text:
"Revolution" Ends, "TMNT/Batman:TAS" Begins in IDW's November 2016 Solicitations
Comic Books
Showing results 613-652 of 1583
Ed Brisson & Michael Gaydos' "24: Underground" #1 gives new life to Jack Bauer, chronicling his adventures after the end of his acclaimed TV series.
Jason De La Torre discusses his comic debut "Star Mage," about a teenager who finds himself thrown into a magical intergalactic adventure.
Salvador continues his bloody march to vengeance in IDW Publishing's "The Crow: Pestilence" #2 by Frank Bill and Drew Moss, on sale April 16.
Writer/producer Frank Spotnitz brings his skills to comics for IDW Publishing's 2014 "X-Files Annual," which features multiple tales of Mulder & Scully.
IDW discussed plans for "Super Secret Crisis War," its Cartoon Network crossover, with tie-ins featuring "Johnny Bravo," "Cow and Chicken" and "Samurai Jack."
Ken Kristensen takes on the second arc of Darby Pop & IDW's "Indestructible" #2 with art by Giancarlo Caracuzzo, on sale April 9.
Ed Brisson discusses Jack Bauer's return in IDW's "24," revealing how the story sets up Fox's "Live Another Day" and sharing exclusive Michael Gaydos art.
"Cold Cold Ground" continues in IDW Publishing's "Judge Dredd" #18 by Duane Swierczynski and Nelson Daniel, on sale April 9.
Jeff Parker discusses bringing "Angry Birds" to comics with IDW, reveals if the famously mute characters will finally break their silence and more.
Editor Sarah Gaydos reveals the full line-up of "Super Secret Crisis War" tie-ins, which feature back-up stories by Louise Simonson & Derek Charm.
Writers Paul Allor and Erik Burnham divulge the time periods "TMNT: Turtles in Time" explores, along with an exclusive cover and artist reveal.
Writer Derek Fridolfs explains how his new "Dexter's Laboratory" miniseries for IDW transports the boy genius to comics with a plan to get rid of his meddling sister.
"The Hollows" duo Chris Ryall & "Maxx" creator Sam Kieth discuss "Mars Attacks: First Born," their self-professed "love letter" to the works of Wally Wood.
New York Times best-selling novelist Jonathan Maberry discusses bringing "V-Wars" to comics, shifting mediums and his obsession with vampires.
Things get even darker in the latest issue of Joe Hill and Charles P. Wilson III's "Wraith: Welcome to Christmasland," and CBR has an exclusive preview.
After being out of print for decades, Walter Simonson's "Star Slammers" returns, and CBR has an exclusive preview!
Mark Evanier and Roger Langridge welcome "Rocky & Bullwinkle" back to comics March 26, and CBR has an exclusive preview!
Entertainment chain agrees to merge with companies owned by Wizkids parent! Retailer Dennis Barger reflects on "PowerPuff Girls" controversy!
A smash hit video game, a comic book classic and a new Teenage Mutant Ninja Turtles series are the tip of IDW Publishing's June 2014 iceberg.
Francesco Francavilla's latest cover puts the focus on The Lone Gunmen, for "The X-Files: Season 10" #13, out from IDW in June.
SNL star Taran Killam continues his comics writing debut with Marc Andreyko and Kevin Sharpe in IDW Publishing's "The Illegitimates" #4.
Maxx plunges down the proverbial rabbit hole in Sam Kieth & William Messner-Loebs' "The Maxx: Maxximized" #5 from IDW Publishing.
Check out an exclusive first look at The Scotsman's unconventional return in Jim Zub & Brittney Williams' "Samurai Jack" #6.
John Barber and Tom Scioli describe "Transformers vs. G.I. Joe" as "an astounding new reality," sharing exclusive art from the project.
Hot-rod cartoonist dies at age 93. Algerian cartoonist acquitted of insulting president! Ted Adams talks IDW! Neal Adams on his "Ra's al Ghul Saga" covers! Plus more!
A boxer in Juarez, Mexico becomes the latest avatar for James O'Barr's The Crow in Frank Bill and Drew Moss' "The Crow: Pestilence" #1 from IDW.
Ben explores the fantastic abilities given to him by Golden Shield in IDW's "City: The Mind in the Machine" #2 by Eric Garcia & Javier Fernandez.
Mairghread Scott discusses "Transformers: Windblade," which brings the fan-created female Transformer into IDW continuity.
IDW Publishing proudly reintroduces Rogue Trooper in a brand new ongoing series by Brian Ruckley and Alberto Ponticelli, on sale March 5!
"Super Secret Crisis War," written by Louise Simonson, unites "Powerpuff Girls," "Samurai Jack," "Dexter's Laboratory" and more for a one-of-a-kind crossover.
"TMNT" creators Kevin Eastman and Peter Laird have teamed for the first time in years for a 30th anniversary cover, out from IDW in May.
Chuck Dixon and Tim Truman recall their 1980s revival of "Airboy" ahead of its upcoming hardcover collections from IDW.
Jeremy Whitley and Tony Fleecs put the Cutie Mark Crusaders in Discord's path in IDW Publishing's "My Little Pony: Friends Forever" #2, on sale Feb. 26!
After defeating opponents of all stripes, only one Thread of Time remains. Find out if Jack can defeat Aku in Jim Zub & Andy Suriano's "Samurai Jack" #5.
In the second part of CBR's interview with Ted Adams, the IDW co-founder discusses his goals for the future, and what he's excited about in 2014.
IDW Publishing has released its solicitations for May 2014 titles, including "Mars Attacks: First Born" and the "Hellboy" Artist's Edition.
The undersea kingdom of TerraPisciss hangs in the balance when Jason Henderson and Gordon Purcell deliver a battle for the ages in "Ben 10" #4!
IDW's latest event kicks into high gear as the "Comeback" team of Ed Brisson & Michael Walsh deliver "The X-Files: Conspiracy: TMNT" on Feb. 19!
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text:
Like bread and butter or better yet chocolate and peanut butter, some things just go together. Such is the case with Ann Kendrick and Ginny Wehrmeister who blend into a deliciously entertaining duo in Diablo Actors Ensemble's current show, "Grace and Glorie."
Kendrick is 90-year-old Grace and Wehrmeister plays Gloria in Tom Ziegler's poignant show about an irascible older woman dying from cancer and the young Hospice volunteer charged with her care.
But there is still a lot of fight in the old gal, who stubbornly insists on taking care of herself and spending her last days on her isolated farm with her beloved orchard. Laced with humor (it's actually billed as a heartwarming comedy), the two-person play becomes much more about living than dying as devoted, illiterate Grace teaches college-educated Gloria a thing or two about life.
Kendrick and Wehrmeister each create vivid characters capable of bringing tears to your eyes one minute and laughter the next. Masterfully directed by Scott Fryer, the two actresses don't wallow in the inherent drama of the script but rather concentrate on their characters growing relationship.
"Grace and Glorie" runs through May 11 at DAE's lovely, intimate theater at 1345 Locust St. (next to Peet's Coffee and Tea) in Walnut Creek.
Much to my dismay and to that of many DAE fans, this will be the last production in this Locust Street space. The building, which also includes the Paint Palette (now closed) and House of Beads, has been sold, and the new owners are looking at possibly putting in a restaurant.
Scott Fryer and his daughter Sam, the company's managing director, will be vacating the space by the end of May. Where and when they may continue the engaging brand of theater they brought to Walnut Creek is not known at this writing.
They will, however, offer three workshops in the space prior to leaving. Sam presents "Creating a Character ... Creating You," a workshop for middle and high schools students on May 4 from 10 to 11:30 a.m., while Scott will offer "Taking Risks in Acting" from 11:30 a.m. to 1 p.m. that same day. On May 11, Eric Waters, MSW, will present "Finding Your Voice as an Artist using Collective Narrative Practice" from 10 a.m. to 1 p.m. For more information on the workshops, go to www.diabloactors.com.
Concord's innovative Butterfield 8 theater company presents Oscar Wilde's scandalous "Salome" from May 2 through May 26 at Cue Productions Live, 1835 Colfax St. in Concord.
Banned in Britain for 40 years, Wilde's 1891 play spins a web of seduction and betrayal that has inspired several movie adaptations and an opera by Richard Strauss.
In keeping with its reputation, Butterfield 8 will stretch the boundaries of its performance space by incorporating mask work, projected images and stylized choreography as the company looks at the interplay of power and sexuality.
John Butterfield directs, with Rhianna Taylor as Salome and Edward Peabody as John the Baptist. For more information, go to www.b8company.com or call 800-838-3006.
For the younger theater folk, Fantasy Forum Actors Ensemble presents "Robin Hood" with original music by Florence Denison on May 2-5 at the Lesher Center for the Arts.
The final show of the company's 40th season tells the classic tale of Robin Hood and his merry men as they try to outwit Prince John and the Sheriff. The family-friendly musical encourages audience participation and is a wonderful way to introduce youngsters to live theater. For tickets, call 925-943-SHOW or go to www.lesherartscenter.org.
The Eugene O'Neill Foundation once again offers a unique insight into Danville's most prestigious playwright with staged readings of other playwrights who influenced O'Neill. Anton Chekhov's "The Cherry Orchard" takes place on May 5 at 3 p.m. and Henrik Ibsen's "The Lady From the Sea" will be performed on May 19 at 3 p.m.
Both performances take place in the Old Barn at Tao House in Danville, where O'Neill lived and wrote some of his most famous masterpieces.
The National Park shuttle service will transport theatergoers from the Museum of the San Ramon Valley, 205 Railroad Avenue, in Danville, to the national historic site and back. For reservations, call 925-820-1818 or email firstname.lastname@example.com.
Contact Sally Hogarty at firstname.lastname@example.com

subset: commoncrawl


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A conversation with a legendary figure in salsa, master violinist Alfredo De La Fé
Plenty of Latitude:
In Conversation with
Alfredo De La Fé
by John Child (
John Child caught up with Alfredo de la Fé during his visit to London in June to promote his new album
(RykoLatino RLCD 1016) and the Salsa 2000 festival on July 16th. A discussion about
acted as a launching pad for a free-ranging conversation about Alfredo's career, which he began at the age of 12. With the tone of typical PR hyperbole, his press kit states: "Alfredo's history is the history of salsa itself: born in Cuba, raised in New York and an international phenomenon ever since." In this instance, however, the statement definitely has the ring of truth.
After the interview, Alfredo emailed this message to John: "It was great meeting you and certainly the best interview I ever had. The other great interview was with my good friend Gabriel García Marquez." Praise indeed!
John renewed his acquaintance with Alfredo at the Salsa 2000 festival, the biggest salsa event the UK has seen to date. In addition to Alfredo, the bill featured Rubén Blades, Oscar D'León, Celia Cruz (his godmother), José "El Canario" Alberto and the new Latin dance beats of Sidestepper and Mambo Trance Allstars. John also caught up with with El Canario back stage after his exciting performances: first fronting his own orchestra and then retreating to the chorus to accompany Celia. In a companion interview, José talks about his career and his recent live reunion recording with Típica 73, including Alfredo, at New York City's Copacabana, October 3rd 2000.
Alfredo de la Fé (ADLF):
Honestly, what do you think of my product?
John I. Child (JIC):
I'm supposed to be interviewing you. (Laughter) To use a British expression, I want to do things "arse-about-face," and talk about your latest production first. And use this as a jumping-off point to talk about your career. When I first heard
, I thought it was the strongest thing you've done in a long time. A previous album of yours which stood out for me was
Para Africa Con Amor
(1979), which you did for Sacodis. Maybe we can talk about that later.
You really like that?!
You know that album took eight hours to record and eight hours to mix! We did that album in 16 hours altogether. That's incredible you say that.
It's got a cult following. It's a very rare album. But back to your current CD.
is an album I wanted to do for a long time. The whole time I was in Colombia I had a record company that always thought they knew what sold and what didn't.
That's a big mistake you know. That's why I'm grateful for Ryko. Because I think you've got to allow an artist to create. Of course there are limits because a record company wants to sell records, and the artist also wants to sell records. It's nonsense to pretend not to want to sell records. I think it's my best work so far.
is very experimental. I know where I want to go, but I'm still taking risks. Everybody is using trumpets and trombones. I took the trumpets out. I put flute, violins, saxophone and three trombones.
The 'bones and flute sound is trombanga-ish, reminiscent of Eddie Palmieri's La Perfecta with baritone sax and violins added.
I added four strings and the baritone. Of course it has that redolence because Palmieri is the one who made me a solo violinist. Of course part of me is Eddie. I cannot avoid that. Part of that record is also Fajardo. It has a little bit of everything. I didn't realise, but someone pointed out that the album is really telling my story. The second song 'Asomate a la Ventana' was written by my father over a 100 years ago. When I was in my mom's belly, I'm sure I was listening to Arcaño, because that's what my mom used to do the whole time. My mom is a danzón fanatic. That's why I have a song on the album called "Hilda," which is her name. Then it has that Latin New York part. The opening song "Latin New York" is one of my favourites because it was written out of the moment. It just came out like opening a faucet, like water coming out. I laid down the pen on the piece of paper, and before I knew, it was finished. I first thought it was long, and then I said I'm going to leave it like that. The whole album has that essence: it's my story.
It's interesting that you should say it's your story, because it struck me that the album is almost a musical taking stock of where you have reached. Because there are the two tracks you did previously with Típica 73 on it ("Xiomara" and "Que Manera"). There is effectively the tribute to Palmieri: "Muñeca." And - if you don't mind me saying so - it has that exciting feeling of Típica from the period you were with the band.
Of course, because it was some of the hottest music played in the history of Latin music. No other band played the way
Típica 73
did. We used to play songs with Típica 73 that we didn't want to finish. It was time to go to the coda, and we would do another mambo! It was amazing, because the dancers did not want it to end either! There was an excitement in that band which I've never come close to feeling since.
Do you mind if we go off on our first tangent? We'll keep going back to
Accounts of Típica 73 speak of there having been a tension in the band between those that wanted to remain típico and those that wanted to be experimental. You came back on the scene in the mid-'70s when they moved in the direction of being experimental.
It was for some other reason that it became that way. I was playing with José Fajardo, and so was Sonny Bravo. And the other guys: Johnny "Dandy" Rodríguez, Orestes Vilató, Adalberto Santiago, René López, Dave Pérez, they were in Ray Barretto's band. All of a sudden we started doing something that we used to call Tuesday night jam sessions.
You were there from the outset (in 1972) when they were performing at a place called And Vinnies.
Yes, of course. We would made so much money at the door that we could go to Chinatown at the end of the night and have Chinese food all together. Morning would come, and we would be sitting there laughing. Those were the best times. Then they decided, let's make Típica 73. I had an offer to go to Miami to work with Fajardo. So I didn't stay. I didn't believe then. I went to Miami to play in a nightclub five nights a week, and I became bored. I would put on the radio, and everywhere I would hear Típica 73. And I said: "Shit, what did I do?"
What happened was that Típica as a band broke up again, and that was for religious purposes. We were all santeros, including myself. All of a sudden the Padrinos, the Casa del Santos, they fought. The Los Ahijados, The Godsons, between them they fought, and that's how they became Los Kimbos and Típica 73. I had already been working with Santana for three months. I had gone to California with Eddie Palmieri. Eddie had turned back to New York. I was making great money. I was beginning to do some good work with Santana. But I needed New York. When I lived in New York back then, I thought the rest of the world was a farm with electric light. New York was IT, and for salsa it really was.
Típica called me and I left everything in San Francisco. That's when I went back and we did
Rumba Caliente
(1976 on Inca) with Tito Allen. I think that that was one of the best. Típica just keep growing. Sometimes we did 14 shows in one week. We would play three shows on a Saturday. We would finish playing one hour in one place and run as fast as we could to the next place to play.
So as is often the case, the story about musical differences is bullshit. It was religious differences.
It was religious differences. I was in there you know.
And the two Típica tracks you've done on your current album, they're from
Salsa Encendida
(1978 on Inca) with Azuquita and José Alberto.
Way before Típica recorded "Xiomara," Irakere made it in a very different version. It's one of my favourite songs. I liked the violin work, I did back then. So I wanted to bring that back again. We did it in a very different version. We changed "Que Manera," "Xiomara" and "Muñeca" completely. Of course there is the essence you can never change.
Tell me about the track "Sandra Mora." I think of the Naty version.
I'm a little bit anti-timba.
Well, you're not the only one.
This is very personal. That's our version of the timba. Because I'm more a New York musician. I'm a salsero from New York and not a Cuban salsero. Although I'm Cuban, my essence is Cuba. I love Cuba and will remain a Cuban forever. That is our interpretation of timba, which I think is more organised.
And there's the fusion with rap as well. A sort of DLG-ish feel to it.
I wouldn't call it DLG-ish, because it's not that commercial.
It's one of my favourite tracks.
Usually artists go in the studio with studio musicians, but I wanted to record the band that backs me up for live shows. There are things that happened during the recording which I left there, because we lived through it together. In our shows, our timbalero Rodrigo Rodríguez always raps during his solos. We have a lot of fun, and we answer him. So I wanted to record all these feelings that we have with this live band and put it on tape.
I've been looking at album sleeves for years, and I'm not familiar with the names of your personnel. I'd be interested to find out more about them. Obviously, someone who works very closely with you is César Correa.
César Correa just turned 24 years of age. He's a pianist from Perú. I've worked with some of the greatest pianists: Papo Lucca, Palmieri for many years, Jorge Dalto. But I've never worked with a pianist like him in all my life. I've been a professional musician since I was 12 years old. He is so incredible. He also has magic. In fact, we did the arrangements together.
I know. You've obviously got a lot of confidence in him. He's played a very prominent part in the album.
He plays classical, he plays jazz, he plays salsa. You ask him about any of the old records - and he's 24 years old - any one of the classics, and he knows it. He knows exactly how Sonora Ponceña arranges the music, he knows how Eddie Palmieri arranges the music. He has studied deeply, and that's why I respect him, even though he is a kid. I'm still trying to show him the way, because he's very young. Maybe give him five to ten years, and he'll be one of the greatest pianists in salsa.
Tell me about some of the other band members. Armando Miranda, the lead vocalist, for example.
Armando is a very young Cuban guy. I had my singer for eight years (Igor Moreno), and we had differences, so he left. I didn't have anybody, then somebody brought me Armando Miranda, who used to sing like Luis Miguel. I slowly started telling him: "Listen, you're not Luis Miguel, you're from un solar de Cuba. You're from a place that if you speak like Luis Miguel, they'll kill you. You're from deep in the roots, you've got to sing like that." He's an incredible singer. He has a timbre, he has a colour to his voice.
My bass player, Eduardo "Dudú" Penz, is from Brazil. My percussion players, Nené Vásquez (bongo) is from Venezuela, Luis Aballe (conga) is from Cuba, the other (Rodrigo Rodríguez) is from Colombia, who also sings on the album. My trombone players: there is one from Italy (Carmine Pagano), one from Florida in the United States (Don Randolph), who has been raised with all the Latin people, and the third is from Cuba (lead trombonist Leonardo Govín). Other members of my band are Italian Elvio Ghigliordini (flute/ baritone sax), tres player Carlos Irarragorri from Cuba, and coro singer Ruth Mary Cravajal. I also had for the recording: José Rodríguez (coro) and Amik Guerra (trumpet), both from Cuba, Bruno Genero from Italy playing djembé and Gilson Silveira from Brazil playing Brazilian percussion. So there is a mixture of different cultures that gives a special thing. I feel that it is very special.
Just going back to Típica 73. The story that abounds, which I've included in stuff I've written, is that things slowed down for the band because of their appearance in Cuba. Is that true?
That is true. When Típica went to Cuba, it was the hottest band around. We were very well off. We had a new uniform twice a week, because it was our band that was happening. See, I don't think music and politics mix. Although we are politicians as musicians when we sing about problems. For a while there was a thing against Cuba, that anybody that went to Cuba was void. So Típica went to Cuba. Not only did it go to Cuba, we publicised it in every newspaper with big capital letters. It was the first band that broke the blockade. When we were there we made an album. We invited all these Cuban musicians and we made a great album. It was made in eight tracks.
Típica 73 En Cuba: Intercambio Cultural
(1979 on Fania).
It's an eight track recording, and there are a lot of musicians there. When we got back to the United States, anti-Castro Cubans, who take up any issue and make it a political issue, started writing in the newspapers that one day Típica 73's congas will be tinted with blood. That broke the band up.
But after you, Fania All Stars and Dimensión Latina went.
Oscar D'León went to Cuba, he almost had to kneel down and ask for forgiveness from the people in Miami. Because they were burning his records out in public.
They also held it against Andy Montañez.
They held it against Andy Montañez. Right now things are getting a little better. People like Buena Vista Social Club and Rubén González are going to the States to play and even the Cubans are listening and dancing to them. But back then with Típica 73, it was a big big problem. Some members of my family got mad with me and wouldn't speak to me for years because I had gone to Cuba to play.
And there was this album you did a few years ago with Papo Lucca (
Papo Lucca y Alfredo de la Fé & El Sexteto Típica de Cuba
'97 on Fania).
Yes, it was done in Cuba. It's a horribly mixed album. The essence is great. What we did there was great, but the final thing that came out - I don't even play that album. It was fun anyway.
Típica 73 were doing a number of reunion concerts last year, which you weren't involved with.
We're going to record now for Ryko.
Right, so the rumour's coming true? Because there was a rumour running rife last year that Típica were going to record again.
Yes, we're going to record again.
Another one of my reactions to your current album, was that this is almost Alfredo's reunion gesture.
Without knowing, I anticipated myself. Because I would say my record has a lot of Típica in it. A lot of Típica 73, but it is definitely Alfredo de la Fé.
The sad thing is that right now, some of the members of Típica are not there any more. So they will have to be replaced. It would have been nice to record the original Típica 73.
That's right. What's happened to people like Dave Pérez (bassist)?
Dave Pérez drives a cab now. He still plays, but he plays in Jewish weddings.
And Dick "Taco" Meza (flautist, reeds player)?
I don't know what he's doing. René López (trumpeter) quit music, he was fed up with music. He always was, anyway. He was a musician but he didn't like the whole scene.
You know who I spoke to the other day after 20 years? David Amram. Did you hear the things we did with him?
On Flying Fish.
Havana/ New York
(1978). You know what? His house burned down to ashes. The only thing that didn't burn down was his studio with all the instruments. He's a beautiful person.
Another album from the same period that should be coming out is
Dandy's Dandy, a Latin Affair
(1979 on Latin Percussion Ventures), because Martin Cohen is talking about reissuing a lot of the Latin Percussion Ventures stuff. It was basically Típica people playing on that album, wasn't it?
Yeah, because Johnny (Rodríguez) started to work with Marty.
Did you seen yourself in Jeremy Marre's influential British TV film from 1979 called
? There's a brief interview with you in a studio, looking very youthful with your afro. You're briefly spoken to, and Nicky Marrero's with you as well.
That's been issued on video in the States by Shanachie. It's in the Descarga catalogue.
Oh, I love it.
I know I'm jumping around...
Jump around.
...but I was curious in reading Sue Steward's liner notes to
that she didn't really mention your solo career, which kicked-off with that album
(1979 on Criollo/ Latin Percussion Ventures).
It kicked off before. I did the two African albums
Para Africa Con Amor
(1979 on Sacodis) and
La Charanga 1980
(1979 on TKIOS Musique).
Did you actually record those before
Yes, in 1979. I did
La Charanga 1980
simultaneously with
That's why I didn't put Alfredo de la Fé on
La Charanga 1980
because I already had a contract.
That came out again as
La Charanga 1983.
I didn't know that. I just found out. I should get some royalties. (Laughter)
It's been reissued on CD as well (
Orchestra Rytmo Africa-Cubana Vol. 1
on TKIOS Musique, 1992). So the order in which you did them was
Para Africa Con Amor
First. I didn't even plan that album.
I love that album, as I've already said.
Somebody showed up in New York with $5000 in their pocket, and said. "I want to do an album." And I grabbed that money so fast. I said, 'I'll do you an album." I did the arrangements in one day. We went to the studio the next day and we recorded this album in eight hours. We mixed it in eight hours, including a part where one of the tuning keys falls, and you can hear it hit the floor: TING!! We left it there because there wasn't any time to take it out.
It's got a wonderfully spontaneous feel to it.
That's why.
David Barton and I recently did an interview with Alfredo Valdés Jr. (
Alfredo Valdés Jr.: 'The Son of Buena Vista'
, Descarga website, July 16th 2000), who was a key player during that whole SAR/Sacodis boom. It was like a conveyor belt that albums were coming off.
Cuba was living a lot from selling records in Africa. Roberto Torres came with his company and started doing the old Cuban music. If you look at all the SAR series, the songs are very long. They all last about seven minutes. I did an album for them.
(1982 on Toboga).
Yes, which is a great album. It's a very good album.
And you sessioned on a lot of the SAR and Sacodis albums.
Yes, because I was part of the Roberto Torres club. I did a lot of productions for him, although he didn't always put my name [in the liner notes].
You must have been on those Charanga de la 4 albums? Because they've got no musician credits on them. They would give musical director and producer, but they never gave credit to who actually played on them.
Of course I did those.
I really got into Latin music in the late '70s/early '80s, and I must have been among many across the world who looked for your name on Latin albums. If I saw the name Alfredo de la Fé on an album, that would be a selling point. You were brought in to solo on lots of peoples' albums.
Yeah, sure, for a lot of different albums. It was something weird because when I first played with a salsa band, it was with Orquesta Broadway. I was 11 years old. Roberto Torres (Broadway's co-founder) used to go to a place next door to my uncle's restaurant that sold records, and said, "We need a violinist. Come, come on." He took me. I was 11 years old.
Before Fajardo? The story goes that you started with Fajardo at 12.
I started with Pupi Legarreta at 12, with
Soy Campesino
. It was the first album I recorded.
Whaaat!! On Remo.
Yes, I was 12 years old. I went to play with Orquesta Broadway, and after the first song they stopped me and said: "You know what, you should become a cab driver, or you should stick to classical music. You're never gonna be good for salsa." And I said to myself, "Fuck you all. I'm going to become a great salsa violinist." So I stayed quiet and started studying and started listening. I started listening to solos from Brindis. I would transcribe them to sheet music and then I would learn them in every key. I would combine from different solos he did and sort of make patterns with them. After a short while I began to develop my own musical ideas. Then it was Pupi and Fajardo that took me and showed me the roots. And you know how life is weird, about four years later after they told me that, Orquesta Broadway called me to put this solo on their album. I went, and they said, "You remember when you were 11 years old when you first played with us, we knew you were going to be great." (Laughter)
You see, here comes a kid who has been studying classical and has never played this music, and they put a paper in front of you. Of course you're lost. I have never made such a comment to a musician, because that could kill you. I could have put my violin away and never have played salsa again in my life. It was great for me because it gave me a challenge.
You've made it clear to me now that you played with Broadway before Pupi and Fajardo. You started with Fajardo in '66; was that right?
You know, someone gave me a copy of a live recording of myself performing in New York at the Corso ballroom with Fajardo when I was 12 years old playing a violin solo. I cried when I heard that man. Fajardo taught me the roots. He would actually pull my pants down and kick my ass. He would spank me man. Sometimes he would say, "Take a solo." After he would come up to me and say. "You're trying to take the spotlight away from me? Who do you think you are, you little kid?" He would scream at me, fire me. The next day he would call me - he lived around the corner from my house. I'm grateful for that. Then I got tired and I left. I left after Miami, after Típica 73 had started and I didn't join them. I came back to ask them, "OK I'm here." They said, "No way. You didn't want to be here when we started, now you're off." That's when I started with (Eddie) Palmieri. I played with Ismael Miranda. You know
Así Se Compone Un Son
(1973 on Fania), that album?
Orquesta Revelación.
I played with that band. That was when Eddie Palmieri called me. I also played with Ismael Rivera.
That was about 1974?
But you started with Palmieri in '72?
'72, yes.
That was when Manny Oquendo and Andy González were still around (in Palmieri's band)?
No. The first band of Eddie's I joined had Jerry González on congas, Nicky Marrero on timbales, Choki López on bongos, Barry Rogers and Jose Rodrigues on trombones, Mario Rivera and Ronnie Cuber on baritone saxophones, and Chocolate Armenteros and Victor Paz on trumpets.
It must have been later than '72 then?
No, it was right after he did the
Live At Sing Sing
album. What year was that?
That was about '72. Yeah, yeah.
Andy González and I went to Manny's house and convinced him to come back. He used to live in Long Island, and we would drive all the way to Long Island before every gig to pick him up. Just so he would come and play. We persuaded him to come back. He plays so tastefully you know, and he was part of the Palmieri La Perfecta phenomenon.
Then he and Andy definitively broke away in 1974?
Do you know how that happened?
Tell me?
We were in Puerto Rico playing. Eddie at that time was out of it. He didn't have order, he didn't have anything. He didn't care. I didn't mind. Eddie, to me, is Eddie. The band called him to a meeting, "Eddie we want to tell you this..." Eddie said: "Listen, I'm not behaving myself. I quit." He quit his own band! That's how Conjunto Libre came about. That was Eddie's band. He quit his own band and formed another band. That was some weird thing.
And it was with Palmieri that you appeared on the first ever Grammy winning Latin album?
That's right. That's the first album I did with Eddie:
The Sun of Latin Music
(1974 on Coco), which was a great album. It was a great great album. Lalo Rodríguez was 16 years old. It was a big big band. I came from Fajardo before Palmieri, and with Fajardo I had never done solos. I was a Cuban with gold jewelry and suit and tie. The tie would match the shirt and I had shiny painted nails, too. I was a straight Cuban. I used to straighten my hair: real straight!
What happened on my first night with Eddie's band is that Chocolate Armenteros got sick. And Eddie asked Andy and Jerry González to get him a replacement. I had been jamming at Andy and Jerry's house in Gildersleeve in the Bronx, which were some of the best jam sessions I've ever played in. We would stay there the whole day and just play music. You would find 20 musicians there at a time. I'm talking about Ray Barretto, Mongo Santamaría, Orestes Vilató. We would listen to albums and analyse them. Well, he asked Andy and Jerry to get a replacement trumpet player. They said, "Can we bring a violinist?" And Eddie said, "Yeah." So I remember I was coming from Fajardo's band, playing with that three violin section with a small rhythm section. Charanga is only one tumbadora, a güiro and one little bell. And here I come to this band with Barry Rogers and Jose Rodrigues, who are powerful. I remember feeling like I had a lion behind me. It was like, "Wow, what is this!" We played Eddie's theme song, and he got off the piano and said, "Who wanna work with me? I'll pay you $35 on weekdays and $45 on Saturdays, and when we travel, I'll pay you $70. You wanna work?" And that was our contract. We shook hands and we started working together. I stayed with Eddie for five years.
I was coming from Fajardo's school, and here I was the only violin. I went to the music store and I bought all these pedals to make my violin sound like an electric guitar. I changed from being a straight Cuban. I grew an afro and I started wearing jeans. I changed completely around. Eddie changed me. That's why I say he made me a solo violinist, because there I could do whatever I wanted. I didn't have any limits.
After being with Palmieri a while, Fajardo calls me back and says, "Listen, now you've graduated yourself, now you can play solos. I want you to come and do a solo on 'Confusión' on my album (
Señor Charanga!
'80 on Fania)." That's after many years of not letting me. That's why I quit him in the first place.
You say Fajardo wouldn't let you do solos, but earlier you mentioned doing a solo with him at the age of 12.
It's not that he didn't let me do solos, but that he only gave me solos on very rare occasions and then he would always tell me that I thought I was big shit but that I was nobody yet. You see some old Cuban musicians feel that this is the way to teach someone music. Being very strict. I know that inside he felt I was probably doing great, but he would never let me know.
From the mid-'70s there was a bit of an explosion of charanga in New York, and you were on quite a few charanga albums.
Yes, I used to freelance. While I was Eddie I used to play with Típica Ideal, Orquesta Broadway, Orquesta Novel, Charanga America.
I was going to ask about Ideal, who are one of my favourites.
Great band. Chombo Silva and myself on violins. We used to go to Africa a lot with the band. That was a nice charanga band that had some incredible musicians. It only lasted a few years.
Pianist Gil Suárez was the leader?
They did a couple of albums on Artol (collected on
Charangas! The Best of Típica Ideal
'95 on WS Latino), and then they did that fantastic album
Fuera del Mundo/ Out Of This World
(1978) on Coco, which you were on, and Luis "Perico" Ortiz produced.
Yes, yes.
I was thinking, talking of Broadway - excuse me, but I've been listening to this music for so long - the cut "Latin New York" from
reminds me of "Barrio del Pilar" from their
(1976 on Coco) album. You know the street sounds Barry Rogers used on that track.
The street sounds were my reference to New York. Also Rubén Blades used it on "Pedro Navaja" (from
'78 on Fania). I wanted to include this because the song talks about New York.
You recorded with Cachao. You played on his two Salsoul albums (
Cachao y su Descarga '77 Vol. 1
'76 and
Dos, Vol. 2
Yes. He's one of the funniest persons I've ever met.
He played with Palmieri for a while when I was in the band. He's a joke teller. He's a comedian who loves telling jokes. I think he's a beautiful musician. I remet with Cachao last year. We played at a festival in France.
I'd welcome your reminiscences about working with Grupo Folklorico y Experimental Nuevayorquino and Libre. You're on Libre's third album
Los Lideres De La Salsa
(1979 on Salsoul).
Grupo Folklorico y Experimental Nuevayorquino came from all of us who used to unite in Andy and Jerry González' home in Gildersleeve in the Bronx. We used to gather there every day and play together for hours. René López, the musicologist, and Andy Kaufman used to hang out with us and that's how the idea to do those two great albums came about (
Concepts In Unity
'75 and
Lo Dice Todo
'77 on Salsoul; Alfredo plays on the latter). It was more of a friendly get together thing. I remember those days as the best musical days of my life because there wasn't competition among us and it was just good music and fun. There were very few live presentations of Grupo Folklorico. I was called to record with Libre because I had been playing with the guys in Eddie Palmieri's orchestra for years. Remember Libre was Eddie's band till he fired himself and they became a group on their own. I was never invited to join them because I remained with Eddie, but I would sit in as a guest on many occasions, so they decided to invite me to do
Los Lideres De La Salsa
You were a member of Tito Puente's Latin Jazz Ensemble.
I was the director of Tito's Latin Jazz Ensemble. Right away, it makes me feel something in my heart when you mention Puente, because of the fact that I really loved the man. I spoke to him two days before he died, and there was nothing wrong. He was perfectly fine. Then you hear: Tito dies. Tito taught me how to be a professional. He taught me to respect my public. To love the audience. That was one of the most experimental bands I worked with, when it was really small, when he had Patato, Jorge Dalto, Mike Viñas and myself. There were five of us. We did the live at Montreux album (
LPJE Live At The Montreux Jazz Festival 1980
on Latin Percussion Ventures) and a
. That was an incredible band.
And you're on Tito's first album on Concord Picante:
On Broadway
That's a nice album too.
Then you disappeared after that.
No. I quit when Johnny "Dandy" Rodríguez came in as Tito Puente's director. I made my own band in New York and I left Típica. In order to punish me, they got me out of Tito's Latin Jazz Ensemble.
They punished you because...
...I left Típica. They said to me: "Why do you leave Típica now, at this moment?" I replied: "Man, I have to take my chance," which is when I did the
Puente's Latin Jazz Ensemble almost became the Típica 73 Reunion Club, didn't it?
After, yes. It was the Latin Jazz Ensemble, then it became Tito's band because he added a trumpet, then another one. All of a sudden it was the big band again.
You departed from American shores to Colombia didn't you?
I went to Colombia. I was a drug addict for 22 years. By the time I left New York and went to Colombia it was really strong. I went to Colombia for three weeks, hired to play in a club called Juan Pachanga in Juanchito, Cali. There it was pure drugs. So I just stayed there. I say this because I think it's important talking about that, too. I can say it now because I'm clean. I've been clean for many years. I always try to mention this in my interviews, because maybe it will help somebody that is suffering what I suffered back then. When I ended my drug addict career after 22 years, I was doing 10 grams of coke a day. I had a constant bleeding nose and I was out of it. When morning came I pulled all the drapes down and wanted to kill every little bird in the world. I took the phone off the hook. Didn't wanna work, didn't want to do anything except use drugs.
Something funny happened, the Pope went to Colombia. The Governor of Antioquia where Medellín is the capital, where I used to live, said, "Listen, I want you to play the violin for the Pope." I said, "Wow, play for the Pope!" I prepared myself for three months to play for the Pope. The night before my appointment with the Pope I went to celebrate that I was going to meet the Pope.
Ha, ha, ha...
So I said, "I'm going to have one drink, just one drink, to celebrate." You know, when you're an addict one drink is too much. One drink is too many. My appointment was at eight o'clock the next morning. And when eight o'clock came, I said, "Later for the Pope. I'm having so much fun." I was out of it. I didn't go to the meeting with the Pope. The Pope left Colombia, and I was like partying for five more days. I went to sleep, and when I woke up two days later and looked at myself in the mirror, what I saw was so disgusting that I went running and asked for help. I went to a rehabilitation centre. I walked in and said: "My name is Alfredo de la Fé." Of course, everybody knew me. "Either help me or kill me." This was about 15 years ago. I decided then: no more for me.
So why do I make this parentheses in this conversation? Because if somebody is reading this, and he has real serious problems with drugs, with alcohol, with any kind of dependence, I want to say it is possible to get out of that.
When did you really get hooked then?
I started sniffing coke when I was 12 years old.
As early as that?
Yeah, when I played in the first band. I remember the first night when I played the first set, in the break time everybody left. I said, "Shit, what happened? They didn't like me, what is it?" The second break, they left. I said. 'Wow, they didn't like me." It wasn't that they didn't like me, it was that in the breaks they would go and get high. Two days later they took me with them, and said. "You wanna get high?" It was my way of getting accepted, I was 12 years old. I tried it and stayed there.
Yes, I see.
I don't know when I passed that line from being a social user to being an addict. I cannot really tell you when. I thought I was all right. I thought I didn't have a problem. But then, again, nobody thinks they have a problem.
I know drugs are obviously an inextricable part of the music scene.
Not any more, it's starting to change.
You think so?
I think so? For example, in my band, you offer wine to a musician and they would rather have a soda water or Coca Cola. Not one of them drinks, and they are all young guys. So I say, "Wow, in my time if you didn't drink or use drugs, you were out." There was no way in New York. Drugs were music's closest relative.
You mentioned that the Juan Pachanga club was in Juanchito. Can you tell me something about the significance of Juanchito?
Juan Pachanga was indeed in Juanchito, which is a little town on the limits with Cali. It has always been very important to salsa, since it was the place where salsa was heard for the first time in Cali. The other thing is that the clubs can stay open all night, so after everything closes in Cali, everyone goes there. There's only a bridge that separates Cali from this little town and it's only a couple of minutes away. This club belonged to Larry Landa, one of the persons who started salsa in Colombia and the first to bring Richie Ray and the Fania All Stars to Colombia. At the time it was the best and most luxurious club in Colombia. Larry Landa died in a United States jail from a drug overdose. He was a beautiful person and a personaje de la salsa en Colombia.
When you relocated to Colombia you made a few albums before you joined the Fuentes label.
I did three albums with Phillips. I did one called
Made In Colombia
(1985 on Mercurio). I did another one,
(1986), playing vallenato. I love vallenato. I think it is one of the musics that has the most expression: the words they sing and what they sing about. I played this party with one of the vallenato kings, and I went to Valledupar, where vallenato originates from, and I played in the Festival of Vallenato. It was the first time an instrument outside the traditional vallenato instruments played there. Also I remember the press saying it was the first time that people stopped dancing in the 25 year history of the festival, to look at what was happening there. So it went so well, that I decided to make this vallenato album. I don't know if you've heard it?
Yeah, I've got it.
OK. Then I did another album called
Dancing In The Tropics
That's one I don't know.
I'm glad you don't know it.
The title sounds a bit dodgy.
I'm very glad you don't know it. I had my own studio. They hired me to make this radio station in Colombia. It's still one of the best salsa stations today. It's the only 24 hour a day salsa station. It doesn't play any salsa that is not classic.
What's it called and where's it based?
It's called Latina Stereo and it's in Medellín. They play the best salsa. I had a 24 track studio with a beautiful garden in the back. But I was messed up. I was doing drugs. I used to have a double aguardiente for breakfast. So in this album, you can hear that. It's horrible. It's horrible. I feel ashamed of this record.
It's distribution must have been pretty poor, because I've never come across it.
Phillips Records said, "Listen, before we let you go, you've got to give us a third album." That was the compromise. So I gave them this album that's horrible. Then I went to Fuentes, and I did a great album, the first one I did called
(1989). That was released here (in the UK) on Mango (in 1990).
You implied earlier that you found it a bit creatively stifling with Fuentes.
It's not that. Colombia's manipulated by the radio you know. Back then when romantic salsa was the biggest thing - and I never liked romantic salsa, I think it's elevator music, airport music - I wanted to do an album like
, with it's poly-rhythmic things and two tonalities playing at the same time. Fuentes didn't want it like that. As a matter of fact, Fuentes wanted me to put some lady's behind on the album cover, and I refused. They said, "But a lady's behind is what sells the most records." That album
has a cover...
It's a painting of you...
It's a painting. I was going to call it "Salsa CD of the Future," a CD with all the different places of the world. That's when I got my electronic violin, the Midi violin. It was hard to get that album cover, because they said they weren't an art gallery, they were a music company.
How much creative control did you have?
In a way I've been a revolutionary. I always get my way. If I wanted a song recorded, I would go to the general manager. I would play him the song. I would say, "This is what I want." I knew he would say no. I used to make it like it was his idea. For example, I did a record for Fuentes called "America, Cantemos," and they didn't want me to record that song at all. They put it last in the album (
Salsa Y Charanga
'91), and the song was chosen by the Presidency of the Republic to represent Colombia in Expo 92 in Seville, in Spain. So they had to bite their tongue and redo the whole album to put the song further up. They had to do a video. They gave me $200 to do a video. $200 to do a video! (Laughter) I said, "That's fine." I called the Governor, for whom I'd done a lot of favours, because after I'd become clean I started playing for drug rehabilitation centres all over Colombia. I called people, and they helped me, and I did a great video. They used to show it in the Expo in Seville 10 times a day on a big screen - a $200 video!
I bet they felt they got value for the money?
It's a beautiful video! I had a friend who had 55,000 birds on his own paradise island. I went and I started taking shots of these birds. I made it into a sort of ecological thing, and it turned out fine. I'm grateful to Fuentes because they gave me the opportunity to do it. I also did two albums for them called
Los Violines de Alfredo de la Fé
16 Grandes Sucesos de Cuba
'90, released in the UK under the title
Cuba's Greatest Hits
, and
Sentir de Cuba Vol. 2
'92). I think they're nice. It was my roots, it was all the music I had as a child.
Salsa Y Charanga
, you know that album?
They wanted me to do that. They forced me to do that album in that style. That's another album I don't like, out of everything I've done. I don't think I like
Salsa Y Charanga
. It's not me.
You don't owe anything else to Fuentes? You're finished with them now?
A long time ago.
And you're part of the Ryko family now?
Yes. Before Ryko I was with Sony Music in Colombia. I did a record that I'm sure you haven't heard either. It's called
De La Fé Y Aché
(1997). It's a mixture of house, vallenato and charanga. It did really well in Mexico. It's very commercial discotheque music.
You had a disco hit with "Hot To Trot" from
That was no. 32 in the top 100 in the United States. I think they are going to re-release that album. I got something the other day telling me, "Could you sign this, and you will get so much percent royalties." So I called him and said, "Listen, before I sign this, do you mind giving me the royalties you owe me from 1979 to today." (Laughter) "That way we can start our business clear." He said, "I don't know." I didn't sign anything, but they said they were going to re-release it, which is fine with me. It's a great album.
is what is happening at the moment, but what does the future hold?
This is the first record I've done with this group. The second one is going to be much much greater. As I said before:
is my best work...up to now. We've already started working on the next one. I don't know which way we're gonna take it, because you only know when you go to the studio. One formula that works for me - because as you said, it sounds like Típica - is that I record how we used to record. Right now people go in the studio and lay the rhythm section first, et cetera. I didn't do that with this album, I recorded the whole band together. Then you clean whatever you have to clean. The only way you're going to get that sound and that magic on an album, the only way spontaneous things happen, is when you play all together.
In passing, earlier in our conversation, you understandably thumbed your nose at salsa romántica. Clearly
represents the harder, swinging sound. Do you want to say anything about this resurgence that is thankfully underway?
Everything is a cycle. Everything is a circle and it comes back. If you look at some of the things - not all of them - that were recorded in the last ten years. You listen to the biggest hit from five years ago, and you play it today and you don't want to hear it. Instead you take "El Raton" from Cheo Feliciano, and you play it now, and you still enjoy it. That's what I think it's about. It's not about making hits, it's about leaving something within the pages of the history of Latin music. When I do an album, I want at least one line written about it in the history of Latin music. That's what matters to me. I think everybody else feels different, but more power to them. I think
is going to be a record that is going to remain, like
is a record that remains, like
I don't think charanga will work right now. The way we used to play, just coro and flute. People don't warm to that anymore. Now you have to tell some other story. It's another time. I don't think - I don't know - charanga will happen any more.
In its pure form.
In its pure form.
Bands like Orquesta Típica Novel have a new album out (
La Nueva Generación
'00 on Mambo Express).
But it's not the same. Los Jovenes del Barrio sound great. They do some nice, interesting things, but I think salsa has changed. It's good to remember the past, but you gotta look to the future. It's good to have one foot in the past, because that's what the whole structure is, but the architecture is completely different.
It's that combination of styles you use, the charanga and conjunto sound, it gives you more colours and textures to work with. Doesn't it?
Of course. There's charanga in
. When you hear the montuno part, that's pure charanga that's happening. I added a batá (drum), which gives it a force. That had not been used in straight salsa, maybe folkloric. Yes, they've used a batá in other types of salsa, but it's not been used in New York salsa for a while. That was one of the forces of Típica 73, the batá drum.
Thanks very much, I enjoyed talking to you.
It was great. It was great. It was a great interview. It was nice. It was not the same thing that others do.
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text:
COOKEVILLE, Tenn. -- The Morehead State baseball team recorded double-digit hits for a second straight game on Saturday, but it wasn't enough in an 11-5 setback to Tennessee Tech at Bush Stadium.
The Golden Eagles improve to 12-6 overall and 4-1 in the Ohio Valley Conference, while the Eagles slip to 7-11 on the season and 2-3 in league play.
Tennessee Tech struck first with a run in the bottom of the second on a sacrifice fly from junior catcher Jordan Paris.
Morehead State answered with four runs in the top of the third. Sophomore center field Duran Elmore got things started by crushing a solo home run off the scoreboard in right field. It was his first roundtripper of the season and MSU's fifth.
Junior catcher Bobby Burns drove in sophomore first baseman Kane Sweeney moments later with an RBI single up the middle, before sophomore right fielder Brandon Rawe brought home two more with a double to center field.
TTU cut the MSU lead to 4-2 in the bottom of the third when junior third baseman Daniel Miles clobbered a two-out solo home run to left field. TTU tacked on another score in the bottom of the fifth when Miles scored on a wild pitch.
The Eagles opened up a 5-3 advantage in the top of the sixth when Elmore drove in Rawe on an RBI groundout.
The Golden Eagles responded, however, by scoring five in the bottom of the sixth to retake the lead, 8-5. Junior designated hitter Brandon Thomasson got it started with a three-run homer over the left-field wall.
TTU added three more in the seventh to extend the lead to 11-5, which is where the contest finished up.
MSU senior right-hander Austin Haney took his first the loss of the season, allowing three earned runs in two-thirds of an inning out of the bullpen. TTU senior righty Nick Price (3-1) picked up the win out of the bullpen.
Elmore (3-for-4, 1 R, 2 RBI), Sweeney (3-for-5, 1 R) and senior shortstop Chase Greenwell (2-for-4, 1 R) registered multiple-hit games for Morehead State.
TTU collected 17 hits on the afternoon, while MSU recorded 10.
The Eagles will look to avoid the series sweep in game three on Sunday at 2 p.m. ET. Links to live stats and audio will be available via MSUEagles.com.


text:
by Molly Gold from GO MOM! Inc.
Download and print your lunchbox notes to let your child know you are with them every step of the way. They're great for backpacks, lunches, planners, jean pockets, sports bags, and so much more! How do you make your child's school routine a great one?


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You claim that you have a prediction.
The 4 aces are removed from a RED deck and placed off to one side.
The spectator is asked to THINK of ANY card, NOT the SUIT just the VALUE.
Lets assume they are thinking of a 4.
Next they are asked to mix the four aces, these are laid out in a row.
Each ace represents a suit, they select any one of the four aces. NO FORCE.
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In a fair manner they 've selected the 4 of hearts.
The SAME deck is spread across the table, face up in the deck there is one card and one card only. It is the 4 OF HEARTS!
The 4 is removed and flipped over it is the ONLY card with a BLUE back in the RED deck!
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text:
Start Date: Apr 01, 2009
End Date: Mar 31, 2014
Inbreds will be developed through breeding at International Institute of Tropical Agriculture (IITA) Ibadan, Nigeria, West Africa. They will then be selected based on agronomic traits and foliar and ear rot resistance(s) and sent to the U.S. for evaluation for resistance to aflatoxin contamination using the rapid kernel screening assay (KSA). Information obtained through these screenings will be used to select lines to advance, through breeding, to the next generation. The KSA will also be used to idetify near-isogenic lines differing in aflatoxin accumulation among the breeding materials. Proteomics and microarry analysis will performed on these lines to identify proteins and corresponding genes associated with resistance. Information obtained will be used to develop markers for use in marker-assisted breeding. Resistance will be confirmed in all lines under natural conditions of high disease pressure in Nigeria. Promising germplasm will be released for use in U.S. breeding programs and national programs in Central and West Africa.


text:
rogerfederer.com - Fourth title in Basel
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Fourth title in Basel
Roger captured a record fourth title in his hometown Basel today, defeating Novak Djokovic 6-4, 3-6, 6-1.
"It was a fantastic week, I played well from start to finish. The final was the most dangerous of the week, especially playing Novak. But I was able to pull away in the third set," Roger said.
Both players had the same number of break point chances in the first set, but it was only Roger who managed to convert one of his to take the lead. Djokovic was more opportunistic than Roger in the second and it was soon clear the he was going to tie in sets as Roger just commited too many errors. Very early in the third set, Roger still committed a large number of unforced errors, but this time Djokovic was unable to take advantage. Roger went all the way to treat himself and his home crowd to a record fourth title in Basel.
With his victory in Basel, Roger has now moved past Pete Sampras with 65 career singles titles. Ahead of him are now only John McEnroe (77), Ivan Lendl (94) and Jimmy Connors (109). He will now head to Paris as top seed - as Rafael Nadal will not be playing - for the last event of the ATP season.
Wish you luck for the rest of the season, especially in Paris and London!
you're our hero!
Congratulations! Felicitaciones!, Campeón.
What a fabulous match. I'm so proud of you.
All the BEST for you and your lovely family.
LOVE and SUPPORT you FOREVER!


text:
Brunette bombshell masturbating in the woods
Chubby chick getting fucked in the woods
Crazy chick masturbating in public
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text:
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text:
April 3, 2013
MARIETTA — Two Newport men accused of frequenting parties to pick up teenage girls were arrested Monday, one of them charged with the rape of a teen whose child he fathered....
And if this was two years ago and she was 15 then, she's 17 now, so still underage. If she's continuing in that behavior as you said, she needs help, not victim blaming. For all we know she is psychologically scarred and acting that way due to trauma.
But this comment is conjecture, sorry.
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@2girlsmom: I agree this should have been reported far earlier than it was. Sadly most cases of rape never get reported. I want to remind you though that she is not "as guilty as they are." She obviously made some very stupid choices that resulted in some lifelong consequences. However, she was under 18. They weren't. It's as simple as that. She was a child and no child can consent, no matter what situation she has put herself into. These men chose to ignore that and now they are facing their lifelong consequences, and thank God. Not enough rapists get caught and punished.
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Gunsrock....I do not disagree with you at all and every word you said is true. These parties evidently were more adults than kiddies and they should have been turned away. This should have been brought to the attention of authorities right then and not 2 years later. Its just a sad shame that so many lives are ruined by alcohol and drugs!
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2girlsmom, we don't have to judge the court will do that. But it doesn't take a genius to know that if you are over 18 and she or he is under 18 you will be considered a pedofile and have to register as a sex offender probably for the rest of your life. Everyone knows there are girls out there that do this, intentionally to get the attention of people. It ***** but that is why the adult has to say no. Besides that, these guys should have known better to be at a party with under age kids. That is just asking for what they are getting now. You may disagree but that is how it is.
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Nope Matt4685 I am not a family member but a member of a community. I know one of the boys and he is not a pedophile to say the least. You are just reading what is in the paper and have no clue. I do not condone partying but this girl is as guilty as they are and she continues to do the same things as she has done over these two years, so you can lay all the blame on these boys. Sorry, doesn't get it for me. Don't judge before you know the truth!!
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It is up to the adults to say NO. Even if a little girl with no upbringing throws herself at them - it is up to the ADULT to say go away little girl.
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just makes me sick to hear about people doing this kind of crap. I agree that the genitals should be cut off of these two men and anyone else who commits these type of acts
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Did these 2 clowns really think they wouldn't get caught? What a couple dumb ***es.
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Can't these freaks find any girls there own age, they have to go after children? They are certainly old enough to know better. Guy might have a point. Right after the dads get to visit them, with their ball bats.
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If the 2 "Men???" are found guilty of sex crimes,the only viable solution and further prevention of this act is merely to whack off the genitals. Then,case will be closed111
6 Agrees | 5 Disagrees | Report Abuse »
Showing 10 of 10 comments


text:
EDWARDS - The Glenwood Springs Demons girls soccer team won its showdown against Battle Mountain, 2-0, Saturday in Edwards with Lillie McSwain notching two goals.-
McSwain was excited about scoring two goals, especially against a tough Battle Mountain team.
"Pretty amazing. It's one thing to score, but to score against Battle Mountain, it's pretty good," said McSwain. - -
Midway through the first half, the game was going the Demons' way as they were moving the ball well and playing great defense. In the 25th minute, Glenwood's McSwain was able to squeak one by Huskies goal keeper Mindy Vickers to give the Demons an early 1-0 lead. The rest of the first half was all Glenwood defense it was not allowing the Battle Mountain forwards to get many shots or to put pressure on the goal keeper.-
The start of the second half came along, and pretty early into it, Huskies defender Jenai Denardo was called for a handball in the penalty box, which gave the Demons a chance to increase their lead. The captain McSwain came up to take the penalty kick and was able to bounce it into the right corner of the net and give the Demons a comfortable 2-0 lead.-
The Huskies were not going to give up easily though as they turned on the offensive pressure, hoping to get a goal. Two chances game late in the second half, but Battle Mountain's offense just couldn't connect. A big defensive play was made by the "other" McSwain, which would be Grace, when she stopped a 2-on-1 situation. Battle Mountain's Rosie Davis and Taylor Denning were looking to capitalize, but Grace McSwain was able to stop the advantage and stop the Huskies from scoring.-
That would be it for the Huskies as they suffered their first loss of the season.-
Demons coach Steve White talked about how his team was able to get the win today and the confidence his team got out of the win.
"Our passing game is really a strong suit of ours, and I'm not sure the other teams expect that kind of possession, one- or two-touch passing like we have," said White. "Its huge. We've only had one loss. This tested us. There are some soft opponents in our league, and so this tested us with the best."
Coach David Cope still had some positives to take out of the game.
"We lost to a good team today, so we shouldn't be to down and it was a very good player that scored those two goals. So, we respect that. We came out strong early on and then they just scored two goals," said Cope. "Coming in we knew there were four really good teams in this league and our next three games are against the other three, and we consider ourselves to be one of those four-best teams. So we just look forward for Steamboat on Tuesday."-
The Glenwood Demons (5-1 both overall and in league) next play on Tuesday against Eagle Valley at Stubler at 6 p.m. The Huskies (6-1-2, 6-1-1) host Steamboat Springs on Tuesday night at 6.-


text:
Suspension of longevity pay passes first reading
March 28, 2013
PARKERSBURG — Parkersburg City Council Tuesday approved the first reading of an ordinance to indefinitely suspend longevity pay for city employees....
Retired state employees have not received a cost of living increase since 1988. Think the cost of living has increased since 1988?
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Welcome to the real world
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COUNTY COMMISSIONERS.... ATTENTION!!! Do you see what LONGEVITY PAY RAISES ARE?? "The longevity pay would have increased employee pay by 30 cents an hour each year of service." So sad.. the county said last year we are giving our employees a longevity pay increase.. wow they thought they really did something... NOT! They gave their employees 10 cents an hour period! Not for each of service, just a flat 10 cents! What an insult to those who had been there for years and years and years.. some 30+ yrs. And now this year they say they have no money for raises.. maybe they need to have the city council look at their budget. The 3 wise men are proving they are not so wise after all. Such a disappointment. City Employees... be thankful you are not working for the county!
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and they wonder why employees leave for other jobs, especially police officers. inflation goes up every year, cost of living is increasing constantly but wages, especially for state, county and local employees have not. No pay raises, no longevity. so sad.
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Showing 4 of 4 comments


text:
The Icon Proshield™ (IC-02) is fitted with a helmet shield lock to keep your shield securely closed. Sideplates (sold separately) mount to each side of the Proshield™ for a more custom, finished look. The Proshield™ will not fit the Airmada™, Alliance SS™, Alliance SSR™, Mainframe™, or Domain™ (1) helmets.
$10.00 - $50.00 Suggested Retail USD


text:
Hi, my TV's resolution is 720p (hope to upgrade soon), but I got some movies that were encoded as 1080p. When I stream them to my PS3, is the stream 1080p or 720p? Does PS3 Media Center have a way of detecting my screen resolution from the PS3? If not, can I change some setting so that it transcodes to 720p?
I'm new to the whole idea of transcoding, so I apologize if I'm way off here.


text:
Miro is a free application that turns your computer into an internet TV video player.
The Mac version of Miro uses Quicktime 7, which is built into the operating system, to play video. In addition, it uses plugins for Quicktime to play even more video types. The Mac version can play MPEG, MP4, MOV, H264, Flash, Xvid, AVI, OGG, and more.
Previously known as Democracy.
Required OS: 10.4
Tags: video , media , player , podcast , youtube , bittorrent , torrent
30 Opinions
Hmmm. Looks like I'm still getting the windows version through the d/l link...
indeed it did. Fixxored
Download seems to point to the windows version...
Today, July 21st 2007, Miro is able to search videos in YouTube again.
(I wonder what happenned the last two days...)
For some reason, today Miro is not able to search any videos from YouTube. (Yesterday it worked OK.)
I have tried with the other websites included in the search field (Google Video, Dailymotion, blip.tv, etc.) and they all work perfectly. Searching in YouTube gives no result. Nothing at all!
I have been trying Miro and there are two little things that could make it even better:
1. When there are more than 20 videos in a search, it displays only the first 20. There's no way to access the other ones. (Or am I missing something?)
2. It would be nice if there was a field to insert the video URL (from those websites) and then play it.
Otherwise, it's excellent!
This has now been rebranded as Miro.
@el_cravito : You are very much right. I updated the description.
I suppose this is the application that used to be called Democracy. (Please correct me if I'm wrong.)
I have just installed it and... it is great!
Go to the application's website and watch the screencast. It's very well done.
Miro's interface is very nice and everything is so easy to use. I specially like the search of movies in YouTube, Dailymotin and other websites inside the application.
Not too delightful on my old iMac with only 512 MB. More RAM would definitely help, but I think it is a bit of a Ram-muncher in any case ;-)
Page 2 of 3. 30 entries.


text:
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How To Buy Snowboard Boots
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text:
JACKSON (WILX)-- Enrollment at Jackson College (formally Jackson Community College) has been plummeting over the past few years, and it's beginning to issue layoffs.
In the past three years Jackson College has seen a 33% enrollment decline.
"In some respect we lost the equivalent of a small community college," said Daniel Phelan, President of Jackson College.
President Phelan blames the decline on low high school graduation rates, the cessation of Pell Grant availability for the summer semesters, lower state and federal grants, and the improving economy.
"There's always been this inverse relationship between the economy improving and enrollment going down," said Phelan.
Due to the decline in enrollment, combined with projections for the balance of the fiscal year, Jackson College began issuing layoff notices last week to 14 full-time and three part-time employees. Phelan says there are a few more jobs they're considering issuing notices too. Most of the positions are from the administration department; no teachers have been laid off.
If things don't change, student workers like Joseph Lons are concerned they'll be next.
"We're not going to have as much revenue coming in, and we're not going to have enough to pay workers. I work for Student Services, and I'm slightly worried that I could lose my job as well," said Lons.
Cuts have also been made in other areas like, maintenance, public relations, equipment supplies, and energy efficiency.
The cuts could potentially effect tuition rates, but Phelan says he won't know for sure until the decision is made in April of next year.
"I'm looking at tuition as the last source we look at," said Phelan.
To turn things around Phelan plans on making key investments this year, including a new marketing campaign.
"We continue to do quite a bit of market analysis, and economic analysis. Yes, I do think we can turn this around. We'll continue to let these investments blossom over time, and until then we'll batten down the hatches so to speak," said Phelan.


text: Got a rubber band ball made up of the seemingly endless rubber bands that seem to trickle into your house when you're not looking? Take it apart. That ball is a total waste of an incredibly useful household item, and we're about to show you the myriad ways you can put rubber bands to use around the home -- besides the obvious. See full article.


text:
I'm referring to this:
http://otmanix.de/english/2009/06/01/ja ... -avisynth/ which was a link from:
especially regarding K-Lite Mega Codec Pack. Below this it also says: CCCP Codec Pack
For those who prefer minimal installations CCCP codec pack is the right choice. It is available here. Read FAQ for configuration. It should be similar to setup k-lite codec pack.
Then, "activate Avisynth-engine", but doesn't say how to activate it.


text:
A few months ago I injured my left ankle attempting to transition (gradually) to minimalist running sneakers. It didn't go away after a few weeks, so I consulted a doctor. Long story short:an MRI revealed tthat I have a type one (mildest form) hypotrophic tear in the tibialis posterior in my left ankle.
Despite some setbacks initially, it seemed like I was steadily improving with physical therapy and acupuncture. After I month I was able to train on an elliptical machine, do aerobics, and ride my bike. By Christmas, I was 75% improved. Then I visited my parents and decided to run a few miles since I didn't have access to an elliptical machine. I ran four days in a row, and didn't feel that bad. But then as I was travelling back to DC, I noticed pain in my ankle. It got even worse after Igot back to the city and helped pack up my office for our renovation. Between the running and the packing, I reinjured my ankle. That was 3 weeks ago, and there doesn't seem to be any sign of improvement. I can't even do my physical therapy stretches because they aggravate it. Forget about any kind of cardio, let alone running. And the acupuncture isn't working as well as last time either. All I can do seemingly is sit on my couch with my leg elevated. Even sitting with my feet on the floor irritates it after a while. My doctor had orthotics custom made for my feet (my flatfootedness/pronation was apparently the main cause of the injury). I've been wearing them for the past two and a half weeks when I have to walk anywhere, but they don't seem to be doing much of anything to heal my ankle (although they do keep the pain down somewhat).
Has anyone had an injury like this before? Can you please give me some insight? I'd like to know: how long it typically takes to heal; what the most effective treatments are; and the names of good doctors or physical therapists in the DC area. This injury has been incredibly frustrating, and I'd love to get some guidance from runners who have been through it before. I NEED to get back to running ASAP.
I'm male, 29 years old, 6'1',and weigh about 185 lbs when I'm running (its closer to 190-195 lbs now). When I'm healthy I run 25 miles per week.
I'll offer a few thoughts - but be aware I'm not a medical professional. So take it all with a grain of salt.
I think it's significant if the tear is in the (Posterior Tibialis) muscle or the tendon. If in the tendon it can take relatively longer to heel because tendons get little blood flow. Often what causes Post Tib tendon pain and if that escalates, tendonitis, is a short/tight Post Tib muscle. Since that tendon wraps behind and below the ankle bone if the muscle is short it can cause the tendon to rub.
While I'm very much not in favor of orthotics for long term use I think with Post Tib issues they can be helpful if used temporarily. The orthotic is preventing the foot from collapsing, which means the tendon is not moving as much as it would without the orthotic. So that should be helping in giving it a chance to rest and recover. Hopefully your orthotics are of the style that they offer a little bit of movement and aren't totally rigid. My understanding is a little movement is better than total immobilization.
I've found a major help for this can be massaging the Post Tib muscle to loosen it up. Cross your leg such that the injured ankle is on the opposite knee. You'll be looking down on the inside of your lower leg. Take your thumbs and dig into the fleshy part right behind the shin. Massage deeply all the way from the ankle to the knee. If it's tender, IMHO, that's a good thing - because that may mean you're onto something. The first time I did this I was confirmed the next morning that that muscle really needed work. It was quite sore. James Johnson who hangs hear likely has other ideas on how to loosen this up.
"Kick off your high heel sneakers, it's party time."
-- From the song FM by Steely Dan
Thanks, Jim. I can't think of anything important to add to the accumulated wisdom in your post. It truly covers all the bases. You are careful, tactful, and comprehensive enough that you should be a medical professional!
I'm gonna write about it anyway, though, because I love to write! I'm also going to add some red meat to add to Jon's intensity... RG3!!! If he can come back from injury, anybody can! Speaking of coming back, the editing code for the Community portion of Active.com was down for a while, and I could not fix all the mistakes in my post. It's back, so I can tidy it up.
JonDM: in your post, you probably meant hypertrophy instead of "hypotrophy," the medical term for the enlargement of a group of cells without increasing their number. Basically, the Doc is saying there's a lump there. While the rest of us have no way of knowing exactly what and where the doc felt in the Tib P to come up with that diagnosis, we can take him at his/her word.
If the lump is in the muscle, we can't say for sure that it represents a persistent myofascial trigger point, but such a problem could be described that way, especially if there are biomechanical explanations for why such a condition might be likely. In that case we often share our methods for disarming MTPs, but professional therapists tend to guard their methods, even package and sell them .. not necessarily a bad thing in our free enterprise system, but frustrating and expensive for the average recreational athlete.
Scar tissue could be another explanation for apparent hypertrophy, and would be visible on an MRI, as evidence of a tear. In this case a DC (doctor of chiropractic) trained in ART (active release technique) might be worth pursuing in DC (district of columbia). Just be aware that the techniques for releasing MTPs and scar tissue overlap somewhat, may produce a similar effect for either pathology, but also hold the risk of making things worse, along with wasting time and money. Know your causes before picking your solutions!
If, on the other hand, the MRI image was used to diagnose the enlargement, and it is found instead near the ankle, the common diagnosis of hypertrophy of the PTT (posterior tibialis tendon), due to irritation, inflammation, swelling or the accumulation of fluid (tenosynovitis ), tendon involvement is more likely. Having flat feet could lead to excess motion to achieve stability (usually hyperpronation), which would stress the Tib P and its tendon with repeated eccentric contractions during pronation phase, and excess movement during the return (supination). Even if there was no pronation at all, excess use of the Tib P for stabilization could produce similar results.
Technically, hypertrophy is what happens to body builders' muscles when they enlarge due to training and supplements. Not necessarily a bad thing, but a condition, a "snapshot in time," used to describe things the way they are right now. A look at the Governator shows that this kind of hypertrophy can take years to build up, and years to lose:
Other types of hypertrophy, such as tenosynovitis from an overuse injury, can build up more quickly during training, and disappear even faster with ice and drugs.
Faster still, can be the dramatic appearance of a myofascial trigger point, which often takes the form of a lump or thickening as a small portion of muscle contracts, but does not release with the rest of the muscle. As the ad above suggests, an MTP can be shut down in seconds after an appropriate amount of carefully targeted pressure, resulting in release of pressure and the associated pain. The method Jim cites is an example of self-massage for this purpose. It can work if you do it right and MTPs are the only problem. It can help, even when MTPs are only part of the problem, a contributing factor. However, it may not resolve everything that is wrong at this time, including pain during exercise.
I'm willing to bet that you may have at least some of everything discussed so far. 25 miles a week can enlarge your muscles naturally over those seen in sedentary patients. It can also lead to MTPs when those muscles are unprepared for the demands of your training. MTPs, or simple overuse due to excess motion (even excess training) can lead to scar tissue build-up (the collagen adhesions addressed by ART, commonly seen in endurance athletes), or the hypertrophy of swelling and irritation, as in tenosynovitis. The doc simply said there is enlargement of tissue, but the diagnosis rendered does not have to include the etiology or causes leading up to the diagnosis. It is important to know why there is enlargement before planning your comeback.
The why is important, and more the domain of Physical Therapists and exercise physiologists. The flat foot is important, because it can not only be the cause of a biomechanical problem, but the result of one or more such problems, even a viscious circle, as discussed above about the common Morton's Foot. If one or more of the above problems are not solved, 25 miles a week is not a realistic goal at this time. As Jim says, the orthotic is not a magic bullet. It is literally a crutch to stop the proverbial bleeding. Since your arch was not meant to directly bear your weight, but to absorb shock on its own, the object during wear should be to address the Tib P problem, whether it be inherent weakness from atrophy (perhaps during downtime before your recent push), MTPs (similar etiology, but sudden onset during training), overuse symptoms (whether MTPs, scar tissue, or tendon breakdown/irritation), or perhaps some other pathology the MRI could reveal on closer examination, such as stretched ligaments or tarpal bone abnormalities.
I'll also bet that a chronic flat foot has stretched the plantar fascia, which though not necessarily painful in itself, can explain why the foot needs to be propped up. Ah, here's the rub: when you hold up the arch with an orthotic, along with banging out the miles and further stretching the fascia with each footstrike, it's not going to get any tighter. This means the arch will remain collapsed unless the Tib P alone keeps it tensioned, which the muscle was not meant to do by itself. The body is full of redundant support systems, and that one is very important, since it bears all of your weight minus the weight of the feet themselves, or in your case 200 pounds times the momentum of impact, or roughly 600 pounds per footstrike.. Ouch.
Speaking of weight, while most people know that diet and exercise are both important for losing pounds, it is commonly thought that exercise is more important than it really is. Diet is by far more important, so you don't have to gain weight in your down time, just down-regulate your carb consumption and/or alter the timing to change your metabolism in a positive way. Too much emphasis on exercise, particularly vigorous exercise, can backfire by increasing your appetite for carbs. Don't get trapped between an athlete's appetite and the downtime of an injury.
In your case, if you want to heal, you are going to have to continue productive cross-training, like the elliptical you are using, and avoid the temptation to load that injury prematurely. Less impact and more targeted strengthening of the Tib P (without engendering more MTPs in the process), perhaps some therapies to tighten the plantar fascia (pro-inflammatory strategies such as needling techniques or prolotherapy /PRP are examples), maybe rest from impact alone, could allow those dogs to return to their intended condition naturally. Bottom line, it's gonna take more than temporary fixes and a return to the road to accomplish this. You Need A Plan. Maybe these guys are a good place to start:
Message was edited by: James Johnson LMT
Thanks guys. This is very helpful information. The injury doesn't seem to be healing, so my doctor has recommended a boot cast for a couple weeks. Hopefully the immobilization will allow the leg to heal. Although I'm concerned about the resultant muscle atrophy that will likely require extensive strength training before I can even think about running again, it doesn't seem like anything short of complete isolation will heal it. I'm also considering a cortisone injection.
Returning to jump in a bit late..............
James: Wow. Really helpful information. Thanks for putting it together. You think *I* should be a medical professional? I think you should look in the mirror.
Jon: If you haven't aleady gotten a cortisone injection I'd be *really* careful with that. It'll mask the pain - but may not do much for long term resolution of the problem. There are exceptions of course - I'm just relaying what I've heard as well as seen reported on the boards.
"Kick off your high heel sneakers, it's party time."
-- From the song FM by Steely Dan
Tears to the tibialis posterior are nothing to mess around with... I'm sure you have seen PTTD boots and surgeries etc and the only thing I would recommend looking into before possible arch collapse occurs is eccentric exercises on the area... it has not been tested much in the area but it has been on other injuries (HS, Patellar tendon, Achilles and more) but what it should come down to either way is...
1st you need to make the muscle/ tendon function the best it can (release scar tissue etc ) ART is a great option http://www.p2sportscare.com/for-skeptics-only/what-is-active-release-technique/
2nd strengthen areas of weakness (Look at Pubmed)
3rd slowly build into your normal activity
You should be seen by a medical professional though... I would not try to tackle this on your own
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by Alumni Posts on March 12, 2013
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In other Terrebonne Parish School Board action: Feb. 20, 2013
Published: Wednesday, February 20, 2013 at 10:59 a.m.
Last Modified: Wednesday, February 20, 2013 at 10:59 a.m.
The following is a rundown of all action taken by the Terrebonne Parish School Board on Tuesday. All votes were unanimous; board member Roosevelt Thomas was absent.
Action: Approved allowing Angela West, a teacher at South Terrebonne High School, to attend a U.S.-Australia Virtual Environmental Partnership training workshop in Annapolis, Md., from Feb. 25-26 with expenses to be paid by the partnership.
Action: Approved allowing teachers Kim Hebert and Tara Soudelier of Mulberry Elementary School to attend the second annual Elevating and Celebrating Effective Teachers Conference in San Diego, Calif., from Feb. 27 to March 1 with expenses to be paid by the Bill and Melinda Gates Foundation.
Action: Approved allowing Nathan Cotten, STEM coordinator at the central office, Carolyn Cowart, teacher at H.L. Bourgeois High School, and Leah Gautreaux, teacher at Terrebonne High School, to attend the Next Generation National Science Conference in San Antonio, Texas with expenses to be paid by a federal Race to the Top grant.
Action: Allowed Becky Robertson, teacher at Grand Caillou Middle School, to waive returning to work after a sabbatical because of a medical condition.
Action: Approved changes to School Board policies regarding class sizes, parent conferences, administration and administration of medication to meet requirements of new state laws.
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