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Hi Everyone,
I am on week five of the couch to 5K from coolrunning.com. There is a half marathon on Oct 11 I want to run. That would mean I would finish my couch to 5K program the third week of July and jump right into the build up for the half-marathon. Prior to the couch to 5K I had taken about two years off from my running. Having a goal is helping me to stay motivated. I have planned to use Hal Higdon's 12-week Half Marathon Training program for Novice's which requires you to be able to run 3 miles 3-4 times per week before starting, which is where the couch to 5K ends. Am I crazy and setting myself up for an injury? Or do you think this is something I should realistically be able to do provided I pay attention to how my body is doing? Thanks for your input.
I think you would be able to do it, given your prior running experience and that Higdon's program starts where the C25K program ends. Just take the increases gradually and remember that you're not trying to set any records.
Welcome to active.com!
You have 17 weeks to train which should be enough time to build up a sufficient base to complete a half-marathon. As long as you build up your mileage steadily and gradually with an easy week each month, you should be fine. Focus on your weekly long runs and remember that your body gets stronger only when you allow it recovery time to rebuild and repair muscle tissue. It may not be the most pleasant running experience of your life, but you'll be able to finish. Which half are you planning to run? I'll be running the Baltimore Marathon on October 11. Let us know if you have any more questions or comments.
Good luck and happy running!
I sure hope you're able to do it. I don't think it's too soon. I'm doing my first 5K in August, and will continue training for a half marathon in November. As you, I feel if I have this goal set in mind, I will continue training.
Best of luck!
I would do it. I ran my first marathon after running for my first time just a month and a half before it took place. If anything just take it easy and listen to what your body tells you. I think it would be worth a try and based on what you said it shouldn't be a problem to finish for you.
I think you can do it, 17 weeks is a long time to prep. I just did my first half marathon yesterday. I run 3 miles 4-5 times a week and I figured if I ran at a slow pace it shouldn't be that difficult. I will say this, if you do it, prepare. Eat the right things prior and take it seriously. I didn't think it would be that bad, I had to walk after mile 7 and ran/walked until mile 12. My body ached everywhere, and for 4 hours afterward I felt like dying, I was seriously ill, sick to my stomach and in a lot of pain not related to muscle aches...I did not carbo load. So preping your body in the right way will make a difference. I am doing my second half marathon in two weeks and I will prep correctly, so hopefully I don't feel completely awful afterwards, because that's not a feeling I want again. I do know it was related to food because when I ate some sugar the way I felt increased about 50% for the better.
I hope everything goes well for you because I want to do a 1/2 marathon in november and then at Disney in January and I'm scared to death! I'm running 5 days a week....and training alone..because I live in a small community..Plus I'm 46---soon to be 47....
cjamesrnrun wrote:
I hope everything goes well for you because I want to do a 1/2 marathon in november and then at Disney in January and I'm scared to death! I'm running 5 days a week....and training alone..because I live in a small community..Plus I'm 46---soon to be 47....
It's quite understandable to be scared, but you'll be able to do it if you train properly. You have plenty of time and, as I stated in my previous post, you simply need to gradually build your miles and incorporate enough easy/recovery activities into your schedule. If you are already running 5 days a week it sounds like you have a great starting point to build on. You may want to look into something like the SmartCoach program that is linked on the Runner's World website. It will provide you with a good idea of what your training schedule should look like. I also training alone and I know what that's like: it can be hard to get going on some days and you need to have inner discipline, but at least you never have to worry about your partner/s showing up late, canceling, etc. As for your age, that seems fairly average for participants in marathons and half-marathons.
Good luck and happy running!
I am also planning to run my first 1/2 marathon in November, I'll be 46 then. I am running 20 miles/week now and am up to 8 miles on my long runs. I'm still a little nervous when I contemplate the 1/2 marathon distance! The thing is that I don't expect to increase my mileage, speed or distance during the next two months (July/August) because it is so hot here in Atlanta. I don't plan to really start training until September when the weather cools down a bit. That will give me about 8-10 weeks to get from where I'm at to 13.1 miles.
I probably tend to be on the conservative side but for ME personally, I don't think I would attempt the 1/2 until I had some 10K experience (which I do). But everybody is different, and some people might be able to go from 3 miles to 13 miles in a couple of months with no problem. For myself, though, I would probably give it some more time.
ronica, hopefully you're getting in some runs longer than 3 miles (it isn't clear from your post). Longer training runs will help greatly in getting you through the half-marathon feeling better.
cjames and mary, you have lots of time to train for a half in November. With a good 5-day-a-week base, the main thing you need is to extend your long run.
As Jay said, check into something like SmartCoach at www.runnersworld.com to give you some guidelines on your training. You don't have to follow their plan exactly but it can help you to be well prepared.
Hi Everyone!
Thank you so much for your posts! I think I am going to try for it. Registration runs until September when I'll be around the 7-8mile long run time in the training schedule, and I should have a pretty good idea of how my body is doing at that point. I'm aiming for the Hartford ING half-marathon.
Butterflykisses68- congrats on your 5K run! and good luck with your training!
lenzlaw - thank you for your advice! Rembering not to push myself to hard is something I definitly have to work on or else I know I will end up injured.
Jay Silvio - thanks for your advice! good luck with the baltimore half!
NewbieJ - Good luck with your 5K and training for the half-marathon in November! Having a goal and a schedule definitly helps me a lot as well!
Brandon Cushman - Wow, I definitly need more time than a month, but thats awesome you were able to do it, and definitly gives me confidence, thanks!
ronica - ok, a little scary story, but thanks for the tips. I've been reading a lot of stuff about the tricks of really preping your body food and water wise for the race. And actually lately even on just regular runs I make sure and drink a glass of chocolate milk right afterwards, and that helps replenish what I've used really well. And it helps get rid of that post-workout set of cravings I always used to battle.
cjamesrnrun - you are awesome! i have a friend who ran at Disney, and she said it was really great! good luck with it all! And since your on this community chat, I don't think you can really say your training alone we're all right there with you doing the same thing!
marykb - thanks for the thoughts. good luck with the heat and your half marathon in November. I know you'll make it just fine!
thanks again everyone for your replies. best of luck!
You can definitely do this. I am 42 years old and have been running for just about 1 year now. My first run was the Corporate Challenge (3.5 miles) which I did not train for. Ran the whole thing, felt great and have been running since.
On May 25th I ran my first 1/2 marathon. I was planning on entering with a relay team but that fell through and I decided to do the 1/2. This also happened to be my first ever run of more than 5.5 miles, so I had no clue what to expect. I started out nice and slowly and got stronger and stronger as the race went on. My last mile was 1 minute faster than my first and I finished in 2:01:07. I am now shooting for my 1st full marathon on October 26th at the Niagara Falls International.
You have quite some time to train for the 1/2 you are doing. Just be confident and do the training and you will be fine! Just remember that you are there to have fun!
Joe....are you serious, man? You ran a half marathon without having ran more than 5.5 miles and you finished strong in 2:01? I think a performance like that would be an exception rather than the rule. In other words I don't think the fact that you were able to do something so amazing means that most people would (or even should) be able to do it. I definitely wouldn't try that myself or encourage anyone else to try it with that expectation. I want a solid training base of several months including AT LEAST a 12 mile run before I attempt it.
(But hey, more power to you and good luck on your marathon)
You are correct. That probably is the exception, not the rule. As I said, the only reason I did it was that my relay team fell through at the last minuteand I really wanted to be involved in the event. I definitely do not recommend trying to do the 1/2 that way, it was more a way of showing that with the time the person has for training that they can definitely do it. I apologize if I worded it poorly and made it sound like I recommend doing that. As I said, do the training and have fun! I am also training a lot more for my marathon in October and hope to do be able to finish it without feeling completely wiped out.
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Unearthing another gem: Roberta Singer's in-depth 1979 interview with trombonist Papo Vázquez
Papo's Got A Brand New Bag
Interview with
Papo Vázquez
Roberta Singer
, August 21 1979.
Prepared by
David Barton
and Roberta, 2005, exclusively for
Papo Vázquez
is one of Latin musics most prominent trombonists and talented composers. Hes played with innumerable major bands in jazz, Latin jazz, and straight-ahead salsa; formed his own groups; and traveled the world. Twenty-five years ago, when this interview was done, he was 21 years old and was already playing professionally and had a substantial reputation. Recently arrived in New York from North Philadelphia where he was born (1958) and raised, Papo was young, street, sometimes belligerent and aggressive, restless, and impatient as he sought to make his place in and mark on the New York music scene. Time and again he surprised me with the complexity of his thoughts about the music and his place in it as he grappled with issues of musical control versus freedom, tradition and innovation, and integration of his still-evolving personal and musical identities into a coherent whole. This is a snapshot of Papo Vázquez at that time. He was playing primarily with
and, thus, much of the interview was about his role in that group and in comparison with others with which he had played.
The night before the interview Papo had performed with Libre in Central Parks Delacorte Theater as part of the New York Shakespeare Festival in An Evening at the New Rican Village. The event was star-studded with veterans and young Turks of the New York Latin music scene and was astonishingly intense; Papo and many of the other performers said this was a musical high point for them. As was the norm for Libre and the New Rican Village, there was a great deal of space for soloists to stretch out yet sufficient structure to avoid anarchy. Apparently, this mix sparked some internal conversation in Papo and the next day he began talking about it as soon as he walked in the door; I had to hustle to turn on the tape recorder.
: The New Rican Village was located on Avenue A between 6th and 7th Streets. It was founded in 1977 by Eddie Figueroa as a non-commercial alternative space for the creation and exploration of arts that expressed an evolving self-interpretation of New York Latino identity. A hard-core gathering of musicians, dancers, poets, visual artists, photographers and political activists-turned-cultural warriors was dedicated to the notion that cultural self-definition was as important as political self-determination.]
With special thanks again to Izzy Sanabria for the use of archive photos, Ray Rosado for saving pieces of history in his basement, and mostly to Papos kind permission for digging up his past. Vaya, Pirata!
Roberta Singer
: Lets see if we can get to some of the issues and questions I have, and anything you want to talk about also. I feel I can understand more about the way people express themselves through music by looking at
and the New Rican Village rather than at some of the salsa bands that are more formally structured or formula-structured. The way I see Libre is that they give more room for the individual musician to express himself.
Papo Vázquez
: With those other groups, its almost impossible for them to be as free as Libre is. Why? Because they dont have confidence in each man. Its like a game of chess. Each man has a certain position to fill; depending on the moment it could be a weak position or a strong position. Each individual has to be able to stand out by himself and do what he's supposed to do. Not to show off, but to carry his weight and carry everybody else if needed, or everybody else carry him.
Do you think then, thats the main reason why other bands are so structured?
In my opinion, the first thing they gotta do is go home and practice, get their shit together; each individual. Theyre scared. Anybodys scared of something we dont know about. I could still be playing the same way I played last year but I said, No man, these cats they really know how to play, I want to be able to do that too. A lot of cats got musical complexes, ability complexes. They are unable to do what they want to do technically. And at the (commercial) gigs the shit is always the same way all the time. I played with
Luis Perico Ortíz;
it was a good experience, a good band, but everything was arranged. You got a chart, you have a solo on a certain tune, and thats it.
When you have a solo, do you have a set number of bars in which to take the solo or can you take it for as long as you feel?
You take it for as long as the tune is swinging. If you play a solo and the shit aint poppin' they gonna take you out. It dont have to be a set amount of bars, it just has to feel right.
Tell me about playing with Libre. You've been with them longer than you have with any other band?
Yeah. Ive learned more there than with any other band cause I been playing with Manny. He's a strong character.
Im sure that there are other strong characters.
Sure, Andy's strong, Jerry's a strong character, Oscar .
Do you learn from them all?
We all learn from each other. Unconsciously. Manny is direct. You KNOW you're learning from him. The whole thing is a process. You know yourself that the way I was playing last year is different from the way Im playing this year.
And you attribute that to Libre?
Yeah. But not only playing with Libre. A big turnover in my life was playing with Slide Hampton. That was the climax. With Libre, the climax was playing with José Rodrígues. He takes me way out in his ability, the way he goes about playing, his feeling, what he plays. He's a típico, funky, dirty sock trombone player. I learned a lot from José.
Can you describe any difference between playing with Libre and the other groups: Harlow, Lavoe, Willie Colón?
All those guys are set. The main thing about Libre is, after playing with José after playing with Libre, after checking that energy out, playing til your chops fall out ,when I would go back to playing with
Willie Colón
Héctor Lavoe
I would get bored because there's no freedom. Theres a certain amount of freedom but its not like personal freedom. Its not like, Go Bro, do your thing. To me its boring. When I played with Thad Jones and Mel Lewis it was a different thing. I really dug playing that: 16-piece band, the arrangements, a whole section playing a really hip part. Theres no kind of freedom in that. There were no solos, and I would get spaced out about that eventually.
When did you play with them?
Last year for three weeks, then I got fired. Probably cause I was not ready and my attitude was spaced. And Mel Lewis came out on me like, Im the boss, and I didnt really want to take that shit.
What do you mean when you say that you were not ready?
Mostly that my attitude wasn't ready. My playing was OK, but I wasn't ready to take what they were laying down on me. Musically I wanted to be ready, I dont know if I was but I figure that if I had the desire to be ready then I could do it. I had to have something going to be there in the first place. It was a heavy horn section and a heavy experience playing with those cats. They never criticized me. Playing with Slide Hampton had a good influence. I played with him last year for a couple of gigs and did a record this Christmas; Steve Turre hooked me up with him. A lot of the way I play now is because of playing with Slide.
Do you play differently when you play with Slide or with Thad Jones/Mel Lewis than with Libre?
You have to. You have to adjust to every situation. Thats the whole thing that Ive been trying to develop. To get to the point where I can adjust to anything. Any professional musician will tell you that. If you're going to be a complete musician you got to be able to adjust and to blend with whatevers going down. Listen, I would like to think of myself as being a soloist. I always wanted to be that. Not a featured star or like that, but just to express myself individually, and Im developing that right now.
And is part of that learning how to play differently in different situations with different people? Can you describe, or explain, how it is that you play differently?
I guess that I have a set thing about each individual group Ive played with. If Im playing with
Hilton Ruiz
, I automatically think of a certain way to play. If Im with a jazz quartet I would take more chances. I would play without a limit on myself, go where I want to go, provided that I can play on that tune. Cause there's a lot of tunes I can't play on yet, like Coltranes Giant Steps cause I haven't been playing it long enough. Its a monster tune, very deep, and I have to understand a lot more about it before I can really let go and take it out.
You said that with Libre you have more freedom?
José showed me the kind of freedom you're supposed to have in that kind of environment cause he played with Eddie Palmieri when Eddie was very intense. He was a driving force in that band.
One of the things I see Libre doing is providing musicians with the freedom that other bands dont; bands that operate within the confines of salsa.
But that comes from each individual, where everybody has something really good to say.
Can anybody play with Libre?
Who can't?
I cant answer that! Its a very individual thing you're talking about. Everybody in Libre, at one time or another has something strong to say; you can't get up there and say any bullshit. That would be an insult to people who are around there. Anybody could play with Libre, but you got to put your energy into it and really want to do it. No, I dont think just anybody could do it.
Do you have to have a certain feeling about music?
Everybody in the group has some similar feeling about the music we play. Thats why when we get together it happens with such energy and force. Everybody is compatible; we're all going in the same direction. It makes the music really easy to play.
The general feeling I get from some of the Libre people Ive spoken to is that its the freedom they like most, and what a lot of people say to me is that you cant get that freedom playing in the commercial joints cause you have to play stuff thats danceable. You can't just freak out and take a solo that doesn't give people the constant basic pulse. But playing with Libre, even in the commercial clubs, you still have that freedom.
Thats right.
How do you explain that?
I wouldnt dare to try to explain that. Some things just can't be explained, that shit just happens. But a lot of the answer is in the form, the forms that they use. Its not a set form. Sometimes Coltrane wouldn't even play the melody of the tune; hed just come in and play the solo. To keep it free, you could have a set form and still be free. You have to know how to catch the moment, and thats why not everybody can play with Libre. Not everybody can recognize and grab a moment to make something great out of it, and just let it happen. Some of the stuff that was happening last night (at the Delacorte) we had never done before. I had been dreaming about it for some time, but the right moment did not come until last night. And the more into the stuff we got, the more often those moments came, and it was almost as if the whole thing was one great non-stop moment after a while.
What about the other members of the band? How do you feel when youre playing your best, and have made whatever kind of statement you want to make? Ive watched the group and there are certain kinds of communication that go on in the group after a solo.
Well, that happened last night. I felt good when Hilton Ruiz came to me and said Coño, man, you burned.
feel you were burning as you were playing?
Yeah! I played some good shit last night. Thats not an ego thing; I know that last night I PLAYED. Last night to me was the climax of all this bullshit Ive been going through: with my chops, with myself, with my own thing. Because for a minute there [in the past] I was really spaced out. Last night I was really there, relaxed, I was where I always wanted to be.
[Telephone interruption]
I dont remember where we were, so lets get some biographical information about yourself. When and where you were born, etc.
I was born in Philadelphia on February 24, 1958. It wasnt the slums in those days.
Tell me about your schooling.
I didnt graduate from high school, just made it to the 11th grade. I quit because I wanted to become a star. I wanted to come to New York, the big town. I met Danny Rosado, a bass player with Larry Harlow. He told me that if I come to NY he would get me a gig, like with Chocolate. At that time, I got thrown out of the jazz band in my school. In the 11th grade I was already playing with the hippest band in Philly, Los Galanes, with Earl Garner, trumpet player thats playing with Thad Jones and Mel Lewis. Plays some mean high notes, bad dude.
So you didnt see any reason to stay in school?
No. Cause Id been in school, plus playing on the outside I was meeting a whole bunch of people that were really influencing me, my whole life--changed my shit around. From the guy that used to hang out on the corner with the boys, I turned into a new person. I got real serious. Started studying my ass off. Practicing seven hours a day. I had an intense fever to play. I was studying with Dr. Donald Reinhart, $15 a lesson, in Philly. He hooked my chops up to the level where I had endurance to be a professional player.
When did you start studying with him?
I was young; 15, 16 years old.
So you were playing until then on your own, without studying?
I was studying - but I didnt go to school to study. I studied off the street. Off the people who showed me stuff.
You didnt take formal lessons until you started with Reinhart?
I was taking lessons off the guys in the band. They always showed me something. They showed me long tones, how to get your endurance happening, how to get a big fat sound. Jimmy Pervis, he's an older cat whos been around for a while, showed me how to be slick on the horn, how to play some slick shit. To play a run, then take it and play it reversed. He was into Coltrane. All the things he's showed me, its taken me all my life to get together. He showed me a concept of playing. I got close with him and he turned me on to people to listen to, Dr. Donald Reinhart, to ideas about music. I was climbing up the ladder real fast; in a matter of three years I was playing with some bad dudes. The reason I got over was because I was playing me, whatever came out of my horn. I didnt know what the fuck I was doing. I didnt know shit. Now I know a little bit more, but I still dont know that much.
Im having trouble understanding how you can play ..
And not know what you're doing? Its a matter of feeling. Thats what really got me over. I put all my energies into playing my horn. When I played, Id play with all I had. Now its different. Its a different kind of control, a more mature kind of playing. I made a transition from playing loud, to playing soft and getting control of my bottom range. I was used to playing in the upper range. Ive been into trombone for a long time and it makes more sense to play something that really means something. A statement.
What kind of statement do you want to make?
It depends on what youre playing. Whenever I play something, I want it to be something valid.
Who decides whats valid and what is not?
Thats a good question.
Can you play something that you would say is valid, and someone else would say its not?
Right. That always happens to me. When I think Im playing my best, people dont even clap.
What made you choose the trombone?
Friend of mine in Philly, Sammy, he played baritone horn, the kind with only one key. He used to play in the drum and bugle corps. He used to make me feel bad cause I couldnt play at all anything! His brother sold me a horn, a trombone, for five dollars. Me and Sammy kept on practicing, he showed me some stuff, his brother showed me some stuff. He played trombone; he was like the expert in the crowd.
So, you just wanted to play an instrument?
No. He (Sammy) got me mad. Im a titere.
Whats that?
Gang man. In Philly the attitude is different; its like street people, gangs. Sammy kept burning on me and I wanted to beat him at playing. But I sounded terrible. My Moms and Pops had no faith in me. Told me, Cut that shit out. Come to the store. They owned two grocery stores. Id be downstairs in the basement practicing and leave the store alone. So after five or six months I finally bought me a trombone.
Why trombone? Why not saxophone or flute or trumpet?
I dont know. I just picked it up and played the motherfucker.
Was it because he had it for five dollars?
I dont know. I just bought it. It was there and I guess they took me for a sucker and sold it to me for five dollars.
If he had a sax for $5 would you have become a saxophonist?!
I guess so! I would have become any goddamned thing to play music. My father was a guitar player, but I was always scared of playing guitar. Guitar is deep, its heavy shit. But I should have become a guitar player. Trombone will kick your ass, chop-wise. Because I got used to playing loud I always played loud. I bought a horn for $45 after that horn, the beat up one. I got the second one in a pawnshop. Sam brought me to audition for the band in junior high school. I played and the teacher said, You got a good sound, come on and play. Then I auditioned for Mastbaum Tech High. From there on I was the star of the class but I got fired from the jazz band. My attitude was fucked up. I was the featured soloist. I probably thought I was bad.
You were ego tripping?
Maybe. Maybe I was ego tripping. I dont think so. It was that I was hanging out with heavy motherfuckers when I was 15, 16. Cats (musicians) that would tell me all kinds of shit. After a year of practicing I started playing with bands. One day Im home, about to go to bed, and my uncle sent for me (him and my Pops are close, so my father let me go) because the trumpet player hadnt shown up. I got the gig and I didnt know nothing. It was a Latin band with my uncle playing guitar called Joe Barretto and La Cubaney. Thats how I started playing.
Were you listening to other people play trombone at that time?
Yeah. Barry Rogers. When I was in Philly the cat I used to listen to was J.J. Johnson, thats the cat that really took me out. Barry was playing Latin. I was always into Latin until I met Jimmy Pervis, a trumpet player. He and this other cat Junior showed me some music stuff. Junior showed me some chop technique. He took me to Donald Reinhart; he hooked my chops up heavy. I became a real powerful player.
(Telephone interruption)
I dont remember where we were. We started talking about how come I left school. I felt that I was past the level of being in high school playing high school music with a whole bunch of fucking idiots that didnt know how to play. Whole bunch of Chicago freaks! Hey man, Coltrane is where it was at.
You said your father played guitar?
And so did my grandfather.
What kind of guitar?
Acoustic. Típico stuff, aguinaldo stuff. The jíbaro music. Some plena, but mostly aguinaldo. They would sing some danzas, but they would have no percussion section. I was young when my whole family went to live in P.R. for 4-5 years in 1964. My father and some of his sisters or brothers had a truck and they would go to sell oranges and stuff. My family was always musically inclined. My mother always used to sing in the house. She liked to listen to the Ranchero (Mexican) records and on the radio; she was into that, heavy.
Were both your parents born in Puerto Rico? When did they come to the states?
I dont know when they came over. I was born in Philly, so it was before then. They came from P.R. to Philly, then we all went back to P.R. Thats where my whole music thing started. But not really; I remember in Philly at Christmas time, when I was a kid, my fathers family would always have an intense party, what we call a "parranda" where everybody gets together for the five or six days of Christmas and has a ball. And the music was a main event. After P.R., when I came back to Philly .
Hold it; lets get the sequence straight. You were born in Philly 1958 .
Went to P.R. I started school in P.R., 1964, I think. I was a real travieso Dennis the Menace-type kid in those days. We lived in Vega Baja on the north part of the island. My father comes from Barranquitas in the center of the island. My fathers family were heavy jíbaro people. My fathers family gave me a lot. A lot of the energies I have to play and the ideas in my head and the way I am, it starts with them. My mothers family is hip, but I dont feel for them the way I do for my fathers. They didnt influence me the way my pops family did. My grandfather was a real motherfucker; he played guitar and sang.
In those days it was a household thing, not professional. They lived in the center of the island and that is the heart of the island. My real musical influence came when I went to live in P.R. I used to visit for a month with my grandfathers sister who raised him in the mountains in Barranquitas. While I was living in Vega Baja with the other love of my life, my great grandmother from my mothers side, I used to see El Gran Combo on TV every day on El Show de la Doce. I think they still have it but El Gran Combo isnt on it any more. That was right after Cortijos combo broke up.
When did you return to Philly after P.R.?
About 1969. I was there for about 4-5 years.
You started playing trombone in about 1971, you said you were about 13, right?
I remember that in 1973, cause I saved a flyer from the biggest gig I had by that time, with Willie Colón, Milton Cardona at the Philly Athletic Club. Milton was there, so was Mangual Jr., the whole Willie Colón band, and I was a kid. Id been hearing about these cats, especially
Milton Cardona
, and I used to look up to them. Now its different; we're friends and I dont idolize them--but then! They showed me many things. People who had their shit together blew my head. Thats probably why I had to leave school, cause I was hanging out with so many heavy cats. Id say, I GOT to do that, or play like that. I said, Im gonna go to N.Y. and play. Fuck school. A lot of people had no faith in me. They felt that I couldn't make it here. Guys in Philly who played look at N.Y. like you can't touch it. Nobody expects to come to N.Y. to play, like if you play in N.Y. then you're REALLY BAD. They dont know its all bullshit.
What about your parents? You said that they didnt have faith that you could make it in music.
They had the stores and I was the oldest kid so somebody had to help out. Before I even played trombone I was a grocery man. My father owned the main store in a heavy Black neighborhood in Philly. These were the cats I hung with and fought with when I was coming up. There was this gang called The Mighty Mother Fuckers!!
Did your parents object to your desires, goals, of becoming a professional musician?
Not after a while, not after they saw improvement; after what people were saying about me they got behind me. They just wanted to make sure that I was good at it and serious before they put any bucks into backing me or let me out of the store. But the neighborhood was something else where I grew up. It was all Black and we were the only Puerto Ricans plus we owned the store. They probably looked at us like we were imperialists or something! I had my share of getting beat-up and beating people up. A lot of the street shit stayed with me: keep your eyes open, always be aware of the person next to you, always walk with caution.
You said that your father and grandfather played guitar and that the aguinaldo and other P.R jíbaro music was important to you. What were some of the other musical influences on you? What did you grow up listening to as a youngster?
I grew up listening to that plus
El Gran Combo
What about the popular stuff like rock 'n roll and the other mainstream AM radio stuff?
I got into that when I came back to Philly after P.R. I became a jitterbugger; listened to James Brown, Delphonics, Diana Ross, Temptations. Philadelphia is a funk town. I hung out with the brothers. There were Puerto Ricans, and maybe 2 or 3 white people, but mainly it was Black brothers and there was a whole Black attitude, a jitterbug attitude. And I have many uncles and aunts, many my age. They showed me how to dance. That was my bag. Before I became a musician I was into dancing: típico, funk, all the late 1960s early 70s style dancing. They were into soul music dancing. I love soul music.
Do you think that soul has any influence on what youre playing now?
Yeah! Cause I used to hang out with the brothers, with the brothers who played soul. They werent real good musicians but they were into the real loud heavy-handed funk stuff. They were down-to-earth FUNK shit. Thats how I got my loud style of playing. The screaming horn dirty sock funk style of playing. I listened to the cat that played trombone with James Brown--he was a BAD DUDE! Plus when I lived in P.R., right next door there was this billiard place, and every Saturday night they had a jukebox and dancing and they would get drunk and there was always fighting, all sorts of violence would be happening. Id watch from the balcony of my great grandmas and this guy always played this tune by El Gran Combo,
Ojos Chinos.
I think he had a crush on my moms (my father was in Philly) and that tune always stayed in my mind. If you hear something every day for 2, 3, years you remember it forever. It was a good influence. It wasnt a phony or corny tune. They had Andy Montañez, Roberto Roena, Pellin Rodríguez; it really freaked me out.
You said that living in P.R. was a great influence on you and your music.
Yeah. Culturally, it was two extremes. Between P.R. and Philly was two very different things.
Do you find there was any musical conflict there? Or any kind of conflict? Did you feel that you were torn between this traditional island stuff and .
Even though I was in Philly into my jitterbug bag listening to James Brown and funk it always turned out that I would hang out at home at Christmas time with my parents and go on a parranda. My father and his father also knew a lot of musicians and they would all come and play. Deep inside I always loved my parents and my roots. I always dug my roots. I always will. Its like my heart and my soul. Its planted in me. But then again, Im looking around and seeing other things that are beautiful, that are nice, that I want to check out. So whenever I try to do something that I want to do, I will try to incorporate everything that I have ever seen in my whole life. Try to express the things that I have been through and looked at.
When did you come to N.Y.?
1975. I stayed with my aunt and her husband. I did not get a gig when I came but I already had the hook-up with Danny so it didnt take me too long to find a gig. First gig was with
Andy Harlow
, then I played with
. But at that time I didnt know how great Choco is, I didnt appreciate that. He built my confidence up, he let me play with him, with him and me on horn together. We started playing eights and he kicked my ass all over the place, really pushed me. I only stayed with Choco a month, then I got a gig with
Larry Harlow
. I had all his albums. To me he was great, with Reinaldo (Jorge), just great! I went to Venezuela with Harlow for about a week. Then I went to play with
Héctor Lavoe
Why did you leave Harlow?
I felt like I wasnt playing enough, and its a hard gig on the chops. Its a loud band [2 trumpets, 2 trombones] and I had to play the moñas myself. Moña is like the riff. So I left, thinking I was getting a bigger opportunity with Héctor cause he was working a lot. I stayed with him from mid-75 to the end of '76. Thats where I met Milton and Mangual. That was the band where I learned how to drink, and it ruined my life! I didnt know any better; I was just a kid. When Héctor Lavoe says, Have a drink, you DO. Heavy drinkers in that band. After I played with Héctor I started playing with Libre.
How did you hook up with Libre?
It could have been Reinaldo, but Im not sure. I dont remember. I know that we were in Africa at the end of 1976 and I had been with Libre for not too long. The first time I played with Libre was at the Hipocampo, I dont remember when. Jerry was playing trumpet and he got on my case. He was very arrogant.
How did he get on your case?
Like he knew everything. I mean, he DID! But still! The way he criticizes doesnt bother me any more.
So, if you started playing with Libre in 76, thats almost 3 years. Have you been with them all that time?
No. I played with
Willie Colon
, went to Lima, Peru, with him.
Where are you now in your musical ideas?
Right now? I gotta get me a good teacher to show me some shit.
Do you have any idea where you want to go musically?
Sooner or later I gotta make my own group.
To do what?
To do stuff that I want to do.
Which is what?
I dont know. I DO know, but I really wont know til I get it together.
Stuff that other people are doing or a combination of things that other people are doing?
Yeah. Just learning. You listen to something and say, Wow, I like that, I would like to play like that. I would like to do that. And you do it. But it gets to a point where you're trying to do a thing, but the other thing over there is suffering. Its like being two different persons playing two different styles, playing 2,3 different ways. These are the changes that Im going through now, that Ive been going through.
What are the different styles?
Well, its not different styles. Its different controls of the trombone. Having control of the intensities: making it intense, mellow. There aren't too many people that can do that, that can be flexible. Playing with Slide Hampton, even Steve Turre, was a whole big thing for me. They took me out. They blew my head.
Playing the trombone, thats how. That really intense playing: control, play a beautiful ballad, make people cry, laugh, whatever. Do all that. Not just play restricted. Not being afraid to play your horn. Trombone is a killer, its intense.
Whats intense? Playing trombone?
The trombone in itself. And the other masters that play trombone, the way they handle it. It has taken control over my whole being. There are things that Ive got to do, I dont know why, just that Ive got to do that stuff.
Are there people in the band who are trying to restrict you?
No. Its been a whole learning experience to me. There's been some other stuff. I get mad because Im human, everybody's human. You got to take the punches. I do have an attitude about taking care of myself, looking out for myself. Trying to develop it without destroying everything Im trying to work on. But its coming together.
Can you classify the kind of music you play? Like what you are playing with Libre or Perico--do you feel comfortable calling what you play by any particular name? Like Latin, or salsa, or jazz, or Latin Jazz?
I mix it all up. When I play a solo a lot of things go through my mind. Sometimes a lot of it is corny; sometimes its hip. These past years have been fucked up cause my chops weren't up to it. I was afraid to experiment. I was trying to gain control of my horn but not lose that strong kind of thing. I want to be able to float over the stuff, but be able to grab it when I want. Lately Ive just been floating around. I havent been ready.
was ready, but my mind wasn't ready, I didnt
ready. I was afraid that if I was to experiment I would destroy what I had. The guy who told me that was Slide Hampton. He taught me that if youre trying to develop something and youre doing something opposite to that and are putting energies into both of them, or too much into one and not enough into another, one is going to be stronger than the other. So Ive been trying to even it out. But before I can do that I have to develop that certain thing that I have to develop.
In terms of what? Your sound? Ideas?
Both; sound, ideas, what I want to play. Be able to play fast passages staccato and smooth. Play like a bomb, like last night. My chops were ready, I felt good. It really happened last night. It dont happen like that all the time. Right now Im aware of my influences and Im trying to become more strong and trying to develop something.
Which is ?
Every time I perform, I want to perform at a certain level. Thats why I get mad when I play and I dont come up to that certain level that I set. Thats why sometimes when Im at the Rican Village I look spaced out. I dont talk to nobody. I just sit in the front and think about it, analyze whats happening. Then again, I can also feel like theyre not giving me the opportunity to try shit Id like to try.
Like a particular tune, or taking a solo at a particular time?
Yeah. Taking a solo at a particular time, or doing something at a particular time. Like when I dont want to play the way they want me to play. Like when they want you to do something and you dont want to do it cause you have your own personal reasons. Everything has to be compatible. There can't be no energies that are going against the whole thing. Otherwise it has a big effect.
(long silence)
What about your recent trip to Cuba? [I had forgotten that Papo previously went to Cuba with Fania All Stars when I asked that question.]
Cuba was dynamite!
Do you feel that any of your musical influences are Cuban?
Yeah. Lately, now, the thing that has been opening me to what Ive been dealing with in Libre and playing with José Rodrígues and listening to
Eddie Palmieri
, is listening to the Cuban people.
But Eddie is not Cuban. I dont know about José.
José is Brazilian. Ive been freaking out musically with what I've been hearing lately. Andy plays a lot of shit from Cuba. Ive been hanging out with Andy a lot. He always plays some slick shit for me [playing records]. He plays
Julito Collazo
Tito Rodríguez
, all the older guys, mostly the Cuban guys. He has an intense collection. I love that. But the thing is that Im trying to develop my playing, my technique, to be strong. I want to be able to incorporate everything and play jazz and Latin at the same time. Or play a típico phrase.
Which típico? Cuban or Puerto Rican?
To me there aint no difference. For instance, when I take a solo, all that shit happens. I come in and out of all kinds of stuff.
a típico phrase?
To me its a rhythmic phrase that you play on top of the rhythm section that would make it move. Not move faster, but move to open it up.
So, for you, típico playing on the trombone is playing rhythmically?
Rhythmically AND melodically. The influence that I have gotten from Cuba has been the rhythm; the rhythmic sense of the clave, trying to play on clave, trying to phrase, and be a real part of it.
So then what youve gotten from Cuban music is a sense of the percussive part of the melody?
Yeah! And the way they can play one thing, one rhythm pattern for a long time, a minute or more, and make that shit BURN! Without changing it but the shit would still be moving. Last night in one of my solos I was spaced out playing all over the place. I came to a high C and held it while the rhythm section kept going and rose to their own solos over my high C. It was a spiritual thing, a coming together in that music, and then I went on with my solo. Thats the kind of ideas I get from Cuban music. The rhythm keeps happening.
What about the times in Barranquitas or Vega Baja, or playing with the band in Philly? Are those things also part of your music?
Oh yes, my whole life is. I want to get to the point where I can play humorous, sad. Everything you go through in life has a lot to do with that. I have played these past years with a kind of angry attitude toward my horn where a strong energy would come out of it, because of all these things that have happened. Something inside me comes out, a real strong energy. The anger was towards all the things I had been through: fights, a girl beat me up, being mad, all that shit.
But what about the good things?
It seems that all the negativity is what comes out. Pain, joy too. Now Im starting to feel that the joy is coming through. Beautiful experiences since I started playing horn professionally. Been to Brazil, Peru, Venezuela, Santo Domingo, Africa. Its made me really happy inside.
If you had not experienced the things in your life that you have experienced, could you play the way you do now?
Nope. Ive been through windows, people hit me with chairs, with bats, my hearts been broken. I been through so much shit that I gotta let it out and the only way for me to let it out is by playing my music. Not my music, but by playing music.
Can you tell me something about
, about how you see yourself. How you define yourself?
How do you mean? I dont understand.
Well, like do you define yourself as a Philadelphian, a New Yorker, a Puerto Rican, an American, a Latino, a musician, a street person, a Dennis the Menace? I could go on forever but how do you see yourself? What are the things about yourself that are important?
At different times I consider myself all those things. The only thing that really is important, the ONLY thing, is playing my horn, playing music, and developing music to the highest level I can. Thats the only thing thats important. The rest of the stuff is minor. I would always say that Im from Philly because of the shit that I went through in Philly, the people that I met in Philly, people I know in Philly that probably never would have the opportunity that I have in coming to N.Y. Its been a blessing. I been through a bunch of changes here, but I learned so much. The only thing that really blows my head is not playing my horn to the highest capabilities that I can.
Do you consider yourself an artist in what you do?
Sometimes. Sometimes I consider myself a dud though.
Do you think that being Puerto Rican is important to your music, to the music you are playing?
Yes, its important to me. Yeah. Wait, I dont know. Yeah. Like the shit we did last night-- that was very important to me. That was US. It was not diluted--it was a strong energy. But its all of us, not just me. You cant say, my music cause its everybody's music. Im just a little part of the whole thing. But I feel good cause I was able to express myself, and take it to the people, and let them enjoy it and freak out like I freaked out. I dont know too much. Ive never been to college, got no heavy degrees. Im still like a little boy trying to get it together. They gave me the Latin Music Award and I felt embarrassed cause theres guys like José Rodrigues, Barry Rogers, Leo Piñeda; their lives are playing Latin music, or just playing. Thats theirs.
But playing is your thing too.
Its mine too, but I dont have the experience they do. They lived in a whole different environment, listening to all sorts of different things. José probably grew up listening to samba. I wish I had too. Samba is beautiful. I grew up being into all sorts of shit. All the stuff these guys play has been influential to me. I dont want to fuck the music up, I want to put it all together.
One of the things you said was that you wanted to express yourself through your music, through the music that you are making. Who is yourself that you want to express?
I feel that I have something strong to bring out. A certain energy, like the energy I was bringing out last night. I want to make that stronger. I want to develop that more. What was your question?
If you want to express yourself through your music, then I figure you must have some perception, some idea, about yourself and who you are.
I could be a driving force; I am, when everything is right. A lot of times when I dont feel right I cant bring that out. I want to build a certain kind of environment where I can really bring that out, to the point where that energy can come out every time I play.
[Telephone interrupts again. We both had to leave, and interview ended with a promise from Papo for a follow-up interview.... perhaps 25 years later would be a good time?]
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text:
"Leaving Iowa" has been described as "the most frighteningly realistic depiction of a family summer road trip," so it is only appropriate that Mid-Ohio Valley Players is putting on this play during peak vacation time.
It is also a touching and funny play perfect for Father's Day and, with the new air conditioning installed in the theater, a great summer activity for the entire family, said director Marlene Somerville.
The story focuses on Don Browning, a middle-aged journalist who has been handed the task of returning his "greatest generation" father's ashes to the old homestead. Unfortunately, the homestead has been replaced by a grocery store and Don has to drive around Iowa searching for a suitable location and reliving vacations past.
Article Photos
Photo submitted by Bob Parsons
Leslie McGoran as "Sis" and Marty Durham as "Don" ride along in the "backseat" as "Mom," played by Melissa Taylor, and "Dad," played by Kermit Poling, react in the front in a scene from "Leaving Iowa."
Somerville has been involved in every aspect of MOVP for 45 years and chose this play to round out the season after seeing an excerpt at the Ohio Community Theater Awards Festival in 2010.
"It is just so touching and fun and within this play you will see people you know, I don't care who you are," she said.
Marty Durham, 51, of Belpre, has around 20 productions under his belt with the Players. He takes on the role of Don and draws from some of his own experiences as a father of two girls and grandfather of three.
Fact Box
If you go
What: "Leaving Iowa."
Where: Mid-Ohio Valley Players Theatre, 229 Putnam St., Marietta.
When: June 14-15, 21-22, 28-29 at 8 p.m. and June 23 at 3 p.m.
Cost: Adults $13; seniors and students, $11; youth to age 16, $8. Tickets can be purchased at the box office, at Marty's Print Shop and online at www.midohiovalleyplayers.org.
Up next: MOVP Junior Players present "The Music Man Jr." Aug. 2, 3 and 4.
Cast includes: Marty Durham, Kermit Poling, Melissa Taylor, Leslie McGoran, David Offenberger and Carol Wharff. Directed by Marlene Somerville.
Also ...
The second Merchants and Artist Walk of the season will be held from 6 to 9 p.m. Friday and will feature artists and stores on Putnam, Second and Front streets in downtown Marietta in addition to Maple Street just across the Historic Harmar Railroad Bridge in the Harmar district.
There will be free parking in city lots on Front Street beside the Putnam Bridge; beside the National Guard Armory; and along the Ohio River on the south side of the Lafayette Hotel. Free parking is also available in city lots at the corner of Second and Butler streets as well as the Parking Partners lot in the 200 block of Second Street.
Celebration in the Park
The 17th annual Celebration in the Park Festival will be Friday and Saturday at Tomlinson Park in Williamstown.
Admission is free and the event will run from 6 to 9:30 p.m. Friday and 7:30 a.m. to 6 p.m. Saturday.
There will be a car show, horseshoe pitches, concessions, crafts, a silent auction, a country store, vendors, drawings, children's games and other activities.
The horseshoe pitch will begin at 7 p.m. Friday and noon Saturday. The entry fee is $5 with a random draw for partners. There will be a 100 percent payback for first through third places.
The schedule of activities for Celebration in the Park includes:
6-9 p.m.: Plan B
7-9:30 p.m.: Horseshoe Pitch
7:30-10:30 a.m.: Breakfast buffet
9 a.m.-3 p.m.: Car show
10 a.m.-noon: Elvis Tribute Artist Steve Sams
Noon-3 p.m.: Horseshoe pitch
12:15 p.m.: Celebration welcome
12:30-2:30 p.m.: Williamstown's 150th Birthday Party
3-6 p.m.: Killin Time
"It is really one of my favorite roles because I can remember these trips as a dad - and now a granddad - where I point out something to the kids and they're asleep in the backseat," he laughed.
Durham said he has played every role imaginable from a good guy to a bad guy, funny, sad and everything in between. But he still finds challenges in every role.
"I play Don as a middle-aged man and as a 10-year-old boy. It's funny because in a child's mind, everything about memories is exaggerated," he said. "But this is a very difficult show. There is a lot of repetition, a lot of lines and there's a soundtrack, which is something I am not used to."
Somerville said that everyone - from seasoned veterans Carol Wharff and David Offenberger, who have 22 parts between them in this show, to those new to the stage - has really put a lot of work into the production.
"We are so grateful to the cast and crew," she said. "Everyone worked so hard and everyone works well together."
Newcomer Melissa Taylor said she has found her first play experience to be nerve-wracking and tense but "really fun." Taylor plays Don's mom and the 23-year-old Belpre resident has to undergo a transformation of 40 years.
"I play her from about age 30 to about 70," she said.
With the first public performance date looming on Friday, Taylor is very nervous but also very excited and credits her director with helping her through.
"I like Marlene. She has been good at molding me and she is really good at giving directions," she said.
Durham agreed that working with Somerville has helped him to delve into the character and put a lot of effort into the production.
"Marlene really cares ... whatever show she picks, she has a passion for and wants it to resonate with the audience," he said.
Show dates are June 14-15, 21-22 and 28-29 at 8 p.m. and June 23 at 3 p.m.
For more information and to purchase tickets, visit www.midohiovalleyplayers.org. The next production will be the Junior Players production of "The Music Man Jr." Aug. 2, 3 and 4.


text:
Westeros is the premiere fansite for George R.R. Martin's A Song of Ice and Fire. Discuss the series on the forums, browse our resource collections, read about the TV series from HBO and play the MUSH, to name just a few of the things we offer.
New to the series? Read our spoiler-free review of A Game of Thrones.
Read our Privacy Policy.
The So Spake Martin section of our site—an archive of correspondence, chats, interviews, and signing and convention reports—has been updated with a link to a podcast interview with GRRM conducted by Bear Swarm!. This is about a month old, recorded at the time of the Days of Ice and Fire event.
The Westeros network consists of several different sites, including a forum and a wiki, for all your A Song of Ice and Fire needs.


text:
Elaine Smith, custodian at Camdenton High School, was named the Classified Employee of the Month for September.
Smith was nominated to receive this award by the Band Department with which she works closely. Comments made by band members in the department's nomination include, "We appreciate Elaine and she has become part of the band. We go to her for specific needs because we know that she will take care of them happily and with pride."
Elaine is professional, positive, and extremely productive. She was presented with her award at the Sept. 9 school board meeting. Elaine has been with the district for two years.
Location, ST | website.com


text:
If you're among those who think being a little
sleepy won't kill you, consider a study published in the Journal of
the American Geriatrics Society in 2000: Among older people,
particularly older women, daytime sleepiness was associated with an
increased risk of death from any cause—greater than death from
illness, cardiovascular disease, heart attack and congestive heart
Rather than getting the eight hours of sleep a night that most
of us need, Americans on average sleep 6.8 hours on weekdays and
7.4 hours on weekends, according to the National Sleep Foundation's
(NSF's) 2005 Sleep in America poll. Lack of sleep is so rampant
that renowned sleep researcher William C. Dement, M.D., calls it a
hidden epidemic and says the United States is a "sleep-sick
nation." The 2005 poll also found that 75 percent of adults
frequently exhibit signs of a sleep problem, such as taking more
than 30 minutes to fall asleep, excessive daytime sleepiness or
having trouble staying asleep.
Compared with the same poll in 1998, skimping on sleep has
become more common. Many respondents admitted that sleepiness
impaired driving skills and work performance and caused them to
stay home from work and other events. Fatigue also put a wet
blanket on sex drive. However, the majority of those surveyed
either ignored or downplayed these symptoms.
"People who are chronically sleep deprived can be completely
unaware of the root cause of their overwhelming fatigue," says
Dement, a professor in the Department of Psychiatry at Stanford
University and author of The Promise of Sleep (Dell, 2000). This
chronic mismanagement of a vital bodily function leads to
accidents, illness and premature death. Sleep loss can impair
reaction times on par with alcoholic intoxication (at a blood
alcohol concentration of 0.08 percent, illegal for driving a motor
vehicle). According to the National Highway Traffic Safety
Administration, "Drowsy driving causes more than 100,000 crashes a
year, resulting in 40,000 injuries and 1,550 deaths." Dement says,
"Drowsiness is a red alert to get off the road." He adds that sleep
deprivation was a factor in the Exxon Valdez running aground in
1989, spilling 11 million gallons of crude oil.
A night or two of poor sleep will impair concentration and
memory, interfere with work and suck the air out of your social
life. Mood begins to erode. First come crabbiness, peevishness and
difficulty coping with everyday hassles, then a mounting
vulnerability to depression. Fending off infections becomes more
difficult. Worse, chronic sleep deprivation worsens diabetes and
heart disease.
If you're tired most days, you might have an underlying problem
that disturbs your sleep, such as stress-induced insomnia, sleep
apnea or restless legs syndrome, among other problems. See your
doctor to rule out an underlying condition. For most people,
daytime fatigue usually derives from burning the midnight oil.
Because most doctors don't think to ask about a patient's sleep
habits, it's up to you to consider sleep as important as diet and
exercise in maintaining your health.
Some people are more sensitive to caffeine than others. Caffeine
sensitivity correlates with being prone to stress-induced insomnia.
In one experiment, published in Sleep Medicine in 2007, a subgroup
of people who had trouble dozing off in the sleep lab (a
situational stress) also took longer to go to sleep after a
moderate dose of caffeine (3 mg per 2.2 pounds body weight)—about
two cups of coffee. People who are sensitive to caffeine are more
likely to have trouble falling asleep in times of stress. The
authors speculate that some people have a "trait vulnerability to
sleep disturbance from a very broad range of challenges to the
sleep system."
Some of us are tired because we don't leave enough time for
shut-eye. One in four, however, have insomnia, defined as
difficulty either falling or staying asleep. Nearly one in 10 have
difficulty sleeping most nights.
Insomnia is a symptom, not a disease. Factors that increase the
odds of poor sleep include shift work, jet travel, stress, anxiety,
pain, menopausal hot flashes, an uncomfortable sleep environment,
consuming caffeine late in the day or excessive alcohol at night,
and taking medications, such as decongestants, cortisone-type
drugs, antidepressants, and drugs to lower blood pressure and
relieve asthma.
Stress tops the list. Insomnia caused by a temporary upheaval
(new job, romantic breakup, illness) often resolves once you've
recovered from that setback. A greater threat is the chronic
low-grade stress overscheduled Americans endure. We work too hard,
go to bed too late, toss and turn, and rise too early.
Robert Sapolsky, Ph.D., a Stanford University professor and
author of Why Zebras Don't Get Ulcers (Owl Books, 2004), explains
that not only does stress thwart sleep, but insufficient sleep
itself acts as a stressor—it activates the stress response. The
stress response elevates two adrenal gland hormones: epinephrine
and cortisol. Heart rate, blood pressure, respiratory rate and many
mental activities speed up. Other visceral activities
(gastrointestinal and reproductive) slow down.
In one of life's many ironic twists, the hormonal changes caused
by a sleepless night have a nerve-jangling effect, making it
difficult to sleep the next night, which activates the stress
response, which raises epinephrine and cortisol … it's a vicious,
unhealthy cycle. Chronic stress can lead to immune dysfunction,
weight gain, diabetes, osteoporosis, memory problems and mood
disorders. Sapolsky acknowledges that chronic activation of the
stress response may contribute to the maladies associated with
inadequate sleep.
While some people reach immediately for prescription or
over-the-counter sleep aids, medications aren't the only—and
probably not the healthiest—way to treat insomnia. For some people,
nondrug treatments can work as well or better. Although such
methods take longer to work, the benefits tend to be enduring.
"Know thyself," Dement likes to tell haggard people. In other
words, figure out how you're sabotaging your sleep. A standard
approach is to improve "sleep hygiene," learn relaxation skills and
adopt positive strategies for late-night sleeplessness. Good sleep
hygiene means you allow for a good eight hours of slumber each
night, maintain regular sleep and wake times, create a cozy, quiet
and dark sleeping environment, and avoid afternoon and evening use
of stimulants, such as caffeine, and excessive alcohol at
Although many health practitioners discourage vigorous exercise
just before bed, regular daily exercise can make your nights more
restful, according to a 1997 Journal of the American Medical
Association study. One study from the Journal of the American
Geriatrics Society found that tai chi helped older people who had
trouble sleeping. Yoga has helped people with chronic insomnia.
The hardest part of falling asleep can be turning off your busy
mind. At first, you can't sleep because you're thinking about
unfinished tasks from the day, regrettable bits of dialogue and
tomorrow's Sisyphusian to-do list. Then you glance nervously at the
clock. How did it get to be 1 a.m.? You do the math; no way will
you get enough sleep. Maybe you won't sleep at all. You picture
yourself stumbling through the next day, heavy-lidded and
dim-witted. Stress hormones rise. Your nerve cells begin to twitch,
mutter to themselves, grow five-o'clock shadows.
To avoid this scenario, Dement urges people to shun late-night
activities that disturb peace of mind, such as doing homework,
paying bills, watching the news and checking e-mail. The worst
scenario is doing these things in bed—a place you want to associate
only with sleep. If something's on your mind, write it down, then
tell yourself to forget about it overnight.
Whenever you can, occupy your last hours with relaxing
activities, such as reading for pleasure. Make bedtime a sensuous
ritual. Light a candle, turn out the electric lights, put on
soothing music, and step into a warm bath or a hot foot soak. Try
adding 10 to 15 drops of calming essential oils to the tub. (See
"Soothe Yourself with Aromatherapy" on Page 44.) Focus on the
sensation of water lapping your skin, the plant fragrances, the
music, the candle's flickering glow. Pat dry with a towel, and
massage oil (apricot, grape seed or almond) into your skin. Cover
the clock (and other light sources) and don't look at it till
morning. Lie in a comfortable position and notice your breathing
slow down. To unclench your jaw, try parting your lips
You also can try progressive muscle relaxation, an effective
technique used in many nondrug studies on insomniacs. Lie on your
back. Starting with your feet, contract the muscles (really clench
them), then relax. Appreciate what relaxation feels like. Next,
move up to your calves, thighs, buttocks and so on, right to your
face. Another method is to lie still with eyes closed and focus on
your breathing, saying to yourself "in" as you inhale and "out" as
you exhale. Dement's own technique is to set the radio on the sleep
function (so that it turns itself off in 30 minutes) and let the
background chatter distract him from his own thoughts.
If you're still wide-eyed after a half hour in bed, get up and
do something relaxing, such as reading, listening to soothing music
(which has proven sleep benefits), gently stretching or massaging
yourself with your aromatherapy oil. Do not reach for the liquor
cabinet, as alcohol disrupts sleep patterns. Emily Matuszewicz, a
chiropractor and the director of Metropolis Center for Holistic
Health in Denver, suggests getting out of bed and doing a calming
yoga pose. Her favorite is lying on her back with her buttocks
against the wall and her legs straight up the wall.
A number of herbs have sedative properties but do not interfere
with daytime function—their sedating properties are mild (see
exceptions below). Lesley Tierra, an acupuncturist and herbalist in
Santa Cruz, California, recommends that people with persistent
insomnia take herbs that support the nervous system three times
daily, in addition to a dose at bedtime. In general, a dose is a
cup of tea, 1/2 to 1 teaspoon of tincture or one to two capsules.
Check product labels for more details.
Nerve tonics with subtly sedating effects include chamomile
(Matricaria recutita), lavender (Lavandula angustifolia), skullcap
(Scutellaria lateriflora), vervain (Verbena officinalis), wood
betony (Stachys betonica) and lemon balm (Melissa officinalis).
Lemon balm gets my award for the tastiest of the sedative herbs.
Its minty, lemony taste makes it a fine addition to any brew.
Some herbs are nerve tonics yet have no sedating effects. One
example is oats (Avena sativa). Eat oatmeal for breakfast and add
oatstraw or oat tops to your tea. Herbalist Rosemary Gladstar
writes in Rosemary Gladstar's Family Herbal (Storey Books, 2001)
that oat tops are rich in minerals and "one of the highest
terrestrial sources of magnesium." (Magnesium is thought to help
regulate the internal clock.)
Hawthorn (Crataegus spp.) is subtly calming, gentle and suitable
for long-term use. It also benefits the cardiovascular system. You
can take it in the form of jams and syrups, or as a tea, tincture
or capsule. Another herb that supports cardiac function is
motherwort (Leonurus cardiaca). Many herbalists favor it for
menopausal women awakened by heart palpitations.
If nondrug options don't work for insomnia, medications can be
necessary and important, Dement says. Until recently, drug
treatment has been hampered by safety concerns. Hypnotic
(sleep-inducing) drugs are sedating, and, therefore, depress the
nervous system, slowing reaction times and clouding mental
functions. Many also carry the risk of addiction. Hence, experts
advise limiting their use to two weeks.
But what about people with stubborn, persistent insomnia? The
elderly are particularly vulnerable to insomnia due both to normal
age-related changes in sleep cycles and chronic illnesses. Older
people often already are on multiple medications, slow to
metabolize drugs in general and unsteady physically and mentally.
The risk of falls makes many doctors hesitant to prescribe a
hypnotic. However, a large 2005 study from the University of
Michigan Health System found that sleep-deprived, unmedicated
elderly insomniacs were more likely to fall than those able to
sleep thanks to hypnotics. Fortunately, some of the newer
hypnotics—Sonata (zaleplon), Lunesta (eszopiclone) and Ambien
(zolpidem)—appear to be safe to take long-term.
Many sleepless Americans reach for over-the-counter sleep drugs,
which typically contain sedating antihistamines. Experts say that,
not unlike alcohol, these drugs aren't very effective, impair sleep
quality and can leave you foggy the next morning.
If anxiety or mild to moderate depression underlies your
sleeplessness, St. John's wort (Hypericum perforatum) might be the
herb for you. (For any serious psychological disturbance, make an
appointment with a mental health professional. And be aware that
St. John's wort speeds the liver's metabolism of many drugs,
thereby lowering their blood levels, and thus, their
According to herbalist David Hoffmann, author of Medical
Herbalism (Element, 1996) and other books, the most effective sleep
inducers are California poppy (Eschscholzia californica), hops
(Humulus lupulus), passionflower (Passiflora incarnata) and
valerian (Valeriana officinalis). He finds them particularly useful
when pain interferes with sleep. I don't recommend using these four
herbs during the daytime.
Valerian is the best-researched hypnotic—or sleep inducing—herb.
More than 20 clinical trials show the root extracts hasten sleep
onset and improve sleep quality, without side effects. Most studies
used valerian alone, but a few also found benefits for valerian
plus hops, lemon balm or kava (Piper methysticum). Valerian also
has compared favorably with the prescription drug Serax
The mineral magnesium is thought to help regulate the biological
clock, but many of us don't get enough of it. Matuszewicz notes
that changes in agricultural practices have depleted magnesium from
our fruits, vegetables and grains. Because higher doses of
magnesium can loosen bowels, she suggests you start with 300 mg at
bedtime and move up to 400 to 500 mg. In a 2006 study of menopausal
women, magnesium in combination with magnolia bark extract reduced
sleep disturbances. Magnesium supplements also have been shown to
improve sleep among people with periodic limb movements and
restless legs syndrome.
Secreted by the pineal gland at night, the hormone melatonin
regulates several physiologic processes, including sleep-wake
cycles. In many people, this hormone declines with age. Blood
levels have been shown to be lower in elderly people with insomnia
than in people the same age without insomnia, according to a 2004
study from The American Journal of Medicine. Studies show that, at
least in elderly people with low levels, melatonin can improve
sleep. Not all studies are positive, however, and most experts
don't consider it an effective remedy for run-of-the-mill
Because taking a bedtime dose might help reset the biological
clock, melatonin can help people who do shift work, travel by jet,
are blind or have delayed sleep phase syndrome (habitually going to
bed very late). Getting some morning sunshine also helps your body
set a normal sleep-wake cycle.
The specific dose for melatonin has yet to be clearly defined.
Usual recommendations are 0.5 to 3 mg 30 minutes to one hour before
bed. While no serious side effects have surfaced, there have been
reports of melatonin aggravating depression (with daytime use),
stimulating vivid and disturbing dreams and causing grogginess.
Most experts discourage its use in children, adolescents, women who
wish to become or are pregnant or in people with autoimmune
Valerian is the best- researched sleep
A 2006 review of 16 studies, published in The American Journal
of Medicine, reported that valerian significantly improved sleep
and didn't cause a morning hangover. However, the authors
criticized the methods of many studies, including the use of small
numbers of volunteers.
Don't expect valerian to work instantly. When chronic insomniacs
took a single 600-mg dose one hour before bedtime, valerian did not
significantly affect objective or subjective measurements of sleep.
Fourteen consecutive nights of treatment did improve sleep
efficiency, though, according to a 2000 study published in
Pharmacopsychiatry. The take-home message: This herb seems better
suited to long-term maintenance of sleep.
Valerian's notoriously musty taste drives most people to down
liquid extracts or capsules rather than teas (the herb's scent has
been compared to dirty socks). Thirty minutes to an hour before
bedtime, take 1/2 to 1 teaspoon of tincture or 300 to 500 mg of a
concentrated extract containing no less than 0.5 percent volatile
oils. Warning: Herbalists note that some people are stimulated,
rather than relaxed, by valerian.
California poppy has a long tradition as an analgesic and
sedative. Laboratory studies show it reduces anxiety and induces
sleep. One study found that a French product called Sympathyl,
which contains California poppy, hawthorn and magnesium, was safe
and more effective than a placebo in treating mild to moderate
anxiety disorders.
Hops, a critical ingredient in beer, is mildly sedating. The
fluffy strobiles can be put into sleep pillows, along with fragrant
lavender. Gladstar, who finds hops' bitter taste difficult to
disguise, takes the herb as a tincture, often in combination with
valerian. Keep the bottle at your bedside. That way, if you awaken
in the middle of the night, you can take a couple droppersful.
Sharon Tessier, who teaches aromatherapy and other holistic
health classes at Metropolitan State College of Denver, says her
favorite remedy for a hectic day is a cup of chamomile tea and a
warm bath. "If time does not permit a full body bath, I use a
shoulder pillow filled with flaxseeds, heat it in the microwave for
two minutes, put it around my neck, and make peace with my day
while I drink my tea."
In addition to drinking chamomile tea, Tessier counters insomnia
with plant essential oils. Good candidates include chamomile (Roman
and German), bergamot, clary sage, frankincense, lavender, neroli,
sweet marjoram, rose and ylang ylang. Neroli tops her list.
"Blended with lavender and bergamot," Tessier says, "neroli will
surely soothe the disconnected body, mind, emotion and spirit."
Lavender essential oil also has a good track record of
alleviating insomnia, a tradition verified by scientific research.
A 2006 Korean study of college women found that aromatherapy with
essential oil of lavender helped relieve insomnia. Another study
found that smelling lavender essential oil helped seniors maintain
sleep as they withdrew from benzodiazepines (a group of drugs that
includes Serax, Restoril, Valium and Halcion).
If you have time for a warm bath at night, Tessier recommends
you add 10 to15 drops of essential oil (half that amount for
elderly people and young children) and soak for at least 15
minutes. Inhale the wonderful aromas. Those volatile oils absorb
across your respiratory linings as well as across your skin. Note:
Tessier cautions that these potent plant medicines not be taken
internally and be kept out of children's reach.
Ashley Dew has personal experience with using massage for
insomnia. When stress-induced insomnia shadowed Dew's college life,
her mother gave her a gift certificate for a massage. That night,
Dew slept like the proverbial baby. She left Savannah, Georgia, for
the Boulder College of Massage Therapy. A side benefit of being a
student afforded her twice weekly massages, which cured her
insomnia and anxiety. Now a certified massage therapist at
Metropolis Center for Holistic Health in Denver, Dew gets one or
two massages a month to stay healthy.
If you can't afford regular massages, consider swapping with a
friend. And you always can massage yourself. Focus on your hands,
feet, temples, jaw, shoulders, neck and other reachable tight
muscles. The ideal is to have a massage right before bedtime—a
treat a generous loved one might provide.
Consider making a nighttime massage oil spiked with the
aforementioned calming essential oils. Tessier recommends 15 drops
of essential oil per one fluid ounce of carrier oil or 2 to 3 drops
per teaspoon of carrier. Halve the dilution for elderly people. For
small children, use one-third the amount of the adult formula.
Gaia Herbs
(828) 884-4242
Herbs, Etc.
(888) 694-3727
Nature's Benefit
(973) 890-2378
Ridgecrest Herbals
(800) 242-4649
(888) 550-7774
Guard your sleep. Think of it as a precious elixir for health
and longevity. Try to eradicate any underlying sleep thieves.
Consider the long menu of possible remedies. Clean up your
behaviors, try herbs and, if needed, try a medication. Do whatever
works. Now, get some sleep! •
Linda B. White, M.D., is the coauthor of The Herbal Drugstore
(Rodale, 2000). She teaches botanical medicine and other health
classes at Metropolitan State College of Denver. She plans to take
her own advice about sleep seriously.
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text:
A Seat of Power, or Paranoia? What Your Desk Says About You
The furniture and accessories in a private office can send a powerful message about the image the occupant wants to project, as described in this week's Work & Family column.
A more subtle choice – the direction you face when sitting at your desk – says a lot about you too, designers say.
People whose desks face straight toward the door may want to convey an image of power and authority. "It gives them a view of everything going on outside the office," enabling them to anticipate visitors, avoid surprises and monitor what's going on, says Leigh Stringer, workplace strategist at the architecture and interior-design firm HOK. Others, however, find the door distracting.
Those who sit at an angle, so they can keep an eye on who is passing by, are heeding an evolutionary impulse to avoid being ambushed. Ms. Stringer calls it "the 'Serengeti effect' — the whole idea of the savanna preference," or the innate appeal of open surroundings where the eye can see far, like the flat grasslands of Africa. Being able to "look out across the office and see the tiger approach" is naturally calming, she adds.
Workers are stuck in cubicles often must face a corner or back wall. This might work for hermits, but it can foster anxiety. It allows colleagues to "come up and startle you, and maybe see what was on your screen," says industrial designer Douglas Ball. "A gunfighter in a saloon would never sit down with his back toward the door." (It's not hard to see why some bosses might like this setup, though.)
When Mr. Ball designed a small-office system called My Studio for the office-furniture company Herman Miller, he created desks encouraging the occupant to place the computer facing a front corner, so that "the motion of people going by can be picked up out of the corner of your eye," he says. The design won praise from advocates of feng shui, because it positioned workers to feel in control of the environment.
Readers, have you been stuck with your desk facing in a direction you disliked? Have you repositioned your desk to convey the image you want? Or do you notice feeling differently about the occupant of an office based on where they place their desk?


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SAN FRANCISCO -- Paranoia or privacy? Some people are pledging to return their Nest thermostat now that Google (GOOG) is buying the company that makes the popular "smart home" device for $3.2 billion in cash.
Their reasoning: Buying Nest Labs could help Google hoover up a whole lot more of our personal information to slice and dice for advertisers.
Google already understands everything about our online behavior -- and that knowledge is what it sells to advertisers.
But Google has far less insight into our habits and preferences when we are not staring at the screen of a personal computer or mobile device.
Enter the Internet of Things, wireless devices that collect data in the home and can be controlled with a smartphone. Many people believe this represents the next big growth phase of the Internet.
Nest makes Internet-connected devices for the home such as thermostats and smoke alarms. It has a host of products planned to make your home more "conscious" by connecting it to the Internet.
Google says it will abide by Nest's privacy policy, which limits how customer information can be used.
And Nest co-founder Matt Rogers said in a blog post on Monday: "Our privacy policy clearly limits the use of customer information to providing and improving Nest's products and services. We've always taken privacy seriously, and this will not change."
But even anonymized data on Nest users would give Google an invaluable glimpse into our daily lives.
And that information could potentially be paired with online movements, making the world's most powerful search engine that much more powerful for its ability to ever-more-precisely target advertising.
Tweeted Ryan Block, vice president of product at AOL: "With Nest's built-in sensors now Google knows when you're home, what rooms you're in, and when you're out. Just FYI."
Concern over privacy may not be the prevailing sentiment about Google's deal to buy Nest Labs. But privacy advocates say consumers who are worried about the Nest Labs acquisition are not overreacting.
People should be wary of how much intelligence Google will be able to suck up and analyze once it completes the purchase of Nest Labs, said Jeffrey Chester, executive director of the Center for Digital Democracy.
"Consumers should insist Google start making their mortgage or rent payments, given all the data the company plans to sweep up from everyone's homes," Chester said. "A few billion is digital chump change for the key to unlock more of our personal information. By linking together our mobile, video, search, while driving, in-store and now at-home data, Google wants to become an invisible but all-seeing new member of the family."
Marc Rotenberg, another frequent critic of Google, said he planned to return his Nest thermostat now that Google is buying the company.
"Being a genuine geek, that was no simple decision," said Rotenberg, president of the Electronic Privacy Information Center.
But, he said, he didn't feel as if he had much choice. "Google doesn't respect boundaries," he said.
A key concern for Rotenberg: Google's move to merge its privacy policies and consolidate data from users across more than 60 services, including video-sharing service YouTube.
At the time Google said it was looking to make its privacy policy clearer to users and to improve its services.
But privacy advocates in the U.S. and European regulators have complained that Google has not been forthcoming about what it does with all of that personal data, especially when that information is collected from different services to target advertising.
"Now with the Internet of Things emerging, there is every reason to believe that Google will use Nest data for marketing and deeper profiling of consumers," Rotenberg said.
He's not the only one who is nervous about a universe powered by Google devices.
After renting for more than a decade, David Chartier, a freelance technology writer from Chicago, bought his first home in October. He says he couldn't wait to make his house "smart," so one of his first purchases was a Nest thermostat. He said he has really appreciated having a "smart" thermostat that warms up the house in anticipation of his return home, particularly during record low temperatures that have frozen Chicago.
"The Nest is an incredible product," Chartier said. "I looked at a lot of other thermostats, and it doesn't seem like there is anything out there like it right now."
But with Google buying Nest Labs, he has begun to shop again for alternatives.
"For me, it's that growing sentiment that there is so much data that Google is collecting that it is getting uncomfortable," Chartier, 33, said.


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The TL-WA5210G 2.4 GHz High Power Wireless Outdoor CPE is dedicated to WISP CPE solution and long distance wireless network solutions. It integrates the functions of a Wireless Access Point, WISP Client, high gain antenna and weatherproof enclosure. It features 12 dBi high gain antenna, high output power and high RX sensitivity can significantly extend the transmission range to deliver a more stable wireless connection. Complies with IEEE 802.11 b/g, TL-WA5210G creates an wireless network up to 54 Mbps, making it great for Internet surfing and files exchange.
- Product Description
- TP-LINK TL-WA5210G - radio access point
- Device Type
- Radio access point
- Form Factor
- External
- Data Link Protocol
- Ethernet, Fast Ethernet, IEEE 802.11b, IEEE 802.11g
- Frequency Band
- 2.4 GHz
- Included Accessories
- PoE injector
- OS Required
- UNIX, Apple MacOS, Novell NetWare, Microsoft Windows 98 Second Edition, Linux, Microsoft Windows Vista / XP / 7, Microsoft Windows 2000 / NT
- Power Over Ethernet (PoE) Supported
- PoE
- Dimensions (WxDxH)
- 26.5 cm x 12 cm x 8.3 cm
- Device Type
- Radio access point
- Width
- 26.5 cm
- Depth
- 12 cm
- Height
- 8.3 cm
- Form Factor
- External
- Connectivity Technology
- Wireless
- Data Transfer Rate
- 54 Mbps
- Data Link Protocol
- Ethernet, Fast Ethernet, IEEE 802.11b, IEEE 802.11g
- Frequency Band
- 2.4 GHz
- Max Range Open Space
- 15 km
- Features
- WISP mode, weather proof
- Encryption Algorithm
- AES, 128-bit WEP, 64-bit WEP, 152-bit WEP, TKIP, WPA, WPA2, WPA-PSK, WPA2-PSK
- Compliant Standards
- IEEE 802.11b, IEEE 802.11g
- Directivity
- Directional
- Gain Level
- 12 dBi
- Included Accessories
- PoE injector
- Compliant Standards
- FCC, RoHS
- Power Over Ethernet (PoE) Supported
- PoE
- Power Device
- External power adapter
Software / System Requirements
- Software Included
- Drivers & Utilities
- OS Required
- UNIX, Apple MacOS, Novell NetWare, Microsoft Windows 98 Second Edition, Linux, Microsoft Windows Vista / XP / 7, Microsoft Windows 2000 / NT
Environmental Parameters
- Min Operating Temperature
- Max Operating Temperature
- Humidity Range Operating
- 10 - 70%
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Customer reviews
Write a review for the TP LINK 2.4GHz High Power Wireless Outdoor Access Point here!
Easy to set up - works great!
Reviewed by Anonymous Review Posted 07/12/2013
This unit has both a quick setup and the more advanced setup configurations available. Both work well, as I used the quick setup to test my setup then went into the advanced config to add wireless security and AP isolation. The TP-Link is mounted to a metal pole 12 feet high and the signal rocks some 2500 feet away over fairly level ground (high desert). I have good consistent throughput from the TP-Link with the distance setting at 2km, it's advertised to work at much greater distances that that. Although I chose to use a similar unit to receive the WiFi signal broadcast by the TP-Link (for my particular network needs), both of our laptops had no problem in connecting directly to the TP-Link without the receiver. I've not had to reset or reboot the unit in the two weeks I've had the unit installed.
The only negative about the unit is that the Cat5 cable included to connect the TP-Link to the power insertion device is quite short so plan on purchasing a longer cable to complete your installation.
- Overall
- Ease of use
- Value for money
The opinions expressed in this reviews section are those of our customers and not of BT Shop. Nothing contained herein amends BT Shop's terms and conditions.


text:
STILLWATER, Okla. – Chris Hawkins-Mast led all scorers with 14 points, but the Texas A&M – Corpus Christi men's basketball team was unable to keep pace with Big 12 foe Oklahoma State in the season opener, falling 71-39 at Gallagher-Iba Arena. Freshman Nate Maxey had four blocks and eight rebounds in his debut, most of those in the first half, in the loss.
Le'Bryan Nash led the Cowboys with 13 points for Oklahoma State, while Jean-Paul Olukemi added 11 and Cezar Guerrero poured in 12. Philip Jurick grabbed 10 rebounds for the Cowboys.
After a slow offensive first half, the Islanders offense picked up early in the second half, but the Cowboys saw their outside shooting heat up as well, pushing the lead to 41-17 after a Guerrero three. An OSU traditional three-point play made it 44-17 before Hawkins-Mast converted a fast-break dunk for the Islanders. The visitors got a putback from Mast, a jumper from Jake Kocher and a pair of free throws from Johnathan Jordan in rapid succession, but OSU had an answer for every Texas A&M – Corpus Christi rally. Keiton Page scored four straight points for the Cowboys, and they built a 51-25 lead at the 8:44 mark.
But the visitors continued to work on the offensive end, with Jordan converting a brilliant layup after being fouled with 6:25 to play. He later added a pair of free throws, and then Ted Wang scored three straight points for Texas A&M – Corpus Christi to make it 61-34 with 3:14 remaining. The Islanders closed the game with 10 of the final 15 points, five from Hawkins-Mast, to result in the final score.
In the start of the game, Oklahoma State got out to a quick 9-0 lead, but Maxey showed his ability to change the inside game, swatting three Cowboy attempts early on. The Islanders got on the board with a Terence Jones jumper at 16:11, and the teams traded baskets to a 13-4 Oklahoma State advantage. Neither team was able to progress much over the next several minutes, with the Cowboys pushing it to 17-8 at the 7:11 mark.
But the Cowboys went on a big 14-3 run at that point to build a 31-11 lead at the half. Maxey entered the locker room with four blocks and seven rebounds with a strong defensive performance, but the Islanders shot just 5-for-27 from the field. Nash and Olukemi led all players with eight points in the opening half.
The Islanders will have just a brief respite, as they return to action on Monday night to face Denver at the American Bank Center. Tipoff is slated for 7 p.m. in the home opener for Texas A&M – Corpus Christi against the Pioneers. For tickets, call 825-BALL or visit GoIslanders.com.


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MailTabs for Mail.app
MailTabs for Mail.app is a unique plug-in that organizes all your open email messages under a simple tab arrangement just like the tabs in your browser.
- View, compose, reply, forward and edit messages in tabs.
- Session is saved and is restored when Mail.app starts.
- Automatic plug-in updates.
Required OS: 10.5
Tags: mailbundle , mail , tabs , plugin , mailapp , tabbed , email
6 Opinions
Does it work with Lion?
Wow !! This is a big step forward, specially for the UI. Well done. Still a few glitches but I am happy with this version :)
This is a great idea, and the current implementation is a good start. As @fredsarran says, the UI isn't great at the moment (tab colour doesn't match toolbar colour), and there are a few bugs (e.g. closing a tab while editing a message doesn't give the option to save the message). I look forward to future versions.
I am looking forward to further updates for better UI integration, smooth animations, etc... Till now, great work and it comes very handy.
Fixed 10.6.7 compatibility issue.
Installations broken by Software Update will be automatically re-enabled when installing the same version of MailTabs.
Works nicely. Useful when you are email addict.
Broken with 10.6.7. Hopefully fix soon!
Good effort


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Fill in the form below and choose the car you want to test drive. Your request will be sent to the dealership of your choice.
With its dynamic exterior styling and loft-like interior, the Citroën C4 Picasso is a modern and innovative compact MPV.
Well-equipped and with a touch-sensitive and intuitive drive station, it embodies our brand's creative technology.
The Citroën C4 Picasso's expressive front end, spectacular LED light signature and wraparound tailgate invite you to enter a new dimension of travel.
The unique light signature contributes to the Citroën C4 Picasso's distinctive personality. The streamlined headlights are highlighted by daytime running LED lights that extend the line of the radiator grill. This gives the car an expressive, modern and high-tech look.
The Citroën C4 Picasso features rear LED lights that first appeared on our latest concept cars. The deep 3D effect creates a futuristic feel, making the C4 Picasso stand out from the crowd.
Chrome inserts highlight the Citroën C4 Picasso's bold styling and add an extra touch of elegance.
The Citroën C4 Picasso is available with a broad selection of 16" to 18" alloy wheels with an original design. The alloys add to the car's sense of vitality.
Thanks to the glass roof and panoramic windscreen, drivers and passengers feel a sense of freedom on board the Citroën C4 Picasso. The uncluttered and user-friendly dashboard enhances this sense of space.
The optional Relax Pack offers occupants the comforts of first-class travel.
The Citroën C4 Picasso is the first car to benefit from our new modular EMP2 platform. This provides an unrivalled combination of a compact exterior and a roomy, flexible interior with lots of storage space. It's also 140kg lighter than the previous version.
Thanks to the modular EMP2 platform, the compact exterior dimensions of the Citroën C4 Picasso don't impact on the space inside the car. The elongated wheelbase offers record-breaking room for all passengers, particularly in terms of knee space.
The Citroën C4 Picasso sets a new standard in modularity.
For example, the three rear seats all slide independently and can be reclined for a more comfortable ride. You can also fold them away in an instant to form a perfectly flat floor.
The Citroën C4 Picasso features lots of clever cubbies. The central console between the two front seats contains a large compartment protected by a sliding lid. There are also:
The Citroën C4 Picasso's record-breaking 537-litre boot is the largest in its category.
When the back seats are pushed forward the capacity increases up to 630 litres.
There's extra storage space under the floor of the boot, plus a handy torch. The wide motorised tailgate also makes loading the boot as easy as possible.
The Citroën C4 Picasso's on board equipment is the essence of Creative Technologie. Everything is designed to make your journey safer and easier, so you can relax and enjoy it.
Click on the pictures below to find out more.
Minimising the Citroën C4 Picasso's environmental footprint was an integral part of the design process.
The Citroën C4 Picasso's BlueHDi 150 Euro 6 powerplant eliminates:
e-HDi micro-hybrid technology is available on C4 Picasso's fitted with diesel engines incorporating second-generation Stop & Start. It converts the kinetic energy produced from deceleration into electricity, cutting fuel consumption and CO2 emissions by up to 15% in town.