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A Historic Image Gallery
River, Inland, and Construction Tenders of the U.S. Coast Guard: 1939-1940
The Coast Guard's smaller buoy tenders are perhaps the most unknown and unrecognized part of the Coast Guard fleet. Yet these tenders play an important role in maintaining safe waterways throughout the entire country. They sail on our rivers and lakes in areas where even the local residents, let alone the rest of the country, do not know the Coast Guard is there! Yet they are there, everyday. From Dubuque, Omaha, Lake Erie, Memphis, St. Louis, Duluth, and all over this vast country, Coast Guard cutters sail the rivers, bays, and lakes of our nation, always ready to maintain the waterways, protect the environment, enforce the law, and lend assistance when and where needed.
Like all Coast Guard cutters, these tenders are capable of conducting a number of different missions. First and foremost they are designed to service the aids to navigation in our inland waterways. They are also capable of law enforcement, environmental, icebreaking, and search and rescue operations. The latter duty is frequently carried out during flood relief efforts. These tenders, then, are true Coast Guard cutters: vessels capable of carrying out the multitude of tasks assigned to the nation's oldest continuous sea-going service.
The Coast Guard continued the Lighthouse Service tradition of naming tenders after flora. As for their designations, during the war when the Coast Guard transferred to the U.S. Navy in 1941, the Coast Guard adopted the Navy's designations and classifications. The Coast Guard then grouped all of the buoy tenders, be they sea-going, coastal, inland, river or construction tenders under the classification of "WAGL." By 1965, the service divided them by their area of operations and their capabilities. The seagoing tenders were designated "WLBs" and those tenders that operated in coastal waters became "WLMs." The remaining types of tenders were classified thusly: river tenders became "WLRs," inland tenders became "WLIs," and inland construction tenders were designated "WLICs." The inland, river, and construction tenders are the focus of this image gallery.
This is not meant to be a complete history of every river, inland and construction tender of the Coast Guard. Rather, this page is a visual history and celebration of the differing types of ships that fell under the designations "WLR," "WLI," and "WLIC" and the changes they underwent from 1939-2000. See what types of interesting and unique craft have protected our nation's inland waterways while flying proudly the Coast Guard ensign. We hope you enjoy this historic image gallery and hope that it will inspire you to check and see if there is a cutter sailing near you!
Unless otherwise noted, the following are official U.S. Coast Guard images.
USLHT Rhododendron [WALG-267]; "U.S.L.H.T. RHODODENDRON, MCH. 16, 1935, 69402."; photo by Angelus Com'l Studio.
Rhododendron, shown here at her launching in 1935 as a tender of the Lighthouse Service, was built by Commercial Iron Works in Portland, OR. She serviced ATON along the northwest coast during her career. She was decommissioned in 1958 and donated to the state of Washington the following year.
USCGC Greenbrier [WAGL-214]; no caption/photo number; date/photographer unknown.
Greenbrier, a 165-foot, 440 ton stern paddlewheel steamer, entered service with the Lighthouse Service in 1924. She was built by Charles Ward Engineering Works of Charleston, WV. She was capable of making a top speed of 10 knots although her economic cruising speed was a respectable 7 knots. Only about five percent of her space was allotted to buoy tending equipment and the remaining space was made up of "hotel features."*
She transferred to the Coast Guard in 1939 along with the rest of the Lighthouse Service and remained in commission until 1947. She was then sold.
SCGC Willow [WAGL-253]; no caption/photo number; date unknown; photo by Esther F. Cohn.
Willow, a 200-foot, 1,070 ton, side paddlewheel river tender, was built by the Dubuque Boat & Boiler Works for the US Lighthouse Service for service on the Mississippi River. She was commissioned in 1924 and was decommissioned and transferred to the Army Corps of Engineers in 1945. She had two noncondensing steam engines powered by six "western river" type 225 psi oil-fired boilers. Her maximum speed was 7.5 knots and her economic cruising speed was a stately 4.0 knots. She was stationed at Memphis and in 1944 collided with USS LST-841 in December, 1944, and sustained considerable damage.
USCGC Cottonwood [WAGL-209]; "Coast Guard paddle wheel river tender COTTONWOOD."; 2CGD-091345 (01); 13 September 1945; photographer unknown.
Cottonwood was originally an Army Corps of Engineers' river tug named Le Claire that was built in 1915. She was acquired by the Lighthouse Service in 1938 and renamed Cottonwood. She was stationed at St. Louis and then Chattanooga while in Coast Guard service. She serviced ATON for 650 miles of the Tennessee River above the Kentucky Dam. She was decommissioned in 1946 and sold the following year.
USCGC Cottonwood [WAGL-209]; "View of COTTONWOOD on the Tennessee River, U.S. Coast Guard-St. Louis District."; no photo number; date/photographer unknown.
Cottonwood was a 151-foot, 243 ton, stern paddlewheel river tender with two tandem compound steam engines powered by one Foster-Wheeler Express coal-fired boiler. Her maximum speed was 8 knots and her economical cruising speed was 6 knots.
USCGC Wakerobin [WAGL-251]; "View of Coast Guard Cutter WAKEROBIN."; Photo No. St.L. 05034502; 3 May 1942; photographer unknown.
Wakerobin was a 182-foot, 622 ton, stern paddlewheel river tender. She was steel-hulled and had a wood and steel superstructure. She had two horizontal steam engines powered by two coal-fired Babcock & Wilcox section header boilers. Her maximum speed was 9 knots and she had an economical cruising speed of 5 knots. She was commissioned into the US Lighthouse Service in 1927 and was decommissioned and placed in storage in 1948. She was temporarily transferred to the Army Corps of Engineers in 1949 and in 1955 the transfer was made permanent. During her Coast Guard service she was stationed in Memphis.
USCGC Wakerobin [WAGL-251]; "View of Coast Guard Cutter WAKEROBIN."; Photo No. St.L. 05034501; 3 May 1942; photographer unknown.
In 1948 the always parsimonious Coast Guard noted in an official report that "the cost of operation of the Wakerobin is approximately twice that of diesel cutter Foxglove engaged in similar, but more arduous duties." The Coast Guard then decommissioned Wakerobin, ending the era of side and stern paddlewheel cutters.
USCGC Azalea [WAGL-262]; no caption/photo number; 1943; photographer unknown.
Azalea, a 150-foot, 352 ton stern paddlewheel steamer, was originally a US Army towboat named Minneapolis. The Coast Guard acquired her in 1940 and she was stationed at St. Louis during her service career, which ended with her decommissioning in 1946; she was renamed Azalea in 1942. During her Coast Guard career, she serviced ATON from Cairo, IL, to Dam 26, and on the Mississippi River from Keokuk, IA to Alton, IL. She evacuated cattle from Grand Tower, IL, in March and April of 1945 because of flooding.
USCGC Forsythia [WAGL-63; WLR-63]; "CGC-FORSYTHIA, 113' River Tender, starboard view; Built by Avondale Marine Ways, New Orleans, La., February 16, 1943."; no photo number; photo by F. A. McDaniels, New Orleans, LA.
Forsythia, a 114-foot, 230 ton tender, was one of three such vessels (her sisters were the Dogwood [WAGL-259] and Sycamore [WAGL-268]) built to replace the stern paddlewheel steamers that the Coast Guard decided were too expensive to maintain. She was built by Avondale Marine Ways of Westwego, LA, and entered service in 1943. She was stationed at Sewickley, PA until 1963 and then Memphis, TN, until she was decommissioned in 1977.
USCGC Shadbush [WAGL-287; WLI-74287] (left); USCGC Clematis [WAGL-286; WLI-74286] (right); "INBOARD VESSEL -- U.S. Coast Guard Cutter "Clematis"; OUTBOARD VESSEL -- U.S. Coast Guard Cutter "Shadbush" taken at BLAIR, NEBRASKA, 18 July, 1944."; Photo No. 5-3; photographer unknown.
These 73-foot tenders were designed by the Coast Guard, with detail drawings provided by A. M. Deering of Chicago, and were constructed by Peterson & Haecker, Limited, of Blair, NE. Both entered service in 1944 and each had their pilot house raised four feet in the mid-1960's. They were powered by two GM diesel engines that could drive their twin screws to a maximum speed of 10 knots. Clematis was stationed at Galveston, TX through August of 1966 and then moved to Corpus Christi, TX through her decommissioning in 1976. She was then transferred to the Tennessee Valley Authority.
Shadbush was stationed at Mobile, AL until being transferred in 1967 to New Orleans. She assisted in the search for survivors after the sinking of the cutter White Alder in 1968. She transferred to Galveston in 1975 and served for one more year. She was decommissioned and sold in 1976.
USCGC Fern [WAGL-304; WLR-304]; "The Coast Guard Cutter FERN, one of four Coast Guard ice-breakers engaged in operations on the Illinois River, is shown at Peoria, Illinois, preparing to go to the aid of a tow lodged in the ice choked River."; no photo number; date/photographer unknown.
The Fern was a 115-foot river tender built in Blair, NE, and commissioned in 1942. She was designed to work in tandem with a detachable "Amsterdam" ice plow for clearing shipping channels through ice-choked rivers. She was instrumental in clearing passages for naval shipping that was constructed on the Great Lakes and upper inland waterways, particularly LST's, destroyer escorts and frigates, that then sailed down to the Gulf of Mexico for final outfitting and commissioning. Such icebreaking duties made sure that construction and delivery of vessels vital to the Allied war effort could continue year round.
Fern was stationed at Peoria, IL, and Burlington, IA and was used for servicing ATON and icebreaking from Dubuque, IA to Keokuk, IA and Hennepin Canal, IL during the war. After the war, she was station at St. Louis, MO, Cincinnati, OH, and finally Dubuque. In 1965 she assisted with flood relief near LaCrosse, WI. She was decommissioned in 1971 and sold in 1972 (along with her ice plow).
USCGC Cherry [WAGL-258]; "86-ft. U.S. Coast Guard inland tender USCGC CHERRY (WAGL-258) was built in 1932. Her present station is Sault Ste. Marie, Michigan. Length: 86 ft., Beam: 24 ft., Draft: 8 ft., Displacement: 202 tons, Propulsion: Diesel Reduction, Screw: 1, Shaft H.P.: 500, Speed: 10.0 knots."; Photo No. CPI-09-22-59 (02); 22 September 1959; photographer unknown.
Cherry was an 86-foot, 254-ton bay and sound tender. She was built by Leathem D. Smith Dock Company of Sturgeon Bay, WI. She was commissioned as a tender of the Lighthouse Service in 1932. She transferred to the Coast Guard along with her sister tenders and the Lighthouse Service itself in 1939 and remained in commissioned until 1964. Cherry was stationed at Buffalo, NY, and Sault Ste. Marie, MI, during her Coast Guard career.
USCGC Sumac [WAGL-311; WLR-311]; no caption; Photo No. ST.L. 032554703; 25 March 1954; photo by Polk.
Sumac, a 114-foot river tender, was designed by A. M. Deering of Chicago. She was constructed by Peterson & Haecker Limited of Blair, NE, and entered service in 1944. She was originally powered by three Fairbanks-Morse diesel engines but these were replaced with three GM diesels in the mid-1970's. During her Coast Guard career she was stationed at Owensboro, KY, Owensboro, KY, Peoria, IL, Cairo, IL, Hickman, KY, Dubuque, IA, Keokuk, IA, and St. Louis.
Note her work barge and equipment. She was decommissioned in 1999.
USCGC Wisteria [WAGL-254; WLI-254]; "U.S. Coast Guard Cutter WISTARIA, 121-ft. inland tender, built in 1933. Present homeport, Baltimore, Md."; Photo No. CPI-12-01-61 (01) G.F.; December, 1961; photographer unknown.
Wisteria, a 121-foot, 328 ton, inland buoy tender was commissioned in 1933 and served until 1966. She was stationed in Baltimore until 1966 and was used for ATON and light icebreaking. In 1949 she assisted a grounded barge and in 1965 fought a fire on a merchant ship near Baltimore. She was sold in 1968. Their post-war Coast Guard color scheme is readily apparent in this photograph. The Coast Guard stripe was added to the cutters of the fleet beginning in 1967.
USCGC Narcissus [WAGL-238; WLI-238]; no caption/photo number; date/photographer unknown.
Narcissus, a 122-foot bay and sound tender, entered service along with her sister Zinnia, in 1939. Both were the first tenders to be built using extensive welding. They were powered by two Superior diesels that were capable of driving the twin screws to a maximum speed of 9 knots. Narcissus was stationed at Portsmouth, VA, for her entire Coast Guard career while Zinnia served out of Edgemoor, DE, Gloucester City, NJ, New York, NY and New Orleans, LA.
Narcissus served until she was decommissioned and transferred to Guyana in 1971. Zinnia was decommissioned and transferred to the US Air Force the following year.
USCGC Buckthorn [WAGL-642; WLI-642]; "Artist's conception of new U.S. Coast Guard 100-ft. INLAND BUOY TENDER currently under construction."; Photo No. CPI-011364; 13 January 1964; photographer/artist unknown.
See a photo of the tender as constructed, below.
USCGC Buckthorn [WAGL-642; WLI-642]; "CGC Buckthorn, 100 FT WLI."; no photo number; date/photographer unknown.
Buckthorn, a 100-foot "C" class inland buoy tender, was built by the Mobile Ship Repair, Inc., of Mobile, AL. She was commissioned in 1964 and was first stationed at Detroit. She then transferred to Buffalo in 1967 and transferred once again to Sault Ste. Marie in 1970.
USCGC Clamp [WLIC-75306]; "USCG CLAMP: Sea Trials."; no photo number; 23 December 1964; photo by Herb Reynolds.
Clamp, a 75-foot "D" type inland construction tender was built by the Sturgeon Bay Shipbuilding & Drydock Company. She was one of ten 75-foot construction tenders of this class that were built. These cutters can drive pilings in depths of water from 4 to 20 feet and can set or retrieve up to medium-sized buoys. They work in tandem with a barge that is pushed from the bow. She was commissioned in 1964 and was stationed at Galveston.
USCGC Oleander [WAGL-264; WLR-73264]; no caption/photo number; date/photographer unknown (probably 1961).
Oleander, a 73-foot river tender, was built by the Heffersonville Boat & Machine Company in Jeffersonville, IN. She entered commissioned service in 1941 and served out of Peoria, IL, Kansas City, MO, St. Joseph, MO, and Point Pleasant, WV. During her Coast Guard career, in addition to her ATON duties, she marked a temporary channel following the collapse of the Point Pleasant bridge and later supported the bridge's reconstruction in late-1968 and early 1969 and assisted following a chlorine gas leak in South Charleston, WV in July, 1969. She was decommissioned in 1977.
This photo was taken after a major reconstruction in 1961 in which she received a new pilot house, rudder, and galley.
USCGC Sledge [WAGL-75303] & barge CGB 84001; no caption/photo number; 21 August 1989; photographer unknown.
Sledge, a 75-foot inland construction tender, was built by McDermott Fabricators of Morgan City, LA, and entered service in 1962. She has served at Portsmouth, VA and later at Baltimore, MD. She is one of ten 75-foot inland construction tender class vessels built between 1962 and 1966. They usually work in tandem with a barge, with which they use to drive pilings in depths of water from four to 20 feet and set or retrieve medium-sized buoys.
USCGC Poplar [WAGL-241; WLR-21]; no caption; Photo No. 2CGD-081861-09; 18 August 1961; photographer unknown.
Poplar, along with her sister Goldenrod, was a 104-foot 235 ton river tender. Both were built by Dubuque Boat & Boiler Works of Dubuque, IA and entered service in 1938 and 1939, respectively. They were built of steel except for the top of their pilot houses and Texas deck, which were made of wood. Their propellers were mounted in tunnels for operation in shallow waters and both were reengined in 1960. Poplar was first stationed at St. Louis where in 1955 she assisted in fighting a barge fire that year. She was transferred to Sewickley, PA where she served for the remainder of her Coast Guard career.
Her sister, Goldenrod, was first stationed at Kansas City, MO, then Peoria, IL, and finished her Coast Guard career at Keokuk, IA. In addition to her ATON duties, she helped train visiting Vietnamese officials, assisted in flood relief near Keokuk, IA, in April of 1965 and again near Niota, IA in May, 1965. She also assisted after a fire at La Grange, MO, in 1969.
Both were decommissioned and transferred to the National Science Foundation in 1973. Note the machine shop, boom, sinkers, and the various types of buoys all on the work barge.
USCGC Osage [WLR-65505]; no caption/photo number; date/photographer unknown.
Osage, a 65-foot 145-ton river tender, was built by Gibbs Corporation in Jacksonville, FL, and entered service in 1962. She was one of six tenders in her class and all entered service between 1960 and 1962. They were designed to service ATON on the western rivers and to work in tandem with a barge. The barge served as a work platform, storage area, and machine shop. Osage was first stationed at Sheffield, AL and Sewickley, PA. During her career she escorted NASA's missile barge Promise, which carried stages of the Saturn rocket used for the Apollo missions, on five occasions.
USCGC Myrtle [WAGL-263]; no caption; Photo/Neg. No. 8986; 22 January 1960; photo by Thornhill's Studio, New Orleans.
Myrtle, a 93-foot bay and sound tender designed by the Lighthouse Service, was built by Dubuque Boat & Boiler Works of Dubuque, IA. She entered service in 1932. She was based at Galveston and later at Corpus Christi, TX, during her career. She was decommissioned in 1963 and sold the next year.
Note the pile driver mounted on her starboard side.
USCGC Tern [WLI-80801]; no caption; Photo No. 3CGD-031770-06; 17 March 1970; photographer unknown.
Tern, an 80-foot stern-loading tender, was built by the Coast Guard Yard and entered service in 1969. According to Scheina, "The greatest value of this design was its capability of hoisting a large buoy as compared to the size of the tender. The Tern could handle a 7 x 17 buoy; the smallest side-loading tender capable of handling this buoy was the 122-foot Narcissus. The Tern had a number of shortcomings, principally excessive noise on the deck caused by the gantry crane driver, poor visibility of the crane operator, inadequate complement [crew of seven], numerous blind spots on the bridge that interfered with the conn of the vessel, and an overly complicated propulsion and control system. Qualities includes excellent maneuverability and habitability. The two 250 hp diesels were fitted to right-angle drive train. The Tern had a 125-hp bow-thruster."**
Tern was used for test and evaluation after commissioning in 1969 and was then stationed at Governor's Island during her relatively short career with the Coast Guard. She was decommissioned in 1977.
USCGC Dogwood [WAGL-259; WLR-259]; No caption/photo number; date/photographer unknown.
Dogwood, a 114-foot river tender, was constructed by the Dubuque Boat & Boiler Works Company in Dubuque, IA. She was commissioned in 1941 and served until 1989. She was stationed at Vicksburg, MI and later Pine Bluff, AR. She had an active career, from tending ATON to escorting the NASA rocket barge Palaemon on three occasions and assisting in the cleanup operation along the gulf coast in the aftermath of hurricane Betsey.
USCGC Sumac [WLR-311]; "The Coast Guard Sumac (WLR-311) on Kaskaskia River in Illinois."; Photo No. 901010-I-0000A-001 (FR); 10 October 1990; photo by PA2 Robin Ressler.
Note 1954 photo of Sumac and barge above.
USCGC Saginaw [WLIC-803]; no caption; Photo No. CGY-022478-13; 24 February 1978; photographer unknown.
The Saginaw, one of four 160-foot inland construction tenders that were all built by the Coast Guard Yard, entered service in 1977. They were designed to construct, repair and alter fixed-ATON structures.
Saginaw is stationed at Mobile.
USCGC Elderberry [WLI-65401]; no caption/photo number; 10 September 1968; photographer unknown.
Elderberry, shown here underway near Petersburg, AK, after her red racing stripe was added. The stripe was added to the cutter fleet as each cutter went in for maintenance after the stripe was approved in 1967, not all at once. Elderberry has been stationed at Petersburg, AK.
See Bayberry gallery below for more information on this class.
USCGC Kankakee [WLR-75500]; "75 WLR-F KANKAKEE W/BARGE STERN VIEW STBD."; Photo No. 90-09-1399; NEG-12-1399; 5 September 1990; photographer unknown.
Kankakee, a 75-foot river tender built by Avondale Industries Small Boat Division of New Orleans, was commissioned in 1990. She and her sister, Greenbrier, were specifically designed and built to work in tandem with a construction/work barge.
USCGC Kankakee [WLR-75500]; :During a routine patrol on the Mississippi River the crew of the Coast Guard Cutter Kankakee began its day with something very unusual for the Memphis, Tenn. area. . .huge chunks of ice banging into their hull."; Photo No. 010103-C-0000A-500 (FR); 3 January 2001; photographer unknown.
Note the buoys and other ATON equipment on the barge. See gallery above for more information on Kankakee.
USCGC Gasconade [WLR-75401]; "Coast Guard Cutter Gasconade."; Photo No. 781026-O-8888A-001 (FR); 26 October 1978; photographer unknown.
Gasconade, a 75-foot river tender commissioned in 1964, was stationed in St. Louis for six months after she first entered service. She then shifted homeport to Florence, Nebraska, for two months before transferring to her permanent station in Omaha. Note her construction barge.


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Q The conditions of our roads is deteriorating, and you answer questions every now and then where a driver is complaining about potholes, etc. Your response is something along the lines of "the city knows of the problem but doesn't have the funds and it won't get fixed until 2014."
I'm wondering. Has anyone looked into what that ends up costing all drivers in added maintenance costs?
I would think that as our roads get worse there is added wear and tear. Tire and suspensions wear out prematurely, and drivers are more likely to have to get alignments more often. That may be good news for mechanics and auto parts stores, but results in a hidden tax that all of us are paying in one way or another. Maybe keeping the roads up would actually mean that we would save money.
Justin Liu
Santa Clara
A You are "right on the money," said John-the-MTC-Man. "The old adage 'an ounce of prevention is worth a pound of cure' applies in spades to pavement maintenance," he said.
A nonprofit group known as The Road Information Project (TRIP) periodically analyzes data on the additional cost of operating a vehicle due to poor pavement conditions -- and guess what. San Jose came out No. 1 -- in a bad, bad way.
Three years ago TRIP concluded that drivers in the South Bay top the national charts for additional vehicle operating costs, with drivers paying $756 a year. Here is a list of the 13 cities where drivers pay the most for repairs caused by road damage:
No. 1: San Jose, $756.
No. 2: Los Angeles, $746.
No. 3: San Francisco/Oakland, $706.
No. 4: Honolulu, $701.
No. 5: Concord, $692.
No. 6: New Orleans, $681.
No. 7: Oklahoma City, $662.
No. 8: San Diego, $654.
No. 9: New York-Newark, $640.
No. 10: Riverside-San Bernardino, $632.
No. 11: Sacramento, $611.
No. 12: Tulsa, Okla., $610.
No. 13: Indio-Palm Springs, $609
Do you notice a theme here?
Q The American Automobile Association sent a renewal notice for my mom to my address. She passed away 3-29-06. I don't think she wants to renew her membership.
I called them one recent evening. The phone rep was quite sympathetic and said she would delete Mom from the system. I have had this conversation before. More than once. Usually sometime in April of each year. I am not optimistic.
Amy Sargent
San Jose
A The AAA found that your mother had two memberships in the past and only one account had been stopped. That's been changed and you should not get any more renewal notices.
Q The person who only got away with paying $250 for a damaged gas pump must not have damaged the nozzle. I had to pay $650 for one I ran over! They were lucky!
Michael Setty
A But ...
Q I felt very bad for the poor woman who drove off with the pump handle at the gas station (been there, done that). This sort of accident is usually covered under the liability portion of the auto insurance policy. That means there will be no deductible for the claim,
Ward Loveland
Redwood City
A And ...
Q I work for an affiliate of Safeway in Fresno where we have a fuel station. Not a week goes by when at least one hose isn't disconnected. For such instances, we bill the driver's insurance carrier, so I am not sure how much of the cost comes back to the driver. On many occasions, people have accused us of deliberately using equipment that breaks to make money on the billing. They don't want to understand the devices are mandated and are designed to keep our air and ground safe from the toxic chemicals.
I've always wondered how it's possible that somebody can't remember to put away the nozzle before leaving until Christmas night, two years ago when I did it at a station in Morgan Hill. I was expecting the clerk to take my insurance information as well, but she had to phone the owner to see what to do. In a couple minutes, I was charged $125 and knowing what things really cost, I was happy to pay it and be on my way.
Bob Lieder
A When fillin' up, folks, be sure to hook up that hose!
Follow Gary Richards at Twitter.com/mrroadshow, look for him at Facebook.com/mr.roadshow or contact him at firstname.lastname@example.com or 408-920-5335.

subset: commoncrawl


text:
David Remnick, the editor of The New Yorker, sits down in a seat to my left.
He's running late to the ceremony. He quietly says hello and scans the program. "I didn't know we knew who the winners were," he says across the table to Anna Quindlen, who returns a raised eyebrow.
"What the hell? Do people dress you in the morning?" she asks.
Remnick chortles.
"Yes, we know the winners!" she says.
Quindlen points out to him that he is, in fact, seated with the winners. I say hello. My reporter, Andrew, says hello. Remnick, the man who edits the most revered bastion of long-form journalism in America, says simply, "Mazel tov."
I was a long way from Texas.
Specifically, I was in the banquet room in the Yale Club on Vanderbilt Avenue, across the street from Grand Central Station in Manhattan. The newspaper I had edited for the past 5 years had won the 2012 Livingston Award for Local Reporting for our three-part series on the exoneration of a Williamson County man wrongfully convicted for the 1986 murder of his wife. We were in New York to accept the prize, one of the most prestigious in American journalism.
Community journalism can take you places - from the hipster-filled Hill Country of central Texas to the concrete canyons of Manhattan. And it now takes me to even greater heights, literally and figuratively.
I couldn't be happier.
I snuck into town last Wednesday, but today marks the start of my first full week as the managing editor of the Summit Daily News. I'm still getting settled in, but I would love to hear from you.
First, a little about me. I was born and raised in Dallas, just east of downtown. Growing up, I would wait impatiently for each school year to end. You see, we Trollingers - like many Texans, no doubt - had a family tradition: Every summer, we'd load up our boxy, burgundy Toyota van and head to Rocky Mountain National Park.
To me, it was heaven.
Throughout my life, Colorado's landscape has been a moveable feast that has nourished my imagination and whetted my appetite for natural beauty. I always told myself I would live there one day.
Now reality hits and the lessons begin: Interstate 70 is scary, even in a Subaru with winter tires; I have no idea how to dress (layers, yes, I've heard. Still cold); elk, apparently, can kill you (I'll steer clear, although someone recently offered me elk steaks. How could a Texan refuse that?).
But here's another important lesson: Summit County is a deservedly proud and close-knit community.
I will do my best to serve its interests.
As the executive editor of the Williamson County Sun, a 10,000-circulation, twice-weekly just north of Austin, I'd come to believe that small newspapers can do big things. Winning awards is a welcomed validation of quality work (yes, I admit I was trying to impress you a bit in my lead-in), but it isn't the ultimate goal. Becoming indispensable to a community of readers is a newspaper's true mission - especially in a time of uncertainty in the news industry.
The Oracle of Omaha, Warren Buffett, a big believer in community news, recently said, "In towns and cities where there is a strong sense of community, there is no more important institution than the local paper."
That's what I've learned as a newspaper editor, and that's the gospel I preach. Every vibrant community deserves a paper they can be proud of. That's why I'm here.
Now, tell me, are these skis on right?


text:
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- Oil Rubbed Bronze
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- Satin Brass
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*Denotes a finish or option that has been discontinued
3 Questions from the Community
This item cannot be installed as a back-to-back installation.
Can these pulls be installed as back to back door pulls?
A. This item cannot be installed as a back-to-back installation.
The Baldwin 2597 is 8" center to center.
how tall is this pull?
A. The Baldwin 2597 is 8" center to center.
The Baldwin 2597 uses a 1 1/2inch screw.
What size screws are used for mounting?
A. The Baldwin 2597 uses a 1 1/2inch screw.
Baldwin Edinburgh Collection
Warranty Info
Lifetime LIMITED WARRANTY: Each Baldwin product has been thoroughly inspected to determine that it is in accordance with Baldwin's high quality standards. Baldwin warrants to each of its applicable direct customers that subject to the contents of the headings of these Conditions of Sale, RETURNED GOODS and STANDARDS OF EXCELLENCE, each Baldwin product shall be free from mechanical defects (and each product with The Lifetime™ Finish from Baldwin® shall be free from tarnishing, flaking, pitting, and discoloration) at time of delivery to the applicable direct customer and for the lifetime of the applicable product or for as long as the direct customer owns the product. As Baldwin's direct customer's exclusive remedy, Baldwin will, at its option, repair or replace any Baldwin product which is mechanically defective. If a Baldwin product which is the same as the Baldwin product covered by this warranty has been discontinued at the time of repair or replacement or if Baldwin determines, in its sole discretion, that such repair or replacement is inappropriate, Baldwin reserves the right to refund the original purchase price of the defective Baldwin product. This warranty is not intended to be a consumer warranty, is exclusively for the benefit of Baldwin's applicable direct customer and shall not be transferable.
Except as expressly provided in this warranty to the contrary, (a) BALDWIN MAKES NO, AND DISCLAIMS ALL, WARRANTIES, REPRESENTATIONS AND GUARANTEES (WHETHER EXPRESS, IMPLIED OR STATUTORY), INCLUDING, BUT NOT LIMITED TO, ANY IMPLIED WARRANTY OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE, AND(b) BALDWIN SHALL NOT BE OBLIGATED OR LIABLE FOR LABOR OR OTHER COSTS RELATED TO INSTALLATION, REPAIR OR REPLACEMENT OR FOR LOSS OF, OR DAMAGE TO, ANY MATERIAL WHICH IS NOT SOLD BY BALDWIN. IN NO EVENT SHALL THE DURATION OF ANY IMPLIED WARRANTY OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE BE LONGER THAN the lifetime of the applicable product or for as long as the original purchaser owns the product. This warranty is the only express warranty provided by Baldwin. No employee, representative or agent nor any other person has authority to assume or incur on behalf of Baldwin any obligation or liability in place of or in addition to this warranty.
Each of Baldwin's direct customers shall receive any claims and take delivery of any allegedly defective Baldwin products from the consumers and shall communicate and otherwise cooperate in a reasonable manner with Baldwin concerning the administration, processing and remedying of such claims, including, but not limited to, delivering repaired or replacement Baldwin products or, in the appropriate case, purchase price refunds to consumers. Please Note: The limited warranty on all locks or latches is void if used in combination with knobs, levers or trim of other than those manufactured by Baldwin and designated for use with the applicable locks or latches.


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About the Book
"Todd's Ian Rutledge mysteries are among the most intelligent and affecting being written these days."
—Washington Post
Critics have called Charles Todd's historical mystery series featuring shell-shocked World War One veteran Inspector Ian Rutledge "remarkable" (New York Times Book Review), "heart-breaking" (Chicago Tribune), "fresh and original" (South Florida Sun-Sentinel). In A Lonely Death, the haunted investigator is back in action, trying to solve the murders of three ex-soldiers in a small English village. A true master of evocative and atmospheric British crime fiction, Charles Todd reaches breathtaking new heights with A Lonely Death—a thrilling tale of the darkness in men's souls that will have fans of Elizabeth George, Martha Grimes, and Anne Perry cheering.
Scotland Yard detective Ian Rutledge returns to solve his most exciting and shocking case yet in this latest entry in the bestselling series hailed as "outstanding" by the New York Times Book Review
A breathtaking blend of psychological complexity, haunting atmosphere, compelling twists, and impressive detail, the novels in the Ian Rutledge mystery series have garnered their author widespread acclaim and numerous honors and awards. At the heart of the series is the compelling Scotland Yard detective inspector Ian Rutledge, a veteran of the Great War who understands all too well the darkness that lies within men's souls.
Now three men have been murdered in a Sussex village, and Scotland Yard has been called in. It's a baffling case. The victims are soldiers who survived the horrors of World War I only to meet a ghastly end in the quiet English countryside two years later. Each had been garroted, with small ID discs left in their mouths.
But even Scotland Yard's presence doesn't deter this vicious and clever killer. Shortly after Inspector Ian Rutledge arrives, a fourth soldier is found dead. With few clues to go on and the pressure building, Rutledge must gamble everything—his job, his reputation, and even his life—to find answers.
Educator and Librarian Resources
Critical Praise
"Masterly." — New York Times Book Review on A Lonely Death
"Todd once and for all establishes the shell-shocked Rutledge as the genre's most complex and fascinating detective." — Entertainment Weekly, on A LONELY DEATH (Grade: A-)
"[The authors'] subtle prose and profound empathy for all their characters enhance a suspenseful and twisty plot." — Publishers Weekly on A Lonely Death
"Another engaging entry in a fine series." — Booklist on A Lonely Death
"Todd's intriguing revenge tale will keep the reader turning the pages, but the main draw remains Rutledge, the relentless inspector haunted by the voice of a Scotsman he executed on the battlefield for disobeying an order. Highly recommended for all aficionados of British postwar historical mysteries." — Library Journal on A Lonely Death
"Eloquently blasts war for the obscenity it is." — Kirkus Reviews on A Lonely Death
"Todd's attention to period detail, plotting and character exploration are at the forefront of the 13th Ian Rutledge Mystery….Todd and his hero are in fine form from start to finish." — Romantic Times on A Lonely Death (4 ½ stars; Top Pick)
"A strong entry in a strong series." — Charlotte Observer on A Lonely Death
"Suspense filled." — Oklahoman on A Lonely Death
"Todd invests this absorbing fiction with creative storytelling (including intriguing subplots), memorable characters and graceful, seemingly effortless prose….This is fiction that moves, entertains, and as always, underscores life's victories over death." — Richmond Times-Dispatch on A Lonely Death
"Compelling…a provocative thriller." — Iron Mountain Daily News on A Lonely Death
"Fully realized characters, well-researched settings, and exquisite writing combine with a surprising and chilling solution to mark this 13th outing as a standout in Todd's deservedly award-winning series." — Mystery Scene on A Lonely Death
Product Details
- Imprint: William Morrow Paperbacks
- On Sale: 12/20/2011
- Trimsize: 5.313 in (w) x 8 in (h) x 0.829 in (d)
- Pages: 368
- List Price: 14.99 USD
- BISAC1: FICTION / Mystery & Detective / General


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Notice of Intent: Research and Development for Hydrogen Storage
Open Date: 06/06/2013
Close Date: 06/06/2013
Funding Organization: Office of Energy Efficiency and Renewable Energy
Funding Number: DE-FOA-0000934
The purpose of this Notice is to provide potential applicants advance notice that the Fuel Cell Technologies Office (FCTO), on behalf of the DOE Office of Energy Efficiency and Renewable Energy (EERE), intends to issue a FOA titled "Research and Development for Hydrogen Storage" (DE-FOA-0000827). NO APPLICATIONS WILL BE ACCEPTED THROUGH THIS NOTICE. Please do not submit questions or respond to this Notice of Intent. Prospective applicants to the FOA should begin developing partnerships, formulating ideas, and gathering data in anticipation of the issuance of this FOA. It is anticipated that this FOA will be posted in late June / early July.
For more information, see the full solicitation.
Last updated: 05/16/2014
Funding amounts and schedules are subject to change.


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SAN FRANCISCO -- An "all-star roster" of Bay Area companies has pledged about $30 million toward bringing the 50th Super Bowl to the 49ers' new Santa Clara stadium, topping an initial fund-raising goal by $5 million.
Google, Apple, Hewlett-Packard, Intel, Yahoo, Seagate, Virgin America and Gap are among the local companies that have promised donations, according to the Bay Area Super Bowl Bid Committee. The group provided new details about the plan at a news conference across from San Francisco's Ferry Building on Monday, a week before the region could be awarded the big game.
While much of the $30 million raised would fund police overtime, free public events and expanded transportation options, 25 percent of the money, or nearly $8 million, would be donated to local youth groups and other charities. Bid committee chairman Daniel Lurie, a San Francisco philanthropist, had promised for months that his group would raise at least $25 million and that the game would be the most philanthropic Super Bowl ever.
NFL owners on May 21 will choose between the 49ers' new Levi's Stadium and the Miami Dolphins' Sun Life Stadium to host the 2016 game. The Bay Area is the front runner after South Florida in recent weeks failed to win approval from lawmakers for a $350 million renovation to its 26-year-old stadium. South Florida has reportedly raised $21 million for its Super Bowl bid.
"We take nothing for granted. We don't care what happened back there in Miami," San Francisco Mayor Ed Lee said at Monday's news conference. "We are ready to host this event.''
The promotional event marked the end of the public push for the Super Bowl before the committee departs on Sunday for the NFL owners' meeting in Boston.
Lurie, Lee and several other current and former San Francisco politicians hosted the news conference, some 45 miles from the new $1.2 billion Levi's Stadium set to open in Santa Clara by August 2014. It was at least the third time officials in San Francisco, which would host many of the Super Bowl week events, held a news conference promoting their city, compared to one event at the new Santa Clara stadium in March.
"We're the city that knows how to party," said David Chiu, president of the San Francisco Board of Supervisors.
Santa Clara, which spent half a decade planning the stadium and took out $850 million in loans to build it, has agreed to tax breaks to sweeten the Super Bowl bid -- such as exempting NFL employees from paying hotel taxes -- while San Francisco has not.
Former San Francisco Mayor Willie Brown could barely contain his enthusiasm for his city at Monday's event.
"If you can't make heaven, San Francisco is your preference," Brown said. "And clearly the rest of the world sees it that way."
Last week, the Bay Area bid committee sent its final proposal to the league's 32 owners on iPad Minis. The video presentations on the tablet show stars such as Hall of Famer Steve Young and Google Executive Chairman Eric Schmidt promising the biggest, most tech-friendly Super Bowl ever through a partnership of local mega-companies that are normally fierce competitors.
Monday afternoon's event featured 49ers cheerleaders and San Francisco dignitaries who praised corporate sponsors for donating millions of dollars each. Other donors include Boston Consulting Group, Dignity Health and ValueAct Capital.
"We're joining an all-star team of Silicon Valley and Bay Area companies that share the same history and sense of purpose,'' said Todd Bradley, an executive vice president for HP.
Contact Mike Rosenberg at 408-920-5705. Follow him at Twitter.com/RosenbergMerc.


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Upcoming Event: Webinar on FDA's MedWatch System: How to Report Adverse Events
Did you know that you can report problems that you have had with drugs and other medical products to the FDA? Did you know that MedWatch can send safety alerts directly to you, as soon as they appear on the web site?
The FDA will host a webinar "FDA's MedWatch System: How to Report Adverse Events". The featured speaker, Brenda Rose Pharm.D., a Health Programs Coordinator in FDA's Office of Special Health Issues will give an overview and answer questions about how to report adverse events to MedWatch.
The free 30 minute webinar will be held Thursday, October 20th at 11 AM ET.
There are a limited number of spots available for the webinar. Materials from the webinar will also be made available on the FDA website following the presentation.
Learn more about the webinar, including instructions about how to join.


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- May 10:
- Golden State Warriors suffer as Spurs' Tony Parker takes charge
- May 10:
- Poole: Stephen Curry's injury adds to painful night
- Kawakami: Spurs' win puts pressure back on Warriors
- Kawakami: Warriors' Mark Jackson holds court before Game 3
- Golden State Warriors: David Lee makes impact with first-half cameo
OAKLAND -- Warriors guards Stephen Curry and Klay Thompson left the nation in awe with their shooting the first two games. But in Game 3, both were cold.
With their leading scorers struggling, the Warriors' offense stalled out Friday night. Golden State shot 39.3 percent on its way to a 102-92 loss to the San Antonio Spurs, who grabbed a 2-1 lead in their Western Conference second-round series.
The Warriors not only trail in the series, but they also have to hold their breath and hope Curry's sprained left ankle is not too serious.
"We talked about it, this team was very capable of coming into our building and beating us," coach Mark Jackson said. "They did that."
Compounding the Warriors' stagnant offense was a defense that proved much less of a challenge for San Antonio than in the first two games.
The Spurs shot 50.6 percent from the field. Guard Tony Parker, who had been bottled up by Thompson the first two games, was on fire early and finished with 32 points on 13-of-23 shooting. Tim Duncan also had a big night, with 23 points and 10 rebounds.
Parker started taking all the jumpers the Warriors had been begging him to shoot, and he made most of them.
"He was taking shots at a higher rate, and he was making them at a higher rate," Thompson said. "Give credit to him. We tried to take away his opportunities around the rim. He just hit some tough shots."
Parker did most of his damage in the first half, when he knocked down 11 of 14 shots for 25 points. The Spurs shot 58.1 percent, knocking down half their 26 jump shots in the half.
The Warriors defense stiffened in the second half, limiting the Spurs to 41.7 percent shooting. But Golden State's offense couldn't capitalize. The Warriors got worse after halftime and made just 8 of 23 shots in the fourth quarter (34.8 percent).
Despite the Warriors' struggles all night, it looked as if they would go on one of their runs and take control of the game early in the fourth quarter.
Curry drove inside and slipped a pass to center Andrew Bogut for a layup. Rookie forward Draymond Green was then fouled on a dunk attempt and hit both free throws. After the Spurs' third straight turnover, Green found Thompson in the corner for a 3-pointer.
Bogut got the Warriors the ball back with a block of Duncan's hook, starting a break that Green finished with a jumper and the foul. He missed the free throw, but the Spurs' lead was down to 79-78.
But the Spurs answered right back, getting back-to-back 3-pointers from guards Danny Green and Parker. Just like that, the lead was back up to seven.
The Warriors' deficit was up to nine after Duncan hit a fadeaway 16-footer and drew Bogut's fifth foul, and Kawhi Leonard followed with a layup to make it 90-79.
The Warriors were in desperate need of offense. After using guard Jarrett Jack at point guard most of the second half, Jackson put the ball back in Curry's hands. But at the 4:40 mark, he rolled his left ankle.
With Curry limping badly, the Warriors committed a foul to stop play. Curry waved off the substitution, telling Jackson to keep him in the game.
"He said he could make it," Jackson said, adding that Curry will get treatment and see what happens.
Still limping, Curry missed an open look for 3 from the left wing. But the rebound tapped out to Thompson, who hit a 3 from the right wing. After a stop, rookie forward Harrison Barnes made a pull-up jumper to cut the Warriors' deficit to 93-88 with 2:30 left.
The Warriors got another break when Parker missed two free throws. But in a play that was a microcosm for the night, Golden State failed to capitalize.
The Warriors, who stole home-court advantage with Wednesday's Game 2 win, looked like worldbeaters coming into Oracle Arena.
But Wednesday, the Spurs looked like the veteran team with championship pedigree, and the Warriors looked like the young upstarts in over their heads.
"There were some things we've certainly got to do better," Jackson said. "But this series is far from over."


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To transfer out of Valparaiso University to another U.S. education, you must complete the SEVIS transfer out form. Transfer Out Form. Although you may apply to multiple schools, you can only attend one. The form is to confirm THE ONE SCHOOL to which you have decided to transfer. Our office will process your request, determine your release date, and fax the completed form to your new institution. OIP will update your record in SEVIS as a transfer out student to your new institution. The release date will normally be the end of the current semester, unless the student is on Optional Practical Training.
On the SEVIS release date:


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Hi everybody,
If I call the tool "Find/Replace" a window pops up which is labeled with "Search/Replace". If I check the "Reference Manual" and search for "Search/Replace" I'll get the Info "Your search did not match any documents."
Sounds not like a big deal*** ... but I think it would be a good idea to use always the same label "across-the-board".
*** (one day it could be! )


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- Jan 17:
- 49ers' Kaepernick says his game plays well in any venue
- 49ers' Harbaugh says his team is ready for Seahawks
- 49ers' Rogers declares himself 100 percent
- 49ers hope to wipe smile off Marshawn Lynch's face
- 49ers near full strength for NFC Championship against Seattle Seahawks
- Seahawks receiver Percy Harvin to miss 49ers' game
- No penalty, but $7,875 fine for 49ers' Anquan Boldin
- Former 49ers exec Carmen Policy pokes fun at Seahawks fans
- Jim Harbaugh's $8 pants: 49ers coach gets new Levi's gear but can't wear it vs. Seahawks
- Thompson: Ahmad Brooks grows up
- Purdy: Super Bowl ring belongs on Frank Gore's hand
Former 49ers GM Scot McCloughan remains the great enigma of this franchise's rise -- he acquired so many of the major foundation pieces of the current team, but he departed under vague circumstances well before the 49ers began winning.
And then he ended up as a personnel executive with the Seattle Seahawks, destined to be the 49ers' monster rival (and both sides knew it WHEN he landed with the Seahawks, by the way)...
Of course, it was McCloughan's departure in March 2010 -- for "personal personnel reasons," the 49ers announced -- that opened the way for then-personnel director Trent Baalke to move up to the top spot, and he has flourished there, including the semi-decent move of hiring Jim Harbaugh as coach.
Still, I will once again say that the prime and successful physical, blue-collar culture of this team has all emanated from what McCloughan and Mike Nolan did starting in 2005.
They didn't get it quite right, particularly in the coaching aspect. And McCloughan wasn't able to stick around to see it through.
But the type of players McCloughan was determined to add to this roster -- big, fast, smart -- have lifted this franchise, with the right coaching and as Jed York came into his own as an owner, to exactly where McCloughan planned all along.
Now his Seahawks are trying to knock the 49ers off of that path. It's a fascinating story.
Just to make it clear, among those players McCloughan drafted or signed during his tenure as the 49ers' top personnel man:
Yeah, that's not a terrible way to build a winner.
Via text-message, McCloughan told me days after his 49ers departure: "It was a great run. Players I brought in will win division for next couple of years."
Well, the 49ers won the division in 2011 and 2012... and then went 12-4 and lost the division to Seattle this season, but you understand how right McCloughan was all along.


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These reports include letters from leaders, highlights of the year, examples of ways in which AARP improved the quality of people's lives, plus financial summaries and more.
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AARP is a nonprofit, nonpartisan membership organization that helps people 50+ have independence, choice and control in ways that are beneficial and affordable to them and society as a whole.
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AARP Foundation is working to win back opportunity for struggling Americans 50+ by being a force for change on the most serious issues they face today: housing, hunger, income and isolation. By coordinating and supporting them with vigorous legal advocacy, the Foundation serves the unique needs of those 50 and older while working with local organizations nationwide to reach more people and make resources go further. AARP Foundation is a charitable affilliate of AARP.
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AARP Services, Inc., is a wholly owned taxable subsidiary of AARP, and provides quality control, on behalf of AARP, for AARP-branded products. Through the branded products of our service providers, we make available new and better choices to our members. Among these are health and financial products, travel and leisure offerings, and life event services. AARP Services is where AARP's mission meets the marketplace.
From companies that meet the high standards of service and quality set by AARP.
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Renew today! Members receive exclusive member benefits & affect social change.
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AARP is a nonprofit, nonpartisan organization that helps people 50 and older improve the quality of their lives.


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LAS CRUCES, N.M. – The Texas A&M – Corpus Christi Men's Tennis team fought until the end, but came up just short in a 5-2 thriller at the New Mexico State Aggies campus on Saturday afternoon. Next up for the team will be a Monday night match against the New Mexico Lobos in Albuquerque.
The Islanders (0-1) lost their season opener in a match that went down to the wire, with the team holding an early advantage before the Aggies (1-0) battled back on their home court to take the match. The team is one of the youngest in the nation, with five freshmen on the 10-player roster, and two more of the 10 being sophomores.
"Give credit to New Mexico State, this was a tough, tough battle, but they outfought us today on their home courts," said Director of Tennis Steve Moore. "I thought we competed extremely hard, and definitely had our chances to win. This match will be a match that we see a lot this year, a perennial nationally ranked team where we will have to play every point tough and smart, and give away nothing to win."
The match looked like it was going the Islanders way right out of the gate, with Andrew Maingot and Gergo Weidinger quickly taking an 8-3 final over Daniel Fernandez and Naveen Manivannan at No. 3 doubles. The No. 2 doubles match went the Aggies way, with Pietro Jordao and Matt Westmoreland falling 8-3 against Germaine Degardin and Yannick Blank. In the No. 1 doubles spot, Peter Nagy and Odon Barta were serving at 6-5 against Luis Ramirez and Marc Westgate, but New Mexico State capitalized on the new, no-advantage point that is now played at deuce to even up the match, and then broke serve at 7-6 to win the doubles point for a 1-0 lead.
The Islanders again looked very good early on in singles play, with Nagy, Weidinger and Guillaume Rauseo all winning their first sets quickly, while Jordao was up 4-0 at No. 6 singles. Nagy would go on to take a 6-2, 3-6, 6-1 victory over Westgate, while Weidinger won 6-3, 1-6, 6-2 against Fernandez to finish the scoring for the Islanders.
Westmoreland lost a 6-3, 6-3 final at No. 2 singles, Barta fell 6-1, 6-3 at No. 4, Rauseo was unable to finish his match off, suffering a 1-6, 6-4, 6-4 final at No. 5, and Jordao lost a tough one in a first-set tiebreak before absorbing a 7-6, 6-2 defeat at No. 6 singles.
"They say you're either winning or you're learning," said Moore. "I thought these young guys fought their tails off, but we need to get a little smarter and more savvy at key times. That's our job as coaches to see how quickly we can get them there."
Next up for Texas A&M – Corpus Christi is a match against New Mexico, another team that is annually ranked in the ITA Top 75. That match is scheduled for a 5 p.m. CST start on Monday evening in Albuquerque.
"The next match will also be extremely tough," said Moore. "I tell the guys it's like a boxing match. That was round one, you sure as heck better be ready to fight round two. Hopefully each round you get a little tougher and smarter. These guys have very good character, and I'm excited our next match. "
For all the latest on Islanders Tennis, like the team on Facebook (IslandersTennis), follow them on Twitter (@IslandersTennis) and visit www.GoIslanders.com.
Texas A&M - Corpus Christi vs New Mexico State
01/19/2013 at Las Cruces, N.M.
New Mexico State 5, Texas A&M - Corpus Christi 2
Singles competition:
1. Peter Nagy (AMCC) def. Marc Westgate (NMSU) 6-2, 3-6, 6-1
2. Luis Ramirez (NMSU) def. Matt Westmoreland (AMCC) 6-3, 6-3
3. Gergo Weidinger (AMCC) def. Daniel Fernandez (NMSU) 6-3, 1-6, 6-2
4. Germaine Degardin (NMSU) def. Odon Barta (AMCC) 6-1, 6-3
5. Paul Denele (NMSU) def. Guillaume Rauseo (AMCC) 1-6, 6-4, 6-4
6. Patrick Pfister (NMSU) def. Pietro Jordao (AMCC) 7-6, 6-2
Doubles competition:
1. Luis Ramirez/Marc Westgate (NMSU) def. Peter Nagy/Odon Barta (AMCC) 8-6
2. Germaine Degardin/Yannick Blank (NMSU) def. Pietro Jordao/Matt Westmoreland (AMCC) 8-3
3. Gergo Weidinger/Andrew Maingot (AMCC) def. Daniel Fernandez/Naveen Manivannan (NMSU) 8-3
Match Notes:
Texas A&M - Corpus Christi 0-1
New Mexico State 1-0


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Taylor County's Lady Cardinals came out of the gate with a 5-0 start, rebounded from a 12-8 deficit and downed visiting Washington County 64-54 on Tuesday night.
Senior Rachel Riggs tallied three early points and junior Savannah Farmer had a put-back as coach Jenny Jessie's club led 5-0 in the first two minutes.
However, Washington County used a 12-3 run to lead 12-8 despite a Riggs' three-point play.
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The Hannibal Police Department provided the following report of an injury accident.
Officers were dispatched to the intersection of U.S. 61 and state Highway 168 on Friday, Sept. 27, due to an accident involving injury.
It was found a northbound 2007 Chevrolet Impala driven by an 83-year-old Monroe City man turned into the path of a northbound 2007 Freightliner driven by a 61-year-old Monticello, Iowa, man.
The driver of the Impala was transported by ambulance to the Hannibal Regional Hospital. The 80-year-old female passenger in the Impala did not report any injuries. This matter is pending investigation.
Location, ST | website.com


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Three independent Maryland health systems — Frederick Regional Health System, Meritus Health in Hagerstown and Western Maryland Health System — are talking about an affiliation.
The health systems are studying opportunities to help them meet the challenges of the current health care environment, according to a news release. The proposed alliance would provide a business structure for developing new services and improving infrastructures. Discussions will include clinical collaboration and shared physician services, support services and resources. Issues the organizations must manage together include health reform, financial pressures and an aging population.
A feasibility study is expected to take several months.
Location, ST | website.com


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Nothing lasts forever; not even the Earth. With Mass Effect 3 raining doom upon our pretty little planet, commenter nicp1112 ponders how we'd all like the world to end in today's Speak Up on Kotaku. It's the end of the world as you know it.
I just got to thinking, what with it being the year 2012 and playing Mass Effect 3 and stuff, IF the world were to end (emphasis on the IF), how would you want it to?
I personally would want something akin to zombies or the Reapers of Mass Effect. Not because they're "cool" or popular or anything (though I do like me some zombie apoc stories). It's because it's something that we could actually fight against, and possibly prevent. Something that would get people together to fight for our species and our home.


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- Forza Azzurri!
- Currently Unavailable
The press have already labeled midfielder Claudio Marchisio as a legend in the making. And with his determined attitude, good vision and terrific skill they just may be right. With his ability to create key plays, the one they call Little Prince is sure to be king in no time.
Show some support for Italy when you're wearing this Italia Away Jersey from PUMA. This jersey uses USP moisture management technology to keep you cool and dry when the game is heating up. The Italian team badge is applied over the left chest and the PUMA cat logo is applied over the right as well as on both sleeves.
100% polyester. Imported.
Lamentamos que todavia no hay descripción en español para este producto.


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Kentucky State Police are investigating the cause of a fire at a home on Friendship Road last Thursday at about 10:30 a.m.
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A Conversation with Producer Aaron Luis Levinson.
El Barrio's Turn:
A Conversation with Producer
Aaron Luis Levinson
by John Child (
John Child talks in depth with Aaron Luis Levinson, producer of
Un Gran Dia En El Barrio
on Ryko/Ropeadope Records by the Spanish Harlem Orchestra, one of the more significant salsa releases so far in 2002. In addition to providing an intimate insight into the making of the album, Aaron cogently argues that Spanish Harlem's rich musical heritage merits the same international recognition as Cuba's Buena Vista Social Club.
JIC (John Ian Child):
Thanks for agreeing to an interview. The advance copy of
Un Gran Dia En El Barrio
I was sent lacked full liner notes and credits, so please bear with me. There is currently a climate of reviving and reworking classic salsa tracks, for example, the work of Mascara Salsera's Gold Stars, Los Soneros del Barrio, Sonora Carruseles, Quinto Mayor, La Son Charanga, Orquesta Tabaco y Ron and Las Estrellas del Ayer. Did this influence the decision to produce the Spanish Harlem Orchestra project in any way?
ALL (Aaron Luis Levinson):
Actually not, as I conceived the album about six years ago. It took me this long to get it finished. I initially lit upon the idea when I was running RykoLatino in the late '90s. On the first Jimmy Bosch album (
Soneando Trombón
'98 on RykoLatino) it was my suggestion to do "La Soledad" with Pete "El Conde" Rodríguez which was of course a classic from the days of Cortijo y su Combo (from
Con Todos Los Hierros (Everything But The Kitchen Sink!)
'67 on Tico).
I have a pretty extensive collection of rare Latin albums with an emphasis on Nuyorican salsa of the '60s and '70s. I use this catalogue of roughly 15 thousand songs as my personal archive for resurrecting these compositions. While experts in the music may be aware of the songs on this album, I think the average 35 year old salsa listener would be extremely unlikely to be aware of all but a few of these songs in their original versions. Therefore I hope it works as an enjoyable record for the expert, but also a tasty primer for those just dipping their toes in the Latin pool.
Tell me more about the genesis of the Spanish Harlem Orchestra project and its defining philosophy?
The genesis was that the remarkable contribution by generations of artists living in and around Spanish Harlem to the development of 20th Century popular music remained largely unknown and untold. While the cultural history of African-American Harlem is the subject of vast scholarship, there is no equivalent for Latinos and what they contributed. Having lived in and around Harlem for some years in the early '80s, I was able to feel the unique energy of the place for myself. And I guess it made an impression upon me that has lasted until today. Anyway, I wanted this album to catalogue the less-famous members of the salsa universe. To salute guys like Héctor Rivera and Orlando Marín, who never achieved the commercial visibility of figures like Puente or Mongo or Celia, or even Rubén Blades to some extent. Let this one be about the rank and file, as it were.
Tell me about the process of selecting the musicians, singers and arrangers and who you picked?
I would say that Oscar Hernández was responsible to a large degree for the specific cats in the band. That is not to say that I didn't have some input in the choice of cats for the date, but I left most of the musicians and arrangers up to Oscar's discretion. He is one of the most versatile, insightful and precise cats I've ever had the pleasure of working with. Originally, I wanted Hermán Olivera and Frankie Vázquez 'cause I had worked with them extensively in the past and was always impressed by what they brought to the table. I had also worked with Jimmy Sabater before, so I knew he always comes "loaded for bear" as we say in the States. The participation of Ray de la Paz came about when I was unable to strike a deal with another singer, who shall remain nameless. Really, it was a blessing of the highest sort as Ray is simply one of the most incredible soneros in the history of this music as far as I am concerned. Incidentally, these cats regularly sing coro together so the blend of their voices is a proven commodity in the Nuyorican salsa scene. I like the range that these guys have stylistically as a group. They can really cover the waterfront.
Tell me about the decision-making process of selecting the material?
As a salsa deejay I have years of feedback in my hip pocket regarding what songs pack the floor and which ones clear it. I chose songs that were consistent dance floor classics as well as a few things that exhibit a wider range of emotion. One great thing about a classic Fania album was the mix of stuff you got on one record. I think in this way, I'm becoming a slightly different type of producer than a Harlow or Pacheco, who do not have the luxury of being able to "test drive" all kinds of tracks in a club venue and see how they work within the context of a modern salsa audience. As leaders they have the limitation of not often playing the music of another band. On the other hand, I don't have their musical gifts, so it makes sense I have to compensate in other ways.
Un Gran Dia En El Barrio
sounds as if the band were all recorded together live in the studio, or at least with minimal overdubs, rather than in sections which is virtually the norm in salsa these days. Please could you comment about this?
That was something that was pretty radical and, in fact, one cat on the session said he hadn't cut tracks this way in 25 years! As a producer I am pretty heavy handed about the technical side of the recording. In fact, even Oscar was somewhat concerned about the method, and referred to it as a "latin jazz" way of doing things. But I wanted him to understand that I was not at all interested in making a "latin jazz" album. I am not overly fond of that genre and rarely enjoy records that come from that side of the fence, though many people find that quite odd on my part. I feel that the "pressure" of having to do it all together not only has a unique sonic signature, but also forces a different kind of playing out of people. My production style is very much oriented in this direction and has been for quite some time. I actively dislike the sound of contemporary salsa albums in most cases as they suffer from the multitrack/overdub model you described, but also because they rarely, if ever, utilise really top notch acoustical spaces to make these albums. This album was recorded at Sear Sound, one of the finest recording studios on Earth; and I, for one, think the aural difference is enormous. On the technical side, I favour large ambient spaces and ribbon mic technology over the more popular condensers preferred by most people. I am as they say, an "analogue guy", in my overall orientation. This "less is more" philosophy informs my production method regardless of the genre I'm working in at any moment.
Who was the engineer on the album?
The tracking engineer is a very gifted young engineer named Todd Parker and the mix engineer was Plat-Numb Mike. I know Oscar was knocked out by these guys, neither of whom had ever worked on a salsa album before! I would use them both again in a heartbeat, they were consummate professionals. Of course, having Walter Sear stopping by to lend his two cents never hurt anyone either!
How did you decide who to allocate the tunes to?
We really let that process unfold naturally with the singers having as much to say as anyone else as to who got what. Though I was dead set on having Ray sing on "Obsesion". He is to me the Sinatra of salsa and his liquid style lent itself to a tune which I consider not only the finest work ever penned by the brilliant Pedro Flores, but also one of the most moving and profound love songs written in any language from any age. It is that good.
Did the fact that Frankie sings with David Lugo's "Héctor Lavoe Orchestra" influence the choice to use him on the Willie Colón / Héctor Lavoe classic "Llegó La Banda" (originally from
Asalto Navideño Vol 2
'73 on Fania)?
Frankly, if you'll pardon the pun, I was unaware of that connection, but as I said earlier, this was a track that I knew, as a deejay, still held its own 30 years after the fact. Also it is self-referential as much of the Willie/Héctor songs are, so it lent itself ideally to an album whose concept is also self-reflexive in nature. A song about a band playing salsa on an album about the bands that played salsa, it's a little like Jorge Luis Borges and his meta-fictional experiments (if you don't mind a pretentious literary analogy).
Who arranged "Llegó La Banda"? It sounds as if it may be Angel Fernández, as there are touches reminiscent of his work with Angel Canales.
Nice try, John, but it's the amazingly talented and still underrated Marty Sheller, who was, of course, the musical director for Mongo Santamaría for decades. To me, while it has echoes of Angel, the post-McCoy Tyner jazz coda really is a signature section for the sophisticated re-harmonisations that have been informing Marty's concept since his earliest credited work with Sabú Martínez on
Jazz Espagnole
(1960 on Alegre). Marty Sheller will go down as one of the greatest arrangers in the history of Latin music and it has been an honour to be associated with him in this context.
Frankie also does a magnificent job on Conjunto Clasico's "Somos Iguales" from their 1979 debut album
Los Rodríguez
on Lo Mejor. What's the story there?
In this case, it was another barnstormer on the dance floor and I've always liked the aggressive politics of the track as a message. Racism is something that we constantly wrestle with here in the States and the answers are still out of our reach when taken as a whole. I also like it as far as sending a message that Latinos as a whole need to be treated as equals in an Anglo world, so the track has, at least for me, meaning and resonances above and beyond the one originally intended. And I agree Frankie absolutely kills this track from note one. That is no mean feat considering that the original was sung by Tito Nieves at the youthful zenith of his enormous talent. Frankie is a special cat and his cousin David Sánchez was also really helpful in making this album happen. I'd like to thank him for his selfless help at every stage of the album.
What's the story behind the Pete "El Conde" Rodríguez tribute "Pueblo Latino" (originally from El Conde's
Este Negro Si Es Sabroso
'76 on Fania) sung by Hermán Olivera?
I believe that Oscar's first recording session as a pianist was with Pete's band and the album has always been one of my favourites of Pete's solo work after leaving Pacheco. Pete has always been a singer whom I've admired enormously, as a former singer myself, and getting the chance to work with him and both his super-talented kids was a genuine high point of my creative life. He has the most relentless swing of any singer I've ever heard, with the possible exceptions of Maelo and Héctor. I mean drummers could learn from this cat! Of course, again, the message of the song refers to the Latin community and the album itself is about the most famous barrio in the world! It was Oscar's suggestion, and after listening to it in the context of the existing songs, I felt it was a valuable and inspired suggestion. I hope you agree?
Undoubtedly. The CD also pays homage to the great Mambo King, Tito Rodríguez, with the opening cut "Mama Guela" performed by Jimmy Sabater. What would you like to share about that?
First, Tito was another cat who became very famous in the Latin world around the globe, but never achieved the respect he deserved outside of the Golden Age of the Mambo. While many music fans know Mongo and Tito Puente quite well, the same is not true for Mr. Rodríguez; and really that is just unacceptable to me. You know the really cool thing about the genesis of this version is that Gil López, who wrote the chart, added an introduction to the tune. I mean, wow, after 50 some odd years to write a new part that catalyses the song was a stroke of pure genius. As Oscar exclaimed upon hearing the playback: "That song's been waiting 50 years for that part!" He's absolutely right you know. The original song, as brilliant as it is, kind of starts from thin air and this almost regal fanfare just gives the song the most extraordinary platform from which to leap. God bless Gil López and his 75 years of musical wisdom, we are all richer for his gifts.
Coincidentally, last year I selected "Vale Más Un Guaguancó", from the 1975 Ray Barretto album
on Fania, for the Rubén Blades compilation
Salsa Caliente De Nu York
I prepared for Nascente in the UK (the album has been issued by Fania in the USA). So it was nice to hear the song superbly interpreted on
Un Gran Dia En El Barrio
by another fine Barretto alumnus, Ray de la Paz. What's the story there?
Again that was an Oscarism. He suggested the song in an effort to have a guaguancó in there somewhere, which I dearly wanted. [He said] that maybe that was a good candidate for that role. As usual, he was dead on correct. I had a few others in mind, but in the end having a Barretto tune was essential to making the album complete. In the strange coincidences category, as Ray, Oscar and myself left the studio on 48th Street after the final few hours of the recording, we walked out into the sunlight and who is literally sitting in a traffic bound car staring right at us but Ray Barretto! I was too dumbfounded to speak, the others laughed about the freakishness of it happening at all, standing amidst a city of 12 million people.
Another Ray de la Paz tour de force on the album, "Aprende A Querer", has been bugging me. The tune is familiar but I've yet to identify the original. Are you going to put me out of my misery?
Hey, I don't feel so bad now! If John Child is stumped then you are really on top of your bloody game. Honestly, I had never heard the song before Ray suggested it as a song he'd always wanted to sing. It is from a hideously rare album by Orlando Marín. (If anyone out there has an original pressing they'd care to sell me I'd be pleased as punch.) I also got to briefly chat with the author Tony Rios, who is a very nice guy, and he was thrilled and somewhat surprised to hear we were doing his song nearly 40 years after it was originally released. What a gem that song is and what a gentleman Orlando Marín is who brought the composition into the public ear. He still plays mean timbales (the legendary Humberto Morales model), and continues to lead a fine small group in New York City to this very day!
Shit! Now the penny has dropped. I have the album, it's
Esta En Algo
(1967 on Fiesta) with Justo Betancourt singing lead vocals. No, I don't want to sell it! Who arranged the number for
Un Gran Dia En El Barrio
It's our old pal Oscar doing his special thing once again.
"Pa Gozar" acts as a improvisational showcase for the core trio of soneros: Frankie, Ray and Hermán, with solos by bassist Rubén Rodríguez, conguero George Delgado and timbalero Chino Nuñez. Is there anything you would like to share about this track?
I figure if I have Oscar Hernández, the director, the pianist and the arranger, I might as well have the Renaissance Man of salsa contribute some writing as well. This cha cha is so danceable I have seen dead people rise from the grave to dance to this track! You know Rubén loves the legendary Bobby Rodríguez, and I for one hear some strong echoes of this maestro del bajo in his gorgeous solo.
Incidentally, David Barton and I did an extended interview with Rubén Rodríguez, which should be appearing on the Descarga.com site soon. Do you wish to add anything about the remaining two tracks: the instrumental "Tambori" and "La Musica Es Mi Vida" (sung by Hermán)?
"Tambori" was more of a transcription, as opposed to the other works, which were consciously new arrangements of existing songs. I wanted people to hear what a straight '50s Latin instrumental sounded like and this piece by Héctor Rivera (from his debut album
Let's Cha Cha Cha
'57 on Mercury) is, I feel, just a dynamite piece of economy and groove. Again, Héctor Rivera is not a household name, but just like Orlando Marín, he was a player in the history of this music, and we offer just a sliver of what made him unique. Hopefully, some people may dig a little deeper into all the great music available to them at outlets like Descarga.com. I hope that happens; that is for sure. "La Musica Es Mi Vida" comes from an album by bandleader Johnny Zamot (
El Hulk De La Salsa
'80 on Fania by Johnny Zamot and Sociedad 76). Again Johnny Zamot was another cat who I dig who'd been making records for nearly 20 years by the time this album itself came out 20 years ago!
The record company blurb describes
Un Gran Dia En El Barrio
as Harlem's answer to Cuba's Buena Vista Social Club. Please could you comment on this comparison?
The comparison is not musical in nature so much as saying that while you may know a bit about the glorious music of Cuba, here is your chance to learn about an equally compelling story in the history of Latin music; and this story is in your own backyard.
I first noticed your name in connection with the now sadly defunct RykoLatino label, which began with some reissues of some Montuno titles in the mid-'90s; then you were associated with fresh productions for the label by Jimmy Bosch, Plena Libre and the all-star
Roberto Clemente: Un Tributo Musical
'98. Tell me about how you became involved in the Latin recording industry.
Actually we co-founded RykoLatino in 1997 alongside my partner Brad Rubens, and principally Arthur Mann and the legendary producer Joe Boyd over at Ryko. We wanted to start a Latin imprint that we hoped might become a boutique label for high-quality tropical music. And we wanted to apply the well-known level of excellence that Ryko has always been known for to this genre from a packaging and design perspective. This was a defining experience in my career development, and while the imprint is no longer active, I continue to build on the success we enjoyed from real lovers of la musica latina.
I understand that you initially produced the Spanish Harlem Orchestra for Atlantic Records, but you had to subsequently shop around for another outlet. Hence the release on Ryko/Ropeadope Records. What happened there?
There was quite a bit of consolidation in the AOL-Time Warner family and my album was a casualty of that belt-tightening. Fortunately my good friend Andy Hurwitz, who initially introduced me to the Atlantic people back in the "bubble" days, stepped into the breach and agreed to do the deal and put it out on his exceptional label Ropeadope.
I'd never heard of Ropeadope Records until this release. Tell me about them?
This is the first Latin album on Ropeadope, but I've already had a great relationship with them in the past from a jazz record I produced for them called the Philadelphia Experiment, which went to number three on the
jazz chart last year. They are a very talented bunch of people who have a potent vision of what a great record company can be. I take my hat off to Andy Hurwitz and his whole crew, not only for helping out on this album in such a major way, but also for putting out such challenging and vital music in every genre they encompass. They also have a very au courant design team that produces a great line of urban clothing as well.
So what's the connection with Ryko?
The Ryko connection is that through many mutual past dealings, Rykodisc ending up distributing Ropeadope for territories outside of the US and Japan. However, in the U.S. Ropeadope is available through the WEA family of labels. The other connection is that Ryko and Ropeadope are both labels which stand for quality, integrity and creative excellence. So the match is a very good one.
Is Ryko returning to releasing and producing Latin projects?
I cannot speak on behalf of Ryko in any way, shape or form.
Do you have any other Latin projects in the pipeline?
I'm always working on new things, but right now, that is my only scheduled Latin release for this year.
That's me done. Thanks very much.
You are a keen listener and your questions reveal a staggering insight into the music. I am thrilled to have had you as the man who decodes the runes.
You flatterer!!
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text:
United States Department of Agriculture
Agricultural Research Service
1a.Objectives (from AD-416)
To collect field data of fluvial sediment deposition in the Tobitubby and Hurricane valleys in North Mississippi and to relate historic changes since the 1930s in fluvial sediment deposition to changes in land use.
1b.Approach (from AD-416)
A re-survey will be made of valley cross sections in selected catchments of the Tobitubby (22 km2) and Hurricane (12 km2) watersheds in northern Mississippi which were first surveyed by the U.S. Soil Conservation Service between 1935 and 1941. Several (7) of the 1930's survey beginning and end markers were found in a February 2008 reconnaissance. These sites till be re-surveyed with an RTK-GPS and automatic leveling equipment. Data on historic land use change for both watersheds will be collected from topographic maps, air photographs, and census data. Changes between on-the-ground surveys will be related to land use changes.
3.Progress Report


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Captiv8 wrote: Who's up on the new X-Men arcade game? Bringing back some crazy quarter-poppin memories!
Neuro wrote: new? x-men arcade?
medicineman wrote: Neuro wrote: new? x-men arcade?
They're rereleasing it as an XBox downloadable I believe.
Quote: 6.1 What is Gnarl?
I use gnarl in an idiosyncratic and somewhat technical sense; I use it to mean a level of complexity that lies in the zone between predictability and randomness.
The original meaning of "gnarl" was simply "a knot in the wood of a tree." In California surfer slang, "gnarly" came to be used to describe complicated, rapidly changing surf conditions. And then, by extension, something gnarly came to be anything with surprisingly intricate detail. As a late-arriving and perhaps over-assimilated Californian, I get a kick out of the word.
Do note that "gnarly" can also mean "disgusting." Soon after I moved to California in 1986, I was at an art festival where a caterer was roasting a huge whole pig on a spit above a gas-fired grill the size of a car. Two teen-age boys walked by and looked silently at the pig. Finally one of them observed, "Gnarly, dude." In the same vein, my son has been heard to say, "Never ever eat anything gnarly." And having your body become old and gnarled isn"t necessarily a pleasant thing. But here I only want to talk about gnarl in a good kind of way.
Clouds, fire, and water are gnarly in the sense of being beautifully intricate, with purposeful-looking but not quite comprehensible patterns. And of course all living things are gnarly, in that they inevitably do things that are much more complex than one might have expected. The shapes of tree branches are the standard example of gnarl. The life cycle of a jellyfish is way gnarly. The wild three-dimensional paths that a humming-bird sweeps out are kind of gnarly too, and, if the truth be told, your ears are gnarly as well.
I"m a writer first and foremost, but for most of my life I had a day-job as a professor, first in mathematics and then in computer science. I"ve spent the last twenty years in the dark Satanic mills of Silicon Valley. Originally I thought I was going there as a kind of literary lark--like an overbold William Blake manning a loom in Manchester. But eventually I went native on the story. It changed the way I think. I drank the Kool-Aid.
I derived the technical notion of gnarl from the work of Stephen Wolfram, best-known for his ground-breaking book, A New Kind of Science. I first met Wolfram in 1984, when researching a popular-science article for Isaac Asimov's Science Fiction Magazine. He made a big impression on me, in fact it"s thanks to him I sought work as a computer science.
Simplifying a bit, we can say that Wolfram distinguishes among three kinds of processes:
- Too hot. Processes that are utterly predictable. This may be because they die out and become constant, or because they"re repetitive in some way.
- Too cold. Processes that are completely random-looking.
- Just right. Processes that are structured in interesting ways but nonetheless unpredictable.
This third zone is what I call gnarly. Gnarl isn"t a word that other computer scientists use at this time, but I"m expecting my usage to become more popular with the publication of my nonfiction book The Lifebox, the Seashell, and the Soul: What Gnarly Computation Taught Me About Ultimate Reality, the Meaning of Life, and How To Be Happy.
Gnarliness lies between predictability and randomness. It"s an interface phenomenon like organic life, poised between crystalline order and messy deliquescence.
Gnarliness lies between predictability and randomness. It"s an interface phenomenon like organic life, poised between crystalline order and messy deliquescence.
Although the gnarl is a transitional zone, it"s not necessarily narrow. I"m going to find it useful to distinguish between low gnarl and high gnarl. Low gnarl is close to being periodic and predictable, while high gnarl is closer to being fully random.
mancabbage wrote: how does the dlc work? does it just open up a new area of the map or something? Hope it'll be released for pc eventually, but yea ive still got ages left in NV anyway


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Popping the Cork on the Screwcap Debate
Post by Chuck Hayward | August 7th, 2012
The debate over corks and wine is causing controversy once again, proving its unique ability to be an issue of contention for the foreseeable future. Much ballyhoo has been raised by the cork industry recently regarding Christian Canute, the owner of Rusden Winery in the Barossa Valley, and his decision to forswear screwcaps in favor of corks (despite the fact that he only used screwcaps for one of the ten wines in his portfolio and even that was only for a few vintages).
In other news, UC Davis and PlumpJack Winery recently announced the commencement of a two year study that will attempt to determine, once and for all, how different closures affect the ability of wines to age. (Read more about the study here). This research is taking place despite the fact that the Australian Wine and Research Institute (AWRI) has been involved in a similar project for more than a decade. That study, analyzing 14 different types of closures, is in the process of concluding that screwcaps are superior when compared to other types of seals. Looking at the picture above (courtesy of Old Bridge Cellars), I don't think I would want any of the wines on the right side of the picture. And by the way, the screwcap bottles are on the left. (more…)


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A few days ago, Producers Cooperative held their annual membership meeting at Reed Arena on the Texas A&M campus.
The crowd was addressed by the CEO of one of the biggest agricultural cooperatives in the United States and he discussed the challenge facing agriculture producers to feed the world of the future.
"We are involved in a phenomenal growth industry. Folks that study
this day-in and day-out look at the population and it's going to grow from about 6.8 billion to over 9 billion people between now and 2050. That's about a 40% increase in population."
Chris Policinski is the CEO of Land O Lakes, the second largest agricultural cooperative in the United States.
"There's a middle class emerging, primarily in Asia. The first things people do when they have a little money is improve their diet. They mix protein in. So we're going to have to increase food production 70% to 100% between now and 2050 which isn't that far away. That means twice as much dairy, twice as much meat, 50% more cereal products."
Ag producers have done such a great job over the last generation and a half we haven't had to think about food production here in the U.S.
"We've got to double food output with very finite resources. Globally at most there's 12% more arable land, probably half of which will be brought into production, and you all know we're in the midst of a water crisis."
Policinski believes ag producers are up to the challenge.
"The best predictor of future performance is past performance. Since 1960 corn yields have tripled, wheat yields have tripled, soybean yields are up 70%, milk production per cow has tripled, pork production per sow has more than doubled, and beef production per head is up 50%. Can we do it again? Absolutely, if farmers are permitted to use the tools that they have used to drive that story."
I'm Bob French, looking at Brazos Valley agriculture, From The Ground Up.


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Anna Sui
Robert Wright for The New York Times
News about Anna Sui, including commentary and archival articles published in The New York Times.
The Look: Anna Sui's Frothy Baby-Doll
The designer looks back on what led to the creation of her hugely popular dress.
February 17, 2016, Wednesday
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A Lawyer for Fashion Insiders Dresses the Part
Doug Hand represents Rag and Bone, Phillip Lim, Anna Sui, Rodarte and more — and does it all in socks that pop.
December 4, 2014, Thursday
MORE ON ANNA SUI AND: Fashion and Apparel , Osborne, Maxwell , 3.1 Phillip Lim (Manhattan, NY, Retailer) , Hand, Douglas Arthur , Legal Profession , Sui, Anna , Rowley, Cynthia , Council of Fashion Designers of America , Rodarte , Rag & Bone , Chow, Dao-Yi
New York Fashion Week Morning Report, Day 7
Shows from Michael Kors, Jeremy Scott, Betsey Johnson, Anna Sui and one of New York's most anticipated shows, Proenza Schouler.
September 10, 2014, Wednesday
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Anna Sui: Asia Through Western Eyes
The designer's collection was inspired by the 1920s film star Anna May Wong.
February 17, 2014, Monday
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From Anna Sui, a More Polished Bohemian Look
Ms. Sui used glittering, iridescent fabrics on her traditionally trippy, bohemian fashion.
September 11, 2013, Wednesday
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Documenting a Growing Force in Fashion
Exhibitions at the Museum of Chinese in America show the creative range of Asian-Americans in fashion and other fashion news this week.
April 25, 2013, Thursday
MORE ON ANNA SUI AND: Fashion and Apparel , Mugler, Thierry , Krakoff, Reed , Wang, Alexander (1983- ) , Chinese-Americans , Museum of Chinese in America , Leon, Humberto , Lim, Carol , Wang, Vera , Sui, Anna , Wu, Jason , Galliano, John , Parsons the New School for Design
Paging Belmondo, or a Horse
Can you believe Anna Sui, of all people, is a latecomer to the genre of Nouvelle Vague cinema?
February 14, 2013, Thursday
MORE ON ANNA SUI AND: Sui, Anna , Zoe, Rachel , Fashion and Apparel
Photos of The Moment | Anna Sui
Scenes from the New York fashion week photo diary of Bryan Derballa.
September 13, 2012, Thursday
MORE ON ANNA SUI AND: Sui, Anna , New York Fashion Week
Punk Merged With Quirky Decoration
Anna Sui explores the anarchy of punk regalia with the peculiarity of the style Castaing in her spring collection.
September 12, 2012, Wednesday
MORE ON ANNA SUI AND: Castaing, Madeleine , Sui, Anna , Fashion and Apparel , New York Fashion Week
To Wit and Long Memories, Anna Sui
Ms. Sui rarely fails to put a smile on your face with her whimsical prints and girly dresses, and her show Wednesday night was no exception. And although fashion has a short memory, she does not.
September 14, 2011, Wednesday
MORE ON ANNA SUI AND: New York Fashion Week , Fashion and Apparel , Sui, Anna , News
Runway Photos
Anna Sui Collections
Slide shows of the most recent runway shows.
Anna Sui: Tradition Meets Pop Culture
The designer sits down with Suzy Menkes to discuss her new fragrance collection and what inspires her work.
Front Row: Souk-Seeing
Anna Sui takes a long shopping trip on "Man Shops Globe."
Shopping With Anna Sui
The fashion designer, who has put butterflies on her clothing, jewelry and cosmetics packaging, shopped for furnishings with a butterfly motif.
Model Morphosis
T: Photographer Greg Kessler captures the constantly changing faces of fashion week.
Anna Sui Fall 2006
Eric Wilson interviews Anna Sui about her fall fashion line. (Producer: Shayla Harris)
Behind the Scenes at Fashion Week Audio Slide Show
New York Fashion Week hosted 180 designers. A look behind the scenes, backstage with the designers, models and stylists.
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