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Hernan Ray Romero was born on June 18th, 1923 in Ponce, Puerto Rico. He has been performing for 56 years and, considering his talent and experience --spanning generations -- with legendary bandleaders, he is truly one of Latin music's most gifted treasures. He has just turned 72. What follows is an interview with Little Ray and musicologist/filmmaker Henry Medina, to whom we owe many thanks. Thanks also to Mr. David Carp, musicologist and radio personality (WNYC in New York) for his tremendous effort in transcribing this interview.
Please note that, due to the constraints of space, some of the questions and answers have been somewhat condensed or combined. However, we have made efforts not to alter the content or tone of this discourse.
Bruce Polin, Editor
HM: Tell me about your earliest memories of Puerto Rico during the time when you were growing up.
RR: I used to travel a lot with (singer) Ruth Fernandez. She took a liking to me and took me over to the rehearsals in Ponce. From there I went with them when they did gigs on different parts of the island. Around 1937.
What was the instrument you picked up?
What was their construction like?
Weak, weak. I brought a pair from Ponce to New York - I started working with little sextets, you know, guitarra. We used to do gigs in Brooklyn and the Bronx. I finally got a gig with a Brazilian guy, his name was Ciro Rimac. He had a vaudeville act which played all over - Chicago, Pittsburgh. I remember I was supposed to take a solo on one of the numbers there and (laughs) the bongos fell apart. I mean it just caved in. The whole thing caved in.
In New York City, what was the primary source for getting your drums?
It was a bakery on 116th and Lenox Avenue. Simon, a Cuban, used to sell all kinds of cakes. And he had his little thing going on with the skins and bongos and congas comin' in from Cuba. He had bongos with tacked-on skins without tuning keys. You had to stretch the skins on in those days, you know. You had to know how to put 'em on...wet 'em, pull 'em, stretch 'em all the way around, even. And that's where the first bongos came in from Cuba.
What was the average cost for these drums back then?
Something like $14 or $15 for the conga drums y por el bongo ocho pesos.
Okay. So now you're here in El Barrio performing with the bands you mentioned. Tell us about the music scene at that time, the bands that you're beginning to notice in the local club settings like the Park Palace...
The Park Palace was Machito's band. I was working with a group that was run by Federico Pagani. I'm talking about 1940 or '41. I was working with La Sensacional Guerria de Federico Pagani. We used to have duets with Machito's band in those days. The Park Palace was downstairs, the Park Plaza was upstairs They had dances upstairs and downstairs. But downstairs was the better bandstand because it was all wood and you didn't need much amplification. There was just one microphone. One microphone for the singer, one for the piano, one for the sax section or whatever, you know. It was a wooden bandstand and the bands sounded great there. From way back you could hear everything clear.
What was the admission charge?
50 cents to get in. The dances were held on Friday, Saturday and Sunday.
What was the lineup like?
Well, maybe two bands, no more than two bands. And the pay was real bad. No scale, no nothin'. The pay scale was, maybe, $12 a night for 3 or more sets. Some guys got more, you know - like if they doubled on flute and sax or did arranging, tu sabe?
Wow. How long was each set?
40-45 minutes per set. I didn't belong to the union until 1945 when I came out of the army and Noro Morales called me up and I joined his band. He was working at La Conga downtown. [Little Ray also played conga with Xavier Cugat's band before he went into the army - Ed.]
Since that was a very early period in your life and you were playing with such great bands, talk about other significant percussionists that were around you and of their influence on you.
I was first influenced by the band that Miguelito Valdes played with in Cuba. La Casino de la Playa. And I used to listen a lot to Ramoncito Castro, el bongocero. I liked the way he played. I was influenced by him. learned his shit, you know, and so forth. Another guy that influenced me was Chino Pozo. He was with Machito's band and he had the same style que tenia Ramoncito.
Did he give you lessons?
No, just pickin' up by ear and sight, you know. Chino showed me how to put on skins, tacking the drums on. He was with Machito and I was with Noro Morales' band. I had just gotten out of the army. My brother knew Noro so he called me up and asked me to come down to a rehearsal. I went down to La Conga, rehearsed with the band, and that night I started with him.
Do you remember some of the musicians who were playing with Noro at the time?
Humberto Morales was the drummer, El Gitano (Billy Richko) was on bass. His brother Rudy played bass, too. He played a lot with Charlie Palmieri's band. Tito Rodriguez was the singer, you know. The sax and trumpet players were all American guys.
What do you remember about Noro the person. Any anecdotes about him in general?
He was a heavy eater (laughs), he was a heavy eater, man. In Miami I once saw Noro do three chickens. Then he had I don't know how many dishes of ice cream. A heavy eater. He was a beautiful guy, though. He was my best man at my wedding. He didn't arrange and he didn't read too good either. But he had an ear.
He was a very percussive piano player. I notice on a lot of the recordings that I have that he has to get the bass behind him real good...
Yeah - oh yeah. He was always fighting with the bass players, that was his pet peeve, bass players.
And his brothers?
His brother Humberto Morales - yeah, he was a good drummer too. But he wasn't a Latin drummer, he was more like a Buddy Rich type drummer. But since he was Noro's brother he had him in the band. He played American style, not como timbales like we know it. But he was a very good drummer and he read excellent.
In El Barrio during the 1940s there were all these different social clubs and different clubs. What are some things that you remember about your early musical associations?
I used to walk around with my bongos under my hand all the time, in the subways. I didn't have a cover for them, so I just carried them. We used sterno cans to heat up the bongos for tuning. We used to go to the dances - just with any band - pay or no pay, just for the love of art, you know?
And that was your formative training? In other words, there were no schools. You trained with a lot of these musicians, the young and old, who were coming up in the field, as you went along.
I used to listen a lot, yeah.
So the drummers that you were most influenced by were Chino Pozo and...?
Chano Pozo, Candido.
Did any one of them take you under his wing?
Only Chano. I met Chano through Miguelito Valdes. I was with Valdes' band (as a bongocero) and Chano was with Dizzy Gillespie. They were in California. I met them out there and Chano took a liking to me.
What year was this?
1947. Chano taught me the positions, you know, how to play conga drums. Miguelito used to say, "Well, the bongo sounds too weak for a full band, a big band like this. I want something heavier." So I started playing conga drums, and I stayed on that.
There's a lot of talk about Chano being a hoodlum. But there are those who say he was simply protecting himself from the abuse he use to get and from lack of receiving royalties, and he stood up to all that...
I have nothing bad to say about Chano, you know. He was great with me and that's it. As far as I'm concerned he was a great person. We all got hang-ups, you know, but you remember him as he treated you.
Give me some of your impressions of seeing him with Dizzy Gillespie at shows. Is there anything outstanding in your mind, or a significant day that you saw him performing and it just blew you away?
Yeah, one time in California I went to see him with Miguelito Valdes and he was with Dizzy's band and they were performing "Manteca." And it was heavy that night, real heavy. It was a combination of everything, playing drums by himself, the band coming in, the band dyin' out, him playing again and then singing while he was playing. He was a great showman. He was very, como se llama, magnetic.
He and Miguelito Valdes were very close?
Very close.
Was it through him that you met Miguelito?
No, I met Miguelito first. I was working with JoseCurbelo's band in 1946 and we were working in Atlantic City, at the President Hotel. We had to accompany Miguelito Valdes at his shows, you know. Tito Puente was the drummer there and Tito Rodriguez was singing. We were all rooming together. I wasn't very happy in the Curbelo Band. Miguelito did the show and then said that he was going out to California to form a band out there. So, we were still at the hotel when I found out that Julio Andino had left for California to join Miguelito Valdes. Georgie Lopez had also left to join the band. While we were working there I get a telegram from Miguelito Valdes in California asking if I wanted to join the band. And the guy that almost pushed me to go was Tito Rodriguez. He said ,"Go, go!" And I went to California. I joined Miguelito's band.
What kind of problems were you having with Curbelo's band?
Mostly about money.
So you left there and now you're with Miguelito Valdes' orchestra. Tell us something about this orchestra.
Well, we went to play in the hotels. That's all he wanted to do. In other words he wanted to be like Cugat's band. He wanted that type of music, you know - se tocava la salsa, el mambo, este tocava Brasileiros, e tocava tango, se tocava un pasodoble - everything, you know, for different people.
So it was cabaret?
If he played for the people of El Barrio, of course, he played differently...
He played most of the tunes that people knew like "La Negra Leona." "Babalu." "Rumba Rumbero." a lot of these tunes. And then he had his girl singer, she sang all of the American tunes.
What were some of the tunes that were integrated, let's say, to bring out the percussion in the band. Were there any tunes that you remember that you could take solos on?
Rafael Hernandez's "El Cumbanchero." usually. I'd go out there with a drum tied around me, you know, and he'd be out there with another drum and we'd both play out there. The band would stop and let just me and him go.
You must have learned a great deal...?
Yes, yes. It was a school in itself. I enjoyed it, I enjoyed it.
What do you associate with him teaching you? Anything stick in your mind in terms of either drumming or certain things he would do?
Just how to place my hands. On the bongos he used to play [plays an example]. But nowadays you use the whole hand, you use everything. The rest I picked up by myself.
What were the years that you played with his band?
Ah, well let's see. I married my wife in 1951... from 1947 to about 1952. In 1952 I quit the band while working at the Waldorf Astoria. My wife was pregnant and I didn't want to travel. I stayed in New York. It was at that time that Tito Rodriguez asked me if I wanted to join the group, Los Lobos Del Mambo, at the Palladium. Toca Chino went with the Jack Cole dancers. So I came in. I started playing bongos with Tito.
What do you remember about the early Palladium?
The Palladium was Friday, Saturday, Sunday and Wednesday. Wednesday was the night when all the dancers came in. All the American dancers and the Latin dancers. All the actors that were in town would come around on Wednesdays as guests. Marlon Brando, Lawrence Turney and all those guys used to come down to the Palladium.
Are there any outstanding groups or individuals that always stayed in your mind as being great dancers?
Luis Maquina. You know Luis Maquina? He was my favorite. Augie and Margo, Larry Selden, Anibal and Joe - the Mambo Aces, they used to call them the Mambo Aces. But the guy who I really watched when he danced was Luis Maquina. He had that style. It's, you know, nobody else was doin' it. El tipo bailaba tipico, you know?
En la cinquentas?
Yeah, 1953,'54
Is there any particular tune that you remember that he would explode, a certain tune that you would always associate with him?
No, because they all danced mostly to the same thing. You know, the band would start off and everybody ...we did just one tune for all the dancers.
"Mambo Inn?"
"Mambo Inn" or "Picadillo" or "Barbarabatiri" or just improvise.
Okay, at the Palladium, there are Wednesday nights, Friday nights, Saturday nights and Sunday nights. What can you remember in terms of...I've heard that there were different...?
Different people, yeah.
Right. Like on Sunday nights there would be a black crowd.
Black crowd. Friday nights would be a Latin crowd. Saturday, also a Latin/mixed crowd. Sunday, tu sabe, the black crowd. And Wednesday was the, what they called the elite crowd...a mixture of everything.
Were there a lot of Americans, too?
Yeah, yeah. A lot of Jewish people.
There were a lot of great Italian dancers as well.
And Jewish girls, yeah. All good dancers. Cuban Pete. and Millie. Este...
Was Dottie Adams?
Yeah. What was this other girl's name? They used to call her Buttons. They used to call her Buttons because she never wore a brassiere (laughs). And her buttons used to stick out, you know, they used to call her Buttons (everyone laughs). Marilyn Winters.
Marilyn Winters, yeah, you know. Bonita chiquita, yeah.
Who were you playing with? Which group?
With Tito Rodriguez.
How long did you stay with Tito?
Ahhh - till about 1955, I think it was. From 1952 to '55 or '56. I know that after I left Tito I went with Eartha Kitt.
Okay. First you were playing with, of course, Miguelito Valdes, and now you're moving, as you've said, into the Tito Rodriguez band. But before we get into that, talk about Tito Puente during his early period, the most significant thing that you remember or the style of drumming that he was bringing into the music scene at the time.
You know, his own style. Everybody was trying to play like Tito Puente - everybody, all the drummers. Tambian estava Papi Pagani, he had another style of playing, Monchito Muñoz tambian. But Tito had his own thing goin'. And he was an arranger, you know, so whatever he arranged he arranged according to what he can do, you know?
But Tito Rodriguez formed his conjunto a little earlier than Puente. Rodriguez established himself, of course, in the Catskills. Did you perform with him prior to joining him, or was it after you left Miguelito's band that you started to play with him?
I left Miguelito's band and then started playin' with him. But while I was with Miguelito's band I was recording - whenever I came to town I would record with Tito Rodriguez.
Oh, so you were recording with him prior to your joining the band?
Yeah. Me and Chino, both of us.
And what were some of the tunes that you remember recording?
"Frizao Con Gusto." "Guarare."
How did you join Tito Rodriguez' organization?
Well, Tito asked me to join the band. I was working with Miguelito Valdes. He knew I was leaving so he asked me if I wanted to join the band. I said, "Why not."
Were you playing congas?
Bongos. I took Chino Pozo's place at the Palladium. And we worked there four days a week, which would amount to $72 plus...
That was good money at that time...?
Yeah, $72 for the four days. So your take-home pay was $68 or $69. But you could live on that then.
Aside from playing in the New York City area, were you playing up in the Catskills too?
Yeah, up in Laurel's Country Club during the summer. Machito would be at the Concord Hotel, we'd be at Laurel's Country Club. Other bands would be at Brown's Hotel or whatever. There were lots of hotels up in Liberty, NY, in that area, Monticello. You know, the bands used to go either to Atlantic City or to the country, upstate New York.
What can you tell me about the clubs upstate?
The Concord was a big hotel. They catered mostly to the Jewish crowd. They were all Jewish up there. And it was an older crowd, where Machito was at. Where we were, with Tito Rodriguez, it was strictly an all young crowd. Looks like the fathers and mothers went up one way and the children went another way, you know?
Under what circumstances did you meet Tito Rodriguez? Did you see him perform?
In 1941 I was playin' with Joe Loco's band and they brought in Tito one night to sing with the band. I was 18 or 19. This was at one of the dances in the Bronx on Prospect Avenue, on Longwood.
Close to Westchester.
It was a big Jewish and Italian community there at the time. Prospect Ave, that's were my father grew up...on Jackson Ave.
They was just startin' to take over, there was a lot of Puerto Ricans movin' in that area there. It was just starting, yeah.
Manny Oquendo was living in that area...?
Yeah, Manny Oquendo. I used to live on Fox Street. Manny Oquendo used to live on Kelly Street. Tito Puente used to live on Intervale Avenue and 163rd. Este, Vicentico Valdes lived on Hunt's Point. Tito Rodriguez was livin' on Roger's Place. Noro Morales used to live around there too. There was a lot of musicians around there.
So you joined Tito Rodriguez' band around 1952 to replace Chino Pozo. And you lasted in that band how long?
Three, four years.
What were some of the tunes, because I've heard stories that while playing at the Palladium Ballroom Max Hyman [the Palladium's owner] would...?
Oh, he'd have a fit whenever we played "Blen Blen." He would pull out his hair because they had a drugstore downstairs. And when the people upstairs started dancing the floor would...you could see it movin' up and down, you know.
It would sway?
Yeah, and he would have a fit -- "Don't play that no more, don't play that number no more!."
Would they take the chart away from Tito's band?
No, he'd just tell Tito, "Don't play that." So, we'd play "Mambo Mona" and it was the same thing (laughs). Oh, God, yeah. It was funny watchin' him walk up and down, you know, pullin' his hairs out because the fuckin' floor was rockin', you know. And the battles between Tito Rodriguez and Tito Puente and Machito...when the three bands were up there, there was a crowd. Machito brought his crowd, Puente would bring his crowd, and all the dancers were with Tito Rodriguez, you know.
And Machito would be the steamroller ?
Would steamroll everybody?
But that band was a bitch, that band.
So you'd leave Tito Rodriguez' band about what year?
Oh, 1955. I think it was. And I went with Eartha Kitt.
How did that come about?
Tito had a piano player named Al Escobar, este. He was working with Eartha and Eartha wanted to get a conga player. He asked me, "Do you want to join Eartha's band? You know, she's paying so much..." and this and that. So I figured, shit, I'm making what with Tito at the Palladium? Escobar says you're gonna make X amount of money and when you're not working you have a retainer. She used to pay us three hundred dollars a week when we played and $100 retainer when we weren't working. She used to buy our clothes, our shoes, room and board. So you made three hundred dollars clean.
Clean. And that was a great deal of money for you at that time?
And you were married in '51?
So by this time your first child is there?
The first time you met your wife was here in the Palladium Ballroom?
Yeah, yeah, in the Palladium.
But you were married previously...?
Two other times. One lasted six months. The other lasted three years. And this one's lasted 42 years, so far.
That's a long time.
And I don't regret 'em (laughs).
Up to this point, was this the best pay that you had received so far, with Eartha?
Ahh, well, I worked with Sammy Davis for a while at the Tropicoro with Anselmo Sacasas' band after I moved to Puerto Rico in 1958. So let's say [this was] about '59, '60. In 1961 I was still in Puerto Rico and I got a telegram from Tito Rodriguez seeing if I wanted to come to New York to work with him at the Colony Club in Long Island for the summer. So I says, "Okay, why not?" I did the gig and I went back and I joined Fajardo's band at the Chico Bar. We used to work seven days a week.
Seven days a week plus a matinee on Saturdays. And from there they needed a conga player with Anselmo Sacasas' band. I used to work with Fajardo and then go do the gig for the show, two shows a night, backin' up Tony Martin and Sammy Davis Jr. Anyway, I was gettin' paid at the Chico Bar and I was gettin' paid over here, you know.
Now, not to get personal, but you're making good money?
Did you take your money and invest it, in terms of property, did you...?
Oh, yeah, yeah --
Because I've heard so many stories about musicians who, tu sabe, who made good...?
Well, if it wasn't for her I would have pissed my money away.
If it wasn't for your wife?
I was making close to $600 a week between both jobs. And no, we saved our money. I know a lot of guys that work and work and work and...
Don't have a thing to show for it.
They just pissed it away because they think that it's gonna last - nothing lasts. You gotta be...face reality, these things don't last, you know?
One topic that is not really discussed is drug activity during the '40s and the '50s in terms of the musicians that were part of the scene. Some of them were great but got caught up in that mess and never survived it. What are your feelings about the drug activity during that time in terms of Latin music?
It was heavy, it was heavy. A lot of guys I know, you know, got all screwed up. I don't want to mention names. They were my buddies and I hated to see them go that way, you know? It was a big, big problem.
It affected not only, of course, the jazz musicians, it affected...
Yeah, it did, the Latin musicians. I don't know if it's a copycat style of living or what it is...or weak minds or...I don't know what causes it, really.
What were some of the reactions in terms of the bandleaders to people who were part of that drug scene? Did they tolerate it, were they against it? I've know musicians who were dope addicts that played conga with Machito's orchestra...?
Yeah, they tolerated it because they were good musicians, you know? Eddie Medina was a great trumpet player and a great conga player, too.
A lot of guys got caught up (in that). Would they always make the gig?
Ah, they would make the gig, yeah. But their performances weren't the same, you know. And I was the one that used to get paid and go straight home, I never hung around. They used to hand around in bars after the gigs, you know. I says, "No, I'm goin' home."
How did your move to Puerto Rico happen?
I left New York in 1958 and I came back in 1968. When I came back in '68 the first guy that gave me a job was Eddie Palmieri. He was working over at Carlos Ortiz' on Longwood Avenue.
That place is now a police station.
Yeah. I worked there with Eddie for a while but then I had to leave Eddie because Eddie wasn't (laughs) paying right, you know. Then I went with La Orquesta Flamboyan, remember Flamboyan?
Si, I remember. In fact, that's the first time I saw you.
Yeah, La Orquesta Flamboyan. Then I went with Charlie Palmieri's band. While I was with Charlie Palmieri's band Ray Barretto offered me the gig because Orestes Vilato was leaving. And I didn't want to take the job because, although I was playing timbales, I didn't feel I was capable enough to cover that fuckin' seat of Orestes, you know, that Orestes is a drummer, a good timbales player, yeah. So Ray says, "Come on, I know you can do the gig, I've heard you play." you know. So between Ray Barretto and my wife they got me, I didn't want to go, they got me to join Ray Barretto's band.
But just backing up momentarily, why did you move to Puerto Rico at that time and for such a long stay? Was it because of the bands and the gigs that were there for you, or was it that you just wanted to get out of New York?
Yeah, I just wanted to get out of New York. There was a lot of shit goin' on with the police department. If you were a member of Local 802 and something goes down, you got busted. If you had anything to do with the police, the police would not let you work.
They took away your card?
They took away your card. You know, they had more power over you than the union. So you had to have a police card. So on one occasion I lost my police card and I couldn't work. So I says, "Well, fuck it, I'm leavin'." So I left. After I left Mayor Lindsay came in and stopped all that. So he abolished all that and I came back in 1968.
Was there corruption going on among the cops?
Yeah, man, a lot of guys got busted and they lost their police card. And when you went to work in a club you had to produce your police card. It was more important than a union card! If you didn't have your police card, the [club] owner couldn't take a chance on hiring you even if he wanted to...
'Cause they might give him a fine?
That's right. They had control over the waiters, they had control over the dishwashers, they all had to have police cards with your ID, your picture, you know? And if you didn't have that you couldn't work, no matter what union you belonged to. [So when I came back from Puerto Rico] I went from Eddie to Flamboyan, different orchestras, you know. I knew that if I played I'd get my money at the end of the night.
After the [Cuban] revolution there's a whole new crowd of musicians that are seeping into that music, there's the sound of boogaloo. How did you react to the boogaloo scene at that time in terms of the quality of the music and the musicians?
I thought they were losing it, you know, los tipicos were gone, mixed with the, como v'entanto, canto Americano and all this and that. By that time I had already moved to Puerto Rico. I was living there when the boogaloo came out. [It was] after that when I started hearing about Joe Bataan, this other guy....
Pete Rodriguez?
Pete Rodriguez and all those bands, este..."I'll Never Go Back To Georgia" with, como se llama...
Joe Cuba?
Joe Cuba, yeah. And they were, in Puerto Rico, playing their music down there. I didn't like it, I never dug the boogaloo scene. Just wasn't for me, you know.
After the early '70s there's a resurgence, the All-Star groups are coming into their own, the Fania All Stars are coming out. There's a lot more, bigger orchestras playing on the music scene. How did you find that? What was your reaction?
It was better than the boogaloo era. I dug that more. Pero, it wasn't like when we were on the scene, the music wasn't the same. And they didn't call it mambo anymore, now they call it salsa. It's just another name.
What can you tell us, in terms of quality and musical taste, about Tito Rodriguez as opposed to other bandleaders that you worked with?
Well, Tito had his own style, you know, he knew what he wanted. So he would look for the right people. Tito always had the right people with him. What he wanted to do, he would do it, you know. [With Tito] you always had to be properly dressed, shoes shined, groomed. I remember one time we were working at the Palladium and this guy walks in with the suit, we had suits, Tito used to buy the suits. Well this guy had slept in his fuckin' suit, you know (laughter). Tito sent him home, says, "You don't get up on the bandstand, you know, makes me look bad." Unshaven or whatever, he was strict. You know I dug him for that. You don't see that now.
So you started seeing the dress code changing in the '60s, people coming in with long hair during the hippie movement, during the Vietnam War...?
The worst dressed band that I ever worked with was the Flamboyan. [Frankie] Dante, you know. These guys used to come in with sneakers, pants all torn, unshaven -- a street band.
Smelling, the whole deal?
Yeah, and I was the only one who came in dressed (laughs), you know? I felt out of place 'cause I had that old school thing. It was a lot of fun playing with them but (pause) that makeup was something else, man, of the band, you know. It's a street band.
In terms of batá drummers, when did you first get to go to one of those meetings where they played batá drums...?
I started through Julito Collazo.
And Julito was already here in the late '40s?
Yeah, late '40s, no early '50s maybe.
I heard that he was the one who introduced the batá drums to New York City, right?
Yeah. And it was supposed to be a secret society. The batá drums weren't supposed to be, they were in a closet like, they were not supposed to be played with dance bands, it was taboo, you know. Anything you did on a drum, on batá, you couldn't reproduce it on a conga drum because, to Julito Collazo, that was an insult, you know. And finally it's out of the closet, they're playin' it with everything, you know.
So the first time you got in contact with that was in the mid '50s?
Yeah. Julito Collazo was the first one [to take me to Bembé rituals]. Tommy Lopez, Julito Collazo and I went to my first santeria rituals. And I didn't like it either, but I liked the drumming, I was intrigued by the drumming. you know. But I didn't like what was going on.
Like what, explain just more or less what you're talking about?
Este, the things goin' on during the ritual there, you know, tu sabe?
(Laughs) It wasn't for you, that wasn't you?
My wife is a spiritualist.
What can you tell me about the club scene in the '60s and the '70s, the Corso Ballroom and stuff like that?
Corso's Ballroom was where salsa was at, where the mambo was at, you know --
After the Palladium closed?
Yeah. And the Caborrojeño was where they had what we called the hicky bands, you know, they didn't play what we played. So it was different. I'd rather go to Corso's than go to El Caborrojeño unless I had to work there. And the owner there was somethin' else.
Roberto Roberto?
Oooh -
He's dead?
He's dead, yeah. Ah, he was a bitch, he was a bitch. He wanted you to play what he wanted. He used to tell the bandleaders what to play. So...
And some people did what he said and some people didn't dig it?
Yeah. When you didn't dig it, you didn't want to work there no more, yeah. And if you argued with him you wouldn't work there again anyway, you know? Pero he was difficult, he was difficult. He wasn't like Mr. Hyman, Palladium, you know. "I want you to play this and this and this and that's it!." you know.
So now we're moving into the late '70s early '80s.
Ah, in 1978 I joined Machito's band. And we went to Finland, every year we used to go to Finland. I went to Finland with Machito for about five years straight, you know. Machito's band was nice. Chocolate was in the band, Chombo was in the band, too, for a while. And I enjoyed it. I enjoyed Machito's band.
And you recorded extensively? Of course, you were part of the Grammy album?
Yeah, we did that in Holland.
So, by the early '80s you were still with Macho's band. After Macho passes away and the band breaks up, where do you go from there? You were also teaching at Boys' Harbor before that, right?
Yeah. I was teaching over at the Drummer's Collective. After that I went to the Johnny Colon school. From Johnny Colon, then I went to Boys' Harbor. I was teaching there, that's all. Sometimes I get gigs, you know -- but I wanted to stop doin' the gig scenes.
Why, it just wasn't productive for you?
No, no.
And you had to travel a lot of places where you don't want to be?
You'd rather be home now, you'd rather stay with your family, chill out?
Talk about your teaching, the type of teaching that you're doing. In terms of your students, new students who are involved in percussion - what is it that you want them to learn? How do you go about reaching students, say, in terms of conga drumming? What is your routine, the routine that you will use with a new student?
Posture, sittin' with a drum. How to hold a drum, how to sit and hold a drum. Your hand positions, you know what I mean?
And your coordination, see if you've got coordination. And teaching one hand at a time. You get one hand - this hand does this, learn this first. And then learn the other hand, you know, your left hand (plays). And that's the first thing I teach 'em (plays). And how to count - that they have to learn, I want to hear 'em countin' when they're countin' so they'll know where they're at. In other words it's (counts and plays tumbao). But not all of 'em, you know, do that.
By now you've taught a cien numero de students, you've had a lot of, I would imagine, successes and perhaps some failures, right?
Out of the students that you've taught and people who come back to you, who are some of the exceptions, I mean some of the guys that you feel that you've taught...?
Hilario Perez, Tommy Lopez. I taught Sabu a little but Sabu never wanted to listen, you know?
How about Giovanni [Hidalgo]?
Giovanni is in a class by himself. Giovanni, in my estimation, is the best, he's the best, forget about it. One in a million.
I've heard Giovanni has had classes with you?
No, that's not true.
No. Maybe I've learned somethin' from him.
'Cause they say you can't teach an old dog new tricks - that's bullshit - depends on what you got here, you know... Giovanni's in a class by himself. Con Batacumbele, el mejor conguero de Cuba, este Changuito praised him. He says, "Oh this guy, this kid is somethin' else." And he's gotten better and better. This guy's incredible, bro'. He used to live down here. He's my son's godfather, you know.
Oh, so that's the relationship! Because I heard that he used to come down here and jam with you.
Yeah, he used to stay here, he used to live here. Whenever he was in town and came in from Puerto Rico he would come down here. So I have a lot of tapes of Giovanni live, that he did down here by himself. Playing with three drums and a pair of bongos, by himself! By himself. When he was living down here, about 9 o'clock in the morning he'd get up and you could here him upstairs practicing down here alone by himself for about three or four hours...
Every day?
Every day, every fuckin' day. He's got two right hands.
Talk about some of the Cuban groups that are performing in Cuba. You have a wide range of musical interests and you still study a lot of the Cuban percussionists. You are a great admirer of Tata Güines...?
Tata Güines is great. But I've learned to hear others that are even greater, you know? I'm not taking anything away from Tata Güines 'cause I admire him and I used to listen to him a lot. But Afro Cuba has, Tamborero hay que tan cabrone, Los Muñequitos, y Conjunto Clave y Guaguancó. Those are the three groups in Cuba. Y hay otros que I haven't heard. But these are the three groups that I listen to; Afro Cuba, Los Muñequitos, y Conjunto Clave y Guaguancó. Folkloric music -- they don't play dance music, you know.
In your estimation, where do you see the music headed. Do you think we have a lot of problems in maintaining our culture. We have to teach students properly. Do you think that things are headed in a positive way? In what direction do you think the music is going?
I don't know. There are a few diehards, you know, that want to keep this goin'. But there's not enough of, e la cultura del tambor, there's not a lot of it, I don't see a lot of it, you know. Maybe little groups here and there, tu sabe, pero it's the young crowds, they listen to somethin' else.
Yeah, we've lost a lot of our people, lost a lot of people to a lot of other music so far. And it's hard to get them back.
Yeah, it's the intermarriage of cultures with the music, you know.
In terms of what [salsa] they're promoting today...?
I listen to the old stuff.
In terms of what they're promoting...?
No, I don't like it.
The promotion of the folkloric music is a rather bad situation.
Yeah, there should be more exposure to it, I don't know why there isn't but...
Este, Latino radio, in terms of what you hear on FM and AM radio, esta malisimo.
Esta malisimo. Hay dos o tres de disc jockeys out there that [hits drum] sometimes they play good music and [hits drum] most of the time they don't. They must have their days, you know, pero no, no. I don't like it. [pause] A lot of times I'll hear salsa on radio and [pause] boleros and salsa - you know, I don't like that, it's not me.
El baile romantico -
Yeah, yeah, yeah, yeah -
And then the merengues in terms of the bands...
Ugh, forget merengues.
There's great folkloric music coming out of Santo Domingo, but [the music played on the radio] it's a lot of music that's really, you know, there's no variation.
If someone asked you how would like to be remembered, as a person, as a family man, as a musician...?
[pause] As all three [laughs]. Family man and a good musician, good percussionist. There's a lot of guys, like Julito Collazo, that wouldn't teach white guys the proper way to play batá just because you were white. He had that racial shit goin', you know. I believe in teaching anybody, that color doesn't mean nothing, you know. My father was black. My grandmother and my great-grandmother, I met her in Puerto Rico when she was 99 years old, she was pitch black. My mother was white, and they ran my mother out of Puerto Rico because she married a black man, you know. They are, yo tengo la sangre negro po' dentro, I guess we all do, you know, somewhere along the line. So I don't know what it is with some guys that just don't want to teach you, you know what I mean?
So basically, you want to be remembered as a good father and a good musician?
Yeah. And a good teacher. Some guys hide stuff that they don't wanna teach.
But what's the point?
That's a good point, what's the point.
What was the point. What is the point if you don't teach it to somebody else, it'll never be saved.
No. I'd like to give what I know, you know what I mean, not hide it. Like they say, enseñale pero, enseña todo que tu sabe. I don't believe in that "I'll take that to my grave" -- I'd rather give it.


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CORVALLIS, Ore.-- Oakland native Gary Payton is excited that his son will attend his alma mater next season, but hopes Gary II will be allowed to be his own man at Oregon State.
"He needs to have his own identity. I don't want him compared to me," said Payton, honored for his recent induction into the Naismith Hall of Fame at halftime of Saturday's game between the Beavers and visiting Cal.
The greatest player in Oregon State history, Payton received a standing ovation from the Gill Coliseum crowd when he talked onto the court before the game.
A star at Skyline High before becoming an All-America career in Corvallis, Payton earned the nickname, "The Glove" for his tenacious defensive play.
Gary Payton II, who grew up in Las Vegas and is a sophomore at Salt Lake Community College, has been dubbed "The Mitten."
"It's a nickname I don't think he wants," Payton said. "He's a great defender. He plays just like me -- I think he might be a little more athletic than me. It's going to be fun to watch him play." Gary II wasn't able to attend Saturday's game at his future school because he was playing a game for Salt Lake, where he averages 13.6 points, 6.8 rebounds and 2.1 steals for a 16-3 team.
A 6-foot-3 guard, Gary II also was recruited by Saint Mary's. Payton said it was son's decision to to attend OSU.
"Four years ago I didn't think my son was a good basketball player," Payton said. "He proved me wrong. I am very excited for little Gary to come here." Payton also addressed a variety of other topics during and after a pregame news conference:
"They asked me to go on that trip. It's one of those things where you've got to say, he's doing too much," Payton said. "It's not the right time to be going there from our country right now." When Rodman was quizzed about that by a TV interviewer last week, he became combative and seemed to not understand the potential consequences of his actions.
"He came out and said he had a little too much to drink," Payton said, "but you have to understand what you're doing."
"I'm just from the old school. When you go to the basket we knocked you on your butt." Payton said Chris Paul, Rajon Rondo and Tony Parker are the only current NBA point guards he likes.

subset: commoncrawl


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Article by Louis Strauss, General Manager of Jock Safari Lodge
After the long dry winter season, rains arrived in the Kruger National Park in October and we had over 100mm of rain in the month. After the first good rains, fields of lush green grass & veld flowers rapidly appeared. Most migratory birds like Woodlands Kingfisher, Cuckoo's & Wahlberg Eagles are now back in the area. Their courtship calls could sometimes continue late into the night. Baby impala's are appearing everywhere and the bush just seems to have come alive!
Large herds of elephant, buffalo & zebra have moved into the Jock Concession area to enjoy the fresh growth of grass. This always draws the attention of the large predators and we've seen lions on buffalo kills just about every week.
Every season is different and unique in the Kruger National Park and I often get asked by guests, which is the best season to visit the Kruger. I always reply try them all, and pick your own favourite".
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All Sorts of Weird Stuff offers news and information about George R.R. Martin, in particular about his A Song of Ice and Fire series.
"When I was young, I read all sorts of stuff. One week it would be Lovecraft, the next Vance. It was all imaginative literature, or as my dad called it 'Weird Stuff.' It was all 'Weird Stuff.'"
George R.R. Martin
New to the series? Read our spoiler-free review of A Game of Thrones.
Read our Privacy Policy.
In the sixth installment of George R. R. Martin's podcast series, GRRM readers an excerpt from the prologue chapter of A Feast for Crows. Besides using iTunes and RSS feed aggregators as discussed here, the episode can also be directly downloaded for listening here.
The Westeros network consists of several different sites, including a forum and a wiki, for all your A Song of Ice and Fire needs.


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Empfehlungen, Routen und Kuriositäten: Detail
08 September 2012
Best option to visit the Amalfi Coast!
Hotel Margherita offers a free shuttle service to the beach and to the center of Praiano.
Do you like to go to the beach? Do you like to explore Amalfi, Sorrento or to visit Pompeii? Do you like to enjoy Capri or do you prefer to go to Ravello concert?
Just ask, Gennaro takes care of everything!


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Great Research Starts Here
The UC San Diego Library, ranked among the nation's top public academic libraries, plays a critical role in advancing and supporting the university's research, teaching, patient care, and public service missions. The world-renowned research for which UC San Diego is known starts at the UC San Diego Library, which provides the foundation of knowledge needed to advance cutting-edge discoveries in a wide range of disciplines, from healthcare and science to public policy and the arts.
The Knowledge Resources You Need–When You Need Them
The UC San Diego Library provides access to more than 7 million items, including digital and print volumes, journals, and multimedia materials to meet the knowledge demands of scholars, students, and members of the public. We:
- provide 24/7 digital access to more than 588,000 e-books
- purchase and make available more than 43,000 e-periodicals
- provide access to about 300,000 digital media resources
- have digital streaming rights for more than 28,000 films
The Library's vast resources and services are accessed more than 87,500 times each day via the Library's Web site. Browse our catalog and other resources from your smart phone or tablet with our mobile app: http://libraries.ucsd.edu/m
Technology Leaders Advancing Scholarship
The UC San Diego Library is widely recognized as an innovative leader in the development, management, and delivery of digital resources to support the university's world-class research and instruction. The first academic library in Southern California to partner with Google in its efforts to build a global digital library, the Library plays a leadership role in HathiTrust, an international partnership of 52 academic and research libraries committed to long-term digital preservation. The Library is also a partner in the university's Integrated Digital Infrastructure (IDI), which offers researchers the computing, network, and human infrastructure needed to create, manage, and share data.


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Java EE Olio - source code released
By binu on May 21, 2009
The Java EE source code of the Apache incubator project Olio was released two weeks ago. To learn more about the Java EE version of Olio, please check out Kim Lichong's overview blog. Shanti's blog provides an overiew of Olio.
It took a long time for us to get here and there were several detours along the way. This project started off as an extension of the Java EE Blueprints Live project. Thanks to Inderjeet Singh, Mark Basler, Sean Brydon, and Greg Murray (some of them are shown in the picture in the Olio snapshot) for their contributions. Significant portions of the Live code are still in Olio (I am sure there are a few unused artifacts there as well, which we have missed to take out).
We modified the base Live code so that we could analyze the performance and scalability of a Web 2.0 application and added a benchmark driver and harness. The feature set available in Live was used for the 1.0 version of PHP and Rails versions. We went on to modify the Java EE version to incorporate distributed caching using Memcached and some experiments using a distributed file system. At this stage, the plans were changed to release a stripped down version of the code that we had for feature parity with PHP 1.0 (which did not use Memcached). Due to some other priorities, it took us a lot longer to refactor the required changes and get to where we are. So I am extremely glad that we are finally able to release it.
Current Status
We have a working version of the code available -
Application: http://svn.apache.org/viewvc/incubator/olio/webapp/java
Workload Driver: http://svn.apache.org/viewvc/incubator/olio/workload/java
Guide for initial setup and configuration: http://svn.apache.org/viewvc/incubator/olio/docs/java_setup.html?view=log
Help Needed
We are just getting started and there are lots more to be done. Here is a set of tasks that are already identified (I am sure there will be more coming in) -
- Incorporate Memcached or some other distributed caching mechanism.
- Improve the file system interaction. There are parts of the code that assume a local file system. We started on cleaning up this code by defining a file system abstraction layer. But more work is needed to complete the clean up. Once the clean up is complete, look at using distributed file systems (MogileFS, Hadoop).
- Clean up the JSPs to replace JMaki with appropriate JS libraries.
- Implement 'true' REST based services.


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So I got to see the rough cut of FANTOMES for the first time today. Weird. Just cannot get used to seeing myself on camera.
So the one liner description of the film goes something like this: "Fantomes — about a black ops agent dealing with her unexpected pregnancy while on a routine job with her partner. Directed by Nik Green of Global Authority Media. Produced by Nik Green (Global Authority) & Yvette Lu of Rainfield Films. DOP Shane Smith of Red Salt Productions."
And back to real life, where though I am not editing the film, I am still editing video for my project at the LABlab. EDIT ALL THE THINGS!!!
And now, a screenshot of my character, Amber, looking pensive:


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I'm new to video streaming on PS3 and PMS and have a small question hope you guys can help.
Before knowing PMS, I use WM11 as the DNLA server. I have some DVD stored as VIDEO_TS directories on my HDD. Since WM11 doesn't recognize VOB format, I had to use VOB2MPG which essentially convert the VOB file to MPG file without any reencoding (the MPEG2 video and AC3 audio streams are untouched, only the chapter infos are remove). PS3 plays these MPG file perfectly.
My question is: does PMS pass the video and audio from VOB files to PS3 without on-the-fly reencoding as well? I don't want to use VOB2MPG and prefer to keep my original VIDEO_TS folder.


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Hagel, Outlining U.S. Defense Plans, Urges NATO to Spend
BRUSSELS–Defense Secretary Chuck Hagel took his budget roadshow to Europe on Wednesday as he urged America's allies to follow in Washington's footsteps as they seek to remake their militaries for new global threats.
Mr. Hagel this week unveiled a spending outline that would emphasize modernized weapons, new fighter planes, warships and bombers while trimming personnel cost increases and slashing the size of the Army. Mr. Hagel's plan also would invest more heavily in cybersecurity and would increase the size of U.S. special operation forces.
More In Pentagon
- Pentagon Allies Jailed in Turkey Amid Coup Backlash, General Says
- Capital Journal Friday PM: Pentagon Disciplines 16, Campaign 2016, More
- In Call With Russia's Lavrov, John Kerry Protests Warplane Maneuvers
- Amid Tensions, U.S. and Israeli Defense Officials Recommit as Allies
- Former CIA Chief Says Military Could Defy Donald Trump's Orders
- Top U.S. Military Officer: Islamic State Not 'Contained'
At a gathering of defense ministers from the North Atlantic Treaty Organization, Mr. Hagel said his budget plan preserves America's "global reach" and "technological superiority."
"We are prioritizing military capability and combat power," Mr. Hagel said, according to a copy of his remarks prepared for the meeting. "To protect these priorities, we have chosen to reduce our troop strength and force structure."
U.S. officials remain worried that European defense budgets will fall further in response to American cutbacks. Mr. Hagel reminded NATO members that the U.S. continues to make the largest military contribution to the alliance.
"So adjustments in the U.S. defense budget cannot become an excuse for further cuts in European defense spending," Mr. Hagel said.
Urging European leaders to spend more on defense—or at least not cut further—has become a recurring theme among recent Pentagon chiefs. Both former Defense Secretaries Robert Gates and Leon Panetta came to Brussels and delivered speeches chiding Europe for failing to invest in military technology, aerial refueling, drones and advanced munitions.
But Mr. Hagel's pitch had a new twist, arguing that as NATO draws down from Afghanistan, it must begin to focus on developing new military capabilities that can project power against "advanced adversaries" and — like the U.S. — develop new ways to deter potential enemies.
"The alliance must be better prepared for high-intensity operations," Mr. Hagel said.
Follow @wsjwashington on Twitter.
Hagel's Military Budget Focuses on Changing Threats
Hagel Takes Defense Cuts on Road Show


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CORPUS CHRISTI – The Texas A&M-Corpus Christi men's basketball team opened a 35-6 lead and never looked back in a 79-45 win over Huston-Tillotson on Friday at Dugan Wellness Center. It marked the season opener for the Islanders, and was the largest margin of victory for the team since a 90-42 win on Jan. 18, 2007, against Texas State.
Zane Knowles posted a double-double with 12 points and 18 rebounds, the second-highest rebound total in school history and the most since Corey Lamkin snared 18 at Air Force on Jan. 21, 2004. John Jordan scored a game-high 21 points to go along with six assists, six rebounds and three steals in the win.
Jake Kocher had 10 points in his first contest in 20 months after missing the 2012-13 season due to injury. The redshirt sophomore added a career-high four steals. Cole Martinez also poured in a career-best 11 points in going 5-for-6 from the field.
Terry Johnson scored 20 points in a losing effort for the Rams.
A&M-Corpus Christi got off to a torrid start on both ends of the court, blazing to a 29-point lead in the first 13 minutes of the game. The Islanders scored the game's first 11 points, with five different players netting field goals in the rally. The two teams traded baskets to a 15-6 score.
But that's when the Islanders went on a 20-0 run to balloon the lead to 35-6. During the run, A&M-Corpus Christi held Huston-Tillotson to 0-for-9 from the field with five turnovers. Offensively, the Islanders went inside in the rally, pouring in 10 points in the paint, six from Knowles.
From there until the half, the Rams slowly chipped into the Islanders lead, cutting the deficit to 22 before a Kocher jumper pushed the advantage to 44-20 at the break.
The Islanders slowed coming out of the locker room, and the Rams were able to cut it to 21 on a steal-and-layup by Darion Cooks at the 14:35 mark. A&M-Corpus Christi then embarked on a 21-5 run over the next 9:12 to pull away with a 37-point lead with 5:23 left. From there the Islanders emptied their bench, and the two teams kept even, resulting in the final score.
The Islanders hit the road for their next action, a contest at Big 12 foe Iowa State on Tuesday night. The Islanders and Cyclones are set to do battle in Ames at 7 p.m. Yannis Koutroupis will have the call starting at 6:40 with the pregame on NewsRadio 1360 KKTX.
For all the latest on Islanders Basketball, be sure to follow the team on Twitter and Instagram (@IslandersMBB) and like the team's official Facebook page (Islanders Mens Basketball).


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After the massacre: the roots of reform
I am not a gun owner. I'd much rather call the police than "personally defend" my property. Yet I believe the Second Amendment is inexorably tied to the essence of what the United States represents.
John Locke explained government as a vehicle for securing life, liberty and possessions. The Declaration of Independence expounded on this notion, asserting "whenever any Form of Government becomes destructive of these ends, it is the Right of the People to alter or to abolish it, and to institute new Government" (sic). Legal commentator William Blackstone, drawing upon centuries of common law supporting individual gun ownership, opined that citizens have a right to take up arms whenever "the sanctions of society and laws are found insufficient to restrain the violence of oppression."
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(617) 368 1365
J.D. Georgetown University Law Center
Professor Bloom is director of the Academic Support Program. Before joining the New England Law faculty, she taught Legal Research & Writing at Northeastern University School of Law. She previously practiced at The Crockin Law & Policy Group, providing legal assistance to individuals, programs, and policymakers in the area of assisted reproductive technology; and at Goulston & Storrs, P.C., where she conducted a broad-based civil litigation practice focusing on complex commercial matters.
Selected Publications
A Law School Game Changer: (Trans)formative Feedback,
41 Ohio N.U. L. Rev. 227
Achieving Balance Between High Tech and "Old School:" Counseling Underperforming Students in the Age of the iPhone,
The Learning Curve
Teaching Law Students to Teach Themselves: Using Lessons from Educational Psychology to Shape Self-Regulated Learners,
59 Wayne L. Rev. 311
Academic Support Methods in the Hands of Doctrinal Professors: Tricks of the ASP Trade for Assisting Underperforming Students,
The Law Teacher
"Legal Issues in Fertility Preservation in the Male",
Infertility in the Male (Cambridge University Press)
(4th ed.2009) (with Susan L. Crockin)
Integrating Doctrinal Material and Faculty into Academic Support Courses,
The Learning Curve
(2009) (with Louis Schulze)


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New Cal basketball coach Cuonzo Martin signed his first recruit, adding center Kingsley Okoroh, a 7-foot-1, 260-pound native of England, to the Bears' roster for the 2014-15 season.
Okoroh played last season at Westwind Prep in Phoenix, where he averaged 16 points, 12 rebounds, six blocked shots and four assists.
"I like Kingsley's ability to block shots and protect the rim," Martin said. "He continues to make great strides with his offense. I think he has a bright future in front of him and has a chance to be really good."
Meanwhile, the Bears lost four-star point guard Ahmaad Rorie of Tacoma, Wash., who asked to be released from the letter-of-intent he signed in November. Cal still has four available scholarships.


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Local Native American high school graduates honored
Published: Thursday, May 8, 2014 at 10:48 p.m.
Last Modified: Thursday, May 8, 2014 at 10:48 p.m.
A loud ceremonial drum beat echoed throughout the Houma Municipal Auditorium Thursday night as about 60 graduating seniors paired off in a procession celebrating culture and a new chapter in life.
Unlike the other graduations, this ceremony honors not only the students but a shared Native American heritage. Held annually, the ceremony is a time when local tribes come together in support of student achievement. The event is paid for entirely by donations from individuals and businesses, many of which are American Indians and local to the area.
Having everyone come together to celebrate who they are is what makes Ellender Memorial High senior Kelcie Scott feel connected to her Native American roots.
"I feel really honored to be here tonight. It's great being able to see all the different kids I go to school with here that I would've never thought were Indian like me," Scott said.
More than 250 guests attended the ceremony, which included three guest speakers — School Superintendent Philip Martin, Grand Caillou Elementary teacher Jamie Billiot and Pointe-aux-Chenes Elementary teacher Beverly LeBouef. Each speaker had a different story, but all shared a similar career field ─ education.
As a shy and timid college freshman attending Louisiana State University in 2002, Billiot found her place and her voice among thousands of unfamiliar faces on campus through her Native American heritage. Billiot graduated from Ellender and became the co-founder of the university's Native American Association. She then returned after graduation two years ago to accept a teaching position in the Terrebonne School District.
"I found my voice through my people, the Native American people," she said.
She urged students to follow their dream.
"Do everything you want. Don't just stick to something, because we can always succeed at just a little bit more than we thought we could."
LeBouef, attended the same ceremony 14 years ago as a graduating senior in the Terrebonne public school system. Enduring the struggles of being a young, single parent, LeBouef chose to follow her dream of earning her bachelor's degree and becoming a teacher. While she admitted the road wasn't easy, LeBouef graduated from Nicholls State University before becoming a teacher.
"I ended up graduating with honors, and now I'm doing what I absolutely love to do every single day," she said. "So, if you only remember one thing from tonight, let it be this: Don't settle, keep on going."
Indian Education Program Director Kirby Verret made the closing remarks after recognizing each graduating senior who attended with a certificate and an award.
"The whole point of the ceremony is to show the graduates that we have overcome a lot," Verret said. "In my era we were not allowed to go to school. In those days, Indians were not allowed in high school. It wasn't until the mid-'60s that there was even an Indian high school in Terrebonne Parish, so we've come a long way."
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.


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Children's Hospital Oakland and UC San Francisco continue to pursue an affiliation, with the boards of both organizations within the past few days approving additional talks.
"The details of an affiliation are still in the development phase and over the next few months we will continue to thoroughly examine the potential impacts of this transaction, with a final agreement anticipated this summer," said Dr. Bertram Lubin, Children's president and chief executive officer, in a letter to employees on Thursday.
Lubin said a partnership between Children's and UCSF Benioff Children's Hospital could help improve the financial performance of both institutions, making equipment purchases and upgrades easier.
The two organizations may also combine their substantial research activities.


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Months after the High Park fire scorched more than 80,000 acres outside of Fort Collins, the city's water supply center is now at risk for flooding and road washouts. The aftermath of the Waldo Canyon fire left a major pipeline in Colorado Springs exposed. And utility company Denver Water is still working to repair infrastructure damaged by the Hayman fire more than a decade ago.
The fallout from catastrophic wildfires extends beyond scorched landscapes and burned neighborhoods, impacting critical watersheds even years after the flames are extinguished.
Following this year's drought-fueled wildfire season, which left thousands of acres of terrain charred across the state, the U.S. Senate passed a bill Monday securing $125 million in federal funding to support watershed recovery efforts in Colorado. It now faces the Republican-controlled House.
"Water is precious in Colorado - especially right now during the worst drought in years," Sen. Michael Bennet stated in a release. "This bill will provide help for the Colorado communities that are recovering from the devastating fires this summer and are now facing threats to their water supply and the risk of flooding at the same time. I'm hopeful our colleagues in the House will quickly pass the bill and deliver this support to the communities that need it."
Summit County avoided any large-scale wildfires last summer, despite several close calls. But with a forest dominated by beetle-killed timber and drought conditions rated severe by the U.S. Drought Monitor, local communities may face another dry and dangerous summer in 2013.
Local officials say there could come a day when Summit County too might need the money secured by the legislation.
"We are one lightning strike, one campfire that got out of hand (away from) having a major catastrophic wildfire," Summit County Commissioner and volunteer wildland firefighter Dan Gibbs said. "It's important for Summit County that these funds stay in tact. Just in case in the future we have a major fire, we're going to need to tap into those funds."
On the heels of the success of the water recovery bill, Colorado's Sen. Mark Udall chastised his colleagues in the Senate for killing an amendment to the Supplemental Appropriation for Disaster Assistance, which would have returned more than $650 million to the U.S. Forest Service for wildfire preparedness, suppression, hazardous fuels reduction, fire research and assistance in anticipation of the 2013 wildfire season.
"I am concerned that the U.S. Senate has decided to turn a blind eye to these predictable disaster needs," Udall stated in a release. "Make no mistake about it: Wildfires threaten entire communities. I am hopeful that 2013 will not be as hazardous as forecast, but these resources would have given Colorado a running start to prepare for next year's wildfire season."
Local officials and Denver Water representatives also highlighted the need for wildfire mitigation measures alongside recovery efforts.
A significant blaze in Summit County could jeopardize not only local water resources, but also storage facilities - like Dillon Reservoir - that house water for other parts of the state.
Denver Water, which owns the reservoir, targeted the Blue River watershed near Dillon for fire- prevention treatment, following an analysis that identified specific areas of concern based on wildfire hazards and other risk factors, utility representatives said.
"There is a direct connection between healthy forests and sustainable supplies of clean water," Denver Water spokeswoman Stacy Chesney stated. "We believe it is important to be proactive and invest in keeping our watershed healthy now, rather than paying for impacts from a catastrophic fire in the future."
Denver Water has spent more than $26 million on recovery and restoration efforts following the 1996 Buffalo Creek fire and the 2002 Hayman fire, but is also partnering with the U.S. Forest Service to invest $33 million in protecting critical watersheds over the next five years, including 6,500 acres locally.
Dillon Reservoir holds nearly 40 percent of Denver's water.
The legislation passed in the Senate Monday provides funding for emergency watershed protection program, which funds restoration projects for damaged drinking water infrastructure and eroded watersheds.


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A group of House Members aiming to find a compromise on a nutrition bill before a farm bill conference has met twice, but with time short, it appears unlikely movement toward formal negotiations on a bill will start before August recess. The House GOP plan is to move a nutrition bill before going to conference with the Senate, which is ready to appoint conferees. After the nutrition working group's latest meeting Wednesday, however, it is clear such a bill is unlikely until September. With only nine legislative days in September, and many other items on the docket, the delay has many lawmakers and agriculture groups concerned about getting a five-year farm bill done before the current extension expires on Sept. 30. House Agriculture Committee Chairman Frank Lucas (R-Okla.) said this week that an extension would be his "least favorite option," but that we are "heading in that direction." NAWG will continue to push Congress to complete a comprehensive five-year bill before the existing extension expires.
Location, ST | website.com


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So here we are in the economic basket case they call Ireland, the old horrible year well and truly over and a new annuls horribly just beginning.
The reality is that the year that stretches ahead of us is going to be even more grim than the one behind us.
As the brief Christmas cheer recedes and the feel-good factor of the holiday evaporates, we are left to contemplate the sorry mess we are in.
Over the coming weeks the cutbacks that were announced in the budget in December will begin to bite. It's one thing reading in the paper about these cuts in spending and hikes in tax. It's another thing when it's actually underway and life becomes a weekly struggle to pay bills and keep families above water.
That's what is happening here now. The realization has sunk in that the tough times have arrived, there is no escape and it's not something temporary. It's going to be the reality not just for months, but for years.
Not surprisingly, therefore, the prevailing mood here now is one of despondency. People are despondent because they see no future in Ireland.
Those who can are planning their escape, mainly the young unemployed and the college leavers. Those who can't, those with families or those trapped by negative equity, are grimly carrying on, knowing that so much of their tax in the years ahead will be going not to support services but to pay the interest on the huge debt burden we carry.
An indication of the national mood can be gauged from the fact that last weekend, The Irish Times began a major series called "How to Move Abroad." Part one was about life in the U.S.
A major prime time documentary program on RTE television this Monday night was called Departure Day, telling the story of some of the new wave of emigrants as they prepared to go. There were young singles, of course, but there was also a young couple with two small kids who are setting out to build a new life in Canada.
They said they didn't really want to go, but they wanted to be able to provide a standard of living for the kids which they can't do here now. They thought it unlikely that they would be back to live here for at least five years, maybe 10, maybe even longer.
For people who can't get out, or don't want to get out, there is a high level of nervousness as well as despondency.
People are nervous about their jobs, about further pay cuts, about holding on to their homes, particularly if they bought during the boom at an inflated price. This nervousness means that people have stopped spending, and instead they are saving for even rainier days.
As a result the domestic economy is contracting, which is making a very bad situation even worse.
Don't get mad, get even, the old advice goes. People know it won't alter the hard times we face, but even so they are getting ready to take their revenge on Fiona Fail, the party that has been in government for so long and bears responsibility for what has happened.
The latest national opinion poll has them at 14%, a catastrophic fall in support for a party that has dominated Irish politics for decades. They only have themselves to blame, of course.
They are guilty of gross economic mismanagement on such a scale that the EU and the International Monetary Fund have had to come in to take over our financial affairs. It's a national humiliation that is going to see Fianna Fail decimated in the election that is coming in a couple of months.
If they only get 14% of the vote they will become a fringe party in Irish politics, with one former minister now predicting they could end up with as few as 12 seats in the Dail (Parliament).
Usually a New Year brings some hope for the future. But the prospect here for this New Year -- and for the years that will follow -- is so poor that it's no wonder people are depressed about it.
I mentioned above about families trying to keep their heads above water in the financial sense. But over the past few weeks, it was real water problems that were concerning so many people here as the cold weather meant that people all over Ireland, particularly in cities and towns, were without it for days on end.
As if people were not miserable enough already, now they had no water. They turned on the taps and nothing came out. In some areas, they were without water for a week or two.
And we are told the problem will persist for several more weeks, with low pressure and water being turned off at night. Where I live in north Dublin, the water is being turned off again tonight, even though the extreme cold spell ended over a week ago. It's like being in a Third World country and it seems to underline just how bad things here have got.


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Use your imagination and the electronics included in this clock kit to build a defusable alarm clock.
The Defusable Clock kit is an electronics kit that lets you build a scary looking clock that you can actually "defuse". Only the electronics are included -- you use your imagination to build the device you want! Use modeling clay, paper towel tubes, stuffed animals, etc!
The Defusable Clock is a fully-functional alarm clock just like you'd expect (a normal beeping alarm, snooze alarm, etc.). But at any time you can press the big red button to start a scary countdown sequence exactly like bombs in Hollywood movies. There are four wires across the top of the clock and you have 10 seconds to cut the correct wire; one wire stops the countdown, one saves the day, and two have no effect. The wires are randomly chosen every time the button is pressed for a new challenge every time. (The wires are held in with screw terminals for easy replacement, or just leave them a little loose so you can just pull out the wire.)
Basic soldering is required for this kit. 9V (200ma min) power adapter required but not included.
(This kit is just a clock with some wires. Please do not display it / use it such a way that would cause people to panic. It is intended strictly for novelty! Use at your own discretion!)
Full featured alarm clock w/snooze. Two alarm modes (normal and countdown) Time stored in EEPROM (keeps time after brief power interruptions) Big, scary DET button starts countdown sequence. Screw terminals allow easy wire replacement (or leave loose to just pull the wires out) ATmega 328 with Arduino bootloader for easy hacking Requires 9V (200ma min) power adapter.
To set the time, simply press the HOUR and MIN buttons. You can hold the buttons to make the numbers advance automatically. When setting the hour, the LED marked PM will indicate that the hour is PM. (The PM LED is only lit when setting the time and alarm because it is quite bright and distracting.)
Hold down the ALARM button (lower left corner of board), then use the HOUR and MIN buttons to set the alarm time. The LED marked PM indicates if the alarm time is PM.
There are 3 alarm modes, OFF, ON, and DEFUSE. To cycle through the alarm modes, hold the ALARM button, then press the large red DET button. Two LEDs indicate which mode the alarm is in. One LED is near the ALARM button, the other is near the large red DET button.
|LED indicators
|alarm behavior
|alarm OFF
|alarm LED off, DET LED off
|alarm is off
|alarm ON (normal mode)
|alarm LED on, DET LED off
|alarm will beep
|alarm ON (defuse mode)
|alarm LED on, DET LED on
|alarm will beep a few times, then 10 second countdown sequence begins
When the alarm is beeping (normal mode), turn the alarm off by pressing the alarm button.
For snooze, press the red DET button. Alarm will ring again in 9 minutes.
If you are using the "defuse" alarm mode, you can try to defuse the clock by cutting the right wire. Otherwise, the 10 second countdown will reach 0 and the device will "detonate".
Press the red DET button to start a 10 second countdown sequence. If you want the countdown length to be longer, press the HOUR and MIN buttons before releasing the DET button. You can set the countdown to be up to 99 minutes and 59 seconds.
During the countdown, choose the correct wire to defuse the device. One wire stops the countdown safely, two have no effect, and one will cause the device to detonate immediately. The role of each wire is assigned randomly each time the DET button is pressed.
You might also like...


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- Apr 22:
- How do cars without license plates pay California bridge tolls?
- Mar 24:
- Roadshow: FasTrak for dummies, as the Golden Gate Bridge prepares for all-electronic tolling
- Mar 17:
- Golden Gate Bridge toll takers share stories, secrets on way out
- Job perks of Golden Gate Bridge toll takers
- Roadshow: To avoid hassles on Golden Gate Bridge, get FasTrak or set up a credit card account
- Feb 11:
- Roadshow: Surprising rental car fees for using toll lanes raise hackles
Q There has been a lot of concern with how drivers will react to the new rules without toll takers being present on the Golden Gate Bridge.
Norm McRae
A Yes, there has been, and Day One did have a problem -- but not what many expected.
Q I was one of those who believed the powers-that-be at the Golden Gate should have kept one tollbooth open for those wishing to pay by cash. But as my carpool partner and I crossed the bridge Wednesday morning and saw how fast people were going through that area, I think they made a wise decision. Imagine one lane at a virtual stop for cash-paying drivers while other lanes with FasTrak are going 45 mph.
Linda Clemens
San Rafael
A There was virtually no traffic jam during the morning commute. The problem was those speeding drivers. The new speed limit is 25 mph through the toll plaza, but some were zipping along at 35, 45 or 55-plus.
Give this time to sort out, and let's get through several weekends when tourist use is higher before gauging the impact of all-electronic tolling.
Q I took the San Rafael-Richmond Bridge Wednesday, then backtracked into San Francisco over the Bay Bridge because I feared there would be a mess on the Golden Gate. The Bay Bridge was amazingly flowing freely. I think I'll try this again.
Jeff Sands
A Be careful. Traffic is lighter this week because many schools are out for Easter break. Check back in a few weeks when the kids are back in school and traffic is heavier. I bet the Bay Bridge will again be at a crawl.
Q I can't help but chuckle when I see the uproar regarding something so trivial as the new Golden Gate Bridge toll system. Your column has been devoted almost solely to this issue for the past few weeks, and it doesn't seem like people are getting it. Is this really such a big deal? Here it is, folks: Go sign up for FasTrak, and drive through the toll plaza. If you don't commute regularly and don't want FasTrak in your car, then pay the bill when it arrives in the mail. Problem solved.
Steve Pettit
A Ah, I so like simple solutions.
Q I believe that in order to use a transponder without a problem, the car's license plate must be registered to the account. ... I just had to write in to correct your response about loaning your transponder to out-of-town guests or even family members. You said "reasonable advice." Nope! You must have all license numbers registered with your transponder. Otherwise the person using it will get a ticket.
Paulette Avery, Carol Stanek and more
A Not so. John-the-MTC-Bridge-Man says a FasTrak transponder "can be loaned for use in another vehicle" on state bridges.
Q There's a lot of quibbling about the cost of a FasTrak responder but one can buy them at Costco for $25 that comes with $30 worth of tolls. So, essentially, one is easily ahead of the game. I rarely use the Bay Area bridges but I bought one just in case.
Frank Heinisch
A All-electronic tolling will come to more bridges in the next few years, and so will more express or toll lanes. FasTrak will be required on those bridges as well as in the express lanes. On the Golden Gate, FasTrak users get a $1 discount on a $6 toll.
Q I've been unable to find any information concerning pedestrian and bicycle access on Highway 1 in the Devils Slide area. Will the old Highway 1 route be maintained as a pedestrian and bike trail?
Joe Di Pol
A Yes, but it won't be ready until early next year.
Q I took a last drive over Devils Slide last weekend and I'll miss it. It was always the grand start of a great drive south down the coast. The tunnels just won't be the same.
Jim Lazar
Walnut Creek
A The view was spectacular, but the dangers were too great.
Follow Gary Richards at twitter.com/mrroadshow, look for him at facebook.com/mr.roadshow or contact him at firstname.lastname@example.com or 408-920-5335.


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CHAMBERSBURG — Benjamin Roschy, 18, of Chambersburg was charged with criminal mischief and disorderly conduct after he allegedly broke two 1-gallon containers of True Moo chocolate milk while a male juvenile recorded the scene at 5:50 p.m. Feb. 28 at Food Lion, 875 Lincoln Way West, according to Pennsylvania State Police.
Two male juveniles, including the one who recorded the incident, were charged with disorderly conduct, police said.
Location, ST | website.com


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Irving'e karşı Lipstadt
Holocaust Denial on Trial, Trial Transcripts, Day 10: Electronic Edition
Pages 11 - 15 of 215
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1 A. [Professor Robert Jan van Pelt] This is an inference on my side because you do not want
2these holes in the roof of a space to remain. When you
3have taken out the columns, it is an obvious conclusion
4that you would close these holes.
5 Q. [Mr Irving] I can see his Lordship frowning and I think the whole
6court is inwardly frowning about this rather improbable
7story, implausible idea.
8 MR JUSTICE GRAY: Well, just for the record and for the
9transcript, I did not frown.
10 MR IRVING: I am sorry, my Lord.
11 MR JUSTICE GRAY: Let us get on with the question.
12 MR IRVING: Yes. The implausibility of the story, that before
13putting in packs of dynamite beneath the building to blow
14everything up so that the Red Army does not find any
15criminal traces, they send in workmen with buckets of
16cement and trowels and tell them to make good the holes in
17the roof. This sounds, I must say, totally implausible to
18me, and we know now that it never happened because the
19roof is there and there is not the slightest trace of such
20patchwork having been done on the concrete?
21 A. [Professor Robert Jan van Pelt] My Lord, it is at the moment impossible to see because of
22the state of the roof if there was patchwork or not. The
23roof is fragmented. The roof has weathered very, very
24badly over 50 years, and the colour of concrete in the
25roof is of a motley quality, to say, and there is a lot of
26growth has been on the roof. It is impossible to tell one
1way or another.
2 Q. [Mr Irving] We are talking about the underside of the roof, of course,
3and we have any number of photographs of the underside of
4that roof where you can actually see the original wood
5grain in the formwork on the concrete that survives, and
6that shows not the slightest displacement or interference
7or tampering with. This is the implausible part of your
8story. I appreciate that you are anxious to move on to
9other topics because, frankly, this blows holes in the
10whole of the gas chamber story. If there are no holes in
11that roof, no holes in that roof, there are no holes now
12and there were no holes then, and that totally demolishes
13the evidence of your so-called eyewitnesses?
14 A. [Professor Robert Jan van Pelt] My Lord, I have already yesterday pointed out that the
15column which remains and over which the room has been
16folded is the second column which was not the column where
17the column, the Zyklon-B introduction column was attached
18to, there were four of them, attached to column 1, 3, 5
19and 7. May I address ----
20 MR JUSTICE GRAY: I wanted to ask you -- may I do it now --
21about the columns because I understood your evidence
22yesterday to be that jutting out, as it were, from the
23roof of the alleged gas chamber there were the columns as
24well as the metal apertures through which the Zyklon-B,
25you say, was poured?
26 A. [Professor Robert Jan van Pelt] The columns -- it is unlikely, my Lord, that the ----
1 Q. [Mr Justice Gray] Did I misunderstand that?
2 A. [Professor Robert Jan van Pelt] --- columns would be going through the roof completely
3because the columns themselves were wider. They had these
4three concentric layers, but what would have happened is
5that there were a hole through the roof, and then on the
6top of it you get a kind if chimney like structure, and as
7long as the hole is connected to the innermost, to the
8innermost kind of column inside and of the same width so
9that this little thing can be brought up and down which
10ultimately allowed people to retrieve the earth in which
11the Zyklon was absurd during transport. As long as that
12hole was the same as the diameter of the inner column,
13then whatever you do above the roof is irrelevant.
14I mean, you can have a box or you can have just a lid
16 MR JUSTICE GRAY: I follow. But the question I am really
17trying to get at is this. If your evidence is that the
18pillars were protruding above the level of the roof ----
19 A. [Professor Robert Jan van Pelt] You said the Zyklon-B introduction pillars?
20 Q. [Mr Justice Gray] Well, that is what I am asking you. I thought you said
21that the pillars, the structural pillars, were
22protruding ----
23 A. [Professor Robert Jan van Pelt] No, the structural pillars did not and do not.
24 Q. [Mr Justice Gray] Well, that was my misunderstanding of your evidence.
25 A. [Professor Robert Jan van Pelt] We have a blue print which shows those pillars and we can
26look at if you want.
1 Q. [Mr Justice Gray] Whilst I am asking you questions, I am not sure you have
2really responded to the suggestion that was implicitly
3being put to you by Mr Irving which is that these objects
4that one can see on the roof of the gas chamber, alleged
5gas chamber, are, in fact, drums containing some sort of
6sealant. You have not actually dealt with that
8 A. [Professor Robert Jan van Pelt] No, and I would like to deal with that, if it is
10 MR IRVING: Are you saying that all four of those objects were
11the pipes, as you call them?
12 A. [Professor Robert Jan van Pelt] No, these would be, this would be the chimney. There
13would be some structure around the pipe, because if you
14just have a pipe coming up, you want to have probably some
15kind of insertion mechanism. If you take a tin of
16Zyklon-B, that probably there is a little funnel attached
17to, and also you want probably not the pipe to run
18straight through the earth, you probably want to have some
19kind of protection around that pipe.
20 Q. [Mr Irving] My Lord, can I draw your attention to picture 10A in K2?
21 MR JUSTICE GRAY: Yes. I still do not think, Professor van
22Pelt, you have really dealt with the suggestion that these
23are drums containing sealant. Could that be so?
24 A. [Professor Robert Jan van Pelt] I would like to deal with it.
25 Q. [Mr Justice Gray] Deal with it now.
26 A. [Professor Robert Jan van Pelt] First of all, we are coming, of course, in a -- the
1problem is the exact dating of this image. If this image
2had been taken, let us say, in November, December, let us
3say December 1942, I think it could have been a plausible
4suggestion. I mean, we would have to look then in what
5shape of tins sealant is coming, but let us assume that
6this is, this is December, at that moment we know that
7there was construction activity on the roof. We also know
8that by the end of January, I mean, in fact, by the middle
9of January already, from correspondence, that the roof of
10morgue No. 1 had been completed, and one of the reasons
11for that we know that is the notorious Fergantung's letter
12of January 29, 1943. So, what is the reason that we know
13that this is not December 1942, but that this is or that
14we are already talking about probably February 1943.
15 MR JUSTICE GRAY: I thought you said '42, I am bound to say.
16 MR IRVING: November '42?
17 A. [Professor Robert Jan van Pelt] My argument is that Mr Irving's argument could be taken
18seriously at least for a moment until we have established
19what shape these containers come if this photo had been
20taken in December 1942. My argument is that the roof was
21already completed by January 1943.
22 My second argument is that one can, if one looks
23carefully at this photo, see that there is some kind of
24black line on the top of the chimney. There seems to be
25some soot on the top of the chimney which means that the
26chimney, as it is depicted in this photo, has had some
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The City of Granite Falls appears that it will be making a significant expenditure to improve the community's wastewater treatment capacity in the coming future.
On Monday, council members listened to an engineering proposal by Ron LaFond, of Roseville Engineering firm, Stantec, that included recommendations for how the city may meet new MPCA National Pollution Discharge Elimination System (NPDES) permit requirements that govern operations of the city wastewater treatment plant.
LaFond said that preliminary inspections recognize a need to eliminate sanitary sewer bypasses, biosolids handling and disposal as well as plant repair and rehabilitation. He broke the project down into two phases that carried a composite cost of approximately $8.5 million. However, he said the city did not have to move forward with all the engineering recommendations.
As a mandated permit, the council elected to appropriate $50,000 to Stantec for in depth engineering services that should help verify project need and costs.
In other news
•At the recommendation of City Finance Director Mike Betker, council members awarded bids to replace the city's financial accounting software, which had become outdated.
Between fiscal years 2013 and 2014 a total of $65,000 has been set aside for the software upgrade, though council members would award the project's rights to Civic Systems out of Madison, Wisconsin in the amount of $76,255.
According to council information, Civic Systems was the highest bidder on the project, but was also the only the company to return the city's Request for Proposal having met all requirements.
The implementation of the system is expected to begin March 25 with all software installed and functional by July 1 of this year.
•Council members awarded bids for a Department of Natural Resource $25,000 grant funded project involving the planting of trees on city boulevards during the spring of 2013.
Earlier in the year, a community-wide survey was issued that sought community requests for the grant funded tree plantings. Based on that survey a Request for Proposal to provide the trees was issued, with MAJSDAC Greenhouse providing a low bid of $25,783.60.
Planting of the trees is expected to take place in the spring. The $783.60 over the initial DNR grant will be the responsibility of the city.
•Council members passed a resolution requesting that the Minnesota Department of Transportation include the replacing of the Highway 212 underpass with a wider and high clearance bridge in an effort to improve transportation and safety issues associated with the site.
•Council members were introduced to a potential new Housing Ordinance that was compiled by City Attorney Greg Holmstrom from sample ordinance documents from the League of Minnesota Cities. According to Holmstrom, City Housing Inspector Darren Haslip as well as community members have recognized homes, particularly rental properties, which are viewed as not adequately keeping up their property in terms of quality and aesthetics.
Page 2 of 2 - Council members asked for a comparison between the old ordinance and new proposal, and will need to hold two readings of the new policy before it can be considered for acceptance into the city charter.
•Council members approved a new maintenance contract for the city's three diesel generators with Ziegler Inc., of Shakopee as well as the extension of the generator's warranty.
Ziegler previously provided maintenance services as directed by a 5-year contract with city in the amount of $16,586 annually. The new contract includes servicing of the generators for the next five years at $17,613 annually.
The current warranty on the generators expires on May 1 of this year. The extended 5-year warranty will run an additional $32,925 for the three generators combined.
Location, ST | website.com


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Share Photo
FILE - In this Oct. 25, 1992 file photo, U.S. President George H. Bush displays a rifle given to him as a gift, in Billings, Mont., as his Chief of Staff James Baker, left, watches during the campaign stop. The White House has released a photo of President Barack Obama firing a gun, two days before he is set to travel to Minnesota to discuss gun control. It shows Obama shooting at clay targets on the range at Camp David, the presidential retreat in Maryland, where he says he engages in the sport "all the time." The image was released at a time when Obama is pushing a package of gun-control measures in response to the Newtown, Conn., school shooting. But the image of a U.S. president holding a gun is certainly nothing new. (AP Photo/Ron Edmonds, File)


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Men's adidas Notre Dame Fighting Irish Undefeated Tee Shirt
Celebrate your favorite team's undefeated season in the adidas Notre Dame Fighting Irish NCAA Undefeated Tee Shirt. Ultra-soft and comfortable, this team tee shirt celebrates your love of the Fighting Irish and honors their amazing season. Short sleeves keep you cool, while the 100% cotton material and relaxed fit ensure you'll reach for this tee again and again.


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DEALER EXPO, Indianapolis, Ind. - Wolfman Luggage has three new soft-sided bags designed for off-road and adventure touring on display in Booth 838.
They include the large-capacity Rocky Mountain saddlebags, the streamlined Monarch Pass and the small Hoops.
The Rocky Mountain is based on Wolfman's Expedition saddlebag, utilizing the same mounting and compression system. The largest and most comprehensive bags that Wolfman Luggage has produced to date, Rocky Mountain bags have a capacity of 32-35 liters each and include a removable waterproof liner. They are constructed of custom vinyl-coated ballistic nylon and sewn in-house at Wolfman Luggage. They will retail for $399.
"The idea was to create a large volume soft pack that would compete with hard bags in capacity," said Wolfman Luggage owner and designer Eric Hougen, who did R&D on the new bag for about a year. "The thing with hard bags is if you go down, there is the potential of hooking an ankle, but with a soft bag there's a lot more give. It's got a four-point mounting system to the rack with two straps over the seat, so it doesn't move and is very stable, but it's still in the soft case."
The new Monarch Pass is a simpler, streamlined version of the Rocky Mountain saddlebag with a lower price point, while the new Hoops bag is designed to fit in the hoop of the Wolfman Luggage rack over the rear fender.
Photo by Gary Rohman


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"I love my cards they turned out great!! The only thing I would have changed would have been the colors I didn't edit my pictures before sending them to print, I think the color was not as sharp as I would have wanted them to be but besides that they turned out perfect!!"
"Best card we have had in 4 years. I have used other sites to receive our cards looking very small (compared to their advertisement). The thickness of the paper is wonderful and we received all our envelopes!! The order arrived ahead of time and I feel they valued my business. I look forward to using them again next year."


text:
SANTA CLARA — Marcus Lattimore, one of college football's most electric running backs before knee injuries felled him, is coming to the 49ers.
The South Carolina star was drafted in Saturday's fourth round with the 131st overall pick.
After tearing three ligaments in his right knee Oct. 27, Lattimore felt his NFL dreams also were shattered.
"I doubted myself and I lost hope," Lattimore said on a conference call with Bay Area media. "One of my good friends came over, I got a chance to talk to (the 49ers') Frank Gore and (the Denver Broncos') Willis McGahee, and I realized God doesn't make mistakes.
"He did everything for a reason. He put me in a situation and now I'm with the 49ers. It's a great, great situation for me."
Gore reached out to Lattimore through 49ers cornerback Chris Culliver, a South Carolina product. Gore overcame two knee injuries at the University of Miami to become the 49ers' all-time leading rusher over the past eight seasons.
"He told me to keep that positive mindset, and that's what I've been doing the past five or six months," Lattimore said of his chats and texts with Gore. "That's why I'm doing so great in my rehab."
Gore isn't his only inspiration. McGahee has had a productive NFL career after tearing the same three ligaments that Lattimore did — all but the medial collateral ligament.
Lattimore said he is running sprints, doing box jumps and other activities in his recovery. He won't be rushed back into action, and the 49ers could put him on the reserve/non-football-injury list like rookie running back Jewel Hampton last season.
"If I'm ready to play, I'll play. If I'm not, I'm not," Lattimore said. "Coaches and doctors will make a great decision, I'm not worried about it."
Gore, who turns 30 on May 14, remains the 49ers workhorse and is coming off his second-most productive rushing season (1,214 yards, eight touchdowns).
Gore's backups last season were Kendall Hunter (tore an Achilles on Nov. 25), LaMichael James (2012 second-round pick, fumbled in the Super Bowl) and Anthony Dixon (third-year veteran).
"I can't wait to be part of that running back family, and the whole team is great," Lattimore said.
"It's still surreal to me. This is a great opportunity. It's a great organization and I can't wait to get there. I've always been a fan of those guys and their style of play."
A native of Duncan, S.C., Lattimore ran for 1,197 yards and a school-record 19 touchdowns his freshman year. In seven games as a sophomore, he had 818 yards and 10 touchdowns, then rebounded from his ACL tear last season to average 4.63 yards per carry (662 yards, 11 touchdowns in nine games).
Three picks earlier in the fourth round, the 49ers found another offensive weapon in Louisiana Tech wide receiver Quinton Patton. Under now-Cal coach Sonny Dykes, Patton put up big numbers over his final two seasons combined: 183 receptions, 2,594 yards and 24 touchdowns. He had seven games with over 100 receiving yards last season.


text:
I don't know if this is a new feature of iTunes.
I have recently got into downloading/listening to podcasts.
When you play the file in iTunes or on an iPod, you get a track listing embedded in the file.
Also, you can skip tracks within the file, and when the new song starts playing, the title updates.
Would it be possible for PS3 Media Server to support this feature of the file?
Possibly but treating each file as a "folder" on the PS3, and each track as a "file" on the PS3???
It would be really cool if this was possible.
Thanks in advance.