text:
Elías Lopés
Remembranzas y Anectodas (Remembrances and Anecdotes)
A conversation with
John Child
and Ray Rosado
Maybe he is not a household name, but trumpeter, arranger, composer, producer and bandleader Elías Lopés is an important figure in the Puerto Rican salsa and merengue industry, having been a member of the
Mario Ortiz
band and
El Gran Combo
in the 1960s, co-leader, musical director and arranger of
Roberto Roena's Apollo Sound
and leader of his own band and director of
Combo de Ayer
. He acted as a mentor to the young
Gilberto Santa Rosa
and has worked with the
Puerto Rico All Stars
Fania All Stars
CBS Jazz All Stars
MP All Stars
Puerto Rican Masters
and directed the exciting
Viva La Salsa - A Tribute To Latin Music, Live From The Tito Puente Amphitheatre In San Juan, PR
2-CD and Bonus DVD set released before Christmas 2004. A prolific arranger and session musician, Elías says that he has participated in a staggering 1,766 productions to date. Here he willingly and candidly shares memories and stories about his 48-year career with John Child and Ray Rosado:
John Child (JIC):
Is it so that you were born Elías Lopés García on February 7th 1945 in Guayama, Puerto Rico?
Elías Lopés (EL):
Tell us about your early upbringing and musical experiences.
Well, I was raised in Guayama, Puerto Rico, till I was nine years old. My family then moved to San Juan, where I had the opportunity to study at the Free School of Music of San Juan from the age of nine. First with solfeo, then at eleven years old they handed me the trumpet, which was my instrument, and well I was in the Free School of Music until I was sixteen years old. Then I enrolled in the Conservatory. There I graduated high school and continued studying and playing at the Conservatory.
What music were you exposed to as a kid?
At the Free School of Music the curriculum was one of classical music. The base is classical music. I studied the roots - the fundamentals of classical music - technique, sound.
Why were you attracted to the trumpet and who were your key influences?
The trumpet is an instrument that always filled me with passion whenever I heard its sound. But in Guayama we didn't have the same facilities or opportunities. So when I got to San Juan, my first cousin and I began attending programmes that featured César Concepción, a big band, Moncho Usera's Orchestra, another big band, and Cortijo y su Combo, a very important group of that era.
Ray Rosado (RR):
Did you play trumpet before moving to San Juan?
I began studying the trumpet at the Free School of Music of San Juan at age eleven, because you were first required to study theory, solfeo, without an instrument. "They"
would decide when you were ready to play your instrument.
We understand that you had your earliest professional experience in 1958 with Chacón y su Combo, and went on to work with the orchestras of Luis Morales, Charles Miner and Moncho Usera. Please could you share your memories of this period in your life?
I played with Luis Morales at the Esquise. The Esquise was a restaurant / nightclub in Villa Palmera. Luis Morales was the brother of Noro Morales. Charles Miner was an American from a military family stationed here in Puerto Rico. He stayed in Puerto Rico and formed a band, one that played the circuit of private parties, the Rotary Club, Lions Club, Casino de Puerto Rico, Casa España, that type of activity, for the high society community.
You got a major break when you became a member of the
Mario Ortiz
orchestra. When and how did that opportunity arise?
In 1961 I played with Moncho Usera. In 1962 is when I began playing with Mario Ortiz. Mario had heard commentary about a kid from Guayama who played the trumpet well and showed a lot of promise. He contacted me, gave me an audition at a rehearsal, and made me first trumpet.
We understand that you wrote some of your earliest arrangements for Mario's band. How did you start arranging and which arrangers influenced you?
I began by doing transcriptions from records, familiarising myself. I listened to Mario's, which were in the vanguard. Moncho Usera was also an incredible arranger. I became interested and enthusiastic and did my thing as an arranger, but without any formal knowledge, or training in harmony and orchestration.
Mario was one of my first influences. Also Moncho Usera. And I listened to arrangers from New York, like René Hernández, who arranged for Machito, Tito Rodríguez. Tito Puente and Ray Santos, both great arrangers, also influenced me.
Roberto Roena did a brief stint with Mario Ortiz after leaving Cortijo y su Combo. Were you and Roberto in Mario's band at the same time?
Yes, and it was he who later recommended me to El Gran Combo.
You played on two of Mario's albums from this period,
On The Road
(1963, Rico Vox) and
Swinging With Mario Ortiz All Star Band
(1964, Remo), which was recorded at the Mastertone Studio in New York with Willie Torres, Jimmy Sabater and Cheo Feliciano on coro. Please share your memories of these projects?
This was a project for René Moret's Remo label. We were contracted to play at New York's Palladium ballroom by Catalino Rolón. We were there for three weeks as the house band, alternating with Tito Puente, Tito Rodríguez, Machito, Ray Barretto, Eddie Palmieri and Willie Rosario. I was very much nourished by that experience, listening to these impressive bands and incredible musicians. It was then that we were contracted to record. It was a good experience, everyone playing at the same time, except the singer. I was nineteen.
Are any of your charts on
On The Road
Swinging With Mario Ortiz All Star Band
What are your memories of gigging with Mario's band?
Incredible! He was my mentor. He gave me confidence, him being one of the all-time great trumpet players. I was the first trumpeter of his band at sixteen. That was, for me, a significant accomplishment, in that Mario, who played the same instrument as me, recognized my value as a trumpet player.
What songs did Mario's band feature in their live shows at the time?
In Puerto Rico Mario was a "vanguardista," because what was played was guaracha, bolero, merengue, guaguancó, guajira and traditional son montuno. But we never played what we played in New York. In New York the style was mambo-jazz during that era, '62, '63, '64. Tito Puente, Tito Rodríguez and Machito were already doing that.
No songs from
On The Road
Swinging with
Mario Ortiz All Star Band
Yes, some. We played all that before we recorded. Because of that, we were well prepared when we went into the studio.
Around this time, you also occasionally worked with Sonora Boricua accompanying Myrta Silva on Puerto Rican TV. Tell us more?
I played on Myrta Silva's show on Channel 4 of Puerto Rican television. Myrta Silva was the leader of Sonora Boricua. The musical director of that program was Rafael Elvira, the pianist.
What is the story behind your departure from Mario Ortiz's band to replace Kito Vélez (first trumpeter and arranger) in
El Gran Combo
in 1964?
That was a big thing for me in that Kito Vélez was synonymous with "sabor." He was the arranger for Cortijo y su Combo and for El Gran Combo. And then he was an incredible trumpet player, who had a gift for improvisation and who dominated the high register. He had good ideas, and when he hit the high register he was very impressive. And looking at the challenge of stepping in for the glory that was Kito Vélez was what attracted me to make the transition from Mario Ortiz to El Gran Combo.
Kito Vélez subsequently recorded a tune called "Traidores" (Traitors; which was probably included in his mid-'60s album
Kito Vélez y sus Estrellas
on Ansonia). Would you like to comment on this?
"Traidores." That was not for me. That was dedicated to my companions in El Gran Combo. He had said to me: "I'm going to form a group and I'm doing a song called 'Traidores,' but it has nothing to do with you."
You appeared on at least 12 of Gran Combo albums for the Gema label between 1964 and 1969:
El Caballo Pelotero
El Swing del Gran Combo
El Gran Combo en Navidad
Maldito Callo
Esos Ojitos Negros
Fiesta con El Gran Combo
Boleros Románticos con El Gran Combo
Boogaloos con El Gran Combo
Tu Querias Boogaloo?
Pata Pata Jala Jala Boogaloo
Tangos Por El Gran Combo
Los Nenes Sicodelicos
. Have we omitted any or added any you don't appear on?
Although Gran Combo's leader and pianist Rafael Ithier is generally credited as the arranger, did you write any of the charts? And if so, which ones?
The first boogaloo we did, "Gran Combo's Boogaloo" (from
Boogaloos con El Gran Combo
1967, Gema), was mine but appears as composed by Pellín Rodríguez and Andy Montañez. What Pellín contributed was omitted, but they kept my coros. Andy sneaked in there, but had nothing to do with it. I also did "Shake It Baby" (also from
Boogaloos con El Gran Combo
Are you talking about composing or arranging?
I'm talking about composing.
What about the arrangements?
The arrangements are mine, though I am not credited, because Ithier always put "Arrangements and Direction: Rafael Ithier" on the back cover.
I was always under the impression that you did the arrangements.
I did some arrangements, not all. The majority were Ithier's. Before I joined the group, Kito Vélez did the arrangements. Once I joined the group, Ithier began doing the arrangements. But the first two boogaloos were mine, because Ithier didn't want to play boogaloos.
That was something the record companies insisted on?
To reach a wider audience?
At the Palladium in New York we alternated with Pete Rodríguez, with whom Tony Pabón sang a song called "I Like It Like That." I noticed that whenever he or Ricardo Ray performed, there were a lot of young people present who followed these groups. I said to the guys: "Notice that when Pete Rodríguez is here the crowd is different from when Machito, Puente or Rodríguez is here. We should go that way." But Ithier refused. Machito didn't want to go that way either.
You were a member of Gran Combo during the heady days when Pellín Rodríguez and Andy Montañez were the lead singers and sidemen included Eddie Pérez and Héctor Santos on saxes, conguero Martin Quiñones and bongo player / dancer Roberto Roena. Please could you share some anecdotes about your stint with the band?
There are thousands of anecdotes. In this group we were always laughing because there were many personalities. Martin Quiñones was a natural comic who had us laughing from the moment we got on the bus till we arrived at our destination. Pellín Rodríguez was another character who had us dying of laughter. It was a lot of fun.
Eddie Pérez's distinctive falsetto coro was a trademark of Cortijo y su Combo and of early Gran Combo. However, on
El Swing del Gran Combo
(1966, Gema), the falsetto coro on half the songs is obviously done by someone else. Who was the other falsetto and why was he used?
Eddie Pérez was ill. Charlie Vásquez, the lead voice of the quartet Los Hispanos, did the falsetto in Eddie's place. Let me expand on this. That gentleman was something special because he was really a baritone. Most singers of note are tenors, Placido Domingo, Pavarotti, etc. His register was up to a D or E-flat on the scale. From that point on his voice was falsetto. His falsetto was so impressive people would go crazy. And you could not tell when he made the transition from his natural voice to the falsetto. There was never anything like it.
You co-wrote the jala-jala "La Jarana" with Roberto Roena on
El Swing del Gran Combo
, which suggests that you and Roberto were close at that stage, because in the mid-'60s you worked with him on
Se Pone Bueno / It Gets Better
(1966, Alegre), his first album as a leader. The personnel included Azuquita on lead vocals, the recently deceased reeds player Jesús Caunedo, Mario Ortiz on trumpet and Pellín and Andy in the coro. Tell us about this project and how it came about?
That's right! That's my arrangement ("La Jarana"). On
Se Pone Bueno
we were called Los Megatones. There I did two arrangements. I did "Take Five", a mambo-jazz by
Dave Brubeck.
Dave Brubeck, right.
Actually, Paul Desmond wrote the tune.
Right, Paul Desmond. I also arranged a Beny Moré tune called "Maracaibo Oriental".
Why didn't Roberto continue with the band at that stage?
We were part of El Gran Combo. Notice that the coro singers appear as Pedro Rodríguez and Andres Montañez (Pellín and Andy). That brought us a lot of problems with Gema Records. We were sued and reprimanded. And it died there.
In 1969 you and Roberto left Gran Combo to form his groundbreaking band
Apollo Sound
, for whom you were the musical director and arranger. Why did you make your move then?
September 1969. I was musical director and first trumpet for El Gran Combo, which was also Kito Vélez's role. With Apollo Sound I was more like co-leader as well as musical director and arranger. I put together a revue that we performed every night for three months at what today is the Condado Plaza Hotel. At that time it was called the Ponce De León Hotel. Midway through the performance we would do a show where Roberto would dance along with his late brother Cúqui, Licélia and also his uncle, the late Aníbal Vázquez.
What was the concept behind Apollo Sound?
Aggressive, modern salsa, very modern. It revolutionised salsa in Puerto Rico.
You played on the first four Roberto Roena y su Apollo Sound albums between 1969 and 1972 on Fania International and International Records. Did you arrange all the tracks on these albums, and if not, which notable songs did you arrange?
The great majority. For example, on the first album I did seven out of ten.
Which ones did you not arrange?
"Consolación," which Ray Santos did and two that Bobby Valentín did, "El Sordo" and "El Barrio Sin Guapo." I arranged "Tú Loco Loco, Y Yo Tranquilo," "El Escapulario," "Soñando Con Puerto Rico," the big hits from this album.
What are your memories of working with the early Apollo Sound and what songs did the band feature in their live shows during that period?
I have great memories of Apollo Sound same as El Gran Combo. They helped with my development, especially Apollo, as an arranger, and as a creator of a new non-traditional sound. Before, the trombone was not used. The trombone was an instrument, like, for municipal bands. By the '70s it was popularised by Willie Colón, but in the '60s all the groups used trumpets and saxes.
I remember looking forward to El Gran Combo's New York appearances every Easter, Labor Day and Thanksgiving. Every Easter Eve, they were at the Riverside Plaza Hotel. On Easter 1970, instead of El Gran Combo at the Riverside, it was Apollo. The place was packed. Subsequently, in the song "Te Lo Voy a Jurar" (from
Roberto Roena y su Apollo Sound 2
, '70 on Fania International), Piro Montilla exclaims in one of his soneos: "You can ask at the Riverside, back in March I packed them in, how I triumphed." Was there a rivalry?
No, we weren't rivals. What happened, though, was that after we left El Gran Combo, Ithier added a clause in his contract that El Gran Combo would not share a bill with Apollo. But that was just a question of business. And as long as I was with the group we never played alongside El Gran Combo.
Band members included Ray Coen and trumpeter Mario Cora. Tell us about these guys?
Ray Coen was a pianist who played the hotel circuit here. He also played piano for Tito Puente in the '50s.
And for Arsenio.
Exactly! He was a very modern pianist. Mario Cora was a veteran, very musical. He also sang. He did great coro, a very valuable asset to the band. He took over as musical director after I left.
Although you continued to write charts for Apollo Sound albums, you left the band after 1972's
Roberto Roena y su Apollo Sound 4
(International). Why did you decide to leave an apparently happening band like Apollo Sound and join the hotel orchestra of Quique Talavera featuring Ray Coen?
A few of us left Apollo. Talavera was the drummer for Apollo. Also leaving the band at that time was Vitito Rivera, the bassist, and Ray Coen and myself. We had a steady six-month gig at the Hotel Conquistador in Fajardo.
In 1976 you played on the
Puerto Rico All Stars'
self titled first album on PRAS and their second album
Los Profesionales
(Fama, 1977), on which you arranged the track "No Volvere" sung by Luigui Texidor. Tell us about your experience of working with the Puerto Rico All Stars.
I was musical director for that. Incredible! All the major stars, like the Fania All Stars of Puerto Rico. Believe me, it was an incredible sensation playing with so many excellent musicians. Directing all these people was beautiful. And not to mention the singers: Andy Montañez, Luigi Texidor and Marvin Santiago. On the second album we had Lalo Rodríguez, Paquito Guzmán, Yayo El Indio.
Ralph Mercado and Ray Avilés took us to Madison Square Garden and put us on the same bill with the Fania All Stars. The place was filled, filled, filled. Pacheco and Masucci came to see us. The idea was for us to open and after the Fania All Stars performed we would do a mano-a-mano with them. But after Masucci and Pacheco heard us, they called it off.
The thing is that in the beginning the Fania All Stars would just do coros and montunos where the singers would improvise. But there were no arrangements. The Puerto Rico All Stars had arrangements, including the one I did for the theme "Introduction Puerto Rico All Stars" (from
Puerto Rico All Stars
'76 on PRAS), which became the arrangement of the year.
Jorge Millet
, whose work is largely overlooked these days, also wrote charts for the Puerto Rico All Stars. Can you tell us something about his life, career and passing?
Jorge Millet was a self-taught musician who never had any formal training in any school, as was Juancito Torres. No formal training whatsoever. He just picked up the trumpet and began to blow. Institutions sought after Jorge Millet for transcriptions. He had access to many texts, and this is how he taught himself. His musical calligraphy was very beautiful. Many times he would not voice all the instruments, like first trumpet, second trumpet, in an arrangement. He would do sketches, and he would know what to do with that. But he was very talented and had incredible ideas. He would write incredibly difficult stuff. One had to be a virtuoso to play those arrangements when he "squeezed the pen." I would say to him after playing some of his charts: "Sorry, but no one is going to be able to play this." One time I could not make a concert and he could not find a replacement. He would "squeeze the pen" a lot. But they were very good ideas.
Define "squeeze the pen"?
Squeeze the pen. Rather than writing simple lines he would write extremely difficult passages, technically speaking. It was a challenge for us. When I, or Juancito, or Mario Ortiz wasn't there, those charts could not be played. They were for first-rate musicians.
His death was lamentable. He died too young. He still had a lot of work to do. Sadly, he died during his best moments.
It is on record that
Gilberto Santa Rosa
met you while making his recording debut with the Mario Ortiz band on the album
Borinquen Flame
(1977, Borinquen). Tell us about
Borinquen Flame
and your early impressions of the young Gilberto?
Yes, that's where we met. He was only fourteen or fifteen years old. That was a project Mario did that was out of the norm. Instead of the usual trumpets and saxes, he used trumpets and trombones. I did two or three arrangements there, one called "Bugles Holiday" by Leroy Anderson, a bolero and, I think, a plena or something.
Gilberto went on to make his first trip to New York to record
We Love N.Y.
(1978, Solo) with José Canales' Orquesta La Grande, for whom you were the musical director, trumpeter and arranger. Jorge Millet also wrote a couple of charts for
We Love N.Y.
Tell us more?
That's when Gilberto's father and I became close. He would accompany Gilberto to all activities.
All activities
: rehearsals, dances, all the gigs. He grew to trust me. Just before the trip to New York he approached me and confided that he could not make the trip. He asked me to watch over Gilberto for him, to look out for him, protect him, share the same hotel room, etc. He said he trusted me and put Gilberto in my charge. That's a responsibility beyond the call of duty. But Gilberto had the blessing of being disciplined, obedient, super-intelligent and talented, so much so he would learn everything that was asked of him. Gilberto was slated to sing one song. The principal singer, someone called Héctor "Tito Bey" Rivera, was to do the bulk of the tunes, and Edgar Zalduondo was to sing a bolero.
The first thing I did was replace the leader, a guitarist, who I felt was not prepared, and replaced him with a guitarist from Fania can't remember his name.
Charlie Rodríguez?
No, not Charlie. This guy was Italian.
Oh! Harry Vigiano!
That's the one. Harry Vigiano. I explained to José Canales, in front of Ralphy Cartagena, the producer, that it would be in everyone's best interest to use someone who could really play those charts. So Harry did the session. I brought Gilberto with me to every session. He would sing the songs as a reference for the rest of the band to follow. The principal singer was always promenading on Broadway, watching movies, and was never present. When Ralph Cartagena hears Gilberto he decides right there and then: "You're going to do the session." The principal singer balked, reminding everyone that he was the composer, and all that. But Ralphy Cartagena was adamant. Gilberto did most of the session and the legend of Gilberto Santa Rosa was born.
Gilberto Santa Rosa is one of my favourite singers of all time. His intelligence is evident in his selection of material and in his soneos, and everything you said about his character and discipline is evident in his demeanor. He
is "El Caballero de la Salsa" (The Gentleman of Salsa). That is not an act.
No, it's not. The sobriquet is well put. He is super-intelligent. He'll sing anything you ask him to. One time I had a series of gigs with my band and I gave him a list of twenty-eight songs. I said to him: "Learn what you can, and at the gig we'll play the songs you know." When we got to the gig, I asked: "Which songs do you know?" He replied: "All of them." In two weeks he learned twenty-eight songs!
You wrote the chart for the title track of
El Progreso
(1978, International), Roberto Roena's first album with the regrouped Apollo Sound after trombonist and arranger Julio "Gunda" Merced took six members with him into his new band Salsa Fever. Can you give us some insight into this phase in the history of Roena's career?
"El Progreso." That was the first time that a string section was used in salsa.
I thought "Periodico de Ayer" (from Héctor Lavoe's
De Ti Depende / It's Up To You
'76 on Fania; composed by Tite Curet Alonso and arranged by Willie Colón).
No, no. This was years before. But I wasn't in Roberto's band during the time Gunda was there so I really have no insight into that phase.
On March 3rd 1979 you performed with the Fania All Stars at an historic concert recorded at Havana's Karl Marx Theatre. Material from this event was issued on
Habana Jam
(1979, Fania) and one track was included on the various artists double album
Havana Jam
(1979) on Columbia. Please share your memories of this important trip to Cuba?
That was a good experience, and I'll tell you why. Jerry Masucci approached me here in Puerto Rico. He said I had a large fan base in Cuba and musicians there were familiar with my trajectory. We rehearsed in New York where we were approached by an official of Columbia Records who informed us that as part of the CBS Jazz All Stars they had recruited Maynard Ferguson, who recently passed away, may he rest in peace, and Freddie Hubbard. There were clauses imposed, restrictions and guidelines on dressing, drug use, etc. Because of these clauses Maynard Ferguson and Freddie Hubbard chose not to go. I was then invited to play first trumpet for the CBS Jazz All Stars at the recommendation of Sal Cuevas. It was an incredible experience playing with that plethora of American musicians, the true stars: Dexter Gordon, Willie Bobo, John McLaughlin, Jaco Pastorius, Billy Joel, Kris Kristoferson and his wife Rita Coolidge.
Luigi Texidor was a member of the Fania All Stars for the 1979 Cuba visit, and the same year you arranged material for his solo debut album
El Negrito del Sabor
on Nuestra Records. Do you have any remarks about this recording?
With the Fania All Stars, we did a version of "Naci Moreno," not the Bobby Valentín version, but the Ponceña version, arranged by Papo Lucca. For
El Negrito del Sabor
I arranged "Reina Negra," "Adios Don Gabino" by Felix Castrillon, a few tunes.
In 1979 you and Gilberto Santa Rosa participated in the album
Borinquen All Stars
(1979, Borinquen). Please could you share your recollections of this project and the musicians involved?
That was a project for Dario González of Borinquen Records. The vocalists were Gilberto Santa Rosa and Kenny Cruz. Kenny Cruz, after singing with my group, sang with La Mulenze. That was a really cool album of Cuban music. It was called
Comparsas y Congas Carnavalesca
. There all the arrangements are mine.
You worked with Papo Lucca and Sonora Ponceña on two albums, co-directing
La Ceiba
with Celia Cruz (1979, Vaya) and co-arranging
New Heights
(1980, Inca). Tell us about these projects?
Yes, yes, yes. That was a very interesting project. Actually, the arrangements I did were not used. I did three arrangements of Tite Curet Alonso tunes. But later, in the selection of material, Masucci used others done by Papo. Regardless, I directed the horn section, and the basic tracks of everyone there. In
New Heights
, I don't remember what I did. The Dizzy Gillespie tune, "Night In Tunisia," that's mine. I did that arrangement.
According to Leni Prieto you have the best society band in Puerto Rico, possibly in the Caribbean, with over 1,000 charts. Tell us (He interrupts)
Not over 1,000. Three thousand, seven hundred and ten!
Three thousand, seven hundred and ten?!!! Coño!!!
Whatever song you want, I have.
Tell us about the formation and debut of your orchestra in 1979?
The orchestra was born November 1, 1979 on
El Show de las 12
on Channel 2, where I made my debut. I never had any luck getting my records played on the radio, for whatever reason, but the orchestra worked a lot because it had a lot of quality. Then, enter an ex-vocalist of Willie Rosario named Junior Toledo, the best orchestra singer ever. He had great experience because before singing with Willie Rosario he did five years in the hotel circuit with César Concepción. He knew pasodobles, boleros, how to do second voice, plenas, the style of plena that César did, which was different from Cortijo's. Not the usual Tun-Tun Pin Tun-Tun Pin Tun, but instead Tun-Tun Tun-Ka Ta Ka Tun Tun.
Like Cortijo's "Calypso, Bomba y Plena" (included in
Invites You To Dance / Los Invita A Bailar
'58 on Seeco)?
Exactly! He was familiar with all those plenas, that style, and in private activities he was a titan. I would play an opening tune and then take requests, as with a menu. When we finished the gig, because I complied with all requests, ten gigs would appear.
From every gig I would receive many more, thanks to our ability to please any taste. If we did a wedding I would ask for requests in advance. I would ask if they preferred a danza or a waltz, because many people here do not want to hear a waltz. I have 37 danzas. I play to please everyone! That's my business.
Who are some of the musicians who have worked with you over the years?
Luis "Perico" Ortiz works with me and he is a glory. I also have a conguero who does most of the sessions here, William Thompson. He is marvelous, and he reads music. My son, Elías, plays timbales, congas, bongos, and does coro. Jorge Díaz, trombonist, who also does most of the sessions here plays with me. Just about every musician of note on the island has played with my band.
You have made a number of albums with your orchestra, including
El Más Delicioso Manjar
(1979; singers: Kenny Cruz and Elvira Franco),
Homenaje A Los Soneros
(1981; singers: Junior Toledo, Pole Ortiz and Lefty Pérez),
Elías Lopés & Co.
(1982; singer: Lefty Pérez),
Bailable & Variado
(1983; singers: Junior Toledo and Rafael "Pole" Ortiz) and three volumes of
Trompeta con Trovadores
(1986-89). Please could you highlight some of these productions for comment?
Trompeta con Trovadores
I have a few more, six or seven altogether. The greatest satisfaction for me is the Trompeta con Trovadores project, which completed twenty years in March of 2006.
Homenaje A Los Soneros
you recorded two wonderful versions of hits by Cuba's Son 14, "Son Para Un Sonero" and "Si Yo Siempre He Sido Son," from their 1981 album
Son Como Son
on Egrem. Please could you give us the background into your decision to cover this material?
I have a Panamanian friend named Rubén García, a collector, who had access to all that Cuban music and he would always send me a cassette from a Panama label called Cubaneria. So I begin listening to all these Son 14 tunes by Adalberto Alvarez. The thing is, I had the opportunity to record these tunes, and since I did a lot of television, the tunes would hit, but not because the radio played them, because they never did. "Son Para Un Sonero" is a Mario Ortiz arrangement. The other, "Si Yo Siempre He Sido Son," that is my arrangement, where I take a pretty interesting solo on the bridge. Later on, I had an encounter with a band from Cuba here in Puerto Rico, I can't remember the name, and someone tells me: "Such and such producer wants to meet you, because you did two of his band's numbers." Maybe it was Adalberto Alvarez?
Tell us more about your Trompeta con Trovadores concept and the shows you have performed with this theme?
That was a concept that occurred to me on a program I used to do that was called
La Feria del Canal 7
(The Channel 7 Fair) hosted by Edgardo Huerta and Maria Falcón. The thing is, we would go through all the towns on the island, with my band as the base. We would play orchestral numbers, accompany different artists, and within the concept of the programme there was a section of traditional music, "música campesina" (country or mountain music)," música jibara". There the immortal cuatro player, Maso Rivera, did the accompaniment. He had three other musicians, a güiro, a bongo and a guitarist. I began to notice that as the program progressed there wasn't too much attention being paid to this, because it was the same timbre, that of the cuatro, which was the lead voice, and after accompanying an artist it would go back to that same timbre. I said, "Wait a minute. If we interject the different colors of the orchestra: the trumpet, the flugelhorn, trombone, sax and flute, then it will give it a richness that will be more interesting to the public." One of my vocalists, Rafael "Pole" Ortiz, from Naranjito, was a great troubadour and was friends with all the troubadours in the area. His brother was a troubadour. Well, at a Christmas party at his home he had invited all these troubadour friends of his. It was phenomenal. I thought: this is great. What's needed here is to unite the best of these, a guy from Caguas named Luis Miranda, known as El Pico de Oro (pico meaning one with the gift of the gab, hence, the golden gabber?), and the ones from Naranjito, Félix Morales and Mariano Cotto. That was the trio of singers that was used in Trompetas con Trovadores. When that was broadcast on a program called
Sabado En Grande
on WAPA television it caused such an impact, that at our following gig, which was the debut of the live presentation of Trompetas con Trovadores at the Xanadu Club in Naranjito, the place was packed. So packed, that over 1,000 people were left outside and could not get in. We ended up having to coordinate these activities ourselves. It was such that at the Fiesta Patronales, the plazas would be filled. That was 1986. The first record was done in March of 1986. By 1989 and 1990 during one of those Christmas seasons, my band performed at eighty-two gigs, four and five gigs a day. We lived in our cars. In March of this year we completed twenty years.
What is the story behind the El Gran Combo reunion band El Combo Del Ayer that you directed and with whom you made the albums
El Combo Del Ayer
(1982, Top Ten Hits) and
Aquel Gran Encuentro
(1983, Combo Ayer) featuring Roberto Roena, Pellín Rodríguez, Martín Quiñones, Milton Correa, Héctor Santos and Victor Pérez?
That was the brainchild of Johnny El Bravo. He called Roberto Roena, Andy and myself and invited us to lunch. He explained that in one week the distributors at the Parada 15 (Santurce) had sold over 14,000 copies of the hits of El Gran Combo (
Historia Musical de El Gran Combo de Puerto Rico: 20 Años - 20 Exitos
'82 on Combo). Since Andy and Pellín were the original vocalists in all that material, he presented the idea, but without Pellín. I insisted. I said: "We need Pellín as he was a fundamental part of this." When this began taking shape I began selecting the material and doing the transcriptions from the records so it would sound exactly the same. And it was so successful that we spent two years travelling and working a lot. Many times we played at gigs alongside my band, or Roberto's band, or Andy's band. But it was a hit and brought us a lot of work. And that's how it was for two years until 1984, when, while returning from a trip to Venezuela, Pellín Rodríguez suffered a heart attack. When he died we all decided there was no reason to continue.
El Combo Del Ayer made another album with Pellín on lead vocals that was reissued on Disco Hit featuring the songs "Verdadero Aniversario," "Combo Del Ayer" and "Siempre Estuvimos Aquí." Can you shed some light on this recording?
Many of those tunes were Kito Vélez's. And "Verdadero Aniversario" is by Tite Curet Alonso if I'm not mistaken. Tite began providing material.
Luigi Texidor joined El Combo Del Ayer on
Aquel Gran Encuentro
and Gilberto Santa Rosa sang in the coro. It seemed odd that Luigi would join a El Gran Combo reunion band. Would you like to comment?
Andy Montanez began to travel a lot with his band and was unavailable so Johnny El Bravo recruited Luigi.
Some members of El Combo Del Ayer continued as El Combo De Siempre with Héctor Santos as musical director and recorded the album
El Combo De Siempre
(1985, PDC). Can you tell us anything about this band and how they fared?
Nothing happened. Absolutely nothing. As if they never existed.
Tell us about the Grupo ABC albums
La Historia Se Repite Con Jesús Cepeda y su Grupo ABC
(Up Records, 1988), which you directed and played first trumpet, and
Amor de Mascarada
(1989, RMM), on which you played trumpet and were credited as a coordinator?
That was Jesús Cepeda's idea. He had me transcribe Cortijo y su Combo's biggest hits. That's it. And it went well. It was well liked.
You have worked prolifically in the Puerto Rican recording industry, arranging for Sammy González, Andy Montañez, Conjunto Chaney, Willie González, Mickey Cora and others, and sessioning on albums by Mickey Cora, Bobby Valentín, Pedro Conga, Willie Rosario, La Salsa Mayor, Roberto Angleró, La Terrifica, Conjunto Chaney, Tito Nieves, Tito Allen, Primi Cruz, Luisito Carrion, Tito Rojas, Maelo Ruiz, Puerto Rican Power, Tito Gómez, Valentín Valdés, Pedro Jesús, Los Hijos De Los Celebres, Choco Orta, Nino Segarra and Isidro Infante, among others. Phew!! From the early '90s, much of this session work was for Tony Moreno's Musical Productions label. We would be interested in hearing about your experience of the developments and changes in the Puerto Rican recording industry over the last five decades?
What's not evident here is that between 1964 and 1990 I did all the merengue sessions that were recorded here in Puerto Rico. I did all the albums recorded by Conjunto Quisqueya, all the albums recorded by Josie Estebans' Patrulla 15, Toño Rosario, etc. I played trumpet on all those albums. I began playing in 1958. In 1963, five years after, I began recording. To date, I have participated in 1,766 productions. Everyday since 1973 I would be in some studio at 10:00am. When Tony Moreno's people arrived, Musical Productions, they had 18 artists. There was Tito Rojas, Willie Rosario, La Mulenze, Puerto Rican Power, etc. I participated in all those recordings. It was all very fruitful, very fruitful until about five years ago. It has all declined because of pirating and the like. And now with reggaetón we are, as they say, "comiendonos un cable" (suffering economically).
It pains me to say this, but New York is dead.
Puerto Rico too! The last remaining nightclub, the San Juan Chateau, is no longer there. It's now a laundry.
Makes you want to cry.
It does make you want to cry. My God, where will we end up?
How did you react to the soft, solo singer dominated salsa romántica trend that emerged in the mid-'80s compared to what had gone before?
I felt we were being displaced by music without swing, without rhythmic energy, much of it by pretty faces, and lacking that vital force necessary to make people dance. It was also an era that hit hard. It was well liked by the general public, but most musicians and the dancing public did not like it.
You have arranged for bands with varying instrumentations. Do you have any preferences?
Yes. I prefer instrumentations that include all three: trumpets, trombones and saxophones.
In 1992 you guested on Gilberto Santa Rosa's
A Dos Tiempos De Un Tiempo
(Sony), a tribute to his idol Tito Rodríguez to coincide with the 20th anniversary of the death of the great sonero / bandleader. Six years later you guested on his
Salsa Sinfónica: En Vivo Teatro Teresa Carreño Caracas
(Sony, 1998). What are your memories of these projects?
The first one was an incredible thing because I was reliving all those hits I listened to when playing at the Palladium with El Gran Combo and we alternated with Tito Rodríguez. Then when we did the recording we had Victor Paz playing with us as lead trumpet. For me, it was a re-encounter of friends with the legend that is Victor Paz. It was truly fun doing that album.
In 1994 you reunited with Apollo Sound for their first outing for Musical Productions,
El Pueblo Pide Que Toque
, followed by the wonderful double CD live set
En Vivo Desde Bellas Artes
(1995; issued on
in 2003),
Mi Música 1997
(1997) and
Los Hijos De Los Celebres
(1998). What would you like to share about these productions?
Very good. It really caused a sensation, the album
El Pueblo Pide Que Toque
as well as the one from Bellas Artes. It was "un palo"! (a hit, knockout). It really was. Los Hijos De Los Celebres didn't have much of an impact, but it was a job well done of hits of Ismael Rivera, Andy Montañez and Pellín Rodríguez.
In 1997 you performed in Cuba at the Varadero Amphitheatre and Tropicana in Havana with Cheo Felicano's orchestra, which resulted in the album
Cheo Feliciano En Cuba
(CDT Records, 1998; reissued as
Cheo Feliciano Live At The Tropicana, Cuba
on Sony Discos / AJ Records). What are your reminiscences of this venture?
That was a musical banquet. Notice, I had already been to Cuba with
Havana Jam
in 1979. Eighteen years later this was the fulfillment of a dream for Cheo. The public response was incredible. The Varadero was filled, filled, filled. It was sensational!
Cheo is very much loved in Cuba.
Yes! Yes! They wouldn't leave us alone, people calling us, petitioning and asking for autographs like we were major stars.
Over the last 14 Years you have performed on a number of all-star live recordings, including
MP All Stars
(Musical Productions, 1992), Ray Barretto's
Live 50th Anniversary In Puerto Rico
(AJ Records / Sony, 2001), Ismael Miranda's
Live From San Juan Puerto Rico
(Universal, 2001) and the Puerto Rican Masters'
Los Maestros De La Salsa Presents La Historia De La Salsa, En Vivo San Juan Puerto Rico
(AJ Records / Envidia, 2003) and
Tributo Al Sonero Del Pueblo: Marvin Santiago
(AJ Records / Universal, 2005). Please could you highlight some of these recordings for comment, which represent a return to the harder, swinging style of salsa?
Really, all of those recordings were No. 1 whether they sold or not. But the truth is they were well done. The MP All Stars one was very good, although not much happened there. But the Ray Barretto one was filled. The Ismael Miranda one also. They were all good. In the
Tributo Al Sonero
, all those arrangements are mine, transcriptions of major salsa dura hits. There we had Oscar D'Leon, Andy Montañez, Luisito Carrion
Tell us about the exiting
Viva La Salsa - A Tribute To Latin Music, Live From The Tito Puente Amphitheatre In San Juan, PR: 2-CDs & Bonus DVD
(Universal, 2004), a mega salsa concert held at Puerto Rico's Tito Puente Amphitheatre in December 2003 which you directed, featuring an all-star cast including the singers Adalberto Santiago, Tito Allen, Luigi Texidor, Papo Sánchez and Sammy González, Wichy Camacho, Primi Cruz and Darvel Garcia?
That was a job well done also, doing the hits of all those people. The attendance wasn't good because that week we had a lot of rain and on that day what we got was a violent thunder and rainstorm - "un temporal." We made the best of it and it was well received and applauded.
Would you like to tell us what projects you have been working on recently and what you have in the pipeline?
We're planning a few things, non-salsa. For example, one is a project with these same singers and a few new ones, an album of boleros, which should be very interesting, and a few other salsa dura projects.
Is there anything else that you would like to add that we have not talked about?
No, I think we've talked enough (laughs).
What title would you choose for this interview?
Ay! (after some thought) Remembranzas y Anecdotas (Remembrances and Anecdotes.)
More or less, right?!
Ramón "Ray" Rosado
, arranger, composer, percussionist, coro singer and pianist, is a longtime collaborator of Wayne Gorbea and leads his own band,
, co-founded in 2001 with timbalero Victor Maldonado. Six years later, after failing to secure a recording deal and going through no less than four vocalists and one or two personnel changes, Maña is about to launch its debut CD titled
POR FIN... Maña
scheduled for release February, 2007. Maña is:
Ramón "Ray" Rosado
Leader, Piano, Composer / Arranger
Victor M. Maldonado
Co-leader / Timbales
Carmelo Berrios
Marcos González
Willie Andino
Christian Kollar
Fernando Fernández
Lead Vocal
Invited Artists on the CD:
Tomer Levy
Carl Corwin
Tenor Sax
Pete Nater
(3 tracks)
Carlos Orduz
Tenor Sax
(2 tracks)
Carmelo Rivera
Tenor Sax
(1 track)
Vocal (duo)
(3 tracks)
Luis A. Cruz
Fernando Fernández
Ada Chabrier
Nodál Hernádez
Alex Casanova
Jorge Maldonado
Ada Chabrier
Fernando Fernández
Cathy López
Frank Otero
Victor Maldonado
Ramón Rosado
Ramón Rosado
(8 tracks)
Louie Cruz
(2 tracks)
Héctor Rivera
(1 track)
More on Maña to coincide with the release of the CD.
Many thanks to Leni Prieto for introducing us to Elías Lopés
Check out this related piece in The Descarga Journal Archives:
Leni Prieto: The Man Who Gets The Weird Songs
A conversation with John Child
October 05, 2005
Leni Prieto, a.k.a. José A. Prieto, is maybe not the most immediately recognisable name in salsa, but this accomplished pianist, arranger and composer has been an integral part of the Puerto Rican salsa industry for over three decades, recording with star names like Roberto Angleró, Marvin Santiago, Roberto Roena, Rafael Cortijo, Frankie Ruiz, Andy Montañez, El Gran Combo, Gilberto Santa Rosa, Ismael Miranda, Cheo Feliciano, and many more. At the time of this conversation with John Child, Leni's composition "Asi Gordito Me Quieren" sung by Tito Nieves and Pedro Brull for Pedro's solo debut
on Caminaldo Discos was enjoying considerable airplay. His eloquent and comprehensive account gives an invaluable insight into an important period in the history of Puerto Rican salsa...
© Descarga.com
John Child
. John Child produces and selects the contents of the totallyradio show
. He is an editor and journalist for the
Latin music website, and a contributor to the
MusicWeb Encyclopedia of Popular Music
and Penguin and Guinness Encyclopedias of Popular Music, and has prepared compilations for the Union Square and Nascente labels.
] [
Editor's Picks
] [
Power Search
] [
Category Search
Artist Search
] [
Journal Archives
] [
Meet The Writers
] [
About Descarga
© Copyright 2015, Descarga.com. All rights reserved.
Use of any editorial content and/or images originating from this website
is strictly prohibited without the expressed permission of Descarga.com


text:
Gene Keady saw the signs of a future coach when Cuonzo Martin played for him at Purdue in the 1990s.
The Hall of Fame coach marveled at how Martin took care of halftime adjustments before Keady and his staff got to the locker room.
"I've coached 55 years, and that's the only time anybody did that," Keady said Tuesday after his protege was named Cal's new coach.
Keady and others who have known Martin over the years were effusive in their praise of the man who will replace Mike Montgomery in Berkeley.
Martin, 42, left Tennessee after three years, culminating with leading the Volunteers to the Sweet 16 last month despite fans calling for his ouster earlier in the season.
Martin, who also coached three seasons at Missouri State, lacks the experience of his predecessor but not the intensity. According to those who know him best, Martin is a no-frills, no-fuss coach who gets players to dig deep and give everything they have.
"His players play hard for him because they believe in him," said Kyle Moats, Missouri State athletic director.
"He played with compassion, shares the ball," Keady recalled. "It's about the team, not about him. It's the way we coached at Purdue."
It's the way Martin has carried on the legacy as one of 11 college coaches who either played for Keady or were on his staff.
But Keady, who now helps former protege Steve Lavin at St. John's, won't take much credit for Martin. He recalled how Martin missed all seven 3-pointers during his first two seasons with the Boilermakers before becoming the school's all-time leader by making 179 long-distance shots in his junior and senior seasons.
Martin also made a school-record eight 3-pointers against Kansas in a Sweet 16 game in 1994.
"He knew how precious hard work was," Keady said.
Martin came to Purdue out of a rough neighborhood in East St. Louis, Ill. But Keady said Martin's mother had instilled a strong work ethic in her son.
Martin helped Purdue win two consecutive Big Ten titles before the Atlanta Hawks picked him in the second round of the 1995 draft.
He played professionally for four years, with NBA stops in Vancouver and Milwaukee before going to play in Italy.
Shortly after returning from Italy, Martin learned he had a tumor between his heart and lungs. Physicians diagnosed his condition as non-Hodgkin's lymphoma, a life-threatening blood cancer.
Martin was 26.
The way Martin handled the situation didn't surprise his friends: he stayed positive through a year of treatment.
He has been in remission from the lymphoma since 1998.
"Every day if I don't think about it, then it's a good day for me," Martin once said. "It pops up when I hear about it, read about it. But for me, I take one day at a time. But I don't think it made me a better person. I think it made me understand what's more important."
After the health scare, Martin wasn't sure of his next move. Keady stepped in again. He promised the former player an assistant coaching job if Martin got a degree.
Martin completed his degree in restaurant, hotel, institutional and tourism management in 2000.
He coached under Keady for the next eight years. Also on the staff was former teammate Matt Painter, now Purdue's coach.
"He is an old-school coach who likes to teach and develop players," Painter said Tuesday. "Cuonzo Martin will bring a blue-collar approach that will lead to the continuance of great tradition they have had for many years."
Martin led Missouri State to the postseason in two of his three years there, starting in the 2009-10 season. Then he arrived in Knoxville in 2011 to restore the Vols' program after former coach Bruce Pearl was fired and hit with NCAA sanctions for rules violations.
It seemed the fanbase lost its patience early this season when Tennessee was 7-7 in the Southeastern Conference. Some 36,000 fans signed a petition requesting a coaching change. But the Volunteers ended up being one of the surprise teams of the NCAA Tournament by reaching the Sweet 16.
Although the school announced two weeks ago it was renegotiating Martin's contract, the coach abruptly left Tuesday. The move caught the Vols' athletic community off guard.
Tennessee athletic director Dave Hart said he didn't know Martin was involved in the Cal job until they spoke Tuesday morning.
"We did have a conversation," Hart said in a news conference. He was very emotional. The bottom line is he said in his heart he believed this was best for (him) and his family."
While he is demanding, Martin also emphasizes the players' growth off the court.
"It leaves you really no choice but to play hard for him," said Keith Pickens, a Missouri State senior who will launch his coaching career next season.
"He'll give it to you straight. He just wants you to get better."
For more on Cal sports, see the Bear Talk blog at ibabuzz.com/beartalk.

subset: commoncrawl


text:
Institute for Social Science Research
The Institute for Social Science Research (ISSR) facilitates social science research and methods across the University of Massachusetts Amherst. By taking guidance from our research faculty's interests and supporting their efforts, the Institute draws its dynamic strengths and directions from the evolving enterprise of contemporary social research.
ISSR supports the research mission of social science on campus by offering:
- grant management
- qualitative and quantitative research training opportunities
- grant mentoring programs
- workshops and speakers
- methods and data analysis/programming consulting services
- support for interdisciplinary research teams


text:
New Students
Your To-Do List (Fall 2014)
Now that you've been admitted to Evergreen, you're probably busy with financial aid forms, housing applications and scholarship announcements. We know this can be a hectic time and we hope the following checklist helps you stay organized.
|Contact Academic Advising
|As soon as you are admitted
|Activate your my.evergreen.edu account
|As soon as you are admitted
|Apply for Scholarships
|Due February 1, 2014
|Complete the Financial Aid Application (FAFSA)
|Due March 1, 2014
|Attend the Admitted Student Open House
|April 5, 2014
|Pay your $50 Tuition Deposit
|Due May 1, 2014
|Register for a program
|Starting May 2014
|Select your Campus Housing space
|April 2–July 14, 2014
|Attend New Student Orientation
|September 20–27, 2014
If you have questions, please email Admissions or call (360) 867-6170.
We look forward to welcoming you to Evergreen.


text:
This special appeared on ESPN last season, but I saw it available now online, so I figured it's worth adding to our Video Vault. Parts 2-4 and deleted footage after the jump.
15 Responses so far.
SenneyKuel says:
Could have been the Blake Griffin of his era.(in terms of rookie impact and overall game) Head ducked down to miss the rim!! One of the saddest and most meaningful sports stories in the world. I feel privileged to view this.
Stephen Bailey says:
The whole series is so well done. The filmmakers really dig into the story and find every last piece of info they can. Sad story obviously, but the film does it justice.
I gotta bookmark this internet site it seems invaluable invaluable
My page :: aimbot cod4
Appreciating the hard work you put into your
site and detailed information you offer. It's awesome to come across a blog every once in a while that isn't the same out of date rehashed information.
Fantastic read! I've saved your site and I'm adding your RSS feeds to my Google
Feel free to surf to my web site: paid to click
My brother recommended I might like this web site. He was totally right.
This post truly made my day. You cann't imagine just how much time I had spent for this info! Thanks!
Take a look at my site Free PSN Codes Facebook
At this moment I am going to do my breakfast, after having my breakfast coming over again to read
other news.
Also visit my web page ... dragonvale cheats
Hello to every one, the contents existing at this web site are genuinely
amazing for people knowledge, well, keep up the
nice work fellows.
My web blog :: castle Ville
Hi to every , as I am really keen of reading this website's post to be updated daily. It carries fastidious stuff.
Feel free to surf to my web site; adfocus bot
Absolutely written subject material, Really enjoyed reading through.
Visit my webpage: minecraft for free
Pretty! This has been an extremely wonderful article.
Thanks for providing this info.
Feel free to surf to my homepage: youtube Views
My programmer is trying to convince me to move to .net from PHP.
I have always disliked the idea because of the costs.
But he's tryiong none the less. I've been using WordPress on various websites for about a year and am
worried about switching to another platform. I have heard excellent things about blogengine.
net. Is there a way I can import all my wordpress
content into it? Any kind of help would be really appreciated!
My web-site ... Mass sender
An outstanding share! I have just forwarded this
onto a coworker who had been conducting a little homework on this.
And he in fact bought me dinner because I discovered it for him.
.. lol. So allow me to reword this.... Thank YOU for the meal!
! But yeah, thanks for spending some time to discuss this matter here on your web site.
My site: adfly hack
Can I just say what a comfort to uncover someone who genuinely understands
what they are talking about on the net. You actually understand how to
bring an issue to light and make it important. A lot more
people should check this out and understand this side of the story.
I can't believe you aren't more popular given that you definitely have the gift.
My blog :: 3d sex games
I every time spent my half an hour to read this blog's articles or reviews everyday along with a mug of coffee.
Have a look at my blog; sharecash bypass
My relatives every time say that I am wasting my time here at web, however
I know I am getting familiarity daily by reading thes fastidious posts.
my web site :: Codes Free Gems? - Yahoo! Answers


text:
Leon Hiebert was pastor of Andover Assembly of God (Generations Church A/G) from 1989 to 2009. He is a Viet Nam veteran who spent 10 years in the US Navy most of the time as a corpsman serving with the Marine Corps. A native of Belleville, Kan., Hiebert is semi retired and lives in Andover with his wife, Sharon. He is a school bus driver for USD 385, Andover, Kansas.
Scripture: Psalm (NIV) 51:16 You do not delight in sacrifice, or I would bring it; you do not take pleasure in burnt offerings.
17 My sacrifice, O God is a broken spirit; a broken and contrite heart you, God, will not despise.
Observation: David had sinned and he was living with a load of guilt. He was desperate to have his relationship with God restored. He would have made any sacrifice, but he knew God was really interested in only one sacrifice. It was not the sacrifice of an animal, but the sacrifice of a broken and crushed heart. He was extremely saddened that he had sinned and disappointed the Lord.
Application: Like David, I am helpless to undo or erase my sins. As I grow in understanding of your death on the cross, I grow in understanding of how my sin hurts and disappoints you. I too must come knowing that a heartfelt sorrowful confession of my sin will be met with gracious and loving forgiveness. I will receive what I do not deserve!
Prayer: Lord, thank you for your willingness to forgive, cleanse, and restore our fellowship. On the cross, you paid a debt you did not owe. Amen
Pastor Leon
Making friends for time and eternity!


text:
projectpuffindiscman wrote:lost yellow star wraith with hawkeye dye on hole #15. dorve the fu<k out of the hole went about 30 feet in to the iowa river. if anyone has scuba gear let me know.
porkchop wrote:I'm guessing you played the short pad.
The Donator wrote:Ill have to borrow some scuba gear as well, but i threw a money turnover disc in from the long pad, but in the B placement.
Return to Iowa City - Peninsula Park
Users browsing this forum: No registered users and 1 guest


text:
Demolition begins at Leland Shopping Center
Published: Tuesday, January 22, 2013 at 4:35 p.m.
Last Modified: Tuesday, January 22, 2013 at 4:35 p.m.
Leland Shopping Center in Alberta, which was once home to popular clothing stores, toy stores and restaurants, is now being demolished.
The Tuscaloosa City Council voted unanimously in December to condemn the hazardous structure.
The 187,000-square-foot shopping center, once a popular destination for residents and visitors, has fallen into disrepair since its 1959 opening.
The owners of the shopping center say they are entertaining offers to develop the site.
One tenant — Wright's Restaurant — plans to open in a new location, near Hopewell Baptist Church off University Boulevard, said Councilman Kip Tyner. Earlier this month, the restaurant's owners obtained a disaster relief loan from City Hall to aid in its relocation
The Leland Lanes bowling alley will not be part of the demolition. The bowling alley is owned by another entity and is not part of the shopping center.
"This will truly allow us to move forward," Tyner said. "Naturally, it was bittersweet. When I was growing up around there, Leland Shopping Center was the most exciting place to be."
The first shopping center in Tuscaloosa was home to a Pizitz Department Store and G. C. Murphy Co., where people bought clothing, records and toys. Men could buy a custom-made suit at Gray's Menswear and have their shoes shined at one of two locations. Wright's opened as a bakery, Tyner said, and was the only homemade bakery in Tuscaloosa.
Every spring, the Leland Merchants Association hosted a weeklong carnival that Tyner said rivaled the state fair.
"I run into people about once a month or so who talk about coming from Mississippi or other places in Alabama to shop at Leland, and that's no exaggeration," he said.
Attorney Robert Monfore, one of the seven partners who owns the shopping center, has said that he expects developers to build some type of multifamily residential and retail complex at the site.
Reader comments posted to this article may be published in our print edition. All rights reserved. This copyrighted material may not be re-published without permission. Links are encouraged.


text:
NEW: For a prettier blog interface, see the Wordpress version!
|Tabulate CS21A quiz {{Tasks:413}}
|Tabulate CS161 quiz results {{Tasks:408}}
|Check all the CS161 quizzes {{Tasks:407}}
|Check CS21A quiz {{Tasks:412}}
|Meeting with Sekki at the CS department
2. Mock chili
Ingredients for one serving:
- 1 whole onion (adjust) - 4 cloves garlic (adjust) - 1/8 kg ground beef - 200g can of pork and beans, somewhat drained - salt and pepper
To prepare:<ol> <li> Chop the onions. Crush and chop the garlic. Open the can of beans. <li> Prepare the pan over medium heat. Put a pat of butter in it. When the butter melts and starts sizzling, drop in the onions and the garlic. Stir so that it doesn't burn. The butter will help the heat distribute evenly. <li> After the onions and garlic change color (you can wait for them to be slightly brown, if you want), put in the beef. Add lots of salt and pepper. <li> Brown the beef, breaking up the chunks and stirring briskly. <li> (optional) After the beef has browned, you can drain it to get rid of some fat. (If you're using an electric stove, you can turn the heat off.) <li> Pour the beans into the pan. Stir until you're happy. </ol>
I seem to have gotten the hang of onions and garlic. Whee! That is: I get a significant color change that's not just caused by the butter, and the onion bits become soft and sweet.
Tomorrow lunch: toasted pita bread with beef, onions and garlic.
1. Dealing with too much magic
E-Mail from Miguel A. Paraz
I'd love to hear about any questions, comments, suggestions or links that you might have. Your comments will not be posted on this website immediately, but will be e-mailed to me first. You can use this form to get in touch with me, or e-mail me at [email protected] .


text:
Wednesday, August 11, 2010
(Almost) Wordless Wednesday
12 comments:
- burntloafer said...
That is very pleasing to see - some appear to be Romas as well.
Our next door neighbor has a little girl who brings us a tomato or two a day, just because she can. I tis wonderful!
- August 11, 2010 at 7:54 AM
- The Mom Chef said...
That site is heaven. I'm waiting for my friends' plum tomatoes to come in. I usually end up with buckets and make roasted tomato sauce. I have one jar left from last year. Can't wait to see your recipe though.
- August 11, 2010 at 8:00 AM
- Moogie said...
Why don't you set up a web cam so we can watch all the action.
- August 11, 2010 at 8:03 AM
- Ken Myers said...
With those tomatoe trees that you planted, you're going to need a chainsaw to cut them down...maybe use them for firewood this fall... Quit using the miracle grow! LOL. Cant wait for the pizza!
- August 11, 2010 at 8:11 AM
- Kat said...
I love the site of loads of tomatoes. Looks like you have been very busy. Will look forward to the sauce recipe.
- August 11, 2010 at 8:29 AM
- Pam said...
Lucky you! That would be a wonderful thing, seeds in the hair and all!
Check out my CNS giveaway and I hope you enter!
- August 11, 2010 at 9:08 AM
- June said...
Wow - they're beautiful Mags! Hang in there as come December, you'll be darn happy you went to all the trouble of putting them up.
- August 11, 2010 at 9:48 AM
- Jane said...
Wordless Wednesday is right! I'd be speechless if I walked in on that many tomatoes. You're a lucky girl, Mags!
- August 11, 2010 at 10:04 AM
- Barbara @moderncomfortfood said...
I'm jealous, and what a nice welcome home present for you! Mid- to late- summer is the fallow season in my part of Florida, and I won't be able to plant tomatoes again until early Sept. Can't wait!
- August 11, 2010 at 12:11 PM
- SallyBR said...
Color me green, green with envy!
Enjoy them.... and tell us all about it!
- August 11, 2010 at 2:44 PM
- Nanan said...
My Lord - my child would be in heaven!!!! I would die - literally...
I am thrilled to have won!!!!!
- August 11, 2010 at 5:06 PM
- Jen @ My Kitchen Addiction said...
Wow! My tomatoes all died this year, so I'm totally jealous!
- August 15, 2010 at 7:54 PM


text:
|Length Overall
|38' 0''
|Dry Weight
|14,000 lbs.
|11' 10''
|Tested Weight
|3' 0''
|Weight Capacity
|Draft Up
|Person Capacity
|Draft Down
|Fuel Capacity
|180 gal.
|Air Draft
|Water Capacity
|60 gal.
|Length on Trailer
|Max Headroom
|6' 0''
|Height on Trailer
|Bridge Clearance
|7' 5''
|Trailer Weight
|Total Package Weight (Trailer,Boat & Engine)
|Prices, features, designs, and equipment are subject to change. Please see your local dealer or visit the builder's website for the latest information available on this boat model.
|Std. Power
|2 x 280-hp Volvo Penta 5.7 Gi DP-S gasoline sterndrive
|Tested Power
|2 x 310-hp Volvo Penta D6 - Diesel
|Opt. Power
2 x 320-hp Volvo Penta 5.7 Gxi
2 x 260-hp Volvo Penta D4
2 x 310-hp Volvo D6 310 DPH diesel sterndrive system
2 x 350-hp Volvo D6 350 DPH diesel sterndrive system
|Windsor Craft 36 has Great Gatsby panache.
|The helm station has a custom rosewood dash panel.
|Eight people can be seated comfortably.
|The wet bar houses an icemaker/refer and grill.
|Entering the cabin you are wrapped in mahogany.
|Classy and classic.
Windsor Craft 36
By Capt. Rob Smith
A few years ago, Irwin Jacobs decided he wanted to bring back to life the iconic old-world craftsmanship in mahogany boats with classic looks. He wanted to build a day boat that was as authentic as possible to those produced in the 1920s – but equip it with all of the latest amenities and with technology undreamed of in the Gatsby era. He wanted the real thing – not just a fiberglass replica with a high price tag.
He invested in design and later found a yard in Turkey that that had not lost the art of quality wood boat building. This yard, with Jacobs' designs and vision could bring to life his dream. Ironically, the Turkish yard could do all of this and load the boat up with nearly every option imaginable for several hundred thousand dollars less than high-end glass day boats. To Jacobs, that was the best of both worlds.
Genuine Tree Wood
Wood boats have a reputation for requiring lots of maintenance. Planked wooded hulls also leak when commissioned until the wood becomes swollen and seals itself. Still they might leak slightly when the planks worked in a seaway, leaving a pool of water to slosh around in the bilge and often reproducing a pungent odor.
No one likes to maintain wood, so Jacobs had to build a boat that would be both wooden and have low-maintenance and dry bilges. He did it by building a hull using triple planked African mahogany that uses the West System of epoxy impregnation. The result is a hull that is as impervious to water migration as is fiberglass and needs no more upkeep.
On the forward deck and aft deck the Windsor Craft 36 has beautiful mahogany with dozens of coats of varnish. All that is needed to keep this up is some touch up every six months or so. The side decks are Awlgrip. So here we have a boat that requires no more maintenance than a fiberglass hull, but has all of the esthetic advantages of wood.
A Boat with Character
The Windsor Craft 36 is not for everyone. And, that is one of its appeals. It is really only for someone with a keen eye for classical lines, a Romantic heart that appreciates the context in which this type of day boat was conceived, and enough financial gravitas to understand that this boat is worth $600k.
When the Windsor Craft 36 enters East Egg she naturally commands attention and deserves it because she is the real thing. This boat is for people who are just not happy with imitations.
A Day Boat for Special Entertaining
Since we have established that this boat is not for everyman, we should also realize that the owner of a Windsor Craft 36 would want to entertain in a very special way. Chances are that beer and diet Coke, potato chips and cheese doodles won't make it aboard this boat. Windsor Craft has paid special attention to providing the accommodations needed for the wine and Champagne that will undoubtedly be served.
Mr. Parker would be Proud
There is a wine chiller on the bridge deck for white Burgundies, in addition to two insulated iceboxes under the treads of the boarding steps so one can keep his favorite vintage of Dom Perignon for special occasions. In the console on the bridge deck there is a shelf that slides out which holds four bottles of Bordeaux. So white, red and Champagne are all easily at hand, depending on the occasion or the progression of a very special day. If all of that weren't enough, the boat has a wine "cellar" under the forward berth – the coolest place on the boat. We can think of no other day boat builder who has put as much thought into fine wine entertaining.
Al Fresco dining in Style
The cockpit is huge. Eight people can be seated comfortably in the U-shaped lounge aft which has leather upholstery adorned with nautical themes and piping harking back to the halcyon days of classical yachting. A settee for more intimate dining is just forward of the wet bar console (which houses an icemaker/refer and electric grill).
When more serious cooking is required, the host or hostess need merely pop below to use the microwave and electric cook top.
The Helm Station
The helm station has a custom rosewood dash panel, mahogany and stainless steel steering wheel, and a leather seat for two which will ensconce you in executive comfort. You can comfortably stand at the helm even with the hardtop.
The cockpit, bridge deck and cabin soles are all of teak.
The boat comes standard with a bimini top and isinglass side curtains. A hardtop with sunroof is an option, and one we recommend as it extends your season.
A Special Cabin
Entering the cabin, one is immediately reminded of the interior of a classic wooden cruising sailboat design by John G. Alden or perhaps Sparkman & Stephens. You are wrapped in rich mahogany joiner work with attention to every detail. The overhead is made of wood planks painted with while Awlgrip which looks like lacquer, and mahogany strips run athwart ship, again drawing upon the classic interior decor of cruising sailboats of a bygone era. This space is cozy.
The settee forward will be your private dining car and personal space for enjoying your time aboard out of the eye of the public or evening chill.
The table and upholstery have the same detailed look and feel as that in the cockpit. A filler cushion is easily at hand should the occasion arise for a full-length bed.
The head is on the port side and is a small version of what one might expect to find in an executive suite. All counter tops, both in the head and in the galley are granite.
Engine Room
Open the hatch to machinery spaces and you will see pristine bilges, the backbone of the keel, and the thick ribbing, all of African mahogany. The bilges are pained with while Awlgrip – a testament to what Windsor Craft thinks of its hull, machinery and installation.
The engine room is fitted with sound absorbing insulation.
The Windsor Craft 36 is offered in either gas or diesel engine configurations from Volvo Penta. Volvo is recognized around the world should you need service. The engine spaces are well insulated and properly ventilated. Topside, the engine room vents have the same classic design in their metal works. Details like this make the difference.
The Windsor Craft 36 measures 38' LOA and carries a beam of 11'10". This model has an approximate dry weight of 14,000lbs and a fuel capacity of 180 gallons. Inside cabin height measured 6' and bridge clearance measured 7'5" to the top of the windshield from the water. Standard engine power is twin 280hp Volvo Penta 5.7Gi DP-S gasoline stern drives. A 4kw Onan generator is standard. Optional engine packages up to 320-hp gasoline sterndrives and up to 350-hp diesel stern drives from Volvo Penta are available.
Test Results
I tested the Windsor Craft 36 powered by the 350-hp diesel in the Intra Coastal Waterway outside of Sealine Marina in Miami, Fl with two people on board. She delivered a smooth ride due in part to her solid mahogany construction. She delivered a top speed of 41 mph at 3630 rpm and a cruising speed of 29.3mph at 2750 rpm. At cruise, she will deliver 256 miles on a full tank of diesel.
The boat comes standard with an electric bow thruster, which makes docking even easier with the twin sterndrives.
As you can tell, the Windsor Craft 36 is built for yachtsmen – both power and sail – who want not only the very best in a day boat, but one with truly rare classic attributes along the modern appliances and technology.
The boat is available virtually anywhere in the world and Irwin Jacobs personally guaranties the highest level of customer service.
|Air Cond./Heat
|Battery Charger/Converter
|Head: Fixed
|Shore Power
|Water Heater
|Exterior Features
|Bimini Top
|Boats More Than 30 Feet
|Bow Thruster
= Standard = Optional
|Warranties change from time to time. While BoatTEST.com has tried to ensure the most up-to-date warranty offered by each builder, it does not guarantee the accuracies of the information presented below. Please check with the boat builder or your local dealer before you buy any boat.
Full Warranty Information on this brand coming soon!
|Pricing Range
|Price as Tested
|Prices, features, designs, and equipment are subject to change. Please see your local dealer or visit the builder's website for the latest information available on this boat model.


text:
Man, Shark Tank is so good - it stinks to see it leave for summer vacay. Fortuanately, the ABC reality show about aspiring entrepreneurs will air two episodes back-to-back beginning at 8/7c on Friday, during which Mark Cuban will have a big confrontation with fellow Shark Kevin O'Leary.
Read More >
Other Links From TVGuide.com
Location, ST | website.com


text:
About Healthy Animals
Welcome to Healthy Animals, an online compilation of animal health-related research news put out twice a year by the Information Staff of the Agricultural Research Service. ARS is the chief scientific agency of the U.S. Department of Agriculture.
Each issue profiles one aspect of ARS research. Links take readers to detailed stories on new findings important to the health of livestock, poultry and fish. And a list of all ARS research laboratories that work to improve animal health is just a click away.
Some of our other web sites that may interest you:
For More Information
ARS offers a variety of resources to help you with your animal health research questions.
For answers to scientific questions, please consult ARS National Program Staff personnel or an appropriate research laboratory.
To search a database of scientific papers by ARS researchers, visit TEKTRAN online.
To view or obtain digital photography products, visit our online Image Gallery.
ARS' National Agricultural Library is a great resource for information on the health and well-being of animals used in biomedical and agricultural research and teaching.
For regulations, bibliographies, links to databases, reports and bulletins related to animal care and use, visit the Animal Welfare Information Center at NAL.
For questions about this site, or to be notified each time a new issue of Healthy Animals is posted, contact Sandra Avant, (301) 504-1627.
NOTE: Contact your veterinarian about health problems of individual animals.


text:
This is an excerpt from EERE Network News, a weekly electronic newsletter.
February 23, 2011
DOI Boosts 'New Energy Frontier' in Proposed FY 2012 Budget
The Department of the Interior in 2010 approved the Blythe Solar Project, which will use solar troughs like these on federal lands near Riverside, California.
President Obama unveiled on February 14 a $12.2 billion fiscal year (FY) 2012 budget request for the Department of the Interior (DOI). While roughly the same as the previous year, the budget requests $72.9 million for renewable energy programs in 2012, an increase of $13.9 million above the 2010 enacted budget level. (FY 2010 numbers are used because Congress never passed an FY 2011 budget and ran on a continuing resolution in 2011). The proposed 2012 budget continues DOI's "New Energy Frontier" strategy that is intended to create jobs, reduce U.S. dependence on fossil fuels and oil imports, and lessen carbon impacts. Under this proposed budget, DOI's goal is to increase approved capacity for renewable energy production on federal lands by at least 10,000 megawatts by the end of 2012, while ensuring full environmental review. Supporting renewable energy development is a major component of this strategy, and has been since 2009, when Interior Secretary Ken Salazar began implementing a comprehensive energy plan, making renewable energy a DOI priority.
DOI is actively promoting renewable energy on public land. In December 2010, DOE and DOI jointly announced a comprehensive environmental analysis that identifies proposed "solar energy zones" on public lands in six western states. These are lands in Arizona, California, Colorado, Nevada, New Mexico, and Utah that are most suitable for environmentally sound, utility-scale solar energy production. See the DOI press release, the DOI budget overview , the OMB Interior fact sheet, the DOI New Energy Frontier overview , and coverage of DOE and DOI solar zones in EERE Network News.


text:
1982-08-15 Char-Koosta News
|1 of 32
small (250x250 max)
medium (500x500 max)
large ( > 500x500)
Full Resolution
This page
Loading content ...
PABLO, MONTANA 59855 ISSN: 0528-8592 Bto SKY COUNTRY Chief Charlo Chief Koos tat a h1 > r NEWSPAPER OF THE SAUSH. PEND d'OREILLE AND KOOTENAI TRIBES OF THE FLATHEAD INDIAN RESERVATION, WESTERN MONTANA VOLUME 11 NUMBER 7 FULL MOON OF THE HUCKLEBERRY AUGUST 15, 1982 Lake County votes to support Namen's case While some folks think summertime means pow wows and huckleberries, others are busy hiding out in smoky meeting rooms, desperately trying to get more mileage out of their anemic government checkbooks. What do we hope to accomplish next year? What can we absolutely do without? Can we afford to reward deserving employees or make any improvements? These are some of the questions being asked by budget«makers everywhere. In the Tribal forum, mid-managers are caught between wanting their operations to grow (which usually means bigger budgets) and a grim-faced, belt-cinching 'final ap- Water ordinance is law — maybe The Tribes' one-time-controversial water planning ordinance is apparently a law. Submitted to the Department of the Interior early in May, after it had been recommended for approval by the local BIA, the document seems to have survived its 90-day secretarial review period without a hitch. According to federal procedure, if a Tribal ordinance isn't disapproved or unfavorably commented upon within 90 days of its submission to the Interior Secretary, it becomes law automatically. This seems to be the situation here. Tribal officials are hopeful but cautious. They assume they have a sanctioned water planning statute as of August 9, but official confirmation hasn't arrived Dr. Al Spang, BIA Superintendent says two phone calls to Washington, D.C., August 10 and 11 were fruitless: no one in authority was around to release any news. proval board', the Tribal Council, which wishes to see as few zeros as possible in front of the decimal point in the 'total' column. August 18 has been set aside to review all departments' FY83 budgets. Beyond Pablo, however, one group of government officials, Lake County's, seems to have suffered little torment about one interesting item on its budget: some $15,000 has been earmarked to fight the Tribes' property rights in Poison. That amount is the 'neighborhood figure' appropriated for the Flathead Lake defense fund in support of the Namen jurisdiction case. Indian and non-Indian taxpayers alike are incensed with the news. Tribal Executive Secretary Fred Houle, Jr., explains why in the following letter sent to county commissioners August 6: "The Confederated Salish and Kootenai Tribes have been made aware of the fact that your propose to allocate $15,000.00 to $20,000.00 in support of the Namens, the City of Poison and the State of Montana in litigation pending over (Continued, on pag* 2) INSIDE: Water, water everywhere . . . Feds delegate authority........................Page 2 Feds want to negotiate.......................Page 14 Apaches fight for theirs.......................Page 18 * Letters.......................................page 8 Parade.....................................page ¡6 Minutes.....................................Page 22
Object Description
|1982-08-15 Char-Koosta News
|Confederated Salish and Kootenai Tribes of the Flathead Reservation.
|Salish Indians --Newspapers.; Kutenai Indians --Newspapers.; Pablo (Montana) --Newspapers.; Kootenai Indians
|Lake County votes to support Namen's case; Water ordinance is law -- maybe; Federal agency delegates permit power; Councilman disputes local news stories; Notice to all Tribal employees with Connecticut General Insurance: you're not supposed to cash the checks...; Indian broadcasters visit Reservation; UM law conference shows conflicts in Tribal government; Interior Department to pay tribute to Indian leaders; State Indian official resigns; Feds want to negotiate Indian water claims; Indian ironworkers' starting salary exceeds $10; Papago chosen Miss Indian America; Apaches struggle for reservation water.
|Confederated Salish and Kootenai Tribes of the Flathead Indian Nation
|Date Original
|Date Digital
|Resource Identifier
|Rights Management
|Copyright (c) Salish and Kootenai Federated Tribes, all rights reserved.
|Contributing Institution
|Salish Kootenai College
|D'Arcy McNickle Library
|Vol. 11; No. 7
|Digitization Specifications
|Digitized at the University of Montana Maureen and Mike Mansfield Library; Scanned as master TIFF using Bookeye 3 scanner at 400 ppi, 8 bit grayscale; Optical Character Recognition with Abbyy FineReader Corporate Edition; Derivatives created using Photoshop CS
Add tags for 1982-08-15 Char-Koosta News
Post a Comment for 1982-08-15 Char-Koosta News


text:
1957-03-01 Char-Koosta News
|1 of 4
small (250x250 max)
medium (500x500 max)
large ( > 500x500)
Full Resolution
This page
Loading content ...
¦ ni 'i. Men t i na CHAR-KOOSTW PUBLISHED BY CONFEDERATED SALISH AND KOOTENAI TRIBES, FLATHEAD AGENCY, MONT. Application for Second Class Permit Made at the Post Office in Ron an, Montana Vol. 1— No. 5 March, 1957 afinan Mr chief can now fT^nimhrrsUa^Q/^ V Why women no more obey um husbanor Now woman all same wear um pants Jaw um husband every time get em chance. Tribes Camas Hot Sprin Serves 40,000 During 1956 By Thomas E. Pablo "Big Medicine," the Indian used to say, and today that's the by-word of people who bathe in the wonderful mineral waters at Camas Hot Springs. The healing waters that were the medicine of the Indians have worked their cures on thousands of people who have bathed here. Today, white men come thousands of miles to drink and bathe in the bathhouse owned and operated by the Flatrhead Salish-Kootenai Tribes of the Flathead Indian Reservation. "Many Sleeps," the Indians used to travel in order to take advantage of the ''Good Spirits" that bubbled from the grouncj in the form of mud and mineral water. Long before the white man came to this area, the hot mineral springs were used by the Indians. This was a regular gathering place for various tribes, who congregated, bathed, visited, and held Inter-Tribal games.: 1 The travois has long been replaced by modern means of transportation, and many permanent residents of Hot Springs who first came to derive relief and cure from' the springs, have stayed on. • Camas Hot Springs is well known for its mineral waters which have given relief and cure to many people suffering 'from arthritis, high blood pressure, skin diseases, stomach ulcers, kidney ailments, rheumatism and other similar ailments. .,' prinking freely of the mineral water is a necessary factor in supplying the body with needed minerals and for direct application to disorders of the digestive tract. While some patients experience immediate relief, the majority require frqm 2 to 4 weeks of sustained treatment, therefore a series of 21 baths has been set as a desirable average for best results. • The spa at Hot Springs has the only patural mineral water and mud baths in the United States with a temperature of 120 degrees F. The Camas Bathhouse is a new and modern building which boasts streamlined plumbing, mud and mineral water baths, showers, walk-in steam rooms, sweat rooms, massage departments, rest cots, infra red and sun lamps. Departmentalized for men and women. Immense picture windows in the rustic lobby afford a panoramic view of the valley and mountains in the background. The fact ihat'nearly 40,000 bathers were accomo-lated last year, attests to the growing popularity of the Springs, and that more -Tribal members are now taking advantage of their bathhouse than ever before. Mention must be also made of the corn hole, the outside foot bath, ever popular, where you are never farther away from home than your next door neighbor, who might be bathing and soaking his feet next to you. It is said, if you want to visit with someone from home, stop at corn hole, where more bulls are shipped and toes are dipped than any other place in the world. Mention is also made of the swimming pool, very popular with the young, as well as many of the older people. War Bonnets off to the Camas Hot Springs; it is growing, and will continue to grow. The road has been rough and rocky, there have been many who would have done away with all Mineral Resorts, but the cured and the faithful have kept them going, and will continue to do so, as long as "Good Spirits" dwell here. iriuai Gin ^oiiuiiues Navy Nursing Career Julia Mary Santos, daughter of Mary Pablo Burrafato, St. Ignatius, completed her recruit training at the Navy Training Center at Bainbridge, Maryland, in February with a rank of second high in her class. Julia is now continuing her nursing career in the U. S. Navy and is attached to the U. S. Naval Hospital Corps School at Bainbridge. Her mother recently received a letter from the Commandant at the school which said in part: "Your daughter has recently reported Long time ago, husband him boss Woman kind, never get cross All time now woman too much talk No more cook, all time balk. She learn um paleface style . Talk um loud, hear um ten mile Long ago, no talk, just nod um head Now talk um plenty, husband see um red. Now paint um face, all same nose Paint um red, all same toes No more eyebrows, just black line Then woman think um look fine. Buck mad, make um big frown Squaw to him look um like clown Squaw no sense, no more shame Squaw call um Buck"Honey" (funny name). Paleface woman "Hubby" all same henpecked. Paleface right, me chicken pecked, me cracked, My squaw put um on funny defections Think um she get um lot perfections. But me "chief" think um she "phooey" Too much paint um all same screwy Wear um high heeis five inch and hall Make um wooden Injun laugh. High heels all same woman's craze All time ready to fall on face Little good, no fall on back But feet get um plenty hack.- My squaw say, "For crying out loud," Shoes good, toes all same look um out Me thnik squaw all same plenty dumb Chief's toes look out, him called "Bum" Long time ago my squaw wear um straight hair Look um nice and lot look um fair Now, curl um hair, all same corkscrew All time ready to open um beer, homebrew. _^ Me Injun chief pretty soon go bugs Woman wear um too much crazy tugs Woman want um to wear funny blouse Then sure 'Injun chief he go bughouse. Shea Hoy to this, her first duty station after completing recruit training. She is now a full-fledged member of the United States Navy. You have every right to be as proud of her as I am pleased to have her in my command." G. W. Wiese, CDR MSC USN, Executive Officer. In 1956 Julia was graduated from Mary-cliff High School at Spokane with high honors. During her high school days and for several months after graduation she was a nursing aide at Sacred Heart Hospital in Spokane.
Object Description
|1957-03-01 Char-Koosta News
|Confederated Salish and Kootenai Tribes of the Flathead Reservation.
|Salish Indians --Newspapers.; Kutenai Indians --Newspapers.; Pablo (Montana) --Newspapers.; Kootenai Indians
|Tribes Camas Hot Springs Serves 40,000 During 1956; Tribal Girl Continues Navy Nursing Career; Editorially Speaking; Tribal Boys Are Hot Shots on Reservation Hoop Teams; Maybe Tribal Judges Could Handle 'Russia'; Mary Sateah Kizer; Jerome Hewankorn Represents Tribe at Inauguration;
|Confederated Salish and Kootenai Tribes of the Flathead Indian Nation
|Date Original
|Date Digital
|Resource Identifier
|Rights Management
|Copyright (c) Salish and Kootenai Federated Tribes, all rights reserved.
|Contributing Institution
|Salish Kootenai College
|D'Arcy McNickle Library
|Vol. 1; No. 5;
|Digitization Specifications
|Digitized at the University of Montana Maureen and Mike Mansfield Library; Scanned as master TIFF using Bookeye 3 scanner at 400 ppi, 8 bit grayscale; Optical Character Recognition with Abbyy FineReader Corporate Edition; Derivatives created using Photoshop CS
Add tags for 1957-03-01 Char-Koosta News
Post a Comment for 1957-03-01 Char-Koosta News


text:
The Texas A&M – Corpus Christi men's and women's tennis teams will be on the road this week, as the women finish off their regular season on Wednesday against Nicholls in Beaumont, while the men play Nicholls on Wednesday and Lamar on Thursday to close out their regular season. Both the men and women play Nicholls at 12 p.m. on Tuesday, while the men close out their schedule with a 2 p.m. match on Thursday.
The Islanders men are 10-11 overall, and 2-1 in Southland Conference play. The women are currently 14-4 on the season, 7-3 in Southland matches. It ties the most conference wins for the Islanders in team history, with the team winning seven a year ago in 2011. A win over Nicholls will set a new program high in perhaps the best season in school history.
The women's team is settled into the fifth seed for the upcoming Southland Conference Tournament hosted by Stephen F. Austin in Nacogdoches. The Islanders will play the Northwestern State Lady Demons in the first round. NSU has taken the previous two regular season matches by a 4-3 margin each time, and the Islanders will be looking for their first ever Southland Conference Tournament win next Thursday, April 26, in the first round.
A pair of wins for the men's team would give the Islanders their fifth-straight Southland Conference title. They are one of two teams in the league with just one loss, the other being their Tuesday opponent, Nicholls. A win over the Colonels and over Lamar on Thursday would also secure the No. 1 seed in next week's Southland Conference Tournament that will also be held in Nacogdoches at the SFA Tennis complex.
For all the latest on Islanders Tennis, like the team on Facebook (Islanders Tennis), follow them on Twitter (@IslandersTennis) and visit www.GoIslanders.com.


text:
The Texas A&M – Corpus Christi baseball team will travel north to Arlington for the final weekend of the regular season looking to secure a spot in the upcoming Southland Conference Tournament. They will take on the UT Arlington Mavericks in a crucial Southland Conference series at Clay Gould Ballpark.
The Islanders are 23-28 on the season, and sit at 14-16 in Southland Conference games. The Mavs are 29-23 overall, 16-14 in league play. While there are many scenarios to clinch a spot in the tournament, the most direct one is for the team to win the series against UTA on the road.
It will be no easy task, as the Mavs are 19-7 at home, including a 3-0 win over the Islanders in a non-conference game earlier this season. The Islanders are playing much better as of late, winning their last two Southland Conference series and going 8-4 over the last 12 games heading into the final three games.
Taking the ball for Texas A&M – Corpus Christi in the first game will be Daniel Minor. The Islanders No. 1 starter will try to set the tone for in the series opener, while Trevor Foss will get the Friday night start. The starter for the final game is TBA.
Offensively, the Islanders have improved their batting average to .259 over the last 18 games. Jordan Lee and his .336 batting average lead the team, while Jonathan Gonzales is hitting .302 on the year. Gonzales also has a team-high 28 RBI and eight home runs this season. Stafford Brantley is second with three home runs, hitting one each of the last two series as the team has gone 4-2 against Southland opponents.
UTA is led in hitting by Ryan Walker with a .358 batting average, while Preston Morrow is at .333 and Preston Beck is batting .323 on the year. Beck leads the Southland Conference with nine home runs and 52 RBI, while Walker is second on the team with 27 RBI.
Live stats and audio will be available on www.GoIslanders.com.
For all the latest on Islanders Baseball, like the team on Facebook (Islanders Baseball) and follow them on Twitter (@CorpusBaseball).


text:
C.R.A.Z.Y wrote: soulcrate is good
zagadka wrote: man i wish i could figure out how to fix my teleporter...
frezz, do you still have THE doll? because i would like to attend all of these events in some shape or form.
frezz is great because he sends me fart cards.
Lants wrote: i am seriously jealous i am not able to come.


text:
Credit: thetaxhaven on Flickr, under Creative Commons (CC BY 2.0).
(WOMENSENEWS)--During the struggles of the feminist movement, endless arguments swirled around the concepts of "masculine" and "feminine" and the consequences of thinking about gender in a rigid way. Some people became so sensitive about labels that they refused to talk about the concepts of "male" and "female" and others stumbled to find the right words to use without offending anyone.
But lost among this emotion was any kind of hard data to rely on. Curious about what people felt would make more effective leaders, Michael D'Antonio, my co-author, and I entered into this conversation by discovering that the modern world now favors certain skills and competences over others; many of which are viewed as feminine.
We asked half our sample of 64,000 people in 13 countries to name the traits and values traditionally aligned with men and women. Then we asked the other half to list which traits (without gender) are vital to leadership, ethics and success in business, politics and society.
The results, reported in our book "The Athena Doctrine," proved remarkably consistent from country to country and among the generations. People overwhelmingly identified women as empathetic, flexible, patient, reasonable and collaborative. The top masculine traits, which included rugged, assertive, aggressive, independence and pride, were far less correlated to leadership and solving today's challenges.
Besides asking for traditional and popular definitions of male and female, we quizzed our sample of the world's population on both local and world conditions. The results pointed to a lot of concern and worry about the future. Seventy-six percent disagreed with the statement, "My country cares more about its citizens than it used to." Almost as many people – 74 percent – disagreed with the proposition that "the world is becoming more fair." Just over half, 51 percent, disagreed with the idea that "life will be better for my children." And who did they blame for this state of affairs? Fifty-seven percent said, "I'm dissatisfied with the conduct of men in my country."
Worldwide Consensus
With our survey, we got people talking about gender differences and the state of the world, and discovered remarkable consensus in countries and states as disparate as China, India, Brazil, the United Kingdom and the United States. Further consensus emerged when they asked whether "the world would be a better place if men thought more like women." Here, 66 percent of people said "Yes." (This figure rose to 73 percent among U.K. citizens.)
When given the chance to identify the attributes of men and women who might lead us to a brighter future, people everywhere loaded their lists with a dozen mainly feminine skills and competencies. Success, they said, belongs to those who are empathetic, expressive, passionate, selfless, patient and flexible. The template included just six masculine qualities, including decisiveness and resilience.
In sum, the world seems to need people who can draw on both masculine and feminine traits to address problems in a technological age that values high levels of cooperation, communication and trust. (In our data, 81 percent of people said we need both masculine and feminine traits in order to thrive in today's world.)
In "The Athena Doctrine" we offer dozens of examples of people who are already succeeding with this new style.
In London, we met Emily Bolton from Social Finance, whose social impact bonds lower future government costs by encouraging private investors to profit through social activism. In one program, investors helped with job counseling to lower the rate of re-offending prisoners below 7.5 percent, the point at which the government saves money.
Including Female Soldiers
In Israel we met Maj. Gen. Orna Barbivai, who instituted peacemaking practices at checkpoints by including female soldiers and focusing on de-escalating conflict.
And in Colombia we met Mauricio Facio Lince, government secretary, who is investing two-thirds of Medellin's municipal budget in youth-oriented services to stem the cycle of violence.
In Peru's capital city of Lima, issues of rape or domestic abuse are often placed on the backburner, or dismissed altogether. As director of Women's House, Silvia Loli has taken a stand against this injustice by creating a women's police unit, which in turn has reduced corruption among officers as women were integrated among the police ranks.
We traveled nearly four times around the world meeting amazing leaders whose sensible and inspiring stories show it's possible to break through the taboos. The big surprise is that people everywhere are quickly moving past the old divides. Motivated by their worries for the future and driven to find practical solutions, they explain, to borrow from the book's subtitle, "How women (and the men who think like them) will rule the future."
By the way, Athena was the Greek goddess of wisdom.
Women's eNews is partnering with the Global Women's Leadership Summit, taking place this fall. John Gerzema will be speaking at the event.
John Gerzema is the co-author of The New York Times bestselling book "The Athena Doctrine: How Women (and the Men Who Think Like Them) Will Rule the Future" (Wiley, April 2013). All proceeds from the book support The United Nations Foundations' Girl Up Campaign. Find him on Twitter @johngerzema.
Would you like to Comment but not sure how? Visit our help page at http://www.womensenews.org/help-making-comments-womens-enews-stories.
Would you like to Send Along a Link of This Story? http://womensenews.org/story/leadership/130829/world-ready-male-female-leadership-mix


text:
kwisdumb wrote: OLLLLLLLLY!
I'll look into, Jared! (This is Big Ken from WA). Either way, I really hope we can get PFA in Oly. That would be greatness.
Jared Paul wrote: The west coast has just been showin' us a lot of love
avatar wrote: Capitol Theater, Jared. I was there, great times for sure. I loved my time in Oly. I talked to Compost last week, I'll let him know you're looking to secure a gig in his town.