text:
All that needs to be said here is that 11/17 is as good as its reputation. The first-set Ghost is a disco-ball explosion, one of the canonical Fall '97 jams; when Trey announces that there'll be just one more song in the set 'for your dancing pleasure,' it's close to Too Damn Much. Of course the Fall '97 funk is in effect here, but the real surprise is that grand, wide-ranging second set, which is a nigh-perfect suite of four songs with a YEM chaser. It's all here: technical proficiency, empathy, fearless collective experimentation, and straight-up dancefloor porno. That this isn't the best show of the tour - maybe not even Top 5! - is to say that Fall '97 was in many ways the top of the mountain, though Big Cypress partisans no doubt disagree.
Monday, 11/17/1997
McNichols Arena, Denver, CO
Set 1: Tweezer, Reba[1], Train Song, Ghost > Fire
Set 2: DwDDown with Disease[2] -> Olivia's Pool > JBGJohnny B. Goode -> JJLCJesus Just Left Chicago, CircusWhen the Circus Comes, YEMYou Enjoy Myself
Encore: Character Zero
[1] No whistling.
[2] Unfinished.
· Super Bad tease in Ghost
· Dave's Energy Guide tease in Johnny B. Goode
Noteworthy Jams: Tweezer, Ghost (highly recommended), Johnny B. Goode (highly recommended), Jesus Just Left Chicago (highly recommended), You Enjoy Myself
Average Song Gap: 8
Performers: Trey Anastasio, Page McConnell, Jon Fishman, Mike Gordon
Notes: Reba did not have the whistling ending and Disease was unfinished. Ghost included a Super Bad (James Brown) tease and Johnny B. Goode contained DEG teases. This show was officially released as Live Phish 11.
LivePhish Download
Song Distribution:
2 Billy Breathes
2 Stash
1 The Story of the Ghost
1 Hoist
1 A Picture of Nectar
1 Lawn Boy
1 Junta
1 The White Tape
Songs by Debut Year:
This show was part of the "1997 Fall Tour (a.k.a. Phish Destroys America)."
All that needs to be said here is that 11/17 is as good as its reputation. The first-set Ghost is a disco-ball explosion, one of the canonical Fall '97 jams; when Trey announces that there'll be just one more song in the set 'for your dancing pleasure,' it's close to Too Damn Much. Of course the Fall '97 funk is in effect here, but the real surprise is that grand, wide-ranging second set, which is a nigh-perfect suite of four songs with a YEM chaser. It's all here: technical proficiency, empathy, fearless collective experimentation, and straight-up dancefloor porno. That this isn't the best show of the tour - maybe not even Top 5! - is to say that Fall '97 was in many ways the top of the mountain, though Big Cypress partisans no doubt disagree.
At every year, every tour, every moment in Phish history, the fans have included both a progressive and a conservative element. For everything the band has added or improved over the years, something else has also been lost or discarded, and fans have always noticed.
I became a fan in 1993. Some friends picked up Rift when it came out, got hooked, and introduced me to Phish with a big jumble of 4 studio albums and various highlights from "bootlegs" (what we called live tapes back then). I received the Doniac Schvice newsletter for a while, talked about the band's history with my friends who'd gotten there first, and heard them lament how they had all this cool stuff on tape that the band didn't do anymore.
That's right, I was INTRODUCED to Phish in part by laments about how they were changing. In 1993, that went something like this:
"They're doing less audience banter, less of the funny stuff ("secret language" Simpsons quotes, vacuum solos, etc.), and less Harpua. It's like they just get on stage and play, now.
"Also, why aren't they playing the Gamehendge stuff as much as they used to? And that new song Fast Enough For You is weak."
There was also some complaint about larger venues meaning pricier tickets and more difficulty in getting near the stage.
None of this mattered to me at the time; I liked Phish for the way their compositions fused the adventurous complexity of jazz, the textured counter-melodies of classical, and the energy and structure of rock. I liked the epic guitar solos. I liked the fact that the lyrics, while sometimes stupid nonsense, avoided the trite emoting of most pop/rock. I liked the crispness and virtuosity on albums and bootlegs alike.
Then 1994 arrived. At this point, Phish's niche in my mind was based mostly on their albums, and Hoist was a huge disappointment. I could listen to most of Junta and Nectar over and over -- they were the two best albums I'd ever heard, at that point -- and now the band's new installment was crap. Julius and Wolfman's were repetitive, Disease was a poppy sell-out, If I Could was a new foray into bad mainstream lyrics, and they took a dramatic building live song in Lifeboy and neutered the hell out of it (for the very first time, I had to turn off the album and dig out a tape to hear the "real" version of a Phish song). There wasn't a single amazing composition on the album, nothing close to It's Ice or the new live tune Guyute.
Meanwhile, venue sizes and ticket prices in the northeast rose dramatically. In arenas, Phish dropped the jazziest parts of their repertoire; All Things Reconsidered was the latest to follow Take the 'A' Train ('92 staple), Flat Fee ('91 staple) and others out the door. As the guys' average age hit 30, their singing got a little weaker and Fish's rocking out became less furious. At the same time, they started to experiment with what we now call "Type II" jamming, but they weren't immediately good at it -- there was a lot of aimless wandering and chaotic noise. Worst of all, they actually dared to play those crappy songs from Hoist! What was going on? Was this still Phish?
1994 was a year of much consternation for die hards, especially as concerts began to fill with newcomers who actually liked "crap" like Down With Disease. There was much anticipation for the beginning of 1995 -- would Trey go back to writing clever melodic interplays like Foam or complex rhythms like Bowie? Would the band return to their tight sets of razor-sharp segues, or would they continue to noodle around as some jams petered out?
The Lowell show that opened 1995 provided a surprising answer -- Phish would continue writing straight-ahead rock material, but they were getting better at it. Strange Design was better than Hoist's ballads, Free and Ha Ha Ha had great hooks and satisfying punch, and Theme showed it wouldn't be ALL chords from here on out.
1995 was largely regarded as a mixed bag. Acoustic Army was a random stunt to some, but a touching musical experience to others. Some fans loathed the influx of pot-smoking "frat boys" and recently dispossessed Deadheads, while others loved the bigger crowds' energy. The bigger venues sometimes gave Chris Kuroda more opportunities to wow the crowd, and fans began to praise him more vociferously. Some awful Type II jams reared their heads, but there were some really good ones too. The shows seemed less tight and polished, but more dynamic, with a greater range and depth of emotion.
After year's end, word starting getting around that you HAD to hear the New Year's '95 show. Apparently all that mucking around post-1993 had built up to something. Years later (the internet in 1995 wasn't what it is now!) it became clear that the entire year-end run in 1995 had been that same sort of playing. To some old guard Phish heads, nothing would match the intimate early shows filled with jazz and jokes and Gamehendge, but for many others, late '95 was a pinnacle of sorts. The shows had all the best of the new Phish -- exploration and drama -- but also plenty of the old Phish.
1996 was the year that broke many longtime fans. The band's choices weren't that different from 1995, but the decline in certain matters of execution reached a tipping point. Fan complaints of sloppy play had been rising for the last 2 years, and in 1996 the phrase "They don't practice as much anymore" became ubiquitous. Most crucially, 1996 was when Trey stopped writing setlists before shows. This meant more freedom to go with the moment, but it also meant more dead time on stage between songs, and the complete extinction of the already dying Oh Kee Pa > Suzy Greenberg-style insta-segue. As the band members strained a bit more to play complicated parts on their instruments, the vocals continued to decline -- it became more commonplace for someone to miss the beginning or end of a vocal part while focusing on a change.
Along with all this deterioration of the Old, there was little New to replace it -- Train Song, Talk, and Swept Away were fine but unexciting, and Waste and Character Zero offered more of the pop balladry and grating repetition that had made Hoist so unwelcome.
I mention all this because I think it's fascinating to see how much perceptions have changed. In 1996, a huge number of Phish fans were pining for 1993, in the same way that, in 2000, a huge number of fans were pining for 1997. Some still venerate 1995 to this day, while others venerate 1997, and still others can pick shows from 2003 or 2012 as better than either.
Anyway, since I'm writing this for a 1997 show, I'll close out with a recollection of 1997. 1997 drove fans wild and drove them crazy. It was a roller coaster of inspiring and maddening new trends. 1997 started out in Europe, with some gimmicky new tunes, inscrutable covers, well-played classics, and a few eye-opening jams. The band was neither consistently tight nor consistently sloppy, varying from show to show or even sometimes song to song. They seemed to be getting stranger, more unpredictable, and the odds of a really good Type II jam began to rise.
After continuing this in the U.S., they returned to Europe a few months later, introducing a ton of new tunes, and a brand new element: funk. First it was just Ghost, and we loved it for the sake of variety if nothing else, but then more and more jams started sounding like Ghost jams. A few fans may have noted that the funky stuff was nicely danceable, but most longtime Phish fans never had trouble dancing to crazed Trey rock solos, so the funk wasn't really necessary. Most old school fans who heard Trey say in an interview, "Real funk isn't played by 4 white guys from Vermont," replied, "Yes, exactly; please stop."
To many fans, a long jam with a steady beat that never escalated or took us on a journey was simply a waste of show time. For some, that remains true today (although Phish has never overdone it to the point of completely losing old fans the way the Disco Biscuits did).
To the fans who were still more disgruntled by '96 than inspired by early '97, the cow funk was the death knell of a formerly ambitious band grown lazy. Think about it -- the singing often sucked, the lyrics had grown more plaintive and obvious, the sets of classic tunes had been diluted by boring verse-chorus compositions and repetitive vocal rounds, rehearsed transitions were extinct, flubs were common, and it had been 4 whole years since Trey had written a new tune of the type that originally made Phish great. And now they're taking a breather mid-set to poke at a simple funk groove? DONE.
Plenty of new fans were enjoying it, though.
Then, the Great Went happened, the sort of event that even fans who were nearly fed up would kick themselves for missing... and it was great. I think it's sort of a dividing line for Phish fandom:
Anyone who was too troubled by what the band no longer was, and didn't want to haul themselves to northern Maine for their big festival, was probably done as a hardcore fan by then. Such fans probably look back on 1995, or maybe 1993 or 1992, as the heyday of Phish. They're probably not currently logging onto Phish.net and voting up their favorite shows.
Anyone who had adjusted to the band's changes, or resolved to stick with them regardless, or had just joined the party, had their faith reaffirmed at the Went. Whatever Phish was up to, there was plenty to like.
I don't recall much buzz about fall 1997 at the time. The Dec. 30 show was an instant classic, having major appeals to fans of all eras (Harpua!), but aside from that, it was kind of hard to hear any consensus through the noise of "like new Phish"/"don't like new Phish".
In some ways, the end of 1997 seems to me like the birth of the modern Phish era -- one could argue that the band changed more from 1993-1997 than it has from 1997-2014. From that perspective, it's weird for me to see so many current fans opine that the beginning was the best. Or maybe that's normal; maybe that's today's equivalent of a 1996 fan pining for 1993, or a 1993 fan pining for the days before any big venues were played. I don't know. I may have to grab some more fall 1997 "bootlegs" and give it another think.
Thanks for reading!
But this show is a great example of a "Magic" show. I remember tail gating in the parking lot of the McNichols Arena. That was my first Jäger experience and it has treated me well ever since.
I remember I went with my brother and our two friends. We got to talking about song we'd like to hear. I wanted a Tweezer. My brother wanted a YEM. Greg wanted to hear Reba. And Aaron wanted to hear this new song. I remember he explained that the short version was called "The Story of the Ghost", but they had a long jammed out version called just "Ghost". This I feel was the genesis of what is sometimes called "Phish 2.0" (for better or for worse).
As soon as I heard the Tweezer opener, I could feel it. If you've ever seen a show like this, then you know what I mean.
The entire fall tour that year rocked!
Live Phish timings-
Post composed jam:
3:38- Band drops into jam. Page on clavinet, Trey with some flanger effect and wah, Mike with a clean sounding thumping bass and Fishman on a straight ahead hi-hat rocking beat. Trey noodles around for a bit with Page layering and Mike showing some great patience.
5:30 Trey settles on a lick and vamps on it for a bit. Page answers with a synth straight out of a spaceship, sending the jam into full funk. 6:30 is all Page, with Trey answering with some delay loops and wah scratches.
7:00 Gordo plays a beautiful bass run that goes a bit outside and seems to signal movement from the funk vamp, to a more direct jam sequence. Trey starts to play with more direction, Page comes in with the grand piano but plays the same type of building lines.
8:00 Gordo does something with his bass that builds the tension and creates a wall of sound. Awesome line.
8:30 Trey hangs on a note and modulates the jam. Mike and Page immediately follow suit and Trey hops back on the whammy. This is A+ communication and listening by the band members.
9:31 After playing around a bit, Page pulls together a line with Gordo that really shape the future of the jam. Amazing patient playing by Trey before he jumps in with a melody. Fishman also gradually opens up his hi-hat adding to the "wall of sound" that is slowly being created. The modulation to major is creating a blissful sound that, as I said, is highlighted by the bands patience in reaching this point. What ensues is the definition of HOSE/BLISS JAM/FACEMELT.
11:30 The effect Trey puts on as he trills his line of notes is juxtaposed well with Fishman's splashes and Page's rapid playing.
12:20 Trey lets out a signature fall '97 high sustain. The effect he has on his guitar here is beautiful.
13:00 This segment here is the highlight for me, Gordo drops a bomb worth of destruction, Fishman answers with a bouncy kick drum beat.
13:40 Trey takes off the effect and backs down to a crunchy distorted riff. Once again, A+ communication as the entire band follows suit immediately.
14:10 This Gordon bassline will destroy you. Jam moves into a second segment. This second part of the jam is groove based and a nice comedown
15:54 Trey and Fishman lock up perfectly here as Trey lays down some scratches and Fishman destroys his splash cymbals.
16:26 Trey unleashes his guitar screaming melody and Page switches over to the grand piano. Fishman and Mike lock up immediately.
17:11 Trey lays down an effects laden chord and the jam kinda stutters for a second. Fishman is still destroying the drums with his fills and Trey goes back to the wah as Gordo thumps a neck braking bassline. Fishman switches around his beats going from ride to cowbell.
18:00 Fishman lays on the cowbell beat and him and Mike lead the come down part of the jam. Page comes in with some funky dancing on the clavinet(?) and Trey comes in with a noodley melody high up on the fretboard. They do some playful playing 'outside' but remain in a funk groove.
I'm a really big fan of "less song" sets (one of the reasons why I haven't quite warmed to earlier Phish yet - they seem to just be cramming songs in frat-boy-in-phone-booth style), mainly because you know there's some hardcore jamming in store. This famous first set might be the prototypical example of that kind of logic - you get the minimalist funk of Tweezer with the band locking into a tight groove and Trey casually soloing instead of going for broke '95 or even '11 style, a warm and relaxing Reba, and that damn Ghost, which really starts soaring at the 10 minute mark and stays in the stratosphere until the end. Sets rarely come as perfect, both in terms of jamming, song selection, and pacing (the short songs are perfectly placed - a breather after the opening epics, and a, erm, fiery closer to end things).
The second set, well, is not quite as good, but that's like saying a slice of cold pizza is worse than a slice of hot pizza - you may be right, but you're still eating pizza. The DWD absolutely *rages* (it's the ferocious yin to that opening Tweezer's yang), the jam out of Johnny B. Goode (!) roams all over the map before settling on a gentle Page-led outro (Page might very well be the MVP of this show, IMO), and YEM offers one more funk blast before devolving into an amusing vocal jam. A fun way to close a really, really good set.
Is it the best of Fall '97? I'll stick with no (the tour is just so absurdly stacked), but it's in my personal top 5, and maybe in the top 3. As has been explained numerous times, Fall '97 was not just about the funk, but about Phish exploiting a new style of playing to its fullest, discovering how to make more out of less instead of just making more, all the while still being recognizably Phish. Shows like this display just how incredibly well they succeeded.
One last note - how hilariously bad is All Music Guide's review of this show?
The highlight by far here is the sublime Tweezer, my favorite version of all time. I'll put it up there against Atlanta 6/14/00, '95 Memphis, '94 Bomb Factory, 12/16/99, anything. Were there longer and more exploratory versions of Tweezer? Sure. Fans often point to the 12/6/97 Tweezer that followed soon after, but in my mind, this one blows them all away. Every one of those might go through a rough patch when, even for a second, concentration and the music was broken. This one was flawless from beginning to end.
A Page-led odyssey, the Tweezer simply is the most patient jam I've ever heard Phish play, placed perfectly in their expansive funk phase on 97-98. The patience of the space funk section in the beginning. Then Page at 9:10, awesome! Trey rips a bunch of space loops, while Mike and Page keep it chugging along. Trey lays back with cow funk chording before letting loose some fantastic melodic work in the solo starting at 10:33. Sooooo smoothe! Page at 10:50 are you kidding me? Maybe deepest cutting Trey melody of all time occurs at 12:29. Wow that's hot! Honestly folks listen to this one more time again, and tell me you aren't taken away by it. It's really something special.
And to think - that was the first song of the show! Other outstanding songs/jams to come from this beauty were the very popular Reba, Ghost, and of course the YEM from the second set, one of the best YEMs ever. I don't usually spout hyperbole on Phish shows, but I just had to put my .02 in for this show, because it along with Island Tour '98 remain my favorite Phish of all time. Fantastic Tweezer. Classic, classic stuff.
Today as I was running errands, I popped in 11.17.97 (2nd night Denver)
set I for another listen, and was reminded of it's greatness. When
listening to the Ghost, I decreed out loud, and to no one in particular:
"Phish is good."
First off, this set goes Tweezer, Reba, Trainsong, Ghost, Fire. The Ghost
in particular is what caught my attention (although the Tweezer & Reba
are certainly nothing to be unimpressed by!) At first I was a bit
saddened when the jam started off a little directionless and boring, but I
soon remembered who I was listening to.
This was no ordinary band. This was Phish 2000.
And after about 4 minutes of what I consider a boring jam, they started
kicking my ass. This jam passes effortlessly (as any Phish 200 song darn
well should!) into the inspiring driven jams in the vein of the 11.30.95
Dayton and 12.6.97 Detroit Tweezers. Yes, Phish is good. This jam
then segues into (after a short letdown) into a Trey rock-star jam, where
Fishman switches to the cowbell about 4 or 8 measures into it. I didn't
time it, unfortunately, but from occasional glances at my watch I'd say
that jam occurs about 15 minutes into it.
Anyway, that again winds down at which point Trey says something to the
effect of "Hi...ok, we're going to play one more song and then we'll be
back with much more music for your dancing pleasure, and your listening
pleasure...so, uh, stick around!"
So, I just thought I'd share my earth-shattering revelation: Phish is,
indeed, good.
I don't think I'm alone in stating that this Tweezer is just top shelf. It's so patient and textured. Trey shines of course. I dig it so much I even learned this solo from where his lead starts up to where he starts he starts hosing. It is quite a brilliant solo. Page is playing perfect textural counterpoint. This Tweezer holds up really well over time. I'd chose it to play for a non Phish fan.
The Reba is damn fine as well. Of course the Ghost is probably legendary at this point.
2nd set is killer too. The YEM has maybe my favorite vocal jam. Very subdued and melodic.
But here is what I wonder about years later. Where did that music come from? How did things line up in Fall 97 to get show after show that just kills? I read somewhere that Phish actually listened to this show on the tour bus. They liked it so much they replayed it to themselves. Not something they did very often or at all. They somehow influenced themselves. They must have knew they had struck gold and they proceeded to wring every last drop from this discovery.
Of course I dream that Phish will find that magic like they did at certain points in their career and go on a tear like they did in Fall 97, or late 93 or 95, or the Island Tour. Even in middle age and sober Phish is still one of the best bands that ever lived but when they really hit their stride, at times they really rise above and play music at the highest level. Dare I say a spiritual plane. This show has got it fer sure. About 10 minutes into Ghost you'll know what I mean.
"DWD" has a few delightfully frenzied peaks before settling into what everyone was calling "Oblivious Fool" at the time. Of course, the lyrics have been transposed into "Shafty," but I kind of like the contrast of the upbeat, old-school rock tune that is smilingly informing you that you may actually be in hell, you fool. This version of the tune should be playing on an old jukebox in the background of a scene in a David Lynch film. No one actually knows the lyrics to "Johnny B. Goode." The jam out of it reveals how intent the band was to really compose that night. The melodies are never sloppy or generic. The imagination is on eleven, and all ears are sharp and attentive. Page received a thunderous applause after his "JJLC" solo, which you hear more clearly on the AUDs. "Circus," "YEM," and "Zero" wrap up a hot show on a cool Denver evening.
I wouldn't say this show was the most "fun" I've ever had at a Phish concert, but it is the most intense musical experience I've ever had at Phish. It's my favorite.
Tweezer's jam begins with a ridiculously thick funk vamp. Page and Trey both add occasional short melodic runs, but stay within the confines of the vamp that's been created. Trey slowly makes his way to single notes, and lays off the wah for a bit. The playing from Trey here is incredibly patient and purposeful, each note moving the jam forward. He begins to make his way into the higher register, as Fish moves to the ride. This opens the jam up immensely. Page soon switches to piano, which opens the jam even more. Trey and Page play off each other wonderfully, communicating very well. Trey ups the amount of notes he's playing, and creates a huge wall of sound with the help of Page playing full chord voicings now. They continue for a short time on this and eventually reel back into a brief passage of minimalist funk that ends with Trey's siren. I think this Tweezer is a turning point for the band. The patience of the playing of everyone involved is great, and was something not seen before. The slow build of Trey and Page's playing is very purposeful and loose at the same time. The opening up of the jam is accomplished with a minimal amount of notes, and the peak creates a wall of sound just as powerful (if not more) as anything the band had created before, all with a significantly less amount of frenzied confusion/unnecessary amount of conflicting notes and ideas (see 1996). The band creates more with less.
Jesus... and I'm not even at the Ghost yet.
Reba continues the energy with a decent composed section (albeit a few flubs from Trey) and a solid jam. It has a few awkward missteps, but makes up for them with a great peak. Train Song is a much needed breather.
Now for Ghost.
The jam begins with wah noodling from Trey and sparse but solid playing from Mike and Fish. Page adds some nice effects into the jam, giving it a spacier feel. After everybody quieting down, Page switches to Piano which gives the music a much different, more open feel. Trey very subtly switches the key to G major, and Page and Mike follow. Once again, great communication. Fish opens the high-hat a bit more giving an even more open feel to the jam. Trey creates absolutely beautiful melodies during this part, as Page compliments with chords. Trey latches on to a high G and plays the shit out of it while Page, Mike, and Fish create a huge sound under him. At 12:40, one of my favorite (and in my opinion, most interesting) moments of Phish happens. Trey plays a beautiful passage of notes up to an unexpected (not in the g major scale) note that Page somehow plays off of at the same exact time while Mike stays consistent playing a low G. Trey continues ascending up, back onto the g major scale while Page and Mike build tension below him with a passage stemming from the earlier odd Trey note. Trey hits the high G and stays there, once again playing the shit out of it while Mike and Page patiently resolve the tension they early created, and land on a G, which creates a massive and beautiful and triumphant peak. Fishman compliments with a crash that adds even more power to it. The peak swells a couple of times and thins out into a funk rock vamp from Trey as everyone decreases in volume and intensity. This soon turns into a minimalist funk jam, with Trey playing a very nice staccato lead over Page and Mikes incredibly funky playing. Trey stops playing to address the crowd and tell everybody that were gonna have a lot more music for your dancing and listening pleasure. This part is awesome because Mike and Page and Fishman continue to play behind him, laying down a cool as fuck, effortless little funk groove.
Note: that part at 12:40 is awesome to me because it stems completely from what TO MY EARS, sounds like a mistake/accident from Trey. The band is playing so confidently and in the moment at this point that they just go with it and create something beautiful from it. And by that, can you really even call it a mistake from Trey? Everything in this piece of music seems so purposeful and important.
Fire rages to close the set.
Set 2
DWD is a pretty straightforward rocker. Very high energy and changes up enough to stay interesting. True -> segue into Olivias Pool. This leads into a really fast Johnny B Goode which has a very weird jam. Slightly atonal blues? Just a ton of interesting ideas with none really being fleshed out. Good listen nonetheless. Jesus Just Left Chicago is next, continuing the bluesy shred fest theme of the set. When the Circus Comes to Town is one of my favorite songs, and works well to slow down the pace a little bit. YEM is played well and has a smooth jam. No peaks or anything. Just smooth, dormant funk.
Character Zero not a standout version or anything. It works alright here though, high energy close to a great show.
This show comes up in best show ever talks all the time, and justifiably so. The first set is easily one of the (if not the) best first sets ever, and the second set is a strong compliment to it.
The second set starts off pure fire with a flawless, energetic DWD that transitions into wide-ranging run of songs covering all the bases from pure improv to classic soul. The YEM set closer is the band's way of stamping 11/17 as signature Phish.
This show is a must for your collection. You will come back to it time and again.
Take my advice and the advice of all others and please hear this show.
"I listened to the McNichols center Ghost again and its apparent enough to me at least that maybe theres some more primary, yet better actions taken in the 1997 Ghost. It just kicks faster. Its beat is funky rather than spooky and dark, overall much more bouncy and groovy. The breakdown is all playing rather than indefinite sound effects & pedals."
Down with Disease stays in Type-I territory for a while before evolving into a kind of Floydesque slower-tempo jam that eventually finds its way into the long-lost Olivia's Pool (Olivia's Pool was reworked into Shafty by the time the Island Tour happened.) Johnny B. Goode's composed portion is interesting--and I'm gonna make the dreaded comparison here--in its contrast to Grateful Dead renderings of the Chuck Berry classic, but the Denver Jam (as it's labelled on the Live Phish release) is also quintessentially Phish, and again, fonk be hangin'. The funk is nimble and tight before giving way into some Fall-'94-esque deconstruction, and in my opinion an early glimpse of what one reviewer called the "twinkling psychedelia" of Big Cypress. Legitimate segue into Jesus Just Left Chicago, which proves a PTer whose handle I can't remember, wrong, when he or she claimed that "Trey can't play blues." Page's vocals are on point, per usual. Circus bridges the exploratorier portion of the set with the set closer, YEM. Few countoffs elicit the certainty of reaction that Trey's "1, 2, 1, 2, 3, 4" for YEM does amongt phans. Not exactly a YEMmer's YEM, as there are a few flubs or fudged notes, but the bass & drums segment showcases the Fall '97 cowfunk to a T. The encore has zero character, it's just really unpersonable. Just kidding, of course! Character Zero's a great, fist-pumping victory lap on most occasions, and this one seems to have a more laid-back feel than some I've heard, but I'm not watching Trey probably jump off his amps and play behind his back with his teeth and so forth, so YMMV. Live Phish 11 contains the 11/19/97 Wolfman's -> Makisupa, which is a great extended Wolfman's and definitely worth purchasing this show for (the filler is included in the LivePhish.com download.) Amazing show, and many would contend that it's not even their favorite of the tour! What does that great, gaping grin portend? Stay tuned if you're listening through the tour for chills and thrills.


text:
Quadranto (was Eisenpower) is all about getting something done. The app is based on a quite popular productivity method known as The Eisenhower Principle.
Dwight D. Eisenhower, 34th President of the United States, came up with the idea that every single task can be qualified by the criteria important/ not important and urgent/ not urgent. That leads to a 4-quadrant structure, a.k.a. Eisenhower matrix. Quadranto reflects that structure and provides a canvas for prioritizing your to-do's by importance and urgency.
First of all there is a quadrant labeled "Do first". That section is for important as well as more...
What's New
- Fixes missing background color for quadrant titles in OS X 10.9.2
- OS X 10.8 or later

subset: commoncrawl


text:
Video: Roy Jones Jr. Discusses Mayweather-Spadafora
Bill Emes catches up with Roy Jones Jr. to discuss the recent victory by junior welterweight Paul Spadafora, possibilities for the future with Spadafora, Floyd Mayweather Jr, and more.
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User Comments and Feedback (Register For Free To Comment) Comment by LouIE G on 08-19-2012
It think it would be a good tuneup for floyd..and possibly a way to return to regular hbo. !Comment by RINGG on 08-19-2012
Hope he was talking about ten year ago. Because now it would be a joke.Comment by Check_hooks on 08-19-2012
lmao at spadafora even being in the same sentence as the other 2 namesPost a Comment - View More User Comments (3)
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Useful Links
Ford Foundation
- Date submitted: 1 Nov 2011
- Stakeholder type: Major Group
- Name: Ford Foundation
- Submission Document: Download
Full SubmissionSubmission to the Secretariat for the United Nations Conference on Sustainable Development for the Zero Draft of the Rio+20 Compilation Document from the Ford Foundation Purpose The Ford Foundation is pleased to provide this input ?for inclusion in a compilation document to serve as basis for the preparation of zero draft of the outcome document? from the United Nations 2012 Conference on Sustainable Development (?Rio+20?). This document represents a summary of submissions developed by Foundation grantees for inclusion in the formal agenda for Rio+20. The Ford Foundation?s overarching interest in the Rio+20 Conference is to secure renewed and strengthened political commitment for sustainable development. In pursuing this objective, the Ford Foundation is supporting a wide range of civil society organizations (CSOs) that are promoting policy efforts and public leadership to advance several major agendas within the Rio+20 process, including: ? Sustainable and Equitable Cities/Urbanization; ? An Inclusive Green Economy Agenda that includes the Global South; ? Indigenous Peoples? Rights to Natural Resources and Sustainable Livelihoods; ? Strengthening the Institutional framework for sustainable development by seeking greater transparency at the G20 and improving alignment with the goals of Rio+20 and the sustainable development conventions associated with the 1992 Earth Summit; ? An Agreement regarding Corporate Social Responsibility. Towards these ends, the Foundation has supported CSOs to: 1) develop white papers that identify urgent emerging challenges and opportunities, which have served as a basis for recommendations to be incorporated into the Rio+20 zero draft process; 2) build networks of stakeholders to expand and facilitate participation in the summit process; 3) achieve consensus on priorities for CSO networks and decision makers; 4) identify implementation challenges and gaps to be addressed through the Rio+20 process; and 5) advocate for reforms in policies and practices to their local, regional, and national governments, international decision-making bodies, and across sectors (e.g., the private sector, the media, researchers). Ford Foundation contributions to Rio+20 Theme One: The Green Economy in the Context of Sustainable Development and Poverty Eradication The Ford Foundation?s mission is to promote social justice and reduce poverty. Therefore, all Foundation-funded activities regarding Rio+20 focus on the green economy within the context of sustainable development and poverty eradication. These are described more fully below: ? Sustainable and Equitable Cities/Urbanization. The Foundation is working with a group of grantees called the Sustainable Cities Working Group to advance sustainable urbanization strategies that also increase economic opportunity and reduce poverty. The group?s main message is that the ways in which we collectively grow and manage our cities will largely determine the quality of life for billions of people and the fate of the planet?s sustainability. This working group has submitted several concrete proposals for consideration in the zero draft process that address implementation gaps, new partnerships, and new institutional frameworks, including: o The creation of a UN Green Jobs Coordinating Group to ensure that the green economic efforts of relevant bodies within the UN system are well-coordinated, mutually reinforced, and integrated. This would be supplemented by a UN Green Jobs Best Practices Unit, which would collect and disseminate information to an international audience. o Improved transparency, accountability, and inclusiveness regarding the sustainable urbanization process at the local level and the expansion of international legal mechanisms, including but not limited to the Aarhus Convention, to improve accountability at all levels of government. o The creation of National Incentive Funds for Integrated Urban Region and Municipal Planning (similar to the US government?s Partnership for Sustainable Communities); Funds to Invest in Innovative Financing Models for Inclusive and Sustainable Urban Development; and National Urban Sustainable Planning and Development Commissions to accelerate and improve the practice of sustainable urban and regional planning. o A sustainable transportation goal that enables nations to commit to targets like reducing transport sector greenhouse gas emissions by 40 percent between a 2005 baseline and 2050; reducing by half the number of traffic fatalities in the world by 2025; and increasing access to affordable and sustainable modes like public transit, walking, and cycling. o Ensure the public availability and utilization of data on urban operations and conditions, including information on water, sewer, transportation, housing, and other systems. o Relying on available data, persuade national, regional, and local governments to adopt sustainability and poverty reduction performance indicators that can be tracked over time. ? An Inclusive Green Economy Agenda focusing on the Global South. The Foundation is working with CSOs?mostly Brazilian organizations?to develop a green economy agenda that focuses on inclusion and equity. This would include: o Community Rights to Forest Resources: The Foundation is supporting efforts by communities to secure their rights to own and manage forests. Globally, community ownership of forests has increased significantly since the first Earth Summit in 1992, which has allowed significant improvements in livelihoods and the environment. The foundation suggests that the United Nations consider adopting a target of increasing the forest area under formally recognized ownership or control of forest communities by 100 million hectares by 2017. o The Ford Foundation supports indigenous and traditional peoples? efforts to guarantee their rights over territories and natural resources, as stated in the indigenous peoples? organizations recommendations for Rio +20 in the Letter of Manaus (24 April 2011): ?The Green Economy proposal which will be a theme for discussion at Rio + 20, has not been clearly defined, and there are many concerns expressed by Indigenous Peoples. There is, for example, a concern that it will be used by Corporations and States to continue to replicate the same destructive and exploitative ?economic development? models that have caused the current global economic, environmental and climate crisis. Indigenous Peoples have the opportunity to define and implement their own holistic concepts of development in the context of, inter alia, Articles 3, 20, 25, 26, 31, 32, 33 and 37 of the UN Declaration on the Rights of Indigenous Peoples, and taking into account equity, human rights and traditional knowledge principles and the concept of well-being as defined by Indigenous Peoples themselves. Our proposed model of development with culture, identity, self-determination and territory will be presented by Indigenous Peoples and should be carefully considered by States, at the Rio + 20 Conference.? o The Ford Foundation supports the Brazilian Civil Society participation in the Brazilian Government National Commission for Rio +20 process. This Commission, headed by the Ministries of the Environmental and Foreign Affairs, is a multi-stakeholder organization and produced a document to be submitted as the Brazilian Contribution for Rio+20. ? Indigenous Peoples? Rights to Natural Resources and Sustainable Livelihoods. [From the aforementioned Letter from Manaus]: ?International standards like the UN Declaration on the Rights of Indigenous Peoples affirm that development is social and cultural, as well as economic. Indigenous Peoples maintain the right to define and freely pursue our own vision of development based on our needs, priorities, traditional understandings and responsibilities, including the cultural and spiritual relationships with the Natural World, our ancestral territories and the ecosystems that have sustained us since time immemorial.? ? An Agreement Regarding Corporate Social Responsibility. The Foundation is exploring opportunities to assist in the development of a Convention on Social Responsibility as an outcome from Rio+20. It would include the mandatory requirement for companies listed on the stock exchange to produce sustainability reporting so as to ensure four key principles: o Transparency: companies should be required to integrate material sustainability issues within their reports and accounts; o Accountability: there should be effective mechanisms for investors to hold companies to account on the quality of their disclosures, including through an advisory vote at the Annual General Meeting (AGM); o Responsibility: Board duties should explicitly include setting company?s values and standards, and ensuring that its obligations to its shareholders and other stakeholders are understood and met; o Incentives: Companies should state in remuneration reports whether the remuneration committee consider ESG factors which are of material relevance to the sustainability and long term interests of the company when setting remuneration of executive directors; aligning remuneration with the interest of the shareholders, including customers and employees. Additionally, companies should be required to present their Corporate Sustainability Strategy to a separate vote at its AGM. The future convention should draw on experiences and content from the Global Compact, Sustainable Stock Exchanges initiative, Carbon Disclosure Project and the OECD guidelines. Governments may wish to look anew at the proposed Chapter 41 of Agenda 21 from 1991. This was called ?Transnational Corporations and Sustainable Development?; it was submitted at Rio for consideration by the UN Center for Transnational Corporations. Ford Foundation contributions to Rio+20 Theme Two: Institutional framework for sustainable development. Several proposals regarding institutional frameworks to strengthen the pillars of sustainable development are listed above. In addition, the Foundation proposes the following: ? Improved Alignment between the goals of the UN system and the G20. The Foundation is working with partners to improve alignment between the Group of 20 (G20) Development Action Plan (DAP) and the goals of the Rio+20 Summit. Improving coordination between the G20 and the United Nations system?particularly the UN Environment Program, the UN Development Program, the UNFCCC, and UN-WOMEN?has important implications for the writing of global rules on finance, sustainable development, and transparent and effective governance, particularly in light of the fact that the G20 stipulates that its growth frameworks should be implemented and financed by the United Nations and international trade, finance, and development institutions. But currently the G20?s growth frameworks lack an integration of the three indispensable elements of sustainable development relating to the natural environment, the economy, and poverty reduction. If its orientation and growth frameworks are not revamped, the G20 could work at cross-purposes with the 2012 Earth Summit by increasing, rather than helping to close, the wide gap between the aspirations and commitments to sustainable development and the implementation performance of nations and institutions. However, such re-orientation can only occur if the G20 becomes an open, transparent and accountable body. At present, in contravention of Rio Principles (e.g., Principle 10 on Public Participation; Principle 20 on the role of women in sustainable development), the G20 operates behind closed doors, excluding 173 UN member countries and civil society. ? Creation of a new Chamber for Cities within a new Sustainable Development Council. This Chamber would fully recognize the leadership role that mayors and other local executives continue to play to advance the practice of sustainable and inclusive urbanization. In fact, it would present an opportunity for cities to define a different role in achieving sustainability worldwide. By providing official status to the world?s mega-city mayors and other local officials, this Chamber would represent a formal and high-level way to provide an institutional home and leadership for sustainable urbanization efforts. Participating local officials can focus on pragmatic means of implementing green and inclusive development strategies. ? Forwarding the concerns noted by indigenous groups regarding changes to the UN-CSD: [From the aforementioned Letter of Manaus] ?The proposal to upgrade the UN Commission on Sustainable Development to a new Council, similar to the Human Rights Council, while it may elevate discussions on sustainability within the UN system; it could also have the potential to reduce the space for Indigenous Peoples to participate and be part of any negotiation process. The experience with the recent creation of the Human Rights Council, from the former Commission on Human Rights, confirms the potential for reduced opportunities for participation. This is an issue that requires further discussion and analysis particularly in relation to the development of guiding principles, taking into consideration UN Declaration on the Rights of Indigenous Peoples, current Indigenous-related UN mechanisms, as well as the role of self-governing bodies and autonomies within Indigenous territories.? Ford Foundation contact: Don Chen, email@example.com , 212-573-5092


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"Death Valley"
"When Clemson players rub that rock and run down the hill, its the
most exciting 25 seconds in college football."
Brent Musberger, ABC Sports
"Death Valley really lives up to its image. I was impressed with this
stadium. When you put 80,000 people in there, it really feels like
they are on top of you. I would hate to be Georgia Tech or whoever
else comes in here."
San Francisco 49ers Quarterback Steve Young
"I came here knowing it would be loud and that Clemson would hit me
hard, but to me, the noise was the biggest factor. I know I didn't
concentrate as well because of it."
Herschel Walker after Clemson's 13-3 victory in 1981, his only regular season loss at Georgia.
"I remember being nervous before the game because there were 80,000
people dressed in orange. It's intimidating. I even threw up before
the game. It's the only time I've ever done that."
Former Duke Quarterback Dave Brown
"When you get to the bottom of the hill, it's like you're in a hole
and all around you are nothing but Clemson fans. Its like the crowd
is one big voice. You feel like little kings."
Former Clemson running back Rodney Blunt
"Clemson's record at home is not a coincidence. Running down the hill
is a part of that record. You get so inspired, and so much of college
football is about emotion. You get out of that bus and you hear the
roar of the crowd and it gives you chills up and down your spine."
Former Clemson All-America kicker David Treadwell
"There is no place louder or more picturesque than Death Valley.
There, where Clemson folks see magic in a hill and a rock, orange
gets more respect than anywhere this side of Gainesville, Florida."
Terence Moore, Atlanta Constitution
"Running down the hill is still talked about everywhere I go. Players
who played against Clemson when I was in college remember us running
the hill and thinking we would gain some type of spirit. The
adrenalin rush was unbelieveable for a Clemson player and quite a
shock for the opponent."
Former Clemson All-American Jerry Butler
"The rock has strange powers. When you rub it, and run down the hill,
the adrenaline flows. Its the most emotional experience I've ever
Six-time All-Pro and former Clemson All-American Michael Dean Perry
"Last spring (1999), former New York Knicks Head Coach Jeff Van Gundy came
to Clemson for a coaching clinic. One of the first things he said
was, 'before I leave I've got to rub Howard's Rock.' So, we brought
him to the rock about midnight one night. He rubbed the rock, but
he wouldn't run down the hill. He was a little afraid of that."
Clemson Head Basketball Coach Larry Shyatt
"It has always been a dream to run down that hill. You get to the
top and it's emotional because you think of all the players that have
done the exact same thing that you are doing. When you get to the
bottom you look up and see 80,000 people hollering and you realize
you have a tradition to live up to."
Clemson Senior Center Kyle Young


text:
How's Your Marriage?
By Rebecca Teti
Thursday: Marriage
(Join each day's Coffee Talk discussion: Mon: Parenting; Tues: Open Forum; Wed: NFP; Thu: Marriage; Fri: Education; Sat/Sun: Changing Roles)
Struggling in your marriage? Have some relationship advice to share? Have a marriage success story to share? Have a man/woman question? This weekly thread is the place to do it.
Come on in and join the conversation!
What do you do when you are furious with your husband???? I have never been so mad at him before! He did something very DUMB that has really affected the whole family negatively. This was a mostly preventable health problem. Sure, we have had arguments etc in the past but most of the time, we work through it and move on....Anger doesn't last too long in this household, but I am really struggling to let go of this one considering that he has essentially ruined most of my short term plans for the next year or so (and maybe even some long term plans depending on how his recovery goes)
JM, I think what is done is done, and you have to love him anyway. Jesus asks us to forgive. You have to make that choice. If something happened to you, what do you think your husband would do. Sometimes we need to just sit back and accept what God hands us in the moment. You can make the choice to forgive, then communicate about it, you will still "feel" angry, but you have forgiven him, it's going to take time. With prayer and love, it will happen.


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ASU Law graduates outpace the nation and lead the state in bar exam results
June 2, 2016
Graduates of the Sandra Day O'Connor College of Law at Arizona State University once again surpassed the national average and maintained top spots in the state for bar passage results. The passage rate on the February bar exam for first-time ASU Law test takers was 81.6 percent. The national average was 61.2 percent among first-time test takers from all American...
'A national symbol of innovation'
May 12, 2016
Arizona State University's Sandra Day O'Connor College of Law is at the forefront of changing how we think about legal education and an institution earning great respect around the country according to lawyer, diplomat and educator Anne-Marie Slaughter. "ASU has become a national symbol of innovation," Slaughter said during her convocation address at ASU Law Wednesday. "You've been innovative in...
An advocate for tribes
May 4, 2016
Editor's note: This is part of a series of profiles for spring 2016 commencement. See the rest here . Racheal White Hawk is on her way to fulfilling her dream of using her law degree to work on behalf of tribal communities. A 2015 Gold 'n Gavel Scholar, White Hawk thrived at ASU's Sandra Day O'Connor College of Law. She...
Spreading a message of hope
May 4, 2016
The five judges of the 2016 Miss Indian World pageant didn't stand a chance. Once ASU law student Danielle Ta'Sheena Finn stood before them last Saturday night in front of a capacity crowd at the 33rd annual Gathering of Nations at the University of New Mexico arena in Albuquerque, they might as well have raised the white flag. It helped...
Student interviews Syrian refugees, alumna's journey to Capitol Hill: ASU Law Case File highlights
April 25, 2016
The ASU Law Case File looks at the accomplishments of students, faculty and alumni of the Sandra Day O'Connor College of Law and Arizona State University. Student Laila Ikram-Alkahlout traveled to Jordan to interview Syrian refugees, professors Rhett Larson and Erik Luna were named Fulbright Scholars, and the moving story of U.S. Rep. Kyrsten Sinema's journey from homelessness to Capitol...
Why Syria may get away with war crimes
April 22, 2016
Former Ambassador on War Crimes Issues Clint Williamson, now a professor of practice at the Sandra Day O'Connor College of Law at Arizona State University, explains the challenges in bringing Syria's Assad regime to justice but also that there is hope for international courts' ability to prosecute war criminals in the future. Question: There is clear evidence of war crimes...
Ballard Spahr celebrates 10 years in Phoenix with Diversity Scholarship at ASU Law
April 5, 2016
Ballard Spahr's Phoenix office is celebrating its 10th anniversary with a $125,000 gift to the Sandra Day O'Connor College of Law at Arizona State University. The first scholarship from the Ballard Spahr Diversity Scholarship — $25,000 for one year of tuition — will be awarded for the 2016-2017 academic year, and the recipient will be known as the Ballard Spahr...
ASU named a top 25 law school by U.S. News
March 16, 2016
For the first time in its history, the Sandra Day O'Connor College of Law at Arizona State University is among the top 25 law schools in the nation. According to U.S. News & World Report's annual survey of graduate schools, ASU Law is No. 25, up one spot from last year. For the seventh consecutive year, ASU Law is the...
ASU education, public affairs among big gains in US News rankings
March 15, 2016
Arizona State University's education and public affairs graduate programs broke into the top 15 and joined the university's law school and fine arts program in jumping to higher spots in the latest rankings by U.S. News & World Report, which were released Tuesday. All four of those graduate schools ranked within the top 25 in the nation and were the...
Fighting for her people
March 14, 2016
Justice is a continuing struggle, and constant vigilance is required to maintain it. This is especially true for indigenous people living on American Indian reservations. That's the viewpoint of Patty Ferguson-Bohnee, faculty director of the Indian Legal Program in Arizona State University's Sandra Day O'Connor College of Law, who knows firsthand about the struggles of indigenous people. Her family grew...
Bridging law and health
March 10, 2016
Last year Steven G. Lisa had to suffer through seeing his father battle brain cancer. But the patent attorney and Arizona State University law alum (JD '84) was so impressed by the care his father received at the Barrow Neurological Institute that Lisa was compelled to unite the worlds of the Sandra Day O'Connor College of Law at ASU and...
A 'Peace Corps' for lawyers
March 4, 2016
ASU's Sandra Day O'Connor College of Law has just launched the nation's first Rule of Law and Governance program. So, what exactly does that mean? Think of it as a Peace Corps for lawyers — a way for attorneys to show the benefits of our legal system to others, assist countries in transition to adopt policies that will improve basic...
ASU Law launches nation's first Rule of Law & Governance Program
February 24, 2016
The world is facing complex and interlinked security, environmental and economic challenges. Without a stronger rule of law in countries around the globe, not only will citizens in repressive countries continue to see their basic human rights violated, but also we will not be able to achieve greater global stability and security. The new Rule of Law & Governance Program...
Remembering Justice Antonin Scalia
February 13, 2016
Antonin Scalia, who died Saturday at the age of 79, is being remembered as a brilliant legal scholar who reinvigorated and redefined the conservative wing of the federal judiciary from his perch as an associate justice on the U.S. Supreme Court. Erik Luna, a Foundation Professor of Law in the Sandra Day O'Connor College of Law at Arizona State University,...
Fort McDowell Yavapai Nation provides $1.2M endowment to ASU Law's Indian Legal Program
February 10, 2016
The Fort McDowell Yavapai Nation has created a $1.2 million endowment to benefit the Indian Legal Program (ILP) at the Sandra Day O'Connor College of Law at Arizona State University. The Tribal Council established the Fort McDowell Yavapai Nation Endowment to support scholarships, grants or other programs for current and prospective Native American ASU Law students. "This endowment reflects Fort...
Former MLB commissioner coming to ASU Law
February 9, 2016
The man who called the shots for Major League Baseball for more than two decades is joining the rotation at ASU's Sandra Day O'Connor College of Law. Former MLB Commissioner Allan H. (Bud) Selig has been named the O'Connor Distinguished Professor of Sports in America and will join the Sports Law and Business program, where he will teach and serve...
From tribal law to concussion conference: ASU Law highlights achievements
January 13, 2016
The Sandra Day O'Connor College of Law at Arizona State University has highlighted the achievements of its students, faculty and alumni over the past three months, including providing assistance to tribes, being named among the brightest law graduates of 2016, and being asked to speak on climate change, solar energy, Islamic State funding and the concussion epidemic . Students Simon...
ASU creates dual master's degrees in journalism, legal studies
January 11, 2016
Arizona State University is establishing a dual master's degree program in which students can earn degrees in both journalism and law within two years. The Walter Cronkite School of Journalism and Mass Communication and the Sandra Day O'Connor College of Law are partnering to offer an accelerated path to a Master of Mass Communication (MMC) and a Master of Legal...
New executive action: Smoking gun, or firing blanks?
January 8, 2016
On Tuesday, Jan. 4, President Barack Obama described his executive action on new gun-control measures, focusing on background checks and tracking weapons sales. News organizations began counting down to the Thursday night town hall on the measures almost immediately. The issue is a hot topic, and divisive in American politics: How much control is too much? Erik Luna, professor of...
Un-making a murderer
January 6, 2016
Since its release last month, the Netflix documentary series "Making a Murderer" has inspired a host of social media debates, many soaked in outrage aimed at an alleged injustice. The series follows the murder case against Steven Avery in Manitowoc County, Wisconsin, and the accusation that the county's law enforcement conspired to frame him. Although Avery's innocence is in question,...
ASU Law receives $100,000 gift from Los Abogados, Arizona's Hispanic Bar Association
December 14, 2015
The Sandra Day O'Connor College of Law at Arizona State University has received a $100,000 gift from Los Abogados, Arizona's Hispanic Bar Association, which will be used to fund scholarships. "This gives us an opportunity to increase how we are able to help out individual students that are coming to ASU Law," said Ed Maldonado (JD '00), president of Los...
Former SLA President Wong joins ASU Law's popular Sports Law & Business program
December 3, 2015
One of the nation's top sports law educators and past president of the Sports Lawyers Association (SLA) has joined the Sandra Day O'Connor College of Law at Arizona State University. Glenn Wong will serve as Distinguished Professor of Practice Sports Law in the school's Sports Law & Business program starting in January 2016. Prior to joining ASU Law, Wong was...
'Lawyers should be social engineers for justice'
November 17, 2015
With all due respect to the people who guide us through the legal system, everybody knows a good lawyer joke. Like this one: Santa Claus, the Tooth Fairy, an honest lawyer and an old drunk were walking along when they simultaneously spotted a hundred-dollar bill in the street. Who gets it? The old drunk, of course — the other three...
ASU Law offers students new part-time evening option
November 5, 2015
Students who want to earn a law degree but cannot attend classes full time during the day may now take advantage of a new, part-time evening option being offered by the Sandra Day O'Connor College of Law at Arizona State University. This is the first time ASU Law has offered a part-time evening option as part of its Juris Doctor...
ASU Law No. 1 in state for bar passage
October 22, 2015
ASU's Sandra Day O'Connor College of Law is once again No. 1 in Arizona for bar passage. Its graduates also placed first and tied for second on the latest bar exam. Results of the July 2015 Arizona bar exam show ASU Law first-time test takers with an 83.7 percent passage rate. This is well above the state's overall first-time taker...
Three major donor gifts add millions to ASU Law
October 21, 2015
Generous donors have recently given more than $4 million combined to support scholarships and programs at the Sandra Day O'Connor College of Law at Arizona State University. The gifts were made by former Arizona Attorney General Grant Woods; retired ASU Law Professor Michael Berch and his wife, retired Arizona Supreme Court Justice Rebecca White Berch; and the Steele Foundation in...
Sandra Day O'Connor Institute announces future home at Arizona Center for Law and Society
October 20, 2015
The Sandra Day O'Connor Institute has announced that it will be relocating to the new Arizona Center for Law and Society in 2016. The O'Connor Institute will be joining the Sandra Day O'Connor College of Law in this state-of-the-art building at Arizona State University's Downtown Phoenix campus. The 280,000-square-foot building now under construction will feature a public law library and...
Sun Devil law school students, faculty and alumni make headlines
October 8, 2015
Sun Devil quarterback Mike Bercovici is leading the list of talented Sandra Day O'Connor law school members making lasting imprints across the country.
ASU expert weighs in on the pros and cons of new Trans-Pacific Partnership
October 7, 2015
After years of closed-door negotiations and growing uncertainty, the United States and 11 other Pacific Rim nations have reached agreement on the Trans-Pacific Partnership. ASU expert Michael Bennett doubts that it will be a great boon to American workers.
The power of data and the future of warfare
September 18, 2015
The future of war will look like magic: Enemies will find out their opponents somehow know what they're going to do even before they do. And the first step in this direction has been taken by an artificial intelligence algorithm created by an ASU researcher.
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Weekly crit series coming to Boulder in August by DBCEvents!
Submitted by Kris Thompson on
Finally, a weekly crit series in the Boulder area! The series will be every Tuesday starting August 5 and ending the 26th
News Item:
2 Comments
Submitted by Anonymous (not verified) on
I'm pretty sure it's 6pm for the first race, not 6am.
Points: 12
The times are in the pm
Submitted by 303admin on
Chris Grealish responded to my email telling me that they were indeed a typo. See you all in the PM
Points: 14


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BOULDER - As two days of tension escalated to the knuckle-gnawing stage for Ryan Miller, his immediate family and a core group of friends early Saturday afternoon, the telephone finally rang.
Hope was calling, for at that point here's where the 2012 NFL Draft stood: The Pittsburgh Steelers had the 24th selection in the fifth round, and after not fielding a telephone call during the draft's two previous days the Miller gathering believed this was the one.
It wasn't Pittsburgh; it was a pizza delivery guy.
"If he would have shown up at the door right then, I might have broken his back," the 6-7, 321-pound Miller said later, laughing.
He could laugh, because only minutes later the call he and his entourage had been waiting on since Thursday night did come. It was placed by Cleveland, which drafted him in at the fifth round's No. 25 spot, making him the 160th player taken overall.
"I'm thankful for it . . . I'm a Brown now and I couldn't be happier," the former Colorado offensive lineman said. "It's a dream come true; every kid whoever puts on a helmet wants to play in the NFL."
At day's end, Miller was one of two former CU players drafted. In the seventh round, Pittsburgh - not a pizza delivery guy - did call receiver Toney Clemons. He was the round's 24th pick and the 231st player selected overall.
Clemons was more of an unknown for the draft, but Miller was expected to be selected. And that made for 21/2 days of anxiety. Chances of him being taken on Thursday night in the draft's first round were predictably slim, but a call during Friday's second and third rounds appeared more feasible. A watch party was organized, but ultimately there was little of local interest to watch.
"That was a little tough," Miller conceded. "But I was just so humbled and loved by so many people who came. It felt wonderful. Then everyone else who might have been working (on Friday) came on Saturday. It was just awesome."
Miller's first look from the Browns will come at right tackle, then on the left side, then possibly at either guard. He reports to Cleveland on May 10 for rookie orientation, then minicamp.
"I'm an offensive lineman," Miller said. "l'll play wherever I need to play, wherever they need me."
Miller was the second offensive linemen drafted by the Browns, who finished 4-12-0 last season (fourth in the AFC North). In the second round, they picked up former California offensive tackle Mitchell Schwartz, who will be reunited with former Cal center Alex Mack - a fourth-year pro who has started all 16 games in each of his first three years in the league.
Prior to selecting Schwartz, Cleveland selected running back Trent Richardson (Alabama) and quarterback Brandon Weeden (Oklahoma State) with its pair of first-round picks. In the third round, the Browns got defensive tackle John Hughes (Cincinnati), and in the fourth round they selected receiver Benjamin Travis (Miami) and linebacker James-Michael Johnson (Nevada).
The opportunity to clear a path for Richardson, an All-American and the No. 3 finisher in last season's Heisman Trophy balloting, appeals to Miller. "It looks like I'll have a chance to go in and block for the 'Bama guy," he said. "I'll do my best to make it the best offensive line I can."
The Browns have a relatively young O-line. Last season, injuries forced the switch of rookie Jason Pinkston from tackle to left guard, while second-year pro Shaun Lauvao started all 16 games at right guard. The 2011 left tackle was Joe Thomas, a Pro Bowl selection for all five of his NFL seasons, while fourth-year pro Oniel Cousins started at right tackle.
Through the years, the Browns have looked favorably on former Buffaloes. One of Cleveland's best all-time offensive linemen was John Wooten, who followed Frank Clarke as CU's second Afro-American football player. Wooten played for nine seasons in Cleveland after an All-America career at CU from 1956-58.
He was an All-Pro guard for the Browns and currently is being considered by the Honors Court of the National Football Foundation for inclusion into the College Football Hall of Fame. Selections will be announced on May 15.
Two decades (1976) after Wooten left CU, the Browns drafted former Buffs receiver Dave Logan, who spent eight seasons in Cleveland and left his mark in the franchise's record books.
More recently, Cleveland drafted fullback Lawrence Vickers (2006, five seasons with the Browns) and guard Brad Bedell (2000, two seasons). Ironically, Miller lists Bedell, who was an offensive technical intern at CU and now coaches O-linemen at New Mexico State, as a mentor and a major influence in his development.
Miller was a Parade magazine All-America selection at Columbine High School and was the state's Gatorade Player of the Year in his senior season. His signing with CU in February 2007 gave the Buffs the state's top recruit in that year's class.
Overcoming a pair of injuries (broken fibula, arm) during his college career, Miller was versatile enough to play tackle and guard at CU, manning the right guard position as a senior and starting 13 games. The Walter Camp Football Foundation named him to its second All-America team to go with a third-team selection by the Associated Press in 2011.
After leading the Buffs with 40 "great effort blocks" as designated by the offensive staff, Miller played in the East-West Shrine Game in St. Petersburg, Fla. His senior season also saw him flagged for only two penalties while allowing one quarterback sack and one pressure. He was the only senior in a CU class of 28 invited to the NFL Combine in Indianapolis in February, and he believed his showing there opened the eyes of some of NFL scouts.
Among Miller's best games at CU was his performance as a sophomore in 2009 against Nebraska All-American Ndamukong Suh. Miller graded out at a season-high 89 percent against Suh, the second player selected (Detroit) in the 2010 NFL Draft.
Clemons' size (6-2, 210) and the way he closed out his CU career make him an intriguing NFL prospect. After transferring to CU from Michigan in 2009, he finished his Buffs career with 86 receptions (25 games) for 1,162 yards and 11 touchdowns.
But he ended his senior season with a flourish, making 25 receptions in the final give games for 476 yards (19 yards per catch) and five TDs. CU's coaches named him the team's co-most outstanding offensive player with quarterback Tyler Hansen.
Clemons, a Pittsburgh native, grew up "loving the Steelers" and called being drafted by them "a complete shock . . . this is such a blessing." He was told Pittsburgh was contemplating taking him in the fifth round, but selected another player. Then, without a sixth round pick, the Steelers came back to him in round seven.
He said the final month and a half of his college career opened Saturday's door: "It didn't matter what I tested, what my measurables were . . . making plays against the teams I did, that was huge for me. (Pittsburgh) said, 'Let's put tape on him against great competition' - and I had that run of six of seven games. And then coach (Jon) Embree, coach (Eric) Bieniemy and coach (Rip) Scherer took a stand for me. I wouldn't be in this position without them."
Clemons said he plans to "go in with the same positive attitude and get on as many (special) teams as I can . . . they've got a lot of great guys there. But I plan on working and doing whatever I can to stay."
CU had two players selected in the first round of the 2011 NFL Draft - offensive tackle Nate Solder by New England and cornerback Jimmy Smith by Baltimore. Additionally, corner Jalil Brown was taken in the fourth round by Kansas City and receiver Scotty McKnight was selected by the New York Jets in the seventh round.
Shortly after the draft was over, free agency hit and more Buffs were officially in the NFL. First, DT Conrad Obi signed with the Arizona Cardinals, followed shortly by QB Tyler Hansen signing with the Cincinnati Bengals, and then TB Rodney Stewart confirmed he's joining Hansen in Cincinnati. More players are expected to sign in the coming hours and days.
Contact: email@example.com
(On being a taller guard and how that comes into play) - "I think I've got a lot more power in the legs, then I can bend and really extend that leverage out on guys on the inside. With that height I also bring long arms."
(On if the Browns told him where he would play) - "They took me as an o-lineman. I'll play guard or tackle. One of my better suits is that I'm versatile."
(On injuries in college and how his health is now) - "Early on sophomore year I got hit with a few injuries, but you learn from them. You learn not everything is going to go smooth and you adapt. That's what happened and I've been injury free for a while and it's been great. Now I just got some new body jewelry, if you will."
(On if he has pictured himself in the NFL) - "I have. I know the speed of the game is much, much faster than college but there is two ways to play football, run the ball and pass the ball. Each team has similarities whether it be NFL, college, high school - power is power and zone is zone and deep ball is the deep ball."
(On playing one of his best games against Ndamukong Suh and when he realized he could play in the NFL) - "The game against Suh was one of my better games. I figured early on I would be in the NFL. Actually my junior year in high school, it was my high school coach who really kind of laid the path down and gave me the tools and unlocked it to really work."
(On how he plays football) - "I really try to play aggressive. I try to play nasty, I try to play vicious and I try to play until the whistle blows. I might not be the most technically sound, but I'll give you my all and I'll bleed, bight, crawl and scratch to get the job done."
(On where his nasty streak comes from) - "I think it came from high school when we ran the ball every play. It's just kind of a country boy mentality of nothing in life is easy and you get what you work for and it's always just kind of been do or die for me and really most days of my life."
(On if he was a basketball player) - "Basketball? I played in middle school. I didn't really touch much basketball. I wrestled in high school and that is where some of the nastiness came from, being matched up one-on-one against a guy knowing that it was my will against his."
Courtesy of ClevelandBrowns.com


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|Redshirt Junior
|Charlotte, N.C.
|High School:
|Providence Senior HS
|1 Letter
Career Stats
Righthander and first-baseman who has pitched sparingly out of the bullpen ... has good power ... in 13.0 innings pitched over 11 relief appearances and two seasons, he has an 0-0 record and a 3.46 ERA while allowing 12 hits (.255 opponents' batting average), no homers and nine walks with 10 strikeouts.
2015: Redshirted as a member of the developmental squad while recovering from injury.
2014: Had an 0-0 record and a 6.75 ERA in three relief appearances ... in 2.2 innings pitched, he allowed one hit (.111 opponents' batting average) and one walk with two strikeouts ... pitched a hitless and scoreless eighth inning with a strikeout at Pittsburgh on April 20 ... pitched a perfect ninth inning with a strikeout against No. 11 Miami (Fla.) on April 27 ... had "Tommy John" surgery on July 15 ... played for Ballantyne in the Southern Collegiate Baseball League in the summer, where he was 0-for-4 with one walk in three games.
2013: Had an 0-0 record and a 2.61 ERA in eight relief appearances ... in 10.1 innings pitched, he allowed 11 hits (.289 opponents' batting average) and eight walks with eight strikeouts ... was 1-for-3 with one double and one RBI in four games off the bench ... held opponents to a .174 batting average with runners on base and an .071 batting average with runners in scoring position ... hit a pinch-hit, run-scoring double against William & Mary on Feb. 17; it was his first career game ... pitched 2.0 innings in relief, allowing one hit and no runs in the second game of a doubleheader against Wright State on Feb. 23; it was his first career appearance ... pitched a scoreless ninth inning with a strikeout against Western Carolina on April 24 ... pitched 2.0 hitless and scoreless innings in relief with two strikeouts in the second game of a doubleheader at Furman on May 8 ... pitched a scoreless ninth inning with two strikeouts against Georgia Southern on May 11 ... pitched a scoreless ninth inning with two strikeouts against no walks against Liberty in the Columbia Regional on May 31 ... played for Gastonia in the Coastal Plain League in the summer, where he pitched 4.1 innings over four relief appearances.
Before Clemson: Rated as the No. 460 player in the nation and No. 13 player in North Carolina by Perfect Game ... East Coast Pro Showcase ... three-time all-conference selection ... member of the conference champions four times ... lettered four times in baseball ... coached by Danny Hignight at Providence Senior High School.
Personal: Pronounced cam-PAN-uh ... his mother, Susan, played softball at Tufts ... majoring in management ... born Jackson Ross Campana on Aug. 29, 1993 in Winston-Salem, N.C.


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Orna Lee Massey, 85 of Dover died Saturday, September 29, 2012 after a brief illness, surrounded by her loving family in the home of her daughter in Warwick, MD.
Mrs. Massey was born November 9, 1926 in Greensboro, MD, the middle daughter of the late D. Kirby Metz Sr. and Helen Orna Hudson Metz. The family moved to Delaware in 1931. She was a graduate of the Dover High School class of 1944 where she lettered in varsity sports of field hockey and basketball. As one of the World War II, greatest generation, she experienced the daily home front sacrifices. She served as secretary to the Red Cross Field Director from 1945-1946 at Dover Air Force Base, which was a busy facility including a training site for new pilots.
After the war she pursued her passions for art and fashion design attending Antioch College in Yellow Springs, OH, a work study program in St. Petersburg, FL followed by two years studying at the Maryland Art Institute in Baltimore, MD.
She married her high school sweetheart and the love of her life George Edward Massey of Dover in 1951, they spent 55 wonderful years together. She combined her creative, artistic spirit onto a canvas of being a devoted and loving wife and mother. She filled the home with love, happiness, laughter, quality family time, Christian ideals, a zest for seeking one's dreams and caring for others. Orna Lee enjoyed a wide assortment of activities ranging from traveling, painting, home decorating; keeping up with the latest fashions, healthy living, and staying physically fit her entire life. She was a person on-the-go and was happiest being involved and staying up-to-date with her family's activities. She was a mother and grandmother consulted for her fashion sense, color coordination and advice.
She loved the beach, being by the water and late afternoon sunsets, with so many family memories created in these settings. She combined all of these joys this past summer spending time individually with her three children which included cruising the Sassafras River, a week in the Outer Banks and a land cruise of Alaska with a helicopter flight landing on a glacier, at 85 years young. Mrs. Massey was a member of the United Church of Christ of Dover.
In addition to her parents, she was preceded in death by her husband, George Edward Massey. She is survived by three children, CAPT George Cort Massey, USN, Retired and his wife Marilyn, of Magnolia DE; William Randy Massey and his wife Connie of Oxford, PA; Susan L. Cushing and her husband, Dr. Clarke Cushing of Warwick, MD; two brothers, David Kirby Metz, Jr. of Easton, MD and Thomas H. Metz of Magnolia; seven grandchildren, Alison Massey, Lauren Massey, Jason Massey and his wife Courtney; Ryan Massey and his wife Barbie, Lindsay Massey and fiancé Chad Maichle, Joshua Cushing and his wife Amanda and Andrew Cushing, and three great-grandchildren.
Page 2 of 2 - Funeral services will be held at 11 a.m. Thursday, October 4, 2012 at Peoples United Church of Christ, 46 S. Bradford Street, Dover, DE. Friends may call one hour prior. Interment will be in Lakeside Cemetery, Dover.
The family suggests honoring Orna Lee's memory by contributing to the newly launched national campaign "Moon Shots Program to Cure Cancer" by one of the world's premiere cancer research centers. Make checks payable to MD Anderson Cancer Center, and put "In Memory of Orna Lee Massey" in the memo section. Donations may be sent to: The University of Texas MD Anderson Cancer Center P.O. Box 4486 Houston, TX 77210-4486 or on-line at https:mdanderson.org/gifts/ for http://funds as designated by family or call 1-800-525-5841. Check out the visionary "Moon Shots Program to Cure Cancer" video on-line.
Letters of condolence may be sent and the guestbook signed at www.torbertfuneral.com.
Location, ST | website.com


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This innovative, new Series offers multifunctional versatility, advanced workflow capabilities, environmental sustainability and astonishing speed – all in a compact system
West Caldwell, NJ, January 12, 2011 - Ricoh Americas Corporation, a leading provider of digital office equipment and advanced document management solutions and services, today announced the availability of the Aficio MP C300/MP C300SR/MP C400/ MP C400SR Color Digital Imaging System. This new letter-size (8.5"x11")/A4 Series provides a small footprint with tools and capabilities that maximize efficiency, lower total cost of ownership, and make it ideal for smaller workspaces.The Aficio MP C300/MP C300SR/MP C400/MP C400SR maximizes efficiency with intuitive controls and well-engineered features, including the ability to produce high-resolution documents, fast page-per-minute (ppm) output speed, large internal finisher capacity and memory space. The Series continues in Ricoh's tradition of manufacturing environmentally-friendly products with energy- and supply-saving features. "Consumers are always looking for the latest technology that will save time and cut costs without sacrificing on the quality of their work," said Shun Sato, senior vice president, Marketing, Ricoh Americas Corporation. "The Aficio MP C300/MP C300SR/MP C400/MP C400SR meets those needs. By offering sophisticated and secure capabilities that enable the consumer to manage, print and share documents effortlessly, we allow them to spend less time on their print solutions and more time driving their business." ProductivityThe Aficio MP C300/MP C300SR/MP C400/MP C400SR produces documents with resolutions up to 1200 dpi at 32 or 42 ppm and houses a standard 160GB hard disk drive. An efficient 250-sheet internal finisher standard on the MP C300SR/C400SR and standard duplexing add to its productivity, while the standard Document Server stores up to 3,000 documents that can easily be found, retrieved and shared. A maximum 2,300-sheet paper capacity reduces the amount of trips to replenish paper with an ample supply, up to 120 lb. Index. The product also features a standard 100-sheet bypass tray which handles a wide variety of papers and sizes, including up to 49.6" banners and 140lb. Index. Document Management Solutions can be controlled through an easy-to-maneuver 8.5" color touch panel display, which can adjust to a comfortable position for all users. The touch panel allows users to conveniently Scan-to-Email without adding any additional software or hardware. Users can also reduce network traffic by using Scan-to-FTP to upload a variety of business documents. Standard Print From/Scan To Media which support JPEG, TIFF and PDF formats allow for mobile users to easily output and capture documents without connecting to the network. GlobalScan NX is offered as an option, as well as HotSpot MFP technology which allows for printing securely from a handheld device or smartphone.SecurityThe Aficio MP C300/MP C300SR/MP C400/MP C400SR Color Digital Imaging System offers advanced security features, including the standard DataOverwriteSecurity System (DOSS), which safeguards data by overwriting the hard drive after every job. In addition, Standard Hard Disk Drive Encryption further protects against hackers by encrypting documents stored on the hard drive. The Series protects against unauthorized viewing of confidential documents with encrypted PDF transmission, when enabled and using Scan-to-Email and Scan-to-Folder. Scan-to-Webmail makes both log-in and IPP passwords difficult to compromise.System ManagementThe Aficio MP C300/MP C300SR/MP C400/MP C400SR features User Account Limits, which allows companies to track costs and reinforce economical supply usage by assigning amounts of output or color usage-per group or individual. This function helps to manage output, while keeping supply cost low and highly predictable.SustainabilityContinuing Ricoh's commitment to environmental sustainability, the Aficio MP C300/MP C300SR/MP C400/MP C400SR Series features standard duplexing and combined print/copy modes to help lower paper consumption. These models also boast low Typical Electricity Consumption (TEC) values, meeting the US EPA ENERGY STAR Imaging Equipment Program's current specification (ver. 1.2) with wide margins. In the same manner as other Ricoh models, the Series offers low noise levels, and minimized pollutant impact on indoor air quality, meeting Germany's Blue Angel Standard. The Series also meets the requirements of the Restriction of Hazardous Substances (RoHS) Directive.For more information about the Ricoh Aficio MP C300/MP C300SR/MP C400/MP C400SR Color Digital Imaging System and other Ricoh products and solutions, please visit www.ricoh-usa.com.About Ricoh Americas CorporationRicoh Americas Corporation, headquartered in West Caldwell, N.J., is a subsidiary of Ricoh Company, Ltd., the 74-year-old leading provider of advanced office technology and innovative document imaging products, services and software, with fiscal year 2009 sales in excess of $21 billion. Ricoh's fully integrated hardware and customizable services and software help businesses share information efficiently and effectively by enabling customers to control the input, management and output of documents.Ricoh Americas Corporation, directly or through its network of authorized dealers, markets and distributes products in North, Central and South America.Information about Ricoh's complete range of offerings can be found at www.ricoh-usa.com.# # #© 2010 Ricoh Americas Corporation. All rights reserved. All other company or product names, and trademarks are the property of their respective owners.
Contacts:Linda MontefuscoSarah SanzariRicoh Americas firstname.lastname@example.com@peppercom.com
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Label Love is back! Now you've got an accompaniment to go with last year's electro, soul, and funk grooves from Label Love Vol. 4 release. Contributions came from various rad labels galore: Tru Thoughts, BBE Music, Brownswood Recordings, Daptone Records, Record Breakin', Tokyo Dawn Records, and Ubiquity Records.
Label Love Volume 5: The Jazz Edition endeavors to 'expand minds to the magical genre and its many forms.' Sit down with this scrumptious grab bag of treats from Tru Thoughts, Impossible Ark Records, Gondwana Records, Jazzman Records, Edition Records, Katalyst Entertainment, Revive Music Group, and Basho Records. And while hard to believe, this incredible compilation is free for download and streaming below. Thursday never looked so good.


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Joseph Staples
New works by artist Joseph Staples from his solo show "Economy of Image", at Leo Koo Gallery. See more below.
New works by artist Joseph Staples from his solo show "Economy of Image", at Leo Koo Gallery. See more below.
According to Korean tradition, artisans have a habit of destroying and discarding imperfect pieces. Since 2001 Korean artist Yeesookyung has taken these porcelain fragments, creating beautiful, imperfect sculptures by fusing them with gold leaf in the Japanese tradition of kintsugi. See more images from "Translated Vase" below.
Photos by Quentin Shih, who splits time between New York, Paris, and Beijing. More images below.
Paintings by Peter Wileman. More images below.
Another fantastic narrative series by Paris-based photographer Julien Mauve (click here for previous posts). More images from "After Lights Out" below.
Cape Town-based photographer Johnny Miller reveals distinct lines between rich and poor in a striking (and unsettling) series of photographs. Taken using drones, the aerial perspective presents the harsh reality of past Apartheid policies and the continued disparity in a way that can't be ignored. Check out more images from "Unequal Scenes" below.