walk the Moon issued the first release under its deal with RCA Records. Though only three songs, the effort is illuminating and a hint of what's to come on the band's forthcoming, so-far-untitled RCA full-length debut (due to be released this May). The Indie Dance Pop foursome has seemingly been touring and doing business related tasks non-stop for at least the last year. Now that it has a release on RCA, that will only increase. The recording is called Anna Sun EP, named for the band's irresistible tune that (along with a stellar music video) helped initially generate much of the buzz they've received fairly consistently over the past year or so.The song "Anna Sun" is on the EP, but those who have i want! i want! (the group's stellar self-released LP containing the original track) might still want to listen. It's a new version of the catchy song, slicked up a bit for radio and seemingly (inexplicably) sped up.
The sixth season of TV One's entertaining and informative Unsung series, showcasing artists who did well but didn't quite reach the heights many expected, kicks off tonight at 10 p.m. with an episode about the late, great Soul star Isaac Hayes. Next week, on Jan. 30, the series focuses on a group that was formed at Kentucky State University and ended up calling Cincinnati its home base — Midnight Star.
The R&B/ElectroFunk nine-piece band was a major success in the '80s, giving the music world massive hits like "Slow Jam," "No Parking on the Dance Floor" and "Freak-a-Zoid." But the band eventually splintered — due to "arguments over money and management," according to the Unsung synopsis — with Reggie Calloway and brother Vincent leaving and eventually forming Calloway (which had success with the smash "I Wanna Be Rich" in 1989).
Midnight Star carried on and produced a couple more albums that featured R&B chart hits before taking a break. The "hiatus" ended in 2000 and Midnight Star continues to this day, performing most recently at the Macy's Music Festival last summer. Click here to read up on the band circa 2013.
The Unsung series has a loose definition of "unsung" (as the Isaac Hayes episode suggests), but its profiles of various R&B/Soul, Hip Hop, Funk and Gospel artists are always fairly illuminating. The show has dedicated episodes to a wide range of successful artists, from The Ohio Players and Zapp to Kool Mo Dee and Big Daddy Kane to George Clinton, The Spinners and another Cincinnati-affiliated star, Bootsy Collins.
Unsung (Documentary) - Bootsy Collins... by GENERATIONDISCOFUNK
The rest of Unsung's season six includes episodes on EPMD, Lou Rawls, Eddie Kendricks, The Whispers, Mint Condition, Johnny Gill and a special two-hour look at the Disco phenomenon.
TV One is channel 217 for local Time Warner Cable subscribers (1217 for the HD channel).