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BART unions late Thursday officially gave 72-hour notice of an impending rail line strike for Monday morning, telling riders they will need to find another way to get around if a deal is not reached this weekend.
The notice, the last formal step needed before a strike can begin, does not guarantee a shutdown but essentially starts a clock that will expire at 11:59 p.m. Sunday for management and unions to reach a deal. They remained far apart on the key issues of pay and contributions to health care and pensions.
"It is unfortunate that we find ourselves in the same situation that we were in 30 days ago, with no real progress made by management to address worker concerns about safety and wage cuts," said Roxanne Sanchez, president of the local Service Employees International Union.
The notice comes a day after BART officials said they had not submitted a new economic proposal -- covering the key issues of pay, health care and pensions -- since July 2, days before the first strike ended. But it was unclear whether they would budge before Sunday night's deadline.
"We are very disappointed and hope they reconsider their options," BART spokesman Rick Rice said. "A strike only stalls and delays the decisions that need to be made while using our riders as pawns."
The BART board of directors had scheduled a special meeting for Friday morning to discuss the labor negotiations in a closed-door session.
In the morning, the Amalgamated Transit Union called in union representatives from around the country to rail against BART's chief negotiator, consultant Tom Hock, whose contract is for $399,000.
"What he's bringing here is a very expensive no, no, no," Bill McLean, the international vice president of the Amalgamated Transit Union, said at the Oakland press conference.
Labor activists and local religious leaders also characterized the negotiations as part of a larger fight to keep the labor movement strong in the Bay Area amid growing economic inequality.
"This is not Wisconsin, this is not Michigan," where lawmakers sought to limit collective bargaining rights, said Bob Allen, a public transit advocate for Oakland-based nonprofit group Urban Habitat.
"It's going to exacerbate inequality" if the BART workers lose their fight, Allen said.
Amid growing commuter anger over the threat of a second summer strike, BART workers also sought to dispel some of the animosity directed against them.
"People think being a train operator means just pushing buttons," said Beverly Sullivan, a member of the transit union for 22 years through her work for BART and AC Transit. "You have no idea."
The children of BART operator Sarah Gwaltney have come home from school asking their mom why BART workers are "so greedy," she said.
"I was on welfare for five years, I was dependent on taxpayers. And now I'm not," said Gwaltney, who was in a cast after tearing a ligament on the job. "All they see is that we push a button. It's so much more than that."
But BART countered at its own press conference that the agency's medical costs have surged 251 percent in 12 years while pension costs have grown 126 percent in 10 years.
Current union workers make about $76,500 in gross pay on average, contribute nothing toward their pensions and $92 a month for health benefits. While the cost of health care has soared, BART says workers' monthly contributions have only risen slightly each year, from $75 in 2006, leaving management to pick up a bigger share of the tab.
BART noted that union leaders planned to walk out of Thursday's negotiating session at 4 p.m. so they could stage a rally and march toward BART headquarters.
"We believe there is still enough time to come to a common sense contract agreement," BART spokesman Jim Allison said. "We believe there is both a way to ensure our employees are adequately compensated and that the public is served by reigning in the rising cost of benefits."
BART noted its 95 charter buses that would be secured for limited service during the strike, slightly more than last time, would cost the agency $114,000 a day.
"There doesn't have to be a strike, we hope that there isn't a strike, but it's wise for people to have a Plan B to know how to get around if those trains aren't running because union workers walk off the job," Allison said.
After the back-in-forth in the morning, union workers and supporters including actor Danny Glover staged a rally in Oakland on Thursday afternoon.
Contact Mike Rosenberg at firstname.lastname@example.com or 408-920-5705. Follow him at twitter.com/RosenbergMerc.

subset: commoncrawl


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Michigan State Police officers at the Lansing post say they've been swamped during the past two weeks. They've been processing and verifying addresses for registered sex offenders.
While state law requires all sex offenders to report a change of address or verify their current residence with the local police by January 15, 2003, police say more than 1,300 sex offenders have failed to do so.
Police say those people are lost in the system - living somewhere other than the address they've reported to the police department. They say if those individuals are caught, they could face misdemeanor or felony charges.
MSP officials say they don't have the time or the manpower to track down all sex offenders and make sure they are living at the residence they've reported to the police. However, they say the public can help report sex offenders and their addresses to the police department.
For more information about the sex offender registry, log on to www.mipsor.mi.state.us
wilx.com: Extended Web Coverage
Michigan Sex Offenders Facts
Getting More Details
Michigan State Police Criminal Justice Information Center
Attn: Applicant Team
7150 Harris Drive
Lansing, MI 48913
Source: http://michiganstartpages.com/michigan/government/ sexoffenders.htm (The Michigan State Police Sex offender Registry Web site) contributed to this report.


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Associate Professor of Psychology
On leave for the 2014-15 academic year.
Kanbar Hall - 225
Professor Lovett specializes in cognitive development. She teaches courses in child development, language development, and statistics. Her research interests are children's conception of probability and randomness and their ability to distinguish between the mental processes of comprehension and memory.
Pillow, B.H. & Lovett, S.B. (1998). "He forgot": Young children's use of cognitive explanations for another person's mistakes. Merrill-Palmer Quarterly.
Full Text
Lovett, S.B. & Pillow, B.H. (1996). Development of the ability to distinguish between comprehension and memory: Evidence from goal-state evaluation tasks. Journal of Educational Psychology, 88, 596-562.
Lovett, S.B. & Pillow, B.H. (1995). Development of the ability to distinguish between comprehension and memory: Evidence from strategy-selection tasks. Journal of Educational Psychology, 87, 523-526.
Lovett, S.B. & Flavell, J.H. (1990). Understanding and remembering: Children's knowledge about the differential effects of strategy and task variables on comprehension and memorization, Child Development, 61, 1842-1858.
Campus News: Jennings, Lovett Present Student Engagement Research in D.C.
Summer Research at Bowdoin: From Sad Slugs to Curious Cubs: A Child's View of Animal Psychology


text:
About the Book
One of the most well-known and beloved vocalists of our time, Tony Bennett is an American icon. Now, in this rich and beautiful memoir, the legendary Grammy and Emmy Award–winning singer takes us behind the scenes of his multi-platinum career. Revealing, insightful, and always moving, Life Is a Gift tells the stories of Bennett's experiences in the music industry, what he learned, and who he met along the way, including Frank Sinatra, Nat King Cole, Ella Fitzgerald, Aretha Franklin, and Duke Ellington, as well as Amy Winehouse, John Mayer, and Lady Gaga. A "master class in life," this revealing retrospective offers an intimate look at Tony Bennett's journey, from growing up during the Great Depression to carving a career in popular music that has spanned more than six decades as his popularity among all generations continues to grow.
Legendary singer, artist, and performer Tony Bennett has been one of the world's most beloved entertainers for more than six decades. From the 78 to the LP to the digital age, Tony has done it all, and is still at the top of his game. Decade after decade, this artistic icon—who has won seventeen Grammys, sung for ten presidents, and performed for royalty—has refused to compromise his vision or values. Bennett's popularity continues to grow as each new generation discovers his timeless songs and incredible voice.
In this entertaining and thoughtful memoir, Bennett shares stories of friends and family and the essential lessons they have taught him: of the value of hard work and of creating art that continues to inspire; of perseverance and a dedication to excellence; of the necessity of humility, love, respect, and, most important, gratitude. He pays tribute to all the remarkable talents he has had the honor to work with and to learn from, including Judy Garland, Fred Astaire, Louis Armstrong, Aretha Franklin, Barbra Streisand, Paul McCartney, Amy Winehouse, Lady Gaga, and others.
A magnificent testament to an extraordinary man and his art, and illustrated with Tony Bennett's own beautiful hand-drawn artwork, Life Is a Gift is a work that will captivate, delight, and be cherished by music lovers of all ages.
Educator and Librarian Resources
Critical Praise
"Bennett offers inspiring observations from a joyful life fully lived … [in] this generous, upbeat memoir." — Booklist (starred review)
Product Details
- Imprint: Harper Paperbacks
- On Sale: 10/29/2013
- Trimsize: 6 in (w) x 9 in (h) x 0.744 in (d)
- Pages: 272
- List Price: 16.99 USD
- BISAC1: BIOGRAPHY & AUTOBIOGRAPHY / Entertainment & Performing Arts
- BISAC2: MUSIC / Genres & Styles / Pop Vocal
- BISAC3: MUSIC / Individual Composer & Musician


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FoJaR wrote: no, you didnt take it out of context, he's an asshole.
he doesnt care about the thousands of other people that died either. he's just an asshole.
FoJaR wrote: so you will commiserate? or is that too close to pity?
Caroline wrote: all arguments and politcal bias' aside for one moment... do you think we can all agree that september 11th was horrifying and tragic for all of us to watch? And out of respect, can we check our our political finger pointing until september 12th, and just be quiet and respect those who died and the friends and families they left behind?
MF TOON wrote: starving children has no relevance to the title of this thread.
FoJaR wrote: i dont watch TV. did you know that it's more worth your time to just pick up a book than to watch tv? did you know that teh average american spends over one year of their life watching TV? thats such a waste of time, see if you were better like me you wouldnt watch TV. i read a lot of good books, and the reason i have time to do this is because i dont watch TV. watching a lot of TV can also have bad effects on your eyesight. i have 20 20 vision. i bet it is because i dont watch tv. ben sandoval i am sorry.


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The NLU Grants Office is the one-stop, on-line site for NLU full-and part-time faculty and staff who want to apply for external funding—and NLU colleagues who are already managing sponsored programs. Projects we support are those aligned with the institution's strategic plan and priorities.
Our office is your one-stop, online site for:
- Information and deadlines for grant opportunities
- Assistance with proposal preparation and submission
- Grant approval/process management
- Proposal sign-offs by authorized institutional representatives
- A general overview of grant application requirements
- Essential grant information—what you need to include on most grant applications
- Links to federal agencies and compliance documents
- Grants management assistance
- A list of Illinois state agencies, federal agencies and major private foundations—and their current grant funding guidelines
- Links to "how-to" sites such as grant writing
- Forms and more forms
- A list of current NLU grant-funded projects
- Post-grant management for current grant recipients, including monitoring and managing grant spending; approvals involving compliance issues; and guidance on reporting and closeout activities
- Profiles of NLU faculty and their research projects
- Ask Your Colleagues: Chat with your faculty colleagues about their projects—and get tips about the "grant-getting" process.
We also work with university officials to formulate policies and procedures promoting compliance with the laws, regulations, and guidelines pertaining to the management of government funds.
Where You Can Get Funding
- Government agencies at all levels (federal, state, and municipal/local)
- Foundations
- Corporations
- Other organizations
What Gets Funded
External partnership programs, strategic initiatives, research initiatives, faculty development and fellowships that meet the criteria established by the funding entities.
Funding Defined
- Grants
- Contracts
- Cooperative agreements


text:
©2007, Keith Sutton
Peeking through the leafy branches that covered our blind, I could see a dozen or so mallards as they circled through the woods, eyeing the open hole in the flooded timber by which we sat. They were still far out of shotgun range, but my hunting companion, Vernon Baker, convinced them to turn our way with a sharp hail call.
The pod of greenheads and Susies rocketed by at treetop height and banked sharply in response to Vern's calling. Vern turned this way then that, trying to keep an eye on the mallards speeding through the maze of trees.
A staccato burst of feeding notes was the final persuader. The birds began dropping through the canopy. They plummeted into the flooded trees from a single point of the compass, wings cupped, feet splayed, the emerald heads of the drakes glistening in sharp contrast to the vivid crimson and orange of the autumn-colored oaks. The soft whistling of their wings filled our ears.
The ducks were right in front of us, only 30 yards away.
"I can't miss," I thought. "It's ducks for dinner tonight."
My heart thumped loudly as I waited for Vern's signal. Then suddenly he called out, "Get 'em!"
The ducks towered skyward again. I quickly mounted my shotgun and fired. Way high! Twice more I fired. I can still see those greenheads slicing away over the painted woods.
Vernon looked at me rather incredulously and smiled. I felt my cheeks flush.
"Ducks aren't hard to hit," he said. "They're just easy to miss."
I don't suppose I'll ever forget that twisted old saying: "Ducks aren't hard to hit; they're just easy to miss."
I've used it a time or two myself when hunting companions were having a bad shooting day like I did back then. And the more I think about that old saw, the more I realize how true it is. When we're having an off day, it's usually due to our own errors, not because ducks are exceptionally evasive or acrobatic.
The cure? Well, often as not it's simply more shooting. Forget what's happening and just keep hunting. After a few more shots, you'll finally connect. Then after another dozen, you'll start coming out of the slump.
Do some self-analysis and figure out if you're missing because of bad habits. If you are, it's never too late to change them.
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President Franklin D. Roosevelt signs the Migratory Bird Hunting and Conservation Stamp Act into law.
First duck stamp, designed by Pulitzer-prize winning editorial cartoonist, Jay N. "Ding" Darling, issued.
Prairie drought peaks.


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Agriculture Secretary Tom Vilsack today issued a report highlighting USDA Rural Development's fiscal year (FY) 2012 investments in job creation, businesses, infrastructure and housing for Americans living in rural communities across the nation.
"President Obama's plan for rural America has brought about historic investment in rural communities that have made them stronger," Vilsack said. "Thanks to our loan, grant and technical assistance programs, USDA Rural Development is helping residents and rural enterprises thrive, and we are laying a strong foundation for rural America's future."
With an active portfolio of more than $176 billion in loans and loan guarantees, Rural Development has provided affordable housing, improved utility infrastructure, and helped businesses and cooperatives create jobs, build rural economies and increase the quality of life in rural areas. For a full copy of the 2012 Progress Report, go to (http://www.rurdev.usda.gov/SupportDocuments/RD2012ProgressReport.pdf).
Location, ST | website.com


text:
Autism in the News – Tuesday, 07.27.10
Autistic man dies in hot van in suburban Philly (Langhorne, Penn.)
Police say a 20-year-old autistic man died after being left in a hot van following a trip to a suburban Philadelphia theme park. Read more.
DHHS Blamed For Delay In Private Autism Funds (Omaha, Neb.)
A funding fight is brewing that could affect dozens of autistic children and their parents in Nebraska. The state's Autism Action Partnership has pulled millions of dollars meant to help kick off a new program for critical care. Read more.
Children's museum to host workshop on Asperger's, autism (Suburban Journals)
The Children's Illustrated Art Museum is hosting an educational and interactive workshop for the parents, professionals and teachers affected by the challenges of caring for a child with Asperger's syndrome or autism. Read more.
Camp attendance triples for children with autism (Democrat and Chronicle)
Ten-year-old Steven Moore of Pittsford wasn't sure archery was safe for children. Holding a bow and arrow, his voice grew louder as he said that pulling the bow string hurt and he didn't think he could do it. Read more.
Columbia mom applies for Pepsi grant to support children with autism (Columbia, Miss.)
When Ella McPheeters was 3, she spoke her first word, "bubbles." Before then, Ella was entirely nonverbal. At age 2, she was diagnosed with "pervasive development disorder, not otherwise specified," a type of autism. It was only when she started therapy a year later that "her language completely blew up," her mother, Hope McPheeters, said. Read more.


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A private service was held for Rosalie E. Zander, 99 of Gridley. Rosalie passed away on October 22, 2012 at her residence in Gridley.
She was born August 31, 1931 in Mandan, North Dakota, to Joseph and Marianna Ferderer and was raised by Markus and Matilda Gress.
Rosalie was a longtime resident of Gridley. She enjoyed cooking, crocheting and her family. She always accompanied her husband on yearly hunting and fishing trips. She was a devoted Catholic and a member of St. Vincent and St. Basil in Vallejo.
Rosalie was preceded in death by her parents, Markus and Matilda Gress, Joseph and Marianna Ferderer, her husband Leo H. Zander and one brother Joseph Federer.
She is survived by her daughters, Evelyn Ingraham of Gridley, and Virginia Kopp of Jonestown, PA; grandchildren, Orlan Ingraham of Gridley and Pamela Bretz of Jonestown, Pennsylvania, and two great-grandchildren.
Family suggests donations to Rideout Fremont Hospice.
Arrangements were entrusted to Gridley Block Funeral Chapel.
Location, ST | website.com


text:
EarthCam's login system is case-sensitive. Check that your caps lock is not on and try again, making sure that you enter the proper case for each letter and fill in all three fields.
Your "Current Password" is what you are currently logged in with. Your "New Password" must be entered twice for security reasons. The second two password fields must match for your password to be changed.
If you are still having trouble, submit a help request.


text:
STOCKTON - About 100 portraits were taken of residents of both the Stockton Shelter for the Homeless' family and men's facilities by a group of volunteer photographers. The event is part of the Help-Portrait campaign to help give families something to cherish and boost their self-esteem.
More than 400 prints were given out during the event from 9 a.m. to 3 p.m. Saturday.
Location, ST | website.com


text:
Commercial investment in Lafourche breaks record
Published: Monday, October 28, 2013 at 8:05 p.m.
Last Modified: Monday, October 28, 2013 at 8:05 p.m.
Lafourche Parish has already broken its previous record for commercial investment, reigning in an appraised $53.8 million in projects through September.
Commercial permits
Year Number Amount
2004 88 $15.5 million
2005 68 $16.7 million
2006 79 $31.5 million
2007 134 $21.6 million
2008 50 $34.8 million
2009 39 $23.9 million
2010 79 $50. 5 million
2011 82 $26.6 million
2012 67 $15 million
2013 92 $53.8 million (YTD)
The numbers confirm the parish's role in a regional commercial investment boom.
The previous investment record for a full year was $50.5 million, set in 2010. The 2013 numbers already represent about a 260 percent increase in investment over last year when the parish approved around $15 million in projects.
Thibodaux real estate agent Andy Andolsek said he sees most investment activity occurring in the oil and gas sector.
"Nothing that I can report on has taken place in the last year," Andolsek said. "The national retailers are holding out. Most of the investment is in the oilfield, Houma and south Lafourche."
The Port of Fourchon, which is the largest oil and gas service port in North America, is in the midst of a $15 million expansion to build a new 7,000-foot slip.
Port Executive Director Chett Chiasson signaled last month that the port will continue its expansion after the Slip C project, although details on the size of further expansion have not been released.
While Terrebonne has not yet broken its all-time commercial investment record, it is projected to either approach or surpass 2010's $208 million mark by year's end.
Terrebonne's Planning Department has approved permits for $147 million in commercial property investment through September, including more than $32 million last month alone, records show.
Reader comments posted to this article may be published in our print edition. All rights reserved. This copyrighted material may not be re-published without permission. Links are encouraged.


text:
Plan revision open house scheduled in Brevard
Published: Tuesday, November 19, 2013 at 11:10 a.m.
Last Modified: Tuesday, November 19, 2013 at 11:10 a.m.
The U.S. Forest Service will hold an open house at the Transylvania County Library tonight from 4-7 p.m., part of an ongoing revision of the land management plan for the Nantahala and Pisgah National Forests.
The library is located at 212 South Gaston Street in Brevard.
More than two dozen people attended the open house held Monday night in Marion, according to a Forest Service news release. The agency is holding six open houses across the region as part of the plan revision process.
At the open houses, attendees will have the opportunity to submit written ideas for how the 1987 plan currently governing forest management needs to be changed. Forest Service specialists will be on hand to assist, answer questions and listen to concerns. Sample "needs to change" statements were shared with the public in September. Sample statements are available at www.fs.usda.gov/goto/nfsnc/nprevision.
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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A new study finds what children eat affects their choice of drinks, and how many calories they consume. Doctors say limiting salt in our diets is a good thing. That goes for our children's diets as well.
Too much salt can cause a lot of health issues, including high blood pressure, along with kidney and heart problems, even in little ones.
Now a study in this week's journal of Pediatrics, finds that salt may play a greater role in what kinds of drinks kids want -- especially sugar-sweetened beverages, like sodas.
Researchers looked at more than 42-hundred Australian children, between the ages of 2 to 16 and found sixty-two percent of those youngsters reported drinking sugar sweetened beverages.
They also found a link between salt consumption and sweet drinks, noting that children who ate more salt, drank more sweetened liquids.
They noted for every one gram of salt consumed a day, a child also consumed 17 grams more of sweetened beverages than those children who did not eat a lot of salt.
The study also showed that children who drank more than one serving of a sugar sweetened beverage each day were 26 percent more likely to be overweight or obese.
Scientists concluded that if kids stop eating a lot of salt, they may reduce how many sugar-sweetened beverages they drink, cutting down on their daily calorie intake.


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Elizabeth (Libby) Boyt passed away peacefully at her home in rural Neosho, on Dec. 21, 2012, after a brief illness.
She was a well-known artist who expressed her love of horses through media of canvas, clay, and stone. Libby shared her passion for art and horses with hundreds of students during her teaching career at Crowder College.
Elizabeth was born Dec. 26, 1922, in Boulder, Colo.
She is survived by her husband, Richard Boyt; her sister, Louise Goss; four children, Elizabeth, Art, David, and Peter; eight grandchildren; and eight great-grandchildren.
She was preceded in death by her mother Elizabeth Whetzel; her father, Raymond Whetzel; her sister, Janet Curts; and her son Raymond Boyt.
Libby was a kind, gentle soul who nurtured and cared for five generations of family. She will be greatly missed by all whose lives she touched. The family plans a small, private service.
Services under the direction of Clark Funeral Home, Neosho.
Online condolences may be posted at www.clarkfuneralhomes.com.
Location, ST | website.com


text:
Source: NEDMThe association of a student with a section.
Entry Date
Source: HandbooksThe month, day, and year on which an individual enters and begins to receive instructional services in a school or an institution during a given session.
Exit/Withdrawal Date
Source: HandbooksThe month, day, and year of the first day after the date of an individual's last attendance in school (if known), the day on which an individual graduated, or the date on which it becomes known officially that an individual left school.
Exit/Withdrawal Type
Source: HandbooksThe circumstances under which the student exited from membership in an educational institution.
Code Set:
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text:
What's going on here?
Did you know that in homes built in recent years, residents only have three to five minutes to recognize a fire and get out of the home? According to Osage Beach Fire Dept, that is why educating the public on fire safety is so important.
During an automatic sprinkler demonstration, fire department officials along with the public witnessed the impact of a sprinkler system for themselves.
Osage Beach Fire Department hosted a demonstration at station two on Friday afternoon.
Mainline Fire Protection hosted the interactive event in order to provide hands on training for fire personnel, for design and specification training for engineers and designers and for inspection and system commissioning.
Location, ST | website.com


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Pack less. Be more.
Home › Forums › Gear Forums › Gear (General) › Next Best Thing to a Platypus Lil Nipper?
@f8lessLocale: Midwest
I'm looking if anyone has any suggestions for the next best thing to a Platypus Lil Nipper? Anyone know of any retail products that come in a similar bottle? I was also thinking of the 500ml bottle that came with my Sawyer Squeeze, but alas it is not clear and according to most, not very reliable (prone to leaks).
@f8lessLocale: Midwest
You rock!
glad I can help
@b-g-2-2Locale: Silicon Valley
I have some of these. Nature's Child (brand) Berry Squeezers, 100% fruit. This is a platypus-like squeeze container full of apples or berries, and it is only 3.17 fluid ounces. You buy it at the grocery store, then squeeze and eat the contents. You rinse out the container and now you have a 3.17 fluid ounce platypus-like thing just right for filling with an adult beverage. Yes, that is on the small side.
He says he wants something clear,are those clear?
@b-g-2-2Locale: Silicon Valley
No, they are not clear. For such a small volume, I don't think that it would make much difference. For all of my quart size and larger Platypus containers, I like clear.
@kbabioneLocale: Pennsylvania
Packit Gourmet also offers their Foldable Flask as another option for $9.95.
It's not clear, holds 500 ml, and weighs less than an ounce.
I use a discarded plastic pint vodka bottle. I figure if Ihave enough room for it in my pack, then I don't care that it does not roll up. Plus it is easier to pour and drink out of something that is rigid. Cost was zero. I tried a, lilnipper once and the bond between neck and bottle failed way too early in it's life.
@nathanmLocale: Bay Area
Not sure what you want a little nipper for, but a word of warning about using rum runner flasks as fuel bottles. I've been using a 16oz rum runner flask for this purpose. Apparently they're made out of multiple layers of plastic, and the denatured alcohol is causing the layers to delaminate. I discovered this after leaving the fuel in the bottle between trips–it took a month of being in the bottle to notice this. I've since been pouring the fuel back out between trips, and that's slowed the rate of deterioration considerably. Since these bottles are marketed for alcoholic drinks, I assume that it's something about the denatured fuel (klean-strip green) that's causing the problem.
Ya,you can't leave denatured alcohol in these flasks indefinitely,even the lil nipper had this problem,you have to store it in the original(or another) container.I use everclear now instead,but I still don't store it in the flask and I have had no problems.
@ikeLocale: Central Michigan
I've also had one delaminate after leaving everclear in it between trips. Now I too pour out the contents and rinse well before storing.
@smitLocale: sierra nevada
Lawson equipment has 8 oz flasks for $2.95. They are clear but won't roll up like an empty platy. I use a regular 1L platy to carry a bottle of wine if I desire to have such a thing on a trip, easy to squeeze out the excess air and it is useful for extra water storage after the wine is gone. Don't know the weight difference compared to .5L, but doubt it is all that much and I find the larger size to be more useful after its initial contents is gone.
@dwambaughLocale: Pacific Northwest
I'm pretty sure it is the "adulterants" they add to the denatured alcohol like methyl isobutyl ketone and perhaps the concentration of methanol, which we have all learned varies up to 45% of the mix. I'll guess that the "green" denatured alcohol mixes are less destructive. Emptying the container when at home makes perfect sense to me. I would do the same with PET bottles and the like as well.
Note that Platypus does sell a wine container. I don't know if it is a different type of plastic (it is colored), but it looks like it will handle a 13% concentration of ethyl alcohol which is what most unfortified wines have. http://www.platypreserve.com/
The other day I saw a belt buckle that had a removable stainless steel flask, obviously made for some heavy-duty party animals. Maybe we could included that as "worn" weight? :)
The rum runner flask and disposable flask are also made to hold hard alcohol and from what I have heard has the same effect on the the paltypus wine containers if stored in them.
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text:
John C. Hahn
Published: Tuesday, April 9, 2013 at 8:06 a.m.
Last Modified: Tuesday, April 9, 2013 at 8:06 a.m.
INMAN, SC-- John Charles "Johnny" Hahn, 79, peacefully went into the arms of his Heavenly Father after fighting a courageous battle of a myriad of illnesses. His life was spent surrounded by a loving family and an abundance of friends.
Left to cherish loving memories are, his wife of 55 years, Dorothy "Jean" Hahn; a daughter, Tammy Hahn; granddaughter, Hahna Tapp and her husband J.J. Tapp; and great-grandson, Charles "Charlie" Tapp who is Johnny Hahn's namesake.
Mr. Hahn was predeceased by his son, Chuck Hahn.
The Hahn's are blessed with many close friends that have become extended family. These friends and loved ones include; Lee and Angie Ross, Bill and Vivian Taylor, Gene and Eloise Pittman and Steve Wood.
Mr. Hahn was a lifetime member of Bailey Lodge #146, Woodman of the World, a Shriner, and a member of Praise Cathedral in Greer, SC. Visitation will be from 2:30-3:45 p.m. Wednesday, April 10, 2013, with funeral to commence at four o'clock at Praise Cathedral conducted by Rev. Jerry Madden. Interment will be held at Wood Memorial Park immediately following.
Donations may be submitted under Mr. Hahn's name to the Shriners Hospital for Crippled children, 950 West Faris Road, Greenville, SC 29605.
The services will be available at live stream at www.praisecathedral.org or the Praise Cathedral APP under the title "Hahn funeral".
Online condolences may be made at www.thewoodmortuary.com
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- Tea Pouches
- Loose Tea
- Iced Tea
- Teaware
- Gifts
- Sale
- Why Mighty Leaf?
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Black tea
Golden-tipped, wiry leaves
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Historic Clayton, GA Walking Tour
Clayton, GA 30525
Rabun County was created in 1819 when the State of Georgia dictated a treaty with the Cherokee Nation, which removed the Native Americans. The county was named for a recently deceased governor, William Rabun. The land, which had been home to the Cherokees for thousands of years before the arrival of Europeans, was given to white settlers in a land lottery.
Clayton was made the county seat in 1823, but the town was not incorporated until 1909. Clayton's location on the ridgeline at the intersection of several creeks had been known by the Cherokee as the equivalent of the English word, "Dividings." It was the location of the convergence of several important Cherokee trails connecting villages to the north, east and west.
Pick up your Walking Tour Map at the Rabun County Historical Society.
Info & Amenities
Hours of Operation
Monday: 10:00AM - 2:00PM
Wednesday: 12:30PM - 4:30PM
Friday: 10:00AM - 2:00PM
Admission & Fees
Admission Free
Facility Amenities
Free Parking, Maps & Brochures Available, Parking on Site, Public Restrooms, Self-guided Tours
General Information
Family-friendly, Free Admission , Handicapped Accessible, Open Year 'Round
Group Amenities
Suitable for Ages
All Ages


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At least some good came from Tuesday's snowstorm in the Southeast: Sophie, a cat in Alabama, was able to play in snow for the first time.
From the looks of it, the snow confused and frightened Sophie at first, though eventually she sort of starts to enjoy it.
[via Tastefully Offensive]


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SANTA CLARA -- Justin Smith's arm injury might not be serious enough to sideline him for Sunday's game at Seattle, based on 49ers coach Jim Harbaugh's comments Tuesday morning on KNBR 680-AM.
Asked if Smith could practice this week, Harbaugh responded: "Everyone affectionately refers to Justin Smith around here as 'The Cowboy.' I expect we'll see The Cowboy.
"Knowing what I know of Justin Smith and the situation, yeah I think the Cowboy will be around. Cowboy will be saddled up, ropin' and ridin'.
" If it's humanly possible, The Cowboy will be out there, ropin' and ridin'. "
Smith started his 185th consecutive regular-season game Sunday night but couldn't finish it after sustaining a third-quarter elbow injury. The New England Patriots took advantage of his advantage by rallying from a 28-point deficit to tie the score at 31, but the 49ers still pulled out a 41-34 victory.
Smith declined to reveal the severity of his injury -- or even which arm, though he glanced at his left elbow -- during a post-game interview. He took an MRI exam on Monday.
Smith entered Sunday's game with a team-high 77 quarterback pressures and 52 quarterback hits, along with three sacks. His presence has played an integral role in Aldon Smith's 19 1/2 sacks, which are tied for the league lead with Houston's J.J. Watt.
If Smith is sidelined, however, his likely replacement on the line would be Ricky Jean Francois, who came on in relief Sunday night and produced a fourth-quarter sack.


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What Are You Working On?
During this unique workshop we are inviting you to bring in a work of art from home and collaborate with our teaching artist to bring it to the next level. Take your pick of supplies from the DCCA classroom and turn a doodle or sketch into a masterpiece!
Ages 12-16
$30 Members / $40 Non Members
For more info or to register for any of these programs, contact the education department 302-656-6466 x7101, or visit www.thedcca.org to register online.
Scholarships available for all education classes.


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If you're a railroad enthusiast – and honestly, once you get up close to one of these magnificent machines, who isn't? – you'll definitely want to make the Georgia State Railroad Museum part of your Savannah vacation.
The Georgia State Railroad Museum is located at what was once the Central of Georgia Railway Savannah Shops and Terminal Facilities and, as such, is a National Historic Landmark.
Read the rest of this page »
Read the rest of this page »


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Give your input about our newest location!
Find books, movies, and other library resources.
The Clayton County Library System is a member of PINES, a network of more than 275 libraries in over 130 Georgia counties.
Ebooks, Magazines, Movies, Music
Movies, music, and ebooks on the go!
Electronic Resources
Library resources at your fingertips.
Find Your Next Book
Get new books titles sent to your email.
Read the latest library newsletter.
Board of Trustees
Information about the Library's Board of Trustees.


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Our bedding collection features plain and patterned duvet sets,
wonderful pillow cases and beautiful curtains to add
those finishing touches to your bedroom.Create a tranquil
environment where you can relax and unwind with our great
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Browse our selection of plain dye bedlinen, available in a colour spectrum to suit any home. With fabrics ranging from sumptuous cotton flannelette to practical polycotton, your bed will feel so fresh and cosy that you will never want to leave it!
What tog do I need?
A duvet's 'tog' rating indicates how well it will insulate you in bed. Think of it as a scale of warmth that goes from 1 up to 15 - the higher the tog, the warmer the duvet. On a cold night a higher tog duvet will retain heat and protect you from any winter chills. On a hot summers night a lightweight, low tog duvets. will allow you to stay cool and comfortable. Our selection of All Seasons duvets are made up of two detachable duvets, one low tog and one high tog. Combine them both in the cold winter months and then separate in the summer for year-round comfort.
Childrens Bedding
Make bedtime fun for your children, with colourful bedding in the form of their favourite characters! With a wide selection of designs there are duvet sets for single bed and full bedding bundles for toddler beds.The hard part is deciding which to choose!


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Mayors wager on title game's outcome
Published: Friday, December 14, 2012 at 3:30 a.m.
Last Modified: Thursday, December 13, 2012 at 11:32 p.m.
TUSCALOOSA | The mayors of Tuscaloosa and South Bend, Ind., are wagering a charitable donation and some local cuisine on the outcome of the Jan. 7 BCS National Championship Game in Miami.
South Bend Mayor Pete Buttigieg said he believes his hometown Fighting Irish of Notre Dame will defeat the University of Alabama by three points. He's putting a donation to Tuscaloosa's Storm Recovery Fund and a box of chocolates from South Bend Chocolate Co. behind the claim.
Tuscaloosa Mayor Walt Maddox, however, is predicting a 17-6 victory for the Crimson Tide. He has pledged a donation to Big Brothers Big Sisters of St. Joseph County and a slab of Dreamland ribs should the defending national champions fall short.
"Alabama and Notre Dame have a storied tradition in football," Maddox said. "Tuscaloosa and South Bend are alike in their love for their respective teams, and the people of our cities are lifted when our teams do well.
"A BCS championship game appearance puts our cities in a national spotlight and showcases the resiliency and strength of our communities."
After Alabama's 21-0 win in the BCS title game after the 2011 season, Baton Rouge, La., Mayor Kip Holden provided Maddox with three gallons of Cane sauce. This is the signature sauce of Raising Cane chicken restaurant, which was founded in Baton Rouge by an LSU alumnus.
No wager between the mayors was made before Alabama's 37-21 victory in the BCS championship game against the Texas Longhorns after the 2009 season.
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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- Face-off Domination!
- Currently Unavailable
Widely regarded as one of the elite face-off specialists in the sport, Coach Paul Cantabene shares several innovative and progressive drills, techniques and strategies for winning every face-off. With on-field demonstration at game-speed, Cantabene starts with drills covering basic stance, stick-handling and competitive face-off situations. Next, he moves into clamping the ball, set and step, second step, all the while building up to live face-off drills. Cantabene also shares the six essential attributes he looks for in a successful midfielder. This video provides both players and coaches the valuable intricacies of winning more face-offs and becoming an excellent midfielder! 43 minutes.


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Spanish Harlem Spin-offs Part 1...
Chino Nuñez
: "Four and a bari"
A conversation with
John Child
In the first of two
Spanish Harlem Orchestra
spin-off interviews, percussionist, arranger, pianist, bassist and producer Chino Nuñez tells John Child about his first solo album,
It's SHO Time: Strictly Hardcore On 1 Or 2 - Tribute To The Dancers
(Cookita Records 002), and his 30 year career. This has included working with Celia Cruz, Johnny Pacheco, Héctor Lavoe, Ray Barretto, Willie Colón, Adalberto Santiago, José Alberto, Africando, Marc Anthony, and of course, the 2005 Grammy winning Spanish Harlem Orchestra. In addition to explaining the title of this piece, Chino speaks candidly about the highs and lows of the Latin music business and the challenges of leadership.
John Ian Child (JIC):
You were a very precocious musician, and started playing professionally at the age of 12 with local bands like Amaury y su Típica Latina, Conjunto Acere, Conjunto Realidad and César y la Ritmica. I'd be interested to hear about these bands, particularly Realidad, and whether they contained future stars?
Chino Nuñez (CN):
Realidad especially. In Realidad we had Willie Ruiz, who's now one of the top arrangers and an arranger of my CD
It's SHO Time
(2005 on Cookita Records). Willie's also a trumpeter, educator and producer. Tito Nieves sang with Realidad a couple of times. Conjunto Acere had a gentleman named Cuqui Lebrón; he plays with Marc Anthony now. He's a trombone player. Basically we had interchangeable musicians that came in and out: Bobby Allende, sometimes Marc Quiñones, and so forth.
You were raised in Brooklyn?
I was in Brooklyn, yes.
Were these Brooklyn based bands?
Yeah, most of these were Brooklyn based bands.
Am I right in thinking that the Realidad were the predecessors of Conjunto Granada who released the marvellous album
Salsa Attack
(1984 on Latin Phoenix)?
Some of them, yes.
Realidad had an album
Asi Es Mi Tierra
(1982) on the Salsa label
that was recently reissued, which is fantastic.
Exactly, you're absolutely right. It's a great album. The band was funny because we were young kids at the time.
But you weren't on that album
I was not on the album.
Even though you were working with these local bands, I understand you were working with some really big names like Celia Cruz and Johnny Pacheco. How did you manage to slot into this at such an early age?
I was working with Conjunto Acere in Brooklyn and there was a club called the Red Plum. They used to bring these big attractions to the Red Plum like Celia Cruz and Ismael Miranda. Louie Cruz, who was the piano player for Ray Barretto, used to make bands to back these people up. People like Tito Allen would come in. It was awesome to see them play.
Was Louie Cruz like the house band?
It wasn't the house band, he was just backing-up certain individuals when they were starting to go off on their own. When Ismael Miranda first came out, I think Oscar Hernández was playing with his band.
Orquesta Revelación?
Revelación, exacto. So as the years went by, that's where Louie actually saw me, in this place called the Red Plum. He started to know who I was, and when he made other groups, I came into the picture. That's where they saw me playing when I was about 11 or 12. Pacheco was one guy who used to love to see me playing at that age, and he would call me up and I would play with the band. I would get called-up to do certain gigs.
There's a story where you felt humiliated at school.
I was doing a music course at school and the teacher got really upset because I said: "I don't wanna be here, these guys are playing out of tune." I got sent down to the dean and I was suspended. My mom went up the next day and we were trying to figure it out. And it so happens that this teacher, Mr. Ramírez, had seen me perform at a gig with Tito Puente. And Bobby Allende was at that gig as well. He came up and said: "Hold it. This kid is already a professional. This kid is playing already. He's no joke. This kid already knows what he's doing." And that's how I got off the hook. I actually got a passing grade for that class. But it taught me a lesson. I was insubordinate; I shouldn't have done what I did. But I thank Mr. Ramírez for getting me off the hook.
JIC: It's on record that you made your recording debut on Johnny Ortiz's album
Johnny Ortiz Y Taiborí
(1979 on Fania) with
Tito Nieves
. How did that come about?
Johnny Ortiz saw the likes of certain Brooklyn musicians, and these guys had already seen me play, and they said: "We're looking for a timbalero, would you like to partake in this project?" I said: "Hey, I'm down." That was the first recording, so you want to see your name on an album. We went into Johnny's house and Tito was sitting in the living room. He said: "I know you man, we went to school together." We just didn't know that we had music in common. When I heard him sing, it was incredible.
Was Johnny Ortiz living in New York at the time?
Yes, he was living in Queens and he had property in Puerto Rico as well. But most of time he was in New York.
Did work come out of that album? Did he have a working band?
Yes he did. As a matter of fact when the album was released, we worked for about a year with Johnny. Then Johnny left for Puerto Rico, and we continued working with the band. Unfortunately Tito didn't work with us, he was already under contract to Conjunto Clásico. He did La Masacre, Clásico and us at the same time.
Did you come across La Masacre's leader Julio Castro?
I personally didn't, but the guy who came into the band to replace Tito Nieves was a gentleman by the name of Frankie Vázquez. (Laughter)
I remember Frankie telling me. You continued to have an association with Tito Nieves?
Absolutely, he's a good friend of mine and I still work with the band. I'm one of the substitutes; I either sub for Bobby Allende or Marc Quiñones. Whenever Tito calls me, and I'm available, I'm always there.
Does he have a band as such or does he put together a band when he needs to?
His New York band has been around for maybe 15, 17 or 18 years.
So there is a group of people that regard themselves as Tito Nieves's band?
Absolutely. The band has been around for a long time, and it's a great sounding band.
Who directs it?
Right now, the guy who calls the guys together is Bobby Allende. He's in charge of doing that. The musical director is Nelson Gutiérrez, who's been with Tito since the inception of the band.
Does he have a similar set of musicians in Puerto Rico?
He does. Unfortunately the budgets don't allow you to take bands like back in the '70s. He has a great band in Puerto Rico. From what I hear, he has a good band in Florida also. He's doing well.
In addition to Tito, your career is characterised by having a number of longstanding relationships with various bands and artistes, such as Conjunto Imagen, José Alberto, Ray Sepulveda, Johnny Rivera and Africando, which I would like to ask you about in turn. Tell me about
Conjunto Imagen
Ernie Acevedo from Brooklyn has been a good friend of mine for many years. We grew up together. I used to go to his rehearsals. He would kinda like give me the stare, to like say: "Yo, get out." We've become such good friends and brothers in this business. I saw him blossom like he saw me blossom.
Imagen gave you the opportunity to spread out and be more than a percussionist: arranging and playing piano.
Yeah, I played piano on "Sueltala," which is a tune that I arranged.
On the new album (
Ayer, Hoy Y Mañana
'04 on Muziq Records)?
On the new album. And I think I played piano on the previous album
Contra La Fuerza
(2002 on Platano 5146).
I was a bit surprised when I first noticed you playing piano. How did that start?
Some people don't believe me to this day, but I learned by watching. And I've had the blessing of playing with gentlemen like Oscar Hernández and Ricky González, and a guy named Edwin Sánchez. Every band I've been with has had a prime piano player. To me it was just a blessing, because I could ask questions and I would sit down at the piano. I knew chords from 14 at the earliest and I would sit at the piano to find out how certain things worked.
How did the arranging start?
A gentleman named Willie Ruiz.
Yer man?
Yeah, my right hand man.
We'll talk more about him in the context of your new album. Another star name you've been associated with is
José Alberto
José "El Canario" Alberto made the phone call, and the first album I recorded with him was the one containing "Disculpeme Señora" (
Llegó La Hora
'92 on RMM). Sergio George produced that particular song and that took off. And from that moment on, he just kept calling me back and I kept doing CDs with him (
On Time
'95 and
Back To The Mambo / Tribute To Machito
'97 on RMM, and
'99 on RykoLatino). It's been a blessing being part of his musical life.
Tell me about your association with
Ray Sepulveda
My brother. I've been in his band for over 15 years. I started there as a bongo player, and moved over to timbales at the time that Ricky González was the musical director. After Ricky left, he went with Tito Nieves and then he went with Marc Anthony, and I became musical director of the band. It's one of the best bands in New York City.
Unfortunately Ray hasn't recorded a solo project since the RMM label folded. Is there anything on the horizon?
There is something in the works. We are actually doing a solo project for him. The project is starting sometime in October (2005).
Are you going to be playing quite a prominent part in that?
I'm just going to be producing and playing in it. We're going to be doing something like I did with Chino Nuñez and Friends, but we're going to do it for him as well.
Of course he's worked with the Spanish Harlem Orchestra.
He's doing his thing.
Tell me about
Johnny Rivera
We met in rehearsal with a band called Los Rodríguez, and it's the sons of
Roberto Rodríguez.
Yeah, who was a trumpet player for Ray Barretto, Orquesta Broadway, Fania All Stars and a who's who in New York. I met Johnny there, and we hit it off friendship-wise.
Los Rodríguez did two albums on Combo (
Roberto Rodríguez Presenta Los Rodríguez
'81 and
Tiene Sabor
'83). Are you on them?
No, I'm not on those, but Willie Ruiz is the trumpet player there. Johnny and I remained friends and we ended-up playing with his uncle, Adalberto Santiago. I was timbalero/coro and he was a corista with Al. Unfortunately I left the band just before he recorded.
So what stage of Adalberto's career was that then?
It was about 1981. He made a New York based band. Awesome group.
He had an album on Tropical Budda with his own band (
Más Sabroso
Exactly. He had a good band; swinging band. Then I left for Miami, and I got out of the scene for a bit and married.
Did you work down in Miami?
I did. I worked with a band called Los Licenciados. It was just a local group that played weekends at a club in Miami. But, out of that group came Diego Galé, Luis Enrique, myself and several other guys that did the Miami Sound thing. Vocalists Lefty Pérez and Gabino Pampini were also in the band. Galé was there trying to make ends meet. He was all over. I just saw him in California; we hadn't seen each other since the '80s.
Johnny Rivera is in a similar position to Ray Sepulveda: he hasn't had any solo projects for a while.
On his behalf, he has got a project he's doing on his own which I think will be coming out in a month or so. Nice project. I'm one of the writers there. I wrote an arrangement. He's coming out with something new.
This is an independent production.
This is independent.
Has he been quite busy in recent years?
Yes, he gets called to do his gigs. He goes out of town. He goes to Peru a lot; Colombia; he comes to New York and Florida and all that.
Where is he based?
In Puerto Rico, in Areceibo.
You've been involved in the
Africando, what a story. These guys came to New York one day and started making phone calls. I remember the first session I had with them (
Vol. 1 - Trovador
'93 on Stern's), Sergio George was on piano, Johnny Torres (bass), Bomberito Zalzuelo (trumpet). It was just an incredible group of musicians, and we were playing music that made people dance. Their biggest hit was "Yay Boy" of course (from
Vol. 2 - Tierra Tradicional
'94 on Stern's)
Have you ever performed with them live?
I did the Lincoln Center with them.
Who were/are your role models as a percussionist?
You know, I listed so many on my album. (Laughter) I'm a firm believer that role models are people that help you in your career. I consider my real role models: Tito Puente, Orestes Vilató and Nicky Marrero. I also have Mike Collazo, Manny Oquendo; I learn from everybody. I'm an Orestes fan; he's like my real idol. He's the guy I worship every time I hear him play. I remember Ralphy Irizarry playing when I was coming up though the ranks. I was blown away. Ralph is a bad dude. You hear Marc Quiñones, Luisito Quintero, these guys. And I play side-by-side with them. Sometimes I'm looking over to my left; he's playing and I'm learning. As far as role models are concerned, Orestes is my main guy and Tito Puente. Tito, because of the versatility that he had to play vibes, timbales, drums, piano, he was an arranger. I want to go down that line also. I didn't mention someone: Louie Ramírez. He was one of my good friends and at the same time a great teacher. He was one of the guys that opened up my eyes. He said: "Get yourself on a theory course."
Did you get the opportunity to perform with Louie?
I recorded the CD he was making when he passed away,
Preparate Bailador
(1993 on RMM).
The one that was issued under Ray de la Paz's name.
Yeah, under Ray's name. I was actually able to play for him before he passed away and finish the project.
How would you describe your approach to playing in a way that the layperson would understand?
I'm simple with finesse, and I swing. My thing is about swinging. I'm analytical. I listen to everybody in the band. I just become part of it. I want to become part of the group, not be the group.
You mentioned a whole series of names that have influenced you. Did you carefully analyse the ingredients of their work that you incorporate into your own performance?
I've sat down and listened to a lot of records and heard what these people have done as far as soloing and playing. I'm also analytical when I'm playing live. While I'm playing I'm listening to my guys. It's what makes you better; just listening to people and listening to what they're doing and accompanying the guy next to you. Henry Mancini said in one of the books I read when I was learning how to be an arranger: "You have to be analytical and know who you are writing for and who you're playing with."
You're often seen in combination with Bobby Allende, would you like to comment about your relationship with him?
Besides being one of the top congueros in this business, Bobby is master of being a great human being. I've maintained a relationship with Bobby since the early '80s. I played with him in Willie Colón's band; he was musical director there. Actually I did the whole of 1990 with the band and then left. It's just a blessing to play with him.
You've clocked-up a magnificent CV in terms of session work with the likes of Marc Anthony, Cheo Felicano, Ismael Miranda, Junior González, Van Lester, Johnny Ray, Frankie Negrón, Santiago Cerón, Raulín, Los Soneros del Barrio, Jimmy Bosch and George Delgado, among others. Are there any particular albums you would like to single out for comment? For example, I note that you were on Marc Anthony's first salsa album
Otra Nota
(1993 on RMM's Soho Latino label).
Yeah I recorded that. That was great. I remember walking in and seeing Marc Anthony sitting on his mother's lap, and saying to myself: "This kid is like a mama's boy, but he's a great singer man." And I knew from the day that I heard him, I said: "This guy's gonna be huge." And so he was. It was fun recording that CD with Sergio (George).
You'd probably never heard of Jennifer López at that stage?
At that time, no. Jennifer wasn't even around; she wasn't even in the movie scene at all.
I listed other big names. Is there anyone else you want to mention?
Cheo of course. While I was in Miami we backed-up Cheo. I've known Ismael Miranda for many years, since he was with Larry Harlow. Same thing for Junior González. Van Lester recorded on my CD, and always has this sound a little bit like Héctor Lavoe. I was in Héctor Lavoe's band back in '85 to '88. I was the bongo player with Héctor.
I saw Héctor Lavoe twice in New York in 1986, first at the Corso and then at the Village Gate. That was a point when there were musicians in the band from Angel Canales's band.
Right, which was Victor "Even" Pérez on timbales. If it was 1986, I was with him, because that was unfortunately the year my mom passed away. I was playing bongos and I had hair. When I played with Héctor, it was me, Milton Cardona (conga), Victor Pérez on timbales, Pulpo (Gilberto Colón) on piano. Right about August of '86, Professor Joe Torres came in and took over the piano chair.
You're been busy on some albums for Johnny Ray (formerly known as Johnny Zamot).
Oh yeah, Johnny called me do some recordings with him (
Mascarada #2
Crossing Over
Cali Salsero
'04 and
Yo Soy Boricua
'04, all on JZ Productions Ltd.). Of course I got George Delgado to do a couple of things for him as well.
In addition to Marc Anthony, another pretty boy you've sessioned with is Frankie Negrón.
Absolutely. I did his last CD and I think I did his first CD (
Con Amor Se Gana
'97 on WEA Latina).
Of the salsa dura guys you've worked with, there's Santiago Cerón, Raulín
Raulín, yes. I did one with Santiago Cerón where I played on it and arranged (
Homenaje Al Gallero Palmasola
'96 on Leomar Racing; Chino also appears on Cerón's
Mi Campeon Jukin
'94 on Leomar Racing). I think I did about three or four records with Raulín (
Mama Vieja
'92 and
Que Se Cuiden Los Soneros!
'93 on Day Dance,
El Sonero Que El Pueblo Prefiere!
'94 on AE Music and
Raulin En Venezuela '
01 on BMG/AE).
Mama Vieja
was one of them. Awesome. One of my favourite arrangers was in that, may he rest in peace, José Febles, and Ricky González played on that. And we had a blast doing that.
And the list of people you've worked with goes on
Los Soneros del Barrio, Jimmy Bosch, George Delgado, of course, and a host of others. Jimmy Bosch was fun. I didn't even know I was going to record on
El Avión De La Salsa
(2004 on JRGR Records) until the last minute. Los Soneros del Barrio of course, my friend Frankie (Vázquez). I could not stay away from doing that (
Siguiendo La Tradicion
'03 Rumba Jams). When I got called I was honoured and said: "I'm going to be there, definitely!" George Delgado's
Mi Ritmo Llego
(2004 on Rumba Jams) of course. More props to him, he deserves it. He's a veteran of this business, one of the key percussionists in this business; and now to have his own group, more power to him.
What was the story behind you getting signed-up to the wildly successful
Spanish Harlem Orchestra
, which has taken you and the guys to Grammy land?
You work in a factory all your life and you play the lottery every single week when you get paid. One day your number comes out, and you win a million bucks and you've got a big smile on your face. This is exactly how I felt about Spanish Harlem. I worked so many years in this business. Thirty years I've been in this business, and then the call comes in.
Didn't the project sit on a shelf for a while?
Absolutely, about a year and a half, two years. It sat on the shelf, nothing was happening. Of course 9/11 came around and then things got really bad. I was going through a divorce. I was homeless for about a week. I had to go back to work nine to five - lost everything. When you hear these stories when these pop stars say they went broke: I went broke! I had custody of my daughter prior to my getting divorced. I actually had to bring my daughter back to her mom's house, because I couldn't, I couldn't So it was a rough moment for me. But Oscar (Hernández) said one day: "Listen, we're going to Turkey. We're going to London." That was the first time I came to Europe. I said: "I can't do it, I've got a day job. I'm sorry." He said: "You might want to reconsider and think about this, and revamp your answer." (Laughter) He said: "I know you can't make it this time around, but look at the itinerary." And he faxed me the itinerary, and I said: "Look Oscar, I can't make the first one, but let me have the next one hundred gigs that you have listed." And I went up to my boss and said: "Listen, I don't do this for a living, I do this for a living. I'm a musician." And she said: "Gladly, you know what? Take your stuff, go home and start playing music, because I think you're going to be a musician from this point on." It was a second chance. And ever since then, here we go: a nomination for a Grammy, the next one we win. We win the
, we get nominated for World Music. It's been a blessing and I pinch myself everyday just to make sure I'm not dreaming.
So in your case, the Spanish Harlem Orchestra has acted as a springboard for your own solo project
It's SHO Time
Totally, totally It catapulted us to another level. It revitalised the dreams we always had to be the next Ray Barretto, or the next I'm not going to say that I'm the next Tito Puente, because I think there'll never be one. But if I can just be a person that can contribute to this music being better, I want to be part of that group, I really do. I love my music.
How long have you been developing the idea of your solo album?
Many years. I actually thought about doing a CD about 15 years ago when I was with Ray (Sepulveda). I wanted to shop it to Ralph Mercado. But for some reason or other, I never did, because I got busy. I was always busy, and at that time the music business was booming. We were working. It was always on the back burner. I always said: "Maybe next year." But now with Spanish Harlem, it's like a new toy, you just want to play with it; it's my toy. It's like you said, Spanish Harlem just catapulted us to another level to get us going and do our own thing, and back-up what we've done with Spanish Harlem.
Had it always been part of your concept to go for the Willie Rosario style frontline of four trumpets and baritone sax? If you don't mind the comparison?
I'm glad you asked. I wanted to do the Willie Rosario feel, maybe with a New York sound. Also keep the context of Louie Ramírez, who had four trumpets, (Sonora) Ponceña feel. All these elements. And there's a reason: I always listen to Ponceña, Willie Rosario and Louie Ramírez. You name it: Barretto when he had three trumpets. The list goes on. I just wanted a certain sound. In New York, we have bands that normally have two trumpets and two trombones. And I said: "No, I want something different. I just want a little different sound."
Grupo Fascinación had three trumpets and
a baritone. Absolutely, yeah. Great band that included Pete Nater.
I think Louie added a baritone on his
Louie Ramírez y Super Banda
(1987 on Faisán).
Right, Super Banda, exactly. Awesome sound. I was playing around with it. I thought about many different combinations of brass, and I said: "You know what? I'm going to go with four and a bari. And I want to pay homage to somebody like Willie Rosario in the East Coast." And I think it worked. I think it was pretty good.
This would be a good time to talk about your work as an arranger on the album and your collaboration with Willie Ruiz.
The reason why I arrange is because of Willie Ruiz. Also I'm going to give props to a gentleman named Bob Franceschini, who's a saxophone player who used to play with Willie Colón. We used to room together. A great saxophone player, unbelievable. Willie Ruiz taught me practically over the phone. I asked questions: "Willie what do I do here?" "This is what you do." "OK, great." And I went back and I started writing. My first arrangement was nice. (Laughter) But my second was much better. And I just progressed more and more. Willie is an educator for singers, arrangers, trumpet players; you name it. He's just a great educator.
I've asked about your influences as a percussionist, but which arrangers do you admire? I suspect José Febles is among them.
Absolutely, at the top of the list. The second guy would be José Madera. Of course Willie Ruiz is one of my favourites as well. A host of others: Oscar (Hernández). But Febles is definitely up at the top of my list. Ricky (González) is another one I love; great arranger as well.
It's good to see Frankie Vazquez singing lead vocals on three tracks, including, like George's CD, a cover of a Ray Barretto.
There's a reason behind that. I recorded on Barretto's album
(1989 on Fania). In my productions, and hopefully I continue to do many more, I am going to include one or two tunes from certain bands I've played with, paying homage to them, for helping me get to where I am at now, doing my own thing. So when I transcribed that "El Hijo De Obatala" for George, I decided to go with "Indestructible" for my CD*.
"El Hijo De Obatala" and "Indestructible" both come originally from Barretto's
'73 on Fania.)
So you actually transcribed the arrangement on George's album?
Yes I did that too. I just love Barretto's music. I'm infatuated with it. So if I get a chance to do another CD, I'll do somebody else. One of the many you've listed. I have to pay homage to them. I think I owe it to them.
Tell me about your vocalist José Papo Rivera?
He's a veteran of the Christian market. He's a Christian singer. Awesome singer. He lives in Orlando, Florida, right now. When he heard I was doing a project...since I did one tune where I'm trying to send out a positive message. Something like "El Todopoderoso" and "El Nazareno." Ismael Rivera did it with "El Nazareno" (from
Traigo de Todo
'74 on Tico); Héctor Lavoe did it with "El Todopoderoso" (from
La Voz
'75 on Fania); I figured I'd do one as well. I was looking for Papo for months, and finally I got word to him that I was looking for him. He called me up and said: "You want me there next week, I'll be there next week." Jumped on a plane, came down and sang "Ponme A Gozar." This was a tune that was supposed to go to Ray Sepulveda. Unfortunately Ray was doing other things in New York City, and Papo learned it in five minutes and sang it straight down. Frankie Vázquez was blown away. He and Frankie became good friends on this project.
That's the tune you also use on the video included on the CD.
Is this Papo's first secular project?
He did one many years ago, but it didn't do anything. I don't think it even came out. He's a great talent.
What generation is he?
He's in my generation: 40 plus.
In addition to singing lead vocals on two cuts, your Spanish Harlem Orchestra cohort Willie Torres contributed to engineering the album?
We actually recorded all the percussion in Willie Torres' studio. Willie's an engineer and arranger. He's one of the top guys in New York City, and he's got a great studio. The other studio is my studio. I have my own recording studio. We're just doing our thing, learning the behind the scenes.
This is off the back of income from the Spanish Harlem Orchestra?
Fantastic. It's great that you're able to feed it back. I've known Willie Villegas for a number of years, and it's good to see that he's done the video. He goes from strength to strength.
I called Willie Villegas and said: "Willie, I don't have much of a budget for the video, but can you do something for me?" It was in an area of Brooklyn where I grew up, and I knew so many people. So the dance group, Tropical Image Dancers, said: "We'll be there for you, no problem, we'll dance, we'll get it all together." And that's the way it all started. Willie Villegas came down, and did an incredible job. He's the one that directed everybody. Besides being a great musician, and having a great CD himself (
Dancer's Paradise
'03 on Entre Amigos), he's also one of the guys that really knows what he's doing in terms of camera work and doing videos. He's an amazing person just to even take time out to do something like this. I even told Willie: "If you need me for your CD, I'm there." He's one of the guys who's a pillar in this business as far as trying to make salsa better and take it to another level.
Are there other tracks or elements of the album you would like to highlight?
I did this CD with the intention of bringing certain ideas or messages across. The first tune, "Aqui Cada Uno Viene Con Lo Suyo," is a Manolito y su Trabuco song (from
Locos Por Mi Habana
'04 on Egrem) and when I heard it for the first time, I said: "Wow, this is a great tune." It sends a good message: everybody has his own thing. You can do what you want to do. You can make it happen if you really want to make it happen.
"Ponme A Gozar" is a tune that was done for me many years ago with a band called Orquesta Yarey (from
Ponme A Gozar
'94 on TTH). Chamey Solano was on it. It's very special to me because José Febles was the first arranger to arrange that song. And now Willie Ruiz re-did it for me. It's just a tune they dedicated to me, and it's special to me.
"Soneros De Bailadores" is just that. I wanted to pay tribute to Cheo and Pete El Conde (I played with his band as well; I played on Pete's CD
[1993 on Marcas]). And I wanted to pay homage to Ralph Mercado for his contributions to the music business. I included everybody I could in that tune. It would have been a bigger list if I had had the opportunity and I could have done it in less than five minutes, but I couldn't.
"Asustado" sends a big positive message out to the people. The whole CD has its own thing. I'm paying homage to the dancers; I'm paying homage to personal friends in the business; people that helped me in my career; people that helped the music business itself. I'm trying to make everybody happy.
Have you started gigging as a leader yet?
I've been a leader per se, as a musical director, with other bands; but as a leader of my own band, no. I'm going to do that soon. We've got the band together already. It sounds great.
You've got some dates?
Oh yeah, we've got some dates. I'm putting together a show in Ohio in the United States. It's called
Tributo to Los Soneros
. We don't know if we're going to record a DVD out of it yet. In reference to that we've got Hermán Olivera, Ray de la Paz, Frankie Vázquez and Ray Sepulveda involved in that. That's going to happen in October (2005). It's going to be Chino Nuñez and Friends Pay Homage to Los Soneros, which will be Ismael Rivera, Héctor Lavoe, Pete "El Conde" Rodríguez and Tito Rodríguez.
So based on your previous experience as a musical director, you're already used to operating as a leader as opposed to being a sideman?
I personally think all sidemen can become leaders in their own right. It's up to the individual. What makes a strong leader is not being selfish and learning how to listen to someone and say: "Wow, you've got a point, let's check that out; let's see how we can go about it, and embellish on that idea." Just take the group up to another level. I think Oscar Hernández has done that. He's taken the group to new heights as a leader. He doesn't want to be called the leader of this band, but, yes, he is. He's the musical director. He's the one that's handling the business aspects. He's taken this group to a different level without being selfish and by giving his musicians freedom.
During your years as a musician, have you looked upon any individuals as examples of leaders?
Totally. Tito Puente for me. Tito Rodríguez. Louie Ramírez himself. Even Count Basie, Duke Ellington and Machito. These individuals, especially the Titos, both Rodríguez and Puente. I never got to play with Tito Rodríguez, but I heard he was strict. Strict like you had to come down in the right uniform. He could send you back home. He didn't care who you were. He ran a tight ship. Tito Puente, for the amount of years. If you really look at the tenure of some of these musicians who stayed with him for 20 plus years, you say to yourself: "Why did these guys hang around for so long?" It's because of the leadership qualities he had.
In your experience as an educator, are there opportunities for students to learn leadership skills?
Unfortunately, they don't. They are set up in a position like George Delgado says best: "You crawl before you walk." Music is such a beautiful thing. You learn something new every day. That's what happened to me as a musician and sideman. The respect you have to have for your musical director, that's what later makes a sideman a great leader. When you can find a way to speak to a person and say: "Hey listen, you might want to try this, this way, instead of doing this. I wrote this part right here, and there's a certain sound I'm looking for and that's what I want you to get." Whereas: "Listen, you play this way and that's it. It's my word and no word at all." It's two different ways of approaching it. You have to take a step back sometimes and say to yourself: "Well, how do I get this guy to do what I want him to?" Through kindness, just through being a human being first. There have been many great sidemen that never became leaders. But they are known for being great musicians and being awesome players. Their quality as great sidemen is the fact that they listen to musical directors or anybody in charge, and they execute exactly what they are told to.
There is also the issue of having to manage guys who have been leaders themselves.
Absolutely. That's a horse of a different colour. As professionals we're all here to make music sound as best as possible on stage.
You've mentioned great bands like Tito Puente and Tito Rodríguez that were associated with being very drilled, wearing uniforms and so forth. Are you into having a uniform and an image for your band?
I have to say yes. Me personally, I came up at a time when I saw that. I think aesthetics is something that captures you. You walk into a place and see a bunch of guys dressed the same, and you say: "Man, they look sharp!" It's definitely something for me. I like it. Spanish Harlem has its own dress codes. We have to dress in certain colours as well. Oscar has certain ways of doing things, and we listen. He's the leader, and he's the one we listen to.
Having spoken to George Delgado, I know he's got a similar mentality to you. Therefore, through you as new leaders, could we be seeing a return to traditional values?
Absolutely. It's a business man. You want the group to look good, sound good, and on top of it all, you want people to be wowed. Not only by your sound, but also by your looks and your presence. I would say that the first impression is everlasting.
I really appreciate you speaking to me. Good luck with your forthcoming dates. Thank you very much for your time.
John, thank you so much. I really appreciate it. Thank you man.
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text:
Thursday, 04/05/1990
J.J. McCabe's, Boulder, CO
Set 1: Possum, Ya Mar, BowieDavid Bowie, Carolina, Oh Kee PaThe Oh Kee Pa Ceremony > SuzySuzy Greenberg, YEMYou Enjoy Myself > LizardsThe Lizards, Fire
Set 2: Reba, Uncle Pen, JJLCJesus Just Left Chicago[1], BagAC/DC Bag, Donna Lee, Tweezer, Fee > Cavern, Mike'sMike's Song > HydrogenI Am Hydrogen > WeekapaugWeekapaug Groove, If I Only Had a Brain, Contact
Encore: GolgiGolgi Apparatus
[1] Dan Mosebee on harmonica.
· Theme from Bonanza tease in Ya Mar
· Theme from Bonanza and Wipe Out teases in David Bowie
· Flash Light tease in You Enjoy Myself
· Dave's Energy Guide tease in Tweezer
· Higher Ground and Theme from The Twilight Zone teases
Average Song Gap: 4.09
Performers: Trey Anastasio, Page McConnell, Jon Fishman, Mike Gordon, Dan Mosebee (Guest)
Notes: Ya Mar and Bowie included teases of the Bonanza theme. Bowie also contained Wipe Out teases from Mike. Page teased Higher Ground prior to Oh Kee Pa and the theme to The Twilight Zone before If I Only Had a Brain. YEM contained Flash Light teases from Mike and Tweezer contained a DEG tease from Trey. Jesus featured guest Dan Mosebee on harmonica.
Song Distribution:
5 Junta
3 The Man Who Stepped into Yesterday
2 A Picture of Nectar
2 Lawn Boy
2 The White Tape
1 Stash
Songs by Debut Year:
This show was part of the "1990 Tour."
Anyway, the first set is solid with a good Bowie and a great Suzy (great clav work from Page). The set also flows much better than either of the previous night's sets, despite an awkward mid-set Carolina. The set closes with an average (read: ripping) Fire that obviously set the stage for a smoking second set.
The Reba to open the second set is nothing exceptional, but it's solid and is probably the best version they've played since the song's debut. Most of the rest of the set is standard, save for a TIGHT Donna Lee, a noteworthy second-ever performance of Tweezer, a Cavern with the original, horrible lyrics, and some more great clav work sprinkled into some of the songs.
At any rate, this show was a much more entertaining listen than the first Colorado show, and I'm definitely looking forward to see where the momentum takes them for the rest of the "tour". Going with 3.5/5 stars tonight.


text:
Sorry I'm late - long weekend.
By allowing a starter to re-enter elsewhere you can do the following, usually easily.
and elsewhere in the order
Sub1 goes in for Start1 after two innings and gets his AB and DOs within the next two innings (yes - it will happen very often).
Start1 then re-enters for Start2 at the start of the 5th inning.
Bingo - three players have four innings each in the game.
Try that with the "same slot" requirement.
Watch MLB more closely. There are a LOT of eligible uncaught third strikes there but "unnoticed" as the batter is retired 99+% of the time. It's the ability to execute the play that matters, not the initial catching of the pitch.
You shouldn't have the rule until you get to a stage where the most of the players most of the time can 1) make a good pitch 2) catch it OR 3) execute the play.
If the top of the ladder allstars at the LLWS can't do it, why expect regular seson kids to do it?
Manny: Agreed-----as to the MLB mandated coaches helmets would not have saved Mike Coolbaugh---given the manner Mike was hit.
Also agreed, the mandated MLB helmets, absent earflaps, do come up short.
However, as I understand the helmet absent earflaps power-that-be reasoning---no earflaps because many base coaches use their ears to give signs.
Also---at times, must be in a position to hear a voice directed to him from the dugout, umpire, or a player.
As to your concern about players in dugouts being in harm's way----and your question:.."Is it going to take a player, coach or trainer getting his head crushed by one of those line drives before they fix that problem as well"?
Well, your concern did happen at least twice, to my knowledge.
Last year--Geno Valez--S.F. Giants---was hit the head with a line drive while in his dugout. Suffered a severe concussion.
Luis Salazar, minor league manager, spring training, hit in the face by a line drive while in the dugout. Suffered severe facial fractures.
Fenway, for one, has since put screening protection in front of dugouts. Francona, and a coach/ player or two still stand or sit in harm's way.
Just adding to the thread. This week Chase Utley of the Phillies was hit in the back of the head by a pitched ball. He hasn't played since, and didn't make the road trip to Milwaukee.
He has undergone various test for concusion since he was suffering from head aches. So while he was not killed, and the helmet helped, he had some serious medical issues follwoing a pitched ball.
In my opinion, he does not use the best helmet, if you look at the replay, his helmet is very thin and lacking the cushion he might have had. (Who, in MLB, is responsible for checking helmet safety?)
I think if Chase was wearing the Jimmy Rollins model of helmet, he would have head less concussive results!
Better to have it and not need it, than need it and not have it!
NELL....GOOD point. I was watching that game and after Utley was hit he looked back at the Umpire and Catcher strangely as if he didnt remember getting hit. They showed his helmet later with the large baseball shaped dent in it. People just don't realize the dibilitating effects of a concusion. TM
NELL..... and other interested persons:
Another reason why Utley didn't make the trip to Milwaukee---MLB now requires two(2) days rest for a player struck in the head by a pitched ball.
That could have an unintended consequence, hit a big hitter in the head during a pennant race and take him out of an important series.
Michael S. Taylor
Might also be able to file that under "INTENDED" consequence...with an "UNINTENDED" consequence being a fine and suspension of the throwing pitcher.
I honestly didn't know that! Thanks for that education! But I did hear Utley is having headaches!
Better to have it and not need it, than need it and not have it!
I didn't know about the 2-day-[minimum]- MLB rest requirement until I read it in a excerpt about Utley in the Boston Globe sports page this past week.
It's noted, it's "days rest" not "games rest'" ---assuming the Globe got it right!
Also, it appears, the severity of the hit is of no measure---with the minimum 2-days rest requirement MLB is erring on the side of caution as to concussions.
Just to make this thread a nice even number at 100, I will say I think the hit in the head caused the Phillies to lose in game 5 of the NLDS....
Just kidding, but I am a Phillies fan!!
Better to have it and not need it, than need it and not have it!
I think the real purpose of 7.13 is lost on some of you. Its purpose is not to restrain the runner, but to allow the pitcher to pitch without having to worry about holding a runner. This allows a young pitcher to focus on pitching and thowing stikes, which we all know is a major task at this level. They'll have plenty of time to learn how to deal with a runner as they get older. This does make for some bad baseball in junior league, but the move to the standard field size is a good place to start learning.
Leave the penalty the way it is...as others have said, this isn't softball.
I would like to see JrLL be 13/14 with 80ft bases. I know this would cause problems with leagues that use public fields. Also I would take 2 1/4 inch bats out of JrLL completely.
Michael S. Taylor
I will break-down my answers into 2 groups 1 for administrative "stuff" and the other for rules
I. ADMINISTRATION: I do not like any system that says "everyone makes it" There should be try-outs and unfortunately not everyone will or should make it. When you are in school even in the small grades not everyone makes the debate team or spelling bee team etc. etc. You have to EARN it. LL at least from my experiences has been a baby-sitting service. Some parents simply drop off their kids and either pick them up or in some cases have their neighbor pick them up and drop off.
The 11/12 yr. old age brackets should play 50-70 so that F1's learn the nuances of pitching. You have DDK's etc. etc. In other words play at least some form of "REAL" baseball. From my experience the kids "love it" when they play this type of ball. Yes sometimes the games turn into trackmeets but so do some LL games as well even on the traditional 60 ft. diamond. LL will not or most likely never do this because of the success of their show which of coarse is the Regionals and ultimately the WS which are on TV.
II. RULES: If LL did go to the 50-70 format then 7.13 is "out the window" As it stands now you could put some 20 umpires in a room and still not fully understand rule 7.13. Get rid of 7.08(a-3) and replace it with an MC rule ala FED or a collision rule ala NCAA. For LL Juniors / SR.'s / BIG LEAGUE adopt the FED or NCAA FPSR.
When you get to the SR / BIG League level get rid of the F2 to F1 restrictions.
I agree with some others get rid of the SPR rule and replace with a more traditional CR rule.
Put in stricter penalties for CBO meaning if you bat the line-up and someone gets injured / hurt then when that spot comes up you get an out.
Have consistent rules from regular season right thru to the WS. As it stands now you have regular season rules and then Tournament rules. Use ONE set of standard rules throughout the year.
Those are a few things that IMO I would like to see changed but it most likely will never happen which is the reason Travel ball has excelled.
Pete Booth
Pete_Booth wrote:
I will break-down my answers into 2 groups 1 for administrative "stuff" and the other for rules
I. ADMINISTRATION: I do not like any system that says "everyone makes it" There should be try-outs and unfortunately not everyone will or should make it. When you are in school even in the small grades not everyone makes the debate team or spelling bee team etc. etc. You have to EARN it. LL at least from my experiences has been a baby-sitting service. Some parents simply drop off their kids and either pick them up or in some cases have their neighbor pick them up and drop off.
Interesting assessment. But the coaches son, or daughter, gets a pass, right? You pay, you play is the rule, how will the not so athletic kids ever learn in your world?
I was portly and having a bit of a coordination problem when I was 8-9, but I played because I loved the game. When I was taller, and thinner at 12-18 I was different and skilled.
some of your suggestions are brilliant, but I don't like anything that resricts children from playing if they want to. (Half the travel teams are who's who's kid from each league, really)
So if you coach, your kid plays, gets picked on Tournament and Travel, usually pitches and is hardly ever the best athlete. (If a dad has a travel 13 seat van, his kid gets in! (I've seen it all)
Me, I think the umpires should pick the travel team made up of the best players. I bet the chooses would be different, and some coaches would be nicer.
I do see some brilliance in some of your other thoughts though!!
Better to have it and not need it, than need it and not have it!
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text:
FLOWERY BRANCH, Ga. -- As much as his teammates would like to see Tony Gonzalez be able to go out on top, they don't want the record-setting tight end to retire even if the Atlanta Falcons advance to and win the Super Bowl.
"I told him if we win it, he's got to defend it," running back Michael Turner said. "I know he's 36, but he doesn't play like it. He plays like he's about 26."
Gonzalez was selected to the Pro Bowl for the 13th time in his 16-year NFL career, his 93 catches tying for the fourth-most of his career. But the former Cal standout announced before the season that he planned on retiring, although he left himself a little wiggle room.
That "95 percent" appears to be low now, though, after the Falcons advanced to Sunday's NFC Championship game against the 49ers with their gut-wrenching but thrilling 30-28 victory over the Seattle Seahawks.
"After last week it probably went up a couple of percentage points," Gonzalez said. "If we get this win, it'll go up to 99 percent."
Gonzalez had never won a playoff game, going 0-3 with the Kansas City Chiefs and 0-2 with the Falcons. After the Seahawks came from 20 points down to take the lead with 31 seconds left, it looked like his record might drop to 0-6.
But Gonzalez's sixth catch of the game set up Matt Bryant's winning 49-yard field goal, and now he is two victories away from going out a champion.
"That's every athlete's dream," Gonzalez said. "Any professional athlete out there, it doesn't matter what sport it is, you would love to win a championship and leave."
Defensive end Michael Strahan got to do that with the New York Giants. This year, linebacker Ray Lewis would like to do it with the Baltimore Ravens, who will play the New England Patriots in the AFC Championship game on Sunday.
Gonzalez would be leaving when it is obvious that he isn't in decline.
But he craves more family time, and he isn't sure that he wants to continue committing to the workout schedule and extra preparation that has helped make him the NFL leader in career receptions (1,242), receiving yards (14,268) and touchdown catches (103) for a tight end.
"I compare it to when you watch those old kung fu movies and see the guy with the long beard," Gonzalez said of his continued success season after season. "The tougher fighter is not usually the young guy. It's the old guy who's been around for a long time. I figure I'm like that."
Gonzalez ratcheted up workouts dramatically after he had 17 drops in his second year with the Chiefs. He had just four this season.
"He's in my estimation the greatest tight end to ever play the game," Falcons coach Mike Smith said.
Gonzalez's impact is not just felt on Sundays, though.
"Tony has been a mentor to many of the guys in that locker room," the coach said. "He's a guy that when he comes to work, he comes to work. Much like all great players, you tell other players, 'You see that guy? Do you see what he's doing? Just mimic what he's doing and you will help yourself become a better football player.' "
Now, Gonzalez is two victories away from getting the ultimate reward.
"The only reason I've been playing the last couple of years, to tell you the truth, is for an opportunity like this," he said.
Asked what Gonzalez's response was when urged to defend the Super Bowl title if the Falcons win it, Turner said the response was an emphatic, "No, no, no, no."
So what will Gonzalez do after he retires?
"Probably do some television," he said. "Talk about football. Stay in the game a little bit. So any network out there, I'm free next year."
The Falcons sacks leader sat out he second half against the Seahawks after aggravating his sprained ankle and is listed as questionable.
Defensive tackle Jonathan Babineaux (shoulder) is also questionable.


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Actavis and Bioton set out to conquer diabetes market
Zug/Warsaw - The fourth largest generics producer and a polish biotech want to create a stir in the market for diabetes drugs. Swiss Actavis and Bioton from Warsaw announced that they have formed a joint venture company for the development and registration of insulins, including analogue insulins. Bioton will do all the heavy lifting, means developing and manufacturing the insulin products, while Actavis, which has roots in Iceland, will sell them more or less all over the world. Only in Bioton's backwater Poland, will each company will offer the insulin under their respective brands. Actavis will invest €55m, of which €22.5m was splashed out at the signing of the contract on Monday. Actavis' CEO Claudio Albrecht sees great potential in the world market for insulin drugs, which amasses revenues of currently €12b and is expected to grow in double digits over the next years. "We hope to be the first to launch a biosimilar insulin", Albrecht told Reuters, a news agency. Actavis has plans beyond insulin, though. He announced to launch a biosimilar for bestselling drugs every month during the first eight months of 2012.


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