text:
Interview with an important member, and one of the most respected names, in the Latin music percussion community.
José Mangual, Jr.
: A Family Affair
/ Interview by David Carp
Puerto Rican musical culture is blessed with numerous families where both the name and talent of a parent are passed down to the oldest son. The Latin music world was saddened on September 24, 1998 by the passing of
José Mangual, Senior
, one of the most respected bongoceros in history and one of nature's noblemen. His sons
José Mangual, Junior
Luis Mangual
have inherited not only the Mangual name, but also the Mangual talent and humanity. José Junior's dynamism as a performer is matched by his savvy as a producer. This was acknowledged in the February 4, 1978 edition of Cash Box with the following review of his first Chano Pozo tribute: "It took a long time for someone to come up with a tribute to the late Chano Pozo, veteran conga player.... José Mangual, Jr. does a fantastic job with the help of the top Latin rhythm section in the music business". His track record is no secret to industry insiders; the length and breadth of the Mangual Jr. career are meticulously documented by John Child's accompanying piece. The following comments on his family, his career, and the music scene as he's experienced it were taken from a November 8, 1998 conversation with David M. Carp.
David Carp:
Let's talk about your generation of the Mangual family. Are you the oldest of your siblings?
José Mangual Jr.:
Yes, and Luis is the second. I have a sister Sandra, a sister Felicita, a sister Carmen and a brother George.
Now on the first Chano tribute album there's a Carmelita who is thanked for her contributions and also a Sandra, are those your sisters?
Yes, on background vocals.
So all the Manguals of your generation are musical?
Yes. Carmen plays the cowbell, Sandy plays good conga, Fifi plays good maracas, they like to sing and enjoy themselves.
Can you give us some background about your brother Luis?
Well, he played with Pacheco, played with Héctor Rivera. He also worked for a lot of years with the Joe Valle Orchestra, he played timbales for about five years with Joe Valle. This was at the Club Caborrojeño and some other places off of Broadway, Joe Valle worked in all of them. And he did a lot of studio work that my father couldn't do because he was out of town or whatever, he took care of that for my father, too. So he's a great percussionist. He's a great bongo player, he's more into a Mangual, Senior, style than I am.
And he's now working for the MTA?
He works for the MTA now, yes.
But does he still play?
No, his schedule is kind of rough. But he's been doing some work with Gilberto "Pulpo" Colón's group Ensalada de Pulpo. So he's back to the bongo a little bit, you know, just to enjoy himself. I'm happy because they have to hear that sound that he has on the bongos which is great, which at least is preserved on the Johnny Pacheco records.
You said that your brother plays closer to your father's style than you do. Any further comments?
Well, listening to my brother, he has a cleaner sound on bongos, just like my father. He uses his fingers a lot, which I don't. I'll use my fingers but not the same way. If you would listen to the recordings, he's more related to my father's style.
So for the really intricate, fast kind of playing he'll use his fingers?
He does it with his fingers, and that's what my father's trick was.
What are the first percussion instruments you remember making any contact with at home?
Of course the bongo drum. My father used to come in and put the bongo there by the door, and my brother Luis and I used to open it up, started playing on it and so on. Of course we used to just sit down and stare at the box until we had the courage to open it up, and there was always a guiro or a maraca around. Because with the type of work that my father did every day playing - there was no Latin Percussion, there were no heads that were made and you go to the store and buy it - he had to wet the skin and mount it and let it dry at that time. You would have to take the tacks off and mount it all over again because it used to get burned with the sterno can. So therefore the drum was always around, and maybe Carlos "Patato" Valdéz would leave the drum in the house 'cause he had to go some other place and my father had to record with him so he left the drums there. And, of course, looking at the bongos in the back and Patato's drums last night - it was great, it was a great thrill.
When your father was working with Machito that meant going up to the Concord in the summer, were you ever there?
Yes, we used to go for a summer vacation. Sometimes it was two weeks, sometimes it was a month.
Oh, it varied?
It varied, you know, whatever time. Because they had little houses and the musicians could rent them for the families. So it was very nice, that time. We played baseball with Machito and Machito's sons and all the musicians there. During the day there was salsa at the pool or Latin music, it wasn't even thought of being called salsa at that time. But it was at the pool and I met Buster Crabbe there, he was like a swimming instructor, and a lot of famous people at the Concord Hotel.
Did they give cha cha or mambo lessons at the pool?
Yes, that was part of the show, Sunday afternoon or Wednesday or some time. But it was the thing, the mambo, the cha cha, everybody did it even if your name was Schwartz. It's not like now where if you're Spanish, then you must know salsa. At that time I saw a lot of American people dance better than the Gonzálezes and the Riveras, I mean, that's a fact.
Sure, they made it a point to learn.
So it was great.
Thinking of when you lived on East 116th Street, how aware were you of folkloric Puerto Rican music, bomba and plena? Did you hear much of that in the community?
No. The first time I heard bomba y plena was when my father invited Rafael Cortijo and Ismael Rivera over for dinner, a lasagna that my mother made. I remember that that was my mother on 106th Street and Second Avenue and there was a lot of snow and she fell and she broke her arm. But she made the lasagna and Rafael Cortijo and Ismael Rivera and I think it was Rafael Ithier and some of the people from the band that were here playing at the Palladium Ballroom, they came to our house for dinner. And that's the first time I heard bomba y plena, you know, Rafael Cortijo with Ismael Rivera singing.
But you don't recall people out in the park or in the community just joining together and making that music.
No, I don't recall that very much. I remember my father's mother, my grandmother, they would play something that we used to say was jíbaro music, like from the Island. Mon Rivera, things like that, they were more into the Puerto Rico thing. My mother came here at the age of one year old so everything was New York style, everything was American. At my grandmother's house the tradition was there as far as the food and the ideas and the language.
Can you talk about the first group with which you did regular gigs?
It used to be called El Super Combo Los Bohemios. At that time there used to be a lot of small bars and parties and everybody would pay sixty dollars for a group or fifty dollars and they used to call this guy to play. Friday, Saturday, and Sunday they had a party somewhere or a dance. The Baseball Players of the Club de Guayama of Puerto Rico, they had a little thing, they sell their little raffles and cook their food and sell the drinks for a dollar and beer and get the people, but they needed live entertainment. And so this group in the Barrio, there were many of them that used to play these dances.
So how old were you when you were doing this kind of gig?
I was fourteen years old. Even when I was twelve I used to go play, they gave me two dollars playing the bongo. Their two dollars, that was fine at that time. The guys were older men but they needed a percussion player and of course I was around and I was Mangual's son. So I used to swing the thing for them, so of course they used to call me to play. Then after that I went to play timbales with a group called Jarabacoa, Conjunto Jarabacoa. That was two trumpets - they were like a little bit more upstage. They played Las Estrellas, there used to be a club on Madison Avenue and 111th Street, Las Estrellitas Social Club. And they used to be in the Bronx, they went to Connecticut, they went to Jersey and they were like a little upstage, it was a top band. There was also Jarito y su Combo on 117th Street.
Oh, the guy who's legally blind.
Yeah, they used to call him the Puerto Rican Sammy Davis, Junior. But there were a lot of groups here in the Barrio and in the Bronx, so I always stayed working Friday and Saturday, whether it be bongo or conga or timbales.
Now did you ever actually study timbales with anybody or snare drum rudiments or any of that stuff?
I went into the seventh grade in Junior High School 167, Wagner Junior High School on 76th Street between Second and Third - although I grew up on 116th Street between Park and Madison I lived in the Yorkville section during the late '50's into the '60's, on 95th Street between Second and Third Avenue. Anyway, I was with the band and of course I played timpani drums and the snare and so on there. So I read there.
How common was it when you were a teenager to have Latin percussionists that read?
Well, I understand that there were a lot of Latin percussionists that read. Like of course the Henry Adler School, where my father used to go to buy his skins and so on, Henry Adler with Ubaldo Nieto and Ubaldo was a great reader. And of course Humberto Morales, that played with the Philharmonic Orchestra and so on. So there were a lot of readers when it came to becoming a timbal player or a drummer. As far as bongos and congas, you know, you just heard what was happening and you were good and that was it!
And you just had to remember the breaks -
Remember the breaks, which was hard! And at that time you really had to be on the money because everybody recorded at the same time. It's not like today where I could mess up the break and keep on doing it for two hours, at that time everybody had to know what they were doing. The whole band played together and no one made a mistake and if the mistake wasn't that bad, next song!
Can you tell us about how you began to record as a vocalist?
Well, there was an album that was called
La Protesta
, which was
Tony Pabón
's first album. And I wrote a song and I played the vegetables on the album, like the maracas and the guiros and I did some background vocals. There was a song called "San Miguel" that Kent Gómez and I wrote together. Tony Pabón liked it. Nestor Sánchez is singing the song and I'm singing it, too. I'm saying, "Nestor, but try to sing it this way!" And Ralphy Cartagena is there, who is the president and CEO of that company, and he tells me, "You know what, you're telling Nestor how to sing, you're a bongo player. So why don't you go in there and sing it?" And I went in there and I sang the song (laughs). Tony Pabón and Ralph Cartagena gave me that first push into singing the song. This must have been around 1970, yeah, '69. I was starting with Willie Colón, then he went on a trip, then he had another bongo player. But I was singing with La Protesta too, yes.
Have we missed anything significant before La Protesta, groups that you worked with in the mid '60's?
During the boogaloo era with I was with
Monguito Santamaría
but he had a Latin jazz type of thing.
When you consider how strong the boogaloo was in that period, you know, the crossing over with bilingual lyrics, how popular was Latin jazz during those years? How much work did Monguito get?
Well, there were a lot of venues. At that time there were a lot of American places - like you had the Village Gate, you had a lot of venues that wanted to hear a good timbal solo and just a Latin jazz number and not too many Spanish lyrics. So he worked a lot and besides he's the son of Mongo Santamaría, who was very hot at that time, too. So he got a little work and he got signed on a record deal, Fania Records.
How popular was he outside the Hispanic community?
Well, he did his Spanish gigs but American people would go to see him a lot because of the following for his father. But he also had a guy named Ronnie Marks that sang in English, a brother that danced and ùhe was like James Brown on stage. Plus Monguito had another singer singing the salsa numbers, plus he had instrumentals with Canazol. He had a guy named Sam Turner, a conga player that played with Lionel Hampton.
This is an American guy.
American guy playing conga but he played real, real, real on the money. Now I'm not putting him in a Willie Colón band, he would probably be a little bit off. But with Monguito's style he was perfect.
So in this band you played bongos.
I played bongos.
Because of the different kinds of music you're describing, does this mean that there are numbers where you just lay out, numbers where it wouldn't make sense to have bongos, or did you pretty much play everything?
I played everything. See, I come from both worlds so I could put it in in its proper level, you know, the bongo playing. If it was a cha cha, so instead of playing bongos I'd play the guiro. On a mambo, it was mostly cowbell, you know, the intro with the bongo and then (sings "Bop bop ba-re bop ba-re bop bop"). It was cymbal and a ride and everybody just soloed on it. So I would fit into all these little things. You see, I grew up listening to all types of music in my house. My father was very versatile in not only playing one style, he had different styles according to what was happening - what's the arrangement, what it is and he'd go on into it. So I listened to all types of music, so I just was not limited to one style of music or one style of playing.
Right, and your father was a jazz lover.
Exactly. I mean when he came here it was bebop time, you know?
He came just in time to see Dizzy Gillespie taking off.
Exactly, and not only taking off but he was right there with him as a partner, you know, with Charlie Parker. So we heard all types of music in the house.
How about R & B or doo wop?
No, I never went for that. I'd rather be listening to Chapottín then the Imperials or Frankie Lymon, you know what I mean? And that was my era but I'd rather be listening to Chapottín or listening to Cortijo.
Let's talk about how your association with
Willie Colón
My association with Willie Colón starts while I was playing with Monguito Santamaría, with
Héctor Lavoe
. Héctor Lavoe, first thing he told me was, "You can't come in here playing (sings 'Ton tan to-kan ton ke-ke ton ton, ke-kon kon, ke-kon kon"), I want (sings "KON chi-ki KON chi-ki KON chi-ki KON chi-ki KON KIN KON"). But Héctor wanted someone to sing chorus and he said, "You know, you could do it." And besides, Héctor is from Ponce, Puerto Rico and my father being born in Juana Díaz, which is near by and the family's from Ponce - so I relate myself to Ponce, Puerto Rico, that's where my roots are.
You're compueblanos.
Compueblanos. So Héctor was saying "Hey, you're from Ponce" and so on, "I want you to stick with this band". So I get my first shot, 1968, we went out to Los Angeles, California and worked with Willie Colón there for two weeks. We rehearsed and played at a place called Virginia's on Wilshire Boulevard. Puente used to go there, Rodríguez played there, Virginia's was the place where all the Latin bands went there to play. I wouldn't consider it like the New York Palladium. It wasn't a big place, but I guess the bands worked there a lot. So we played there, we rehearsed and when we got back from L.A. Willie kept on rehearsing. He had the arrangements and he recorded
Cosa Nuestra
, which was the "Che Che Colé" album. We traveled and had a great time during that era. After the "Che Che Colé" he made a big hit. He was already on the sounding board but with that album he went to the top.
When I interviewed Johnny Pacheco he mentioned that he acted as producer for this album. When Pacheco was in the booth how many of the ideas did he actually come up with?
Well, Willie Colón knew what he was doing. Pacheco was there being the recording director, vice president of Fania and he had his input with the background vocals and made sure that everything was on the recording level the right way. But I don't recall, he must have had great input because he's a great master. But Willie had his ideas and we were a well rehearsed group. So when we went to the studio we laid it on.
What kind of places in New York did you play with Willie in the late '60's?
Oh, man! We played the Hunt's Point Palace, the Palm Gardens. There were a lot of venues and Willie Colón was in all of them. Besides, he had something that no one else had. He had a small group with young guys and he was breaking the barrier, he was on his way. Besides, he got so popular that we were in Puerto Rico at least four times a year, or Venezuela, Panamá, Europe - I mean he stayed busy!
How common was it to do more than one gig in a day, like a double or triple?
It wasn't very common. We'd have a double, we had a trouble with Héctor Lavoe, would he get there? We had trouble getting him to the first gig, I don't know about two gigs! Because in order to do a double gig you would have to be promptly at 10 o'clock at Venue Number One, and at 12:30 sharp leave Venue Number One at 1:15 be at Venue Number Two. Sometimes we did 'em, like we'd do the Saint George Hotel and then go on to the Corso or something like that. But I would think he didn't like doubling, he didn't like too many doubles, we didn't do too many. But I guess the fact of that was we had problems getting Héctor to Number One. What happened if he came late to Number One, we can't get to Number Two!
I don't know how often the following routine happened, but when I first met Yomo Toro he described a situation where Héctor shows up two hours late and he says, "It's not that I came late, you came early!"
That was his thing. It's something that you can't believe, my dad'll get mad at me if I'm ten minutes late. And Héctor used to come in an hour, an hour and a half late, people asking for their money at the door, the promoter's going crazy. Héctor'd go up on the bandstand and joke and the people loved him. "Anyway, what happened was that my son was playing with matches and my kitchen was on fire. The firemen came, I had to go out in my shorts, ha-ha-ha-ha-ha, and by the time they told me to go back in the house it was like an hour. By the time I got dressed and got all beautifulled up for you people because I'm here to sing for you!" And we're sitting there and the show is going on.
So he always had a line of shit to lay on the crowd.
I mean he's the only guy, that's why he call him - "And do you know what, they told me that I started here an hour ago. So I'm here now, they told me it was 12:30 when I started. So why do you people come to see me at 10:30, huh?" (DC laughs) But at that time also there were two bands playing in a club. The only thing was the pause between one band and the DJ and what used to happen when there was no DJ, and we were having problems. So therefore Willie used to say, "Let's go!" and we used to start playing "La Murga" or another song and he would sing an inspiration, I would sing an inspiration. We would do "Jazzy," which is (sings), an instrumental. But then Héctor would pop it, so we cut it.
Think of the songs on Willie's records, were they well routined through being played at the dances, or were there songs that were created for the studio?
Yeah, like "June '73," but Willie is such a talent. See, at that time all groups stayed together for a long time. It's not like today, I have a session, I'm just gonna get this guy, this guy, this guy, this guy. Great musicians but we have to play - we're studio musicians. But no, Willie had a band that played with him. We all knew each other 'cause we traveled together, ate together, partied together, did everything together. So when he had an idea we would just follow him and when we went to the studio it was great! Then he had a great singer that had no problems with a word in Spanish, everything was perfectly said and inspirations and so on. 'Cause we all worked together, so it was very easy for Willie Colón to create his thing and he had just great ideas. You know, he would write something, today he'll get the idea and write it down and the next day he'll try it with the band, you know what I mean? That guy, he's a genius!
Before talking about Willie's recordings of typical Puerto Rican music I want to ask you about your own history of listening to these styles.
Well, when I first started really getting into it was when we did the
first Christmas album with Yomo Toro
. So then I had to listen in order to learn the style, to get into the roots of our music, which I never even knew. My thing, we grew up listening to Aragón, Chapottín, the Machito band and so on, but then we had to get into the root. So I happened to listen because the records were accessible in my aunt's house, they were there. So I just listened to Ramito, Chuíto de Bayamón and the groups I played with as a kid, there was a cuatro and a guitar. But they didn't play hillbilly music from la montaña, which was that type of music with the cuatro. They just played (sings son montuno vamp), they were playing like a salsa thing but with guitars. But then my aunt, she had those records so I started listening to them there. Then with Yomo and Willie's ideas, they put everything together and of course Héctor Lavoe singing and you hear those albums every year.
In fact I was just listening to one of the Mon Rivera albums that you played on near the end of his life, where he redoes some of his old hits. Then I turn on "La Mega" with Polito Vega - he's playing the same tunes I was just listening to!
(laughs) Wow, that's great! We had Milton Cardona and Kako - you know, he's from that tradition so he was like there trying to hold the thing together. Great album, I think we did
two of them
What was
Mon Rivera
doing at that point in his life, was he working much?
No, he wasn't working much. But I think that Willie loved his music, see, and being in the position that he was, he would be able to tell Gerry, "I think this idea's gonna work." Gerry probably said, "You're right, Willie, let's go." Because Mon Rivera is one of the pioneers of the trombone and Willie was a trombone player, so he figured, "Let me get this man now while he's still in motion and let me record him and let me do some new music and bring a little bit of the old music up." And remember, it's like E.F. Hutton, when E.F. Hutton speaks everybody listens so whatever Willie played, everybody listened. So he educated a lot of Nuyoricans like me to the music of Puerto Rico. He made you think man, my ancestors are there or my roots are there, let me think about the Puerto Rican flag and the music and the culture.
You recorded some of Mon's old numbers like "Aló quién nama," "Karakatis Ki." How much did you play these numbers at Willie's gigs?
Well, for instance, like behind you there's a poster, it says "Super Salsa '78," That was a concert in Puerto Rico with Celia Cruz, Héctor Lavoe, Mon Rivera and Yomo Toro. The whole idea was to have all his singers come in and do two or three numbers. Mon Rivera at that point did not do that concert because he was sick already. When we did the first album I think we did one concert and then a couple of others. Then we did the second album because that went very well and then Willie was trying for him to do those shows. But we never really got to work a lot with Mon, he was already sick and then he died. ("Super Salsa '78" was on February 17th, 1978, Mon Rivera died on March 12, 1978)
Did you use panderetas on those records?
No, we used the bongo tuned to a certain way (sings) and the conga drums (sings) and the timbal playing time. We sounded a little bit like panderetas, but it's not the real folkloric sound of the pandereta but we tried to fit it in there.
But it's the kind of tuning that you'd hear on the panderetas.
Yeah, the tuning has a lot to do with it.
It's like (sings la, la-do la, la-do la), like that.
Have you ever played panderetas?
I tried to. I would think if I would go somewhere with los pleneros and those guys I would be able to get into it. It's a lot of practice, you know, the position to hold it is different, to hold the pandereta. But I haven't tried it, though, and it's easier on the conga drums.
Before we got started today you were telling me how you ended up on the soundtrack for
The Incredible Shrinking Woman
, could you tell us that story?
Well, I recorded for Ciani Music and she asked me to do the background vocals, I had recorded the percussion already with Milton Cardona.
This is Suzanne Ciani, the one who plays keyboards and synthesizer?
Yes, she has a music production company. And so she said, "What do you say when something happens? There's a little girl, she's lost." And Milton said, "Ay yay yay!", no big deal, and she says, "Ay yay yay, that sounds good!" And then she says, "She's lost and she needs help" - "Ayúdame!" So he says (sings, claps clave, "Ay yay yay, ayúdame" and we heard the track and we used that chorus in there. And then she says, "Sing about the little girl in inspirations," and we sang and she said, "Well, listen, you guys just did this so you have to sign this release form where the music is mine." Who cared? I should have cared! Because it was in a major motion picture (laughs) where I could have made some money on it. There's a maid, her name is Consuelo, she puts on the radio and you hear the Latin music playing and she's dancing and the little shrinking woman is in the faucet there. She falls down the drain and the music is going on and she doesn't know what's happening but she's screaming, and the maid doesn't hear 'em because the music is loud and she's dancing.
How did you get involved with producing, stuff where you write some of the material and you sing and it's your concept - how did that evolve?
Well, it all started with Latin Percussion. After we finished the job with Willie Colón we would have a lot of younger people interested in the percussion and answer their questions. So I said, "Damn, we should do an instructional LP." I approached Martin Cohen from Latin Percussion and in October of '74 we went into the studio and we recorded
Understanding Latin Rhythms
, which is my concept and my ideas, OK? So we did that LP and it went very well. We used my father on the bongos, Patato Valdéz on the conga, Bobby Rodríguez on bass, Manny Oquendo on the timbales cas deans - I always tell the people that these guys are deans in their field.. For merengue we used Porfirio Jiménez, a merenguero who used to play with a merengue group in the Caborrojeño. I always loved the way he played and so I called him in to do the merengue part, just to give a demonstration of what a merengue sounds like on the tambora and the guira and so on. And that's when I started getting into the producing. Then I decided to record
Tribute to Chano Pozo
, 1977. The idea was that you would buy the record, inside the record there would be an insert for a dollar and mail it to my company, which was called Tumbao Publishing, and we'll send you a booklet that will go with Cut Number Two and you would hear the sound of the timbal, of a conga drum and the bongo drum.
OK, that explains some of the short cuts on the album.
The short cuts, OK? So then we record "Campanero." In the booklet it says, "To give a full conjunto effect...," conjunto meaning together, so we had José Febles do the arrangement of "Campanero." So I figured why should we be singing about some woman, about some guy - let's talk about a cowbell player! A bongo player, a percussion player. So we did "Campanero" and it was a tribute to a great drummer, who was Chano Pozo. And let me tell you, "Campanero" and "Cuero na' ma' " became the salsa hits.
So they were played on the radio.
I don't know how, but they played on the radio. It started playing on radio in Panamá, in Colombia, in Venezuela - I mean all Latin America played "Campanero" and "Cuero na' ma' ." So an instructional album turned out to be a salsa album.
That's wild.
Then I got signed by Velvet Records in Venezuela and I started producing my own things, which I still own today.
So the compilations that are coming out now, that stuff is originally Velvet?
Some of it, some of it is Campanero and some of it is Velvet.
So is Campanero a label or a production company also?
It was a production company.
Then what is True Ventures?
True Ventures was my first company. If you recall on the
Understanding Latin Rhythms
, it's LP Ventures. So then I said "This is a true venture," so it's called True Ventures (DC laughs), understand what I mean? (DC slaps JM five) But Mr. Cohen was my teacher of my business, I respect him and love him a lot. He was a very good friend to my father and my father endorsed his product a lot of times. At this memorial and throughout my father's death he's been a very close person to the Mangual family, we speak. He was my teacher and I learned a lot from him.
second Chano Pozo tribute
came out considerably later. Can you explain the time gap?
The time gap to this album was that I had a lot of people interested in recording me. But when it came time to figures and contracts all the business went down. Then there was the period of salsa romántica, I stayed out of the studio as far as producing my own albums for five years.
And which years are those?
Well, it was about '86 through '92. So I was in the studio producing for other labels but not for myself. I stayed active, but I mean I was doing like for Polygram Records, "Lady in Red," and I was doing things in South America, and Melcochita. You know, things like that but I didn't see my music. Then the business changed where record companies were involved with radio stations and radio stations only wanted to play that style of music and I don't have the voice for that style of music and my thing is strong and percussive. I mean that music cannot be percussive, you know, romantic cannot be too percussive.
So you made your living for that period as a producer?
As a producer. And I traveled by myself as a soloist through, let's say London and Europe doing my little concerts.
Do you take any key men with you or do you go as a single and use local musicians?
There are local musicians there and in London, there's a band. I get there two or three days before, sometimes I send the arrangements ahead and when I get there it's "Cut this," "let's tacet this," and "let's make this easier this way." And it works out, sometimes I'm happy, sometimes I'm not. But the show must go on. Sometimes you have a bass player that doesn't know the right tumbaos and so instead of having dinner that night you're in your hotel room trying to teach him some basics and "Play it this way," and so on. And a lot of times it works out, 75 per cent of the time it pulls through.
So other than the Spanish speaking countries you go as a single to England and what other countries?
Paris, Germany and Holland. This coming year -- I met a promoter from Spain, I think in '99 I'll be in Spain. I'm going to work toward my entertainment field.
What about Scandinavia?
Scandinavia, I was there with David Byrne, I met a lot of people. But see, these places that I'm talking about, there are a lot of Spanish people, you know, people from Peru, from South America, from Colombia working there. So there's some people that have the venue already and they call you direct to go there. Scandinavia, I don't know if they're in Scandinavia yet, where there's a promoter who will call you directly. They call Ralphie Mercado and Ralphie sells them his bands.
Do you perform much as a vocalist in New York?
I'm fond of an orchestra called Sarabanda and three years ago I had a couple of hits with that band. And two years ago I had a song played on the radio which is one of those soft songs, Luis Miguel old bolero, and it's called "No se tu" and "No se tu" came out to be a big hit with that band. And I played a lot, I did the Copa a lot, I went to Canada, I went to Boston. Then once you're not played on the radio, you're not called any more because we only have four or five venues here now, in the greatest city in the world.
It's ridiculous!
Yes. But at one time, you know, I played a lot of gigs. That's why we just recorded an album called
Son Boricua
with Caimán Records and it's a sextet. A sextet could go anywhere, you know?
Who's in the band?
I used Jimmy Sabater and he sang a couple of songs. Frankie Morales, with Tito Puente, the vocalist - he sang a couple of songs. Lucho Cueto, Papo Pepín, Ray González. Jay DeJesús is a good piano player, Rubén Rodríguez on bass, Ray Martínez. A young lady called Ada Chabrier, she sang a ballad medley of Rafael Hernández songs. And it was all songs from Puerto Rico but done in New York, Nuyoricans singing to Puerto Rico.
In the 1980's, with the advent of salsa romántica, do you recall as a session player situations where the producer is actively telling the percussion to play differently or to play softer, or would it be handled that way? How much of a sense did you ever have that they were telling you from the booth to cool it?
I never was told that. I believe that maybe they would say the martillo has to be played (sings "BA-ke-chi-ki, BA-ke-chi-ki, BA-ke-chi-ki, BA-ke-chi-ki") in order for the guy, because now we're going into old bolero lyrics and it has to be romantic so I can sing (sings "Yo te quiero, yo te adoro") and the bongo player (sings "Ba-TA, gu-gu-gu-du!"). No, (sings "BA-ke-chi-ki, BA-ke-chi-ki, BA, TA, ba-chi-ki" ). Automatically, when you look at the drum music, you would say, "Well, this has to be a little softer, I have to play just time." Because if I come in and I do a little (sings "Bap BAP-oop") you know, it doesn't go with what the guy's singing, and a lot of times when you heard the singer you fell into it. But I think that's what they're saying now. That's why today's rhythm sections, they all play the same way, that's why all the music sounds the same way. Before you could tell, that's Machito, that's Rodríguez, that's Tito Puente, that's Orlando Marín, that's Vicentico, everyone had his own identity. Today's music, the arrangers are all gonna write the same way. All the singers want to sing the same style and there's no difference.
Because, to me, the whole role of the rhythm section has been kind of watered down over the years and people have forgotten what strong playing is all about.
Well, it's with the style of today's music. It's supposed to be, what do they call it, romantic salsa and the percussion cannot be the way it should be. You know, you have three trumpets and two saxes or a big band, you have to play! I remember in school the first thing that they said about music was, "Music is what you sing and rhythm is what you dance to." I mean I'll never forget that instructor saying, "Music is what you sing and rhythm is what you dance to," and people need the rhythm in order to dance. Now when you have those big bands, Puente with Mongo and Willie Bobo, Machito with José Mangual, Patato, Ubaldo Nieto, Tito Rodríguez, Chonguito, Vitín Palacios and Míonchito or I'm thinking of Manny Oquendo and Mike Collazo and Marcelino Valdés on the conga, that was a great rhythm section! I mean rhythms were strong because they had to hold up that big band and let the people swing. And what happened was they all played as a section, they all played together - the bongo, the conga, timbal player, they all complemented each other. Today's percussionist is playing something that he feels like playing because he knows he's recording, and without the concept of the dancer and of getting involved in the arrangement. Those bands were great because they rehearsed what they were gonna record because there was no time to go in the studio and rehearse, it was the time to go to the studio to record!
And, like you said, you're recording live so you can't fix it in the mix.
I remember going to a Vicentico Valdés recording with my dad and the trumpets were on risers - you know, where you use dynamics in music, where you play (sings a line with a strong crescendo and diminuendo). Today the engineer says not to do that, don't worry - there's no dynamics! You look at the arrangements, they have no dynamics! I guess if you looked at René Hernández's arrangement it would have dynamics for the section - you know, where the saxes would come out here and the brass would be a little lower, the trumpets and then the trombones would come in. In order to have the right sound the people would play with dynamics. Now everybody plays the same way, same volume!
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text: Noteworthy See full list of important dates Apply for Summer Aid The Summer Aid Application is now available. Download the form > Payment due date Don't forget your next tuition payment! View payment plan deadlines > DUE Date June 14, 2016 Discover Summer Sessions Earn credits during the summer. Read about refunds. Learn more about summer sessions >

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Legendary is only one fitting adjective to describe these horror punk pioneers, and with Misfits tickets you can see Jerry Only, Dez, and Chupacabra and all their spectacular theatrics live on stage. So come see the Misfits tour as it rolls into a venue near you and experience their heavy metal punk sound in person.
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In the late 1970s, the Misfits formed in New Jersey, and though the punk outfit has undergone numerous lineup changes over the years, the band remains widely regarded as one of the most influential acts of the genre. With a unique focus on horror punk, the Misfits created several monumental albums, including releases like "Walk Among Us" and "Static Age." Under the guidance of founding member Jerry Only, this band continues to bring its timeless hits to the stage more than three decades after its formation. Get a taste of this energetic outfit when you order Misfits tickets for a concert near you.
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Standard of Care of Volunteer
(Common Law)
Revised to January 1, 2008
A person who voluntarily performs an
act, without legal obligation to do so, has the same duty of care in performing
that act that any other person would have under the same circumstances. That
duty is the duty to use reasonable care under the circumstances.
This charge pertains to volunteers
who are defendants. The rescue doctrine charge, separately given, pertains to
volunteers who are plaintiffs. No Connecticut authority has been discovered.
The proposed instruction is taken from 2 Restatement (Second), Torts § 323
(1965). The rule is considered "hornbook law." Indian Towing Co. v. United
States, 350 U.S. 61, 64, 76 S.Ct. 122, 100 L.Ed.2d 48 (1955).
A volunteer is subject to liability
for physical harm resulting from a failure to use reasonable care if either 1)
the failure to use reasonable care has increased the risk of such harm or 2) the
harm is suffered because the person who was harmed relied on the act being
There are numerous statutory
exceptions to this common-law rule codified in Connecticut's "good Samaritan
law." General Statutes § 52-557b. In appropriate cases, the jury must be
instructed on the statute rather than the common law.
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text:
- Vitamin Guide
- Health Conditions
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- Current News
- Food Guide
- Recipes
Shelled walnuts can be used straight out of the package. Chopped walnuts are used extensively in baking, especially in foods, such as brownies and cookies, where they are added at the last stage of mixing. Walnuts are also a good addition to savory dishes, such as grains, stuffing, salads, and stir-fries.
Copyright © 2015 Aisle7. All rights reserved. Aisle7.com
Learn more about Aisle7, the company.
Learn more about the authors of Aisle7 products.
The information presented in the Food Guide is for informational purposes only and was created by a team of US–registered dietitians and food experts. Consult your doctor, practitioner, and/or pharmacist for any health problem and before using any supplements, making dietary changes, or before making any changes in prescribed medications. Information expires June 2016.


text:
Slim Jim Confidential Document Receptacle w/Lid, Rectangle, 23gal, Light Gray
Brand: Rubbermaid® Commercial
Item #: RCP9W15LGY
- For secure disposal of confidential materials.
- Side entry paper slot allows placement under desks.
- Includes a slotted key locking lid.
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For secure disposal of confidential materials. Side entry paper slot allows placement under desks. Includes a slotted key locking lid. Capacity (Volume): 23 gal; Color(s): Light Gray; Shape: Rectangular (Slim Jim); Width: 11".
For secure disposal of confidential materials. Side entry paper slot allows placement under desks. Includes a slotted key locking lid. Capacity (Volume): 23 gal; Color(s): Light Gray; Shape: Rectangular (Slim Jim); Width: 11".
|Light Gray
|Rectangular (Slim Jim)
|Global Product Type
|Waste Receptacles-Rectangle, Security
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|Slotted Key Locking Lid
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text:
This is really easy to fix.
You MUST set the IP address in the "general configuration" tab as the IP address of your MAC OS X computer that you are using to communicate to your PS3 device. If you are using a router of some kind, either wired or wireless, then the IP address has to be the one that you connect your MAC machine to the router.


text:
BALTIMORE (AP) " A jury will be seated Wednesday for the trial of Officer William Porter, the first of six Baltimore police officers to stand trial in the death of Freddie Gray, a 25-year-old black man who died of a spinal injury he suffered in custody.
WASHINGTON (AP) " The House and Senate have reached agreement on a 5-year, $281 billion transportation bill that would increase spending to address the nation's aging and congested highways and transit systems " a legislative feat that lawmakers and...
SAN FRANCISCO (AP) " Google is being accused of invading the privacy of students using laptop computers powered by the Internet company's Chrome operating system.
ANN ARBOR, Mich. (AP) " A Canadian man caught at a border crossing with 51 turtles taped to his body pleaded guilty Tuesday to smuggling or attempting to smuggle more than 1,000 of the reptiles out of southeastern Michigan.
HELENA, Mont. (AP) " U.S. Bureau of Indian Affairs officers escorted two children off an American Indian reservation in Montana where their grandmother brought them amid a custody dispute, bringing the federal government into a clash between state...
SAN FRANCISCO (AP) " Talk about birth announcements: Facebook CEO Mark Zuckerberg and his wife say they'll devote nearly all their wealth " roughly $45 billion " to solving the world's problems in celebration of their new baby daughter, Max.
WASHINGTON (AP) " As President Barack Obama worked to hammer out a global climate agreement in Paris, Republicans in Congress moved to block his plan to force steep cuts in greenhouse gas emissions from U.S. power plants.
WASHINGTON (AP) " The State Department is warning U.S. citizens against traveling to Mali and is authorizing the voluntary departure of eligible family members and non-emergency personnel from the U.S. Embassy in the African nation's capital.
WASHINGTON (AP) " A hot new tool to edit the human genetic code has a big wow factor: the promise of long-sought cures for intractable diseases. But depending on how it's used, that same tool could alter human heredity.
LE BOURGET, France (AP) " President Barack Obama said Tuesday that parts of the global warming deal being negotiated in Paris should be legally binding on the countries that sign on, setting up a potential fight with Republicans at home.
CHICAGO (AP) " Rahm Emanuel sought for months to keep the public from seeing a video that shows a white police officer shooting a black teenager 16 times.
Rockford Directory
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text:
JAN 29, 2013 - Zero Hedge
A Must Read - Share
U.S. Wants Criminal Charges for RBS (WSJ) Bernanke Seen Buying $1.14 Trillion in Assets in 2014 (BBG) Irish banks at mercy of international paymasters (Reuters) Do badly, and we will let you do even worse: Rehn Signals EU May Ease Spain Budget Goal in Austerity Retreat (BBG) Too Soon to Celebrate for Europe's Banks (WSJ) Army says political strife taking Egypt to brink (Reuters) Media Firms Probed on Data Release (WSJ) - No Criminal Charges Seen Japan's Government Proposes First Spending Cut in 7 Years (BBG) Nazi Goebbels' Step-Grandchildren Are Hidden Billionaires (BBG) Goldman seeks to
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text:
City police on Monday released surveillance photos of two people authorities believe are involved in damaging nearly 100 cars in Winston-Salem.
Vehicle windows in dozens of cars have been shot in the last few days in various parts of the city.
In the most recent incident -- Feb. 13 -- police said the culprits went to the Walmart on Kester Mill Road and entered the business. After they left, they used BB guns to shoot the windows of vehicles in the parking lot, police said.
The suspect vehicle was described as a dark-colored Dodge Intrepid.
More than 85 cars have been vandalized in recent days, according to Winston-Salem authorities.
Anyone with information is asked to call Winston-Salem police at 336-727-2800.


text:
Body-painted models, bikram yoga practitioners and a look at supercool technology that makes high-definition look old-fashioned. Yep, it's opening night at Cinequest, Silicon Valley's sometimes kooky but always fascinating film festival.
The fest, now in its 23rd year, opened Tuesday night at the California Theatre in downtown San Jose with a screening of "Ginger & Rosa," a coming-of-age tale from director Sally Potter that takes place during the Cuban Missile Crisis. Feel like you've seen that story? Well, this tale about two girls place in war-weary England and has a few twists.
There was the usual fanfare -- spotlights framing the California Theatre, a red carpet and a paparazzi walk for filmmakers and actors. That group included Chinese director Yang Shupeng, here for the North American premiere of his film "An Inaccurate Memoir" actor Ryan Merriman, who was in "Final Destination 3" and has stuck to the thriller genre with the festival entry "Dose of Reality,"; and the group behind "Somewhere Slow," writer/director Jeremy O'Keefe and actress Jessalyn Gilsig, who is still despised by legions of teenage girls for her role as the naggy Mrs. Schuester on the first two seasons of "Glee."
This being Silicon Valley, there were lots of oohs and ahhs for a video about Sony's use of 4K technology, which takes resolution to new levels. Festivalgoers will get a look at three classics -- "Lawrence of Arabia," "Taxi Drive" and "Dr. Strangelove" -- next week.
So where did the body-painted models come in? They were part of the preshow entertainment. Trina Merry of Art Alive Gallery painted them to represent the various aspects of the festival embraced by "Cinequesters": Love, Life, Celebration, Innovation, Inspiration, Thrills and Laughs. The eye-popping models, wearing only the skimpiest clothing and painted head to toe, posed on stage. They were later replaced by a group demonstrating bikram yoga, which could come in handy after several hours sitting in theaters.
STREET WARS: There was no shortage of transportation -- including a Vegas-style party bus -- to the after-party, which was about seven blocks from the California. As the audience streamed out of the theater, the pedicab and taxicab drivers were competing for customers who didn't walk or get on a party bus to the after party. One of the taxicab managers told the pedicabs to beat it, saying they'd bought out the entire loading zone in front of the theater.
I'm not sure how that turned out, but I saw enough people arriving in pedicabs to make me think the pedal pushers did OK.
PICTURE THE PARTY: The cavernous Corinthian Event Center turned out to be the right venue for the Opening Night Party, which was packed to capacity with revelers who really appreciated the sponsorships of Stella Artois beer, Fortino winery and Tito's vodka all night.
Coolest non-movie part of the party was the set of seven artistic pinball machines -- including one with a clear glass case that left all the wiring and mechanics visible -- brought in by Fil Maresca.
UNLEASHED: The theme of this year's festival is "Unleash," and I asked festival co-founder and director Halfdan Hussey what that meant for festivalgoers.
"What Cinequest is always about is people getting together and sharing a profound experience, whether it's through the films or the parties," he said. "For them, 'unleash' is them opening themselves up to that connection."
Get schedule and ticket information at www.cinequest.org.
Contact Sal Pizarro at email@example.com. Follow him at Twitter.com/spizarro.


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I've had my stab at a few of the country's top ice cream shops and I believe that Scoops has a place among them. I was pleasantly surprised this year when Complex Magazine named Scoops Westside the top ice cream shop in the country, ahead of some other excellent producers. I actually didn't believe it when I saw it. I still don't think we're better than some of the other shops (let alone Scoops on Heliotrope!) but I think that what I helped to do was digitize Scoops marketing strategy and make it accessible for people who live on the other side of town. Seeing this kind of enthusiasm and support for the product we sell has made it easier to be enthusiastic about ice cream. Still, everyday there are people who certain expectations about what we ought to be (plain Jane vanilla, for example), and I have to try and convince them to try something new. Ice cream, like coffee, wine, and beer, is highly ingrained in people's perceptions. In fact, it's even difficult to place what Scoops exactly is. It's not quite old fashioned American ice cream nor is it true Italian gelato - it's somewhere in between, with the advantages of both (creaminess vs. lightness of texture vs. unique flavors).
Another aspect that I've learned is that ice cream, like any food business, is about relating to people. It's easy to become a "nazi" if you know how good your product is. It's easy to dismiss people and just turn them away if they don't understand the kind of product you present. The harder thing to do is to sell people on your concept, and be patient while they try and understand. The ones you win over will be your strongest supporters and those who keep trying, well, it's your job to keep selling, shaving away unnecessary bits and pieces along the way.
At its core, ice cream is a personal thing - it's the perfect reminder of childhood, that Rosebud of our lives that we can turn to when things are off kilter or uncertain. Sugar, cream, milk - it's all a formula of familiarity. It's in that medium that we try and bend perceptions and expectations. When we give people flavors with goat cheese or bacon bits, wasabi or durian, we're allowing people to taste and see something completely extraordinary in a familiar context.
After a year of doing this, you start seeing the beauty in continuing to show newcomers. You get just a little bit giddy when someone says it's their first time here and you present a little nub of fresh ice cream on a shiny metal demitasse spoon, and you see their reaction to tasting it. I've had some customers literally bang their fists on the glass display, or hang their head back at the amazing flavor of what they've tasted. I'm sure other people who work in the food/hospitality industry strive to see this reaction in their customers, the ones who overtly express their joy and satisfaction with their food and drink. I think it's ultimately what drives those who are passionate about serving people.
Another incredible benefit of working at a shop has been the number of relationships I've built. I really appreciate all the friends who have supported me and come by from all walks of life. It would take too long to give a shout out to everyone, but I'm super thankful for all the food, coffee, lunches, six-packs, etc.


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TALLAHASSEE, Fla. – The University of Pikeville women's bowling team turned in another solid performance in the 2013 Seminole Classic, hosted by Florida State University over the weekend.
Coach Ron Damron's team finished second in the varsity division, rolling a total of 8085. That put them behind Webber International and nearly 400 pins ahead of third place Central Florida. Florida A&M and Florida State were fourth and fifth.
In the tournament, the Bears lost 2-0 in the semifinals to Central Florida.
In the JV division, Webber International was the winner, with Pikeville A and Pikeville B finishing second and third.
Junior Christina Halen led the varsity team with a six-game average of 202.33. Senior Kaylee Magazine rolled four games with an average of 201.00, while junior Ashley Copley played four games with an average of 198.5.
JV A was led by sophomore Felecia Proctor, whose four-game average of 178.75. Freshman Fallon Tallman rolled five games with an average of 176.8, while freshman Tricia Kent's four-game average was 176.75.
JV B was paced by sophomore Jenna Grandy, who averaged 181 for five games. Junior Alexis Vescovo averaged 180.5 for four games.
The Bears will be back in action Jan. 26-27 in Richmond when they play in the Bulldog Classic.


text:
$12.449M contract for L-3 subsidiary in Londonderry
L-3 Communications Corp., Londonderry, N.H., is being awarded a $12,449,000 firm-fixed-price, indefinite-delivery/indefinite-quantity contract for spare parts for AN/PVS-15, AN/PVS-18 and AN/PVS-31 night vision goggles.
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Formulations for tablets with fast melt characteristics were originally demanded for special patients and indications, where swallowing tablets led to poor patient compliance, particularly in children and geriatric patients.1 Soon after, however, the market demanded more of these easily administrable formulations and companies realized their marketing advantage compared with conventional tablets; the ability to take tablets anywhere without water for swallowing made them more attractive. Moreover, companies regarded this new formulation and administration route as a product lifecycle extension — a strong economic driving force these days. Soon, this special application niche was named ODT — orally dispersible tablet.
ODTs can be categorized into two main groups: lyophilized formulations and directly compressed tablets. Thin film strips are a third category, but are limited in dosage up to approximately 30 mg. This technology does, however, keep its niche for certain actives; for example, in cold and flu indications. Lyophilization plays a minor role owing to its cost and difficult handling, though it does remain important for very sensitive drug molecules. Undoubtedly, the greatest interest of pharmaceutical formulators is in direct compression, because it is a cost-effective production technology with a broad application range that has the least limitations with regards to the active. Furthermore, the finished product resembles what patients are used to, which guarantees good acceptance and aids compliance.Numerous excipient systems for ODT applications are already available on the market including, for example, Pharmaburst, F-Melt and Ludiflash (directly compressed ODTs), and Pharmafreeze, Zydis and Lyoc (lyophilized ODTs). One might, therefore, ask the question: is there a need for yet another basic excipient system for direct compression and fast disintegration? We believe the answer is "yes".
Developing a two-component excipient
As a minimum requirement, most directly compressed ODTs rely on the inclusion of a sugar alcohol combined with a superdisintegrant. The use of superdisintegrants has been widely described; they are generally accepted as a necessary component of ODT formulations to speed dissolution.4,5 Another important feature of an ODT is its taste; it must taste good otherwise the product will never get off the ground. In general, polyols are known to exhibit a sweet taste and a pleasant mouth feeling, with mannitol being one of the most commonly used of this class because of its crucial qualities; it is not hygroscopic, it is stable and it is inert to virtually all APIs.
However, polyols are not thought to be sweet enough to mask bitter-tasting actives, and are, therefore, deemed to be insufficient for taste-masking in ODT formulations. As a result, they are hardly used as sweeteners in pharmaceuticals and instead serve as effective binders. A supersweetener, such as aspartame or sucralose (sucralose does not exhibit the same unpleasant aftertaste as most other sweeteners and has a similar, pleasant taste to sucrose), may be better in this scenario.
When considering ODT excipient systems, it is nonsensical to include a sweetener at this stage because its dosage will be dependent on the nature and taste of the active and other ingredients.
Most ODT excipient systems on the market contain more than the two essential components; that is, they include several binders and a superdisintegrant. Thus, the amount of regulatory work required for registration increases with the greater number of components added. We believe that this work could be significantly reduced if all ODTs only contained two components: one binder plus a superdisintegrant.
Parteck ODT is a combination of spray-granulated D-mannitol (a binder) and croscarmellose sodium (a superdisintegrant). Both are well accepted by authorities, which accelerates the registration procedure. Croscarmellose sodium is the sodium salt of a cross-linked, partly O-(carboxymethylated) cellulose.6–9 This paper examines the practical use of this new excipient system.


text:
Cancer benefit at football game
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Apple is starting to develop a video sharing and editing app for its iPhone and iPad.
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Experts Warn New NFL Stadium Could Be Bad for Your Hearing
The new stadium for the Minnesota Vikings has a fixed roof made of acoustically reflective material that experts say could raise noise to ear-damaging levels.
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Presidential Election Walk-Up Songs
One of the tough tasks for Presidential campaigns is finding the right theme song that best fits the candidate. ABC's Arlette Saenz reports.
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Here's the latest for Thursday, August 26th: Clinton and Trump trade racial bias claims; Funerals for Italy quake victims; Two nuns killed in Mississippi; Plane hits house in Indiana.
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The Grammy Award-winner surprises fans by performing while flying above the stage!
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A preview of two movies hitting theaters this weekend.
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Friday Rewind: Deadly Earthquake in Central Italy
Taking a look back at this week's top stories, including the earthquake in Italy that killed hundreds of people.
1:19Now watching Up next
Hide-And-Seek World Championships
Adults compete in teams to become best in the world at the kids game!
0:37Now watching Up next
Raw: Two Hurt When Plane Hits Indiana House
A small plane crashed into a home in western Indiana, injuring two people on the aircraft. The single-engine Cessna slammed into the house Thursday in northern Vigo County. The two people on the plane were rescued and flown to a hospital. (Aug. 26)


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Nintendo at E3: Amiibo, Zelda, Mario Maker and More
Nintendo's announcements at E3 will please long-time loyalists but the company is taking steps to attract new fans too — something it has struggled with since the launch of the Wii U console.
'Amiibo' Figures
Nintendo provided some details on its plans for a line of figurines that will work with its videogames. The toys, which operate along the lines of the hit "Skylanders" and "Disney: Infinity" games, will be called "Amiibo" and will use near-field communication chips that can store and share data from games. The first game that will work with Amiibo will be the new "Super Smash Bros." title coming to the Wii U this holiday season. There will be about 10 figures launching alongside the game.
Here's how it works: Tapping the base of an Amiibo toy on the Wii U tablet controller brings that character into Smash Bros. to fight. Amiibo characters won't be controllable in Smash Bros. — players will just have sit back and watch. But players will be allowed to train their Amiibo to build up fighting skills. This, Nintendo said, will make it so that each person's Amiibo has its own unique attributes. No two figurines will have the same data.
Eventually, other Wii U games will be compatible with Amiibo, including the recently released "Mario Kart 8," the next entry in the long-running "Mario Party" franchise, and two new games: "Captain Toad: Treasure Tracker" and "Yoshi's Woolly World." An NFC reader accessory for Nintendo's 3DS handhelds and Amiibo will launch in 2015 as well.
Even More 'Super Smash Bros.'
The Amiibo integration wasn't the only Smash Bros. news. The Wii U version of the forthcoming fighting game will let players use their Mii characters — the avatars that Nintendo introduced on prior-generation Wii console. Including the custom-made characters, which have been featured already in games such as Wii Sports, will allow gamers to play as themselves or any other Miis they create (Nintendo showed Miis they made for Abe Lincoln, Ice T and Elijah Wood).
Though Smash Bros. doesn't come out until later this year, Nintendo and Best Buy have teamed up to host a "Smash Fest" that will let people try the game in stores over the next few weeks. Nintendo also will sell a reissued GameCube controller and adapter (that works with up to four controllers) for the Wii U, so gamers can use the old-school style controller when Smash Bros. goes on sale. The adapter will sell for $20 and the controller will sell for $30.
There will also be a special bundle that will include the Wii U game, a GameCube controller and the adapter, for $99.99.
'Zelda' in the Open World
If you love Nintendo, it's a good bet you love Zelda. In 2015, an entirely new "Legend of Zelda" — one of the company's best-selling franchises — will hit the Wii U.
Nintendo promises to push the series in a new direction. The as-yet untitled Zelda game will be an open-world game, which will allow players to roam around taking on puzzles and dungeons and tasks in any order they wish. The Zelda series has experimented with nonlinear gameplay before, with "The Ocarina of Time" on the Nintendo 64. But Nintendo says the world of this game will be larger and more expansive than any other Zelda game before it, and players will even have the ability to roam and trek distant mountains if they prefer.
Meanwhile, three Zelda characters (Link, Princess Zelda and Impa) will show up in a new hack-and-slash adventure game called "Hyrule Warriors" for Wii U. "Hyrule Warriors" is set for a Sept. 26, 2014, release date.
While most of Nintendo's news involved new games starring well-known characters, the company has one wholly new property in Splatoon, a kid-friendly shooting game. The game centers around multiplayer battles where two different teams of players square off, shooting colored ink on the ground to claim their respective territory. Each character can also turn into a squid and swim around in the ink—you swim faster in your own color and slower in a rival's. Splatoon is set to launch in the first half of 2015 and is playable at E3.
Mario Sidekicks in Their Own Games
For the first time, Toadstool from "Super Mario Bros." will star in his own title: "Captain Toad: Treasure Tracker." Nintendo didn't offer many details on the Wii U game, but the Wii U touchscreen tablet will be used to change the perspective of the on-screen camera to help Toad collect coins, gems, stars and through various levels—similar to the gameplay seen in "Super Mario 3D World." Caption Toad goes on sale later this year.
Yoshi, Mario's dinosaur companion and sometimes steed, has had games of his own for years. The next one will be "Yoshi's Woolly World," set for a 2015 release. In this platforming Wii U game, Yoshi looks like he's made of knitted yarn, and he'll travel through worlds made of felt, cotton and … yes … more yarn. The game is a sort of spiritual successor to "Kirby's Epic Yarn" from the Wii, which first introduced this theme.
Kirby is getting a new Wii U game, too, but instead of yarn he'll be made of clay. "Kirby and the Rainbow Curse," set for 2015, and is a platfomer that will look and play like a stop-motion claymation film. The new Kirby title will use the Wii U GamePad to bring some drawing mechanics into play as well.
Make Your Own Mario
A new Wii U title called "Mario Maker" is coming in 2015. Players will be able to create their own Mario levels in the style of the original "Super Mario Bros." game or the "New Super Mario Bros. U" game.
'Star Fox' Is Back
Nintendo is also resurrecting one of its most popular franchises, "Star Fox," with a planned Wii U game. In it, the view of Fox McCloud's cockpit will be on the GamePad, while what's seen on TV will be the perspective from behind the hero's Arwing plane. The game will let players fly or drive a tank on the ground, switching between the two with the press of a button. A new helicopter will be introduced as well. The game is currently set for a 2015 release.
More From E3 2014


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NC parks tie record for number of visits
Published: Saturday, January 14, 2012 at 10:36 a.m.
Last Modified: Saturday, January 14, 2012 at 10:36 a.m.
RALEIGH, N.C. (AP) — State officials say visitation to North Carolina's state parks and recreation areas tied a record level last year, with more than 14 million visits.
The state Division of Parks and Recreation says that matches the record set in 2009.
Among 39 state parks and state recreation areas, 15 reported increases in attendance in 2011. Jockey's Ridge State Park in Dare County reported the highest attendance at 1.3 million visits, down slightly from last year.
New amenities attracted visitors to some parks. For example, a 700-foot swim beach and picnic area at Lake James State Park opened for its first full season, and the park experienced a 70 percent jump in visitation.
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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WASHINGTON -- The Washington Redskins were 3-6 on Nov. 4 and had just lost what coach Mike Shanahan had proclaimed a "must win" against the Carolina Panthers, who entered the game 1-6.
And while Shanahan can massage it all he wants -- and he's tried to, in many different ways -- he clearly no longer had realistic postseason goals when he spoke after that game.
Shanahan said, among other things: "You lose a game like that, now you're playing to see who obviously is going to be on your football team for years to come."
"He was having a moment of frustration," defensive tackle Barry Cofield said. "But I think the whole team knows exactly where he stands, and where we stand is a testament to that."
Shanahan clarified his remarks two days later, telling the players in the final meeting before the bye-week break that the playoffs remained a possibility. Still, even a veteran such as Cofield couldn't envision, say, an NFC East title.
"I thought we needed to win the next game, but I definitely did not look that far in advance," Cofield said.
Six victories later, the Redskins (9-6) are definitely not a team playing "for years to come." They're playing for this year's division championship, attempting to become the first team since the 1996 Jacksonville Jaguars to rally from 3-6 to the playoffs.
What a sight it will be, therefore, when the Redskins and Dallas Cowboys (8-7) meet Sunday night, a game flexed to prime time to mark the end of the NFL's regular season.
The winner takes the NFC East. Dallas would be eliminated from playoff contention with a loss. Washington can lose and still get a wild-card spot, but only if the Chicago Bears and Minnesota Vikings lose earlier in the day.
"It is two great franchises playing hard to beat one another, and that is good stuff," Redskins tight end Chris Cooley said.
Shanahan said he will tell his players that it will be a game they'll remember for the rest of their lives. The fact they've been playing on the brink for a month and a half should have them well prepared.
"I think they get used to the pressure," the coach said Monday. "Over the last six weeks, they knew every game was do-or-die, and they're used to that scenario."
The Redskins turned it around by following the leadership of rookie quarterback Robert Griffin III. His demeanor has lifted the entire franchise.
Now they can clinch their first division title since 1999.
"Everything we've been working for comes back to this weekend, taking advantage of what we've done over the last six weeks," Shanahan said. "It really doesn't mean anything unless we take advantage of our game versus Dallas."


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About the Book
Honoria Smythe-Smith is:A) a really bad violinist
B) still miffed at being nicknamed "Bug" as a child
C) not in love with her older brother's best friend
D) all of the above
Marcus Holroyd is:A) the Earl of Chatteris
B) regrettably prone to sprained ankles
C) not in love with his best friend's younger sister
D) all of the above
Together they:A) eat quite a bit of chocolate cake
B) survive a deadly fever and the world's worst musical performance
C) fall quite desperately in love
It's Julia Quinn at her best, so you know the answer is . . .
D) all of the above
Educator and Librarian Resources
Product Details
- Imprint: Avon
- On Sale: 05/31/2011
- Trimsize: 4.188 in (w) x 6.75 in (h) x 0.96 in (d)
- Pages: 384
- List Price: 7.99 USD
- BISAC1: FICTION / Romance / Historical / General


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Has life thrown some obstacles in your career path? Success often comes from embracing the risk in accepting new changes rather than walking away.
Data rights management and data collection
It's never easy for businesses to write content, as in blogs, social media posts, and other publications pushed into online assets.
Your email marketing campaigns have been humming along nicely. You built a great subscriber list with double opt-in subscription, smart segmenting, and the best email service provider (ESP). You have a strong brand, killer offers, brilliant creative, and a stunning responsive website. And your email open rates are flat-lining or declining.
Trips to the bank may soon be a thing of the past. New imaging technology lets you take a snapshot of a check and make a mobile deposit.
Brands Facebook posts that include photos on average garner the highest number of interactions...
Three Ways to Use Videos to Maximize Your LinkedIn Marketing and Lead Generation - MarketingProfs All In One
If video is good for business (and it is), and if LinkedIn is good for business (and it is), then...
Branding by Will Lion One of the things we see from marketers is following Googles updates too...
IBM is adding to its SoftLayer platform by introducing extra security and disaster recovery...
This week's Smart Infrastructure roundup features the impact of IoT on data centers, a new...
One of the biggest ongoing conversations in tech right now pertains to the shifting role of...
Google has patented a system in which cameras would be embedded into contact lenses. What would...
Google has partnered with Titan Aerospace to build solar drones. These devices could bring the Internet to the developing world, but they must beat Facebook.
Fraud in business happens all the time, and small businesses are not immune. It can happen to you! Dr. Richard Weinberger explains the danger signs.
Organizations everywhere are beginning to feel mounting pressure to collect and store any form of data they can get their hands on. From nonprofits collecting data on the populations they serve to social media giants looking for ways to monetize, data of any kind is the raw good that most organizations this century will look to spin into piles of gold.
Back in October 2013, Popular Science made the decision to do away with comments on their website. The editors had repeatedly made the argument that allowing online comments on their articles "undermines the integrity of science" and creates an environment of "aggression and mockery."
Dallas recently passed 5-cent plastic bag fees. New York City is considering a 10-cent fee and others are considering them as well.
Prepare to meet the mammoth mechanical crab of your nerdiest undersea dreams.
Selecting the right images for social media requires some serious thought. Brands that skimp on...
Negative Brand Perception: How Social Media Segmentation and Monitoring Uncover Clues - MarketingProfs All In One
Is your brand being perceived negatively? Marketers can uncover the reasons for the negative...
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Ailing Bitcoin exchange market Mt.Gox is facing liquidation after a Japan court denied its bid...
Data lakes and data streams are becoming common analogies in the discussion around analytics and...
The first of what are likely to be several arrests made in connection to the Heartbleed...
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bust 1
- Measure yourself first with a tape measure, your bust, waist, and hips, over your undergarments.
- So, if your ribcage measures 32 inches, your bust will be a 36.
- While tags on Dunnes Stores' garments usually contain the bust, waist or hip measurements, most of the dimensions had to be gleaned from sizing charts on various retailers' websites.
- We may be dismayed that a 15-year-old feels her sense of worth rests on the size of her bust, but haven't 15-year-old girls always felt like this?
- But the products are expected to be snapped up by even more women keen to increase the size of their bust.
- It's a particularly good shape to wear if you have a bigger bust.
- Now the sculptor who made the bust is working on a statue of Nelson Mandela based on that visit to Bedford.
- The room was decorated with fine eighteenth century art, sculptures and busts of previous political figures.
- One is of a pair of figures from the shoulders up, looking at two sculpted busts that are, in shape and composition, an exact repetition of themselves.
Mid 17th century (denoting the upper part or torso of a large sculpture): from French buste, from Italian busto, from Latin bustum 'tomb, sepulchral monument'.
Originally bust referred only to sculpture, usually a piece of sculpture representing a person's head, shoulders, and chest. The term came into English in the 17th century through French from Italian busto. The Latin source of the Italian word was bustum 'a tomb, sepulchral monument'. When in the early 18th century a living person was described as having a bust, there was usually some comparison with marble or a sculpture. It was not until the later 19th century that the word appeared in the context of dress and fashion, and the measurement of a woman's bosom for clothing sizes. The bust, meaning 'to break' is a mid 18th-century US variant of Old English burst.
Palabras que riman con bustadjust, august, combust, crust, dust, encrust, entrust, gust, just, lust, mistrust, must, robust, rust, thrust, trust, undiscussed
For editors and proofreaders
Saltos de línea: bust
Definición de bust en:
bust 2
verbo (past and past participle busted or bust)[with object]
- Only broken furniture, busted doorways, and bloodstains.
- You skip around the back and quietly encourage the locks to take a break, while I bust the front door lock.
- I've split my lip and busted my eyebrow, but luckily I haven't broken any bones.
- All three, moreover, are certain that Eliska is just after mom's dough, so they conspire to bust up the couple, eventually and alarmingly concluding that one of them should bed mom's girlfriend.
- Another chance to bust up the happy couple is thrown away.
- One wonders how an ad might read when the relationship inevitably busts up.
- We are sending a loud and clear message: 'Union busting no way!'
- And are there factions within business who don't embrace the union busting agenda that we can work with constructively?
- The only way to bust a union is to lie, distort, manipulate, threaten, and always, always attack.
- Passport control officers entered the train, and immediately started busting the chops of everyone in our cabin.
- I was so angry, I could have busted his knee cap, broken his jaw, and broken his arms, but I controlled myself.
- He needs some nurturing as he got in a fight at work last night and now has a smashed nose and busted up lip.
- Later in 1916 he busts out of a German PoW camp.
- A serial bank robber busts out of prison, with a federal cop as an accidental hostage.
- A soldier busts out of an outpost and you gun him down before he can do the same to you.
- If you're playing first base and you bust or get a Blackjack, don't wait for the other hands to be completed to have a completed count.
- Solid citizens with stiffs don't lose any worse if a 17 is improved, and there seems to be a good chance that the dealer, drawing, will bust and pay everyone.
- Seems staying pat and not busting, especially with a 16 against a seven, is the smarter play.
- Whether the police actually busted the premises, remains unknown.
- This was an unusual investigation because most meth labs aren't busted by good police work.
- In August 2001, the Delhi Police busted an international illegal exchange in Jasola Vihar.
- One third of Canadians arrested abroad were busted for drugs, making it the most commonly prosecuted offence.
- A respected art dealer is busted for selling a Cheyenne war bonnet.
- Not testing is cheaper and easier than testing, and your athletes are much less likely to be busted for doping.
- That soldier had already been busted to El and was on the short list for an administrative discharge.
- First you go get yourself a silver star, then you get busted to private.
- Eastwood plays ex-Lieutenant Kelly, who was busted down to private as a scapegoat for a failed mission.
- Likewise recessions or economic busts are set in motion if people suddenly change their psychology and stop spending.
- More recently we have relied on consumer spending to prop up the economy during the bust.
- Cold Wars, Hot Wars, economic booms and busts, the rapacious scramble for resources: we hear the warnings of countries, the shouts of other countries in greedy triumph.
- During the bust, police seized three kilograms of cocaine having an estimated street value of $255,000.
- A suspected drug dealer was arrested during a dawn raid on his house, the latest in a series of weekly busts by Merton police.
- The bust was made after police received a tip from the public.
- Here is a look at this year's potential first-round receivers, with their chances of being an NFL bust denoted by a risk factor.
- Will the aforementioned ex-Browns D-linemen pan out or stay mired in bust status?
- Mechanical failure made Wednesday and the rest of the week a bust for work, opening a surprise dead spot in my schedule.
- And a bust on the chops (for I would let him take the first swing) would be absolutely worth it if he got put away.
- "Crazy as a loon!" said the big tunnel worker, and that got him a bust on the nose.
- Her face was bleeding with a bust lip and swollen eye.
- The wakeful partner looks as if she was constructed piecemeal, again with a bust pendant from her broad shoulders.
- It's about being stuck in the sticks with a bust radio, a girl called Megan and some wolfy things in the woodshed.
- It's rare that an airline will go bust overnight, but it's still a good idea to know your options.
- The survey revealed firms in Scotland are nearly half as likely to go bust than their English counterparts.
- If the Government hadn't reversed some of the Bacon measures in the Budget, building firms would have gone bust by now.
—— or bust
- Used to indicate that a supreme effort will be made to achieve the stated goal, with utter failure as the only alternative: it's gold medal or bust for both of our basketball teams tomorrow's game is quite simply win or bust for both teamsMás ejemplos en oraciones
- Unfortunately, the industry has adopted the unsustainable "blockbuster or bust" business model.
- It looked like a case of promotion or bust.
- After a year of programming, he decided it was Wall Street or bust.
Mid 18th century (originally US, as a noun in the sense 'an act of bursting or splitting'): variant of burst.
Originally bust referred only to sculpture, usually a piece of sculpture representing a person's head, shoulders, and chest. The term came into English in the 17th century through French from Italian busto. The Latin source of the Italian word was bustum 'a tomb, sepulchral monument'. When in the early 18th century a living person was described as having a bust, there was usually some comparison with marble or a sculpture. It was not until the later 19th century that the word appeared in the context of dress and fashion, and the measurement of a woman's bosom for clothing sizes. The bust, meaning 'to break' is a mid 18th-century US variant of Old English burst.
For editors and proofreaders
Saltos de línea: bust
Definición de bust en:
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Los comentarios que no respeten nuestras Normas comunitarias podrían ser moderados o eliminados.


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Texas Volleyball Association
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Silicon Valley remains the world's most attractive spot for technology startups, but other locations around the world are catching up, according to a report published Tuesday.
Silicon Valley-based startups raise, on average, a third more capital than those in other areas, the report said.
The study was conducted by research firm Startup Genome and funded by Spanish group Telefonica.
Silicon Valley continued to lead in metrics including the amount of serial entrepreneurs, revenue models, and the level of education among business founders. Tel Aviv was ranked second, followed by Los Angeles, Seattle, New York and Boston.
"Some years ago, it was only Silicon Valley. Now there are also other innovation hubs and this trend is only going to strengthen," said Gonzalo Martin-Villa, chief executive of Wayra, a Telefonica unit that nurses startups.
"Flourishing communities in Latin America, Europe, the Middle East and Asia have grown considerably over recent years and are now beginning to challenge Silicon Valley's domination in technology innovation," the report said.
Phil Liblin, CEO of Silicon Valley-based writing app maker Evernote, said in a recent interview: "Silicon Valley does have a lot of magic in it. It is still the only place you can get $20 million without owning a suit, but you do not need $20 million any more."
The proliferation of Apple (AAPL) and Google (GOOG) app stores, Facebook and Twitter have enabled starting a global company with just $50,000 or $100,000, he said.
"I think the main structural advantages are disappearing. Silicon Valley's greatest innovation in the last couple years have made itself less unique."


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Having completed 35 years in the Education field, as teacher, consultant, and administrator, I happily joined the ranks of those untold numbers of retired educators, who anticipate the newness of 'not-having-to-do anything.' I recalled my father telling us of the numbness he felt the day he retired and realized that no one was waiting for him to make decisions, balance the company's books or face the challenges of his profession. I wondered if I too might feel the pain of not being needed. Having always been very busy, I found that now the choices I made for how the day would be, were entirely mine. Late evenings at the Opera, season tickets to the Ballet and Symphony and time to read the numerous books I felt I should have read over the years were but a few of the exciting venues which were open to me. And of course, and most important, my grandchildren. These indeed are the happiest hours I can ever imagine.
My home parish has always offered me the most wonderful opportunities to work with children and adults in the many ministries available, and so I have continued to direct the Children's choir comprised of approximately 50 adorable children from the ages of 6 through 18, some of whom have been with me for twelve years. Our Christmas Eve Pageant is witnessed by hundreds of parishioners each year. Visits to the Houses of Providence and our own ShareLife Walk are some of the activities in which we are involved.
Sacramental Preparation for those students from our Parish and Private schools preparing for Confirmation, Reconciliation and Holy Eucharist continues to be a very rewarding experience for me. The team of teachers working with this Immediate Preparation program all shares my enthusiasm for the privilege of this Parish commitment.
The Archdiocesan Catholic Women's League is high on my list of priorities as it allows one to meet and work with the most dedicated, outstanding women in our diocese.
The list goes on!
However, the most exciting exhilarating days of my week are spent at Regis College, enrolled in a Program of Studies directed towards a Masters Degree. I have learned that this is really an opportunity of a lifetime. To study in a Jesuit College with the most amazing gifted professors, men and women, who recognize and respect the fact that I am there, at this stage in my life, to learn. Formal schooling for me has always been in the area of Education or Music and I am here at Regis in disbelief of all that I have never known or even realized was out there. For the first time in my life, I am comfortable in a Library and the staff are unbelievable in their willingness to assist everyone. One of the top reasons for studying here is the wealth of information one receives from the assigned books for study, books which I would otherwise never have read. I even enjoy writing essays! There is a sense of community, a faith-filled community, dedicated to academic excellence, which I have never experienced. Regardless of one's age or background, we are all pursuing personal and professional development. An immense variety of course subjects are available. Our weekly Liturgies bring us to a sense of the unity and love shared among this faith community, along with the privilege of participating in the Liturgy through membership in the choir. I am truly grateful for the opportunity to attend classes here at Regis College, and also being invited to share my thoughts with perhaps other interested retired colleagues.
Regis College is the Jesuit School of Theology at the University of Toronto and a Founding Member of the Toronto School of Theology.
Members of the public interested in theological education are invited to attend an open house in October and March each year.


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Yoga-Inspired Shoulder Strengthening Exercises
In my youth, I had terrible experiences with my shoulders separating and dislocating at various times during sports. I had my first reconstructive surgery at 18 years old on my right shoulder. This was the result of a year's worth of extreme snowboarding accidents. Three years later, I was back on the operating table — this time for my left shoulder. After the second surgery, my upper body was extremely tight. Over the years, I had developed major issues with larger muscle groups in my upper body trying to overcompensate for the smaller, weaker muscles surrounding both of my shoulder joints. Even after months of physical therapy, I was worried I might have complications with my shoulders for the rest of my life.
In one of my final physical therapy sessions, my therapist recommended a series of shoulder exercises to help me regain functional strength in my shoulders and to train other areas of my upper body to stop overcompensating.
I refused to do the exercises. Not only was it going to hurt, but I didn't want to risk putting my shoulders in harm's way again. All I could think about was another painful dislocation. But I reluctantly began moving in and out of what I would later discover to be a yoga Vinyasa flow, or Sun Salutation. And guess what? It felt pretty good.
I went home and practiced the flow over and over again for weeks until I had complete confidence in both my shoulders' strength and was able to rotate them completely, without pain. My doctor had told me I may never be able to perform certain movements again with my shoulders, but today, I have almost 100 percent full range. I can throw a ball faster than before, and I know my shoulders are stronger than ever without the slightest indication of instability.
Today, I have refined my yoga practice and continue to practice with a sense of purpose because I've experienced many other dramatic improvements in my health and wellness.
I think a lot of people — men especially — have misconceptions about the benefits of yoga, perhaps mistakenly believing you have to already be thin and flexible. If this is your belief, I encourage you to try the following yoga-inspired routine. It's similar to the routine I was first taught by my physical therapist. If you do any type of weight training, you've likely felt joint pain in your shoulders, knees and/or hips. This routine will help stabilize these joints and build supporting muscle. As you'll see in the video above, even after many years of practicing my shoulders still wobble as the smaller muscle groups work to stabilize the weight of my body. This is a great stretching and strength workout in general with cardio benefits when performed in a circuit.
If you have experienced severe shoulder instability including separations and/or dislocations, please see a doctor first.
Hindu Push-Ups
Max out on as many Hindu push-ups as you can. Similar to a Chaturanga in yoga, make sure to exhale through the push-up and inhale on your way up. Keep your legs as straight as possible throughout this exercise.
Plank Dog Pointers
Moving into plank position, exhale while bringing your opposite arm and leg out to a point. It's important to focus on your core, keeping it tight and stable. Hold for three seconds on each side.
Side Plank Pose
The tendency is to push your butt out. Keep it in line with your body. Use your core to stabilize your hips. Try not to sag downward in the middle. Hold for three seconds on each side. I do a push-up in between sides for added strength training.
Repeat the sequence.
Related Articles:
Shoulder Supplement: Daily Dose of Movement to Erase Shoulder Pain
Video: Sun Salutation How-To from Rodney Yee
Yoga for Men: The Guy's Guide to Embracing this Ancient Practice (a Q&A with Tommy Rosen)


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