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The KBE-498V28-20NV from Bosch is a Prepackaged Cameras are complete surveillance systems that are quick and easy to install thanks to their plug-and-play design. Each system includes a factory-installed camera (from Bosch's signature line of Dinion, DinionXF or Dinion 2X models), a varifocal lens (with adjusted back-focus), a coax cable (for analog cameras) or Ethernet cable (for IP cameras), and a power cable (1 1/2 m or 5 ft) pre-wired into the housing. The housing includes a feed-through wall-mount.
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October 27, 2005
Fifty-one Georgia school districts have banded together to sue the state, claiming it's failing to give education enough funding. And less funding could cost you. News 12 is on your side with why Columbia County chose not to join in the lawsuit and may raise property taxes instead.
Homeowner Lisa Cummins is willing to give a few extra tax dollars to cover the five percent drop in school funding from the state of Georgia over the last few years.
"That's one of the drawbacks to owning a house is paying property taxes. If that is what needs to be done then it should," Cummins said.
Last night, educators and parents met across the state of Georgia as part of Governor Sonny Perdue's Educational Task Force. They gave feedback on how to make up for the roughly $200 million in extra dollars the local systems are having to pay.
"A heavier burden has been shifted from the state to the systems," said Tommy Price, Columbia County Superintendent.
The Georgia report card says Columbia County spends around $6,000 per student; most districts spend almost $7,000. Those savings helped keep Columbia County out of this lawsuit.
Property taxes make up almost 38 percent of Columbia County's school budget. So they didn't feel the need to join last year's lawsuit.
A nonprofit organization made up of mostly rural districts is suing the state of Georgia, State Superintendent Kathy Cox, and others. Columbia County Chairman Kathy Buccafusco says Columbia County is not part of the group, the consortium for adequate school funding in Georgia.
"They say the state has not adequately funded education," Buccafusco said.
Lisa Cummins is all for paying more taxes to keep Columbia County out of court.
"The kids need to go to school, and the only way to build new schools is to raise taxes, if that is what has to be done then it should be done," Cummins said.
Whether it is a court case or taxes, the $200 million has to come from somewhere.
The case has been delayed since the death of Judge Rowland Barnes in this year's courthouse shooting in Atlanta. The state asked for a motion to dismiss the case, and is waiting for a ruling.
A final report from Governor Sonny Perdue's educational task force will be out late next year. As for the tax hike in Columbia County, your taxes may increase one dollar for every thousand of what your home is worth.

subset: commoncrawl


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In our Gordy's Athlete of the Week, we meet Altoona junior Kali Belonga, a track and field standout who hopes to reach the highest levels of her sport and she is well on her way to doing just that.
Kali Belonga/Altoona Thrower: "I've set a lot of goals for myself, I just want to push myself as far as I can because I want to succeed be at the top of the podium this year..."
As a sophomore last year at the WIAA state Track and Field meet, Altoona's Kali Belonga reached the podium in both the Division 2 shot put and discus throw, placing third in the shot and sixth in the disc. A year later, Kali has already surpassed her top throws from 2011 and has captured first place in both the discus and shot put in last Friday's Rice Lake meet and at Tuesday's Eau Claire North invite. Belonga says two years of state tournament experience has helped tremendously.
Kali: "Throwing at the state meet is a lot different than throwing at Rice Lake, or even Bloomer, usually only have five people watching but at the state meet there's like a hundred people watching you, it's nerve-wracking but it gets you excited."
Kali has had plenty to be excited this spring, she threw 134-feet 4-inches in the discus at Rice Lake last Friday and she had a personal shot put best, 43-feet, 2-and a half inches at yesterday's meet at north high.
Kali: "Being there watching the other girls throw you feed off of the other girls' energy, when one person gets a good throw, all want to push yourselves to throw farther. "
A multi-sport athlete, kali also plays volleyball, carries a 4.0 grade point average and is thinking about studying pre-med. Being active in sports has been a huge positive in the classroom...
Kali: "It helps me manage my time, can't procrastinate, can't wait to do something, have to get it done."
Belonga's coaches says Kali is a major asset to the Rails program, a role model for other kids to look up to.
Breanna Winsand/Altoona Track Coach: "Very rewarding to have an athlete like that on the team, especially someone who is as dedicated and committed as kali, kids look up to her not only in track but as she is as a student, couldn't ask for anything more from an athlete."


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About the Book
In this terrifying and provocative novel by the bestselling and award-winning author of Deadline and Staying Fat for Sarah Byrnes, a teenage boy tries to uncover what happened to a girl who has vanished from his high school. Was she abducted, or did she run for her life?
Paul "The Bomb" Baum tells the truth. No matter what. It was something he learned at Sunday school. But telling the truth can cause problems, and not just minor ones. And as Paulie discovers, finding the truth can be even more problematic. Period 8 is supposed to be that one period in high school where the truth can shine, a safe haven. Only what Paulie and Hannah (his ex-girlfriend, unfortunately) and his other classmates don't know is that the ultimate liar is in their midst. Terrifying, thought-provoking, and original, this novel combines all the qualities of a great psychological thriller with the controversy, ethics, athletics, humor, and raw emotion of a classic Crutcher story.
Period 8. An hour a day. You can hang out. You can eat your lunch. You can talk. Or listen. Or neither. Or both. Nothing is off-limits. The only rule is that you keep it real; that you tell the truth.
Heller High senior Paul Baum—aka Paulie Bomb—tells the truth. Not the "Wow, that's an ugly sweater" variety of truth, but the other kind. The truth that matters. It might be hard. It often hurts. But Paulie doesn't know how not to tell it. When he tells his girlfriend Hannah the life-altering, messed-up, awful truth, his life falls apart. The truth can get complicated, fast.
But someone in Period 8 is lying. And Paulie, Hannah, and just about everyone else who stops by the safe haven of the P-8 room daily are deceived. And when a classmate goes missing and the mystery of her disappearance seeps beyond P-8 and into every hour of the day, all hell breaks loose.
Educator and Librarian Resources
Critical Praise
"Period 8 is the best of Crutcher: warmth, humor, and spot-on teen reality, but coupled with terrifying intensity and a shocking ending." — Laurie Halse Anderson, author of Wintergirls and Speak
Praise for Deadline: "As usual, Crutcher does not hesitate to incorporate serious subject matter within an engaging first-person narrative." — Voice of Youth Advocates (VOYA) (Starred Review)
"Crutcher uses dark humor and self-deprecation effectively to avoid maudlin situations, and teens will appreciate the respectful tone of the work." — School Library Journal
Praise for Whale Talk:"Crutcher offers an unusual yet resonant mixture of black comedy and tragedy that lays bare the superficiality of the high school scene." — Publishers Weekly (starred review)
"Cataclysmic and triumphant." — Kirkus Reviews
Product Details
- Imprint: Greenwillow Books
- On Sale: 03/26/2013
- Trimsize: 5.5 in (w) x 8.25 in (h) x 0.97 in (d)
- Pages: 288
- List Price: 17.99 USD
- BISAC1: YOUNG ADULT FICTION / Social Themes / Friendship
- BISAC2: YOUNG ADULT FICTION / Social Themes / General (see also headings under Family)
- BISAC3: YOUNG ADULT FICTION / Family / General (see also headings under Social Themes)


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Useful information for retailers.
Tobacco Control Laws that Affect Retail Businesses: 2010 Version (PDF, New Window)Revised in 2008; incorporates information on new legislation related to retailer licensing and self-service displays. Order single and bulk copies of the brochure from the Tobacco Education Clearinghouse of California (TECC) online at www.tecc.org
Stop Tobacco Sales to Youth: California Retailers and Youth Tobacco Laws (Revised 2010) (PDF, New Window)This training presentation is designed as a self-education tool for use by California tobacco retailers and their employees. Included in this PDF is an introductory letter to retailers, a presentation and a clerk quiz. The California Department of Public Health is providing this training pursuant to Business & Professions Code, Section 22974.8.
Board of Equalization - Sales of Cigarettes and Tobacco Products in CA Revised in April 2011. This brochure details the license requirements for tobacco retailers.http://www.boe.ca.gov/pdf/pub78.pdf (PDF, New Window)
Board of Equalization - Cigarette and Tobacco Product Inspections Revised in April 2011. This brochure reviews the Board of Equalization inspection process for tobacco retailers. http://www.boe.ca.gov/pdf/pub152.pdf (PDF, New Window)
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Religious Studies
Jewish Studies
Jewish Studies is an intercollegiate, interdisciplinary program which offers the student the opportunity to examine critically the rich culture and the historical experience of the Jewish people, their unique traditions, their interactions with other cultures, and their impact on world civilization. The program draws on the academic expertise of faculty in such disciplines as literature, history, religious studies, philosophy, psychology, and politics. It provides significant preparation for students considering careers in education, social work, public policy, law, business, the rabbinate, Jewish education, and scholarly research.
Students may major in Jewish Studies through Scripps College, or may, with appropriate approval, develop a self-designed major at the other colleges.
For more information, please contact Professor Gary Gilbert.
Claremont McKenna
Gary Gilbert (Religious Studies)
- Formative Judaism
- Women in Jewish Tradition
Ed Haley (Government)
- U.S. and Israeli relations
Wendy Lower (History)
- Holocaust
Jonathan Petropoulos (History)
- Holocaust
Oona Eisenstadt (Religious Studies)
- Modern Judaism
- Contemporary Jewish philosophy
Erin Runions (Religious Studies)
- Hebrew Bible
Andrew Eisenberg (History)
- Jews in modern Europe
Harvey Mudd
Hal Barron (History)
- American Jewish experience
GOVT 151 CM: The United States, Israel, and the Arabs. Haley
HIST 98 PZ: The Modern State and History: The Israeli Case. Segal
HIST 131 HM: Jewish Experience in America. Baron
HIST 137 CM: Researching the Holocaust. Lower
HIST 168 SC: The Destruction of European Jewry and German Society. Eisenberg
RLST 20 PO: Biblical Heritage. Runions
RLST 21 CM: Jewish Civilization. Gilbert
RLST 40 PO: Religious Ethics. Eisenstadt
RLST 43 CM: Introduction to Religious Thought. Davis
RLST 55: Visual Judaism. Gilbert
RLST 60 SC: Feminist Interpretations of the Bible. Jacobs
RLST 129 CM: Formative Judaism. Gilbert
RLST 130 PO: Convivencia: Religious "Tolerance" in Medieval Spain. Wolf
RLST 131 CM: Synagogue and Church. Gilbert
RLST 132 PO: Messiahs and the Millennium. Runions
RLST 133 PO: Modern Judaism. Eisenstadt
RLST 135 CM: Jerusalem. Gilbert
RLST 137 CM: Jewish-Christian Relations. Gilbert
RLST 139 PO: Contemporary Continental Jewish Philosophy. Eisenstadt
RLST 143 CM: Philosophy of Religion. Davis
RLST 144 CM: Life, Death, and the Survival of Death. Davis
RLST 154 PO: Life, Love, and Suffering in Biblical Wisdom. Runions
RLST 157 PO: Post-Holocaust Philosophy. Eisenstadt
RLST 158 PO: Jewish Mysticism. Eisenstadt
RLST 162 PO: Modern Jewish Thought. Eisenstadt
RLST 163 CM: Women and Gender in Jewish Tradition. Gilbert
RLST 178 PO: Modern Jewish Experience. Eisenstadt
RLST 184 PO: Queer Theory and the Bible. Runions
Study Abroad
Ben Gurion University, Ginsberg-Ingerman
Overseas Study Program
Hebrew University, Rothberg International School
University of Haifa, International School
CET Jewish Studies in Prague
Modern Hebrew
Swig Judaic Studies Program
University of San Francisco
Middlebury Language Schools
Middlebury College
Ulpan Akiva, Netanya, Israel
University of Haifa, Haifa, Israel
Pardes Summer Ulpan, Jerusalem, Israel
Summer/Post-Graduate Programs
Tel Akko Archaeological Excavation
Akko, Israel
Summer Seminar on Jewish Thought
Princeton University
The Tikvah Fellowship in Jewish Life
New York, NY
Masters Program in Jewish Studies
Oxford Centre for Hebrew and Jewish Studies, University of Oxford


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15 February 2011
Collected Stories of Carol Emshwiller Table of Contents
A book I am looking forward to with more excitement than I can possibly express without exploding or somehow otherwise embarrassing myself is The Collected Short Stories of Carol Emshwiller, Volume 1, forthcoming from Nonstop Press. You'll be hearing a lot more about it and Carol Emshwiller here in the coming weeks, but for now I wanted to note that the table of contents for the book has now been posted.
For the moment, that's the most eloquent response I can summon.
2 comments:
Hmmm...I know Carol Emshwiller was illustrator/video artist Ed Emshwiller's wife, and I knew she began writing at some time during their marriage...but I didn't know she had built a substantial body of work or, judging by your reaction to this first volume of her collected work, that her work was deserving of a "Wow!" (I used to see her novel CARMEN DOG in the Science Fiction Bookstore in NYC and elsewhere, but never anything else.)ReplyDelete
Why the exclamation? For those of us who may only be glancingly familiar with who she is--or not all--what about her work compels interest?
(BTW...I followed the link to the publisher and saw that they had published a book on the work of SF artist Jack Gaughan! I always thought he had been undeservingly overlooked and forgotten since his death, and I look forward to seeing this book. As it happens, I have the other two books by the same author for the same publisher, on Lee Brown Coye and Ed Emshwiller, respectively. Unfortunately, the author is a terrible writer, clumsy and pedantic. I got through about 2/3 of the book on Coye, and I haven't even tried to read the book on Emshwiller yet, having just perused the illustrations. At the least, I'll be able to enjoy the Gaughan book for the illustrations, even if the author's writing has not improved.)
Her short stories are weird and wonderful -- I discovered her first in Dangerous Visions, then read the collection The Start of the End of It All and adored it. I'll be saying a lot more here about her work in the next few months. For now, the most extended writing I've done on her is my review of her novel Mister Boots for SF Site.ReplyDelete


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|Preschool Storytime
Event Type: Children's Program
Age Group(s): preschoolers (ages 3-5), children with an adult
Date: No Dates Found!
Start Time: 10:30 AM
End Time: 11:00 AM
Early literacy begins with you! Help your preschooler develop the six pre-reading skills that every child needs to succeed. This storytime celebrates a love of reading through books, music, and activities.Library: Walkersville Branch Library


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The Rockland TASC Program includes assessment of an offender's addiction, a determination of the most appropriate treatment placement, referral to treatment and monitoring for the courts. Offenders with a history of violent crimes or who are currently charged with a violent crime are ineligible to participate in TASC. TASC does not accept offenders with a history of inappropriate or illegal sexual acts, arson, or severe mental illness. Offenders must have a current history of substance abuse and be willing to enter treatment for a minimum of 12 months.
Potential participants are identified by referral from the Court, a Defense Attorney, the District Attorney, Probation, or Parole. A treatment plan is developed by TASC staff and presented to the Court for its approval. TASC clients are monitored by staff with an expertise in substance abuse, and regular reports are presented to the Court outlining client progress. Persons not in compliance with all conditions of the TASC treatment plan are returned to the Court for criminal processing.
Rockland TASC staff is comprised of dedicated professionals delivering screening, assessment, referral and case management services. In recent years, there has been increasing awareness of the value of Treatment Alternatives for Safer Communities (TASC) program services as a means to identify suitable offenders with substance abuse problems for diversion. TASC services positively influence numerous offenders to acknowledge their substance abuse problems, undergo treatment and counseling, and comply with terms and conditions of their release. TASC programs provide essential support and coordination of service delivery to achieve successful reintegration of participants to their respective communities.
Download our brochure: Rockland TASC brochure


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John Child talks in his customary depth to leader, pianist, composer, arranger and producer Sergio Rivera.
A Conversation with Grupo Caribe's
Sergio Rivera
John Child
John Child talks in his customary depth to leader, pianist, composer, arranger and producer Sergio Rivera about Grupo Caribe's
Un Congo Me Dio La Letra
(CMS Records/Walboomers CMS 0055) - arguably the hottest salsa album released at the beginning of 2003 - and delves into Sergio's distinguished career. Concerning the latter, Sergio provides a fascinating insight into the life of a young musician during the '70s New York salsa boom, working on the thriving club scene with the likes of Ernie Agosto y La Conspiración, Kako y sus Estrellas, Chino y su Conjunto Melao and Vilató y Los Kimbos. In addition, he speaks about his stint with the legendary Rafael Cortijo and participation in the nascent revival of "traditional classic salsa music" (later called salsa dura) as co-founder of Cruz Control during the height of the salsa romántica explosion.
John Child (JIC):
I understand you were born on January 3rd, 1953, in Brooklyn, New York, of Puerto Rican parentage. Please tell me about your upbringing in New York, early musical education and experience?
Sergio Rivera (SR):
I was raised by my grandmother from the age of two weeks old. My grandmother was from La Calle Calma in Santurce, Puerto Rico. When I was about 12 years old, my uncles started talking to me about the type of music they were into. My Uncle Tomás was playing guitar and bass, and he was listening and learning Latin and jazz. My Uncle Charlie was a member of the 3 & 1 Club in Brooklyn that promoted dances at the St. George Hotel, Manhattan Center, and other venues throughout New York City. This was Ralph Mercado's club with the other three members, Tuffy Sánchez, Pete Vázquez, and my Uncle Charlie (Baby) Rivera. Ricardo Ray recorded a tune titled "3 & 1 Mozambique" (from
Jala Jala Y Boogaloo
'67 on Alegre) that was dedicated to the club members. I remember going to the 3 & 1 Club to hear Eddie Palmieri, Ray Barretto and Ricardo Ray on any given Friday or Saturday night in the 1960s. Sometimes the club would charge $2.99 to see five bands on the bill in one night. The first time I saw Tito Puente with La Lupe, Machito and Graciela, and Tito Rodríguez, was at a 3&1 Club dance at the St. George Hotel. There was something magical about these performances. I was just a kid, but they had my full attention. We did not have many records at home, but I remember a few 78s of Pacheco's charanga music that everyone danced the pachanga to, and "El Watusi" by Ray Barretto (from
Charanga Moderna
'62 on Tico), and El Gran Combo's first album. In addition, my uncle Tomás also had a doo-wop group named the Temptations, before the more popular Temptations took on that name. Ray Cruz was the bass vocalist in the group. Ray Cruz went on to play timbales with Ricardo Ray, and my uncle freelanced on bass and later started a group called the New Breed. This is where I first met Frankie Rodríguez, the conga player who later went on to perform with Ismael Miranda and also Grupo Folklorico y Experimental Nuevayorquino. I also remember listening to the Symphony Sid Show, the Dick "Ricardo" Sugar Show, and the Joe Gaines Express Show. These were all radio shows that played the best Latin music. I also remember going to the Paramount Theatre to see the rock 'n' roll shows where I saw Stevie Wonder, Wilson Pickett, Little Anthony and the Imperials, The Supremes and Patti LaBelle, to name a few. These were always great shows with great bands.
I expressed an interest in playing the piano at the age of 10 or 11, but there wasn't any money to buy me one. So, I fiddled around with my uncle's guitar and bass for a little while. I learned enough on the bass to perform with the high school band. I tried to get into the High School for Music and Art, but my guidance teacher did not send my official transcripts to the school, because, as he later told my grandmother: "He will be better off in the electronics field, fixing TVs and radios, rather than being a musician." Determined to learn the piano, I cut class and spent all my time in the sound proof piano rooms we miraculously had at my vocational high school. I remember practicing C7 montunos, I, IV, V montunos. No one ever told me I needed to practice my scales!
So whom did you make your professional debut with, and how old were you at the time?
When I was 15, I was recruited to play piano with a local band by the name of Orchestra Heavy. The band consisted of two trumpets, trombone, full rhythm section and a lead vocalist. This was the first band I ever performed with. We were all self taught musicians, inspired by the likes of Eddie Palmieri, Ray Barretto, Ricardo Ray, Orchestra Harlow and the big three: Machito, Puente and Rodríguez to name a few. There were many local bands around at that time. I think "local bands" was a key phrase for bands that were less popular, less experienced, and less in demand in the mainstream salsa clubs. However, these 1960s local bands produced such musicians as Tito Nieves, who performed with a local band named Orquesta Cimarrón, and Rafael de Jesús, who sang with Orchestra Dee Jay. There were a few "big gigs" that I remember performing with Orchestra Heavy. We performed on a boat ride to Bear Mountain, alternating with El Gran Combo; our first out of town gig was at Buffalo University (State University of New York at Buffalo) alternating with Chollo Rivera and the Latin Soul Drive; and we performed at the St. George Hotel at a dance billed as the "Battle of the Bands." This was in July 1969. There were over twenty bands on the bill, including Eddie Palmieri, Ricardo Ray, Ray Barretto, Orchestra Harlow, Joe Bataan, Ralph Robles, Johnny Colón, Joey Pastrana, Willie Colón, Frankie Dante, Ray Jay and the Eastsiders, the Lebrón Brothers and Orchestra Heavy, to name a few. Symphony Sid would always laugh anytime he announced Orchestra Heavy, so as to say: "Who are these guys??"
I never considered those times to be professional. We were kids with a little bit of talent in the right place at the right time that enabled us to perform with our musical idols. This was a very exciting time for salsa music.
It was the post-Palladium era, and pre-Fania All Stars. All of the established bands were already made up of all stars that had performed with the best in the business, i.e. Eddie Palmieri who had performed and recorded with Tito Rodríguez, and Ray Barretto, who had performed and recorded with Tito Puente.
Rafael de Jesús recorded with George [Dee Jay] de Jesús Jr.'s Orquesta Dee Jay [
Pa' Alante
on MGM late '60s,
Orchestra Dee Jay
on Coco
'72] and Orquesta Cimarrón, which he co-led on an eponymous 1975 album on Lamp/Coco and
'77 on TR. Reportedly, Tito Nieves began his professional career as a vocalist with Orquesta Cimarrón in 1975.)
Which was the first "name" band you played with and when?
In 1973, the pianist for La Conspiración, Willie Rodríguez, asked if I would be interested in filling his chair with Ernie Agosto's group. He had just been offered a job with Kako's band. I was grateful for the opportunity. I had just returned from a three-year tour of duty with the US Army and was eager to begin performing. I was 20 years old. It was then that I began performing professionally on the cuchifrito circuit. I was also studying music theory and keyboard harmony at Queens Borough Community College. I think it was a year later that Willie Rodríguez offered me the job with Kako. I accepted, and left La Conspiración. Kako did not have as much work as Ernie, so I found myself free lancing a lot during this period. I performed a lot during that time with La Ritmo Tropical De Cuba. This was a band led by Angelo Modelo (aka Angelo Vaillant), who has recorded a number of albums with his Conjunto Modelo (including
Angelo y su Conjunto Modelo
'80 and
Angelo y su Conjunto Modelo
'81 on Guajiro,
El Gran Angelo y su Conjunto Modelo
'85 on Laslos,
No Me Copas Pasa Eso
'90 on Team Enterprises, and
Extasis y Dolor
'93 on Mivajo, with Frankie Vázquez on lead vocals). We performed a lot at the Caborrojeño on Broadway in Spanish Harlem, and the New York Casino, which later became the Latin Quarter. It was during this time that "Chino" Cruz De Jesús was considering making a band that eventually became Conjunto Melao. I think Chino's inspiration came from La Diferente. José Febles, trumpet player and arranger extraordinaire, was responsible for the sound of La Diferente and Chino contracted José Febles to arrange many of the songs recorded by Conjunto Melao. I learned a lot about playing piano and arranging music by reading José Febles' charts and scores. What a talent!
I'm a great admirer of Ernie Agosto's body of recorded work:
La Conspiración
Ernie's Conspiracy
Cada Loco Con Su Tema / Different Strokes
Afecto y Cariño
'76 and
Ernie's Journey
'79, all on Vaya. Though I know you didn't get the opportunity to record with his band, La Conspiración, please could share your recollection of working with Ernie and the band?
Every gig was an adventure with Ernie's band. I will spare you the war stories. We had a lot of laughs and many good gigs. This was a good period for salsa as well. There were lots of venues to play during that time. Places such as the Casino 14, the Chez Sensual, Colgate Gardens, the Casa Blanca, the Ipanema, the Cork and Bottle, La Maganette, etc. The music was fun and it was especially a pleasure and learning experience playing along side Gene Golden, who was Ernie's steady conguero, and Willie Cintron, the bass player. I remember sharing the stage with Rafael Cortijo's band for the first time in my career. That was very special for me. On piano that night was Pepe Castillo, who I admired very much for his work on Cortijo's classic
Time Machine
album (1974 on Coco), and on bass was my uncle, Tomás Rivera, who introduced me to music. Prior to playing with Cortijo, my uncle played bass for Pete Rodríguez, and then Tony Pabón y La Protesta. He performed with Ismael Rivera y Los Cachimbos for a few years in the late '70s. He composed and arranged "Todo Tiene Su Final" for Justo Betancourt's Conjunto Borincuba band (included on
Con Amor
'78 on RMQ; reissued in 2002). Tito Rojas sings on that track. He also played with Kako and Tommy Olivencia.
Was the illustrious Afro Cuban sonero, Miguel Quintana, Ernie's regular lead vocalist at the time?
Yes, Miguel was the Man. He was always so suave, fun loving, and of course an excellent sonero. At times, Ernie would let Tempo Alomar sing a couple of songs. Tempo was the timbalero in the band. This is the same Tempo who has been singing with Roberto Roena. Then there were times where they sang duets. They are two wonderful musicians. It was a pleasure performing with them. As you may know, Miguel recently had a stroke and has not fully recovered. Everyone hopes he will be able to come back and continue his work with Los Soneros De Oriente.
We sure do hope Miguel fully recovers. In addition to La Conspiración, he has many fine albums to his name (including, with Armando Sánchez y su Conjunto Son de la Loma:
Así Empezó La Cosa
'80 on Montuno and
Armando Sánchez y su Grupo Son de la Loma
'95 on Caimán; with Conjunto Candela:
Conjunto Candela 79
'81 on Guajiro and
El Sabor Del Conjunto Candela/86
'86 on Laslos; solo albums:
Don Gonzalo Fernández Presenta Miguel Quintana
early '80s,
Son Habanero con Miguel Quintana
'82 on Taboga,
Sentimiento y Son
'86 on Laslos and
Este Se Miguel Quintana
'88 on Laslos; with Los Soneros De Oriente:
No Me Asusten Más
'00 on Cobo). Can you remember what tunes Ernie and La Conspiración featured at the gigs?
The only tune I remember is "La Culebra" (from
Ernie's Conspiracy
), which seemed to be a favorite of Ernie's fans.
Sadly, Ernie had issues with substance abuse and dropped out of performing. Then I heard at the beginning of the '90s that he had organized La Nueva Conspiración, but heard nothing subsequently. Can you provide an update?
Ernie called me a couple of years ago to do a few gigs with him. He had just come back from performing in Japan and I believe he was scheduled to perform in Colombia that year. I remember doing a gig with him in New Jersey. No one danced! Everyone came up to the front of the stage, sang all the songs with the band, and played their cowbells. That was a first for me. The audience was primarily Colombian and obviously big fans from the early '70s. Miguel was on the gig that night, sounding as good as ever. I believe Ernie went to Japan and Colombia several times during the past five years. He recently was diagnosed with cancer in his throat, and that prevented him from performing for a little while. I have not spoken with him in some time.
You performed, but didn't record, with the legendary Kako and his All-Stars. Please tell me about your experience with this renowned timbalero?
I was with Kako for about a year. I loved playing his charts; they were big band style. However, he usually never had more than three horns. He would get gigs backing up singers like Raúl Marrero; and I think we backed up Vitín Avilés a few times.
Who were the sidemen and lead singer in Kako's All-Stars during your stint with the band?
The singers I remember in the band at that time were Junior Cordova, Watusi and Chivirico Dávila. At this time, I can only remember Panama on trumpet and Roberto Roldan on trombone.
Can you recall what material Kako was featuring in his set at the time?
I cannot recall any of the tunes we performed.
Was the eponymous album,
Conjunto Melao
(1975 on TR), your recording debut?
I did a couple of recordings before Conjunto Melao, one on Fonseca Records (I've forgotten the band's name) and one with a guy named Johnny Bronco. I don't know what label it was on, but I remember Tito Nieves sang one of the tunes. I have a cassette of one of the sessions.
You say that Tito Nieves sang one of the tunes on the Johnny Bronco album you played on. Does this mean that Tito recorded as a lead singer prior to
Johnny Ortiz y Taiborí
'79 on Fania by Johnny Ortiz's band Taiborí, which is believed to be his recording debut as a lead vocalist?
Well the recording we did was never released, so I guess the Taiborí debut is official.
You went on to make a further couple of albums with Chino y su Conjunto Melao,
100% Bailable
(1976 on TR) and
En Mi Casa Latina
(late '70s on Latina Records), on which you arranged the 1950s tribute "La Bamba."
En Mi Casa Latina
featured Libre alumnus Tony "Pupy Cantor" Torres on lead vocals, Ray Cruz on timbales and David Chamberlain on trombone and flute. Please could you share your reminiscences about your period with "Chino" Cruz De Jesús and Melao?
Let's not forget Victor Venegas on bass! Conjunto Melao was a swinging dance band. Many people described our sound as a "Puerto Rico sound." I think that had a lot to do with Febles' arrangements. However, we also had other great arrangers such as Gil López, Oscar Hernández and Willie Mullings, who performed with Conjunto Libre before expanding his career as an arranger and pianist in Los Angeles, California. In addition to José Febles, who would perform with us at times, we had excellent musicians, including Larry Spencer, Bomberito Zarzuela. Ralph Irrizary, Jimmy Delgado and Ray Anderson, who has gone on to be a notable trombonist and bandleader in the jazz field. The vocal responsibilities were left to two wonderful singers Ray de la Paz and Eddie Temporal. At one point we had three singers, including Pablo Canti, who also composed quite a few of the songs we performed and recorded. We had a no. 1 record on commercial radio in 1975 with "Que Bien Te Vez" (from
Conjunto Melao
); and in 1976 "El Bodeguero" (from
100% Bailable
) also made the top 10 on commercial radio stations. Conjunto Melao was a great experience for me. I am very proud of the work that I did with Chino and the band.
That question again: can you remember which songs from the trio of Melao albums were mainly featured at the gigs?
We always played "El Bodeguero" and "Que Bien Te Vez." Chino would either open or close on most nights with "Bongo." "Cositas Como Tu," arranged by Louie Ramírez on the first album, was also featured as well as José Madera's arrangement "Fijate Que Natural" and Gil López's arrangements, "Buen Borincano" and "A La Buena De Dios." My favorites also included "Jazmin" and "Varón," both arranged by Willie Mullings.
"Cositas Como Tu" and " Varón" are from
Conjunto Melao
; "Bongo", "Buen Borincano", "Jazmin" and "A La Buena De Dios" are all from
100% Bailable
; and "Fijate Que Natural" comes from
En Mi Casa Latina.
In addition to playing bongo on Ernie Agosto's
Cada Loco Con Su Tema / Different Strokes
'74, Chino played bongo on three other notable albums on Vaya:
Rafi Val y La Diferente
La Sociedad
'72 and
Fuerza Bruta
'75 by timbalero Rafi Val and his group La Diferente, which you mentioned earlier. Thereafter, Val seemed to disappear from the recording scene. Can you shed any light on his career?
I am not sure what happened to him. But what a band he had. They had a tremendous sound with many of the best musicians in the business, including José Febles and Gilbert Colón.
What became of Chino?
I last saw Chino at the Boys Harbor School. He was looking for a singer to record some new ideas that he was putting together. I am appreciating his genius again, after listening to Chino's three albums during the last two days. All three of the albums had great dance music and a unique sound that stills sounds fresh today. This is due to the arrangers he contracted and also the fact that all the compositions, except for "Tu Me Acostumbrastes," were written by Chino and Pablo Canti Gautreau.
Then in 1976, you got the opportunity to participate in Vilató y Los Kimbos, one of the spin offs from the mid-'70s fragmentation of Típica 73. Not only did you play on their Cotique albums,
Hoy y Mañana
'78 and
Aquacero Ne Me Moja
'79, but you also arranged the title track of the latter. Please tell me about your time with Orestes Vilató and Los Kimbos? For instance, who was the regular lead vocalist at gigs, because Carlos Santos sang on the first album, and Miguel Angel, an unknown name to me, sang on the second.
Carlos Santos sang for most of the time that I was in the band. I think Miguel was only there for a few months toward the end. Orestes Vilató, master timbalero and percussionist, was a great inspiration to me. He always would encourage me to take piano solos. He also would instruct me to think rhythmically while soloing. I would go over to his house, and he would play all these old Cuban recordings for me with such excitement, as though he were listening to them for the first time. He also gave me an opportunity to arrange a few tunes for him. I was really surprised when he decided to use "Aguacero No Me Moja " as the title track. It was always a learning experience and a pleasure to work in the studio with Louie Ramírez, who produced the albums, and Irv Greenbaum the engineer. This was also the time when I first met Tony Barrero. We were always working. I remember doing four gigs a night sometimes. We had a contract for a year to play every Friday and Saturday at the Caborrojeño and the New York Casino. Orestes would take gigs around that schedule and sometimes we would finish playing at 10:00 am the next day after performing at an after-hour gig. We shared the stage with great bands, including La Sonora Matancera, Orquesta Broadway, Mario Bauzá and Graciela, Roberto Torres and Típica 73. Sharing the stage with Típica 73 at the Casino 14 was a little nerve racking for me one night. I'll never forget Sonny Bravo towering over me while I was taking a solo. I really loved all the work Sonny Bravo did with Típica 73 and admire his piano playing and arranging.
Vilató cites disenchantment with Cotique as the reason for disbanding Los Kimbos in New York and relocating to San Francisco in 1980. Were you with the band up to the end?
I left the band in 1979, a few months before Orestes decided to leave for California. I understand that Carlos Santana offered him a gig. I recently had the privilege of performing together with Orestes Vilató again in a tribute to Tito Puente at Lincoln Center. He was invited as a special guest and I was performing with the Boys Harbor Big Band.
Meanwhile, you made the decision to relocate to Puerto Rico. What motivated you to move?
I left Los Kimbos and NYC for personal reasons. It's funny how life has some curves on the road that you don't expect, and then you find yourself going straight ahead on a smoother path.
I believe you also performed with the group of great tres player Charlie Rodríguez, who made a few albums before relocating to Puerto Rico (including
Charlie Rodríguez y su Conjunto; Canta Rey Reyes
'80 and
Charlie Rodríguez y Rey Reyes
'81 on Guajiro, and
'83 on Vigo, with Jorge Maldonado).
Yeah, there was a period during the beginning of the '80s or toward the end of the '80s when I performed with Charlie Rodríguez, who played with Johnny Pacheco and the SAR All Stars. That was a fun gig. José Claussell was on bongo and sometimes congas; Chocolate was on trumpet, Karen Joseph played flute, and Willie Cintron was on bass. I don't remember all the other personnel. The highlight gig for me with this band was performing at the Calle Ocho Festival in Miami, Florida. Roberto Torres was one of the singers we backed up on that gig. We performed for about three hours without a break.
Can you strain your memory, because I recall Jimmy Bosch telling me he did a stint with Charlie Rodríguez at the beginning of the '80s. Jimmy said Jorge Maldonado was singing with the group at the time. Does that ring any bells?
I was not with the band when Jimmy Bosch was there. Rey Reyes had his own band at that time also. I think Miguel Angel, who recorded with Los Kimbos, was on the Charlie Rodríguez gig when I was there.
While in Puerto Rico during 1979 and 1980 you worked with Julio Castro's Orquesta La Masacre and Rafael Cortijo's Combo. The chance to perform with Cortijo was a feather in your cap. Tell me about that experience?
As I mentioned before, my uncle Tomás Rivera performed with Cortijo for a few years. He introduced me to Cortijo in Frank Ferrer's office in Puerto Rico. Cortijo was finishing what would be his last recording,
El Sueño Del Maestro
(1980 on Tierrazo). He did not have a steady piano player at the time and asked me if I would be interested in performing with his band. Wow! Rehearsal was the following day, and I was on my way performing with the great Rafael Cortijo. We performed tunes from the new recording at the time. Most of the arrangements were written by Louis García, who was one of the most sought after arrangers and musicians at that time. He recently was musical director for Cheo Feliciano's recordings and performances. The charts were a challenge and it was a great experience performing with some of the best musicians in Puerto Rico. It was also an exciting time because the Pan American Games were hosted by Puerto Rico during that time in 1979. There were many cultural events taking place as well as parties and dances where we shared the stage with Los Papines, Orquesta Aragón, Elena Burke and a host of other international and Puerto Rican groups. I spent many hours off the stage with Cortijo as well. Many afternoons he would take me to his sister Rosa's apartment for lunch, and then there were times when he would invite me to the studio while they were finishing the album. It was a pleasure working with him, his niece Fé Cortijo, his nephew Rafaelito Cortijo and Ismael Rivera's son Ismaelo Rivera. One day Cortijo notified us that he was contracted to perform in Carnegie Hall. This was an opportunity I definitely could not miss. We traveled to New York, performed at Carnegie Hall and several other venues, and then things kind of slowed down. It was around this time, that I decided to leave the music scene.
Less well known than Cortijo, Julio Castro made a fine trio of albums:
New Generation Presenta Julio Castro & Orquesta La Masacre
(1979 on TTH; featuring Tito Nieves),
(1980 on Fania) and
Julio Castro y La Masacre
(1984 on Fania; featuring sonero Nestor Sánchez). Please could you provide more detail about this significant bandleader, conguero, flautist, singer, composer and producer?
I only did a couple of gigs with Julio, before I began performing with Cortijo. I met him for the first time in Puerto Rico and only knew of his music from the hit tune "El Pregonero" that Tito Nieves sang.
Who were the sidemen and lead singer in La Masacre during your stint with the band and can you recall what material was being featured at the gigs?
Sorry. I do not recall.
Then in 1981, you began a break from performing.
I wanted to be able to play more than I was playing on the piano. I was hearing things that I could not play, because I did not have the proper training, and that was kind of frustrating. I also had two children who needed a lot more of me financially. Instead of going back to school for music and developing my chops, I decided to take a career path that was going to give me more financial security. My intentions were to go to law school, but I got side tracked by scholarships offered to me and instead achieved two Masters of Science degrees, one in City Planning from Pratt Institute and one in Economic Development from New Hampshire College. This definitely put me in a position to demand a higher salary level wherever I chose employment. However, it did not satisfy the urge to play music.
So what motivated you to return to music in 1990 and co-found Cruz Control with Ray Cruz?
Ray Cruz and I use to jam together in the 1970s at a place in Brooklyn called "Dem Bums" Bar and Restaurant. Ray had organized a jam session there every Sunday. Musicians such as Victor Venegas, Mauricio Smith, Carlos Francetti, Harry Aguilar, Manny Duran, José Claussell, Edy Martínez, and many others, would come down and stretch out. People would always ask: "Hey what is the name of this band?" And Ray would say: "Cruz Control." Well, one day in 1990, we were both at a party together and I started talking to him about playing piano again and starting a band. We agreed that I would write the music and he would get the gigs. He also stipulated that he would like the name of the band to be Cruz Control. We were not clear about what type of band we wanted to form, when Ray got a steady Friday night gig at a place called the Time Out Lounge in Brooklyn. I did not have enough time to write two sets of music, so I called a friend, Ralphy Marzán Jr., whose father was one of the founders and bongo player for Conjunto Candela. Ralphy had transcripts of Johnny Pacheco, Pete "El Conde" Rodríguez, Conjunto Candela and Ray Barretto tunes. They were written for two trumpets. We could not find two trumpet players for the first gig, but we found two trombone players who could play the trumpet parts by transcribing on site. This is not as easy as it sounds. The two trombone players were Dave Chamberlain and Louie Kahn, and the people danced and loved the music. I started to do transcriptions of tunes that I felt were really good dance tunes. Being a fan of the big three, I started doing transcriptions of Tito Puente and Tito Rodríguez tunes. I found the Machito tunes a bit more difficult to rearrange for two trombones. Then the concept of the band started to develop. Cruz Control would become a small ensemble performing big band dance music of the Palladium era. I transcribed and rearranged over fifty tunes the first year.
Are Conjunto Candela still active?
No, they are no longer active.
As another aside, Dave Chamberlain, along with vocalist/percussionist Luisito Ayala and keyboard player Igor Atalita, recently released the nice CD
Direct Latin Influence
on DLI. Anyway, back to Cruz Control. I had the good fortune to see them performing in 1990 during a trip to New York. The night I saw the group, Lewis Kahn and David Chamberlain made up the 'bone section and Hermán Olivera was singing lead vocals. They had a rugged old school sound and performed covers of salsa standards. Bearing in mind that salsa romántica was booming at the time, it was a very bold move for you and Ray to form a new salsa dura band amidst a sea of salsa monga.
It's interesting salsa dura was not a commonly used phrase at the time Ray and I started playing what was then called old style salsa music. I remember dancers loving what we were playing, and some musicians criticizing us, saying: "Why are you playing that old stuff?" We played that old stuff every Tuesday night at Bayamo on Broadway and 4th Street in Manhattan for six consecutive years. Bayamo became the place where dancers met to dance to what they considered good salsa music. I think that Cruz Control was on the cutting edge of the music gradually trending toward the demand for more traditional classic salsa music, like that of the 1960s and 1970s, now referred to as salsa dura or salsa vieja.
However, by the time the group's debut CD
Cruz Control
was released on Eva Records in 1997, on which you shared piano chores and arranged the cha cha chá "Sopa De Bacalao," it appeared from the liner notes that you were no longer co-leader. Presumably you had begun the Grupo Caribe project by that time?
Grupo Caribe began performing in 1996. Ray and I dissolved our partnership around the time we were beginning to record the debut CD. We remain friends and he has called me to play with Cruz Control and I call him sometimes to play with Grupo Caribe. We both are members of the Boys Harbor Big Band Workshop led by Louie Bauzo and José Madera every Monday night.
What was your defining concept for Grupo Caribe?
The concept is to perform big band style traditional salsa music with a small ensemble of musicians. The arrangements are written in such a way to produce that sound, and I have carefully selected the arrangers. Musicians and arrangers, such as José Madera, Louis Bauzo and Oscar Hernández, know and have performed the music that I am trying to produce with Grupo Caribe. The horn section consists of a trumpet, trombone and tenor saxophone representing each section of a big band. I ask the arrangers to use the tenor sax as it is used in a big band, such as holding down a line while the trumpet and trombone harmonize a melodic counterpoint in the mambo section of a tune. Of course, I would love to have a big band, but it is not economically feasible. It is also a lot easier to write arrangements and manage a smaller group of musicians.
Why did you choose Al Acosta, Tony Barrero and Robert Suttman to consistently fill the sax, trumpet and trombone chairs?
Al Acosta is a great saxophone player, excellent teacher, and good friend. He plays all the saxes, clarinet and flute. Al and I performed together with Cortijo. He and Louis Bauzo are the only original musicians from when I started Grupo Caribe in 1996. Tony Barrero and I performed and recorded together with Los Kimbos, and I always admired his playing. Tony has performed with the Count Basie Band, the Duke Ellington Band and the Lionel Hampton Band. He also performed with the Tito Puente Orchestra, the Machito Orchestra, and with Louie Ramírez's band. The man can play. Also, the Grupo Caribe trumpet book is definitely written for a lead trumpet player. That's Tony. Dave Chamberlain recommended Robert Suttman to me. He performed and recorded with Cruz Control, and is an excellent musician and trombone player. His experience has been mostly with swing bands and Broadway shows.
Tell me about the group's distinguished rhythm section?
Louis Bauzo on congas, José Madera on timbales, and David Forestier on bongo and cowbell, are like a fine tuned clock set to clave time. It is such a pleasure locking in with these guys. Gerry Madera is the regular bass player. However, Rubén Rodríguez and Bernie Minoso also share the bass chair at times. All of these guys have performed with the best bands in the business, including the Tito Puente Orchestra, Machito, Mongo Santamaría, Eddie Palmieri, Larry Harlow and Típica 73. I could go on, but I think enough is said about these extremely talented musicians.
During 2000 Grupo Caribe released two notable CDs,
Son De Melaza
Ritmo Nativo
, both on CMS Records. In addition to two arrangements by your good self, the lion's share of five charts on the two albums were written by José Madera. José's one of my favourite salsa arrangers; I especially liked his work for Willie Rosario.
José Madera is one of the busiest musicians and arrangers in the business. In addition to the great arrangements he wrote for Willie Rosario, he has also arranged for Tito Puente, and Machito, as well as Eddie Palmieri, Gilberto Santa Rosa, Azuquita, and recently for a new CD to be released by Frankie Negrón. I feel very fortunate to have him working and arranging for the band. I am also always learning from him when I copy his scores.
Not withstanding the merit of
Son De Melaza
Ritmo Nativo
, Grupo Caribe has really excelled itself with its 2003 release:
Un Congo Me Dio La Letra
on CMS Records/Walboomers. As before, there are a variety of rhythms, this time including guaracha, guaguancó, cha cha chá, plena, mambo and Latin jazz. The CD features five original and six classic compositions with what has been described as "a new millennium dressing". Lets begin by talking about a couple of the new tunes. The early buzz I received from New York was about "Cambiare," sung by special guest singer Frankie Vázquez. Tell me about that tune.
"Cambiare" is an original tune written by Juan "Paye" Rodríguez and arranged by Oscar Hernández. Juan has literally hundreds of songs that he has composed and is working hard to get recognized in the field. He gave me a tape with about ten songs that I reviewed and sat on for about a year. I shared the tape with Louis Bauzo and asked him which tune did he think would work for the band. He selected "Cambiare." I agreed that out of all the tunes, this one had the best melody, and the best content that I would feel comfortable performing and ultimately recording. I gave the tune to Oscar, because it reminded me of a Ray Barretto type tune, and I loved the work that Oscar had done for Ray on a couple of albums. Frankie did a wonderful job with the tune, inciting faith, hope and inspiration.
Juan "Paye" Rodríguez composed another new song for the CD, "A Tite Curet," in tribute to the great Puerto Rican composer; also sung by Frankie Vázquez. There seems to be a Caribe tradition of praise songs, because
Ritmo Nativo
contained "Homenaje A Ismael Rivera" and your composition, "Machito, Puente y Rodríguez." Would you like to comment?
What I have done with our recordings is put together material that celebrates our culture and pays tribute to those artists who paved the way for musicians today to continue the tradition. In celebrating our culture, you will find that I have included a bomba on our first CD, an aguinaldo on the second, and a plena on the third.
Frankie Vázquez shares lead vocals with your second special guest singer, Hermán Olivera, on a wonderful updating of Chano Pozo's 1942 composition "Nagüe," the earliest recording of which can be found on
Cuban Rhythms
by Miguelito Valdés with Machito and his Afro-Cubans (1992 on Tumbao) and the 3-CD and book box set
Chano Pozo: El Tambor De Cuba
(2001 on Tumbao). Who selected the song and wrote the chart?
"Nagüe" is one of those classic tunes that gets your feet going on the dance floor. This is one of those tunes that kind of mesmerized me when I first heard it. I asked Louis Bauzo to write the arrangement, and he added some special touches with the shekere that I did not expect. We saw this tune and played it for the first time in the studio when we recorded.
Moving next to the three cuts with Hermán on lead vocals. He sings the rousing opening track, the mambo "Lindo Palomar," originally from Tito Puente's album
Pa'Lante! / Straight!
(1970 on Tico). Please tell me the story behind this selection?
I love Tito Puente's music. This tune grabbed my attention, because it is very danceable, and allowed for a format that would give the percussionist an opportunity to be featured. This is another tune that Hermán told me he definitely wanted to sing. People have asked me; "Why do you record songs that have already been recorded and made popular by other artists?" Well, I feel I am very selective about the music I choose to have rearranged. I do not select tunes by artists who have recorded after the 1970s, and the music I select are tunes that people might never hear, if someone does not bring it to their attention. I feel that recording the classics, helps the older generation remember the past, and the younger generation curious to find out more about the artist we are re-introducing.
Hermán provides the lead vocals to the title cut, "Un Congo Me Dio La Letra", a song associated with Celeste Mendoza that can be found on her album
La Voz De Celeste Mendoza, La Guapachosa
(1959 on Seeco; reissued 1998). Please tell me more?
The first time I heard Celeste Medoza's recordings was about three years ago. I am not a collector, but I am always looking around for good music. I'm catching up to everyone else who knows all these artists. I just loved her sound. And of course there were two big bands on the recording. I was familiar with Bebo Valdés, but sorry to say I did not know Ernesto Duarte's music. I listened to that recording a lot, before I decided that I wanted to do a couple of those tunes with Grupo Caribe. The first tune I selected and rearranged was "Sobre Una Tumba Una Rumba". I asked José to write an arrangement for "Te Di Un Beso Sin Importancia" and "Un Congo Me Dio La Letra", but he never got around to them. So, I arranged the latter. Maybe the former will work its way into our repertoire since it is such a great tune.
"Te Di Un Beso Sin Importancia " and "Sobre Una Tumba Una Rumba" are also on
La Voz De Celeste Mendoza, La Guapachosa.
Hermán's final contribution is the plena "Desilución". Please tell me the story behind this one?
I knew that I wanted to include a plena on this CD, but it took me a while to decide which one. I was in Puerto Rico last year and heard a band playing "Desilución" in the lobby of the San Juan Hotel. I knew that was the plena I wanted to record. I remembered the first time I heard it was when I was living in Puerto Rico in 1979. I saw Quinto Olivo perform this song in concert at El Morro. I asked Pepe Castillo to arrange the tune for me, and Hermán selected it as one of the songs he definitely wanted to record.
Moving to your third special guest singer, Frankie Figueroa "Mr Estilo", of Willie Rosario and Tito Puente fame. Please tell me about his two contributions?
Frankie is a great singer and a very funny and special individual. He sang with Tito Puente for 21 years, and Willie Rosario for three years. He recorded on Willie's first album
El Bravo Soy Yo
'63 on Alegre Records and
Two Too Much
'68 on Musicor Records. He also performed with César Concepción and Kako y su Estrellas. Frankie did a few gigs with us throughout the years. It was always a riot hearing him, Louis Bauzo, José Madera and Tony Barrero sharing their stories about being on the road with Tito Puente. Frankie says that I brought him out of retirement, because he has not recorded in over 15 years. I've always liked his style, and felt that he could bring something special to the two songs selected for him. Hopefully, I will get Frankie to sing a bolero on our next recording.
Just one more vocal track to talk about:
the original "Rumba Internacional" sung by Luis Ayala. What's the story here?
"Rumba Internacional" was written by the same person who wrote "Homenaje A Ismael Rivera" and "Ritmo Nativo" (both from
Ritmo Nativo
). His name is Emilio Rodríguez. Luisito Ayala introduced him to me. He is a young composer and singer from Colombia, who is developing his talents here in NYC. Emilio is telling his audience to imagine how wonderful a feeling it is, to dance and enjoy the major rumba and salsa festivals around the world, especially in Colombia, Florida and Brazil.
Finally, you round off
Un Congo Me Dio La Letra
with two highly accessible Latin jazz tracks: "Senior Slick" and "Luisa". Do tell?
When I was gathering material for this recording, I was missing a cha cha chá. I considered a few songs, but was not totally sure about any of them. I also wanted to include a Latin jazz tune, and at that point had not considered using "Luisa". So, I asked Al Acosta if he would write something for the album, preferable a Latin jazz cha cha chá. He told me he had a tune he was working on, and that he thought would work for us. I really like "Senior Slick". I believe this is Al's first composition that has been recorded, and I look forward to recording more of his compositions in the future. About a week before we were going to record "Senior Slick", I asked Al to write a shout chorus. The horn section never got to rehearse it, we recorded it the day he brought it to the studio. "Luisa", named after my grandmother, was a tune I composed and arranged about 15 years ago. I recorded a demo tape of this tune with Cruz Control in 1993, and then never played the tune much after that. I never played it because some guys in the band had a difference of opinion about the clave of the tune. Now that it is recorded, there does not seem to be a difference of opinion.
What does 2003 hold for Grupo Caribe?
We seem to have generated some excitement with our third CD. The deejays in New York are playing it in the clubs, and I am getting calls every day from different parts of the country and abroad asking for a copy of the CD or information about the band. I am talking with my distributor in Holland about having a CD release in Europe to coincide with the CD release overseas in April. We were recently invited back to the Tempo-Latino Festival to perform in Toulouse, France, in July of this year. If everything works out, we will be sharing the bill with Ricardo Ray, Oscar D'León, Plena Libre and Jimmy Bosch. I am also talking with a promoter in California to have the band perform there for the first time, and I have been approached by a couple of booking agents who are interested in contracting the band in the US and abroad. In the meantime, we continue to perform the on local scene in NYC.
Is it too early to ask what future projects you have in the pipeline?
It's funny, I came back to play music after quite a few years working as a businessman and administrator. Now, I am pursuing my music, however, there is a lot of business, marketing, contracting, selling, and administrative responsibilities that I have to take care of as an independent producer. So, at this time, I am busy with all of that stuff, while I still have the music floating around in my mind waiting for me to write it down and get moving on the next project. I am thinking about the next project, but it will take a little while before it takes shape.
Thanks for talking to me. However, before we end, is there anything you would like to add?
Thank you so much for this opportunity to share my experiences and accomplishments with salsa enthusiasts via the world wide web. There are so many stories to be told by the many musicians who have contributed to this music that we now call salsa. Thanks to persons such as yourself, documented history of this music will continue to be available to educate and entertain present and future generations.
I wasn't angling for a compliment, but thanks for your kind remark.
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by Ryan Kennedy - September 18, 2012 2:34 PM UTC
If you're a hockey fan living in one of the NHL's 30 markets, here are some suggestions on where you can get your fix.
Should the NHL lockout cause real games to be cancelled this fall, hockey fans will want their fix and we're here for you. Here's a look at which teams you can follow live, no matter which NHL market you live in.
by Ryan Kennedy - September 12, 2012 2:38 PM UTC
Looking at five teams from junior and NCAA circuits that will be worth keeping an eye on this season.
Hockey's about to start again, even if the pros don't get out of the gates in time, so it's time for my annual look at teams I'm excited to see this season.
by Ryan Kennedy - September 5, 2012 12:51 PM UTC
The CHLPA is in its infancy and may not even get off the ground, but there are some interesting things about it to consider.
I can't help but be fascinated by the fledgling CHLPA – a group whose origins and membership are cloaked in secrecy, whose detractors claim are devoid of simple math and writing skills.


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ANTIOCH -- Deer Valley High quarterback Nsimba Webster was a mover and a shaker in the Wolverines' 49-21 win over visiting Castro Valley on Friday night in the first round of the North Coast Section Division I playoffs.
The elusive Webster accounted for six touchdowns -- three rushing and three passing -- as the No. 4-seeded Wolverines (10-1) broke open a 14-14 tie and won going away.
Castro Valley (4-7), the 13th seed, battled the Wolverines every step of the way.
But the Trojans just couldn't match the quick steps of Webster.
After the Trojans cut the deficit to 28-21 on a 12-yard run by Namane Modise, Webster nearly brought down the house. He scored on a spectacular 51-yard run in which he eluded at least six would-be tacklers in a tight area before racing another 45 yards into the end zone.
Webster tacked on another 4-yard scoring run on the Wolverines' next possession after running 31 yards on the previous play. He finished with 155 yards passing and 112 rushing.
"Nsimba Webster had a heck of a game," Deer Valley coach Rich Woods said.
"That run he made -- two of his runs -- were incredible. What a competitor."
The Wolverines will face either Liberty or James Logan in the quarterfinals.
Woods also credited linebacker Malik Hutchings with stellar play, especially on a goal-line stand in the fourth quarter.
The Trojans moved the ball well, led by Demareyeh Lane's 163 yards rushing.
"That's a good football team," Woods said of Castro Valley. "We knew they run a similar offense that we've been working against. We kind of held them, but the guys that need to make plays really stepped up."
The Wolverines' Kyle McDonald rounded out the scoring with his second touchdown on a 26-yard run.
Deer Valley outscored Castro Valley 35-7 after the game was tied 14-14 in a back-and-forth first half.


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Chillicothe residents affected by last week's snowstorm will receive some assistance this week.
The Chillicothe Street Department began cleanup efforts today (Monday) following last week's wintery storm that dumped more than four inches of snow on the city. Street Commissioner Barry Arthur hopes to complete limb and brush removal by the end of the week.
"We're sweeping through all of town," Arthur said. "If you have any limbs up in the trees, cut them down. Any brush drug out to the curb would be great."
Location, ST | website.com


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The tension between the 49ers and Seattle Seahawks is well-documented, but it appears that a 15-year-old homeless youngster from Kirkland, Wash., has brought out the best in both fan bases.
Ronnie Andrews became a hero to 49ers fans everywhere last week when he showed up to the Seahawks' Super Bowl parade wearing 49ers' clothing from head-to-toe. According to a story on the KGO television web site, someone shot a video of Andrews surrounded by Seahawks fans. Now more than $26,000 and counting has been raised for this teen.
What makes this story so compelling is that Andrews lives in a homeless shelter in the Seattle area, according to King5 TV in Seattle.
When Catherine Tate, a Dublin woman and president of Ladies of the Empire, a 49ers booster club, saw his photo, she set about trying to contact the young man so she could fly him to the Bay Area when the Seahawks visit the 49ers at Levi's Stadium next fall. She wanted to give Andrews a front row, 50-yard line seat, and she set up a gofundme.com account to raise money for the trip.
That's when she learned "this kid is only 15 years old, is a ward of the state and living in a shelter," Tate told KGO.
According to King5, because he's a ward of the state, the teen might have to wait until he's 18 before he can take advantage of Tate's offer to see a 49ers game in Levis Stadium. Tate told the station she has been in touch with Andrews' social worker and the offer will stand.
Because a trip to the Bay Area isn't going to cost $26,000 -- even three years from now -- Tate got another idea. On the gofundme.com web site, she wrote, "The money will NOT just be handed over to this minor. Once this minor has been placed with a foster parent we will contact the foster parent and arrange to set up a bank account in this minor's name to be accessed when he turns 18. This minor has a huge desire to attend college and is blown away that so many people want to help him. He fully intends on using this money for this purpose."
Fans from both teams have been raising money for the teen.
"Wow! Over $24,000! This is jus amazing ... God bless you all! #NinerEmpire #LOTE and thanx to the 12th Man too! #TrulyGreatPeople #BiggerThanFootBall," wrote a 49ers fan.
Commented someone from the Seattle area, "Even though I am a die-hard Seahawks fan, I would be willing to provide a room, food/water, clothing and an education if needed."


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Oracle Bulks Up Cloud Apps With Instantis Buy
Oracle bulked up its catalog of Fusion applications Thursday with another software acquisition, buying privately held developer Instantis Inc. for an undisclosed sum.
Instantis, which counts big names like Abbott Laboratories, Credit Suisse Group AG and Xerox among its biggest customers, sells project portfolio management software–tools that help IT help desks and product managers track their progress on projects. CA Inc. offers similar products for its IT customers.
It's a niche market, MKM Partners analyst Israel Hernandez said, reflecting Oracle's longstanding strategy of sucking in small software companies on a steady basis.
"Relative to Oracle's size, it's a pretty immaterial-sized deal," Mr. Hernandez said.
Chief Executive Larry Ellison last month told CNBC he didn't plan to pursue any large acquisitions.
The company is nevertheless aggressively targeting cloud-computing rivals like Salesforce.com and SAP with its own suite of products served up through the Internet. Mr. Ellison earlier this year said Oracle's suite of Fusion products included more than 100 applications available through the cloud, a delivery method he once dismissed as over-hyped.
Oracle plans to fold Instantis into its Primavera software division after the deal closes.


text:
Don't know why in Shared folders you can only browse and select one folder at a time.
Idiot-proof must have features improvement:
1. Default folder location resets to My Documents which sucks. It needs to be changed to last used folder.
2. It also needs to be able to select multiple files or/and folders at the same time in that dialog box.
3. Exclude folders. I would like to include C:\MyMovies but exclude C:\MyMovies\Personal
3.1. Option to include D:\ but not the nested folders (and files) are great. i.e. 1-level deep only.
I don't know why all these aren't there at by 1.50. Hope these simple improvement can be implement to make our experience much better.


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Tim Kawakami's fearless forecast for the NFL, 2013.
Oakland Raiders record (and finish): 5-11, last in the AFC West. It's really hard to lose more than 11 games in the NFL, though the Raiders have managed it often of late. This time, they'll steal one victory apiece from KC and SD and finish one win better than last year.
San Francisco 49ers record (and finish): 12-4, first in NFC West. Even if Colin Kaepernick gets dinged up a time or two, there's enough there to match-up against almost anybody.
Raiders QB with most starts: Matt Flynn, or Terrelle Pryor? Pryor, because he'll at least have one. I don't know if Flynn will have any.
Kaepernick, Touchdowns & Turnovers: 33 TDs (including rushing), 12 TOs. He was a little lucky on the INT-rate last season, so that will bump up a little. But he'll score a ton of TD: 26 passing, seven rushing.
More yards rushing, Frank Gore or Darren McFadden? Gore with his usual 1,200 will beat out McFadden with his usual six missed games.
Raiders Blackouts: One. With stadium capacity reduced this season, the Raiders should go through most of the schedule with "sellouts."
Surprise Team: Carolina Panthers (7-9 last year). Not exactly a rough schedule, and the defense is good enough to take advantage of Cam Newton on the other side of the ball. Could make the playoffs.
Disappointing Team: Indianapolis Colts (11-5 last year). Won a bunch of nail-biters last year, that'll balance out. Things are on an upswing, but this year the record might not show it, maybe 8-8 or worse.
First Coach Fired: Jets' Rex Ryan. The circus can't go on forever.
Super Bowl: Denver over 49ers.
Read Tim Kawakami's Talking Points blog at blogs.mercurynews.com/kawakami. Contact him at firstname.lastname@example.com.


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Sanford lifts Dayton to 60-59 win over Ohio State
Published: Thursday, March 20, 2014 at 2:41 p.m.
Last Modified: Thursday, March 20, 2014 at 2:41 p.m.
BUFFALO, N.Y. — Vee Sanford scored on a layup with 3.8 seconds left to lift 11th-seeded Dayton to a 60-59 victory over sixth-seeded Ohio State in the second round of the NCAA tournament on Thursday.
Sanford finished with 10 points, while Dyshawn Pierre led the Flyers (24-10) with 12 points in a matchup of Ohio schools separated by about 75 miles. Dayton advances to play the winner between third-seeded Syracuse and 14th-seeded Western Michigan in a South Region matchup on Saturday.
The Buckeyes (25-10) had one last chance to pull out the victory, but Aaron Craft's driving 10-footer hit off the backboard and rolled off the rim as the buzzer sounded.
Sam Thompson scored 18 points and Craft added 16 for Ohio State, which was eliminated after one game for only the third time in its 26 tournament appearances.
Reader comments posted to this article may be published in our print edition. All rights reserved. This copyrighted material may not be re-published without permission. Links are encouraged.


text:
Best domestic travel cities:
1. Denver, CO
2. Dallas, TX
3. Chicago, IL
4. Detroit, MI
5. Las Vegas, NV
Best international travel cities:
1. Washington, DC
2. New York, NY
3. Chicago, IL
4. Miami, FL
5. Philadelphia, PA
Most affordable/convenient cities:
1. New York, NY
2. Chicago, IL
3. Washington, DC
4. Fort Lauderdale, FL
5. Orlando, FL
DENVER (KKCO) -- Colorado's only international airport is getting high praise for its domestic flights, and that's good news for residents looking to fly away for the summer.
Denver was ranked the #1 departure city for domestic travel in the U.S. by CardHub.com, a credit card comparison website. That means its airport is the most convenient in terms of average time and money spent flying to another city within the country.
Colorado's capitol beat out Dallas (#2), Chicago (#3), Detroit (#4), and Las Vegas (#5).
For overall international and domestic travel, Denver ranked #12 in the nation.
To create the rankings, CardHub used data from the Travel Leaders Group, U.S. Census Bureau and Kayak.com. Analysts looked at the cost and duration of the cheapest flight, cost and duration of the shortest flight and the number of connections.
Click the link below to see how other cities stacked up.


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STOCKTON - Police released a sketch Thursday of a person they believe may be involved in the shooting death of Bryant Lee Howell, 34, who was found suffering from multiple gunshot wounds early Sunday in the 1500 block of South Lincoln Street.
Howell was taken to an area hospital, where he died of his wounds, police reported.
A witness assisted police with developing the composite sketch that illustrates a black man in his early 20s, about 5 feet 6 inches to 5 feet 7 inches tall, 170 to 175 pounds, with short dreadlocks. The person of interest was last seen wearing a gray hooded sweatshirt.
The Stockton Police Department is encouraging citizens to call if they have information pertaining to the investigation into Howell's death. Phone the department at (209) 937-8377, the Investigations Unit at (209) 937-8323, or Crime Stoppers at (209) 946-0600. Callers can remain anonymous.
Citizens may also text information from cell phones to CRIMES (274637); type the keyword TIPSPD and then the tip. Internet users can visit the Stockton police Facebook page and click "Submit A Tip."
Information leading to an arrest could result in Crime Stoppers paying a cash reward.
Location, ST | website.com


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The Renegade Stringband plays acoustic blues and folk, but hard-driving bluegrass is its bread and butter. The band, with members based in Portland and Seattle, formed in 2010, has released two EPs and is currently in the studio recording its first, full-length album, titled "The Worst Horse."
"The worst horse is the best horse," says one member, Joe Seamons. "It's a Buddhist concept. The idea is that the best have the least to gain, and the worst have the most room to improve, so its sort of optimism in spite of your own limitations."
The album, due out next spring, features a variety of bluegrass "from ballads to hot, stomping, hollering, raucous sort of numbers," Seamons adds.
The band — Seamons on frailing or clawhammer banjo, vocalist Jessica Jarris, guitarist Austin Moore, fiddler Ben Hunter and, maybe, bassist Max Kutzman — will play at 9:30 p.m. Friday, Oct. 4, at Alex's Plaza Restaurant, 35 N. Main St., Ashland. Eight Dollar Mountain will open the show. The cover is $5. Call 541-482-8818.
Location, ST | website.com


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DENVER -- Jhoulys Chacin's bid for a no-hitter came up short. So did the Giants' attempt at a comeback victory.
After failing to get a hit off the Colorado Rockies right-hander through 62/3 innings Wednesday, the Giants rallied late but couldn't close the gap. They lost 5-4 in the rubber game between two teams far back in the National League West standings.
Chacin had the longest no-hit bid at Coors Field by a Rockie and the longest by any pitcher since Matt Cain went 71/3 hitless innings in 2010. It may have been Chacin who imitated Cain on Wednesday night, but the game's other starter was the one who has imitated Cain in the season's second half.
Madison Bumgarner has a 2.63 ERA since the All-Star break but has hit the kind of tough-luck skid that Cain dealt with for years. The Giants are just 1-7 with Bumgarner on the mound in the second half, and the young left-hander has just one win since July 11 despite consistently pitching well.
"You've got to try to separate that, but it's definitely been a rough patch here," Bumgarner said. "Today felt OK, it felt decent, and I made some pitches that happened to find a hole. I've been through some times like this already (in my career), and I know how to prepare mentally."
Bumgarner is still just 23, but manager Bruce Bochy said he wasn't worried about his left-hander's ability to deal with the lack of help on the field.
"He's a tough kid," Bochy said. "He was fine. He threw well, and he did a real nice job. Our defense got to us that one inning there."
Bochy was referring to the sixth, a nightmare of a frame that began with the teams tied 1-all. The Giants didn't have a hit at the time but scored in the fourth on a walk, error and grounder.
A leadoff single and walk started the trouble in the sixth, and after Bumgarner struck out cleanup hitter Michael Cuddyer for the third time, Wilin Rosario's single scored a run. Bumgarner was pulled, but the Giants appeared to be out of the inning a batter later. Jean Machi induced a grounder back to the mound and threw to second to potentially start a double play, but shortstop Brandon Crawford dropped the throw.
"It's a catch I need to make," Crawford said. "I didn't that time."
The missed opportunity proved costly. Former Giant Yorvit Torrealba followed with a two-run double, putting the Rockies up 4-1. A fifth run came across when Chacin, who still had a no-hitter going at the time, beat out the throw to first on the back end of what looked like a double-play grounder.
"That one inning just got ugly," Bochy said. "We got a couple of double-play balls and we got just one out on them. That hurt."
Chacin had kept the Giants off balance with a dominant slider, and given a four-run lead, he threw four of them to strike out Hunter Pence at the start of the seventh. Pablo Sandoval popped up on a slider, but Crawford took advantage of a fastball up and in, lining a clean single to center.
The hit assured that there would not be a second no-hitter at Coors Field (Hideo Nomo threw one in 1996) and that the Giants would not be no-hit for the second time this season. Cincinnati's Homer Bailey did it on July 2.
"It was just nice to get a hit and put something on the scoreboard," Crawford said.
The Giants weren't done. Gregor Blanco and Marco Scutaro lined back-to-back singles with one out in the eighth, and Brandon Belt's double brought a run home. The Giants scored their third run on Buster Posey's ground out and cut the deficit to one when Pence singled, but they couldn't finish the rally. They went down quietly in the ninth, falling to 25-39 on the road.
The series loss kept the Giants behind the Rockies and San Diego Padres at the bottom of the division. If they don't leapfrog either of those two teams in the final 29 games, the Giants will become just the second team since 1903 to finish last the season after winning a World Series title. The only team to have done it is a 1998 Florida Marlins group that was infamously dismantled a year after winning a ring.
Bochy said he hoped his club would be able to make a push to avoid joining the undesirable club.
"It's not what you set out to do, but considering where you are, it means you played better ball from this point on," he said. "I don't think anybody wants to finish in the cellar."
Giants (Tim Lincecum 7-13) at Arizona (Randall Delgado 4-4),
6:40 p.m. NBCBA


text:
Buy Item $0.25 Retail:
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|Format: Paperback
Vendor: MennoMedia
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Series: Breathe It In VBS
Breathe It In invites children in early childhood through grade 5 to discover the life-giving breath of God Through Bible stories of breath and wind, children will explore how God's own breath was used to create people, and how the wind of the Spirit helped the young church to grow. As they participate in lively worship, music, Bible memory, and creative response activities, children will understand that God is the giver of life and is present with us.
Contains one Invitation Poster (11"x17")


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This is the year that the hyzer route on #6 finally gets cleared out. We only need a chainsaw.
I can't remember right, but I think we'll have to move the tee sign for that too. I think it's right in the way of that route.
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Fairfax County Youth Survey
The Fairfax County Youth Survey, a comprehensive, anonymous and voluntary survey given each year to students in grades 6, 8, 10 and 12, examines behaviors, experiences and other factors that influence the health and well-being of Fairfax County's youth. The results provide a snapshot of the county's youth and serve as a barometer of the community's effectiveness fostering healthy choices in young people. The Youth Survey is a collaboration of Fairfax County Government and the Fairfax County Public Schools.
See also: Youth Survey Frequently Asked Questions
School Year 2014-2015 Fairfax County Youth Survey Results
View a video of result highlights.
Fairfax County Youth Survey Highlights Video (27:30 min.)
- Fairfax County Youth Survey Report
- Fairfax County 6th Grade Youth Survey Report
- Fairfax County Youth Survey Results Highlights Presentation
- Updated Fact Sheets
If you use data from the School Year 2014-2015 survey, please cite The Fairfax County Youth Survey Report School Year 2014-2015 and reference: www.fairfaxcounty.gov/youthsurvey.
Visit slideshare to view this and other county presentations.
School Year 2015-2016 Fairfax County Youth Survey Information
Youth Survey Frequently Asked Questions
Fairfax County Youth Survey Instrument (for Grades 8, 10, and 12)
6th Grade Youth Survey Instrument
Parent Letters and Opt-Out Forms (when available)
County / Community Initiatives
Fairfax County's Prevention System
Fairfax County Public Schools Student Achievement Goals
For more information about the annual Fairfax County Youth Survey, please contact the Department of Neighborhood and Community Services at email@example.com.
Other Studies on Fairfax County Youth Survey Data
Fact Sheets
Get a snapshot of various risks facing Fairfax County
youth and learn what you can do to help young people as well as
where to go for more information.
Instruments and
Publications are available in a PDF format. In order to view these
you must have Adobe Acrobat Reader installed on your computer.


text: Are you looking for a new friend? Digby is ready to be the best friend you can imagine! He is a 4-year-old Boston Terrier/Beagle mix with a big personality. He loves making friends and doesn't meet a stranger – he even gets along with children of all ages. Digby would fit into a loving family's household perfectly. He is already neutered, micro-chipped and up-to-date on vaccinations. Visit him today at the KHS Fern Creek Feeders Supply adoption site or call 502.366.3355 for more information.


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They say you can never go home. Even so, while Ireland's Minister for Tourism tries to lure the secretive Irish out of their silence, we diaspora hope against all odds to be found, to be brought into the fold, home.
As children, my siblings and I had been told our grandmother was from County Cork. We knew her name, and her father's name. As it was explained, she was an orphan who came to America as a young woman. Soon after her arrival, our grandmother married a young American, had three children, divorced and then died an untimely death from tuberculosis. My father was twelve years old when he lost his mother. By then, the Great Depression was taking its toll. He and his sisters were farmed out to the Catholic orphanage until their age of majority. That was the whole story, no more, no less.
Many years later, finding record of my grandmother on a ship manifest bound for Boston opened new worlds for me. There was a lot to be learned from that one historical record. She was seventeen years old when she arrived in 1922. World War I had just ended, and Irish home rule had been won. It was an optimistic time, with the roaring twenties in full swing. From the manifest I learned the name of the town where my grandmother had lived in Ireland. I was surprised to learn her mother paid her passage and was meeting her at the Boston docks. I was curious about the uncle my grandmother left behind. I was puzzled by the unfamiliar surnames. I was pleased to learn that my grandmother's coloring matched my own – brown hair, grey eyes, fair complexion, and that her tiny stature matched my sister's.
Chasing one clue after another, I learned more and more of my grandmother's story. She was the product of an assault. When she was born in Cork, she was boldly given her father's last name. It must have been scandalous as he was a man of some means in the community. A big battle likely ensued with the local church - de rigueur placement for wayward girls at the time was in asylums, adoption for their babies. But her family, my family, did not succumb to the pressure. (I have seen this stubborn, righteous determination reveal itself in my father, my aunts, my sister, myself, my son). Their decision was not without consequence. As I have been told, a younger family member was refused confirmation due to the "sins" of my great grandmother, who soon left for Haverhill, Massachusetts, a small factory town filled with Irish immigrants. Perhaps the chatter in the village had been too much for her to bear. Or was the opportunity in America too great to resist?
My grandmother was left behind in the care of her own grandmother. Growing up motherless in that small Irish village was not the sad childhood I had long imagined for her. In addition to her grandmother, many uncles, aunts, and cousins surrounded her. According to one distant cousin, there was always "an open door and a warm cup of tea" for the asking. The beautiful village countryside, even today filled with hills and grass and trees, was there for roaming, dreaming, exploring.
My best guess is that her mother always intended to reunite, but the weeks became months, and the months stretched to years. Only after her precious girl was nearly grown into a beautiful young woman would their reunion occur. By then the bond was badly frayed, and the reunion was not the joyful experience long anticipated. Throughout the rest of their days, while both women were members of the same Irish Catholic Parish in Haverhill, their relationship remained strained and distant.
Yet, in spite of her tragic beginnings, my grandmother was a joyful woman, a lover of life and life's small pleasures. As I have learned, she was vivacious, loved to dress up, keep a nice home, set a fancy table, go dancing. Her glass was half full, her lemons made into lemonade.
In recent years I had the privilege of getting to know my grandmother's last living child, an elderly aunt. A few weeks before she died, this aunt, my only living relation of my father's generation, a wise woman and a psychologist, gently asked me why the search for my grandmother's history was so important to me. "That is the question you must answer, my dear". I cried, as I do now, when I think of that moment.
Since that profound meeting one year ago, my genealogical research has ground to a halt. Instead, I have been turning my aunt's question over and over in my mind, trying to find an answer. I realize, more than anything, a need to connect to the tree that eventually brought me into this disconnected world. Having been removed from my own mother's home at a tender young age, I identify closely with my grandmother, a woman I never met, yet think of often.


text:
Irving'e karşı Lipstadt
Holocaust Denial on Trial, Trial Judgment: Electronic Edition, by Charles GrayTable of Contents
|<< Eye-witness evidence from...
|< Early reports
|Evidence from the Eichman... >
|Conclusions to be drawn f... >>
Evidence from the Nuremberg trial
7.47 By an accord signed on the 8th> August 1945 the Allies established the International Military Tribunal (at Nuremberg) to prosecute war criminals. Twenty two leaders of the Third Reich were charged. One of them was Kaltenbrunner, who was chief of the agency charged with carrying out the Final Solution. Others who gave evidence at Nuremberg have already been referred above, including Vaillant-Couturier, Shmaglevskaya and Hoss. The Defendants rely in addition on the evidence of the following.
7.48 In January 1946 Dieter Wisliceny, who had been an aide to Eichmann, gave evidence in which he accepted his involvement in preparations for the transport to Auschwitz of some 50,000 Saloniki Jews who, he agreed, were destined for the 'so-called final solution'. He also gave evidence that he had been involved in the deportation of 450,000 Hungarian Jews to Auschwitz. In respect of the latter Wisliceny stated that they were all killed with the exception of those used for labour purposes.
7.49 SS-Standartenfuhrer Kurt Becher swore an affidavit which was submitted in March 1946 at Nuremberg. He described how people were exterminated by methods including gas at Majdanek. He deposed that, within days of an English newspaper report being received at Hitler's headquarters about gas chambers being used at Majdanek, Himmler ordered the cessation of gassing in Auschwitz and the dismantling of the extermination installations in the crematoria.
|<< Eye-witness evidence from...
|< Early reports
|Evidence from the Eichman... >
|Conclusions to be drawn f... >>


text:
Top Definition
racist in origin; when someone gets their saliva all over a joint
by .:Kess:. February 13, 2004
Trending Now
Can you define these popular missing words?
when someone slobbers on the peace, blunt, spliff, etc. its nasty as hell and leaves the blunt or spliff straight up soaking wet.
not again, ur always nigga lippin' dat blunt
by scott halperin November 20, 2006
To smoke on a cigarette so as to get the butt moist or wet with saliva. Usually not desirable.
"You can have a drag off my smoke, no nigga-lippin'"
by BootieBob March 24, 2006
When a person slobbers all over something that is being shared. Such as a beer, joint, or ciggarette, and or anything that is being shared to get drunk or high off of.
"Hey man quit nigga-lippin' the J, your slobbin all over it."
by Juff May 26, 2006
the act of wrapping one lips around a bottles top, contaminating it for everyone else.
hey stop nigga-lippin' that 40.
by cj house March 24, 2006
Putting an inordinate or socially unacceptable amount of one's lips on the mouth of the bottle you are drinking from, when borrowing it from someone.
"No fool! I don't want it back after you be Nigga-Lippin' it."
by My Last Try March 24, 2006
To really lick up a blunt when smoking it
Eww bro ur saliva is nasty stop Nigga-Lippin' that blunt.
by Pattymcpeejin March 24, 2006


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State of the Art Gallery, 120 W. State St., Ithaca, will host the opening of "Small Works Show" from 5 to 8 p.m. Dec. 6.
The show will feature oil pastel, oil on canvas, oil on wood, acrylic on veneer, watercolor, pen and ink, metal prints, linoleum prints, etching, oil and sterling silver leaf, wax and gypsum sculpture. There will be an awards ceremony at 6:30 p.m.
The show will run Dec. 4-29.
For more information, call 607-277-1626 or visit www.soag.org.
Location, ST | website.com