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June 17, 2009 · 22 comments
Late Period Bill Evans: Genius or Decline?
Here is a jazz paradox. Most great jazz artists make their best music before the age of 40. Yet—and here is the irony of the matter—they usually get the most glowing reviews after the age of 40.
There is a certain amount of justice in this state of affairs. Jazz fans venerate the elders of the art form—and thank goodness they do. Most of pop culture, and virtually everyone in a position of power at the major record labels, worship at the fountain of youth. I am happy to see the respect given the older musicians in jazz, if only as symbolic compensation for this imbalance in the rest of society.
Yet I also pity the beginning jazz fan who is trying to learn about the music—and is steered to Dizzy Gillespie's 1980s recordings, and not his 1940s masterpieces. (If you haven't enjoyed early Dizzy, check out this track for starters.) Or who encounters the widely available Lester Young sides on Verve from the 1950s, but never hears the Commodore Kansas City sessions, the Keynote sides, or Prez's early collaborations with Billie Holiday. These late offerings are not without their merits—but they are not the place to start in learning why these artists were so admired and emulated.
And then we come to the case of Bill Evans. The importance of his early work is widely acknowledged. From his contributions to "Concerto for Billy the Kid" (1956) and "All About Rosie" (1957) to his solo piano album Alone, recorded a little over a decade later, this artist established himself as a towering figure in jazz music, the inventor of a new musical vocabulary and—just as noteworthy—an unconventional emotional sensibility. Along the way, we find him on Kind of Blue, the justly famous 1961 Village Vanguard sessions, and on a host of important sideman and leader dates for Verve, Riverside and other labels.
Yes, a few critics have grumbled that his playing from this period is "too European" or "not bluesy enough"; but the Evans skeptics have been forced to do a lot of grumbling, because this body of work has exerted a tremendous influence on other players. You hear Evans's harmonic colors and conception everywhere these days—and not just in the jazz world. In any attempt to gauge the impact of keyboardists from this era, only Monk can rival Evans, and that only in the deepest inner sanctum of jazz. To some degree, the contrary gravitational pull of these two artists continues to shape jazz piano styles a half-century after their seminal work for Orrin Keepnews at the small but devastatingly smart Riverside label.
But Evans's later work is more problematic. Marc Myers recently expressed his view of the superiority of the earlier work, and others have stated similar opinions, although many fans have countered in defense of late-vintage Evans. I have written elsewhere about my reactions to a Bill Evans performance I attended ten days before pianist's death, which was as acerbic and biting as the early Evans was introspective and dreamy.
Now two reissues give us an opportunity to explore late period Evans at greater length. The Complete Tony Bennett-Bill Evans Recordings from Fantasy brings together the controversial 1975 and 1976 collaborations by the pianist and vocalist—which some will tell you are classic works, while others puzzle over the pairing of two such conflicting musical personalities. Alongside this, fans can consider the massive CD set Turn Out the Stars, which captures Bill Evans's June 1980 appearance at the Village Vanguard on six CDs.
I wish someone had recorded Bill Evans's 1961 appearances at the Vanguard with such devotion. To my mind, that early trio with Scott LaFaro and Paul Motian set the gold standard for Evans, and inevitably one compares later performances with the work of that seminal band. Evans himself invited these comparisons—since he continued to play the same songs in the same trio format up until his death. Many artists go to great efforts to get out from under the shadow of their early work, but Evans returned to the same changes, night after night, for two decades. Even when he added new songs to the repertoire, they tended to be similar to the 32-bar tunes he had played as a young man. This was all the more striking, given the turbulence and clamor for experimentation that permeated the rest of the jazz world during these years.
But the way Evans played these songs in the final months of his life represented almost a renunciation of that previous body of work. Compare the 1961 version of "My Romance" with the 1980 rendition, and see how Bill Evans at age 50 worked to squeeze the romanticism out of "My Romance." The same comes across if one compares 1980 performances of "Polka Dots and Moonbeams," "My Foolish Heart," and other songs with his classic recordings from the past. The later works are jittery and aloof, at times almost savage in their undermining of any vestiges of sentimentality.
One might even conclude that Bill Evans no longer liked playing ballads in 1980. Time and time again, he pushes at the tempo, and can't wait to double up the pulse. On "Polka Dots and Moonbeams," bassist Marc Johnson and drummer Joe LaBarbera try to maintain the relaxation of the beat as long as possible, but about midway through the song they decide to follow the leader and they are off to the races. Even a heartfelt Evans original such as "Turn Out the Stars"—which the pianist had written as a tribute to his father a few days after Harry Evans's death—is now treated like just another set of changes for a brittle medium tempo solo.
If this were your only experience of Bill Evans, you might think his sense of time was faulty. On "Emily" his shift from the rubato intro into the trio section is awkward, and even after the tempo settles in at 168 beats per minute—too fast for this waltz, in my opinion—Evans can't hold it there for long. Soon he is charging ahead at 200 beats per minute, and then beyond. He constantly rushes on these performances, and Johnson and LaBarbera get high marks for adapting to their boss's nervous and uncentered guidance from the piano bench. What a dispiriting contrast with Evans's work from the late 1950s and early 1960s, when he was nonpareil in his sense of time and group interaction.
Perhaps most surprising of all, Evans no longer shows his grand conception of space and silence—trademarks of his early work—on these late vintage recordings. His version of "Quiet Now" here might very well be renamed "Busy Now," and his block-chords-gone-amok solo is certainly impressive from a conceptual point of view, but it destroys the mood of a composition that is essentially a jazz tone poem. Time and time again on these performances, Evans fills up the bars. Sometimes he shows restraint for the first 60-90 seconds of a performance, but he can't seem to maintain it.
There is a certain brutal intelligence at work here, and a raw beauty that surfaces now and again. A student of jazz piano would find many interesting phrases and interludes on these tracks—well worth studying and memorizing, perhaps. Yet the overall impression these recordings convey is of a musician who was working from his intellect and not his heart.
Hence, it is all the more surprising to compare these works with the Tony Bennett –Bill Evans collaborations from the mid-1970s, and now released by Concord under the Fantasy imprimatur. Here Evans is the one showing restraint, and Bennett pushing for the grandiloquent gesture. Here Evans is content to maintain the mood, while Bennett is changeable and likes to raise the level of intensity as the performance develops. You can tell that neither artist is perfectly comfortable in this setting, but both are deeply "in the moment," trying to make the best of the proceedings.
In this instance, the conflicting aesthetic visions enhance the final product. Bennett adapts to his understated companion, and delivers perhaps the most delicate performances of his career—which is quite a claim, given this artist's rich body of work. Evans, for his part, is forced out of his comfort zone. For once, he sounds like a sideman, not a leader, and the change is benefical one—fans sometimes forget what an exceptional sideman this pianist could be back in the 1950s. Evans constantly adapts his conception in response to what Bennett is singing, and I suspect that he probably surprised himself more than a few times during the course of this short but fertile collaboration.
The contrast here is indicative of the paradox of late period Bill Evans. As a whole, this body of work does not match the output of the 1950s and 1960s. Yet there are enough gems in the mix—as the Bennett sessions make clear—that serious fans will want to delve deeper into this music rather than try to dismiss it with a quick generalization.
In addition to the Bennett partnership, outstanding music from this period can be found on Evans's You Must Believe in Spring (recorded in 1977), his solo project New Conversations (1978), the duo album with Eddie Gomez Intuition (1974), and the ear-expanding Claus Ogerman composition Symbiosis (1974).
This blog entry posted by Ted Gioia
Ronan Guilfoyle
// Jun 17, 2009 at 10:59 PM
Great post - thought-provoking and very musically astute. I think with regards to Evans' time in this period that it's commonly known that he was using a lot of cocaine, and this is a drug that will definitely induce restlessness and impatience. However, his tendency to rush appears a lot earlier than this, starting with the trio with Marty Morrell and Eddie Gomez. There's a recording from 1969 with the flautist Jeremy Steig in which 'So What' rushes mercilessly, and many other trio recordings from this period – especially the live ones – show the same problem on anything faster than a ballad. Which is very strange when you consider his immaculate time on 'Concerto for Billy the Kid' etc. I don't think I've ever heard another example of a major musician whose basic time foundation seems to fall apart as he gets older. And of course Evans was not that old – just over 51 years of age. I can only put it down to substance abuse. However there are wonderful things to enjoy from this period too – the amazing intros he used to do on Nardis with the last trio for example.
// Jun 17, 2009 at 11:12 PM
Ronan, I agree on "Nardis." This tended to be the longest song of the set in his final performances, and seemed to inspire some of Evans's finest playing during this period. Certainly it was the highlight of the evening when I saw him a few days before his death, and there are several examples included on the "Turn Out the Stars" box set.
Ed Leimbacher
// Jun 17, 2009 at 11:46 PM
Top drawer, Mr.T--what a bundle of nerves and contradictions Evans became. Time does not go better with coke... and while I am one who enjoys many of the Bennett-Evans duets, I'd still rather listen to Explorations.
michael pellecchia
// Jun 18, 2009 at 01:41 AM
What a fascinating survey; I will never listen to Bill Evans the same again. The "discomfiting" things about the Tony Bennett stuff, such as why is it so great and so awkward at the same time, are beautifully resolved in your post, Ted. The idea that one could be insecure and renounce a previous body of work, at that level of genius, is also thought provoking. I often look to the Bill Evans interview on Marian McPartland's show for insight to the way he thinks. As for the issues about time, perhaps a pianist, even in a trio, owns his own time? --- but in the future I plan to listen for the issues raised in the post. And, your article sent me to a transcription of Turn Out The Stars (often wondered if that was a Brechtian reference)wondering if the use of pedal and descending voicings aren't still in full flower. Finally, as the player has years to work out their playing, so does the listener have years to work out their listening. Evans' avoidance of blue notes used to bug me no end and it doesn't any more. C'est la vie.
Laurie Verchomin
// Jun 18, 2009 at 02:41 PM
Bill's heart is open so wide by the time he reaches the age of 51, it becomes difficult for most to recognize. My experience of his " decline " is that he was moving at lightening speed toward an ascension. www.laurieverchomin.com www.laurieverchomin.com
Samantha Chote
// Jun 18, 2009 at 08:03 PM
Maybe the cocaine he abused and overused helped move him at lightning speed? Honestly, an "ascension" is hardly what he was moving toward. He was moving rapidly to an addicts death. I admire and enjoy him as much as anyone, but let's be realistic.
Jason Parker
// Jun 18, 2009 at 09:22 PM
Great post, Ted. Love to analysis. I feel similarly about late-period Chet Baker, and debate with my friends about it regularly. While Chet's tone certainly changed after his teeth were knocked out and his "habits" caught up with him, many of the later live recordings show him to have absorbed all sorts of post-bop vocabulary on the faster tunes, and of course his supreme command of the ballard form. Maybe it's because I know what I know about him, but some of those later performances seem to show his soul and his entire life coming out of his horn. And even his singing, which is often times out of tune, is heartbreakingly beautiful. His sense of time and his ability to deliver a lyric was certainly second to none. Thanks for the thought-provoking and informative writing.
Scotty Wright
// Jun 19, 2009 at 01:05 PM
Evans is one of our great piano masters- no dispute there. We don't like to talk about it, and so we often forget how crippling his addiction was. I too felt that his final recordings showed a man who was desperate to make a final statement for and about himself, but seemingly unsure as to what it should be. Should he play some hard-charging music, to silence his he's-a-wimpy-glorified-cocktail-pianist critics? Should he focus on his own tunes, and celebrate his remarkable body of writing? Should he try to re-create the introspective, jazz-trio-as-single-organism approach that brought him the most adulation? Most importantly, do any of these approaches accurately reflect his relationship with his music in 1980? I recall going through confusion as a young singer, being told that Billie Holiday was the ultimate jazz singer. Unfortunately, my first record of her was 'Lady In Satin'. If this the ultimate in jazz singing, I thought, I want to do something else. Eventually, I found her early recordings with Teddy Wilson and Lester Young, and I understood what people praised about Lady Day. Another problem with appreciating master artists past their prime is that we have heard their innovations in the hands of lesser (or at least newer) players so often over the years, that hearing the originals in the last years of their lives can fail to inspire the requisite awe and respect. I remember seeing Mae West's 1970s movie appearances, and thinking how sad it was to see this old woman thinking she's sexy- not yet realizing that every movie vamp I'd seen was based on Mae. The art of Bill Evans will continue to influence jazz- either directly, or through the countless musicians who learned most of their harmonic and stylistic vocabulary from him. But he, like other self-abusers like Bird and Billie and Chet, failed to recognize the necessity of healthy communication between mind and body. The physical is the valve through which the artistic, the spiritual, can be shared; in his weakened state, nuance and conceptual precision were no longer possible.
Greg Lee
// Jun 21, 2009 at 07:07 PM
Fascinating stuff, Ted. I too look toward his interview with Marian McPartland, he specifically discusses his interest in playing ahead of the tempo. I also had a conversation with him in person (as a worshipful fan), and he was very animated and enthusiastic about his "new" Warner Brothers recordings, I think he would have been very interested in debating your take on his later-day playing and the interaction with his young trio. Even if we decide his later-day recordings aren't his prime, even later-day Evans is unbelievably great compared to so many pianists I hear nowadays.
Ted Gioia
// Jun 21, 2009 at 09:11 PM
Good dialogue here. In this regard, I am happy to report that Bill Kirchner will be providing an alternative view of Bill Evans's later works in this column. He was involved in the release of the Vanguard recordings, and will no doubt bring a different perspective to this material than mine, and one that will gratify the fans of this music. Be on the lookout out for it on the homepage.
Mike Harris
// Jun 22, 2009 at 03:38 AM
I agree with your relative assessment of early vs. late Bill Evans, particularly in the final year when the rushing and frantic momentum was quite disturbing to those who treasured the early magic. But his solos on the Bennett collaborations were indeed some of his finest inventions in the form.
Win Hinkle
// Jun 22, 2009 at 08:51 PM
You sort of amplify some points about Bill's later music but nothing that hasn't been dredged up before. In the last two years of Bill's life drummer Joe Labarbera approached Bill about the rushing tempos. Bill informed him words to the effect, "yes, sometimes I want you bring the tempo up with me - go with me." Bill was in a sort of frantic period at time, rushing to perfect a sort of layering effect of fast tempos and many, many notes. The astute listener will also find a many tempo-ed method of presentation of certain tunes. "My Romance" which became an alternate set closer like "Nardis" was like a five sectioned (with at least five specific tempos) concerto which each section treating the tune differently. There is also much more traditional trio participation in the last two years. You hear a lot of more trading of eights, fours, twos, and even single bars of music, at extremely fast tempos, and sometimes with that great "over-the-bar-line" phrasing of Bill's. Another great thing to listen for is how the intros that Bill played on the eight cuts of "My Romance" developed in the June 1980 Vanguard recordings. My favorite is the next to the last one chronologically. Bill creates some fantastic thunder in this intro, forecasting the power of things to come in the concerto-like rendition. I think, to the true believer of Bill's music, there is a great deal of music for the detailed listener to enjoy. It would be great if jazz critics could have the musical chops to write about the details of the music rather than dwell upon the drastic shift Bill took in is music making or how drugs effected someones music making. No one will know that except Bill and he's not telling. Bill's last two years is saying to me, listen up, I'm not being restrained anymore. The music gonna come pouring out - you can either listen or not.
Jan Stevens
// Jun 23, 2009 at 12:55 AM
While some of Ted's comments have merit, I must take serious objection to the way this arbitrary judgment of Bill's final trio period (1978-80)seems to be solely based on the June 1980 Vanguard sessions. That makes it a seriously flawed and unbalanced assessment. (The writing on the Evans-Bennett sessions from the mid-seventies is well-done and balanced). One almost unforgivable omission here, which should be a part of any discourse on Evans' late-period output, is the exquisite "Paris Concert - Editions "One" and "Two" -- recorded a mere seven months earlier than the Vanguard stuff cited-- and with the tender and sensitive, yet stunning balladry he's known for still quite apparent and still full of magic. Furthermore, there is no mention of the Keystone Korner material from August and early September 1980, (released on the "The Last Waltz" and "Consecration" CD boxsets) which also show examples of amazing clarity and control in the expansion of vocabulary and the energetic harmonic and rhythmic fullness that Bill was going for in his last years. To me, going from the beloved 1961 Vanguard stuff to a passing reference of the "Alone" album -- and then talking about the tempo- rushing of the 1980 "Turn Out the Stars" recordings is tantamount to an analysis of Miles and, for example, jumping from "Kind of Blue" over to "You're Under Arrest" or "Tutu". Perhaps also, Mr Gioia or Mr. Myers of jazzwax did not enjoy the pleasure of actually going to hear Bill 'live' various times in this period as I did -- when he played some ballads that could fracture you -- or know him personally at that time, as I also did. These experiences showed me a serious self-searching musician, still reaching and exploring -- from deep inside the almost private musical structures and syntax he created for himself, and energized by two excellent and empathetic trio members who were tuned into him. We spoke of it several times, and he was always forthright and clear about where his music was going, and what he felt was his great fortune in having two fine players that were willing to follow him there. As fine a jazz critic and thinker as Ted is, I am a bit surprised at the major gaps in this piece in evaluating the achievements of Bill Evans in his final period. Yes, I hear the sometimes coke-fueled tempos rushing too (when they unintentionally do -- "My Romance" is exampt since Bill WANTED it to go where Joe LaBarbera wanted to take it, sometimes at twice the speed), and of course I hear even what has been labeled by some as overplaying.(I disagree, in part, but that's a topic for another time and place) However, besides the aforementioned recordings ignored by Mr. Gioia, there are the others, such as various European dates (and the incredible Buenos Aires concerts)from the same period that clearly show Bill still rendering heart-breakingly beautiful ballad work and an often steady swing. As erudite as Mr Gioia is, any type of commentary on Evans that ignores all this work borders on short-sighted and perhaps unfair. I'm looking forward to what Bill Kirchner has to add on this matter, and will be discussing all this further at a future time at my own site at billevanswebpages.com Thanks!
Ted Gioia
// Jun 23, 2009 at 01:25 AM
Jan, if you would read my article more carefully, you will see that I not only mention the September 1980 Keystone Korner engagement by Bill Evans, but that I was in attendance, and even include a link to my account of this music in the article.
And, yes, I am quite familiar with the Paris concert recordings you mention, and have listened to many, many hours of Bill's music from this period, both studio and live performances. I have written elsewhere about much of this work, and didn't want to repeat myself in this blog article. So you may disagree with my verdict on late period Evans, but you are wrong in assuming that I haven't listened to this music extensively and over a period of many years.
Jim Williams
// Jun 23, 2009 at 03:23 AM
I find the discussion of time here interesting, but I wonder what people are wanting to find...I don't always hear "straight time" in Evans's music, be it from 1959 or 1979. In many cases there is *a heck of a lot* of give and take in the "tempo" before the trio finds measure one, beat one of the form of any tune. I'll bet that (especially) a lot of live performances in 1959, 1969, or 1979 would not stand up to a click track, yet it was abundantly clear to bass and drums when Evans hit "1." Perhaps it was less subtle in 1979 than it was in 1959. Perhaps that was because Evans in 1969 or 1979 was in company of musicians who could bring it off convincingly, and he wished to stretch that aspect of the music. Here's another thought: Could it be possible that there was some sort of metric modulation intent/scheme in Bill Evans's head in the late seventies? He was probably technically capable of bringing off even the most "Elliott Carteresque" metric modulations if he chose to do so. Could that have been what he meant when he said "go with me"? Just look at the transcriptions of the later stuff and how difficult it was to notate. I don't have it in front of me, but I wonder if keeping a constant note value in the transcriptions, instead of shifting between quarter-, eighth-, and sixteenth-based meters might have revealed some logical series of tempos? Just a hypothesis. Jim W.
Peter H. Larsen
// Jun 23, 2009 at 06:19 AM
In this discussion, Laurie Verchomin, who, I assume, was closer to Bill on a personal level than anybody else said the most striking thing ("the lightning speed toward an ascension") that, incidently, suits my own considerations: Bill Evans knew he was going to die. He realized that with his "intellect" but he still expressed it with his "heart". It's called "desperation" and when desperation is uttered in an artistic expression it's as valid and (to me, at least) as striking as any other "feeling". The moment we realize an artist can be "playing with his heart" or "with his intellect" we should also recognize there's no "right" or "wrong" in this matter – and if accept the thought that an artist, more or less consciously, can switch between the two I consider it a fact that for Bill, in his last months on earth, it was the other way around from what Goia suggests: Bill Evans, by way of his desperation, was playing abrupt phrases or slobby time because he was actually working from his heart rather than from his intellect
Jan Stevens
// Jun 23, 2009 at 09:23 PM
Ted, my apologies for perhaps what were incorrect generalizations as to your knowledge of the other recordings and performances of Evans last period. Thanks for reminding me of that (and I should have recalled reading them, because I did), but it just seems to me that statements such as "One might even conclude that Bill Evans no longer liked playing ballads in 1980" are rather categorical. The same can be said for your observation that his playing in later months was "almost a renunciation of that previous body of work". The tone of the piece generally seemed to me one of utilizing the Vanguard 1980 material as a model for your comments -- which, at least as a release, as we both know, represents only a fraction of the larger picture. There have been two sides to this issue of Evans later work for a long time, and I doubt it will go away anytime soon. But I thanks you for your considerable attention to Bill's music, which in whatever period, still seems fresh all these years later.
Rob Rijneke
// Jun 23, 2009 at 09:24 PM
Perhaps most astonishingly, his playing became more intense, but also too fast and too mechanical in the last years of his life, not long after he switched from the use of methadone to cocaine. From a medical point of view the effect of methadon has quite a different impact on a person than cocaine that causes: Increased blood pressure Constricted blood vessels Dilated pupils Mental alertness Increased energy Restlessness Increased heart rate Decreased appetite Increased temperature Rob Rijneke, cardiologist www.billevans.nl
Jack Reilly
// Jun 24, 2009 at 07:48 PM
Dear Ted, A most interesting blog essay entry but just as much, the perspicuity of the comments. With regard to Bill's "speeding up" issue, I shout a vociferous, SO WHAT! We're discussing "the" all-American musical giant of the 21st century. Bill surpasses and leaves in the dust the other great jazz pianists, Tatum, Powell, et al. You see they were just pianists. Evans was more; He was an original composer whose towering intellect we have yet to dissect let alone understand. As a solo pianist he was a true innovator who also set new standards for the TRIO format. All trios since 1956 through 1980, have been borrowed, copied and patterned after Bill's. I met Bill in 1951 at the Washington D.C. Military School of Music. He was 21 and a complete virtuoso who could sight read anything. I witnessed him reading the full orchestral score to the "Rite of Spring", reducing it at the piano; I heard him practicing tune after tune after tune, alone in a practice room; I heard him jamming daily with a bass player, and with a quartet at night. He was the picture of health, vibrant, happy and constantly practicing and playing. When I heard in 1958 that he was taking drugs, I denied it for 2 years; I would not accept that the Bill I had known in 1951 needed any stimulants. He had the entire jazz piano/classical history in his fingers, ears and intellect. Bill was always fully aware of his place in music and was 100% secure in his mission which was to extend the Good, the Holy and the Beautiful to the world through his music. He is our Brahms, Chopin, Liszt and even our Mozart, Beethoven and Wagner. Let's get beyond these egoist analysis of "early/ late" periods and absorb/learn/study/enjoy the music. There's so much of it. If I'm boarding on the hagiographical, forgive me. I do get carried away at times. And rightly so!! It's Bill Evans I'm writing about. Thanks, Ted, for this opportunity to add my thoughts and comments. I had fun! Jack Reilly
Jack Reilly
// Jun 24, 2009 at 08:41 PM
PS, I forgot to comment with regard to Bill's accompanying on the Bennett/Evans duo; it's comparable and equal to the piano writing of the Schubert/Schumann/Brahms lieder cycles. Only Bill accompanied Tony "off the cuff". For my ears Bill surpassed the above mentioned classical masters. Jack Reilly Hagiographer at large.
Bruce Branigan
// Jun 25, 2009 at 12:00 AM
As a listener of Bills from my early youth, I must profess to liking a lot of his earlier material better than the later material. That said, I never felt he lost his musical sensibility- no matter how far it evolved or changed or sped up possibly due to his addiction and or perception that he was running out of time. I must also point out that phalanxes of commentators on Bills music since then have said time and again - that the most expressive and seminal of Bills revolutionary Trios were the first (with Scotty LaFaro) and the last with Marc Johnson. There are also two points to add to that that come from a creditable source- Bill himself. Bill made it clear in the Marian McPartland interview how much he liked the last trio, and how fortunate he felt he was to find Marc. In that session (recorded barely 2 years before Bill died)-listen to the stark beauty of Ellingtons "Reflections in D" played very closely to the Dukes original arrangement and clearly unhurried. Bill also took his time when he wowed Marian when demonstrating how he played around the melody with the "Touch of Your Lips". It has also been reported that towards the end Bill bypassed medical assistance to play with his last group. This is not the way someone talks who has given up on their music. As to the effect of substances on Bill – there can be no doubt that decades of pushing his body on top of the effects of hepatitis were destructive. Anyone living Bills lifestyle who lacked anything but the most exacting personal discipline would never have survived over 20 years in its grip– or repaid all those from whom he borrowed money to answer the unrelenting call of his terrible habit. Calmly soldiering on to the amazement of other musicians with a temporarily paralyzed left hand is another example of this discipline. Contemporary rock musicians with similar habits in the 60's – routinely lasted far less than their proverbial 15 minutes of Warhol fame. It is also the case that (unfortunately) Bills entire recording career took place under some of that shadow. Indeed, Bill appears to have suffered from underestimating his abilities enough so that he might never have left the recording legacy we now know if he was not driven to some degree by the financial needs of his addiction. Most famously early material such as "Conversations" in his Bios is attributed to that influence, as is a lot of the Riverside material. We will never know if Bill might have sounded even better minus the illusions of confidence that substances provided. What we do know is how far his musicianship rose –in spite of it, to a level that any jazz pianist could aspire to and that countless will undoubtedly view as a high water mark through the ages. If there were a Mount Rushmore of Jazz piano, Bill Evans would be one of the faces most would agree belongs there. Respect for your elders?- yes and I wholeheartedly agree with that thought – for good reasons.
Mike Harris
// Jun 26, 2009 at 06:07 PM
I couldn't agree more with Jack Reilly's assessment of Bill Evans'historical preeminence on the jazz music scene; the rest were as children compared to his contribution. As to whether the older Bill could slow down and play a ballad when he so chose, one has but to listen to (and watch) his heartbreakingly beautiful performance of his final composition "Your Story" at the Molde concert in August 1980, mere weeks prior to his death. (This rendition is fortunately available on the recently-issued "Oslo Concerts" DVD). As one who had the privilege of hearing a great deal of his live playing over the years at the Village Vanguard, I can attest that on any given night, regardless of what year you want to pick, this artist could wipe you out with the beauty and power of his music. It was honest music, and as such it of course varied with his inner state. But to me, Bill Evans even on a less than otimum day made music that was so ingenious and truthful that it can only, as Jack Reilly points out, be compared to the master classical composers of earlier times.. It is one of the enduring travesties of our time that, honored though he may be, he is nevertheless so underappreciated, relative to the intrinsic worth of his contributions as composer and performer. Then again, gazing out at the present state of our culture, perhaps no surprise is warranted.


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Q. What is a bronchoscopy?
A. A trans-nasal flexible fiber-optic bronchoscopy is a procedure where a physician examines various parts of your child's respiratory system through the bronchoscope. The following are some helpful definitions:
- Trans-nasal: The soft tube of the bronchoscope being passed through the child's nose
- Flexible bronchoscopes: Soft, flexible, and easily passed through the nose and airways in the lungs
- Fiber-optic: The ability of the bronchoscope to carry an image from the tip of the tube to video camera
Bronchoscopy is an evaluation of the respiratory system, including voice box (larynx), wind pipe (trachea), and the airways (bronchi) for evidence of any abnormality. Your child's physician can see these structures during different stages of the breathing cycle. He or she can also take pictures and record the images on video. This video image is helpful for the University of Chicago Medicine Comer Children's Hospital physicians to monitor the progress of any abnormalities.
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Q. What is a bronchoalveolar lavage?
A. In a bronchoalveolar lavage (BAL), the physician injects a small amount of saline through the bronchoscope into the airways and then sucks it back through the bronchoscope. The fluid obtained contains saline plus secretions from the lung, bacteria (if present), and cells. This sample is sent to the laboratory for various tests.
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Q. What happens during the procedure?
A. Your child will not be allowed to eat or drink for four hours prior to the procedure. This is very important in order to avoid vomiting.
Once your child arrives, our staff takes his or her height, weight, and vital signs. He or she is then brought to the procedure suite. You will be asked a series of questions and your child will be examined.
Your child will receive an intravenous (IV) line. Monitors are attached to your child in order to watch vital signs. Small children may need to be swaddled. Your child will not be restrained unless absolutely necessary for his or her safety
At the University of Chicago Medicine Comer Children's Hospital, our experts take every step available to ensure the safety and comfort of your child. Typically, a flexible bronchoscopy is not done under general anesthesia, but your child will be given medications via the IV for sedation. Your child will be able to wake from this deep sleep and be able to cough, sneeze, or try to speak if directed.
Numbing drops will be used to numb the nose, back of the throat, larynx, trachea, and bronchi. Lidocaine prevents irritation, cough, and sneezing.
Once the numbing medication takes effect, the bronchoscope is inserted.
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Q. How long will the procedure last?
A. Once the IV is in and all monitoring equipment is attached, the procedure takes less than 15 minutes to complete. If a bronchial alveolar lavage is needed, this takes a few additional minutes.
After the procedure, your child will be monitored while the effect of sedation and numbing medicine wears off--usually about 30 minutes. In order for you child to go home, he or she must be fully awake, able to drink clear fluids, and no longer exhibit signs of sedation. The full recovery process takes around an hour. Your child's physician or nurse will be able to tell you the approximate time for your child.
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Q. What are the possible side effects of the procedure?
A. Although each child is different, there are usually little or no side effects from this procedure. Some of the possible side effects include:
- Fever: A mild fever may occur but is rare. Over-the-counter fever medicine will help.
- Nosebleed: Since the lining the nose is very delicate, a nosebleed may occur. Typically, it will stop on its own.
- Stridor: If your child has stridor, it may temporarily get worse due to the effect of the medicine used during the procedure. A change in voice or noisy breathing may occur, but is also usually temporary.
- Wheezing: Some children with a history of lung disease, such as asthma, may need additional medication to treat signs of wheeze both prior to and after the procedure.
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Q. What can I do to prepare for the procedure?
A. Your child's doctor will give you personalized instructions prior to the procedure. This information will instruct you not to feed your child for four to six hours before the procedure.
If your child is old enough, it is important to prepare him or her. Explain as much as you feel he or she can understand.
The following information will help ensure a smooth procedure:
- Pack one or two favorite toys, blankets, or activities to help your child relax before and after the procedure.
- Pack a favorite snack or lunch for you and your child. He or she will have to eat before going home.
- Make sure you know the names and amount of any medications your child is taking--or bring the bottles with you.
- If your child has any other medical condition, you will need to tell the physician performing the procedure. For example, children with heart problems may need antibiotics prior to and/or after the procedure.
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Sorry out celebrating Australia Day and came back late to watch us lose again. Gee I have queried the rotation policy and usually I have some idea about the new players coming in butt Laughlin.. Where does he come from .? I played B2 level in the shire does that mean I am a chance for a call up ? Getting the whites ready just in case !
And so ends yet another thrashing of the Aussies.
"Comments are moderated and are generally published if they are on-topic and not abusive."
So publish them or take off the section.
Half time report - on smh.com.au commentary
Pretty darn average to be honest.
Not one 'comment' printed and average commentary. No engagement with the loyal posters that always comment on this website.
Poor show
I doubt this comment will be posted either but that's par for the course tonight.
Can't wait for Rohan to get back from his holiday.
Great 50 by Warner
Especially seeing he's the only batsman on the team that seems to be able to work out this SL bowling attack - which is, to be fair, pretty awesome.
"Bailey won't tolerate his side languishing long in the bottom half of the rankings. ''There's no reason why with the players we have and the depth we have we shouldn't have a side that are consistently in the top couple of teams in the world," he said. "That's something that still irks me.''
It might help if said captain, having seen two wickets go cheaply, didn't recklessly smash out to point
Re your first post Justin - "(and if New Zealand beat England)".
They struggle to get into 3 figures in a test match innings, let alone 20/20.
(I hope to God I'm not jinxing the Poms)
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Latest News
August 2015 update
Dear Friend, Thank you for your faithful prayers and financial support, the Orthodox Mission in Pakistan continues to grow both in size and in maturity. This newsletter will bring you up to date on a number of recent developments. We are are pleased to present to you an update on Father John Tanveer's recent trip to Russia, a request for prayer for the people of Pakistan, and good news of an Orthodox man recently released from prison. In June, Fr John had the great blessing to travel … [more...]
January 2015 – Fr. John Tavneer Appeals for Help
Christ is born! We are thankful to God who is always with us and encourages us in our Mission. Now the First Orthodox church is almost completed and we are trying our best to beautify the house of God. The Altar is ready and red carpet is put on the floor inside the church. The faithful are strengthening their faith day by day. There are many things which are in need to strengthen Orthodoxy here in Pakistan. Your moral support which makes us brave and healthy in awful situation. … [more...]
First Orthodox Church in Pakistan Consecrated
On February 6. 2014 the first consecration of an Orthodox Church occured in Lahore, Pakistan. Fr. John Tanveer is the priest who founded and built the parish. Attending the Consecration were: Metr. Konstantinos of Singapore and Fr. Martin Ritzi, Executive Director of the Orthodox Christian Mission Center (OCMC), who secured an anonymous donation that made the land acquisition and building construction possible. Many Orthodox faithful were in attendance, as well as a number of diplomats … [more...]
First Service in the First Orthodox in Pakistan Held on Christmas Day
With thanksgiving to God for His gracious blessing and protection, the first service in the first Orthodox Church in Pakistan was held yesterday. The Church is not yet furnished for Divine Liturgy, but Fr. John gathered the faithful there for a time of prayer and thanksgiving. As you can see, they were not reluctant to proclaim the joy of the season to their neighborhood! Glory to God for all things! Fr. John sends this message of greeting to us: "People are happy and praying for all of you … [more...]
The Orthodox Mission in Pakistan
The Orthodox Mission in Pakistan is the Canonical Orthodox Church in Pakistan. The OMP is under Ecumenical Patriarch Bartholomew of Constantinople and the Omophorion of Metropolitan Constantinos of Singapore and South Asia. The OMP's primary mission is to serve the spiritual needs of the country's Orthodox faithful. OMP also seeks to witness to and represent Christ's love by ministering to those in need, without regard to caste, creed, religion, or other social distinctions.
The Orthodox in Pakistan Need Your Prayers
O God and Lord of the Powers, and Maker of all creation, Who, because of Thy clemency and incomparable mercy, didst send Thine Only-Begotten Son and our Lord Jesus Christ for the salvation of mankind, and with His venerable Cross didst tear asunder the record of our sins, and thereby didst conquer the rulers and powers of darkness; receive from us sinful people, O merciful Master, these prayers of gratitude and supplication, and deliver us from every destructive and gloomy transgression, and from all visible and invisible enemies who seek to injure us. Nail down our flesh with fear of … [more...]


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From Grand Theft Wiki
Revision as of 19:43, 19 August 2012 by A-Dust (talk | contribs) (New Page: "Category:Gameplay")
| This page is a category of all pages relating to Completion.
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Pages in category 'Completion'
The following 12 pages are in this category, out of 12 total.


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Give Her Great Oral
Page 1 of 2Your woman tastes like a sweet peach and you enjoy nothing more than setting yourself up in a comfortable position to give her a tongue lashing every now and then. Well, I'm glad to hear that you're so eager to please, and with the following tips that'll help improve what you already enjoy, she'll be holding on to you — and that golden mouth of yours — forever.
1- Want itYou can't go down there only to encourage her to pay your manhood a visit, you should want to be there. Encouraging sounds like "mmm," "ooh" and "aah" will make her feel like you're enjoying the act — and you should be enjoying it.
2- Move slowlyNothing heightens a sexual experience like taking things slow. Start out with small, slow strokes of the tongue and gradually make the strokes longer, covering the labia. And remember: Keep the pace slow at all times.
3- Use a strong tongueInstead of keeping your tongue relaxed whilst tickling her pink, opt instead to give your tongue that razor's edge by making it pointy while licking all over the area. Soft is nice, but hard can be fantastic for her.
4- Use fingersWhile the tongue is great and, well, necessary for oral sex, throwing a couple of fingers into the mix will definitely up the ante. Use a clean, nail-trimmed finger to manipulate her body from the inside, while your tongue continues to do its thing on the outside. Multiple sensations may lead to other multiples.
5- Play with her buttIn the spirit of fingers, while your index finger is finding its way inside her vagina, use your thumb to simply rub the rim of her anus. If she reacts in a very positive way, wet a finger with her juices and slowly insert your finger into her anus. But remember: Once that finger goes in the back way, you shouldn't put it in the front again.
6- Massage while you eatYou are not restricted to the genital area of her body; you can periodically use your hands to hold on to her waist and hips, and you can always manipulate her nipples with your fingers while your mouth is busy at work below. As well, you can massage her butt cheeks, rub her thighs or even play with her ankles and feet.
7- Spread those lipsUse your hands to spread her labia apart and lightly flick your tongue against her clitoris while the cool air does its thing to keep it cool. As well, lightly massage her outer labia with your fingertips periodically.
8- Penetrate her with your tongueYou've spent so much time catering to the outskirts of her honey, now it's time to move on in. Point your tongue and make it as hard as you can (like an erection of sorts), and slowly penetrate her with it, going as deep as you can.
More tips for great oral sex...
Have a question? Get it answered by AskMen's guyQ.


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The makeup of Team USA's 2014 World Cup roster gives head coach Mike Krzyzewski "an opportunity to throw a new look at people" according to USA Basketball chairman Jerry Colangelo on Aug. 23. Will the length of the U.S., who have four "Bigs" 6-foot-10 or taller, makeup for being without several stars who withdrew from the team?
Team USA, the defending World Cup champions, typically rely on their speed and athleticism as they did the past two major tournaments -- 2010 FIBA World Championship in Turkey and the 2012 Olympics in London. It was thought that was the way Krzysewski was going to go this year with 13 of the 19 players in camp being guards/small forwards after the withdrawals of Kevin Durant, Blake Griffin, Kevin Love and LaMarcus Aldridge.
However, Andre Drummond, 21, was so impressive during training camp, and perhaps with a eye towards a rematch with Spainin the championship game, the USAB's brain trust couldn't resist keeping the big fellow. Spain has a front line that features Pau Gasol, Marc Gasol and Serge Ibaka.
"[Drummond] is a blossoming center in the NBA," Colangelo said. "He's just a kid, but he's come a long way in a very short period of time. We see him as a big part of our future. It's a little bit similar to Anthony Davis getting his opportunity in London."
"Maybe it kind of catches people by surprise. Yes he's young, but a 7-foot, 280-pound guy who can run the floor the way Drummond runs and who protects the rim ... when you describe all the physical attributes, that's a hard call to leave a guy at home."
The thought now is that Krzyzewski will occasionally use Davis, who is expected to start at center, and Mason Plumlee at power forward alongside the more traditional centers that Drummond and DeMarcus Cousins are. Kenneth Faried , who is projected to start at power forward, is the only other true power forward on the team though wing Rudy Gay will also see action at the "four".
Despite having an "extra Big" on the roster, the U.S. still has plenty of speed and athleticism with Davis, Drummond, Derrick Rose, Stephen Curry, Kyrie Irving, James Harden and DeMar DeRozan.
The key for the U.S. will be how the team's chemistry develops. With all departures of key players and Paul George's leg injury during the intrasquad scrimmage, this team hasn't gotten to play together a ton.
The good news is that the U.S., which has one more exhibition game -- against Slovenia on Aug. 26 in Gran Canaria --, got a favorable draw and will have five preliminary games to get things figured out.
The 2014 World Cup is comprised of 24 teams that are split into four groups who will play throughout Spain. The U.S. was drawn into Group C.
The U.S., the No.1 ranked team in the world, will open up the defense of their 2010 World Cup championship against No.39 Finland in Bilbao, Spain on Aug. 30. The Americans will then play No. 7 Turkey (Aug. 31), No. 19 New Zealand (Sept.2), No. 27 Dominican Republic (Sept. 3) and No. 45 Ukraine (Sept.4).
Group A: No. 10 Brazil,No.46 Egypt, No. 8 France, No. 20 Iran, No.11 Serbia and No. 2 Spain
Group B: No.3 Argentina, No. 16 Croatia, No. 5 Greece, No. 17 Puerto Rico, No.34 Philippines and No. 41 Senegal.
Group D: No. 9 Australia, No. 15 Angola, No.31 Korea, No. 4 Lithuania, No.24 Mexico and No. 13 Slovenia.
Each team at the 2014 World Cup will play the other teams in its preliminary group, and the top four finishing teams from each of the four preliminary round groups will then qualify for the round of 16. Winners of the round of 16 games will advance to the quarterfinals, while losers are eliminated. Winners of the quarterfinals games will advance to the medal round semifinals, while the quarterfinals losers are eliminated from the competition. Winners of the semifinals will advance to the Sept. 14 gold medal game, while semifinals losers will meet in the bronze medal game on Sept. 13. The games from the round of 16 to the semifinals will be played in Barcelona and Madrid, and the bronze and gold medal games will be held in Madrid.
Since the first FIBA World Championship was held in 1950, the USA has won 11 medals – four gold medals, three silver medals and four bronze medals – while compiling an all time 114-27 win-loss record. Led By Krzyzewski, the Americans are defending World Champions having claim gold in Istanbul with a 9-0 record.
So, yeah, the Americans are still the favorites though they could have their hands full with Spain and maybe a few others.


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Mental Toughness Training For Peak Sport Performance
Get mental toughness tips to "Train Your Brain" for peak sport performance. In each podcast, sport psychologist Dr. Dana Blackmer will give practical mental skills techniques to help athletes at all levels improve their mental game.
The podcasts, along with The Extra Gear's Facebook Page, YouTube Channel, and Twitter Page are just another way that The Extra Gear lets athletes train when they want and where they want by giving them "Mental Tounghness On Demand."
Make sure to look at our Training Tips and Video Training pages for even more mental skills tools and tips. Also, sign up for our newsletter below and get the latest training tips to "Train Your Brain" for peak sport performance!
Try our one-of-a-kind interactive mental toughness training series to "Train Your Brain" anytime you want, anywhere you want.
Enter your email address below to keep up to date with our progress (you might even get a discount coupon in an upcoming newsletter!).
© Copyright 2016, extragearnew. All Rights Reserved. Web Site Design By Meridian Tech Group, Inc


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Photo credit: Lara Cameron
field trip: ink & spindle textile studio
June 23, 2009
Photo credit: Lara Cameron
11 comments:
So, so jealous!ReplyDelete
Yesss! We stopped them from doing any work all day. We should work for their fabric printing competitors, I think.ReplyDelete
Heee! Thanks for the visit girls. Don't worry I sooo wasn't in the mood for working (or cleaning the printing table) today anyway.ReplyDelete
Sounds like heaps of fun! That bunny is too cute...ReplyDelete
Very very jealous - sounds like a perfect day. KReplyDelete
that sounds like a perfect day. You lucky duck!ReplyDelete
Ooooh, Now I move to Australia! Sounds so good.ReplyDelete
And cupcakes, I'm jealous:)
Yay! It was such a fun morning lunch, and little Ton Ton (who I've since found out is a girl) is so cute in that shot. Lovely to hang out!! xxReplyDelete
i used to live directly opposite this spot when it was a just a boring thai food place. i noticed just the other day it had been transformed into this bustling cafe, how exciting.ReplyDelete
ooh! show us what you got!! (psst- first peek of the house on my blog). :DReplyDelete
Honestly.. you just described my favourite day!! heheReplyDelete
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Ministry in the multi-racial and multicultural context of North America calls for leaders who understand the culture of others as well as their own race and culture. These leaders will be conscious of the racialized reality of their context. They will practice ministry that is skillful in intercultural communication and attentive to cross-cultural, inter-denominational, and inter-faith understanding. This course is designed to develop and cultivate such cultural competence by focusing on listening and learning amid cultural and religious difference.
[1] http://mccormick.edu/instructor/esterline-david


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Modern-day Homers (the Greek epic poet, not the cartoon) are walking the streets of Utah these days. And you can see many of these storytellers take the stage at the Timpanogos Story Telling Festival, Aug. 27–30, celebrating its 25th anniversary.
What sort of storytelling? Timp has it all: cowboy stories, ghost stories, family histories. Pay $45 for the whole weekend, or opt for one of our favorite storytelling events:
Laughin' Night: Word around the neighborhood is that this is the event to attend. Catch a show on Saturday, Aug. 30 at 8 p.m. These comedians' cousins won't just crack jokes, but tell you those rolling-on-the-floor-laughing stories perfect for any social gatherings.
Bedtime Stories: These events are aimed at pleasing the little ones, but audiences of all ages will enjoy good bedtime stories—the kind that aren't too creepy or funny, but just right for a night full of good dreams. See Bedtime Stories at 6:30 p.m., Friday, Aug. 29. Donuts will be served.
Shivers in the Night: If Stephen King or Edgar Allan Poe are on your reading list, imagine hearing ghost stories as night falls in Provo Canyon. Things get spooky at 9 p.m., Saturday, Aug. 30.
For a full schedule of events, check out the Timpanogos Storytelling website.
All photos by Tom Thurston


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Note: This message is displayed if (1) your browser is not standards-compliant or (2) you have you disabled CSS. Read our Policies for more information.
The Indiana State Department of Health is committed to helping all 91 birthing hospitals and birth centers in Indiana achieve Baby-Friendly designation. Currently, Indiana has six Baby-Friendly hospitals. A key objective in Healthy People 2020 is to increase the proportion of live births that occur in facilities that provide recommended care for lactating mother and their babies. The Baby-Friendly Hospital Initiative is an international model of this recommended care.
What is Baby-Friendly?
The Baby-Friendly Hospital Initiative (BFHI) is a global program sponsored by the World Health Organization (WHO) and the United Nations Children's Fund (UNICEF) and implemented in the United States by
Baby-Friendly USA, Inc. (BFUSA). The Baby-Friendly Hospital Initiative recognizes and awards birthing facilities which successfully implement the
Ten Steps to Successful Breastfeeding and the
International Code of Marketing of Breast Milk Substitutes. The BFHI assists hospitals in providing all mothers with the information, confidence, and skills needed to successfully initiate and continue breastfeeding their babies or feeding formula safely, and gives special recognition to hospitals that have done so.
Why do we promote Baby-Friendly?
Hospitals play a critical role in a mother's success in breastfeeding initiation and in helping mothers continue to breastfeed after leaving their facilities. The BFHI focus is to make sure evidence-based maternity policies and practices are in place to support mothers who breastfeed their babies. Data show that, when the BFHI is implemented, exclusive breastfeeding rates increase overall, regardless of a mother's race, ethnicity, or socioeconomic status.
The BFHI is a key strategy to meet the
Healthy People 2020 Objectives for Maternal, Infant, and Child Health related to breastfeeding, including those in the following table.
In addition, the Surgeon General's Call to Action to Support Breastfeeding (2011) includes a call to improve maternity care practices. The Specifications Manual for Joint Commission National Quality Core Measures also includes an "Exclusive Breast Milk Feeding" Performance Measure.
We are proud to recognize these outstanding health care facilities for their commitment to world class maternity care:
Community Hospital of Anderson, Anderson, IN (05/05)
Columbus Regional Hospital, Columbus, IN (08/14)
IU Goshen Hospital, Goshen, IN (09/10
IU Health Ball Memorial Hospital, Muncie, IN (12/08) Re-Designated 2013-2018
IU Health Methodist Hospital, Indianapolis, IN (12/02) Re-Designated 2013-2018
IU Health-Bloomington, Bloomington, IN
The Division of Nutrition and Physical Activity (DNPA) addresses the problems of poor nutrition, sedentary behaviors, and obesity and other chronic diseases in Indiana.
The role of the Division of Nutrition and Physical Activity is to:
Overweight and Obesity Fact Sheet
For more information or to contact staff:
Indiana State Department of Health
Division of Nutrition and Physical Activity
2 North Meridian Street
Indianapolis, IN 46204
Telephone: 317-233-1325


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Brian Picucci took over as the UMass offensive coordinator in January 2009 after serving five years as the run-game coordinator and offensive line coach. Picucci will work with head coach Kevin Morris on the offensive side of the ball. He is in his seventh season of his second stint on the UMass coaching staff in 2009. Picucci, who previously worked with the Minutemen from 1998-99, returned to UMass after spending four years at Northeastern University (2000-03).
2009 was a huge year for Picucci as one of his star players Vlad Ducasse became UMass' highest draft pick in more than 40 years. Ducasse was selected in the 2nd round of the 2010 NFL Draft by the New York Jets. Ducasse finished a tremendous career at UMass as a consensus first team All-American.
Under Picucci's guidance, UMass has led the conference in fewest sacks allowed in four of the last six seasons. He has coached some of the top linemen in the nation over the last few years including All-Americans Matt Austin, Alex Miller and current honoree Vladimir Ducasse.
The Minutemen have also had a 1,000-yard rusher in each of the last five of the last six years with Picucci guiding the line of protection.
UMass had one of the top offensive lines in the nation in 2008 allowing just six total sacks in 12 games, for 0.5 per game. Headed by All-CAA selections Ducasse and Sean Calicchio, UMass was ranked third in the nation in fewest sacks allowed. The Minutemen's O-Line led the way for All-CAA pick Tony Nelson to gain more than 100 yards in six games. He finished third in the league in rushing yards per game with more than 110 yards per game.
In 2007, UMass allowed just 17 sacks in 13 games to rank among the national leaders. The Minuteman offense was stellar in 2007 as they piled up more than 400 yards per game. Tailback Matt Lawrence gained 1,585 yards as the starter.
Picucci worked closely with UMass' three all-conference selections in Austin, Calicchio and Nick Diana.
In the first three seasons Picucci returned to UMass (2004-06), the Minutemen allowed just 37 sacks in 37 games, a tremendous 1.0 per game, one of the nation's best marks. In 2006, UMass allowed 1.07 sacks per game, 14th in the nation.
As UMass worked all the way to the 2006 National Championship game, Picucci coached four all-conference lineman. All-American Alex Miller was named an all-conference pick for the third year in a row. Guard Matt Austin was also named an All-American as well as a First-Team All-A-10 selection. They were joined by second-team honorees David Thompson and Nick Diana.
That quartet along with Chris Hopkins, led the way for All-American and record-setting tailback Steve Baylark. The Arizona Cardinals' signee became the third I-AA/FCS player to gain more than 1,000 yard in four consecutive seasons. He finished second all-time in rushing yards at UMass with 5,332 with Miller and Thompson blocking for him in all 50 career games. Thompson signed a free agent contract with the St. Louis Rams and Miller had a tryout with the Detroit Lions.
In 2005, the Minutemen led the A-10 in fewest sacks allowed, giving up just 11 in 11 games for 1.0 per game -- tied for eighth in the nation. Picucci worked with the A-10's first-team center Miller as well as second-team A-10 selection Brent Caldwell. The rushing attack led by A-10 first-team tailback Baylark, who picked up 133.2 yards per game as he finished third in the A-10 in rushing yards.
Back in 2004, the offensive line led the country in fewest sacks allowed per pass attempt (giving up nine on 344 pass attempts). Picucci helped set up Baylark, who led the Atlantic 10 in rushing, earning A-10 first team honors. UMass' running game picked up 138.8 yards per game, led by Baylark, who had 103.4 per game. Leading the way for Baylark was A-10 first team lineman Rob Kane.
Picucci served as offensive line coach at Northeastern under Don Brown for four years (2000-03), and added the responsibility of run-game coordinator for the 2002 and 2003 seasons. In 2003, Picucci directed a rushing offense which totaled 242.2 yards per contest, to rank second in the Atlantic 10 conference and ninth in the country. In 2002, the Huskies averaged 207.0 rushing yards per game, to rank second in the Atlantic 10 and 19th in the nation. During the 2002 campaign, Picucci helped lead Northeastern to an overall record of 10-3, a share of the Atlantic 10 Conference title and the school's first-ever trip to the NCAA Division I-AA Playoffs.
During his first stint as an assistant coach at UMass under Mark Whipple, Picucci worked with the defensive tackles and linebackers for one year (1999) and the offensive line for one season (1998). In 1999, Picucci helped direct a defensive unit which led the Atlantic 10 in sacks (36), while ranking second in total defense (323.5 yards per game). During the 1998 season, Picucci assisted with a UMass offense that set 18 team single season records, including points scored (524) and total yards (7,074). Picucci came to UMass in 1998 after serving as offensive coordinator at Bristol (Conn.) Central High School for three years. In 1997, Picucci helped Bristol Central set school single-season records for total offense (3,876 yards), passing yards (1,435 yards) and passing touchdowns (18). Prior to working at Bristol Central, he served as tight ends coach at Southern Connecticut State for one season (1994).
A 1994 graduate of Syracuse University, Picucci was a three-year letterwinner for the Orangemen. He played fullback for his first three seasons at Syracuse, before starting at tight end in his senior year. Picucci was a member of four victorious bowl teams during his undergraduate career (1989 Peach, 1990 Aloha, 1991 Hall of Fame and 1992 Fiesta). A native of Leominster, Mass., Picucci is single and resides in Hadley.
Picucci's Collegiate Coaching File
Years School Assignment 1994 So. Connecticut Tight Ends 1998 Massachusetts Grad. Asst./Off. Line 1999 Massachusetts Defensive Tackles/Linebackers 2000-01 Northeastern Offensive Line 2002-03 Northeastern Run-Game Coordinator/Offensive Line 2004-08 Massachusetts Run-Game Coordinator/Offensive Line 2009 Massachusetts Offensive Coordinator
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Patch, Mission, STS-26
This STS-26 patch belonged to NASA astronaut David Brown, a mission specialist who flew in space for the first time as a member of the crew of STS-107, the Space Shuttle Columbia mission that disintegrated upon reentry on February 1, 2003. Aboard STS-107, Brown logged 15 days, 22 hours, and 20 minutes in space. Although this patch was never flown in space, it was a personal memento of Brown's.
STS-26, which launched on September 29, 1988, was the first shuttle mission to fly after the loss of the Space Shuttle Challenger in January 1986. The presence in Dave Brown's possessions of ten sequential mission patches, beginning with STS-26, may indicates that Brown started following the NASA space program more closely in 1988 after this return to flight mission. A flight surgeon and a naval aviator, Brown was selected by NASA as an astronaut candidate in April 1996.
Doug Brown, Dave Brown's brother, gave the patch to the Museum in 2006.
Gift of Douglas R. Brown.
- Country of Origin
- Unknown
- Date
- 1988
- Type
- MEMORABILIA-Events
- Materials
- embroidered patch
- Dimensions
- 2-D - Unframed (H x W): 10.2cm (4 in. dia.)


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Huge "Young and the Restless" spoilers are out and Adam New man is returning. On April 3, Celeb Dirty Laundry shared about the return of this character that used to be played by Michael Muhney. Of course Michael is not coming back.
At the end of the show on April 4, it will be revealed that Adam Newman is still alive. He will even be seen, but it is going to be only from the back in a sweatshirt. Victor and Chelsea will be told he is dead though and believe it. Whoever plays this part is probably not the actor who will play the character in the long run. "Y&R" has still not revealed who they are hiring to replace Muhney.
Reports are that Adam Newman actually faked his own death and someone helped him do it. Whoever helped him should come out soon. It is unknown how soon Adam Newman's new actor will make their way to "Young and the Restless."
Don't miss new episodes of "Y&R" every weekday on CBS.


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Areas of Interests
- Clinical Interests
- Multiple Sclerosis and Demyelinating Diseases of the CNS Quantitative Magnetic Resonance Imaging Clinical Trial Design
- Research Interest
- Sanofi-Aventis: MRI Analysis Center for the teriflunomide studies in multiple sclerosis National Institutes of Health: Combination Therapy in Multiple Sclerosis
Jerry S. Wolinsky, M.D. is a Bartels Family Professor of Neurology and a member of the graduate faculty of the Graduate School of Biomedical Sciences at The University of Texas Health Science Center at Houston. He directs the Multiple Sclerosis Research Group and the Magnetic Resonance Imaging Analysis Center at McGovern Medical School.
Dr. Wolinsky received his M.D. from the University of Illinois in 1969. Residency training in clinical neurology, a fellowship in experimental neuropathology and faculty appointment at The University of California San Francisco followed. While in San Francisco his research interests concentrated on the pathogenesis of viral infections of the nervous system, and his clinical efforts began to focus on experimental therapeutics of infections of the central nervous system and multiple sclerosis. He subsequently joined the faculty of The Johns Hopkins University Schools of Medicine, and Hygiene and Public Health in 1978 before settling in Houston in 1983. In Baltimore he applied more molecular tools to his basic investigations and became more interested in the primary and secondary immunopathogenesis of neural disease.
He is currently active in the design, implementation, conduct and analysis of clinical trials of multiple sclerosis and conducts basic and applied research in quantitative magnetic resonance imaging and magnetic resonance spectroscopic imaging in demyelinating diseases. He has served on review and advisory committees of the National Institutes of Health, the National Multiple Sclerosis Society, the Multiple Sclerosis International Federation, the Food and Drug Administration, numerous pharmaceutical houses, and the Sylvia Lawry Centre for Multiple Sclerosis Research. He was an Associate Editor of ACP Scientific American Medicine and is on the editorial board of Multiple Sclerosis Journal and Multiple Sclerosis and Related Diseases.
He is recognized in The Best Doctors in America and America's Top Doctors. He has authored over 300 publications dealing with issues of relevance to neurovirology and neuroimmunology, clinical trials and the imaging of multiple sclerosis.


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Fitle trying to reinvent the online clothes shopping experience
(WXYZ) - The future of shopping online for clothes could get a whole lot easier.
We've probably all ordered a shirt, or some type of clothing item online, only to be disappointed with the fit when we get it.
Well, Fitle will help prevent users from ordering the wrong clothes for their body type.
Fitle will be a Website and app that will allow users to enter a virtual fitting room of sorts.
After creating a 3D avatar of yourself, Fitle will let you try on any clothing item from their participating brands. Now those clothes will also be turned in to 3Dmodels to fit on your avatar.
The creators of fitle.com hope to eventually own the world's largest clothes database.
Now, what's really neat about this site, is it will keep track of your purchases. So if you buy a new pair of jeans—and then a couple of months later want to see what a certain shirt will look like with those jeans, you can pull them up and match them.
Fitle will also learn from your daily browsing in order to understand your style.
The creators have passed their fundraising goal of $50,000 on Kickstarter, so we could be hanging out in a virtual fitting room sooner than we think.


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Chill's in the air: Cool, windy weekend on tap
Published: Saturday, March 2, 2013 at 5:30 a.m.
Last Modified: Saturday, March 2, 2013 at 9:41 a.m.
Prepare for a cool, windy weekend.
Today will be partly sunny with a high near 60, but early wind-chill temperatures may be as low as 35 degrees, according to the National Weather Service.
West-northwest winds will increase from 5 to 10 mph to 15 to 20 mph in the afternoon, with gusts as high as 30 mph, forecasters said.
Tonight will be mostly cloudy with a low of about 37 and west winds of about 10 mph.
Sunday will be a bit sunnier with a high near 59 and west-northwest winds of 10 to 15 mph, with gusts as high as 20 mph. Sunday night will be mostly clear with a low near 36 and west winds of about 5 to 10 mph.
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You are in... Forums > Welcome To Your Horse Forum > The Yard > freelance grooms what do u pay ?
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Mar 09
Posts: 2
emzs says:
help im a freelance instructor ai and ive been asked to do some grooms work on aself employed basics.i have my own insurance.how much do u charge /pay ? do u pay by the hour or job ? also what would u charge to turn out and muck out ect on a diy yard as ive been asked to do some at the yard where my horse is kept thanks for your help emma
Mar 10
Posts: 3273
greyandbay says:
It's not quite the same, but my daughter has worked at a riding / showing stables near here during her holidays, she was mucking out the show stallions (Dartmoors) most of the time with some bringing in / turning out / grooming and got £40 per day working from about 7.30am to 4.30pm.
She now has another part time job at a small riding stables near her uni in Kent, from 9.30am to 4.30pm, no mucking out, just bringing in / turning out / grooming and tacking up, and schooling some of the ponies. She gets £25 a day for that, but is happy with not much pay as the work is easy, she gets 1 hour off for lunch, and SHE GETS TO RIDE !!
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Jun 09
Posts: 818
3MoodyMaresMum says:
It's been about 18 months since I had a freelance groom work for me, but the first charged by the job, she would muck out 3 stables and poo pick the field and charged £35 - basically £10 per stable and £5 to do the field. I only had her a few weeks while I was in plaster!
I then got another girl in which we agreed 4 hours a day 3 times a week, she was meant to muck out the boxes, clear up the field, sweep yard, groom my girl on box rest, do water buckets and generally keep things tidy and clean and she was £7 an hour, or £40 for the day when I needed her to babysit my mare if I was out.
We parted company and I arranged with another freelance when needs must to come and get the horses in if I am delayed working, she wanted £10 to get 3 in - that was fine but she didn't listen to instructions got the wrong horse first so I had a loose horse on the farm, 2 going mental in the field and me getting a call to get home ASAP and a Vet bill where my mare got her leg caught in the gate trying to get back to the other horses - oh and she took the money that had been left in the tack room for her and left the yard leaving the mares in a real state!
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Jun 11
Posts: 150
scarletromeo says:
i have a morning job on a private yard i work 6days a week (get to choose my day off) and get £10 per morning for feeding, mucking out, and turning out.... it used to take me 90mins but now takes me little over an hour... any other jobs im asked to do such as lunging, bringing in, i get an extra £5.... luckily the yard owner is lovely and doesnt boss me around too much and is always very gratefull... xx
Nov 08
Posts: 1327
*chip* says:
moodymaresmu,that's awful, it'd people like that that can give us all a bad name =@
i charge £10 an hour for the riding n by the job for groom work, for 3stables to muck out,bring in or turn out 3 horses i charged 12.50 with the discount as im doin intro offers, lol..the woman thought this was too expensive and did them herself with her daughter after about 4 weeks =/ others on the yard laughed n said they'd charge her £10 a box not including the turn out...just can't please some people
ride a gypsy vanner... it'll make your butt look smaller
*chip* I think I am just really unlucky - or I have really difficult horses! The 2nd groom really upset me as I saw her kicking Welshie in the chest, and there is no excuse for that. Welshie is very forward and when they come in she is always last so she can be in a bit of a rush, but she knows to stand and wait to let me in the stable first then she can follow in - basically yeah she is in a hurry but knows her manners, anyway she barged and the groom went mental at her. It was no way to behave with your own horse let alone someone elses, so we parted company and I gave up having help! This episode was the icing on the cake really, I had already told her if she barges to bring her back out turn her around stand her and walk her in quietly, keep doing it until she does it properly, not beat the crap out of her!
I am a little OCD and if one of the girls does a pile I want it picked up immediately if your on the yard - I left her in charge of 2 of the horses while I was at Rossdales with the 3rd, I came back earlier than expected to find her feet up on the phone in the tack room, no mucking out done so my poorly mare came back from a long journey and had to wait for her stable to be prepared, and the others had box walked the piles so trashed their stables waiting for their friend to come home.
Now I know not all Freelances are like this and I am as I say really unlucky or so it seems.
Jul 10
Posts: 2157
CharParsley620 says:
greyandbay said:
It's not quite the same, but my daughter has worked at a riding / showing stables near here during her holidays, she was mucking out the show stallions (Dartmoors) most of the time with some bringing in / turning out / grooming and got £40 per day working from about 7.30am to 4.30pm.
She now has another part time job at a small riding stables near her uni in Kent, from 9.30am to 4.30pm, no mucking out, just bringing in / turning out / grooming and tacking up, and schooling some of the ponies. She gets £25 a day for that, but is happy with not much pay as the work is easy, she gets 1 hour off for lunch, and SHE GETS TO RIDE !!
Sounds good to me!
It's lonely in the saddle since the horse died.
deffo unlucky =( gotta say ive had it drilled into me from my instructor who employed me at the riding school and then at her own yard, she was a perfectionist n i think i caught it, bt i dont see the point in doin a job half assed =/ maybe its just me but if we ever did do summat lazy or short cuts then Emma would make us do it again until it was done properly, didnt matter if we finished half an hour late, lol...some people are missing a good kick up the jacksy n soe pride in their work, the girl i work with is like this n it kills me as the boss always has a go at me as i a few minutes slower...but my boxes are always twice as good, m horses get real exercise rather than a stand in the paddok while she texts, i love her to bits but it really infruiates me...
rant over, lol
oh, im also OCD on yards...especially straw muck heaps, lol
Feb 06
Posts: 205
Jane Menzies says:
£7 an hour is the going rate where I am, for mucking out three boxes in an hour.
Apr 10
Posts: 304
AMLS says:
When I did this kind of work I used to charge £8 per hour and then travel costs (depending on how far I had to travel) ... always gave an estimate of how much it would be (based on how long I knew it would take me) so that no-one felt cheated/surprised by the bill haha !!! I think this is an easier way to do it rather than charge by the job as you could vary wildly in what you would charge and how you would work it out. For example would you charge more for a difficult horse, if yes then who's to judge that it's a difficult horse ?!! Do you see what I mean ?!! Haha !!!
Hope this is helpful !!!
Sep 08
Posts: 1350
highlander says:
£10 per hour for anything. I have been very fair in my cost but I look as it being all the same.
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Royalty Free Music — Sprightly & Tongue-in-cheek
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Thrills And SpillsBouncing energy and silly hijinx run wild on this circus-themed orchestral piece. Great for scenes of kids at play.https://www.smartsound.com/strata/images/BS01SM_100.jpgSingle53010-ST$ 39.9553010-EX$ 59.9553010-W$ 149.95
Thrills And Spills from the album Sunday Matinee
Ragtime SpoofPut a skip in your step with this sunny, stride piano number. A great theme song for that happy-go-lucky character. Also features zany punctuation from slide whistle and harmonica.https://www.smartsound.com/producer/images/ps20_200.jpgSingle32014-ST$ 39.9532014-EX$ 59.9532014-W$ 149.95Emotions: Energetic, Happy, Tongue-in-cheek, Cheerful, Goofy, Old-Fashioned, Whimsical, Sprightly, Fun Genre: Nostalgic, Specialty Production Types: Kids, Animation, Comedy, Home Videos, Background Instrument: Solo, Piano, Instrumental
Ragtime Spoof from the album Comical / Fun / Novelty (PS20)
Funny PapersA Sunday paper's worth of comic personalities are explored in this medium-fast tune ranging from the cranky neighbor to the lovable drunk.https://www.smartsound.com/music/images/vintage.jpgSingle2311-ST$ 39.952311-EX$ 59.952311-W$ 149.95
Funny Papers from the album Vintage Comedy
Comic IntrosA collection of short musical intro cues for all sorts of comical situations. Length selection may have no affect on this selection.https://www.smartsound.com/music/images/vintage.jpgSingle2319-ST$ 39.952319-EX$ 59.952319-W$ 149.95Emotions: Happy, Tongue-in-cheek, Comical, Old-Fashioned, Spirited, Whimsical, Sprightly, Quirky, Fun Genre: Funky, Vintage, Specialty Production Types: Kids, Animation, Comedy, Home Videos Instrument: Novelty Band, Instrumental
Comic Intros from the album Vintage Comedy
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Spaghetti on the Wall
Cherished family recipes from the Manda and Yarborough families
Katie Skupien
This is a cookbook full of cherished family recipes with a little family history and some favorite memories included. It has been in the works for several years and I am so happy that it is finished!
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Arizona State (2004-2005): Was victorious in ten overall singles matches...Won the doubles title with teammate Andy Colombo at the Milwaukee Classic Collegiate Tournament ... the tournament's top-seed, the duo earned a bye in the first round and won the next four matches to earn the title...Totaled 11 overall doubles victories...Earned Pac-10 All-Academic Second Team honors.
(2003-04): Posted 14 singles and nine doubles wins on the season ... saw action at the No. 3, 4 and 5 positions ... posted a 6-1 record at the No. 5 slot ... advanced to semifinals, along with Chris Stewart, in the Pac-10 Conference Doubles Championships ... defeated Philipp Gruendler of No. 2 UCLA to help lead team to an upset victory ... advanced to the Round of 16 at the Pac-10 Singles Championships ... won his NCAA Regional match against Louisville ... earned Pac-10 All-Academic honorable mention honors.
(2003): Redshirted.
High School/Juniors: A 2002 graduate of the Schiller Academy, Dunedin, Florida ... reached the top-300 in the world junior ITF singles ... played in tournaments in Morocco, New Zealand, Estonia and Ireland ... won the World Catholic School Games in Lisbon.
Personal: Major is business ... parents are Neil and Susan Kinsella ... has one sister, Francesca ... born February 22, 1984 in Bolton, England ... enjoys reading and sailing ... full name is Jonathan Paul Kinsella.


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At the end of the month, head to Brooklyn's Irondale Theater for the fourth annual FLICfest. The festival will premiere 12 independent dance theater works by unique artists over the course of six evenings (Jan. 23-25; Jan. 30-Feb. 1). Each evening will include two premieres - one at 7:30 p.m. and one at 9 p.m. - followed by a cabaret performance in the theater's balcony lounge.
Founded and curated by Jeramy Zimmerman of CatScratch Theatre and produced by Irondale, the FLICfest is now an annual event dedicated to presenting the work of artists who are creating outside of the traditional presenter/creator relationship. The one-of-a-kind festival is focused on serving the alternative, experimental, risk-taking artists and allowing them the opportunity to present their work for diverse audiences.
The 2014 artist line up includes: Emily Berry, Yung-Li Chen, Tina Croll, Alberto Denis, Chris Ferris, Lindy Fines, CJ Holm, Aaron McGloin, Kora Radella, Keith Thompson, Vanessa Walters, and Hattie Mae Williams.
To find out more information about the FLICfest please visit its website and facebook page.
- Where: The Irondale Theater (85 South Oxford Street in Brooklyn)
- When: Week 1: Thurs. Jan. 23 - Alberto Denis (7:30); Yung-Li Chen (9:00) | Fri. Jan. 24 - Lindy Fines (7:30); Chris Ferris (9:00) | Sat. Jan. 25 - Aaron McGloin (7:30); Keith Thompson (9:00). Week 2: Thurs. Jan. 30 - Emily Berry (7:30); Hattie Mae Williams (9:00) | Fri. Jan. 31 - Kora Radella (7:30); Tina Croll (9:00) | Sat. Feb. 1 - CJ Holm (7:30); Vanessa Walters (9:00).
- Tickets: Tickets are $25 general admission, $20 for working artists and students. One ticket ensures entry into both the 7:30 p.m. and 9 p.m. festival performances and the following cabaret performance. Purchase tickets online here.


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The lazy, Cadillac-driving welfare queen, getting high and living on the government dole, has been a political scare tactic since the days of Ronald Reagan. These days, mostly Republican legislators are dusting off the stereotype in a new front in their war of cannabis consumers – a coordinated effort to pass drug screenings as a requirement for benefits like welfare, food stamps, even the unemployment compensation that workers paid into as insurance.
According to the National Conference of State Legislatures "at least 29 states have proposed legislation requiring some form of drug testing or screening for public assistance recipients in 2013." The latest to join Arizona, Florida, Georgia, Kansas, Missouri, Oklahoma, Tennessee and Utah in actually passing these bills is Texas, which (as of press time) sent a bill to Gov. Rick Perry to mandate drug testing for certain people seeking unemployment compensation.
The federal law that grants states this power is the "The Personal Responsibility and Work Opportunity Reconciliation Act of 1996." This Act was passed by the Congress with both Republican and Democrat majorities, though 118 Democrats voted against it. Just two House Republicans and no Senate Republicans opposed it. President Bill Clinton signed it into law and it was the major element in what he called "welfare reform".
The constitutionality of such drug testing is suspect. The state of Michigan was sued in 2002 for its program where everyone applying for Temporary Assistance for Needy Families (TANF, or "welfare") was drug tested, and 20 percent of recipients were randomly tested every six months. In the case Marchwinski v. Howard, the US Sixth Circuit Court of Appeals ruled that testing all applicants and random recipients violated their Fourth Amendment rights against unreasonable search and seizure. Merely being poor is not a "probable cause" to believe someone is violating controlled substance laws.
Undeterred, states continued pushing drug testing as a means to insure the lazy welfare queens weren't spending their tax dollars on a bag of weed. Florida instituted its program to drug test for TANF benefits in 2011 and it ran for four months before the US Eleventh Circuit Court of Appeals upheld a lower court's injunction halting the Florida law.
The Florida experience shows, not only is drug testing the poor unconstitutional, it's wasteful and ineffective. The New York Times reported that just 2.6 percent of the TANF applicants failed the drug test, the most common reason being for marijuana. The statewide average for failed employment drug tests in Florida is around 8 percent. Since the state had to reimburse all the poor people who passed the $30 test, it ended up paying out $45,000 more than it saved by not giving assistance to the 108 people in poverty who failed the test. Proponents predicted that the demand for TANF would drop by weeding out weed smokers. But the overall caseload remained steady. Ultimately, the state saved nothing on the imaginary poor people who didn't bother to apply for TANF.
In order to pass constitutional muster, the latest states are rolling out their welfare drug testing without the suspicion-less drug testing mandates of Florida's and Michigan's laws. In 2012, Oklahoma and Tennessee adopted laws that screen applicants to find a reasonable suspicion they are engaged in drug use. Utah's 2012 law uses a questionnaire designed to screen applicants to find that reasonable suspicion. Kansas's law, passed in April this year, can manufacture a reasonable suspicion to drug test for TANF based on "on a person's demeanor, missed appointments, police records, termination from previous employment due to substance use or prior drug screening records."
Most of these state laws provide a way for parents who have failed the drug test to have the TANF benefits paid out to another adult on behalf of the children, so long as that adult passes the drug test. Lawmakers add this provision to blunt the criticism of being unsympathetic to the children of the poor, since the average TANF recipient is a single mom with two kids getting $412 a month, and almost half of all TANF recipients are children.
While Republicans have largely been driving this recent spate of drug testing bills, some Democrats' urge even more drug testing. As Minnesota debated a Republican-sponsored amendment for TANF drug testing requirements, a Democrat moved that the lawmakers' own salary and benefits be dependent on passing a drug test. Republican State Rep. Duane Quam said, "Bring on the cup!" The House agreed, passing the drug testing for both poor people and lawmakers by a 70-64 vote.
Unfortunately, this is the same reaction from some of the public, even a few who use marijuana themselves. "If I have to pee in a cup to get a job," goes the common refrain on comment boards, "why shouldn't someone getting welfare have to?"
It's a sad commentary on Americans' understanding of civil liberties to react to one's own oppression by demanding the oppression of others.
Listen to the Russ Belville Show at radicalruss.com.


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Point Place school cites enrollment drop, budget shortfall.
Late in his epistle to the Romans, the apostle Paul praises a woman named Phoebe as a help to many. But this woman, otherwise unmentioned in the Bible, stirs debate 2,000 years later for a term that Paul uses to describe her — "diakonos.
Interfaith dialog includes Christian, Jewish, Muslim perspectives.
Luminations raises thousands for students.
Path for lawsuits opened 3 years ago.
Hundreds of cows, bulls compete in bovine beauty pageant.
Justice ordered probate judges to refuse marriage licenses to gay couples.
She draws on personal experiences to train ministers.
Flower communion is more than exchange of blooms.
India touts booming spirituality market.


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