text:
Lázaro Valdés: Well, my grandfather Oscar Valdés is the trunk of the family. He was the one who got his brothersVicentico Valdés, Alfredo Valdés, who was older than him and Marcelino Valdés(in music). Vicentico Valdés was an excellent bolero singer who recorded a ton of records. Alfredo Valdés was one of the pioneers of son in Cuba. He was the singer for el Sexteto Habanero, the most famous sextet of the 1920s. He sang many songs that were hits in that era that today are classics. Marcelino Valdés, an excellent percussionist, was one of the first percussionists to play the conga with one hand and the paila with another, a tremendous use of polyrhythms.
My grandfather (Oscar Valdés) was a percussionist, conga drummer and singer. When he was young and sang he used to cover for Barbarito Diez, an excellent Cuban singer, so Barbarito could do other gigs. In his time, he was one of the most-recorded conga drummers in Cuba. He recorded with everybody and appeared on all the shows. My father, Lázaro Valdés, was Beny Moré's pianist for a long time. Oscar Valdés Jr., my Uncle Oscar, is also en excellent percussionist. He played percussion with Beny Moré and up until recently was in Irakere; he was a singer and percussionist for Irakere. My cousin Diego Valdés is a great bass player. He lives in Colombia. My other cousin Oscarito Valdés Jr. is an excellent drummer, one of the first drummers in Cuba to sign with a foreign firm; he signed with Peer. And I play piano with Bamboleo. My son is 9 and is also going to be a musician.
Abel Delgado: You're not a relative of Chucho Valdés, right? He's from another branch of Valdeses, right?
Lázaro Valdés: He's from another branch of Valdeses but we're like relatives because we have very good communication between us. We get along really well and he was working with my grandfather in the Orquesta de Música Moderna. As a kid he studied piano with my father...we're almost like family. We've made the Valdés (name) one.
Abel Delgado: I know that Vicentico Valdés died New York and Marcelino Valdés spent a long time in New York working as Tito Rodríguez's percussionist. Did you ever have contact with your famous uncles?
Lázaro Valdés: Well, when I got to the U.S. they were already dead...I haven't yet had contact with my cousins from Vicentico but I have (had contact) with my cousins from Marcelino...and every time I go we see each other and talk.
Abel Delgado: Tell me about your career.
Lázaro Valdés: I started in the School of Art studying violin. But I wasn't happy with it so I studied piano. From the age of six they sat me down in front of a piano and I got some melody out it. From there (the School of Art) at age 17 I became the pianist of a famous Cuban singer named Héctor Téllez. Then I was involved in various projects done in Cuba for show companies. From there I left (to work with) Bobby Carcassés, an excellent Cuban jazz player (who) is a school of jazz in Cuba. I was with him for two years. (Then) another singer-songwriter named Amaury Pérez called me and we toured all of México. I came back and Pachito Alonso, the son of Pacho, y sus Kini Kini, called me. I was with Pachito for almost five years. I started on keyboards. I believe I was one of the first keyboard players in Cuba to do all the colors and stuff that you do on keyboards. I created a style that later more or less everybody followed and everybody started to include a keyboard (in their bands). And after Pachito the task of doing my current project, Bamboleo, presented itself. I took advantage of a project of a Spaniard who had a record label called Caribe Productions. (The Spaniard) wanted to create Las Mulatas del Fuego because many years ago that group was successful in Cuba...it was the idea of a Spaniard along with José Luis Cortés, the leader of NG la Banda, to have four women in a project and have a group of good musicians backing them up. But then they auditioned a bunch of women and none of them were good enough to be Las Mulatas del Fuego. That project didn't work out and I left it with some musicians that were already with me...and I created Bamboleo.
Abel Delgado: So Haila Mompié and Vannia Borges were part of those Mulatas del Fuego?
Lázaro Valdés: No, no. Haila worked in a cabaret as a dancer and you could see she had a good timbre. A bassplayer friend of mine named Céspedes...told me about her. He brought her to me, I listened to her, I realized she had a good voice and I started to develop her. Vannia was from the School of Art. I heard of her...(while she was) in a quartet called D'capo. Then I listened to her with Pachito Alonso. In fact, when I was leaving Pachito Alonso she was just joining him. And with her I wanted to do a ballad thing...and she interested me and they both joined Bamboleo.
Abel Delgado: And whose idea was it that the girls would come out with shaven heads?
Lázaro Valdés: They picked Vannia for the cover of a record and they shaved (the word) "Cuba" into her head and she got a short haircut (to remove it). And I liked the way the short haircut looked and so I shaved the head of the other one. This caused a sensation; internationally people liked it a lot because after we did that we went to Europe. It drew a lot of attention because both of them have very pretty faces and (this) brought out their beauty.
Abel Delgado: What record was it?
Lázaro Valdés: An AfroCuba record.
Abel Delgado: Now I remember...Rey Arco Iris. That's her?
Lázaro Valdés: Yeah, it's her. She had to shave her head to get the word out of the side of her head.
Abel Delgado: Could you tell me about the training of musicians in Cuba? I understand it's a rigorous process.
Lázaro Valdés: Well, in Cuba, like everybody knows, in the School of Art a Cuban musician has all the time in the world to study. A Cuban musician is not like other musicians that, for example, have to go to school or who work at a gas station during the day or in a bookstore or who work only on weekends. In Cuba you live and breathe music. So the (skill) levels are higher than those of other countries. The schools are free, you have all the time you want to be in a classroom studying piano. You also don't have to buy an instrument. If you play trumpet they give you a trumpet and you're with your trumpet all the time until you graduate.
Abel Delgado: They start real young, don't they?
Lázaro Valdés: From when they're kids. You start studying piano at age seven. From age seven all you're doing is making music. Of course they also teach you math, Spanish, literature...but you're seeing music from the age of 7 until you turn 18 and graduate.
Abel Delgado: There's also a certain amount of training from the street, right? Because they're surrounded by music...
Lázaro Valdés: Yes, what happens is that Cuba isn't like other places where there's only nightlife on the weekends. For instance, in Miami there is no place worthwhile that you can go listen to a good group. Because musicians don't have stability. They're chasing after money. Who called me? Gilberto Santarosa. So today I go with Gilberto Santarosa. Tomorrow DLG calls me and I play with DLG. In Cuba my musicians have been with me as long as the group itself has been around. Although there have been (personnel) changes, right? When you have that there's a strong connection (between the musicians). For example, by just looking at each other the bass player and I know what (musical) agreement we're going to come to, where we're going and what effects we're going to do. I think the same thing happens with the timbalero, the drummer and the conga player. The impact of the horns comes from the time they've spent working together. And that's very important for making good music. That's achieved in a country like this one that has a different system or in a country where there's a lot of money and you pay the musician to keep him happy so (he keeps playing)...with you.
Abel Delgado: With regard to timba, does anyone know who invented that style of playing? Some people say that is was José Luis Cortés of NG la Banda, others say it was Juanito y sus mulatos ...
Lázaro Valdés: No, timba is from art schools. The used to call it ferocious timba. For instance, you'd have five congas playing a guaguancó rhythm with a little more fills and choruses with jazzy phrasing and something a little more advanced than son and those kinds of things. That didn't have a name. That was Cuban music, okay? It was called Cuban music. Popular Cuban music. And then AfroCuba started with that same timba vibe. The music wasn't called timba but they used the word to mean flavor. In Cuba "timba" means flavor. "That guy has timba," "he has a good timba," it means a good flavor. The timba as a name (for the music) wasn't used, it was only a part of musical language...the name came out (to describe the music) when Formell called it timba. He said it in an interview, I don't know where. Now what's played in Cuba is called timba. And so timba started to spread around the world and they started saying that what's being played is timba. But as far as I know, timba has been around for a long time and comes from the schools of art.
Abel Delgado: And when did that style start to come out? Starting from the 80s, the 70s?
Lázaro Valdés: That was something that more or less...I think (it started) before 1980, around then. More or less when Irakere was started is when it took off, when Chucho started to mix (musical styles)...(in) numbers like "Bacalao con pan," etc. (Hear on Irakere recordings En Vivo or Grandes Momentos de Irakere.)
Abel Delgado: Was that style in some way influenced by salsa?
Lázaro Valdés: Salsa influenced it later to soften it because timba was very ferocious. It was very ferocious, very raw, with a lot of flavor but very violent because the horns had a lot of phrases and the polyrhythms were very strong, it was more of a jazz. When people started listening to salsa in Cuba, it softened that music up a bit. There were musicians who started playing the salsa style like Dan Den or Los Karachi who don't play timba, they play salsa. There were other bands that played both styles together. For instance, NG la Banda played that tune "Necesito una amiga" (On En la Calle) with Isaac Delgado, which has a little bit of salsa and some timba. It was a little bit of both. Puerto Rican salsa started to soften up the force that timba had.
Abel Delgado: And what groups did people listen to during the time that the Cuban musicians started to use that salsa influence?
Lázaro Valdés: During my time it was Eddie Santiago, Frankie Ruiz. That was the time in which I began to listen to salsa because I didn't listen to it. I wasn't interested in listening to salsa.
Abel Delgado: What did you think of that music when you heard it for the first time?
Lázaro Valdés: I started studying it a little because I wasn't used to it. It all seemed to be the same base with different harmonies. And it was all the same stuff, the same stuff, the same stuff...because timba can sound like it's the same stuff but there's always an effect, something that identifies the group that plays it. Understand? That doesn't happen in Puerto Rico. Since it's a market, in Puerto Rico everything is recorded with a similar sound. There are some people that stand out more than others, for instance, Sergio George, who has created his style with la India and Marc Anthony. He created his style with a little mix that's very good and also, personally, we're good friends. When Eddie Santiago, Frankie Ruiz, etc. started, I knew who it was because of the singer, not the band. Later on I started to dig it. I like Johnny Rivera a lot, I love the way that guy sings. And Gilberto Santa Rosa, forget about it. I started to connect with them and started to understand it. I realized that it had richness and flavor.
Abel Delgado: What exactly is timba? In other words, what are its musical characteristics that make it different from, say, salsa?
Lázaro Valdés: Salsa is smoother. Timba is a lot more wild, with a lot of force, with a lot more polyrhythms, with many more choruses. I don't know how to explain it...the rhythm patterns are different...the syncopation is totally different. What pretty much identifies timba is the tumbao of the piano, the syncopation of the piano tumbao, at least in my group. The piano tumbao, the mambos...it's a kitchen. It's as if they put a pot full of meat, seasoning, whatever, over a fire, and it gets cooked. Making timba is like cooking the music.
Abel Delgado: I have a question about the arrangements and how they create the structure of the songs. When you're making up the choruses, do you first write the piano and bass riffs and then try out different choruses until you find one that fits or do you do it all at the same time?
Lázaro Valdés: No, it's the other way around. The tune comes with the chorus. The songwriters give you the lyrics with the chorus, which you study to see if it will be a hit with the people or not, if it's a social chorus, if it's political, if it's a chorus about what happens every day in Cuba, an international chorus, a chorus about love, whatever. You listen to the chorus and you put piano and bass riffs (tumbaos) to it that fit. Then after you create that tumbao for that chorus and you see that it works, you start doing the tune's introduction, later the body. You put the horns onto the body of the tune and then you start creating some effects so this tune doesn't get confused with other ones and there you have the complete structure of how the tune is arranged.
Abel Delgado: And every time you guys play do you play the same arrangement or do you vary it from time to time?
Lázaro Valdés: The numbers (follow) the same outline. Now, I don't have a fixed arrangement of a tune like...the Puerto Rican salseros do. They have the tune arranged from top to bottom with a fixed arrangement, how it goes, they don't have variety. Mine follows a fixed arrangement until the first or second mambo. From the second mambo on it depends on how the audience reacts. If it's an audience that likes the tune, I'll toss out another mambo that of course is already pre-rehearsed. Or we invert the order of the mambos, we do a break, we keep the piano riff playing by itself, some polyrhythmic stuff is done, some effects, all pre-rehearsed, are done.
Abel Delgado: So the variations themselves are all pre-rehearsed and you can tell the musicians to try this option or that option?
Lázaro Valdés: Exactly. Every tune has its...it's a routine, okay? But...it depends on how the public is reacting at that moment. When I realize a number is not working with an audience or that they want to hear jazz, I crack the whip (and signal the changes).
Abel Delgado: Do you find that the Cuban audience is more demanding than, let's say, the North American or the Latin American audiences?
Lázaro Valdés: They're different audiences. Look, the Cuban audience is a dancing audience, constantly dancing but inexpressive in terms of receiving your message as an artist. They may spend the whole time dancing and won't applaud you. You have to squeeze the applause out of them. The American audience might not dance but knows how to value every little silly thing you do with the music, from a break to a burst, they notice these things. The audiences over here, all you gotta do is toss'em a chorus and a mambo and they'll be dancing until tomorrow. (laughs)
Abel Delgado: Speaking of that, now that we were talking about romantic salsa earlier because it's smoother than timba. Do you think a romantic salsero could go to Cuba and be a hit with that demanding dancer audience?
Lázaro Valdés: Ooh, for sure! Here "Devórame otra vez" was like an anthem. Listen, that was an anthem here, they played it 24-7. Here (romantic salseros) have been big hits. (For example), people here in Cuba love Gilberto Santa Rosa a lot.
Abel Delgado: So for example, then Marc Anthony or Frankie Negrón...
Lázaro Valdés: Marc Anthony, too. If Marc Anthony came here he'd cause an uproar.
Abel Delgado: So people won't care that the music isn't as strong as timba?
Lázaro Valdés: No, no no.
Abel Delgado: They like to try different things?
Lázaro Valdés: Of course. Cubans get into any kind of good music. And Puerto Rico makes good music. It's different from what's happening over here. Of course, it's not the same as Marc Anthony playing at La Tropical, which is in and of itself the "thermometer" of Cuban artists. You can't move the audience at La Tropical...with romantic music. They listen to all of his songs, some of them will sing along with them, but they won't move that audience like a Cuban band. And maybe the same thing would happen to us in Puerto Rico. We would come in with that force that they're not used to, since their steps and turn combinations are all planned out, and they won't dance. It's a question of what you're used to, okay?
Abel Delgado: So in certain places Marc Anthony would be a hit but if he went to La Tropical...
Lázaro Valdés: La Tropical... many Puerto Rican musicians who've been in Cuba know it. It's a place that holds nearly 10,000 people and it fills up completely, you see head after head after head and you see how that mass moves from one side to another. Once you get to La Tropical and manage to move that mass and reach that audience, in Cuba you're known as a first-level band.
Abel Delgado: And it's hard to do that with romantic salsa because it doesn't have the power...
Lázaro Valdés: It doesn't have the power that audience expects. Just imagine the people there, drinking beer and standing there as hot as it is, to move them you need to bring a musical tank (laughing).
Abel Delgado: I was talking to the president of your label and he seemed to indicate that the popularity of timba in Cuba is falling in comparison to more traditional music like Buena Vista Social Club. Is this happening or is timba as hot as ever?
Lázaro Valdés: Over here Buena Vista Social Club also can't play in la Tropical (laughing). You understand? Neither Buena Vista Social Club nor Cubanismo, those people can't play in la Tropical. I don't know at what level he meant, but at the level of the people, of listeners, I don't think timba (is losing popularity). Timba may be gaining less ground over there in the United States because maybe the Cubanismo project or Buena Vista Social Club has better financinal backing than any other (timba) group that tours the United States. So they attract more people, older people go, they play in theaters, they receive more promotion. And so that's the music you show to Americans. And if you show that music to Americans who have gone 40 years without knowing what's going on in Cuba, they think that Cuba has stayed stuck in the 1950s and well...We went to play at a hotel near Boston and a lot of conservatory teachers went and before that the musicians from Buena Vista Social Club had been there. And they expected that kind of music from us. When we started to play, they saw our music as something from another planet. But they got into it with a lot of feeling, they left very happy and they...got back in line. Because we did two sets, we played, took a 15 minute break, that audience left so another could come in, and the same people from the first audience got back in line (for the second show).
Abel Delgado: Speaking of traditional music and timba, I've noticed that in the Bamboleo performances I've seen, you play one timba tune after another. You don't change genres much, for instance, as does Eddie Palmieri, to play a son montuno, a guajira, a guarachita...
Lázaro Valdés: I have a tune that's almost a son montuno, "Ya no hace falta." (On the CD Ya No Hace Falta.) I also have..."Quimbara," which isn't a son montuno but a rumba. And if I have a record I promote what's on the record, I play the whole thing. And the other thing is that here the son montuno...not even Adalberto, who was the gentleman of son, plays son montuno anymore.
Abel Delgado: This means, then that the Cuban people, the youth, for instance, doesn't like...
Lázaro Valdés: People like it and dance to it but maybe just for one song. One song, one. Music changed over here and what happens is, if you go to see Compay Segundo, you already know you're going to dance with Compay Segundo. And you dance to the sones Compay Segundo plays. But if you go to see Bamboleo, don't expect a son montuno from Bamboleo. If you go to see Van Van, don't expect a son montuno from Van Van. If you go to see NG la Banda don't expect a son montuno from NG la Banda. If they have it in their repertoire, fine, you dance to it, but it's not as if you expect it. If you got to see Adalberto you expect a son montuno but I believe even he isn't...doing son montuno anymore. He's playing a modern son.
Abel Delgado: Well, one day Compay Segundo will pass on, since he's already 90-something, and other musicians of his generation will pass on. So do you believe that the fact that the people don't like it much means that traditional music will be lost at some point?
Lázaro Valdés: No no no. I'm not saying they don't like it, I'm telling you that the people who go to see Bamboleo don't go to hear a son montuno. Here there are a million people who play son montuno. Whoever wants to listen to son montuno can go see those people.
Abel Delgado: So you're saying there's enough diversity in terms of the genres...
Lázaro Valdés: Exactly. Whoever goes to see Bamboleo knows perfectly well that they're not going to listen to son montuno. They're going to listen to a new group that evolved the music, that you can expect jazz as well as timba, that there can be timba mixed with son, or there can be a ballad.
Abel Delgado: So what you're saying is that now in Cuba people have options. If they want to listen to that traditional music, they have places to go where they can listen to it.
Lázaro Valdés: Exactly. Here there are several sonora bands, there are like three or four. And I'll take you to a place where there's a sonora playing and you'll see the amount of people there.
Abel Delgado: Are they young and old?
Lázaro Valdés: There are young people and old people but hardly any young people because they're used to another kind...nowadays people dance differently here. Son montuno is danced close and stuff. Here people dance loose, the woman does one hell of a shake with her back, the man is behind her, it's another thing, understand? Music evolved.
Abel Delgado: But what strikes me as weird is that on one hand, you say a person can go check out a sonora, but there won't be many young people there because they don't like it. Does this imply that, since young people don't like that music, that over time it could die? Or doesn't that danger exist?
Lázaro Valdés: I don't think so. One, because we're going to try and save it. And the other thing is that it has its own audience. Young people are into something else. And if I play four or five sones for them they won't dance.
Abel Delgado: So do you think that over time, when young people mature, that they'll come back to listening to traditional Cuban music?
Lázaro Valdés: Well, there are people who want to keep it alive. For instance, Cubanismo plays that kind of music. Buena Vista Social Club plays that kind of music. I think that when those gentlemen pass onI hope they never do that they'll have someone behind them who can replace them and continue with their work. But music has always evolved and people get into other things.
Abel Delgado: I have a question about timba at the social level. My cousins have recently arrived from Cuba and I've spoken to other people who have arrived recently. They give me the impression that there's a racial division in Cuba when it comes to timba. In other words, that many people see timba as belonging solely to Afro-Cubans and that white people don't listen much to that music.
Lázaro Valdés: Racial? That only black people listen to timba?
Abel Delgado: They give that impression, so I'm curious to see if it's just them saying that or if it's something that truly exists.
Lázaro Valdés: No no. Here there are different tastes like there are around the world. And I'll take you to La Tropical so you see people of all colors. I don't know how to explain this to you but there is no racial division. What happens is that since this is an intense music, people, always say "Blacks like that music" because the black man is a comparsero, the black man is a rumbero, understand? It probably is an impression that somebody has because here you go to a dance and you find a white guy dancing casino the same way you'll find a black man doing it. And maybe you'll find a black man who doesn't like that music because he says it's too violent. I don't know how to explain that to you. But I've never noticed a racial division here when it comes to music.
Abel Delgado: I was curious about something else. A friend of mine who's a pianist and who goes back and forth to Cuba has told me that there's a lot of competition between the younger soneros in that they often try to cut each other. Does this happen frequently?
Lázaro Valdés: That happens a little bit so you can have fun and goof around but those are superficial things...in many bands that play a lot people try to distinguish themselves so people know that while they're not the best, they are also good. And they can start saying things to each other...the first time that happened was between Son 14 and Irakere on a TV show.
Abel Delgado: So it isn't so common in the clubs?
Lázaro Valdés: No. For instance, it can be that my group is playing and the people from NG la Banda show up and they're called up on stage and they sing a little and improvise. That could happen sometimes. It happens, but not much and not with hostile intentions. They say things to each other...with the goal of excelling, of standing out.
Abel Delgado: But they do it with a spirit of brotherhood...
Lázaro Valdés: Yes, exactly.
Abel Delgado: I was curious about this because someone had commented to me that some years ago, Paulito challenged Cándido Fabré and Fabré cut him and whatnot. So I was curious about this.
Lázaro Valdés: No, that was on a TV show on which they...Paulito got there late and he's one of the Cuban singers who has a big following with young people and maybe Cándido thinks he wasn't so lucky (as Paulito was to have that following). He has different physical characteristics...Paulito is thin, he's not an ugly guy, he has a lot of female fans, so Cándido started telling him he was a pretty boy. And Paulito told him he was a pretty boy but he also had feelings and heart and I don't know what else, and that he was a man, anyway, things like that, right? It was (two guys) joking around.
Abel Delgado: But it wasn't that he didn't like Paulito but rather that he was doing it because...
Lázaro Valdés: No no, those are things that happen. They're not rehearsed. Listen, Cándido did say something about him getting there late because he was a pretty boy, something like that, right? Because he was acting like a pretty boy. It's a complex that Cándido Fabré has. And then Paulito answered him another way, but he sings the same, improvises the same and something was created that people got into, right? But later they end up hugging each other because they know all that is just for show just like what happened with el Médico de la Salsa and Pablo. They said things to each other in concerts. When Pablo played he said el Médico couldn't sing and when el Médico played he said that Pablo (did or said or was) I don't know what, things like that. So they packed houses...these are strategies used to pack houses.
Abel Delgado: Ah, well I heard a cassette of a friend of mine after el Médico had come out with the song "La bola" ("The Ball" -- on the CD Para Mi Gente) and Paulito came out with an answer record that said, "I'll..."
Lázaro Valdés: Hit it into the street, yeah.
Abel Delgado: But they didn't do that because they're bitter rivals or anything?
Lázaro Valdés: No. They're rivals because they're the most popular singers. If they see each other in the street they hug and kiss but onstage they take digs at each other because those are strategies used to pack houses. (People say) "I'm going to see Pablo to see what he says to el Médico" or "I'm going to see el Médico to see what he says to Pablo" because they know last Saturday el Médico told him I don't know what and the next Saturday people go to see Pablo and that's how you create an air of anticipation but not with animosity.
Abel Delgado: Do you guys have a similar kind of rival?
Lázaro Valdés: No, we don't get involved in that, people respect us a bit because they know that our stuff isn't done with choruses, it's done with music. (laughing)
Abel Delgado: I have another question about romantic salsa. Here there seems to be an emphasis on the pretty boy that sings...
Lázaro Valdés: In the United States, in the Puerto Rican market, if you don't have a pretty face, you're not successful. But it doesn't matter how you sing. It doesn't matter. Here it's not like that. Here if you're ugly but can sing, you're successful. What happened with el Médico was a...I don't know what happened with el Médico. He started to hit with cute little choruses and stuff and people started liking him and...it's something inexplicable. After that a million people started singing in Cuba.
Abel Delgado: But he's an exception in that regard. He's one of the few guys...
Lázaro Valdés: Not one of the few, the only one. Because what happened? He struck a big chord with the Cuban people, Cuban young people, because he has very good lyrics. And at the time that he started singing, in Cuba the song lyrics were pretty bad, with a very superficial meaning, they didn't say anything, it was a chorus and that's it. He started to create his pretty little lyrics and stuff and come out with choruses that people liked that caught on with people very easily. And his style stayed popular...at one time he was the most popular guy here, more than Van Van and everybody.
Abel Delgado: So his success isn't due to the fact that he's a good-looking guy...
Lázaro Valdés: If you've seen him, el Médico is ugly. (laughing).
Abel Delgado: No, but he's not that ugly of a guy...
Lázaro Valdés: No, no, of course not.
Abel Delgado: So you think it's because of his lyrics...
Lázaro Valdés: Yes. Not how he sings, let's even talk about that, okay? But he's a guy that came out with an incredible message, people understood his choruses, his things.
Abel Delgado: Well, I've listened to el Médico's songs, and they certainly are catchy, with things like "te mantengo en el dato, te mantengo en el detalle, no soy adivino, lo que pasa es que tengo calle", but it's not like they have a deep message.
Lázaro Valdés: No, he has no international message. I'm talking about the message within Cuba, about what's happening in Cuba, about the way Cubans talk, of how you communicate with the young chicks in show business, "pelo suelto y carretera" (hitting the highway with your hair down) . Women here like that. That communication with show business people, who were the ones who followed him, caused an incredible sensation.
Abel Delgado: I had another question about romantic salsa. I noticed that Isaac Delgado, for instance, tried to commercialize himself a bit. He recorded a record with RMM pretty much in the style of romantic salsa. Dan Den did the same thing with an album called "Mi cuerpo". Have you all felt pressure to change your music in that regard?
Lázaro Valdés: No, no no. I've never felt pressured to change my music...we played the same bill as DLG in New York and it was a big success. An audience that was expecting DLG and not Bamboleo, an audience that knew nothing about Bamboleo...and it was incredible the way they applauded and dug the tunes. With that I realized I have no reason to feel pressure to change, to imitate DLG or anybody else. With my music this year the record sold a lot more. A few months ago, in Tower Records we sold 80 more records than Elvis Crespo, who's one of the more highly promoted artists right now. This is information from my record label. And we sold 10 records less than Marc Anthony. Isaac is more commercial and that's his style, of romantic salsa with timba, it's very nice.
Abel Delgado: You have the song "Flor perdida" on the first album and "La tremenda" on this new album. I was curious, I wanted to ask you to explain about the kind of social reality you're addressing in those songs.
Lázaro Valdés: "Flor perdida" (on the CD Te Gusto O Te Caigo Bien) is a song I wrote a long time ago without it being inspired by any Cuban woman. I swear. It was a song that came to me about a woman who leaves her husband to go with a foreigner in a car with strange license plates, no one knows if he's an ambassador... And "La tremenda" (on the CD Ya No Hace Falta) talks about a girl is called "la tremenda" (the knockout) because of the body she has, the kind of woman she is.
Abel Delgado: But in the song you get the impression that she goes with other men and whatnot and the guy can't leave her because she has him hooked.
Lázaro Valdés: Of course, because la tremenda is a woman that's a knockout. She's fine. I've never spoken with the songwriter. I liked the song and I came out with it but I've never spoken with him about the song's lyrics. She has me hooked means that he's in love with her and can't leave her.
Abel Delgado: But it's interesting because it implies that she's cheating on him. And it doesn't seem to matter to him. Because of that, I wanted to know if that reflected something of the Cuban social reality today in terms of the relationships between men and women.
Lázaro Valdés: No, no. Here a man will tear a woman's head off. (laughing).
Abel Delgado: So the song has nothing to do with any social reality like that.
Lázaro Valdés: No, no.
Abel Delgado: Can you tell me about the new projects that you have going on in the future, recordings, etc.?
Lázaro Valdés: I'm preparing the fourth record and have several tunes. I still haven't picked any in particular. This record turned out well, it was very well-received, and
I have to make a record better than that one and I have to do that patiently.
Vannia Borges: Well, I was born here in Cuba in the city of Havana in 1970. I studied music from the age of five. I started with piano, then when I got to middle school I changed instruments. I started studying oboe, which was the instrument I graduated in from the High Institute of Art. After I finished at the Institute, I did my social service in Matanzas as a solfeggio, oboe and theory professor. From there I returned to Havana and I was placed in the National Chorus to work. I was in the National Chorus for awhile. From there I went to work in a quartet of women called D'Capo, which was led by Elina Torres. While I was working in that quartet Pachito Alonso saw me working and offered me a job with him. I was working there around two years and that's where Haila, who was the group's (Bamboleo's) singer and is now with Azúcar Negra, saw me sing with Pachito many times. When the other singer had left, they (Bamboleo) came to look for me here at home. And I went to the rehearsal, I liked the group and that was that. I started in Bamboleo until now.
Abel Delgado: With regard to the Chorus, what kind of music was it?
Vannia Borges: Classical music.
Abel Delgado: And what kind of music was played in the D'Capo quartet?
Vannia Borges: We played Cuban music, salsa and whatnot but...(it was) vocal work.
Abel Delgado: Like Vocal Sampling, then?
Vannia Borges: It wasn't exactly imitating instruments with voices or anything like that but rather Cuban music done with vocals, something similar (to Vocal Sampling) but it was accompanied by musical instruments, it wasn't a capella.
Abel Delgado: Who influenced you when you were developing as a singer?
Vannia Borges: Well, I have a lot of models as a singer. Here in Cuba there's Aymeé Nuviola, for instance, Jacqueline Castellanos, Moraima Secada, Elena Burke. All of the great female singers of Cuba have been models for me.
Abel Delgado: It seems like you listen to a lot of boleros in your free time because I hear you quoting them in songs.
Vannia Borges: Yes, I listen to them a lot because my mom likes them a lot and here at home there are lots of bolero records, one by Pacho, by José Antonio Méndez, by Portillo de la luz...
Abel Delgado: Why do you like to stick bolero lyrics in songs? Not everybody does that.
Vannia Borges: I like that because...it's like a way to communicate to the people of my generation that that was a kind of music that existed, that exists, that will exist forever...(and) will never go out of style. And to encourage people to listen to it...in school we listened to a lot of that kind of music. We had a lot of information about everything. Because it was the base. We didn't just listen to classical music but rather all kinds of music. We had a class in school called "Popular Cuban Music Workshop" in which they taught all the genres of Cuban music. They taught everything...they taught us songs and we listened to a lot of music from the 30s, 40s and 50s: Sindo Garay, Matamoros, all those people. They would do an overview of all Cuban music until today.
Abel Delgado: What struck me as interesting in the tune "Ya no hace falta" (on the CD Ya No Hace Falta) is that in that song you quote a spiritist chorus there, that whole "come on good spirit, because the chorus is calling you and tells you to come" thing. (Vannia laughs). And how did that occur to you, just by improvising?
Vannia Borges: Improvising (laughing). Because Cubans are very religious but also very happy and clever. So they're always quoting things from the religion. They're street things, understand? Cubans are very witty and will come up with an expression for everything.
Abel Delgado: Do you think it's difficult for women to make it in music? Because there are relatively few women playing Cuban dance music, both within and outside Cuba.
Vannia Borges: Yes, there really is a bit of a taboo with those things. People think women are the weaker sex and incapable of moving the crowds. We Cuban women, above all, are proving not only to Cuba but to the rest of the world that we can make a stadium full of people move, that we can make 10,000 and even 20,000 people dance. Because you have the music in you and we've dedicated ourselves to communicate a lot and have the same amount of or maybe more (artistic) strength than the men because we have to establish ourselves in spite of the sexist taboos of all these years.
Abel Delgado: I see that you (Vannia and Yordamis, the other female singer) do that tembleque onstage and when you were in New York, even my friends were dumbfounded and half in love with you. (Vannia laughs.) So I wanted to ask you if you have a boyfriend or are married and if performing sometimes causes conflicts with your boyfriend or husband?
Vannia Borges: No, right now I'm single, so I have no problem (like that). But the relationships I've had have always been with very understanding people...They know it's my job, it's what I like to do and that I'll never stop (singing) for anybody or anything. Because it's what I studied, it's what I was raised with, what interests me, my future, my career. From the moment I begin a relationship I put this to him. "This is my career, my life, my job. If you accept it as is, fine. If not, you can leave the way you came in." Because I'm not quitting my career for anybody.
But right now I'm single, I'm looking for a boyfriend (laughing), a good boyfriend, a great boyfriend...
Abel Delgado: A leading man?
Vannia Borges: I'm looking for a leading man. I ended my last relationship about three or four months ago and I've been single ever since.
Abel Delgado: In terms of the songs, when I saw you in New York, I noticed that you repeated the same soneos (improvisations) that were on the record. Do you vary them up sometimes or do you always repeat them because people want to listen to what's on the record?
Vannia Borges: We sing the tune the same way it is on the record because if you record a tune one way, it really makes no sense to sing another way later on, because people won't learn it. We sing the tune the same way it's recorded, the first guías, and after we sing the tune as it is we start to improvise and interact with the audience. But we always try to respect the guías that are on the record, the "improvisations," the mambos. It's about respecting them as much as possible so that it sticks with the people.
Abel Delgado: But I'm talking about the soneos, the inspiraciones. You used the same ones as on the record.
Vannia Borges: Yes, it's what I was explaining to you. We use the same ones because it makes no sense to change them if they're already on the record one way. If we change them people will never learn the tune.
Abel Delgado: But it also depends on the audience, right? Aren't there instances when you start to improvise just to improvise?
Vannia Borges: Of course. That happens, but not a lot.
Abel Delgado: And when you go to record, one supposes that the inspirations are just that, things that come to mind at a given moment. Do you prepare ahead of time during the rehearsals before going into the studio or do they come to you while you're recording?
Vannia Borges: Before we record a record we know all the tunes, and as Cubans say, we work it out. Sometimes during a recording they'll start to encourage you and you change a guía or Lázaro or the guys will say, "Look, change this guía, we'll sing it together." Or sometimes you arrive (at the studio) with the muse going and you come out with a guía and suddenly you come up with other ones and those are the ones that stay (on the recording.) What's always done is preparation. We bring a piece of paper (with the soneos ready.) For example, if there are five guías (required), we'll (bring) ten. We sing that ten to see which ones are good for us, which ones aren't which could be better.
Abel Delgado: Now, to understand the terminology well, the "guías" are the inspiraciones that are sung during the chorus, right?
Vannia Borges: Yes. Guías are called what's between choruses.
Abel Delgado: That's a new term for me, this is the first time I've heard it. Normally I've heard people say "soneo" or "inspiración" or "improvisation".
Vannia Borges: No, we call it "improvisation" when you start to interact with the audience. You start saying things to the people. A "guía" is what's already preestablished for a recording, so much so, that for example, let's say there are three guías and three choruses (in a given song). And for the last guía, you always have to say the same one because if there's a mambo, that way the hornplayers will know that's the guía that will come before the mambo that's about to come in. That's worked out beforehand. For instance, I can sing 15 guías and the last one will be "little red riding hood." The hornplayers already know that when they hear "little red riding hood" at that instant they have to come in with the mambo.
Abel Delgado: I asked Lázaro about "La tremenda" (on the CD Ya No Hace Falta) because that song struck me as unusual. He said that it was about a woman that was a knockout, a very pretty woman, and the guy who narrates the song is in love with her. But the chorus says "la tremenda tiene venta ("the knockout has a sale.") And I don't know, it seemed that they were implying something else about her that went beyond being pretty, ok?
Vannia Borges: Well, really, when a woman here is very pretty they say: "Julia tiene tremenda venta" ("Julia has a sale") because wherever she goes she gets people's attention. To say "tiene venta" ("has a sale") is a very Cuban phrase. So-and-so has a sale, so-and-so sells herself. To say she has a sale means that she gets people's attention, that she's very well dressed. You know that mannequins are put in store windows, they're the ones that have a sale, they're the ones wearing the clothes on sale. It's as if (the woman) were a mannequin.
Abel Delgado: Ah, okay, because I thought that you were saying that the woman was selling herself in the street or something like that.
Vannia Borges: No, no. It just means that she gets people's attention a lot.
Abel Delgado: I have a question about the ballad "Candil de nieve" (On Ya No Hace Falta.) I've listened to it several times, looked over the lyrics and maybe I'm a dummy, because I still don't understand Silvio Rodríguez's blue unicorn. Can you tell me what that song is about?
Vannia Borges: Well, "Candil de nieve" is a song by a composer named Raúl Torres, a Cuban trova singer who creates very pretty lyrics. And it talks about a girl who suffered a very big romantic disappointment. And he is a very good friend of that girl and what he's explaining to her is that she can't let herself die, that she has to keep on searching for other hopes, other emotions. "Sal a buscar candil de nieve" ("Go out to search snow lamp") , (he's telling her) to stay lit like a lamp, to never go out, that there's just one life, that there's only one man in the world. (Raúl Torres) wrote that song for a friend we have in common, Pablo Milanés' daughter, who broke up with her boyfriend. It's a very poetic way to describe those things.
Abel Delgado: At some point in the future do you plan to include more boleros and ballads in the band's repertoire?
Vannia Borges: Yes, of course. In fact, this year I may record a bolero and ballad record with the group with just me singing. It was Lázaro's and the record company's idea.
Abel Delgado: I understand that American rap is one of your favorite kinds of music?
Vannia Borges: Yes. Who told you that? (laughing). I like black American music a lot, and rap most of all.
Abel Delgado: And who among the rappers do you like?
Vannia Borges: Tupac, Dr. Dre, Snoop Doggy Dog, Method Man, Wu Tan Klan, Notorious B.I.G.
Abel Delgado: Besides rappers, who else do you like?
Vannia Borges: Brian McKnight, Luther Vandross, Anita Baker, Mary J. Blige, Blackstreet.
Abel Delgado: And do you integrate the influence of those musicians in your music? How does it appear?
Vannia Borges: In the phrasing, the harmony, because Lázaro likes that kind of music, too, and we agree on those things and try to do it more or less like that because I like that music.
Abel Delgado: Often singers in a group that distinguish themselves like you have feel the need to be soloists or have offers to go solo. Has this happened? Do you plan on staying with Bamboleo?
Vannia Borges: Yes, of course. I've received a lot of offers but none compares to Bamboleo. This is the band with which I established myself, it's the band I know, the band that knows me. We're a team but also one big family. We're like siblings, we share the good things, the bad things. Almost all of us know each other from when we were kids, we studied in school together. It's like one big family.
photos: Brian Cross / Ahí-NaMá Music.
performance photos: Bruce Polin / Descarga.com


text:
Thoracic outlet syndrome is a group of disorders that occur when the blood vessels or nerves in the space between your collarbone and your first rib (thoracic outlet) become compressed. This can cause pain in your shoulders and neck and numbness in your fingers.
Common causes of thoracic outlet syndrome include physical trauma from a car accident, repetitive injuries from job- or sports-related activities, certain anatomical defects (such as having an extra rib), and pregnancy. Sometimes doctors can't determine the cause of thoracic outlet syndrome.
Treatment for thoracic outlet syndrome usually involves physical therapy and pain relief measures. Most people improve with these approaches. In some cases, however, your doctor may recommend surgery.
Generally, there are three types of thoracic outlet syndrome.
Neurogenic (neurological) thoracic outlet syndrome. This form of thoracic outlet syndrome is characterized by compression of the brachial plexus. The brachial plexus is a network of nerves that come from your spinal cord and control muscle movements and sensation in your shoulder, arm and hand.
In the majority of thoracic outlet syndrome cases, the symptoms are neurogenic.
Nonspecific-type thoracic outlet syndrome. This type is also called disputed thoracic outlet syndrome. Some doctors don't believe it exists, while others say it's a common disorder.
People with nonspecific-type thoracic outlet syndrome have chronic pain in the area of the thoracic outlet that worsens with activity, but the specific cause of the pain can't be determined.
Thoracic outlet syndrome symptoms can vary, depending on which structures are compressed. When nerves are compressed, signs and symptoms of neurological thoracic outlet syndrome include:
Signs and symptoms of vascular thoracic outlet syndrome can include:
See your doctor if you consistently experience any of the signs and symptoms of thoracic outlet syndrome.
In general, the cause of thoracic outlet syndrome is compression of the nerves or blood vessels in the thoracic outlet, just under your collarbone (clavicle). The cause of the compression varies and can include:
Repetitive activity. Doing the same thing repeatedly can, over time, wear on your body's tissue.
You may notice symptoms of thoracic outlet syndrome if your job requires you to repeat a movement continuously, such as typing on a computer, working on an assembly line or lifting things above your head, as you would if you were stocking shelves.
Athletes, such as baseball pitchers and swimmers, also can develop thoracic outlet syndrome from years of repetitive movements.
If you haven't been treated early in the condition, soon after you noticed symptoms, then you may experience progressive nerve damage, and you may require surgery.
Doctors recommend surgery to treat thoracic outlet syndrome only when other treatments haven't been effective. Surgery has higher risks than do other treatments and may not always treat your symptoms.
You're likely to start by seeing your family doctor or a general practitioner. In some cases, your doctor may refer you to a doctor trained in blood vessel (vascular) conditions or blood vessel surgery.
Here's some information to help you prepare for your appointment.
Write down key personal information, including any physical traumas such as a car accident or work-related injury. Even if they occurred years ago, your doctor will want to know about them.
Also note any repetitive physical activities that you've performed now or in the past at work, in sports, and for hobbies and other recreational activities.
Preparing a list of questions will help you make the most of your time with your doctor. For thoracic outlet syndrome, some basic questions to ask your doctor include:
Don't hesitate to ask any other questions you have.
Your doctor is likely to ask you a number of questions, such as:
While you're waiting for your appointment, try taking a nonsteroidal anti-inflammatory drug (NSAID), such as ibuprofen (Advil, Motrin IB, others).
Your discomfort also may be improved if you maintain good posture and avoid using repetitive movements and lifting heavy objects.
Diagnosing thoracic outlet syndrome can be difficult because the symptoms and their severity can vary greatly among people with the disorder. To diagnose thoracic outlet syndrome, your doctor may review your symptoms and medical history and conduct a physical examination.
Provocation tests are designed to reproduce your symptoms. The tests may help your doctor determine the cause of your condition and help rule out other causes that may have similar symptoms.
In these tests, your doctor may ask you to move your arms, neck or shoulders in various positions. Your doctor will assess your symptoms and examine you in different positions.
To confirm the diagnosis of thoracic outlet syndrome, your doctor may order one or more of the following tests:
Computerized tomography (CT) scan. A CT scan uses X-rays to obtain cross-sectional images of your body. A dye may be injected into a vein to view the blood vessels in greater detail (CT angiography).
A CT scan may identify the location and cause of blood vessel (vascular) compression.
Magnetic resonance imaging (MRI). An MRI uses powerful radio waves and magnets to create a detailed view of your body.
Your doctor may use an MRI to determine the location and cause of blood vessel (vascular) compression. An MRI may reveal congenital anomalies, such as a fibrous band connecting your spine to your rib or a cervical rib, which may be the cause of your symptoms.
Doctors don't often use this test to diagnose thoracic outlet syndrome. However, imaging tests may rule out other conditions that may be causing your symptoms, such as spine or brain conditions.
Arteriography and venography. In these tests, your doctor inserts a thin, flexible tube (catheter) through a small incision, usually in your groin. The catheter is moved through your major arteries in arteriography, or through your veins in venography, to the affected blood vessels. Then your doctor injects a dye through the catheter to show X-ray images of your arteries or veins.
Doctors can check to see if you have a compressed vein or artery. If a vein or artery has a clot, doctors can deliver medications through the catheter to dissolve the clot.
In most cases, a conservative approach to treatment is effective, especially if your condition is diagnosed early. Treatment may include:
Physical therapy. If you have neurogenic thoracic outlet syndrome, physical therapy is the first line of treatment. You'll learn how to do exercises that strengthen and stretch your shoulder muscles to open the thoracic outlet, improve your range of motion and improve your posture.
These exercises, done over time, may take the pressure off your blood vessels and nerves in the thoracic outlet.
Your doctor may recommend surgery if other treatment hasn't been effective, if you're experiencing ongoing symptoms or if you have progressive neurological problems.
A surgeon trained in chest (thoracic) surgery or blood vessel (vascular) surgery will perform the procedure.
Thoracic outlet syndrome surgery has risks of complications, such as injury to the brachial plexus. Also, surgery may not relieve your symptoms, and symptoms may reoccur. Your muscle strength may not return after surgery if you have serious neurological damage due to the condition.
Surgery to treat thoracic outlet syndrome, called thoracic outlet decompression, may be performed using several different approaches, including:
Transaxillary approach. In this surgery, your surgeon makes an incision in your chest to access the first rib, divide the muscles in front of the rib and remove a portion of the first rib to relieve compression.
This approach gives your surgeon easy access to the first rib without disturbing the nerves or blood vessels.
However, it allows your surgeon limited access to the area's nerves and vessels, making it difficult to see muscles and cervical ribs that may be contributing to compression behind the nerves and blood vessels.
Supraclavicular approach. This approach repairs compressed blood vessels. Your surgeon makes an incision just under your neck to expose your brachial plexus region.
Your surgeon then looks for signs of trauma or muscles contributing to compression near your first (uppermost) rib. Your surgeon may remove the muscles causing the compression and repair compressed blood vessels. Your first rib may be removed if necessary to relieve compression.
In venous or arterial thoracic outlet syndrome, your surgeon may deliver medications to dissolve blood clots prior to thoracic outlet compression. Also, in some cases, your surgeon may conduct a procedure to remove a clot from the vein or artery or repair the vein or artery prior to thoracic outlet decompression.
If you have arterial thoracic outlet syndrome, your surgeon may need to replace the damaged artery with a section of an artery from another part of your body (graft) or an artificial graft. This procedure may be done at the same time as your procedure to have the first rib removed.
If you're diagnosed with thoracic outlet syndrome, your doctor or physical therapist will instruct you to do exercises at home to strengthen and support the muscles surrounding your thoracic outlet.
In general, to avoid unnecessary stress on your shoulders and muscles surrounding the thoracic outlet:
Symptoms associated with thoracic outlet syndrome can be caused by a number of other conditions, which makes it difficult for doctors to diagnose the condition. Many people experience thoracic outlet syndrome symptoms for years before they are diagnosed with the condition, which can cause stress and frustration.
Be sure to discuss your concerns with your doctor if your symptoms persist and a diagnosis hasn't been made.
Thoracic outlet syndrome that goes untreated for years can cause permanent neurological damage, so it's important to have your symptoms evaluated and treated early, or take steps to prevent the disorder.
If you're susceptible to thoracic outlet compression, avoid repetitive movements and lifting heavy objects.
If you're overweight, you can prevent or relieve symptoms associated with thoracic outlet syndrome by losing weight.
Even if you don't have symptoms of thoracic outlet syndrome, avoid carrying heavy bags over your shoulder, because this can increase pressure on the thoracic outlet.
Stretch daily, and perform exercises that keep your shoulder muscles strong.
Mayo Clinic in Rochester, Minn., ranks No. 1 for neurology and neurosurgery in the U.S. News & World Report Best Hospitals rankings. Mayo Clinic in Rochester, Minn., is ranked among the Best Hospitals for orthopedics and for rehabilitation by U.S. News & World Report.
Mayo Clinic works with hundreds of insurance companies and is an in-network provider for millions of people. In most cases, Mayo Clinic doesn't require a physician referral. Some insurers require referrals or may have additional requirements for certain medical care. All appointments are prioritized on the basis of medical need.
Doctors trained in vascular surgery, vascular medicine, neurology, chest surgery (thoracic surgery), radiology, physical medicine and rehabilitation, and orthopedic surgery work together to diagnose and treat people with thoracic outlet syndrome.
For appointments or more information, call the Central Appointment Office at 800-446-2279 (toll-free) 8 a.m. to 5 p.m. Mountain Standard Time, Monday through Friday or complete an online appointment request form.
Doctors trained in vascular surgery, vascular medicine, neurology, chest surgery (thoracic surgery), radiology, physical medicine and rehabilitation, and orthopedic surgery are involved in diagnosing and treating people with thoracic outlet syndrome.
For appointments or more information, call the Central Appointment Office at 904-953-0853 8 a.m. to 5 p.m. Eastern time, Monday through Friday or complete an online appointment request form.
The Gonda Vascular Center brings together doctors trained in vascular and endovascular surgery, vascular medicine, neurology, chest surgery (thoracic surgery), radiology, orthopedic surgery, physical medicine and rehabilitation, and pain rehabilitation to diagnose and treat people with thoracic outlet syndrome.
For appointments or more information, call the Central Appointment Office at 507-538-3270 7 a.m. to 6 p.m. Central time, Monday through Friday or complete an online appointment request form.
See information on patient services at the three Mayo Clinic locations, including transportation options and lodging.
Researchers at Mayo Clinic conduct studies that improve current diagnostic tests and treatments for people with thoracic outlet syndrome. Read about research in peripheral nerve disorders.
See a list of publications from Mayo Clinic doctors on thoracic outlet syndrome on PubMed, a service of the National Library of Medicine.
Original article: http://www.mayoclinic.org/diseases-conditions/thoracic-outlet-syndrome/care-at-mayo-clinic/research/con-20040509
Any use of this site constitutes your agreement to the Terms and Conditions and Privacy Policy linked below.
Mayo Clinic is a not-for-profit organization and proceeds from Web advertising help support our mission. Mayo Clinic does not endorse any of the third party products and services advertised.
A single copy of these materials may be reprinted for noncommercial personal use only. "Mayo," "Mayo Clinic," "MayoClinic.org," "Mayo Clinic Healthy Living," and the triple-shield Mayo Clinic logo are trademarks of Mayo Foundation for Medical Education and Research.

subset: commoncrawl


text:
The Peninsula Shanghai At A Glance
Opened on the historic Bund riverfront in 2009, The Peninsula Shanghai is The Hongkong and Shanghai Hotels flagship hotel in Mainland China. The first new building on the Bund in several decades, it was voted as 2015 Best City Hotel in Asia by the readers of influential US-based Travel + Leisure magazine and also ranked 2015 Number One Hotel in Greater China by the readers of Condé Nast Traveler (US).
Did You Know
32The Bund
No. 32 The Bund was originally part of the grounds of the British Consulate, established in 1849.
#1A World First
The world's first Peninsula Residences are the most luxurious and exclusive private residences in China.
Historic Construction
The first new building constructed on the historic Bund in last 70 years. The last new build is Bank of China, which was completed in 1937.
The Perfect LOCATION
The Peninsula Shanghai
No 32 The Bund, 32 Zhongshan Dong Yi Road
Shanghai 200002
The People's Republic of China Display Address For Taxis
邮编 :200002
|+86 21 2327 2888
|Airport Distance
|42.1km / 26.1 miles from Pudong Airport 16.8km / 10.4 miles from Hong Qiao Airport
|The Bund, Yuyuan Garden, Huangpu Park, Rock Bund, East Nanjing Road Warlking Street
Elegant ACCOMMODATIONSView all Rooms & Suites
Discover THE PENINSULA ACADEMY
Modern Shanghai Chic: Modern Shanghai Chic
Inventive Chinese design is transforming the global fashion scene, and no one epitomizes the rise of China Chic quite like Lu Kun. The Shanghai-born designer's clothes have graced catwalks worldwide.
China's Motor City: China's Motor City
Get into gear for a private tour with the curator of China's first dedicated automobile museum in the Jiading district of Shanghai, close to the Shanghai International Circuit racetrack and several major automaker facilities. Learn about the high-speed histories and unique technological features of the antique cars on display, and discover their links to the city of Shanghai.
Art of The Century: Art of The Century
Discover the influences and impact of 21st Century Chinese art, learn about the hotel's own art collection and enjoy private access to artists' studios and the city's best galleries.
The Sweetest Treat: The Sweetest Treat
Making chocolate becomes child's play as The Peninsula Shanghai's executive pastry chef teaches your child the basic techniques of preparing the world's favourite confectionery indulgence.
Moments AT THE HOTEL
HappeningsView All Shanghai Moments
Featured OFFERSView All Shanghai Offers
Rooms & Suites Suite Escape
Dining The Perfect Mid-Autumn Festival Gifts
The Peninsula Shanghai Homemade Custard Mooncakes are back by popular demand, an...Learn More
Rooms & Suites Family Package
Family guests at The Peninsula Shanghai can stay in ultimate style with special ...Learn More
Rooms & Suites Summer Offer
From now until September, book your summer escape via peninsula.com to enjoy our...Learn More


text:
This is an excerpt from EERE Network News, a weekly electronic newsletter.
December 02, 2009
President Obama Sets a Target for Cutting U.S. Greenhouse Gas Emissions
The White House announced on November 25 that President Obama is offering a U.S. target for reducing greenhouse gas (GHG) emissions in the range of 17% below 2005 levels by 2020. The proposed target agrees with the limit set by climate legislation that has passed the U.S. House of Representatives, but the U.S. Senate is currently considering a bill that cuts GHG emissions to 20% below 2005 levels by 2020. The White House noted that the final U.S. emissions target will ultimately fall in line with the climate legislation, once that legislation passes both houses of Congress and is approved by the President. In light of the President's goal for an 83% reduction in GHG emissions by 2050, the pending legislation also includes a reduction in GHG emissions to 30% below 2005 levels by 2025 and to 42% below 2005 levels by 2030.
The White House also announced that President Obama will travel to Copenhagen on December 9 to participate in the United Nations climate change conference. A number of top White House officials and cabinet members will also attend the conference, including Energy Secretary Steven Chu. For the first time, the U.S. delegation will establish a U.S. Center at the conference, providing a unique and interactive forum to share the United States' story with the world. The center will feature keynote speeches by top U.S. officials from December 9 through December 17, including a December 14 speech by Secretary Chu on U.S. leadership in energy efficiency and renewable energy. The U.S. Department of State has also established the "COP-15" Web site and a Facebook page to mark the event. The U.N. climate change conference is officially known as the 15th annual session of the Conference of the Parties (COP) to the U.N. Framework Convention on Climate Change, or COP-15 for short. See the White House press release and the State Department's press release, COP-15 Web site, and COP-15 Facebook Page.
The day after the White House announced the U.S. GHG targets, China announced that it will reduce the intensity of its carbon dioxide emissions by 40%-45% (relative to 2005) by 2020. Carbon dioxide emissions intensity is defined as the amount of carbon dioxide emissions per unit of gross domestic product (GDP). China expects its GDP to at least double by 2020, which could potentially result in a doubling of carbon dioxide emissions, but the new target would hold the increase in carbon dioxide emissions to 20% or less under a doubling of GDP. However, DOE's Energy Information Administration (EIA) projects a 218% gain in GDP (that is, more than triple) by 2020, which would mean an emissions growth of 75%-91% above 2005 levels. The carbon intensity target will be a binding goal that China will incorporate into its medium- and long-term development plans. China also announced plans to invest in the research, development, and commercialization of energy efficiency and renewable energy technologies, as well as other low-carbon energy technologies. The country plans to draw on non-fossil-fuel energy sources for 15% of its energy needs by 2020 and will encourage low-carbon lifestyles and consumption. Chinese Premier Wen Jiabao will attend the U.N. climate change conference in Copenhagen. See the announcement on the Chinese Government's official Web portal and the EIA's GDP projections (MS Excel 20 KB).


text:
Sign Up For Our Newsletter
Enter Our Contest
Join Us
Now your dog can have their own little black dress! Perfect for parties and other formal events! Dress up with a red bow for beautiful holiday pictures!
Enter your zip code or sign in to view shipping information. For more detailed information see our shipping page.


text: Erwin Marine Sales is the proud owner of three marinas in the Tennessee River Valley Area. Chickamauga Marina in Chattanooga is home to Erwin Marine Sales and offers Wet and Dry Storage, Fuel Dock,and Haul-out services. Gold Point Yacht Harbor is conveniently located in Hixson, TN and is a picturesque marina offering Covered and Open Wet slips. Sunrise Marina on Lake Guntersville is located between Huntsville and Guntersville and is home to Erwin Marine Sales, Huntsville. Sunrise offers Dry Storage, fuel dock, and is the most convenient marina to Huntsville. See the links below for detailed information on these beautiful properties!


text:
The small all-rounder with the great sound: the TG D50d
Thanks to its compact dimensions, this microphone does a great job, using it as a kick-drum or tom microphone and it works great for nearly all kinds of instruments. Just like its big brother, the TG D70d, the TG D50d has a switchable EQ integrated as well. Switching it to "LIN", this microphone delivers a linear, natural sound withoutany modification. The "EQ" switch optimises it for kick-drums without any additional devices.The transducer used in the TG D50d offers the typical powerful "beyer"-soundand very high gain before feedback – thanks to its cardioid polar pattern.Shipped incl. transport bag and special microphone clamp MKV99.Sound Channeling Technology:
For more information about the Touring Gear series please visit: www.beyerdynamic.com/touringgear
beyerdynamic GmbH & Co. KGTheresienstr. 874072 Heilbronn - GermanyQuestions regarding Orders, Payment & DeliveryPhone: +49 7131 617-444Product AdvicePhone: +49 7131 617-440Contact us per e-mail:proaudio @beyerdynamic .com


text:
Log in
Personal Journal NOTEBOOKS. Limited edition, hand-crafted
View previous topic
View next topic
Strange Famous Forum
The General Forum
SFR announcement
Joined: 26 Jul 2004
Posts: 997
Personal Journal NOTEBOOKS. Limited edition, hand-crafted
Limited edition, handcrafted, double-sided Personal Journal notebooks to mark the 10th year anniversary of the album:
Many thanks to Sarah "Inkymole" Coleman for putting this lovely item together. My fans may remember her from the gallery shows she put on in London, NYC and Providence with artwork that was inspired by my lyrics. Some of that artwork is featured in this notebook and can be used as mailable postcards.
The video shows a lot more about the notebook:
Mon Mar 18, 2013 5:36 pm
Flawed Logic
Joined: 16 Nov 2010
Posts: 355
Location: Austin, TX - Albuquerque, NM - Kalamazoo, MI - Minneapolis-St. Paul, MN
I know these are limited edition so will they be available at your upcoming shows or only online?
Mon Mar 18, 2013 11:05 pm
SFR announcement
Joined: 26 Jul 2004
Posts: 997
These sold out on the first day! We'll repost when we get more done.
Just have to wait for the woman who makes these to get the materials she needs.
Tue Mar 19, 2013 1:09 pm
SFR announcement
Joined: 26 Jul 2004
Posts: 997
These are now available again!
The first batch sold out in less than a day so we waited to get a sizable batch before announcing again.
Sat May 11, 2013 7:29 pm
Jump to:
Select a forum
Strange Famous BBS
The General Forum
SFR Artists, Albums & Merch!
Hall of Fame
Social stuff. Political stuff. KNOWMORE
IF YOU WANT TO JOIN THE FORUM, READ THIS 1st
Old Shows. Come meet the ghost of performance past.
All times are GMT - 6 Hours.
The time now is Mon Aug 29, 2016 7:24 pm
Display posts from previous:
All Posts
1 Day
7 Days
2 Weeks
1 Month
3 Months
6 Months
1 Year
Oldest First
Newest First
Powered by phpBB: © 2001
phpBB Group
Template created by
The Fathom
Based on template of
Nick Mahon


text:
We are pleased to announce the new book QCAD - An Introduction to Computer-Aided Design, ISBN 978-90-902349-5-3
The book is now available for ordering from our online shop at:
http://www.ribbonsoft.com/shop/category ... ategory=72
Moderator: andrew
LuisC-SM wrote:1. Is this book also available as a eBook ?
LuisC-SM wrote:2. What is the procedure to join the translator team to also have the book translated into Spanish?
mrsilvera70 wrote:I want to ask is this book this is helpful for us to handle all the queries related to CAD It solve all the problem which we are facing while creating CAD designs
Return to QCAD - An Introduction to Computer-Aided Design
Users browsing this forum: No registered users and 1 guest


text:
Original blues and soul band renowned throughout Northeast
RANDOLPH – The Dave Keller Band comes to the Gifford Medical Center Park on Sept. 11 for a free concert thanks to the generosity of the Gifford Auxiliary.
A Vermont resident, Dave Keller is known as one of the finest soul and blues men of his generation. He is the 2012 winner of the Best Self-Produced CD award at the Blues Foundation's International Blues Challenge in Memphis, Tenn.
In 2009, after being discovered by legendary guitarist Ronnie Earl, Keller appeared as a singer and co-writer on Earl's BMA-nominated CD, "Living In the Light." Next, blues and soul fans got to hear Keller with his own band on his all-original critically-acclaimed release "Play for Love" (September 2009).
Then in October 2011, Keller released his latest gem: "Where I'm Coming From" – a "deep soul" record produced by Bob Perry of Wu-Tang Clan, 50 Center, Brian McNight and Foxy Brown fame. In addition to winning the IBC award, the CD reached No. 2 on B.B. King's Bluesville on Sirius/XM radio for May 2012.
This success follows decades perfecting his craft. Keller has been performing for 20 years across the Northeast at everything from prison gymnasiums to major tours, getting audiences out of their seats with deep soul singing, gritty guitar licks and what Keller calls his "super-tight, super-funky band."
Originally from Massachusetts, Keller picked up guitar in his teens and started his own band in 1988. Keller moved to Boston, performing regularly but tiring of city life. He moved to rural Washington state and then to Vermont in 1993.
By 1993, Keller's singing and playing had taken on a new depth. He began playing solo shows and by 1996 had put together a band, releasing multiple CDs.
Today, Keller keeps up a heavy performance, touring with band mates Ira Friedman on Hammond organ, Brett Hoffman on drums and Gary Lotspeich on bass. And now The Dave Keller Band comes to Randolph for a one-time concert sure to please.
The concert is from 6:30-8 p.m. The Gifford park is located between the hospital and the Thrift Shop on South Main Street (Route 12), south of Randolph village. Ample parking is available onsite.
The concert is weather-dependent. If the weather is questionable, check Gifford's new and improved Web site, www.giffordmed.org, for an update.


text:
View useful links and resources for health care professionals. Literature searches are provided by the ACH Medical Library Staff
ACH Library Catalog: The UAMS Library Catalog, Millennium, is also a catalog of the ACH Library collection of books, journals and videos as well as the UAMS holdings. Searches can be limited to show the ACH library titles.
UpToDate**: The database of reviews of published evidence with recommendations for patient care. Includes Lexi-Interact drug interactions analysis tool. Access available on all ACH networked computers. Off-campus access is not available.
DynaMed: Evidence-based clinical reference for physicians, residents and nurses, PDA download is available here. Access available on all ACH networked computers. All Arkansas licensed medical professionals may register for a personal login ID to DynaMed from the UAMS Library.
ACH Online and Print Journals. Also check CINAHL and Health Reference Center Database: for other fulltext journals. Most journals are accessible on campus only. Please call for off-campus access to either CINAHL or Health Reference Center Database journals.
CINAHL, Medline, PsychInfo and others: CINAHL Plus with fulltext, is the Cumulative Index to Nursing and Allied Health Literature with over 700 fulltext E- journals. Call the library for off-campus access, 364-1801.
The Cochrane Library: Systematic reviews of primary research in human health care and health policy contains full text articles, as well as protocols.
Interlibrary Loan Service: ACH and UAMS Peds staff can order articles and books through UAMS library inter-library loan system, ILLiad, after registration.
Health Reference Center Database: Consumer health pamphlets, book chapters and 700 clinical journal articles, 600 in full text. For off-campus access, call Library at 364-1801 for password.
PubMed: PubMed Medline indexes clinical literature from 1950 to present, with some fulltext journals.
NORD Rare Diseases Database: Pamphlets on genetic and rare diseases with links to national organization and support groups. Access available on all ACH networked computers.
Google Scholar: Search for scholarly literature across many disciplines and sources on the web.
Instruction to Authors: Instructions on how to submit articles to over 2,000 journals in the health sciences.
National Guidelines Clearinghouse: Comprehensive database of evidence-based clinical practice guidelines.
Nursing on the Net from NNLM: A site of links to nursing associations and organizations, CEs, disease resources, drug information, and evidence based nursing,
Nursing References from NLN: The list includes print, multimedia, and electronic sources to support nursing practice, education, administration, and research.
Rare Diseases Info Center: the Genetic and Rare Diseases Information Center (GARD) helps people find information about genetic conditions and rare diseases. Contact GARD at 1-888-205-2311.
Find the doctor your child needs. Search by name, specialty, or keyword search.
Patients and families can request a primary care appointment.
Call 501-364-1202
Arkansas Children's Hospital
1 Children's Way
Little Rock, AR 72202-3591
Why Choose Arkansas Children's
Experience Arkansas Children's Hospital
For Healthcare Professionals
Support Arkansas Children's
Live Healthy
© 1999 - 2016 Arkansas Children's Hospital. All rights reserved.


text:
Sunday, Jan. 13, 2013
NORTH AUGUSTA, S.C. (WRDW) -- A plan for big development could change the North Augusta's riverfront as you know it, and it's causing mixed reactions.
The proposal would bring more restaurants, a resort-style hotel and maybe even a baseball stadium to the Hammond's Ferry neighborhood.
However, some in the area don't want it and say if they build such a big project in the area, they'll miss out on enjoying nature.
"I think North Augusta already has its own identity," said David Grubbs about comments Mayor Lark Jones made recently.
The mayor says the proposal to build a stadium, along with other businesses, will help North Augusta in becoming recognized as its own city and not just the "other Augusta."
On sunny days, the trees, ponds and waterfalls are what many enjoy about the area.
"It's a shame," said Maryann Hill.
Hill is upset because she wants things to stay just how they are. Just the idea of a baseball stadium nearby is a worry to her, especially if the nature element is taken away.
"The nature, I mean, where will it go? What will happen to it?" Hill.
The development will cost $150 million of public and private funds. It will include a resort-style hotel with conference center and baseball stadium for the GreenJackets. Plus, a 900-car parking deck, apartments, townhouses, a new Family Y and space for businesses and restaurants.
Hill says all that will mess things up.
"We need places like this. To be able to bike, just get away, read your book and spend time in nature," Hill said.
Grubbs agrees and says while nature is the key to the park and surrounding area, it also offers more. It's a place to spend time with friends and do a little fishing.
He just hopes the mayor and city leaders realize it, too.
"Come on out here. Spend an afternoon with your family and then see if that's what you want to do. Get rid of stuff like this," Grubbs said.


text:
United States Department of Agriculture
Agricultural Research Service
1a.Objectives (from AD-416):
The objective of this cooperative research project is to obtain improved efficiency in the development and testing of new sugarcane varieties through exchange and evaluation of germplasm with the ultimate goal of releasing new, higher-yielding pest-resistant sugarcane varieties.
1b.Approach (from AD-416):
For the duration of this agreement, ARS and the Cooperator will exchange seed and vegetative material of sugarcane germplasm consisting of experimental breeding lines and elite varieties for testing and evaluation for specific traits of interest or as commercial cultivars.
3.Progress Report:


text:
Many music fans think Reich is unsurpassed. Here are five reasons why.
1, His music balances brain and spirit: meticulously assembled, it unfolds spaciously, sensuously. It uplifts.
2. Reich's ingenious compositions draw on many influences: Ghanaian drumming, Indonesian gamelan, Coltrane jazz and medieval polyphony, mixing them up to create a world that's unique yet familiar.
3. It's accessible. For all its complexity, his music has a way of focusing the listener. At its best, the Reich experience is like walking through an enchanted forest: the music pulses and explodes with light. Its grooves shimmy and shimmer. As with all the best composers, his music transfixes.
4. At age 76, he keeps evolving, and has moved well beyond his early "minimalist" methods, wherein he obsessively repeated and transmuted small bits of musical materials: rhythms and riffs. Reich's recent works can be darker and more anxious than earlier ones: His "WTC 9/11" (a reflection on the 2001 World Trade Center attack) even jars with dissonance. Yet Reich is Reich; his essential sound remains.
5. His "Music for 18 Musicians" is one of the masterworks of the 20th century.
Contact Richard Scheinin at 408-920-5069, read his stories and reviews at www.mercurynews.com/richard-scheinin and follow him on Twitter at www.twitter.com/richardscheinin


text:
Liverpool Message Board
A Yahoo! User Apr 21, 2013 18:13 Flag
One sided commentary
Was Liverpool playing today? Doesn't seem that match commentators were aware. A bit nauseating to have to endure the fawning one-sided bloody yapping in Chelsea's favour. At least the lads rescued a deserved point. What ever happened to fair and neutral commentary?
I hope Chelsea finish fifth. Abramovich and his millions can go to hell.Sort: Newest | Oldest | Most Replied Expand all replies
dsteer_lfc_68 dsteer_lfc_68 Apr 22, 2013 20:28 Flag
Actually my preference is for them to stay in the top 4. Selfish I know, but whether they get CL money or not they will keep spending this summer, while if either Spurs or Arsenal miss out they will think twice about spending money they don't have coming in, which means a little less competition in the market this summer for us.
- 1 Reply to dsteer_lfc_68
Arsenal missing 4th would be an absolute catastrophe for them since they show no ambition to be big spenders despite being probably the most financially well off / sound team in the top, and with Arsene in no rush to step down and leading them to no trophies for the 30th year in a row.
Spurs would be equally painful since it would be nearly impossible to keep Bale, or add some of the players I imagine AVB would be looking at such as Moutinho, Damaio and a few others, whereas like Dave says, Chelsea will still be able to spend. They actually still have a lot of high salaries to shed in Ferreira, Malouda, Benayoun, and a couple of others which might include Torres Lampard and even a surprise in Cech / Terry..
Chelsea will be Chelsea until they fall out of the criteria in the EPLs version of FFP.
A Yahoo! User Apr 22, 2013 20:09 Flag
I SEE YOUR SIGNING UP ORKS FROM LORD OF THE RINGS...roberts bought one on to sought out oscar..........who was at that time running the match.....


text:
More Information
NEW: Front sweeps cool temps, rain to area
Published: Wednesday, March 20, 2013 at 9:33 a.m.
Last Modified: Wednesday, March 20, 2013 at 1:17 p.m.
Some locally heavy thunderstorms are possible today as a cold front moves across the state, forecasters say.
Rain chances in the Sarasota area are about 80 percent, with the possibility of a few strong thunderstorms carrying gusty winds and possible hail, according to the National Weather Service.
The front is expected to pass by tonight, bringing cooler than normal temperatures Thursday, when the high is forecast to be 66 degrees, about 10 degrees cooler than usual for this time in March.
Low temperatures Thursday night will be around 49 degrees, but the high is expected to bounce back to 76 degrees Friday and by the weekend will be above normal at about 81 degrees.
Reader comments posted to this article may be published in our print edition. All rights reserved. This copyrighted material may not be re-published without permission. Links are encouraged.


text:
Seekers of unique gifts can rejoice: The annual Silverthorne Holiday Bazaar slated for Saturday will feature a spread of homemade gifts from 30 vendors alongside holiday entertainment and one-on-one visits with the big man himself, Santa Claus.
The bazaar, beginning at 9 a.m. at the Silverthorne Pavilion greets visitors with shopping until 3 p.m. and appearances by Santa from 10:30 a.m. until noon and again from 1- 2:30 p.m.
A kickoff to the holiday season in Silverthorne, the bazaar will have homemade craft and gift items, providing a mix of mostly local vendors selling holiday items including, but not limited to: jewelry, ornaments, stained glass, sweaters, mittens, candles, soaps, lotions, scarves, holiday decor, toys and books.
Dancers, ranging from 3-year-olds to adults, will show off their moves in a 30-minute performance of several routines set to different types of music, including hip-hop, jazz, ballet and adult tap dancing and hula numbers, event organizers said.
The bazaar, the first of several holiday markets that will be held all over Summit County this month, has been a tradition in Silverthorne for more than 10 years with exploding popularity. In its first year, six vendors showcased handmade items at the recreation center, now the event is capped at a maximum of 30 vendors and is hosted at the pavilion.
"There is a really great variety of mostly homemade items which makes it really fun," said Nancy Bomgardner, event organizer and recreation coordinator for the town of Silverthorne.
Most of the vendors are from Summit County and have returned to participate in the event year after year.
"The bazaar offers a great venue for local artists to showcase their handwork," Bomgardner said. "It really caters to the local craftsperson with all of the unique items just in time for the holiday shopping season."
Finding the perfect gift for that special someone is why the bazaar has grown in popularity.
"I think people like shopping at the bazaar because it gives them the opportunity to find something different, something new and unique that a person has spent a lot of time making," Bomgardner said. "The bazaar offers something more special than an average retail shop, I think that makes them feel more connected to the items they buy - they're special."
Cheri Breeman, a longtime participant in the annual event said she develops her inventory of homemade jewelry, hats and pottery year-round.
"This event is really fun, it's more about connecting with people than selling," Breeman said.
The scene of the bazaar hosts local vendors and consumers that return annually to see new handmade gifts, Breeman said.
"There are people that I only see once a year and it's at the bazaar," she said. "It's a community thing and it's fun to see what everyone is bringing from year to year."
The prices, ranging anywhere from $1 to more than $100, make it possible for shoppers to find a gift for a diverse crowd, Bomgardner said.
"I'm expecting it to be packed," Breeman said. "The prices are really low and the product is of very high quality and it's all very unique."


text:
Costas wishes he had more time to talk
Published: Wednesday, December 5, 2012 at 8:57 a.m.
Last Modified: Wednesday, December 5, 2012 at 8:57 a.m.
NEW YORK (AP) — Bob Costas isn't backing down from his halftime comments on gun violence, but he wishes he had more time.
The NBC sportscaster gave interviews Tuesday to Dan Patrick and Lawrence O'Donnell about his Sunday-night halftime commentary following Kansas City Chiefs player Jovan Belcher's murder of his girlfriend and subsequent suicide. Both interviews were longer than the commentary itself.
Costas said domestic violence, football, the gun culture and possible substance abuse could have been factors in the tragedy. He said the availability of a gun wasn't the only issue, but he didn't have more time for a nuanced discussion Sunday.
Costas received some criticism for injecting politics into a sporting event.
Reader comments posted to this article may be published in our print edition. All rights reserved. This copyrighted material may not be re-published without permission. Links are encouraged.


text:
Definition of Tex-Mex in English:
(Especially of cooking and music) having a blend of Mexican and southern American features originally characteristic of the border regions of Texas and Mexico: Tex-Mex ingredients Tex-Mex dance music
More example sentences
- The tune was also adapted to regional music genres like the Tex-Mex flavor of Texas, salsa in New York, and the mana-style rhythms of California.
- San Antonio prides itself on being the birthplace of Tex-Mex cooking and there are plenty of places where you can enjoy it.
- Mexican Standoff wanders along the Tex-Mex musical border; Don't Ask, Don't Tell is a more straight-ahead roots rock break-up record and Got No Strings sets a bunch of Disney classics to a country and western groove.
noun[mass noun]
1Tex-Mex music or cooking: it serves very decent Tex-Mex
More example sentences
- On 'Wild Card' he conjures up the ghost of Hank Williams, and even tackles some zydeco and Tex-Mex on 'Oh Fait Pitie d' Amour.'
- Mestizaje undergirds the complex patterns of hybridity Tex-Mex, conjunto, crossover etc. - that have propelled Hispanic musics into the popular-music mainstream of North America.
- They know the clubhouse attendant will serve Tex-Mex at least once and that the pizza he brings in is as good as any in the big leagues.
2A variety of Mexican Spanish spoken in Texas.
Example sentences
- He doesn't speak Spanish, he speaks Tex-Mex. I don't know what that other gibberish is he mumbles at times.
1940s: blend of Texan and Mexican.
Words that rhyme with Tex-Mexannex, convex, ex, flex, hex, perplex, Rex, specs, Tex, vex
For editors and proofreaders
Line breaks: Tex-Mex
Definition of Tex-Mex in:
What do you find interesting about this word or phrase?
Comments that don't adhere to our Community Guidelines may be moderated or removed.
= trending


text:
OAKLAND -- The A's lost a game Tuesday, 5-1 to the Texas Rangers, and fell one game back in the American League West race.
What they didn't lose was a third baseman, which they very easily could have, so they are relieved at that. Josh Donaldson, the team's most productive hitter, made perhaps the best play by anyone in the Coliseum this year in the sixth inning, racing over to the tarp to make a leaping catch of a foul ball hit by David Murphy.
Keeping his glove high so the umpires could see he'd retained possession, Donaldson wound up between the tarp and the padded wall behind it.
"That's one of the best catches I've ever seen,'' Texas manager Ron Washington said. "Not just that he got to the ball, but he caught it and held it. He could have gotten hurt. But he's a gamer and a tremendous athlete.''
A's closer Grant Balfour, watching from his view in the almost adjacent Oakland bullpen said simply, "I'm in awe of him.
"That is one of the great plays of all year,'' Balfour said. "That was just fantastic.''
Donaldson said he's always willing to put his body on the line of make a play on defense, which manager Bob Melvin says can be scary.
"That was a hell of a play,'' Melvin said. "You're not going to see too many (better) than that.''
Donaldson wasn't hurt on the play. He remained in the game and would get the second of his two doubles in his final at-bat in the eighth inning.
It was his first double, and what resulted from it, that took a little of the glitz off Donaldson's evening. He was on second with two out in the third inning when Yoenis Cespedes tried to sneak a single through the left side of the infield. Elvis Andrus, the Rangers' All-Star shortstop, is hurt right now, but his backup, Jurickson Profar, has lots of game. Profar went onto the outfield grass to stop the ball. Donaldson should have stopped at third. He didn't.
"I thought I hear someone say `Go,' '' Donaldson said. "Breaking it down later, I know Gags (third base coach Mike Gallego) was telling me to stay.''
Left with no other choice, Donaldson went barreling down the line like the prep football star he once was. He smashed into catcher A.J. Pierzynski but couldn't pry the ball loose. That run would have given the A's a 2-0 lead behind starter Bartolo Colon against Texas' second-year starter Martin Perez.
As it was, the A's didn't get the run and Perez didn't let Oakland get close again. The A's beat him twice in the final eight days of the 2012 season en route to running down the Rangers for the A.L. West title. At 22, the left-hander is a much more polished and confident looking performer now.
It was hardly the first meeting of the year between Donaldson, himself a former catcher, and Pierzynski. Back on June 20 in Arlington, Pierzynski took a relay throw from Andrus and tagged out Donaldson as the tying run for the final out of a game the Rangers won 4-3.
The next time to the plate Donaldson checked with Pierzynski to see if he was all right. Pierzynski asked after Donaldson's health, too, little knowing that the A's third baseman's body would be tested again later in the game with the catch against Murphy.
Coincidentally, it was defense that cost the A's in this one. Colon, making his second start since coming off the disabled list because of a left groin problem, gave up a homer to Mitch Moreland in the fourth inning but nothing else before butchering the pickup of a ball hit back up the middle by Craig Gentry in the fifth.
That error -- "It was a routine play,'' Colon said through interpreter Ariel Prieto -- a Profar double, yet another grounder up the middle that deflected off Colon's glove for a hit, and the Rangers were on their way to a three-run inning that would put the game away.
Texas (Yu Darvish 12-6)
at A's (Jarrod Parker 10-6),
12:35 p.m. CSNCA
giants tease head
This is what the Giants did and here
here. PAGE 5
giants tease head
This is what the Giants did and here
here. PAGE 5


text:
Use to create the top grain and hard grain in wood.
Ask a question about Bristle Fan Ultra Thin Style Ask a question about this product
Average User Rating: Based on (1 Review)
5 1
Robin C. from Katonah, NY says:
Excellent brush, great for decorative painting. This fan maintains it's shape and flexibility.
Please wait...
You May Also Like...
How to get VIP Club Prices
Anyone can be a VIP Member with:
Only $25/year
Your email will not be shared. We will only use your email address to respond to your question. When asking your question, please be as descriptive as possible, it will allow us to give you the most accurate answer possible.
Please wait...
Please wait...


text:
OAKLAND -- Warriors coach Mark Jackson said he thought about hiring a shooting coach to help his slumping backcourt. But when he went over potential hires, he said he couldn't think of better instructors than Stephen Curry and Klay Thompson. So he'll just let them work out their shooting woes.
"It's almost like Albert Pujols starting the season batting .200. He's an all-time great. It's just a matter of time before he gets hot. At the end of the day, he's going to have Albert Pujols numbers. When you look at Steph Curry and Klay Thompson, those are knockdown shooters. They will be fine."
Through the first eight games, both reputed marksmen have struggled to find consistency with their outside shot. Combined, the two have taken 109 3-pointers, making 37 from deep (33.9 percent).
Thompson is at 35.8 percent so far. But in his second season, first as a full-time starter, a rough start is not out of the ordinary. Curry, however, is a different story.
The fourth-year point guard who has improved his shooting percentage each season since a 46.2 percent rookie season. So far, he's made just 37.1 percent of his shots. He acknowledged being a bit confused.
"It's tough, especially in-game when you have wide-open looks and shots that you normally make that aren't going down," Curry said. "But we learned our lesson with the Denver game about letting offensive struggles affect other parts of the game."
That's the plan for his struggling shooters while they find their stroke: impact the game in other ways. Curry said he keeps himself from spiraling mentally by focusing on defense, carrying out the game plan and keeping up effort.
Jackson said it was missed shots against Denver and bricking critical free throws that taught Thompson a valuable lesson. A flustered Thompson didn't think to foul Nuggets forward Danilo Gallinari, allowing him to drive to the basket for a game-tying dunk though Jackson reminded everyone the Warriors had a foul to give.
Curry said he's talked to Thompson about their shooting struggles.
"Actually he surprised me," Curry said. "He said he hasn't looked at any stats or any shot charts or anything like that. That tells me he's not really concerned. He knows he can shoot the ball, and he's not going to lose any confidence in his talent."
Curry and Thompson's shooting woes are eased by the fact the Warriors have split the first eight games.
"I'm not concerned at all," Jackson said. "I look at the fact that we're 4-4 right now despite missing two of our best players. Also, you talk about David Lee, Steph and Klay, they have not played their basketball. So we're in a good place and those guys will become who we know that they are. And imagine when our shots fall. It's going to be a beautiful thing, and we're going to be awfully tough."
Bogut went to Southern California to continue his rehab under the supervision of Dr. Richard Ferkel, who performed arthroscopic surgery on Bogut's ankle in April. While there, he has received several Regenokine injections.
Those treatments, designed to diminish swelling and assist in Bogut's recovery, are a form of blood-manipulation therapy. It is usually used to treat joint pain, lower back pain and forms of arthritis. It works by taking blood from the patient, manipulating it to get a concentrated protein-heavy fluid, then injecting it into the problem area. Kobe Bryant and Alex Rodriguez have reportedly benefited from the procedure.