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Paul Simon's Graceland album combined a huge mixture of musical styles and was recorded in studios all over the world. The man responsible for putting it all together, both sonically and physically, was Simon's long-time engineer Roy Halee. This is how he did it...
Roy Halee hasn't only worked with Simon & Garfunkel, you know. Bob Dylan, the Byrds, Barbra Streisand, Blood Sweat & Tears, Moby Grape, the Yardbirds, the Lovin' Spoonful, Neil Diamond, Edie Brickell, Boz Scaggs, Willie Nelson, the Roches, Laura Nyro, Ladysmith Black Mambazo, Journey, Rufus and Chaka Khan... The list is an eclectic one, and it goes on and on with regard to a Grammy-winning production/engineering career that has spanned more than 40 years. Nevertheless, it is Halee's historic body of work with S&G — recording all of their albums, co-producing a couple of them, and also co-producing and/or engineering many of Paul Simon's solo records — that has justifiably earned him his legendary status.
A native of Long Island, New York, who initially studied to be a classical trumpet player, Roy Halee began working for CBS Television in Manhattan during the late 1950s, positioning cameras and boom mics before handling the audio of live network shows such as The $64,000 Question. When CBS relocated its TV production to Hollywood, Halee was the victim of a union layoff, yet a walk across the street to Columbia Records resulted in his spending the next 18 months editing pop and classical recordings, while also mixing down three-track tapes to stereo and mono in preparation for mastering. Eventually growing tired of this work, he was transferred from the editing cubicle to the studio, where his first session was Dylan's 'Like A Rolling Stone'.
Paul Simon with collaborators Ladysmith Black Mambazo on the Graceland tour 1987.
"That was very fortunate, because at the time Columbia didn't have any rock & roll artists, per se," Halee remarked when I first interviewed him back in 1997. "They either dealt with classical or what they called 'legit pop acts' such as Tony Bennett and Johnny Mathis. Dylan, on the other hand, was their first folk-rock act, and on the strength of that job I got a bit of a reputation in the city. A six-minute single was unheard of at that time, and basically I don't think they really liked it at Columbia Records. It was foreign to them, but then, when the damned thing took off, it turned a lot of heads and he exploded.
"You see, although I was a classically trained musician, I had more fun doing rock because I could experiment with sound. You couldn't with classical, at least not at Columbia. This is where the microphones went and you couldn't change anything, and that was the way it was."
Accordingly, while still at Columbia, Halee began working with outside clients for the Kama Sutra label, including the Lovin' Spoonful on hits like 'Summer In The City'. And he also recorded the Yardbirds' version of 'I'm A Man' with Jeff Beck on lead guitar. The fact that Beck used a small amp at low volume settings impressed Halee, not least because this was contrary to what many of his contemporaries were doing at that time.
"The sound in the control room was, of course, enormous," Halee recalled. "Evidently they were hip to the idea that if you play a little softer with greater dynamics you get a bigger sound when it's recorded. I myself always made musical suggestions when I was taking care of the technical side, but in those days that was expected of us, and Columbia didn't even give engineering credits."
Ditto certain sessions that featured Roy Halee in the producer's role. Such was the case with Peaches & Herb.
"There was no other producer around, and I never got an engineering or a production credit!" he remembers. "Still, I'm not bitter about that, you know, because that was part of the gig, that was part of the training, and I was grateful to be able to do it. I was having a good time, getting a lot of experience doing a lot of different acts. Jazz, rock, classical — man, you name it and I was able to get my hands on it. I even worked on show material with 40-, 50-, 60-piece bands, a chorus, and soloists all live. It was invaluable. These days I think it's almost impossible for an engineer to have that many opportunities."
It was actually thanks to Simon & Garfunkel that Halee began to get the credit he deserved. Having first encountered them in 1964, when the duo auditioned for Columbia in-house producer Tom Wilson, he collaborated with Wilson in June of the following year on the overdubbing of electric guitars, bass and drums onto the acoustic version of 'The Sounds Of Silence' that had appeared on their debut album, Wednesday Morning, 3am. These overdubs, performed by Bob Dylan's studio band without the knowledge of S&G, transformed a folk number into folk-rock and resulted in a chart-topping single — reuniting the pair, who had split up following their aforementioned album's initial failure. What's more, it also led to a 'Sounds Of Silence' follow-up, released in January 1966, which gained Simon & Garfunkel international recognition and launched their working relationship with Roy Halee.
"Right from the start, I loved their sound because it had a classical feel," he now says. "It was very beautiful, very legitimate, with these two voices on one microphone. They never worked with two separate microphones, never. It would not work. You couldn't use two [Neumann] M49s, separate those voices and then mix them together."
Halee also acknowledges how much both Simon & Garfunkel helped him by embracing the concept of the producer-engineer:
"At that time, engineers were not producers and producers were not engineers. You could work with bad producers, but there were also some very, very good producers who did their schtick — which was the music — and basically left the engineering to the engineer. Simon & Garfunkel, on the other hand, obviously felt that I was really producing their records with them and that I should be credited for this and paid a royalty.
"Aside from Tom Wilson, both Bob Johnston and John Simon had also produced them. In fact, Bob Johnston produced Dylan, too, and at that time I was on practically all of Bob's sessions. I thought he was a good producer; very exciting, he got a lot of emotion going in the studio, which impressed me at that time as other producers were not getting the musicians fired up. There's a certain talent in that. And John Simon had the finest ears of any producer I ever worked with. Still, for whatever reason, Paul and Artie wanted to make their records with me... I could get involved musically, and I started to get very close to Paul, who would bounce songs off me — 'What do you think of this? What do you think of that?' and so on — and things therefore evolved to the point where I was a member of that group.
"On 'The Boxer', for instance, it was my idea to put the brass and voices on the end and to mix the pedal steel with a piccolo trumpet part. That was a very interesting sound and blend, with the pedal steel recorded down in Nashville and the Bach piccolo trumpet done in a church at Columbia University, where all of the voices and brass were overdubbed. We therefore used two remotes to achieve one sound, and for me that was really interesting, as was the fact that the strings were wild-tracked in at the end of the mix. It was also the first time we used Dolbys on a remote.
"Musically, engineering-wise, we were a team, and as a result of that we were able to do a lot of innovative things. You know, linking up two eight-track machines to make 16, and going out and making work tapes. The second eight-track would be used as a work tape to go and overdub voices in the church; do it as a remote, bring it back to the studio and overdub on it. That wasn't being done at the time, so it was great. It was innovative and very, very creative from an engineering standpoint. Not to mention the enormous contributions of drummer Hal Blaine, multi-instrumentalist/arranger Larry Knechtel and bass player Joe Osbourne."
It was also pretty rewarding, garnering Halee a 1968 Grammy for the song 'Mrs Robinson' and three more in 1970 for 'Bridge Over Troubled Water' and the album of the same name. Then, when S&G split, he continued working with them on their solo projects, which in Paul Simon's case included his eponymous first album (1972), as well as There Goes Rhymin' Simon (1973), Hearts & Bones (1983) — which was originally conceived as a Simon & Garfunkel collaboration following their successful, Halee-recorded reunion concert in New York's Central Park a couple of years earlier. And then, in 1986, Graceland, which signalled not only a stunning, artistically experimental return to form, but also a major change of direction for the singer/songwriter/guitarist in terms of both the pop-infused, Zulu-based mbaqanga music of South Africa and his approach to recording it.
"For me, that project started with Paul telling me, 'Roy, I've got to play you something that is just great,'" Halee recalls as we now sit in the basement music-room of his home in Boulder, Colorado. The 'something great' was a cassette recording of the Boyoyo Boys instrumental, 'Gumboots', lent to him by singer-songwriter Heidi Berg, which he would subsequently re-record with his own lyrics. "It was the most infectious thing I'd ever heard, as catchy as hell," Halee continues. "He said, 'We have to go over there and record it.' I said, 'Where?' 'South Africa.' 'OK, great.'"
To that end, Simon had already established contact with one Henry Rosenthal, who'd grown up listening to the Beatles and the Rolling Stones in a white, middle-classed section of Johannesburg, yet who had spent the last few years combining Zulu music with Western pop when producing local artist Johnny Clegg for Rosenthal's own record company, Music Inc.
"Hilton knew everybody in Johannesburg," Halee explains, "and so he was able to garner all of these musicians who we'd never previously seen or even heard of. He also booked the recording sessions at Ovation, where they'd mostly been doing South African gospel, and that was a good studio. I remember walking in there and thinking, 'This is the best-sounding control room I've ever been in.' There was a Harrison console, 3M tape machines and modified James Lansing monitors that made it sound like you were in your living room. I'd expected a horror show, but everything worked and my first impression was, 'This is very comfortable.'
"Having said that, the studio itself was like a garage, and in that regard I thought it could be a problem, especially since we were going to record jam sessions from which songs would be created. As I soon found out, the musicians liked to work very close together, with eye contact to get the feel and the groove going. However, since the songs would be crafted out of these grooves, the instruments had to be isolated so that we could do plenty of editing: repairing parts, pulling out a specific guitar, and so on. We had to have the flexibility to erase. This is where my experience at Columbia came into play. There are ways of setting up a rhythm section and getting good isolation without putting the musicians in separate little booths with headphones. The right choice of microphones and levels really helps, and in this case I recorded the musicians with very few baffles — none around the drums — while they stood close together with good eye contact.
"Nobody wore headphones, aside from the drummer, and even he often didn't wear them. You see, most musicians prefer to not wear headphones, because otherwise they have to listen to this mix that is generally horrible. Everybody's saying, 'Can I hear more of myself?' and there's this nightmare going on. Well, I wasn't about to get into that with these people. They were to come in, play and feel comfortable while my job was to get some isolation.
"For the Graceland sessions, built-in isolation was right there, along with built-in foldback, and I was very careful about the level. It was comfortable without being screamingly loud. I was only working with one guitar and one bass, and both were right next to the drummer. That setup enabled us to take the tapes back to New York and redo certain parts."
At the Hit Factory, Halee sat behind an SSL console, used a Sony PCM3324 digital multitrack, and monitored on United Western speakers which he describes as "unlistenable. They were totally wrong, with no bass and the top end just screaming at you. I raised so much hell there, they hated to see me arrive. I'd ask, 'Can you voice these speakers, please?' and they would, but then another session would come in at night and somebody would change them! Unlike at Columbia, there were no standards whatsoever. You never knew what you were going to hear, and anything you did hear bore absolutely no relationship to what was on the tape. So, I brought in my own speakers — a pair of little Westlakes that we kept there — and everything was fine."
As things turned out, the most laborious and time-consuming aspects of the Graceland project took place at the Hit Factory.
"The amount of editing that went into that album was unbelievable," Halee asserts. "We recorded everything analogue, so it sounded really good, but without the facility to edit digital I don't think we could have done that project. The first thing I did was take the material to New York and put it on the Sony machine. Then we edited, edited, edited like crazy, put it back on analogue, took it to LA to overdub Linda Ronstadt or whoever, brought it back to New York, put it back on digital and edited some more. We must have done that at least 20 times, and if not for digital we could have ended up with just as many generations of recordings."
"The drummer was placed where he usually is in that studio, in the far right corner, because I wasn't about to enter a strange studio and say, 'Let's the put the drums there.' I'd rather rely on the resident engineer where he puts them, and as I recall this was in the far right corner. The guitarist, Ray Phiri, was very close to him, facing his own amplifier. That stemmed from my time at Columbia, where I'd have four guitarists right in front of the drums, all with their amplifiers facing them. That way I didn't need to use gobos. I'd come from a school where I couldn't use a lot of them when doing live sessions in New York. The musicians would have said, 'What is this? You can't hear anybody.' In my opinion, the musicians have to be comfortable and able to see each other. The drummer in his own little room with headphones just doesn't make it for me."
As for those recordings themselves, Paul Simon allowed the musicians to do their thing, provided his own input and then took his time deciding not only which contributions to use, but also how to use them in terms of actually shaping the songs.
"Paul certainly wasn't going to tell those guys what to play," Halee remarks. "The sessions had to take place within certain hours before the bus came to take them all away. Paul is a master organiser, he's extremely smart, and he was great at determining which section would be nice as a bridge or a chorus or an intro while striking up friendships with the group members with whom he could communicate. These included the guitarist Ray Phiri, who always had a wealth of stuff going on in his head. He was smart, he could tell what Paul liked, and he would just go into the little catalogue in his mind and come up with something. Of course, he played guitar on everything.
"Whenever Paul said, 'What do you have, Ray?' the response would be 'Well, I have this...' He's a really quiet, unassuming gentleman, and yet he was the catalyst for so much that took place, along with the bass player Baghiti Khumalo. Bhagiti is now world famous, but back then he was just a kid from Soweto. He played a fretless Washburn bass in tune — recorded with a combination of direct and amplifier, picked up by a dynamic mic— and talk about spot-on. He was unbelievable. For me, those sessions were all about the bass. It always seemed so powerful, and whenever Paul and I came back to New York and listened and listened and listened to the material, it was the bass that really turned me on. Take the bass line on 'Boy In The Bubble' — oh, man, it's off-the-wall great. And you should hear some of the out-takes. Even today, there could be two instrumental albums consisting of those fabulous grooves.
"That's how the songs really evolved. Paul has great musical ears, and when it came to sifting through all the material and deciding what to use, where to make edits and how to shape things into a track, he had a lot of that in his head. He has an incredible mind, and there wasn't anything that he didn't make a mental note of while listening to the musicians play their grooves. Paul Simon is one in a million. Once you work with him, you don't want to work with anybody else. For my part, I have good ears, and on this album I had a lot of input, but this was his baby. He heard this. I wouldn't have dreamed about going to South Africa or thought, for instance, that Linda Ronstadt would be great duetting with him on 'Under African Skies'.
"When we arrived in Johannesburg, the only song Paul had was the 'Gumboots' demo. The 'Homeless' track with Ladysmith Black Mambazo was written by [founder and musical director] Joseph Shabalala — it was part of their repertoire — but Paul wrote the lyrics and played various guitars, as was also the case with 'Diamonds On The Soles Of Her Shoes'. The lyrics, in turn, caused a big problem. A lot of the album's songs are very wordy — they come at you like gangbusters — and the arrangements were also involved, but at the same time it was supposed to be a pop record and people had to understand the lyrics. That was tricky, both for Paul to enunciate them and for everyone else to hear them."
Although some of the lyrics were written in the studio, the vast majority of them were composed by Simon over the course of a work-intensive month at his home in Montauk, New York. These, in turn, necessitated plenty of rewrites due to the often overly complicated words.
"While practically all of the overdubs were done in the control room of the Hit Factory in New York — making communication with the musicians a hell of a lot easier — the vocals were tracked in the studio there," Halee explains. "For microphones, we used the usual selection of tube Neumann 49s, 87s and 67s. In fact, Paul's mic always seemed to end up being a tube 67 thanks to how it helps with sibilance, enunciation and all-around fullness. I tried different mics with him through the years, but I always went back to the standard M49 or U67.
"Capturing Paul's vocals was always very, very tough. Not because of his ability, but because he's a perfectionist. And me, too. I have very good ears for intonation and rhythm, and so he would go out and sing the same vocal 15 times and then I'd comp like crazy. I'd say, 'Let's do this line over,' or 'This word sounds a little sharp,' and so he'd re-sing the entire song just so that I could quite literally take that word."
The upside to this reciprocal passion for perfection has been the mutual trust in the working relationship between Paul Simon and Roy Halee, even if it took a long time to establish and, in the final analysis, the latter will ultimately defer to the former's opinion.
"He's usually right," Halee concedes. "However, if I'll tell him something's out of tune, he'll just say, 'Fix it,' and leave me to it. That takes a lot of trust."
"Throughout the Graceland project I tried to capture the integrity of the South African sound, not my own sound, and managed to pick up some of their very interesting ideas. One of these was that they'd use a small amount of very short chamber to the bass, and it was great. It worked very well with Baghiti's fretless bass. I put all kinds of tape reverb and delay on the synth bass line to make it do more than it was actually doing. I used three or four tape machines with different tape delays, and if you listen to that part it's jumping all over the place. It's great fun, a bit like Hal Blaine's bass drum on [Simon & Garfunkel's] 'Bridge Over Troubled Water'. He's not really playing that part, but different tape delays made it come out that way. The same applies to Hal's conga part on 'The Boxer', where I opened and closed by hand the return of a room echo chamber — It's like a door opening and closing. Quite an interesting sound.
"They almost threw me out of Columbia Records in Hollywood for doing that type of thing. I had machines lined up all the way down the hall, using tape reverb and delay on different Simon & Garfunkel recordings, like 'Mrs. Robinson'. I couldn't do the same with an EMT 140. All my life I loved to experiment with those machines and different delays."
Which was fortuitous for Paul Simon when he opted to lay down a lyrically complex vocal amid all of the different sounds on the busy, extremely involved track that was 'You Can Call Me Al'. His attitude: "We've got to make this work." And Roy Halee did, after initially feeling exasperated and then labouring on it for quite awhile.
"What I came up with was a tape delay feeding the left channel and a different delay feeding the right," he says. "All of a sudden his vocal receded into the track, at least to some degree, and we could understand the words! Don't ask me why, but it worked, and I couldn't have done that with an echo chamber or EMT 140. In fact, remove that tape delay from 'You Can Call Me Al' and, what with all of the sibilance, pops and other little mouth noises against what was going on in that track, the vocal would be unintelligible.
"It's all about mixing the sound, and it's also about the material being well recorded and using the leakage to your advantage. How many times throughout my career have I heard, 'Oh, that's OK, we'll fix it in the mix'? In a lot of cases you can't fix it in the mix. A lot of the tape reverb and delay ideas I used came from Les Paul. He was a master at that, he built a career on it. It's amazing what you can do with tape machines, or at least it was in those days when there was no magic box to help you out."
In all, about two weeks were spent recording the basic rhythm tracks at Ovation in February 1985 before returning to the Hit Factory home base for edits. Then it was planning the next move in terms of personnel and locale, be it London's Abbey Road for 'Homeless' in October of that same year or LA's Amigo Studios for Linda Ronstadt's vocal on 'Under African Skies' and 'All Around The World Or The Myth Of Fingerprints' with Los Lobos. The Hit Factory recording sessions took place in April 1986.
One of the tracks recorded entirely at the Hit Factory was the album's first single, 'You Can Call Me Al', whose lyrics dealing with identity crisis were inspired by a party that Paul Simon had attended with then-wife, Peggy Harper, where the host mistakenly addressed them as 'Al' and 'Betty'. For Simon, this turned out to be a happy accident. For the record company, it turned into a chart hit, thanks in part to an amusing promo video that features comedian Chevy Chase lip-sync'ing the lead vocal while the man who actually recorded it performs several of his band members' instrumental parts.
While Simon also contributed backing vocals and six-string bass, the line-up for 'Al' comprised Chikapa 'Ray' Phiri on guitar; Baghiti Khumalo on bass; drummer Isaac Mtshali; percussionist Ralph McDonald; synth player/arranger Rob Mounsey; Adrian Belew on guitar synth; Ronald E Cuber playing bass sax & baritone sax; trumpeters John Faddis, Ronald E Brecker, Lewis Michael Soloff and Alan Rubin; trombonists David W Bargeron and Kim Allan Cissel; and Morris Goldberg performing the pennywhistle solo.
"It was my idea to end the tune with the excitement of having live horns playing the part that had already been played several times by Rob Mounsey on the synth," Roy Halee recalls. "I then also doubled that part by sync'ing them back in at the mix stage. However, it was Rob who wrote it down for the horns. It was his arrangement, and the groove that's going on in that song is Rob's groove. He played the groove in the verses, as well as the synth lines at the beginning and throughout the number, and it was that groove which turned the song into a monster, although the brass contributed quite a lot, too."
Meanwhile, the distinctive bass solo that Simon is seen playing in the aforementioned video was actually recorded by Baghiti Khumalo on his own birthday: a one-measure descending line that, in order to extend the break, was later reversed and played backwards in order to add the ascending line.
"I simply copied the line as originally played to a mono machine and then sync'ed it backwards into the multitrack," Halee explains. "That kind of thing was always happening — 'Let's try it in reverse.' We would wild-track all the time. Anything to make it sound more interesting."
As it turned out, the Graceland mix, carried out in the same control room at the Hit Factory, took an average of about two days for each song. Much of the tape reverb and delay added at this stage had already been employed by Halee during the recording sessions in order to motivate the musicians. He just didn't put it down on tape if he wasn't yet sure about the final outcome. And once he was sure, and the album had been completed, it met with a less-than-enthusiastic reception from the record company honchos.
"Paul had tremendous faith in the record," says Halee, "although I had my doubts, because it had been such a lengthy, difficult project, and the music was so different to what was on the charts. Those bass grooves just weren't happening at that time.
"Just listen to 'The Boy In The Bubble'. For me, the bass line and the feel of that tune is what the album is all about. It's the essence of everything that happened. The guitar, the drums and that incredible bass add up to a feel going on at the bottom end that is unlike anything I've heard before or since. It's a major part of why the record was huge."
So huge, in fact, that Graceland became Paul Simon's most commercially successful album, being certified five times platinum by the RIAA en route to selling more than 14 million copies and peaking at number three on the Billboard chart following its release on August 12, 1986. In the UK it went all the way to number one. In 1987, having drawn worldwide attention to the music of South Africa, it won the Grammy Award for Album of the Year, and this was followed by the title track scooping that for Record of the Year. Meanwhile, 'You Can Call Me Al' reached number four on the UK singles chart, but only 44 in America after its October 1986 release. Reissued there the following March, it eventually peaked at 23. Arguably its finest hour came when the track was utilised by Al Gore during his bid to become Vice President alongside Bill Clinton in 1992.
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They show demolished cars flipped on their backs, a dramatic picture certain to startle drivers on Rainier Avenue South.
Billboards depicting the graphic images are going up on the street in hopes of encouraging drivers to slow down.
"More than 600 crashes happened along the Rainier corridor last year," said Grace Crunican, with the Seattle Department of Transportation, which is working with the Washington Traffic Safety Commission to install the billboards. "We hope the images resonate; we want people to slow down."
Last year there were 643 crashes on a 7.5-mile stretch of Rainier Avenue South, between Dearborn Street and Renton.
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As a comparison, the eight miles on Aurora Avenue North from the Battery Street Tunnel to North 145th Street saw 434 crashes last year.
As for accidents involving pedestrians who were jaywalking, there were 61 on Rainier Avenue over the past five years, compared with 33 on Aurora.
The messages on the billboards — "Slow down: crashes cost" and "Slow down: 643 crashes on Rainier Avenue last year" — came from two focus groups, one with Vietnamese speakers and the other with English speakers. Participants were male drivers between 20 and 45.
The billboards are being financed by the Traffic Safety Commission and cost about $7,000.
The first was installed last week on Rainier Avenue South just north of South Walter Street. It will remain in place for four weeks and then move to three other locations: Brandon Street, 42nd Avenue South and South Thistle Street.
The campaign will last 16 weeks and is part of Mayor Greg Nickels' pedestrian-safety campaign.
Susan Gilmore: 206-464-2054 or email@example.com

subset: commoncrawl


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Windy day
Construction worker Fabian Mendoza lets the wind catch a tube of plastic wrapping Thursday while he takes a break from an insulation job at the Georgia Crop Improvement Association office on South Milledge Avenue.
Allen Sullivan/Staff
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SEBASTOPOL -- The Palm Drive Health Care District voted to approved Tom Harlan as Palm Drive Hospital's new chief executive officer, it's 10th in five years, at its board meeting today.
Mr. Harlan, a senior health care executive with more than 35 years of experience, will begin work on Sept. 4, according to the district that oversees the 37-bed hospital. He will earn a base salary of $237,000 per year, with the opportunity to earn up to 20 percent of that in bonuses depending on performance metrics related to improvements in service, quality, growth and finance.
Mr. Harlan, 66, most recently worked as principal at Harlan Healthcare Consulting in Orinda and later Sebastopol. Before that, he served for nine years as president and chief administrative officer of John Muir Medical Center-Concord Campus (formerly Mt. Diablo Medical Center) a $320 million, 254-bed community hospital in Contra Costa County.
The health care district said Mr. Harlan is credited with the successful financial turnaround of the Concord hospital, where he developed a long-range master plan that led to a $170 million construction project, and overseeing a facility that became ranked as one of the top five hospitals in California for cardiac surgery.
While at John Muir, he received The American College of Healthcare Executives Senior Leadership Award, which recognized his outstanding leadership throughout his career.
"Tom is a highly regarded hospital executive," said Nancy Dobbs, president of the health care district board. "His experience in the East Bay working with partnering hospitals will stand us in good stead as our relationship with Marin General matures and continues to bring both hospitals value and benefit."
Late last year, Palm Drive Hospital followed Sonoma Valley Hospital in aligning itself with Marin General Hospital, a larger district hospital in Greenbrae.
"I'm delighted to be joining Palm Drive Hospital, a tremendous regional resource," Mr. Harlan said in a statement. "I am committed to striving for excellence and creating value through focus on caring, continuous improvement, innovation and accountability. These will be key drivers for Palm Drive's continued success and its ongoing growth and development."
Prior to joining John Muir, Mr. Harlan served eight years as CEO at Chinese Hospital and Chinese Community Health Plan in San Francisco and 18 years as a senior executive at Pacific Presbyterian Medical Center (now California Pacific Medical Center, a Sutter Health affiliate) in San Francisco. He graduated with an MBA with from the University of Chicago Graduate School of Business with concentrations in hospital administration and finance after completing military service as an officer in the US Army Medical Service Corps.
Mr. Harlan moved to Sebastopol in 2011 to continue health care consulting and further pursue an interest in viticulture and wine making, according to the health care district. He and his wife, Ruth Harlan, are proprietors of August Truth, a small production boutique wine brand founded in 2007 that specializes in chardonnay and pinot noir.


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nutrient removal Companies in Wisconsin
WesTech Engineering, Inc.
based in Salt Lake City, UTAH (USA)
WesTech Engineering, Inc. celebrates 40 years as a recognized leader in the manufacture of liquid/solids separation equipment for industrial and municipal process applications. Surface waters, groundwater, water reuse, drinking water, wastewater treatment and industrial process equipment and technologies designed to meet customer specifications, and exceed performance ...
Hydroflux Industrial Pty Ltd
based in Sydney, AUSTRALIA
WE ARE THE SPECIALISTS IN THE DESIGN, CONSTRUCTION, AND OPERATION OF INDUSTRIAL WASTEWATER TREATMENT PLANTS. For over 20 years, each of our senior team members have been involved in the design, project management and operation of industrial wastewater treatment plants with most of the major industrial businesses in Australia and throughout the Asia Pacific region. ...
ERG (Air Pollution Control) Ltd
based in Horsham, UNITED KINGDOM
ERG (Air Pollution Control) Ltd is a leading supplier of air pollution control systems with a successful 30+ year history. We provide turn-key systems to give the best technical solution for the lowest capital and running costs. We have installed over 600 systems globally. To help you comply with emission regulations, we can draw on an unrivalled range of solutions. ...
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Simpec works in the design, construction, installation and service of industrial water and wastewater treatment plants. Main sector of the company is metal and plastic surface finishing treatments. Simpec works for all the industries that use and consume water in their different production processes. Simpec realizes also plants for landfills (leachate treatment), plants ...
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Aqua Sonic Management Pty ltd ultraviolet and ultrasonic wave technology is proven to significantly remove filamentous algae, bacteria, viruses and able to reduce nitrate in an environmentally way. Ultrasound is a well established technology but only recently has it use been applied to controlling algal blooms.Ultrasound works by a phenomenon known as acoustic cavitation ...
Aeration Industries International (AII)
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Aeration Industries has the expertise and products to provide a full range of wastewater treatment solutions to optimize municipal and industrial wastewater treatment applications, from process water supply to wastewater treatment, sludge management to produced water return. Aeration Industries combines patented technologies with engineering expertise to develop complete ...
Kurita Europe GmbH
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Kurita Europe is a subsidiary of Kurita Water Industries Ltd. headquartered in Tokyo (Japan). Founded in 1949, the Group has 4,700 employees worldwide as of 2013 with a turnover of approximately USD 2.0 billion. Over 3,300 patents are proof of Kurita's innovative approach to a resource-saving consumption of water.
Pure air solutions bv
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Pure Air Solutions is a company operating world-wide and leading in the area of industrial air treatment. Our knowledge in air treatment focuses on biotechnology and chemisorptions. Our success is based on knowledge, creativity, cooperation, high level of support and a strong relationship with our customers. This enables us to offer high quality products and to find the ...
Encotech, Inc. / Carbon Service and Equipment Company a Division of Encotech, Inc.
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Encotech is a leading provider of environmental products, systems, and services. With over 35 years of experience, we offer the best products and support to our customers. With offices in PA, FL, SC and LA, we currently service sites from Maine to Florida and throughout the Central US. We are also involved in project work throughout the world. We design and ...
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ABS Materials, Inc. provides innovative solutions for water treatment and other industrial applications. Our family of patented medias represents a new type of absorbent material that is transforming a variety of industries and offers cost-effective and eco-friendly alternatives to traditional technologies.


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Iowa to host Marist in NCAA tournament
DES MOINES, Iowa (AP) — The Iowa women's basketball team is seeded sixth in the upcoming NCAA tournament and will face Marist in Iowa City on Sunday.
The Hawkeyes (26-8), who reached the finals of the Big Ten tournament, will host first and second-round games in the Louisville Region.
Louisville (30-4), which is ranked No. 4 in the country, was awarded a No. 3 seed and a trip to Iowa City. The Cardinals will play No. 14 Idaho (25-8) at Carver-Hawkeye Arena earlier Sunday.
The winners of the opening round games will square off on Tuesday.


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Facebook's Zuckerberg Mocked On Chinese Social Media For Jogging In Beijing's Toxic AirA photo of Facebook founder Mark Zuckerberg jogging Friday morning in downtown Beijing's notorious smog has prompted a torrent of amusing comments and some mockery on Chinese social media.
Mineta San Jose Airport On A Roll, Lands High-Profile International FlightsMineta San Jose International Airport has been on a roll lately. While short-hop domestic flights are still the airport's backbone, SJC has completed a hat trick of high profile international flights.
The Olympics Are Heading Back To BeijingThe International Olympic Committee (IOC) announced Friday that Beijing has won the rights to host the 2022 Winter Olympic Games, marking the second time Beijing will have the honors.
After Sharp Losses Yahoo Closing Last China Operation In BeijingYahoo Inc. has announced the closure of its last office in China, a research and development center in Beijing, in a new cost-cutting move.
New Years Fireworks Could Push Beijing To Air Pollution To Measurable LimitBeijing is the capital of the People's Republic of China. With a little over 21 million people, It is one of the most populated cities on earth. As a result, it is heavily polluted with toxic air pollution.
Mineta San Jose Airport Adding Nonstop Flights To BeijingMineta San Jose International Airport is adding nonstop service to Beijing on Hainan Airlines to its flight roster.
Facebook CEO Zuckerberg Stuns Beijing Crowd By Speaking MandarinFacebook CEO Mark Zuckerberg stunned a crowd in Beijing by speaking Mandarin.
Travel To The Wonders Of The WorldHere's a quick guide for families to the New Seven Wonders of the World and the only surviving original Seven Wonders of the World.
San Francisco Flies Chinese Flag At City Hall As Thousands Protest In Hong KongThe city of San Francisco, which has always been known to support human rights causes worldwide, was flying the flag of the People's Republic of China at City Hall just as tens of thousands of people in Hong Kong were protesting against the Chinese government.
Hong Kong Protesters Using Bay Area-Based App To Work Around Beijing Internet-BlockProtesters in Hong Kong are using creative tools to coordinate their demonstrations, including a San Francisco-Bay Area app Firechat.
Drone Video Shows Massive Scope Of Hong Kong Pro-Democracy ProtestsVideo shot from a drone showed the massive scope of demonstrations in Hong Kong Monday.
CBS News Correspondent Steve Futterman Remembers Tiananmen Square Massacre 25 Years LaterIt's been 25 years since the Chinese Army used brute force to put down a massive protest at Tiananmen Square in Beijing where scores were killed as soldiers and tanks rolled though.


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What's News: Business & Finance
The ECB and Germany rejected calls from euro-zone politicians to bail out Italy and other struggling euro members by intervening in bond markets.
Blue-chip stocks edged higher while other indexes fell slightly as investors fretted over Europe's debt crisis and U.S. deficit talks. The Dow industrials rose 25.43 points, or 0.22%, to 11796.16.
The FDA removed the approval of Roche's Avastin for treating breast cancer, saying it wasn't proven effective for that type of cancer.
Chinese city property prices posted a monthly decline, suggesting the start of a correction that could help officials tame housing costs.
Blackstone is poised to acquire a portfolio of 16 office buildings in a deal that would value the properties at about $800 million.
Apple is accepting payment in Chinese yuan for users' App Store downloads.
Clearwire is considering skipping a big debt payment coming due in two weeks.
BMW said it acquired a 15% stake in SGL Carbon, a supplier of lightweight carbon fibers and composites.


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By Ryan Clark | November 29, 2006
The 11/24 edition of Smackdown did a 2.5 broadcast rating, with a 4.5 share.
AM Raw from 11/25 did a 0.5 cable rating, with a 1.4 share, for the 9 a.m. airing. The normal 2 a.m. broadcast did a 0.6 cable rating, with a 2.7 share.
Share |
Rumored WWE RAW And SmackDown Draft Rosters Include WWE NXT Superstars, Announce Teams, More
WWE Looking To Make RAW And SmackDown Equal, Backstage News On The Final WWE MITB Match Spot
Jim Ross Blogs His Feelings On The Controversial Ricochet Vs. Will Ospreay Match
WWE 2K17 Release Date, Jim Ross Updates Status Of His Autobiography, New WWE NXT Live Events
New "Hatch" Teaser For Tonight's WWE RAW, John Cena - WWE Network Collections, WWE NXT Takeover
Ticketmaster Pulls WWE NXT "Takeover: Brooklyn" From SummerSlam Weekend In Brooklyn
Videos: John Cena Learns To Booty Pop, Talks Hot Dog - Sandwich Debate, Being In Trouble As A Kid
Steve Austin Talks "Real Bad" Ric Flair - Charlotte Segment On WWE RAW, Sasha Banks
WWE Posts Another Teaser For RAW
John Cena Shirt Pulled And Replaced Due To Legal Threat From Beer Company
WWE Pulls New John Cena Merchandise, Hideo Itami On His Return, WWE On Superstar Betrayals
Cody Rhodes And Wade Barrett's List Of Opponents They Want To Face, Bullet Club Offer, Non-Compete
New Cryptic Teaser From Bray Wyatt, WWE NXT Star Turns 32, A Fury Of Bad WWE Landings (Video)
Jim Ross Blogs About The WWE Brand Split, How TNA And NXT Will Be Affected, More
News For Tonight's WWE RAW - John Cena's Return, Matches, Money In The Bank Hype, Charlotte, More
Stephanie McMahon Talks Her Favorite Wrestler, Injuring Her Neck At Concert, Training, More


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Fit Life Articles
Wondering how you can turn sweet treats like cookies and brownies into something that offers a little more nutritional bang for your buck? Here are a few tricks you can use to transform your favorite desserts into healthier—yet still tasty—versions that are sure to satisfy...
It's understandable to think that working out more means burning more, but burning "more" can also include burning valuables like lean muscle mass and your motivation. Train your body to avoid overtraining by looking out for these eight warning signs.
Tight IT bands—those long pieces of connective tissue that run along the outsides of the legs—can be symptomatic of imbalances or weaknesses in other parts of the legs or hips. Yoga, when practiced with proper alignment and body awareness, is effective for finding those...


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According to Jim Wyatt of the Tennessean, the Titans will be hosting veteran safeties Yeremiah Bell and Chris Crocker today.
Bell has played the past eight seasons with the Miami Dolphins, while recording a total of 433 tackles and eight interceptions.
Crocker has been in the league for the past 10 years and has spent time with the Bengals, Dolphins, Falcons and Browns. He's totaled 476 tackles and 10 interceptions over the course of his career.


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Technical Details
This Trojan program is designed to steal user passwords to accounts on WoW servers. The Trojan itself is a Windows PE EXE file, written in Delphi and packed using NsPack. The packed file is 136069 bytes in size, and the unpaced file is approximately 316KB in size.
Once launched, the Trojan creates a DLL file in the C:\ root directory:
It then launches this file and calls the "start" function:
When launching, the DLL file copies its executable file to the Windows system directory:
The Trojan creates a service called NetWork Logon in order to ensure that it is automatically run each time Windows is restarted:
When launching, the DLL file gets a list of processes. It then loads itself to the address space of a process chosen at random from the list, as well as to the processes listed below:
where the DLL file will install a hook for the send function of WS2_32.dll which is used to track the user's HTTP requests. For POST requests where the URL contains the following string:
the Trojan gets the values of the following parameters:
account= pin=
If the URL contains the string /dologin.php, the Trojan will get the value of the parameters listed below:
loginname= &password=
For processes called WOW.EXE the Trojan gets the values entered in dialogue boxes, and will also take screenshots of some dialogue boxes.
The Trojan sends the harvested information to the remote malicious user's site.
The Trojan will also delete all links containing the string "the9.com" from the browser cache.
Removal Instructions
- Use Task Manager to terminate the Trojan process.
- Delete the original Trojan file (its location will depend on how it initially penetrated the victim machine).
- Delete the files created by the Trojan:
%System32%\KB896425.log c:\nxldr.dat
- Delete the following system registry keys:[HKLM\System\CurrentControlSet\Services\NetWorkLogon]
- Update your antivirus databases and perform a full scan of the computer (download a trial version of Kaspersky Anti-Virus).


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CHICAGO -- Mike Richards was a late scratch for the Los Angeles Kings in Game 2 of the Western Conference Final against the Chicago Blackhawks after a quick conversation with his coach just before the contest was about to begin.
The Blackhawks won 4-2 to take a 2-0 lead in this best-of-7 series.
"He was fine today, then I think just once his blood got pumping tonight, the adrenaline got going, there were symptoms," Los Angeles coach Darryl Sutter said. "I went in right after warmup, he was sitting there and I said, 'Unless you're 100 percent, you're not playing.'"


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PHILADELPHIA — The University of Pennsylvania's Division of Public Safety will conduct a UPenn Alert Emergency Notification Test with a campus-wide shelter-in-place awareness drill Friday, Sept. 28, at 2:55 p.m.
UPenn Alert is an emergency-communications system that allows the University to quickly provide the Penn community and campus visitors with critical information during a crisis through various methods, including text messages, voice mails, e-mails, the Penn Siren Outdoor System, the Public Safety Web site and other digital displays.
Public Safety will send messages to all registered members of the UPenn Alert System, instructing recipients to become familiar with the shelter locations in campus buildings in the event of a possible chemical, biological, radiological, nuclear or weather-related emergency.
As an added layer of protection, Penn's Siren Outdoor System, Penn SOS, which consists of 15 outdoor speakers, will transmit a 15-second siren and emergency voice messages to the outdoor campus environment.
Registration for UPenn Alert can be accomplished at http://www.publicsafety.upenn.edu/UPennAlert.
In addition to the UPenn Alert and shelter-in-place drill, Public Safety and the Philadelphia Fire Department will hold the annual Fire Safety and Emergency Preparedness Day as a part of the national campaign for campus fire safety and emergency preparedness.
From 10 a.m. to 2 p.m., personnel from the PFD, along with Penn's Fire and Emergency Services, will be at intersections across campus distributing safety literature and answering questions.
A press conference will convene at noon outside the Penn Bookstore featuring Philadelphia Fire Commissioner Lloyd Ayers and Maureen S. Rush, vice president for public safety at Penn.
In addition, the PFD's Fire Safety Trailer, used to promote home fire safety awareness, will be at 36th and Walnut streets for tours by students, faculty, staff and visitors.
Additional information about emergency preparedness is at http://www.publicsafety.upenn.edu/PennReady.


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Salthill is thought of as the seaside area of Galway City, and because of its wonderful beach and promenade, it attracts flocks of tourists all year round. There's plenty in the area to keep everyone entertained, which makes it an excellent stopping point on any trip to Galway. Because of Salthill's thriving tourist industry, there are many excellent accommodation options to choose from, meaning that there's a little of something to suit everyone.
Salthill for Seaside Fun
Salthill's golden, sandy beaches are one of the most attractive parts of this wonderful area. Although it can get quite busy in the tourist season, there's a wealth of different beaches to choose from. Being part of Galway Bay, the area is mostly protected from the forces of the sea. This means that the beaches make for safe paddling and swimming for even the smallest of visitors. The sandy beach is a wonderful place to enjoy sunbathing, building sandcastles, eating ice cream and all the other activities you would expect at a seaside resort.
Salthill for the Golden Half-Mile
Salthill's popularity as a tourist destination since the earlier half of the 20th Century has meant that it's had time to build up a healthy tourist industry. When you're seeking some classic holiday fun, Salthill's golden half-mile of casinos, bars and restaurants is a great place to start. From gourmet delights to classic family-friendly meals and street eats there's enough to please every pallet. The casinos and bars give off a real party atmosphere and clubs and musical pubs offer entertainment until late into the night.
Salthill for Family-Friendly Fun
Beach resorts are naturally great fun for kids; you don't need much beside a bucket, a spade and perhaps a few ice creams to enjoy a fantastic family holiday in Salthill. But just in case the weather lets you down for a day, or you're in the mood for something a bit more indoors, Salthill still provides other entertainment.
Galway Atlantaquaria is Ireland's national aquarium, and is located in Salthill. There's a lot of aquatic marvels, as well as intriguing education, in store for visitors to the Atlantaquaria. Over two floors, discover Ireland's Aquatic landscape, how it developed and how it is now. Come face to face with a 60 foot whale skeleton, as well as meeting various kinds of underwater life from the seahorse to the shark. Climb inside a model submarine and let your imagination take hold, or have a go at holding a spider crab – but only if you dare!
Leisureland is another popular attraction for visitors in Salthill. It's much more than just a leisure centre, although there are of course all the attractions you would expect as well. Featuring a large swimming pool, a kids' pirate-themed pool and a thrilling water slide, there's plenty of reasons for a splashabout. If you want to stay dry, then head to the centre's outdoor amusement park.


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Where's that Benelyn?
Oh jaysus, don't be tellin' her to cough up. You never know what that will produce! :wink:
Well, you'd better hope that's all, Buddy Boy. * sniff *
sprays screen wif disinfrectant......
I'm already saving for the ring, though there are a few things we need to sort out first!! We've only been dating since November / December - living in one house would be a good place to start! Trying to keep them both going is tough, but we'll be fixing that by summer!
2011 people. 2011...


text:
I want to use the listOfValues or autoComplete component in my application. Currently I'm using tomahawk and not able to find any related component for autoComplete or listOfValues. Can anyone please suggest me if there is any other way to do it using tomahawk ?
RichFaces has an easy-to-use version of
If you don' need the combo-part (i.e. the arrow for selection), you can either extend the component and get rid of the combo-part, or use
I once decided on the 1st option, which turned out to be easier for my purposes.


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A North Carolina National Guard soldier was among 23 guard members across the country selected to attend the Army All-American Bowl.
The game matches East and West teams of high-school players in San Antonio, Texas, Saturday.
Chief Warrant Officer 4 James Herring, of Roanoke Rapids, will represent North Carolina, according to the National Guard. Herring belongs to the 60th Troop Command in Roanoke Rapids and was only member of the guard selected from the state.
Soldiers selected for the trip are veterans of Iraq or Afghanistan.


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CorelDraw Recovery Toolbox is an efficient and reliable recovery tool for damaged CorelDraw (*.cdr) files. Thanks to the use of complex analysis algorithms, the program ensures a consistently high chance of successful recovery in every situation. CorelDraw Recovery Toolbox is easy to use and requires no skills or data recovery experience.
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text:
Mark Lanegan Band at the Cedar, 5/18/12
Mark Lanegan Band
The Cedar Cultural Center, Minneapolis
May 18, 2012
Mark Lanegan is no less menacing on stage, even after all these years. The grunge stalwart and survivor returned to the Cedar Cultural Center a year and a half after gracing that same stage with Isobel Campbell, this time in support of his excellent new record Blues Funeral. Lanegan brought a cracking four-piece backing band with him as part of this brief, 12-city U.S. tour, and the talented group gave both his new songs and his classics some added bite and breadth, all while Lanegan's smoky, weathered vocals took us on a tour of the darker edges of town during his captivating 85-minute set.
After the band quickly and unassumingly took to the darkened stage, they kicked things off with the ominous first single from Blues Funeral, "The Gravedigger's Song," which, while being as gloomy as the title suggests, certainly got the set started with a shot. A succession of older songs from Lanegan's prodigious back catalog came next, as the electric and intense Bubblegum numbers "Hit The City" and "Wedding Dress" were followed by a rousing Field Songs double-shot of "One Way Street" and "Resurrection Song."
Anyone who has seen Mark Lanegan perform live knows of his intimidating stage presence, as he stands stock still with his hands gripping the microphone as if clinging on for dear life. Pleasantries are never exchanged, instead you just get his gravelly tales of despair and addiction sung to you like a ghost story around a campfire. During this generous, 20-song performance, it appeared as if some of the forlorn lyrics were physically painful for Lanegan to sing, as he visibly winced after some lines, which only gave more weight and impact to the already heavy material.
Lanegan's new material sounded fantastic on this night, as the adventurous electronic elements found in the new songs were tempered somewhat, and replaced by the dual-guitar punch of his backing band. "Gray Goes Black," "Phantasmagoria Blues," and "Quiver Syndrome" all had an urgency and tension to them that resonated loud and clear in the small club. After a somber rendition of "One Hundred Days," Lanegan spoke to the crowd for the first time, thanking us and taking a moment to introduce his band. And, after someone from the audience thanked Lanegan for coming back to Minneapolis, a hint of a smile came to Mark's lips for the briefest of moments, but that was enough to know he was happy to be back.
A rousing cover of Leaving Trains' "Creeping Coastline Of Lights" ignited the second half of the set, as did a fiery run through of one of the final recordings of the Screaming Trees, "Black Rose Way." But the main set ended with a stellar quartet of Blues Funeral songs, as potent versions of "Riot In My House," "Ode To Sad Disco," "St. Louis Elegy," and "Tiny Grain Of Truth" all bristled with intensity and somber elegance.
After a brief encore break, the band returned for a riveting but decidedly downcast version of "When Your Number Isn't Up," followed by a glorious rendition of "Pendulum," sadly the groups only foray into the Lanegan classic, Whiskey For The Holy Ghost during the performance. A jubilant, soaring version of "Harborview Hospital" really caught fire, with its piercing guitar melody slightly echoing U2. A gritty rendition of "Methamphetamine Blues" closed out the night in a raucous, gripping manner, leaving all of us to carry the weight of Mark Lanegan's absorbing songs now that he's unburdened himself, at least for one evening.
Critic's Notebook:
Personal Bias: Ever since I saw the Screaming Trees open for Alice In Chains at First Ave. in 1992, I haven't missed Lanegan any time he comes through town.
The Crowd: With a lot of other live music options happening on a busy night in Minneapolis, the show didn't sell out, but the smart ones were at the Cedar.
Overheard In The Crowd: Mainly just stunned silence.
Random Notebook Dump: I want Mark Lanegan to perform on my birthday every year.
The Gravedigger's Song
Sleep With Me
Hit The City
Wedding Dress
One Way Street
Resurrection Song
Gray Goes Black
Phantasmagoria Blues
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So here we are at the conclusion of the mid-summer apex, more readily known as the conclusion of the long Fourth of July holiday weekend, and there have been fireworks aplenty in Virginia's gubernatorial race between Republican Ken Cuccinelli and Democrat Terry McAuliffe.
Or not.
For an election that's fewer than four months away, this one continues to loom as a conundrum-based affair on relatively long-ago happenings.
Take this past week and weekend.
Cuccinelli goes on the stump to supposedly talk about his business initiatives for Virginia but winds up spending much of his time bashing McAuliffe for the Mississippi-and-not-Virginia electric car plant.
McAuliffe goes on the stump to supposedly show his support for science and technology potential in Virginia but winds up spending much of his time bashing Cuccinelli about the Michael Mann/U.Va. controversy.
Will this thing ever become interesting and not just a regurgitation of long-ago happenings?
In a word, no.
So says noted political observer Larry Sabato, director of the University of Virginia's Center for Politics, when asked Monday about the race's tenor.
"This Virginia Governor's election is destined to go down in history as one of the most purely negative ever,'' he said. "Both major-party nominees are so controversial that it's almost impossible to sell them positively. Therefore, the campaigns and consultants will do what they do best -- attack the other guy."
Consider two recent posts from the campaigns.
From Cuccinelli's camp: "Good Morning. On the heels on the one year anniversary of McAuliffe's unveiling of GreenTech's MyCar someplace other than Virginia, and with McAuliffe's campaign unable to be reached for comment Saturday, today we bring you McAuliffe's own explanation for why he didn't open a manufacturing facility in Southside or Southwest.
"That's right folks; according to Terry McAuliffe a manufacturing facility with one thousand employees is too big for Southside or Southwest Virginia. McAuliffe had previously stated that Mississippi's lucrative government incentives had swayed the final decision and falsely blamed Virginia officials for GreenTech opening up shop in Mississippi, but now it's clear that Southside and Southwest weren't good enough for McAuliffe's lofty and unmet GreenTech expectations."
From McAuliffe's camp and the aforementioned Mann: "Scientists shouldn't have to look over their shoulders whenever they do work whose conclusions might offend somebody with a political ax to grind."
"That's what the Richmond Times-Dispatch had to say about Ken Cuccinelli's investigation of my research at the University of Virginia. He subpoenaed thousands of documents about my work in climate science just because he didn't like my academic conclusions. I've moved my research to Penn State, but I was back in the Commonwealth this week meeting with scientists and researchers at some of our leading universities to make sure they know one thing: Terry McAuliffe believes science is science and thinks researchers should be able to do their work without government interference."
So there you go. Sabato has been covering Virginia politics for more than three decades and doesn't try to hide his disgust with the current state of affairs.
"It's often said that these two are running against the only person they could beat, and I'm inclined to agree," he said. "One of them is going to win, and about half the state is going to gag.
"The redeeming feature is Virginia's one-term limit. Four years will pass quickly, though a lot of damage to the state's reputation can be done in that time."
Asked Monday about Sabato's assessment, here's what both campaigns had to say.
From Cuccinelli aide Anna Nix: "Ken Cuccinelli was in Hampton Roads for three events today where he continued, as he has throughout the campaign, to focus on his core message of growing the economy, creating jobs and easing burdens for middle-class families. Ken has spent his entire career putting Virginians first. On Election Day, Virginia voters are going to support Ken Cuccinelli and his plan that will help all Virginians, not just the well-connected."
From McAuliffe aide Josh Schwerin:{}"Terry is focused on how we can diversify and strengthen Virginia's economy. That's why he has spent so much time talking about the importance of the bipartisan transportation compromise, visited 21 of the 23 community colleges in Virginia to talk about workforce development, and why he's been gaining support from the business community and mainstream Republicans. Terry is also committed to standing up for women and making Virginia a welcoming place for those who want to live, work, and raise a family here, but unfortunately those are things that run contrary to Ken Cuccinelli's career-long record."


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Image and Identity
Reflections on Canadian Film and Culture
Hardcover 501 pp.
Release Date:
|Hardcover edition is out of print.
Paper 501 pp.
Release Date:
Online discount: 25%
$42.99 $32.24
What do images of the body, which recent poets and filmmakers have given us, tell us about ourselves, about the way we think and about the culture in which we live?
In his new book A Body of Vision, R. Bruce Elder situates contemporary poetic and cinematic body images in their cultural context.
Elder examines how recent artists have tried to recognize and to convey primordial forms of experiences. He proposes the daring thesis that in their efforts to do so, artists have resorted to gnostic models of consciousness. He argues that the attempt to convey these primordial modes of awareness demands a different conception of artistic meaning from any of those that currently dominate contemporary critical discussion. By reworking theories and speech in highly original ways, Elder formulates this new conception.
The works of Brakhage, Artaud, Schneeman, Cohen and others lie naked under Elder's razor-sharp dissecting knife and he exposes the essence of their work, cutting deeply into the themes and theses from which the works are derived. His remarks on the gaps in contemporary critical practices will likely become the focus of much debate.
Filmmaker, author and critic, R. Bruce Elder inspires and enjoys debate. His films have been exhibited internationally and his polemical piece, "The Cinema We Need", remains one of the most discussed pieces of writing on Canadian film. Elder has also produced a forty-two-hour film cycle entitled The Book of All the Dead. In 2007 R. Bruce Elder received the Governor General's Award in Visual and Media Arts.
"Within its compass, that of Canadian intellectual history, Image and Identity is a methodological correction to the state of Canadian film studies. Elder's study seeks to perform a contextual redress for Canadian film, negatively in the case of documentary cinema and realist fiction film, positively in the case of the avant-garde. He manages this task admirably, arguing clearly and in depth as a scholar fully conversant with the exemplary recent work in Canadian studies by Armour and Trott and by Wilden, Reid, and Kroker, and with the original sources their writing explores."
— Bart Testa, University of Toronto Quarterly
"One of the better-kept secrets about Elder's past is his formal graduate study in philosophy. This training can no longer remain a secret to readers of this book. But, in addition, Elder reveals a firm grasp of Canadian history, against which he explains the country's philosophical and aesthetic evolution. His documentation ... is impressively scholarly."
— Cam Tolton, Canadian Book Review Annual
"Daunting, dense, encyclopedic, exhaustive, exhausting, and oftern brilliant."
— M. Yacowar, Emily Carr College of Art and Design, Choice
"Image and Identity at its best is intoxicated with its subject and can take a reader straight into it. For those who share the same serious fascination with Canadian culture that Armour, Trott, and Kroker address in their books, Image and Identity will come as something of a revelation: that some Canadian films at least are not homeless orphans of a national cinema that keeps stumbling, but works very much at home in the landscape of Canadian art and thought."
— Bart Testa, Globe and Mail
"Bruce Elder has written a work as ambitious, expansive and impressive as many of his own film projects."
— Cantrills Filmnotes
"Elder's work, combining a provocative thesis, a national and international philosophic and artistic context, and a thorough analysis of selected Canadian postmodern works, is a stimulus and a challenge to anyone interested in Canadian art and culture."
— Paul Tiessen, Canadian Literature
Related interest
By the same author
DADA, Surrealism, and the Cinematic Effect, R. Bruce Elder
Harmony and Dissent: Film and Avant-garde Art Movements in the Early Twentieth Century, R. Bruce Elder and R. Bruce Elder
A Body of Vision: Representations of the Body in Recent Film and Poetry, R. Bruce Elder
The Films of Stan Brakhage in the American Tradition of Ezra Pound, Gertrude Stein and Charles Olson, R. Bruce Elder


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When things aren't going well for a team, everyone tries to find something or someone to blame, and right now things aren't going too well for the Atlanta Braves. Fans are now becoming restless, and have begun pointing fingers, trying to assign some blame. The witch hunt is on, and there is a contingent of fans who are bound and determined to get rid of manager Fredi Gonzalez. They've even begun hashtag campaigns on Twitter to the likes of #FireFredi and #Frediot. I, myself am even guilty of trying to squarely lay the coat of blame on the shoulders of Braves pitching coach Roger McDowell.
But the truth is, the reason for the Braves recent troubles goes way beyond a manager or coach. It goes way beyond a pitcher like Mike Minor imploding on a regular basis. It goes way beyond a prospect like Jason Heyward not living up to his full potential. And it goes way beyond Chipper Jones not being in the lineup regularly. No, those things, although contributing factors, are only symptoms of the greater problem.
I've sat for weeks now and tried to figure out if the Braves problem lay more in lack of offense, or the inability of starters to get deeper into games, or even for what once seemed to be an untouchable bullpen getting roughed up on a regular basis. I tried to take into account the nagging injuries that constantly seemed to jump up at Atlanta's thumpers like Chipper Jones, Freddie Freeman, and Brian McCann, but still I came to only one conclusion. And it pains me to say it.
As a whole, the way they are put together right now, this is just a mediocre to above average team.
Yes, there are some shining stars on this team, and when the starting lineup is in and healthy, they do pretty well. But herein lies the problem. Every team has it's share of star power, and has a regular lineup that can potentially do some damage. Every team deals with injuries, and has pitchers that don't live up to the hope of the coaching staff, it's an unavoidable part of the game. The difference is, the teams that really excel, and pull away from the competition are the teams that don't let those gaps in the lineup due to injury slow them down. It's about depth…and the Braves don't have it. They don't have it in the batting order, and they don't have it on the pitching staff.
I mean, look at the Braves bench. Jack Wilson? Juan Fransisco? Jose Constanza? Eric Hinske? These are simply not viable replacements for Chipper Jones, Freddie Freeman and company. Nice players, yes. In much the same way that Jerry Willard was a nice player off the bench in 1991, but he certainly wasn't expected to fill the role of a Greg Olson. Guys like that are simply pinch-hit bats and emergency players. The lauded Braves teams of the 1990's had depth at nearly every position, and could get through an injury without it causing a major headache for Bobby Cox.
Now, if you look at the numbers so far this year for the Braves starting rotation, outside of Mike Minor, they don't look all that terrible. But the issues with the starting pitching aren't transparent in the numbers. There is just too much coddling going on. The starting pitchers are being pulled when the pitch count gets too high for the comfort of McDowell and Gonzalez, and aren't being allowed to finish what they started. Again, pointing to the Braves of the 1990's, it was a regular occurrence for a starter to go eight-plus innings, or throw a complete game. If Tom Glavine, Greg Maddux, or John Smoltz were pulled in the sixth inning, people questioned what was wrong with them that night. The early exit of starting pitchers leads to overworked bullpen arms, and begins to limit the choices that Fredi Gonzalez has on a given night as to who can pitch.
It's all cyclical. The offense slumps when the starters are out. The starting pitchers pitch well enough to win, but get pulled because either runs need to be scored, or the pitch count is too high. The bullpen doesn't get proper rest, and arms that would usually throw exploding breaking balls end up tossing batting practice pitches…and on, and on, and on.
The bottom line is this. Great teams don't play streaky ball. They play consistent ball. They win series on a regular basis, even if they don't have extended-game winning streaks. When they lose a couple, it's never cause for concern because everyone knows it will go no further. Great teams don't lose eight straight games. Great teams don't lose consecutive series on multiple occasions. Average teams do. Mediocre teams do. This Braves team does. Burning Fredi Gonzalez at the stake isn't going to change a lot.
Am I writing the Braves off and throwing this season out with last September? Absolutely not. I'm just saying that my expectations have been altered to some degree. But hope springs eternal, the trade deadline approaches, and who knows what GM Frank Wren has in store for us come August.


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Michelin Presents Wallpaper Wednesday: Chrysler Firepower Concept
Yesterday, Fiat Chrysler announced a whole bunch of stuff. And amid the exciting stuff and the totally obvious stuff and the unclear stuff, there was some genuinely earth-shattering news—the Dodge Grand Caravan is getting the ax.
Comments | By John Coyle - May 7, 2014


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- El SalvadorAgricultureFunding via Apoyo Integral
ShilaraniIndiaAgricultureFunding via Belghoria Janakalyan Samity
Sol MarinaColombiaRetailFunding via Fundación Mario Santo Domingo (FMSD)
David's mother works as a baker at the local bakery and gets small monthly salary. In order to generate additional income, David plans to purchase a van and start a food distribution business. Specifically, he will buy rolls, pies, and other food products from the bakery at wholesale prices and then distribute these products to local groceries. He needs financial support for implementing his plan. The loan amount will be added to David's savings and he will be able to purchase a used van. After the van is purchased, David will run his own business and make a profit to contribute to his family's well being. He hopes for your support and kindness.
Additional Information
More information about this loan
This loan is part of Credo's startup loan program targeting particularly vulnerable clients who live at the subsistence level and have been unable to obtain credit due to lack of income from an existing business. This program offers them a longer repayment term and an annual interest rate that is 5% lower than the standard interest rate. By funding this loan, you are supporting a program that gives borrowers a second chance to start and grow small businesses. This has the potential to alleviate the effects of poverty, significantly improving borrowers' incomes and their families' quality of life. Learn more about Credo's startup loan program on the Kiva Blog.
About LLC Micro Finance Organization CredoLLC Credo (Credo) is a microfinance organization in Georgia that provides sustainable credit services to alleviate poverty in rural areas, including business loans, agriculture loans, household loans, crop insurance and more. Kiva lenders' funds are used to help the organization expand its outreach to even more entrepreneurs, farmers and households in remote areas.
Loan tags help lenders find loans that match certain areas of interest. You can add up to 5 tags for this loan.
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Success!! The loan was 100% repaid
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- Dec 3, 2013
- Listed
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- Oct 22, 2014


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Help with deciding what lens to buy..
Started Nov 6, 2012 | Discussions thread
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GtoJon • Veteran Member • Posts: 3,549
Re: Help with deciding what lens to buy..
Haven't mention what you are wanting to shoot ..... JMHO ..... Next would be a 70-200mm f4/IS
Or you could get a Sigma 300-800mm
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Open Source software is powered by the people behind it. You don't need to be an expert developer to make a difference, and the benefits can be immense. If you enjoy using Open Source software, come find out how to get your feet wet and make your favourite projects better.
This special presentation will be given by Open Source enthusiast James Walker.
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James' presentation will start promptly at 7pm. Questions and casual discussion will follow. Myplanet will provide the first round of pitchers, so make sure you arrive early!!
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NCI Dictionary of Cancer Terms
The NCI Dictionary of Cancer Terms features 7,926 terms related to cancer and medicine.
Browse the dictionary by selecting a letter of the alphabet or by entering a cancer-related word or phrase in the search box.
- overexpress
- listen (OH-ver-ek-SPRES)
- In biology, to make too many copies of a protein or other substance. Overexpression of certain proteins or other substances may play a role in cancer development.


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I picked up a pair of Lake MXZ 300 shoes and I think I may be over compensating in the sock department or not using the right type of socks.
The ride this morning was 16°F. The commute is 15 miles each way.
I wore a pair of Thorlos :: http://www.thorlo.com/datadriven/view_product.asp?s=JLM
And a pair of these over the Thorlos :: http://www.nashbar.com/profile.cfm?c...eid=&pagename=
My toes still got cold after about 45 min. on the bike. I think it may be because of sweaty feet.
Are there better socks out there?


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Wallis Simpson
Biographical Information
The Duchess of Windsor remains a controversial figure in British history. She was seen as the woman who took a highly popular king from his people. Her private life has remained a source of much speculation. Both the Duke and Duchess of Windsor have also been accused by some critics of being Nazi sympathisers.
Birthday: June 19, 1896
Changes: the end of the old and the birth of the new.
Material success, stability, authority and ambition.
Birthday: June 19, 2015
A relationship or love affair with a trial or choice involved.


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"My Calamba Homepage" Calamba by freddie18
Calamba Travel Guide: 14 reviews and 36 photos
Calamba is a city in the province of Laguna. This first class city is approximately 54 kilometers south of Manila. I am inviting you to visit the city. You may spend a day or two to see all the attractions like the hot spring resorts lined along the Barangay Pansol, the house of Dr. Jose Rizal, and Banga or the biggest "Claypot" to name a few.
If you are interested to come visit the city, please see my tips and recommendation first. I am updating them from time to time. It will help you for sure.
Reviews (4)
Major intersection of Calamba city proper, you will see to your right this huge shopping mall. You may spend half a day... more travel advice
I would recommend you to visit Banga in Calamba. It is a claypot where the name of the city of Calamba originated.... more travel advice
Just down under the Banga in Calamba, you will find two statue depicting the native people of Calamba on those old days.... more travel advice
The picture I posted is the house of Dr. Jose P. Rizal, the Philippine National Hero. This is the home where he and his... more travel advice
Comments (5)
The statues are lovely and that huge claypot is wonderful. Great page! Have a great week!
Nice to see a picture of the banga!!! Hehehe...Used to climb it almost every weekend when I was 6 years old...made a tip on it as well, Norman :)
I have been here on an educational tour. But, it's been a long time! I can still remember it! It brings back memories!
Nice page Freddie I like to visit virtually where I have not yet ventured
been here twice and the house of JR :0) is my favorite.
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Serve with a crisp mixed green salad and fresh fruit to round out the meal.
For more orange flavor, add 1 tsp. orange zest to slow cooker along with the barbecue sauce and orange juice.
Add CLAUSSEN Kosher Dill Sandwich Slices to filled sandwich rolls before serving.
* Nutrition information is estimated based on the ingredients and cooking instructions as described in each recipe and is intended to be used for informational purposes only. Please note that nutrition details may vary based on methods of preparation, origin and freshness of ingredients used.
So easy! Didn't use mayo, don't need it at all.