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Abel: Well, I'd like to start with your background, where you were born and how you got into music.
Issac: Well, actually my background is that I'm from a musical family. At home there was always a very cultural, musical and artistic environment. And well, through my mother, aunt and brothers...I was lucky enough to learn my first songs, to sing at home and stuff like that. (There was) a highly musical atmosphere with other artists that visited my home and whatnot. I never thought that this would be where I'd end up career-wise, because I actually was really into sports.
Abel: And who in your family were musicians? Were they professionals or amateurs?
Issac: My mother was one of the Mulatas del Fuego, which was a dance group that caused a sensation on the island. And, well, her first marriage was to Angelito Díaz. The fílin movement was created at Angelito Díaz's house. And that, I think, has been the most important influence I've had on my career. The fílin movement is the movement of the bolero songs created by José Antonio Méndez, César Portillo, who are friends of my mother. And I was raised on those songs and through them I've gotten involved in this (musical) world.
Abel: You referred to someone but it wasn't very clear, so sorry, but I'll have to ask you again. Your mother was married to one of the creators of fílin. Who was this person? Because I heard Ángel but I didn't catch the rest of the name.
Issac: Ángel Díaz. Fílin was created in Hamel Alley...at Angelito Díaz's house.
[Editor's Note: Hamel Alley or el Callejón de Hamel is a street in central Havana that features a lot of cultural activities, like art exhibits, and on Sundays, El Domingo de la Rumba, in which rumba groups come and play.]
Abel: Ángel Díaz...I don't recognize that name. From the fílin movement I know José Antonio Méndez, César Portillo de la Luz but not Ángel Díaz. What instrument did he play? Because I don't know that figure.
Issac: Well look, Ángel Díaz, it was in his house where the fílin movement was created. He's the author of songs like, "La rosa mustia," for instance. That's one of the memorable songs of fílin. (He) played the guitar; he's one of the living legends of the fílin movement. The essence of the fílin movement was comprised by César Portillo de la Luz, José Antonio Méndez, Angelito Díaz and there's also Marta Valdés as an integral member; essentially, there's a series of people who were the originators of that movement, which wasn't that big but was very important for the creators that came after, for nueva trova, for all those people who lived in the years after the fílin movement in Cuba (like) Frank Domínguez. All those people got together at Angelito Díaz's house at Hamel alley.
Abel: Of course, that's where they have the Domingo de la Rumba, over at Hamel Alley; that's in downtown Havana, right?
Issac: Yeah, but the rumba they have now is an element that was added to the alley. But what distinguishes that alley is that it's there that the fílin movement was created.
Abel: And the fílin movement is characterized as a combination of elements of jazz and bolero, right?
Issac: Exactly, exactly. It was a movement of trovadores that had the trova traditional of their fathers and started to listen to jazz, Brazilian music, that is, bossa nova jazz...(They created) songs that are still alive today because there are songs by César Portillo de la Luz on the previous CDs of Luis Miguel and now in his new CD I think he has songs by Frank Domínguez, for instance. That is to say, these are songs that haven't died, it's that they (the creators of fílin) made songs that will live forever.
Abel: So you started with the influence of that musical movement and your mother sang with the Mulatas del Fuego.
Issac: Yeah.
Abel: And that was a group like el Cuarteto D'Aida, right? It was a group of 4 or 5 women that sang, right?
Issac: Yes, there were a lot of mulatas that were in that group but my mother was one of the four founding members. After that, lots of people were in that group, even Elena...Omara was also in the group, it was a group that worked with the superstars in Cuba. But their forté was more dancing, understand? They sang, but it all was based on their dancing.
[Editor's Note: Elena is Elena Burke, one of Cuba's top bolero singers. Omara is Omara Portoundo, another famous bolero singer and sonera.]
Abel: Now, you tell me that you didn't think you were going to be a musician and that you were more inclined towards sports. So what kind of sport were you into? In other words, what did you think you were going to be if you hadn't become a singer?
Issac: I played soccer and, actually, in a country where everybody's a baseball player, it's not that difficult a discipline.
Abel: And when was it when you started to join groups and such? About how old were you and what groups did you join?
Issac: I actually started in 70-something, like '77 or '78, because of the friendship I had with Gonzalo Rubalcaba. I started working with a bunch of projects. It wasn't until '83 that I got a professional education through Pacho Alonso's group; he was one of Cuba's great singers.
Through his band I became a professional musician through and through and later I started working with his son Pachito. And from there, later on, I was working at the Tropicana as a soloist in the Tropicana cabaret show. I worked as soloist in the Riviera's Copa Room show and then, after a Tropicana musical revue tour in '87, I joined NG la Banda, which actually was the band that made me famous in Cuba and later internationally.
[Editor's Notes: Gonzalo Rubalcaba is a fine Latin jazz pianist who has recorded several albums and currently lives in the United States. He was the producer of Issac's first two albums. The Copa Room is a cabaret in the Hotel Riviera that features live music, sometimes the top Cuban bands. For a time it was called El Palacio de la Salsa and is now back to being called the Copa Room.]
Abel: How did you join NG?
Issac: Well, with NG what happened is that I went to sub for Tony Calá because Tony had been hospitalized for some problems, I think it was the flu; I'm not sure what he had. It was at a place they were working at in El Vedado. I rehearsed some numbers with them and started working with them to fill Tony's place for a couple of weeks. And when Tony came back, they asked me to join the group. And so then we started looking at the tunes I wanted to sing, etcetera.
Abel: And do you think that NG started some changes in Cuban music? Because their music seems to have been pretty influential on the modern groups in Cuba today, and it was something different than what was being played when they first started, as far as I can tell when I compare (NG) to Los Karachi and Van Van, for instance.
Issac: Well, if you compare them to those groups, yes, but you have to understand that NG was an offshoot of Irakere. That the whole cast of Irakere, almost the whole cast, was in NG la Banda: Germán Velásquez, Carlos Averhoff, Juan Munguía, José Luis Cortés y José Miguel Greco. Those five were from Irakere. I think Irakere was the base that NG used to make another kind of music, maybe a bit more danceable than Irakere's direction, which was more for concerts, okay? But using the same elements. It wasn't a new invention but rather a bit was taken from Irakere and that was transformed into NG la Banda, which had a little bit more luck, than say, Opus 13...(which) was doing a similar kind of music. So I think we were successful because of the song selection and because people liked us a lot.
Abel: When you started singing, well, you were singing with Pacho Alonso and then with Tropicana and all those other different groups. Who were the singers that influenced you?
Issac: I always had a lot of influences. In the first place, the biggest influence was Cheo Feliciano and Rubén Blades; I think those were the people I listened to most in doing this kind of music. I told you before I had the fílin influence, but I think that for singing popular dance music, Afro-Cuban music, I think I liked listening to Rubén and Cheo more than anybody. Later I started studying the greats like Beny Moré, Miguelito Cuní and others like Pacho Alonso also influenced me but I already had the big influence of...
Abel: Rubén Blades and Cheo.
Issac: Of those two, yes.
Abel: In your records one can see that you know several genres of Cuban music; in particular, one song that struck me over the years always has been "Los Sitios entero" with NG La Banda, simply because I liked the switch to rumba in the song, the way the different genres were integrated. In terms of rumba, to learn that genre, did you participate in lots of street rumba or was it something you picked up from the environment?
[Editor's note: This song was featured on the second NG La Banda album called No se puede tapar el sol back when records still existed. It's now available in different compilations of NG la Banda material. The song itself refers to rough Havana neighborhoods famous for their rumba players, like Jesús María, Belén and Los Sitios.]
Issac: Well, I believe you're born with rumba. And also what happens is, well, I've never said this but Celeste Mendoza was like a sister to my mother. And she used to tell me I was her nephew...Celeste was like family to my mother; they were like sisters and even looked a lot like each other. And besides Celeste, when they started the first Saturday rumbas in Cuba with the Conjunto Folklórico Nacional, I never missed one. So I was lucky enough to meet some of the old rumberos that were friends of my mother. Los Papines (also) went to my house to jam, understand? So I'll tell you, it was pretty easy because of the access (I had) to those people. I think that's what allows me to sing that genre.
I recorded that tune in one take at Egrem studios when we recorded and I think that happened because I feel it naturally. "Los Sitios entero" was one of the most important arrangements in today's modern Afro-Cuban music; it's one José Luis Cortés' greatest arrangements. I think it's an example to study in schools. It was a classic modern rumba tune.
[Editor's Note: Celeste Mendoza was a talented Cuban sonera who specialized in singing rumba music and recorded noteworthy albums with Los Papines, another top Cuban rumba group. José Luis Cortés was the leader of NG la Banda. An excellent flute player, he also writes and arranges songs, including "Los Sitios entero" and is leading NG la Banda to this day.]
Abel: And a great mambo that he put on it. It was something completely innovative with the spiral style of jazz, that "pirurururé, pirurururé"...
Issac: What happened was José Luis wrote for all the brass like they were two flutes, you know what I mean? And then with the virtuosity all the brass players in NG la Banda had, they could play with that swing with no problem.
Abel: Well, of course, they were los metales del terror. For them it was no big thing to play that kind of complicated mambo that maybe would have given other trumpet players or saxophonists a bit of trouble. Your first solo project was Dando la hora, which came out in '91 or '92. It was different by comparison to the NG tunes, because they had strong numbers like "Los Sitios entero" and in Dando la hora the songs had a style more like salsa romántica. But what's most interesting to me about this record is the fact that you didn't use horns, you used synthesizers. Why did you decide not to use horns in that first record?
[Editor's Note: "Los metales del terror" or, idiomatically translated, the terrifying brass section, was the nickname given to NG La Banda's horn players because of their skills.]
Issac: We didn't have enough money for brass. I think that was the first salsa record made in 1991 with scrap tracks. That is to say, we prepared horn scrap tracks and we put it all in the computer, understand? And I think back then nobody thought you could do that with salsa and Cuban music. It was an innovation and we didn't know it because we were saving money because we had to hire five horn players and didn't have enough money. And so we said "Well, let's see how we can save as much as we can." That was a low-budget, big heart production with top-flight arrangements and musicians playing on it.
Abel: Well, by the time Con ganas, the next album, came out, you had money for horn players, right? Because you clearly hear the horn players, so it looks like things improved.
Issac: Of course, things did get better. That (first) record helped me make the Con ganas record in Venezuela but with horns...we took the horn players who were working with me. But there was already a budget to make a record more decently, although it all was done decently, even the first one, only more cost-effectively.
Abel: That second record also represented a change for you from the artistic standpoint because the first one, Dando la hora, had more or less salsa romántica tunes, but in the second one you worked in some rumba with "Dime tú que lo sabes" and even Nueva Trova elements like the song "Son de Cuba para Puerto Rico" by Pablito Milanés. Was that your idea, or yours in collaboration with Gonzalo, to expand by singing different genres in that record?
Issac: Let me tell you, if you trace my work, I've always had fílin influences, trova influences, and in the first record, Dando la hora, there are Pablo Milanés songs, three songs by Pablo Milanés. There are also two songs by Pedro Luis Ferrer. (Both) are extremely important exponents of this music (trova). It's a record that has only eight tunes and more than 70 percent of that record is trovafied salsa...because I always wanted to use (trova) that way. That's a bit of my personal taste standing out, because I like those kind of lyrics, those kinds of songs. Then when I made Con ganas...people didn't want the same stuff I did with NG but did want me to have harder-edged numbers for dances, for the street, with a bit more brass. It was done with brass and I added the kind of songs I had done in Dando la hora and I also incorporated songs like "Dime tú que lo sabes."
I always feel the rumba complex present in my work because these are things that live with me; it's not something I think about. Actually, in my productions, I've been the one who's picked the songs, thank God, although the musicians have also contributed some very interesting ideas. I think that Gonzalo always has been a vital point in my work, in our lives. We're more than friends. We're family, we're brothers and so, well, I listen to his advice closely, although he's always believed in me when it comes to picking and singing songs...that is to say, the people around me have always had that confidence. I believe that Giraldo Piloto is also (among those people). We had already worked together in NG la Banda. I was one of the first ones who believed in Piloto's songs when he was in NG la Banda and later when he came to my band, I also did Piloto's tunes, which worked well for us. I think that for me, Con ganas was my best seller (and also) my thesis work to enter the (international) music market. I've always wanted to have an important relationship between the music played in Puerto Rico, Colombia, Venezuela, New York and Cuban music.
[Editor's Notes: Pablito Milanés is a famous Cuban singer-songwriter who does Nueva Trova, guitar-based music with varied instrumentation that generally has well-written, poetic lyrics about love and, sometimes, politics. Issac is not the first salsero to cover Milanés' songs. La Sonora Ponceña, Tony Vega and other salsa groups have done Milanés' songs, generally as salsa romántica. Giraldo Piloto was the drummer for NG la Banda and later joined Issac's group, where he played and contributed songs. He later left to form Klimax and has written songs for a number of modern groups in Cuba, including la Charanga Habanera and Bamboleo.]
Abel: With the album Con ganas, it looks like you got a little famous internationally, that is, outside of Cuba, and started recording for RMM. A change is observed in the style of the recordings if you compare Con ganas to Otra idea and La primera noche. What caused that kind of musical change that took place with those albums after Con ganas?
Issac: At some point people thought that there really was an interest on the part of the record company for me to get into the international market, which is logical, because independent of whether or not you make exciting music, they want to sell records. And so we made some attempts to fuse with some musicians from over there, changing the sound we had a little. But it didn't change the group and I think that the changes weren't too radical from my point of view. But people did notice that there was something, some order from RMM for me to do some songs...it was another time; it wasn't my thing entirely as a producer but rather there were lots of people (involved). Isidro Infante was involved, there were (also) other talented artists from the world of international Latin music
We made three records with RMM: El año que viene, Otra idea and La primera noche; three different records but with an international air. The first with many aspects (of the style) of Víctor Mendoza with his Venezuelan sound, the second with a combination effort we made with the people from New York and the other we did in Spain, but thinking of all the things going on there, changing tonalities, adding a guitar, an acoustic bass...That is to say, there were lots of elements. I think those were elements of what was happening at that time, of trying to get into the market, in the public's ears more easily without losing the "Cubanness."
Abel: Still, it seems like you changed again with the album called Exclusivo para Cuba (note: this album was called Rareties in the United States), that had a more Cuban style with songs like "Se te va la mano" and "Pa' que te salves," etcetera.
Issac: That wasn't a change, because actually, while you want to get into the international market, at the same time here in Cuba people were asking for something else because there was another movement inside Cuba, the so-called "timba cubana" (that had) lots of energy with the choruses, the song lyrics were more urban, very much ours, very local. And so I said: "Well, I'm going to make a record that has those ingredients," since I already was performing with those numbers here in Cuba. It was essential to have those kinds of songs (when playing at) dances.
[Editor's Note: "Timba" is the name sometimes used to describe modern dance music in Cuba. Some of the main characteristics of it include the piano montunos, which are usually longer and more intricate than those used in salsa, using drums and timbales to drive the rhythm instead of just timbales and the lyrics, which generally refer to life in Cuba or use specific Cuban slang and sayings. For instance, Issac's song "Se te va la mano" uses the slang phrase "se te va la musa" in the chorus, which means, more or less, "you messed up."]
Abel: So, on one hand, you were marketing your music and changing it in a certain sense to expand, but at the same time there was the pressure from the audience in Cuba because you had to please them too with songs more in the modern Cuban style. That's interesting because if you notice, people like salsa romántica a lot in Cuba But I think that although it's popular and people like songs like Víctor Manuelle's and such, it looks like at the same time that public doesn't expect that style of music from its Cuban artists. They want something with a little more power, with a more Cuban style, right?
Issac: Well, what happens is that the Cuban dancer is too demanding with us, and it's true what you say, that they demand from us; they always expect that there will be some of this. It's true. And almost all of us have gotten used to the fact that although we make a regular record...we have to think about our people and record three or four tunes that will keep us popular.
Abel: Exclusivo para Cuba was with a Cuban label, right? At the same time you were recording with RMM or not?
Issac: Actually, we did that album at the same time, although later RMM licensed that record and brought it out with another name in the international market: they called it Rareties. But what happened with that record...at that time, it's that that record really was exclusively for Cuba, it was only for the Cuban territory. We weren't going to market it outside Cuba and later RMM licensed it because they didn't want us to have another record out there that people would come to Cuba, buy and leave with; also, people started to ask the company about that record...Afterwards I did La primera noche... We had a conversation with Rafi and he understood that I should, that we should think about another kind of music to do. I wanted to make a "free" album with no pressure to make something specifically for the market and then the CD Malecón came out. We made Malecón without a label, understand? We did it here in Cuba with our own money and we went into the studio to record what we wanted to without thinking we'd have to do a recording for a specific record company later. So these records came out at different times with different record companies.
[Editor's Notes: Apparently, what Issac is saying is that he recorded the album Exclusivo para Cuba while under contract to RMM. This album was to be for the Cuban public only, hence the title, which means Exclusively for Cuba. Issac seems to be alluding to the fact that people travelled to Cuba and bought the album and brought it back with them. This interest seems to have sparked RMM to license it and distribute it in the United States under the name Rareties. La primera noche is Issac's last RMM recording, which came out in 1998. Rafi is Ralph Mercado, the owner of RMM. Malecón is the Cuban title of Issac's latest recording, which he apparently financed and produced himself while not under contract to a specific label.]
Abel: So it was marketed in Cuba under one name (Malecón) and later was marketed in the United States ad outside of the United States in Latin America with the title La formula, right?
Issac: Exactly. Well, the original idea was (calling) the record Malecón because you know that for us Cubans...el Malecón is one of our important symbols. And on the Malecón you see many things and that record also has many life experiences, many themes and I think it's a Malecón of things. From there on the Malecón, we were looking back at all of our work of all these past years, we were celebrating my group's ten-year anniversary from '91 to 2001 And coincidentally it was the 100th anniversary of the Malecón. So the Malecón was turning 100 in 2001 and we made it then, it was almost a tribute though we didn't plan it that way. It was a coincidence.
I'm very pleased with this album. It's been my best-selling record in this country and I'm happy. I think it was worth making the effort we made in making this CD. It also brought us a lot of joy because it was also nominated for a Latin Grammy....And, well, it was a reunion of musicians who for years hadn't worked together very much. I went and called Gonzalo, like always Gonzalo was here. José Mendoza worked from Venezuela, that is to say, a group of us got together. And for the first time I worked with an arranger like Juan Manuel Ceruto who's an excellent musician, recognized as such for a long time; he was the leader of Opus 13. And I think a lot of things have worked to make sure Malecón had all the ingredients people liked.
[Editor's Notes: José Mendoza was the engineer who mixed the CD and Juan Manuel Ceruto is a composer, arranger and saxophone player. For years he was the musical director of Paulo FG y su Elite and arranged many of Paulito's big hits. He and Paulo were both in the group Opus 13, a fine dance band from the late 80s. This group later became the "elite", Paulo FG's band, after he left the group in 1992.]
Abel: And the interesting thing is that in that record you really didn't change your style, in other words, it was more like the style of Exclusivo para Cuba. You didn't try to achieve the commercial balance from before. Because there are numbers with lyrics that you have to have been raised in Cuba to understand. Still, you had more international success with your own style.
Issac: Yes, it's something paradoxical and incredible , isn't it? Sometimes you do a recording thinking one thing and something else comes out. It's that music is like baseball, the ball comes in a square box. It's round and comes in a square box. You never know what's going to happen with a record. We actually did it to do a good job musically without having a pattern of a certain type of music in mind.
Abel: Now I have a few specific questions about the tunes on that record because some of them are things that strike me as curious and maybe people didn't understand them, either. So I'm going to ask you about "El solar de la California." What in particular inspired that number? What are they talking about in that song?
Issac: Well, look, around two years ago, Juan Formell wrote me the chorus to that song. He had promised me that he was going to write me a song and he had shown me the chorus: "Voy contigo al solar de la California de la calle Crespo bitwin San Lázaro y Colón." When he did this, every time I ran into him, I was always asking him: "Did you finish the song for me?" And he never finished it for me, but since I'm an admirer of Los Van Van, of Juan Formell and his work, and I've studied it a lot, I told him: "Well, if you let me, I'll do the song and you give me the chorus." So I went to his house and he recorded the chorus for me. I did the song because in Cuba there's a solar, the California solar; it's a solar where Chano Pozo used to jam. But logically, a lot of people live in that solar, and there are a lot of things there and, actually, I think it's a snapshot of Havana. It's also a tribute I do to Juan Formell in the song because I think he's the best and most complete chronicler in Cuban music.
[Editor's Note: A solar is a place where a lot of poor people live on top of each other, roughly similar to what are called favelas in Brazil. Sometimes a solar can be one long building of one level with several rooms in which many families live or in other cases it can be the ground floor of an old-style colonial mansion. Living conditions are cramped and the conditions are generally unsanitary. Rumba music was often played in solares in Cuba at parties which sometimes ended violently with stabbings.
That said, this is historically how solares have been. I have not been to the solar called "California", which is a real-life solar that Issac is singing about in this tune, so I have no idea what the conditions are like there or what modern-day solares in Cuba are like. Given that even in nice-looking houses in modern Cuba people flush their toilets using buckets of water, my preliminary guess is that contemporary solares would probably not be easily confused with Disneyland.]
Abel: So it started with the chorus and then you went and added the other elements in the song to pay homage to the solar that's on Crespo street between San Lázaro y Colón?
[Editor's Note: Cuban addresses are generally given as street A between streets B and C. So in the song, he's actually telling you exactly where it's at so you can go see it for yourself. But they're not big on having street signs in Cuba, so good luck in finding it.]
Issac: Exactly.
Abel: And you're talking about going down 23rd street and that's the "line of fire" (la línea de fuego). What are you talking about there?
Issac: Well, the central street of El Vedado before getting to Central Havana, where the solar de la California is, is 23rd Street. And on 23rd there's Coppelia, the Habana Libre hotel, there's a movie theater, it's the place with the most activity, the heart of Havana. And so to know Havana, whoever doesn't know that little part of L and 23rd streets, well, hasn't been in Cuba, hasn't been in Havana. So from there I created some images, maybe my life experiences or those of other people, maybe, but I created those images so people will know what happens there, even though they'll only get to know a little.
Over there all sorts of stuff happens, understand? Women pass by there when they come from the university, over there people walk, over there...I don't know; it's like saying the center of Broadway in New York; that's our center. And I think that to know Havana you have to know all those little sections. Because of that I created a combination of all those places to get from there on foot to the solar de la California.
[Editor's Note: El Vedado used to be an upper-class neighborhood in Havana. These days, you still see some nice houses there. Coppelia is an ice cream parlor with pretty good ice cream but VERY long lines in the summer. The movie theater is called Yara and shows both Cuban and international, including American, flicks. The whole area is very busy and congested.]
Abel: Okay. I had another question about the song "Malecón". I know that song isn't yours; another composer wrote it. But in it you're talking about "my heart is screaming for Pedro and my grandmother". What are you talking about there? What did the composer want to say with the lyrics of that tune?
Issac: Well, in that tune I wanted to pay a little bit of tribute to many Cubans like him, like the guy who wrote that song, who's a very important Cuban actor, who's one of the best Cuban actors. His name is Alberto Pujol. He's been living in Colombia for the past three years and acting on Colombian TV, and when you're away from your country you miss a lot of things. You miss el Malecón, you miss all the things talked about in the song: a palm tree, you miss a mulata, you miss the things you'd least expect, it's the yearning that you feel for your country and your customs.
I was also living for a year and a half in Spain and I think there was a common ground between us. I was looking for that song. I said, "Well, I'd liked to do a song based on the kind of experience when you're out of the country and missing your grandmother, your friends, your girl." So I think that's part of the storytelling of the song. And well, more than anything, when I learned he had written that song, I went and looked for him. He sang it for me, and from the first moment I heard it, I said "This is my song (for the record.)" Because I knew I could sing it and I could get into the song to express it the way he had.
Abel: In spite of the controversy with the Grammys in Miami, they nominated you for a Grammy and now there seems to be a bit more acceptance of Cuban groups in comparison with a few years back. Do you think the walls are breaking down a bit?
Issac: Ajá, it's possible, it's possible. After the Grammys I haven't had the feeling that I'll be playing there yet. We had some festivals that we canceled because of work problems, because of flight problems to travel. And so we decided to stay here until next year. We're going to go out on tour again. We may tour the United States at the end of May or early June.
And I'll think it'll be an interesting period. There we'll be able to see how this material worked. I think it has worked well because in the places we've played before, people already knew the tunes. I think it's an opening for our endeavors.
And now, with a lot of effort, I'm getting my new record ready. I'm doing two things at once; I'm getting my record and another production ready. This year (2001) I produced a record for Haila, a Cuban singer who was with Bamboleo, then Azúcar Negra. Now she's starting her career as a solo artist and I just finished producing her record. And I'm very happy with the way it came out and I'm going to produce two more records besides mine next year for a series of Cuban artists that I feel deserve a record produced for them.
I don't want to announce it yet until we start recording in March. I'm going to record my new record in February, in March I'm going to record the one for the Cuban artists and I'm also going to produce a record with my family. I want to make a family production of traditional music, trova music and stuff like that. So those are the productions I have in store for next year. Let's see if again I'm lucky enough to hit with the people and that people like our work.
Abel: So, the record for Haila (Haila: a Tribute to Celia Cruz on BIS Records) you produced is the tribute to Celia Cruz?
Issac: Yeah. One way or another I was lucky enough to be in Spain performing with my band and RMM asked me to work with her (Celia Cruz), to accompany her. We did some carnivals in the Canary Islands, we were on some TV shows together in Spain and from there the idea was born. Basically, I picked songs that were really well sung by her, very well interpreted by her, but I think I couldn't have made that record if there wasn't...someone who could do justice to those numbers with the dignity that Haila did. I think that Haila is the best sonera that we currently have in Cuba today. I think she has a new voice, a very crystalline voice like Celia Cruz had when she came out.
Abel: And there was no worry about the comparisons that could be made between Haila and Celia, Celia being the musical icon she is and being so famous?
Issac: No no. I think that when things are done with dignity, with honor, and, most importantly, when they're well sung, very well sung, well, if you know about music...you'll know this was a worthy recording that's not being done to make comparisons, but rather to show that another Celia Cruz was born in Cuba. Understand? There's another.
Abel: With regard to the other singers whose projects you're producing, who are these people you're helping to come to light?
Issac: No man, it's a surprise, honestly, it's a surprise. Right now I'm gathering the songs and music and talking with them and coming to terms with them. So I don't want to reveal it yet, but I think it's going to be a big surprise for all the Latin music audience.
Abel: Cool. And with regard to the new record, are you also in the process of picking the songs and such to start recording in February?
Issac: Exactly, exactly. I have almost all the song selection down; I'm picking to see which ones I keep.
Abel: And with regard to that, I had another question. How do you go about producing a record? How do you pick the numbers, how is that process in which you find the tunes or write them and such? How does all of that work? What's the collaboration like when you produce a record?
Issac: I think what you have to have clear first, is what you want to do. And then from there you get the style of music that you're going to adjust, pick the composers, pick the musicians. Sometimes in companies I think it's different because there you have the producers in charge of that, but in my case, I look for them and start looking for ways to compare similar things to each other to produce a record. From there you start doing the musical arrangements or prepare the scrap tracks.
Abel: And what are the scrap tracks, then, to understand that term well.
Issac: The scrap track is like...sometimes you do a piano part, you put it into the computer and there you pretty much know what you want. Then you do the performance and you add percussion that isn't real but you now have an idea of how the thing will sound. Sometimes you do that, other times, in my case, I don't do scrap tracks very often but sometimes there are tunes in which I do, you do a scrap track because you're still unsure and you want to see how it'll sound in the studio. Although there are arrangers you trust who will give you something good to take to the studio, right? It's good; maybe you'll take something out of it and add something else. But I think in the international music world people work with scrap tracks, that is, you work on it beforehand and then you know how it'll sound when you go into the studio.
Abel: And, of course, before going into the studio you have to rehearse a lot with the group, right?
Issac: Depending on what you do...there are musicians that can sight read in one shot in the studio, but if you want a little more flavor and do it with your band, then you rehearse it beforehand, then tighten it up a little, rehearse, maybe try it with the public. They are really different ways of approaching it.
Abel: So in some cases you premiere numbers with the people before recording them to see how people react and then you can polish them from there?
Issac: Sometimes we've done that.
Abel: And when you record, do you record all together or record one section separate and another section on another track? For instance, the percussion first and then the horns and on top of that the vocals? Or do you record it all together or does it depend on the song?
Issac: Generally, if you want to record really cleanly, you do it in sections. Other times you'll record all together and keep that all-together vibe and clean up a few things. It's also all according to the producer, how he feels, how people interpret it. I think are different variants; in all these aspects of producing a record people have their scripts they follow and you have to slowly try some different ones.
Abel: When you produce a record, which do you prefer, recording in sections or recording all together? What's your approach in this regard?
Issac: Up to now I've recorded in sections. I record by section because I like the sound to be really clean.
Abel: So you're not worried that you'll lose spontaneity in the record or anything like that...
Issac: No, I think that from when you record the base, if it's a good number, people add flavor to it, they put the vibe that you want to achieve from when you start rehearsing the tune with the percussion, the base section. What's essential for me is the rhythm section: piano, bass and percussion, for that to be really tight, afincao, like we say, right? If it has that tightness, well the rest will come out with the flavor you want.
Abel: And another thing, in terms of composing the songs and such, I've also been curious because Cuban songs are different from the ones here because they have multiple choruses instead of one or two like in salsa romántica. The songs become hits because the chorus sticks in people's heads. When you compose, do you start with the chorus or with the initial part of the song and then come up with the chorus? How is that process?
Issac: I think the same thing happens to almost all composers. Sometimes the chorus comes out first and other times you have the main stanzas and can write them and then say "Look, I need a good chorus." It's the mood you're in; maybe sometimes a chorus will come to mind, then another, another and another. But, for example, I told you the chorus was already done for "La California" and then I did the rest. And in other cases you do it backwards.
Abel: So it all depends. And with the guías in the studio, is that something you improvise or you actually have it rehearsed, more or less, before recording?
[Editor's Note: Guías are the phrases the singer sings between the repeating choruses. They are also called soneos or inspiraciones. Tradtionally, they are supposed to be improvised on the spot, the singer creating both a new lyric AND a new melody to go along with it. Only the very best soneros do this.]
Issac: No no no, that definitely is more improvised. I think that with that, in this music, that should be very spontaneous. I think that comes out in the studio.
Abel: So when you go in to record, you really don't have what you're going to say in mind, but rather, when you start getting the flavor of the song, you say...
Issac: Exactly, exactly.
Abel: It's different from the way people work here because I've noticed that some of the salseros from over here write the guías before starting to record and sometimes you lose a bit of the flavor with that approach.
Issac: Most of the time, 90 percent of the time, I come up with them in the studio. We start writing some ideas and then record. It's something that comes out; maybe you'll be hearing the music and while you're working like that, maybe something will come to you. Sometimes some musicians also start singing guias of songs and they come up with interesting things.
Abel: So to finish up, can you tell us a little bit as to whether you have a concept or what the style will be for your new record and when we can expect it?
Issac: Well, I can only tell you upfront that I'm going to make a record of songs by authors of songs that are already well known. That is, I'm not coming to come up with anything new...I'm going to do almost the whole thing with versions of Cuban songs from a period of Cuban music that I feel was very important in my development, in my career. It's going to be a joint effort because New York musicians are coming here to record with me. I think it's going to be a happy encounter because these are people who I've wanted to work with for a long time and I've never worked with them and I'd like to be lucky enough to have them here with me. And, well, supposedly the recording will be in the month of February.
Abel: The month of February. So when will the record come out, springtime, then?
Issac: I think that by summer it'll be out.
Issac: Thanks, man.


text:
An (Organic) Apple a Day + The Best Applesauce Recipe
What should I buy organic if I'm on a limited budget?
As a kitchen coach, I probably get asked that question more than any others. If I'm in an expansive mood, my answer can quickly veer into eye-glazing territory. I'm pretty passionate about organic food and tend to get long-winded when discussing things like the Dirty Dozen and Clean 15, the reasons why we want to avoid GMOs, the potential health risks of chemical pesticides, and, finally, how to clarify priorities since organic can be expensive.
But if I'm ever pressed to pick one single food to buy organic, the answer is quick and easy: apples.

subset: commoncrawl


text: I have a Vita Alure LC500 spa, purchased 12-2001, and all seems well except it won't heat. The little Heat pump circulates the water, the other two large pumps run, although not all speeds. The tub is just cold. The main panel indicated the heater is on & the temp is set to 104. It's just cold. So I'm inclined to suspect the ovboius conclusion that the heater is dead. My trouble shooting page in the manual indicates there is an error code for a bad heater, am H1 or H2 error code, but I do not see any error codes on the display. Is there a possability another component could cause the heater to not turn on, maybe a cheap fuse? I'd hate to but a new pump only to find out if there is another issue, afterall if the heater is dead shouldn't I get the error code?


text: Do you have problems with your paintball mask fogging up? Some times thermal anti fog lenses are just not enough. This paintball goggle fan is the solution for you. The Haber Eliminator Goggle fan is unique as far as goggle fans go in that it has a humidity sensor which turns the fan on as needed to keep your vision crystal clear. It is smaller and lighter than the JT Vortex 2 Goggle Fan, using just one AAA battery. Check it out. We have a great video of it up explaining how it is installed.


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|When the Stash Attacks:
Creative Techniques for Concealing Your Yarns
As I write this, we're entering the second week of January, and many of us have already broken our New Year's resolution to stop acquiring more yarn.
But why fight it? If you've already maxed out all the visible storage space in your home and are desperate for more, it's time to take some... um... creative measures.
What follows are some tried-and-true techniques for squeezing yet more yarn into your life. Best of all, nobody else in your home will be the wiser.
The most modest proposal of them all is also the simplest. Most of us have one or two empty suitcases that—no matter how broad our travel dreams—never seem to go anywhere.
If you haven't already filled them with yarn, stop reading this right now, grab some yarn and a moth repellant of your choice (cedar is always a good choice) and stuff those suitcases!
Artful Appliances
Nothing says, "There's no yarn in here" like a non-functioning appliance. Have a dead dishwasher, stove, or refrigerator you can't bear to part with? (Heck, even a non-functioning car will do.)
Pack your yarn well, so that any lingering odors from the appliance don't permeate your precious fibers, and stuff away.
The only drawback here is if your significant other decides to dispose of the appliance without your knowledge. If this is a risk, read on for more options.
Fibers in the Firewood
The more firewood you have, the greater the yarn storage space at your disposal—especially if you're the only person who retrieves firewood from the wood pile.
Simply put your yarn in a large rubber tub for protection. Then use the wood to build a fake wall around the tub. Presto, instant mini-knitting room!
Fabulous Fakes
If you tend to garden during the warmer months, use this to your advantage. The next time you go to your local garden center, get a few extra bags of composted cow manure.
Empty the bag onto your garden, wash it out well, and bingo, another guaranteed hiding place for your yarn. When was the last time anybody voluntarily peeked inside a bag of composed cow manure?
Variegated Vegetables?
Speaking of decoy bags, this technique also works well on a smaller scale in your kitchen. Simply go to the frozen vegetable aisle in your local grocery store. The more generic and unattractive the bag (and the vegetable), the better.
Once you've done away with the vegetables, wash the bag and stuff it with extra yarns. Put it back in your freezer, where it is sure not to be disturbed by even the most curious appetite.
For similar results, you can also wrap small amounts of yarn in butcher paper and write "liver" on the outside.
Gender Games
If you're a woman and your housemate isn't, play the gender card to its best advantage: Go to Sam's Club or another similar bulk discount outlet and get the biggest box of sanitary napkins you can find.
Do away with the napkins (as women tend to do), but keep the box. Your yarn will be absolutely safe inside, and nobody will be the wiser.
This also works in households with multiple female knitters—mothers and daughters, for example—who need to conceal their joint purchases from the a male party.
Men who knit, fear not—the gender card works just as well in the other direction. Most women aren't likely to look inside a box of bulk hose clamps or latex foam sealant.
Likewise, they may not regularly look in your tool chest. (Never mind if you have no tools, just go out and get a tool chest so you can stuff it with yarn.)
For men and women alike, empty paint cans that have been cleaned provide a fantastic and foolproof (not to mention moth-proof) hiding place for your precious fibers.
Other Box Bluffs
Empty cereal boxes present a marvelous yarn-storage opportunity, but only if you pick the right cereal. Sweet, colorful cereals pose too many risks for discovery, since nobody can pass up a bowl of milk-coated sweetness now and then.
But stuff your yarn in a box of sugar-free bran flakes, on the other hand, and your stash is safe for one more day.
Couch Capers
So you've tried these other techniques to no avail. Desperate times demand desperate measures.
We've already heard of stuffing yarn under and behind large pieces of furniture, it's time to turn the furniture into its own storage device.
That's right, unzip your cushion covers, remove the stuffing, and replace it with your yarns. Everybody knows couch cushions get lumpy over time, and only you need to know the cause.
Yarn doesn't enjoy being sat on for too long, so be sure to rotate your stuffing every few weeks.
Spare Tire or Spare Fiber?
If "nothing comes between me and my yarn" is your motto, and you don't mind living a little dangerously, read on.
When was the last time you actually used the spare tire in your car? Just think of all the space it takes up... space that could be used for valuable fiber.
Just be sure to keep a cell phone handy and your AAA membership current. If your car ever breaks down, simply pull over, pull out a new project, and wait for help.
A Friend in Need
If your stash problems center more around justification than actual storage, it's time to call a friend. A knitting friend, that is.
Nothing diffuses the question, "You bought more yarn?!" like the answer, "It's not mine."
For the sake of this example, we'll call her Lily, and we'll assume that she has an unsupportive spouse. All you need to do is say, "You know that husband of hers, she can't do anything for herself. So she asked me to hold this for her, just for a little while."
Meanwhile, Lily can be storing your yarn, making the same explanations, and nobody's the wiser. The only problem is that your stash is at somebody else's house, so make sure you include visitation rights while negotiating the arrangement.
If All Else Fails...
If you've tried everything else and still have too much yarn to hide, I have two final words for you: storage unit.
Depending on where you live, a small unit will run you $30 to $60 a month. Consider it your little secret, a home away from home, your very own fiber room.
Drawbacks center mostly around smell, because most storage places tend to smell of mothballs. But it's a small sacrifice for complete peace of mind.
Do you have other techniques? Share them in the stash management thread in our forums.


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micoach is all you need to get the results you want.
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The quality of the jacket is good. Fabric is smooth and soft. I am 5'4 107, long arms, ordered small. Fits good, falls on upper hip, sits snag on it but not tight. The color is not what shows the picture. It's hot pink. I like the jacket but have to return it or give away as a gift. ... read more
The package came in within the 4-7 days as they said it would. Jacket fits great, not too big or tight on the sleeves, great even if you have a long or small torso, the color goes great with everything, feels like sturdy material, so it wont rip after alot of washes. Def would recommend for the up coming fall season, early winter season. ... read more
Although the quality and fit of this jacket is wonderful, the color is not at all in person what it appears online. I ordered the pink version of this jacket expecting the website's lovely light pink/salmon color, but man was I surprised when the jacket arrived. It's literally neon bubblegum pink. the brightest pink ever. if you're ever on an airplane and see a pink spot below, that's me wearing this jacket. Anyway, I'd recommend the jacket but have to return based off this horrid pepto bismol color. ... read more
Love this classic Adidas jacket - grew up wear them to basketball practice and STILL love the fit and construction. I like my jackets a little roomy so I can wear a little something underneath - so at 5'4" 130lbs a medium is my fit choice. I like that the jacket and pants are not a total match - complementary but not matchy-matchy. The fabric is top notch - pant and jacket will last for years - mine are a testament to that. No color fade, no shrinkage. I have several .. in all colors... mix and match. Can't beat them! I prefer this to the yoga look... don't need to look like I'm running around in long johns, thank you very much. ... read more
I bought this jacket as a yule gift for my wife this year, so she may wear this to and from the gym. She was very satisfied with the size, color, and quality of jacket. The bottom of jacket does fit a little snug, but it will help keep you warm after a workout. ... read more
The adidas 3 striped jacket shows respect for women athletes by making their women's sportswear quality and cut to fit a serious woman athlete. No clothes for air heads here folks, like another famous brand I could name! ... read more
I brought the entire outfit (gray with blue stripe). The jacket fit me very well and the pants fit good also. If you have hips I would suggest a larger size for the Jacket. I brought a size small and I am 5' 2" 136 pds. I didn't think the material was heavy as I have read, you can wear this all year round. I wore leggings underneath for the winter and I was fine. The bottoms also were not as big as I read, they do fit a tiny bit loose but if you have some hips & butt it will be a great fit. I will buy other colors! ... read more
Purchased as a gift. It was not what I expected and the collar was white not all black like the picture makes you think. Dissappointed with the final product and now have to return and pay shipping, not cool. ... read more
I was so excited to find trico fabric and not a knit that hugs every curve. I ordered the three stripe pants in 2 colors. I love them both and looking forward to wearing them as I get back into shaoe. I tried on a pair of my sister's while visiting in Illinois so I knew they would fit. I looked locally but could not find except in the skinny leg. So I went on line to adidas.com and read the reviews. I should have ordered the matching jacket in XL after reading reviews but didn't so I am returning the large and waiting for the XL. I am confident I will like it. Thanks Adidas Could be a tiny bit looser in the hip area. ... read more
Well made, first of all. Adidas is known for that and that's one reason why I stick with that line. Also as others have stated you can throw this on and ... whatever tasks of your day this jacket is great. Goes with anything. The fit<<< ahhhh yes. :) me likes... I added my own small shoulder pads for a more tailored look. It looks expensive... :) Take care in laundering and you'll have it for years to come. You can wear blue jeans no matter what style (carpenter, shorts, skinny etc). I wear Sketcher shape ups and my look is comfy. :) Au revoir ... read more
I cannot imagina how anyone could exist WITHOUT these Adidas jackets. I wear them all the time. So far I have just four of them, two black, one white and one yellow, but they won't be the last, and I am eighty three years old! ... read more
Ordered a small and it fits nicely with some give in the body/bust area, but is still fitted enough to look great. Love the yellow color with the dark (DARK) NAVY stripes. I thought the stripes were black when I ordered but the colors mix well, anyway. Reminds me of Kill Bill, which is a lot of why I ordered it. :) ... read more


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BARBOURVILLE, Ky. - Three members of the Union women's basketball team made the 2012-13 Capital One Academic All-District College Division Team, selected by the College Sports Information Directors of America, as a representative of District 4.
Seniors Lindsey Waters and Laura Perkins as well as Marah Rice eached received the honor. This is the first time either has been named to the Capital One Academic All-District Team.
A psychology major from Stearns, Ky., Waters leads the team in scoring (16.8 points per game) and rebounding (9.2 rebounds per game). She leads the Appalachian Athletic Conference in double-doubles with seven and ranks second in NAIA Division II in total blocks (72) and third in blocks per game (3.429).
An athletic training major from Myra, Ky., Perkins is averagine 5.3 points and 2.7 rebounds per game this season. She also has 45 assists and scored a season-high 16 points against St. Andrews (N.C.) on Nov. 28.
A mass communications major from Scottsville, Ky., Rice is averaging 2.9 points and 1.3 rebounds per game this season. She netted a season-high 10 points against Columbia (S.C.) on Jan. 12 and has dished out 20 assists on the year.
Waters, Perkins and Rice are three of 12 players named to the Capital One Academic All-District 4 College Division Team. District 4 is made up of NAIA and two-year schools from Arkansas, Kentucky, Louisiana and Tennessee.
The Lady Bulldog trio will now move on the national ballot, which will be voted on my a select panel of CoSIDA members by Feb. 12.
Union is 15-8 on the year and 8-5 in conference play. The Lady Bulldogs play host to Virginia Intermont on Saturday. The AAC contest is set to tip at 4 p.m.


text:
The day after: 2012 Election front pages
POSTED: 11:14 AM MST Nov 07, 2012 UPDATED: 09:47 AM MST Nov 07, 2012
Some newspapers found creative ways to announce the re-election of President Barack Obama.
The views expressed are not those of this company or its affiliated companies. Please note by clicking on "Post" you acknowledge that you have read the Terms Of Service and the comment you are posting is in compliance with such terms.blog comments powered by Disqus


text:
Company's distributors donate to fund to feed hungry children
Published: Tuesday, October 1, 2013 at 9:50 a.m.
Last Modified: Tuesday, October 1, 2013 at 9:50 a.m.
It Works! Global distributors have donated $150,000 to Children's Cup to feed more than 60,000 African children.
Through Children's Cup, a nonprofit organization founded in 1992, a $5 donation can feed two children for about four weeks.
The donation was made at the It Works! quarterly conference last month in Seattle. Mark B. Pentecost, CEO of the Bradenton-based company, and his wife, Cindy, personally matched the distributors' donations.
"A little can go a long way and It Works! is proud to support a cause that is making such a difference in kids' lives," Pentecost said.
To help raise the money, It Works! sold "Give Hope" bracelets for $5 donations, and the bracelets immediately sold out.
In June, the Pentecosts traveled to Africa to meet some of the children who benefit from the It Works! Gives Back program that works to make a difference through financial, practical and emotional support.
The It Works! corporate team also recently hosted a 5K event and raised more than $18,000 for two other nonprofits, Selah Freedom and the National MPS Society. At the annual convention in January, It Works! adopted 800 children through donations to Food for the Hungry.
It Works! Global is a consumer lifestyle direct sales company that offers a variety of products sold through independent distributors.
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:
Kansas State Wildcats 2012 NCAA Men's Team Shorts
Be the fan from head to toe with your favorite NCAA team gear on. The NCAA team shorts are made with a lightweight ribbed nylon material to keep you cool and dry. Cuffs and side panels are accented with contrasting team color. Team logo embroidered on the lower left leg.
- Show off your favorite NCAA team by staying comfortable in the NCAA 2012 Team Shorts.


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Speed Dreams is a Motorsport Simulator featuring high-quality 3D graphics and an accurate physics engine, all targeting maximum realism. Initially forked from TORCS, it has now reached a clearly higher realism level in visual and physics simulation, thanks to its active development team and growing community. It mainly aims to implement exciting new features, cars, tracks and AI opponents to make a more enjoyable game for the player, while constantly pushing forward visual and physics realism. It is also intended for any research, study or teaching activity, around physics and AI, thanks to its GPL V2+ license, and the clear and modular architecture of its C/C++ code base.849 weekly downloads
cloc (Count Lines Of Code) counts, and computes differences of, comment lines, blank lines, and physical lines of source code in many programming languages. cloc is now being developed at https://github.com/AlDanial/cloc791 weekly downloads
Uncrustify Code Beautifier
Banish crusty code with the Uncrustify C/C++/C#/D/Java/Pawn source code beautifier. It indents, adds newlines, aligns, etc, and is highly configurable.622 weekly downloads


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Over 20 million people have passed the GED® test and earned their high school diploma. You can too!
Most graduates, working at their own pace, earn their diploma in less than 3 months
Create an account! Get GED® study materials and take a practice test. Access information on the test, step-by-step guidance, and tips for after you graduate.
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3.9-27 Public Nuisance -
Intentional or Negligent
Revised to January 1, 2008
A public nuisance can be created
intentionally or negligently. A nuisance is created intentionally if the
creator of the condition intends the act that brings about the condition. It
does not mean that the creator intended a wrong, or intended an injury to occur,
or even intended to cause a nuisance, but merely that the one who created the
condition intended to act as (he/she) did.
If you find that a nuisance existed
and that the act that created it was an intentional one, then this is called an
absolute nuisance, and the creator of the nuisance is held strictly liable.
That means the creator cannot claim comparative negligence on the part of the
plaintiff as a defense, but must be fully responsible for any damages you find
were proximately caused by the nuisance.
If you find that a nuisance existed
and that it arose out of the creator's unintentional but negligent act -- that
is, the failure to exercise due care -- then the resulting nuisance is called a
negligent nuisance. That means that the creator is entitled to claim, and you
may consider whether, the plaintiff contributed through the plaintiff's own
negligence to the injuries (he/she) suffered.
See Quinnett v. Newman, 213
Conn. 343, 348 (1990), overruled on other grounds by Craig v. Driscoll,
262 Conn. 312, 313 (2003), and 4 Restatement (Second), Torts § 825 (1979) for
discussion of absolute nuisance.
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State of Connecticut Judicial Branch


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15. more info at mailorderwives.tk Real estate is "property consisting of land and the buildings on it, along with its natural resources such as crops, minerals, or water; immovable property of this nature"
All our properties are highly valuable and with a constantly raising price.
Usually all these articles boil down to the fact that the right to sell the apartment itself is very difficult and risky. And the third is the purchase of apartments for permanent residence.+More
Read our articles, regarding some valuable real estate hints, tricks & solutions.
Our Database includes foreign properties in Europe, Asia & Australia.
Bought housing in good areas of these places are easy to rent and make a profit. To purchase the selected object, you can use several options.+More
Oct 24, 2014
Not legally savvy person in this case it is better to consult specialists in this area, which will help to avoid potential fraud. . More
Oct 22, 2014
How to buy a house we'll talk another time, but today I'd like to elaborate on the topic of how to sell the apartment and how to sell the apartment without Agency assistance. . More
The main regions in which real estate is an attractive investment, are considered to be the resort all the regions situated on the shores of the Mediterranean and the Aegean sea, as well as the city of Istanbul.
Carefully check not only the condition of the utility bills, but also the presence of consent to the sale of all, having the right to housing.+More


text:
(Comes with iLife bundle on new Mac purchases, no demo avaliable. $79.00 is price of iLife bundle.)
GarageBand is a software application that allows users to create a piece of music. It is developed by Apple Computer for Mac OS X.
The application is not aimed at professional musicians, but it is intended to help amateurs produce music easily. The application comes with 1,000 pre-recorded sampled loops, and 50 sampled or synthesized instruments which can be played using a MIDI keyboard connected to the computer, or using an on-screen keyboard.
Required OS: not specified
Tags: music , record , ilife , productivity
4 Opinions
You can't get better than this.
Even Bono (U2) uses it.
Makes a great companion for Logic Pro. I sketch my songs in GarageBand and do the final cuts in Logic.
Fastastic tool to compose music. I "migrated" from Logic 5.5 to Garageband 3 and I must say I am very satisfied.
Very nice and simple to use. However, I do think the interface took a step back from version 2 :(


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The Sleepy Eye fast pitch softball teams were unsuccessful at the State Tournament last weekend.
The Sleepy Eye 18U team went 0-for-2 at the tournament in St. Cloud. The team competed in the Tier 2 bracket, along with more than 15 other teams around Minnesota. Sleepy Eye was eliminated after it lost to both Buffalo and WMT Black. The Duluth Thunder team took the championship title, going undefeated at the tournament.
Meanwhile, the 16U Sleepy Eye team traveled to Mankato and competed in the third tier. The team's first game was a loss to the Spartans, which brought them to the losers bracket. Sleepy Eye would have faced the familiar team of Essig, but Essig had to forfeit. This advanced Sleepy Eye to face against the Mankato Peppers, only to lose. The winner of the Tier 3 category was Hopkins.
Last but not least, the 14U Sleepy Eye team also competed at State, but unfortunately lost two out of their three games as well. The athletes traveled to Mounds View, where they beat Maple River 9-6 to start off the tournament, but then lost to St. Paul Highland Navy 2-10 which brought them to the losers bracket. Sleepy Eye had one last chance to advance in the bracket, but lost to the Hopkins Royals in a close 9-10 game. The title of the Tier 4 category went to Apple Valley Gold.
Location, ST | website.com


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See who's on BlackSingles.com:
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octate52 is a 64yr-old single man in Pickering, OntarioView Profile


text:
AUSTIN (January 10, 2013)--A bill filed Thursday in the Texas House would restore all of the $5.4 billion cut from the state's public schools in 2011.
State Rep. Lon Burnam, D-Fort Worth, the bill's sponsor, says Texas' rosier economic picture means there's now funding to undo the cuts, which the Texas Legislature approved during weaker economic times.
More than 600 school districts have sued the state over the cuts and if the courts side with them, it will be up to the Legislature to remake Texas' funding system, but no ruling should come until after the Legislature adjourns for the year.
Burnam said Thursday that the cuts cost some school districts up to nearly $1,200 per pupil.
Also, more than 10,000 teaching positions were eliminated, and class sizes increased in nearly 7,000 elementary classrooms.


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|Short Description
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|ChaLEAN Extreme®
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text:
Variety reports that Lord of the Rings team Peter Jackson, Fran Walsh, and Philippa Boyens are in talks to direct the adaptation of Alice Sebold's bestselling novel The Lovely Bones.
These literary adaptations are always tricky business. Unless they slap some prosthetics on Nicole Kidman or get Zelleweger to pork up, they're iffy at best. And this is a movie about a murdered fourteen-year old girl. Maybe Miramax can get the rights and Harvey Weinstein can convince Lindsay Lohan to come down with an eating disorder?
- Jackson team bones up on 'Lovely' [Variety, sub. req'd]


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The first notice of an upcoming super event for the society and Wood County this August is included in this email from the Quitman Public Library. More details will be made available as we can put together our event plan. We hope to make this available to our members, the general public, and members of other genealogical societies in the area.
Event: Quitman Public Library and Wood Co. TX Genealogical Society present "The Genealogy Guys"
Date: Friday, August 5, 2011
Time: 9:00 AM – 5:00 PM
Place: Thurman Shamburger Community Room, Quitman Public Library, 202 East Goode Street, Quitman TX 903-763-4191
Desc: The Genealogy Guys are two avid and enthusiastic genealogists who want to discuss all facets of genealogical research. The Genealogy Guys are George G. Morgan, internationally-recognized genealogy expert, author, and lecturer and Drew Smith, MLS, instructor at the School of Library and Information Science at the University of South Florida in Tampa.
More can be found about "The Genealogy Guys" and their bios by scrolling to the bottom of the page at www.genealogyguys.com. The society is planning this as a very large event since this coincides with the Old Settler's Reunion.
Stay tuned right here for more details.
Filed under: Events, Programs, Workshops Tagged: | Morgan, Smith, The Genealogy Guys


text:
Vintage Toledo Bar Chair
$399 Regular
$299 Member
Our perfect reproduction of the classic vintage-inspired draftsman's chair pairs industrial steel with the warmth of wood seating.
Show Details +
- Overall: 17"W x 19"D x 36½"-42"H
- Seat: 17"W x 16"D x 25"-29"H
- Weight: 20 lbs.
Shown in black and polished chrome.


text:
Banana Blueberry Pancake Squares
24 minutes ago
Looks yummy....especially with those triscuits. Yum, with rye triscuts! (yeah, I was eating those all day yesterday. lol)
HoneyB... definitely love those rye triscuits!
LOL - very nice poem! The cheese dip sounds great, too... I love triscuits!
Jen..lol, I know... don't quit my day job, right? Thanks for stopping by!


text:
The Massachusetts Comprehensive Assessment System (MCAS) is designed to meet the requirements of the Education Reform Law of 1993. This law specifies that the testing program must test all public school students in Massachusetts, including students with disabilities and limited English proficient students; measure performance based on the Massachusetts Curriculum Framework learning standards;report on the performance of individual students, schools, and districts. As required by the Education Reform Law, students must pass the grade 10 tests in English Language Arts (ELA) and Mathematics as one condition of eligibility for a high school diploma (in addition to fulfilling local requirements).In addition, the MCAS program is used to hold schools and districts accountable, on a yearly basis, for the progress they have made toward the objective of the No Child Left Behind Law that all students be proficient in Reading and Mathematics by 2014.Source: Massachusetts Comprehensive Assessment System: About the MCAS, Mass. Dept. of Education
Number of Students
% of Students
For more information about how the Department of Education defines ethnicity, see Defining Race and Ethnicity Data, National Center for Education Statistics


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LAS VEGAS -- When Steve Kerr makes his professional coaching debut Friday, don't expect the Warriors' summer league team to show off his complete offensive system against Charlotte.
But after Kerr has kept things simple in three days of practices, the Warriors could at least hint at the free-flowing offense that is expected to come in the fall.
Kerr said he wants his team to push the ball and get out in transition. In absence of the opportunity to do so, he would like the ball swung from side to side and the team to play pick-and-roll.
And yes, there are elements of the triangle offense being taught already.
"Right now we have the basics of the basics going on," said assistant coach Luke Walton, who spent most of his playing career with the Los Angeles Lakers in Phil Jackson's triangle offense.
Kerr said he pictured Walton in his playing days as a 6-foot-7 version of what center Andrew Bogut could be in an offense that relies upon post players to make smart reads and passes. During his trip to Australia, Kerr showed Bogut clips of former teammate Luc Longley (another Australian) in that facilitating role.
"We have great passing bigs with Andrew and David (Lee), and I want to put them in passing situations," Kerr said. "I want the ball to move. That's the biggest thing. We've got to get more ball movement, more passes per possession."
The theory is that with the ball constantly moving and fewer isolation plays, scorers such as Stephen Curry and Klay Thompson would have an even easier time getting baskets.
"I know all of it very well," Walton said, adding he was thrilled at the thought of working with Bogut. "You definitely ease into it because there's so many different options in the triangle. And once you get the big picture of it, it all makes sense. It's pretty simple. But there's so many different options that if you try to give it to somebody all at once, it'll just confuse people."
Forward Harrison Barnes, who struggled last season on isolation plays, said he has watched tape of the triangle.
"Everyone's pretty much familiar with it, but when you're actually playing in the system, it takes some getting used to," Barnes said. "But it's good. It's just a different style from what I'm used to."
Said Kerr: "I think people sometimes hear the word 'triangle,' and they sort of freak out. And it's just basketball."
"We really strengthened our backup point guard position with Shaun, and he can play multiple positions, so we've got versatility," Kerr said. "He's very good defensively.
"I like our roster. I feel like this team won 51 games last year, so I don't feel the need to make dramatic changes. This is more about tweaks and trying to get a little better and just trying to continue the upward trend that the team's been on the last couple of years."
For more on the Warriors, see the Inside the Warriors blog at ibabuzz.com/warriors. Follow Diamond Leung on Twitter at twitter.com/diamond83.
With new coach Steve Kerr looking to move to a more free-flowing offense, here's a look at the Warriors' points per game over the last six seasons:
Season Coach PPG (rank)
2013-14 Jackson 104.3 (10th)
2012-13 Jackson 101.2 (7th)
2011-12 Jackson 97.8 (T-11th)
2010-11 Smart 103.4 (7th)
2009-10 Nelson 108.8 (2nd)
2008-09 Nelson 108.6 (2nd)


text:
Study Ranks Antibiotics and Hormones Top Consumer Concerns
Study Ranks Antibiotics and Hormones Top Consumer Concerns
Results to be released at National Institute for Animal Agriculture Symposium-Kansas City; 11/12-11/14
Consumers are highly concerned about the usage of antibiotics and hormones when buying meat products. That statement is according to a recent consumer study independently conducted by Service Management Group (SMG) to better understand consumer perceptions around important issues in food production. Detailed results of the study, commissioned by Where Food Comes From, Inc. (OTCQB: WFCF), will be released at the National Institute for Animal Agriculture Symposium on November 13th, 2013, at the Kansas City Airport Marriott in Kansas City, Missouri.
Dr. Joe Cardador, Chief Research Officer at SMG, will present the comprehensive findings to Symposium attendees, followed by presentations from Tom Heinen, Co-President of Heinen's Fine Foods, and Leann Saunders, President of Where Food Comes From, Inc. The consumer perception study reached over 2,000 consumers of all ages from all 50 states shopping at all grocery retailers with all income levels.
According to the survey results, when buying meat consumers across all demographics were most concerned about whether the animals received antibiotics and hormones, ranking those attributes in importance over humane handling, locally produced, organic, and environmental impact issues.
"Upon being asked to speak at the NIAA symposium, we felt it was important to have credible, current information on consumers' food perceptions, so we commissioned a third-party firm to conduct this market research study," said Leann Saunders, President of Where Food Comes From, Inc. "We were surprised at the scope of consumer awareness around these food production practices and see this as an opportunity for the food industry to acknowledge and address these concerns."
November 12-14, 2013
Kansas City Airport Marriott
Kansas City, Missouri
View the agenda
View complete symposium information on the NIAA website.


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Re: "Emissions of CO2 and global warming not linked," by Dr. Martin Hertzberg, letters, Dec. 11
In response to Dr. Hertzberg's assertions a simple chart to better navigate the sliver of research he plys:
http://www.desmogblog.com/sites/beta.desmogblog.com/files/Powell-Science-Pie-Chart.png" target="_blank">class="NormalParagraphStyle">http://www.desmogblog.com/sites/beta.desmogblog.com/files/Powell-Science-Pie-Chart.png
The simple truth is that temperatures are rising on this earth, glaciers are disappearing before our eyes, new shipping routes are opening in the north as the icesheet does its magic shrinking act! These are examples that are plainly evident to the human eye; 100,000 of years of stored of ice melting, ancient landscapes changing in single lifetime.
Because we all have some experience with these examples I am pretty certain that all of us have seen enough to at least entertain the likelihood that the neighborhood is warming up a bit. And if for a moment we accept it as a fact we can move to the next obvious question: Did we do it, or are we all caught up in another of earth's natural cycles.
I do not doubt Dr. Herzberg's credibility on this subject, however he will need to explain how he feels he can ignore his colleagues and why he is for all intents and purposes alone.


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August 19, 2005
From Health Team 12…it's the only system of it's kind in the CSRA that gives you the benefits of visiting the doctor everyday without leaving your house. And now it's available to everyone. News 12 is on your side with how telemonitoring has saved lives and can help you.
"Beep. Good Morning. It is now time to record your vital signs," the machine said.
Don Boyer weighs himself. Then, he measures his blood pressure right in his own kitchen.
"Tighten securely," the machine said.
This is through a telemonitoring system hooked up to Don's home telephone line. It monitors heart rate, blood pressure, weight and temperature. Don used the system for three weeks when he was trying to find the right medication for his high blood pressure.
"Are you having difficulty taking any of your medications?" asked the machine.
A few questions, and in less than five minutes he's done.
"I got up in the morning, I didn't have to rush around and go some place," Boyer said.
After the client measures their vital signs and answers the questions, the results go to a computer at Hitchcock Health Care. There, a nurse is waiting to make sure everything checks out okay.
Jennifer Brescia is the nurse on the other side. She says the machine is ideal for people with heart problems, pregnant women and anyone else who needs a daily checkup. Jennifer was there when this system discovered a client having a heart attack.
"She in fact told us she would not have sought medical treatment because she was not sure what was going on with her," Brescia said.
For Don, Jennifer faxed his daily results to his doctor.
"And he would call me and say let's try this and let's try that," Boyer said.
The result, Don's medication cost went from $75 a month to $7. And his blood pressure is now just right.
"It was just a soothing realization that I'm okay," Boyer said.
Telemonitoring costs $150 a month, which breaks down to $3 a day. It's available through Hitchcock Health Care. For more information on telemonitoring, call Hitchcock at 648-8344.


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Congratulations to our second round of BookRenter Funnies winners! We're sending 20 lucky fans $10 Starbucks gift cards. Let's hope they can stay awake in class for a little longer than normal!
Thank you to everyone who told us what they put in their coffee, left hilarious comments, and entered the giveaway! Keep coming back every Monday and Wednesday for the newest study break.
This week's allows you to flex your creativity and win a digital camera of your choice ($200 value). Submit your funny caption today!
And here are the winners:
Melissa Brown
Sarah Bunker
Geraldine Coello
Margaret DeNovellis
Jessica Dent
Shanine Evangelis
Angelique Gonzalez
Cristie Hipsman
Jason Jacob
Amy Natishin
Kayla Norris
Mariah Ragan
Kelly Riedy
Leanne Rodriguez
Jeannine Scavo
Leah Schklar
Summer Sunday
Karissa Tatom
Krystle Wheeler
Alejandra Yaya
Congratulations, everyone!


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You really don't want to look at Stockton Police Department staffing as if its an odometer, simply ticking off digits. Just the same, the numbers are very important for a city battling serious crime issues.
Police Chief Eric Jones welcomed some new officers to the force in a recent ceremony.
Here are the operative numbers:
� 10: The total number of new officers sworn recently into the Stockton Police Department.
� 331: The current total of sworn officers on staff.
� 344: The budgeted number of police officers.
� 17: Number of additional officers the city would potentially be able to pay for through the federal COPS Hiring Recovery Program if it reaches a staffing level of 344.
Jones is battling flux in his numbers because some veteran staffers have retired or taken jobs elsewhere in recent months.
It's taking diligence and persistence to get staffing up to 344, which will open many more opportunities for strategically battling crime in Stockton.
Officers sworn in recently come from a variety of backgrounds. Many of them have served in the United States military.
Jones told those gathered at a Dec. 17 swearing-in ceremony that the badge is "a symbol of Americanism" that represents "law, order, justice and freedom. Respect the badge, and others will respect it too."
Onward. The quest to reach 344 must continue - and ultimately be realized.
Location, ST | website.com


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Frequently Asked Questions | International Student Center
International Student Programming
To best serve the needs of the international graduate student community, an international student program exists within the business school itself, working in conjunction with the university International Office to support graduate business students. Among the support services that are coordinated from within the international student business program are (1) international advising (2) new student orientation, and (3) academic English language instruction.
Orientation to Business Programs
Graduate programs for all international students begin on the first day of international student orientation. During orientation, students will complete an English language assessment, receive information regarding business program requirements, meet with an academic advisor, and enroll in classes. (Note that any international student who is not able to arrive to the university in time to participate in the orientation program may be required to wait to begin his or her business program until the start of the subsequent term.) For arrival, check-in, and orientation dates, please refer to the academic calendar in the graduate student catalog or to the calendar link of this website.
Orientation Schedules
• Fall 1 2013
• Fall 2 2013
• Spring 2 2014
English Preparedness Program (6 credit hours)
Based on the results of the English language placement taken during orientation, students will either (1) enter directly into their academic program or (2) enroll in English language courses in conjunction with their enrollment in degree program courses. (Any student whose English language placement exam indicates a need for more comprehensive English study may be placed into a semester-long English program prior to enrolling in the business program.)
The English language courses below are required for international students who, based on the results of the English language placement exam, are determined to need academic language instruction at the start of their academic program. The courses will be taken consecutively during the student's first two MBA terms.
EPB 05010 Academic Writing and Presentation I (3 credits)
EPB 05020 Academic Writing and Presentation II (3 credits)
Contact the MBA International Student Coordinator
For more information about international student programming, international student orientation, the international English language placement exams, or about the MBA program for international students, please contact Rebecca Goulart at email@example.com or (636)949-4864.
|1827 - Lindenwood University • 209 S. Kingshighway • St. Charles, MO 63301
|Switchboard (636) 949-2000
Undergraduate Admissions (636) 949-4949
Evening & Graduate Admissions (636) 949-4933


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Topic: Amazing Caregivers!
I read this poem and wanted to share. Thinking of my mom with great admiration who has been my dads main caregiver she is truly amazing.
And all the amazing caregivers who give endlessly for our loved ones!
by Bruce McIntyre
Unknown and often unnoticed, you are a hero nonetheless.
For your love, sacrificial, is God at his best.
You walk by faith in the darkness of the great unknown,
And your courage, even in weakness, gives life to your beloved.
You hold shaking hands and provide the ultimate care:
Your presence, the knowing, that you are simply there.
You rise to face the giant of disease and despair,
It is your finest hour, though you may be unaware.
You are resilient, amazing, and beauty unexcelled,
You are the caregiver and you have done well!


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"Hawaii Five-0" (9 p.m., CBS): It's DIY night. Fans helped to create tonight's episode by voting on key elements of the story, including the scene of the crime, the murder weapon, wardrobe, music and more. Go ahead and book it, Danno.
"Raising Hope" (9 p.m., Fox): The Chances finally ran out of chances. This hilarious but modestly rated comedy ends its run with a one-hour series finale. Among the guest stars: singer Kenny Loggins.
"Bruce Springsteen's High Hopes" (9:30 p.m., HBO):
This new behind-the-scenes documentary is little more than a glorified commercial for Springsteen's latest album. But it won't matter to diehard devotees. When the Boss calls, we report for duty.
"Continuum" (10 p.m., Syfy):
In the Season 3 premiere, Kiera (Rachel Nichols) puts everything on the line and her trust in a mysterious group as she races to stop Alec (Erik Knudson), who's trying to save Emily (Magda Apanowicz), from altering history.
Also on Friday:
Contact Chuck Barney at Facebook.com/BayAreaNewsGroup.ChuckBarney, or Twitter.com/chuckbarney