text:
Afecto Caribeño / Caribbean Affect in Desi Arnaz's "Babalú Aye"
Recently, the new biopic and telenovela Celia, La Serie on the life of Celia Cruz reminded me of how her iconic call "Azucar!"(translated as sugar) engaged audiences to feel the sabrosura of her music. The soap-opera included documentary footage of the larger iconic events in Celia's career that could not be recreated, scenes that captured how Cruz and the audience connected. The scenes that best captured this are when Celia performs with Fania at Yankee Stadium in 1973 and in Zaire in 1974. When she felt the audiences' joy in her performance she'd share that expressive sentiment of the sweetness in the moment, taking audiences to a deeper ecstatic place.
I also felt and witnessed this myself when I saw Cruz perform at the Hollywood Bowl decades ago. It's akin to what I sensed when also hearing Damaso Pérez Prado's guttural "Maaam-bO" in his "Mambo No 5." While watching Celia, La Serie, I asked my mom if she had ever watched Desi Arnaz on I Love Lucy. Her response included a dislike for Arnaz, while I remembered enjoying his performance of "Babalú Aye." Our exchange raised the question: can Arnaz's performance, like Cruz's expressive phrasing or Pérez Prado's musical cue, unify a Latinx and African diaspora through sound and affect?
I posit that Arnaz's televised performances of "Babalú Aye" like Celia's "Azucar" or Prado's "Mambo" exemplify what Alejandra T. Vazquez calls in Listening in Detail "vocal armament and ornament" (132), a sound that cultivates an afecto caribeño among Spanish-speaking diasporic migrants and their descents. My use of afecto here is a key sonic detail, playing upon the Spanish meaning to show tenderness and emotion. I also appreciate affect theory as it provides a framework by which to explore the emotionality and connection to experiences that have not been named. For example, in "Feeling, Emotion, Affect," Eric Shouse writes about affect as "the body's way of preparing itself for action in a given circumstance by adding a quantitative dimension of intensity to the quality of an experience. The body has a grammar of its own that cannot be fully captured in language." I attempt here to cultivate a language that address how Arnaz's physical and sonic articulation sets an entry to examine contributions by members of the Latinx Caribbean diaspora and its reach to those of us hearing and seeing them in a US context.
Growing up bilingual and bicultural in Los Angeles, I saw how my mom retained a bit of her homeland by watching a variety show called Siempre en Domingo. Many of the artists who performed were also heard on the local Spanish language station K-Love. The ritual gathering on Sunday nights as we watched the show metaphorically united my mom with her family.I believe that viewing and hearing her Mexico made the distance away from her family soften. For me, listening to the songs I heard on Siempre en Domingo then replayed on the radio helped codify something more than Mexican; it was pan-Latino. These moments of engaging with television shows mediate my experience of sound and affect, which I've named afecto caribeño (translated to "caribbean affect").
My fondness of Desi Arnaz stems from a familiarity of Spanglish when I saw my first episodes of I Love Lucy (1951-1957) on Saturdays on KTLA. Its stars, Lucille Ball and Desi Arnaz, played a married couple, and the comedy of errors would inevitably involve "Lucy Ricardo" trying to scheme something. In real life, Ball and Arnaz were a Hollywood power couple who produced their show, establishing a practice of syndication rights paid to the actors. Arnaz played "Ricky Ricardo," the owner of the Tropicana nightclub where he was also the bandleader. When scenes featured him at the club he would always play the congas, thus creating a continuum of his earlier career as a musician to now television star.
Hearing Desi Arnaz speaking inglés with a Cuban accent was familiar to my ears. I knew that sound of English blended with español because it was what I heard from my parents and their acquaintances. In the show, misunderstandings happened because one could not decipher what "Ricky" meant or said. The mistranslations led to some comedic moments and the establishment of a long-running comedic television trope at the expense of Latino characters and actors, as explored by Dolores Inés Casillas and Sebastien Ferrada in "Listening to Modern Family's Accent." However, in Life on the Hyphen, Gustavo Pérez-Firmat describes Arnaz's nilingüe–someone who speak neither Spanish nor English—and argues his nilingüe-ism was personified through "Ricky Ricardo" as "Spanish utterances shot through anglicisms so that the monolingual viewer can understand what he was saying" (43). But, Arnaz did not reach only "English-only' ears. To my pocha ears Arnaz spoke a familiar—and not incorrect—spoken Spanish. As a young viewer, I had no reference for his mistakes. Sonically "Ricky's" familiarity came through when he complained about "Lucy" in Spanish. Hearing the español I spoke at home on "I Love Lucy" is how I connected to the hyphened Americano via tv. Nowhere was this more pronounced than with Ricardo's frequent performances of "Babalú".
Before his film career, Arnaz was known as the mambo king. Due to his lackluster rise as a "Latin Lover" in Hollywood, Arnaz returned to work as a musician and began singing his signature "Babalú" around 1943. The song is attributed to Margarita Lecuona and published in 1939. "Babalú" conflates the popular 1940s-50s big band sound with a Cuban folksong (or son) sung to the Orishas (deities or gods). Babalú is an Orisha deity who oversees health and is revered because of his power over life and death, and is also known as San Lázaro within the pantheon of Catholic saints. By the time Arnaz made the song popular in the United States, the song had also been associated with Miguelito Valdés, who was known as "Mr. Babalú." Other musical contemporaries like Damaso Pérez Prado were also making a name for themselves by developing a new sound that Latinized dance music in the U.S. According to Ed Morales in Living in Spanglish, it is in the 1950s that Prado creates his signature sound in Mexico City by "mixing North American swing and bebop" known as mambo (152). However, it is Arnaz's performance that I reference because of its reach to a multi-generational audience through syndication of the "I Love Lucy" show.
Each time Arnaz performs "Babalú" it serves as an offering to the Orisha to heal the longing for a homeland he left long ago, as experienced by many musicians like Cruz who live in exile. With each performance on the "I Love Lucy Show," Arnaz reconnects to his cultura. Performing this on national television it's not about the Anglo viewer who only sees Arnaz as the "Rhumba Rhythm King" (sic) (Pérez-Firmat, 52) made famous in movies; rather it is about Arnaz creating a space of agency through a prayer and healing ritual in song, thus an expression of Afecto Caribeño connecting the Latinx diaspora to something beyond national borders and generations.
For example, in Season 2 episode 21 "Lucy Takes a Job at the Bank," Arnaz (as Ricky Ricardo) brings out his son Ricky Jr. to play the congas alongside him. Ricky as proud father shares his joy in this moment. The camera pans out to Lucille Ball and her co-star Vivian Vance sitting at the table. Arnaz instructs his son to "say thanks" and he replies in Spanish "gracias." This exchange is profound because it accentuates the bilingualism and bicultural exchanges that happen in the home space now introduced to many via television. Arnaz continues, "Even though Little Ricky was born in America, there's lots of Cuban in his heart." The Cuban in his heart plays out in sonic beats through a father-and-son performance on the congas and the calling upon "Babalú Aye." Both Lucille Ball and Desi Arnaz are happy parents, not just stage parents, who revel in this moment. As Ricky Jr. plays, his mother bangs on the table too and Arnaz looks up to the sky as if in gratitude for this moment to the Orisha Babalú.
Upon reflection, I am aware of how television informed my childhood search for something that reflected how I spoke and heard the world. In these linguistic-sonic moments I reconnected to my mother's homeland and sought to make sense of my pocha identity when I heard English spoken with a Spanish accent. In Relocations, Karen Tongson names these moments of connection that occur through a technological network as "remote intimacies" that can "account both technically and affectively, for the symbiosis that can happen between disparate subjects. . .I like to think that these imaginary correspondences sometimes have to happen across greater distances, both conceptually and topographically with other ethnicities, accents, nations (130)" The conceptual and topographical correspondence informs afecto caribeño as a means to enable critical connections to a Latinx diaspora centered en el Caribe highlighting the mestizaje of African and Spanish heritage, thus expanding upon Paul Gilroy's notion of the "black Atlantic" on how the Atlantic slave trade also impacted culturally el Caribe. Upon singing "Babalú Aye" Arnaz's performance not only is a disruption to Anglo American viewers, but also "disrupts the myth of Cuban whiteness" (Vasquez, Listening in Detail, 150).
I am drawn to sonic experiences that can help unpack Latinidad and the multicultural roots that are informed by other migrations of Africans, Asians, and Spaniards to the Américas. I am a descendant of these mestizajes, as Gloria Anzaldúa writes in her canonical text Borderlands / La Frontera. A concept like afecto caribeño addresses the social and emotional exchanges that emanate from the complexity of these migrations and how they reveal themselves in momentary connections. When Arnaz performs as "Ricky," he breaks that character upon playing the congas. Here he does not act as the nightclub owner; the reverberation of the conga mediates an embodiment of his true self exemplifying un afecto caribeño.
reina alejandra prado saldivar is an art historian, curator, and adjunct lecturer in the Women, Gender and Sexuality Studies Program and Liberal Studies Department at CSULA and in the Critical Studies Program at CALArts. As a cultural activist, she focused her earlier research on Chicano cultural production and the visual arts. Prado is also a poet and performance artist known for her interactive durational work Take a Piece of my Heart as the character Santa Perversa (www.santaperversa.com) and is currently working on her first solo performance entitled Whipped!
Featured Image: Desi Arnaz performing with Diosa Costello, 1948.
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SO! Amplifies: Shizu Saldamando's OUROBOROS–J.L. Stoever
SO! Reads: Dolores Inés Casillas's ¡Sounds of Belonging! – Monica de la Torre
SO! Amplifies: Radio Coyote's #DIASPORADICAL Sound
SO! Amplifies. . .a highly-curated, rolling mini-post series by which we editors hip you to cultural makers and organizations doing work we really really dig. You're welcome!
This whole world's wild at heart and weird on top —Wild at Heart
Por tu amor. . . — Buyepongo
Radio Coyote is a San Francisco-based web radio program & podcast I co-host with my friend Jesus Varela, aka Sweet Jesus. Radio Coyote is our effort at amplifying expression which is #DIASPORADICAL – acknowledging movement and humanity in a world alive with ART; most especially of those on the margins who in the current structure, have become the invisible inspiration for the priviliged, hardly benefiting from the soul they emit.
Recently, Jesus and I recorded with Los Angeles's own future-rooted band of immigrant brothers – Buyepongo – live from the scrappy but charming Radio Valencia studios in the Mission District. Some topics we talked about included connections between the Bay Area and Los Angeles, the hip-hop influence of Wu-tang Clan & Madlib on the group, and, importantly, the burgeoning yet connected #DIASPORADICAL network building alternatives and manifesting the visceral spirit of our ancestors through drumming.
This particular episode's conversation is emblematic of how we use sound and voice on Radio Coyote to bring energies together to counter the hegemonic corporate $tandard currently funding the arts and culture industries—live music and entertainment but also tech and media, not to mention the spaces where they intersect—all reflective of a standard which is essentially: THE STRIVE FOR MONETARY SUCCESS MARKED AS WHITE ACHIEVEMENT A/K/A the land of the "Free" where the inspired benefit from those on the margins.
Nahhhhh, FUCK THAT. – emcee Nani Castle in To The People
The type of capitalist cultural extraction we challenge on Radio Coyote can be heard and seen everywhere. Justin Bieber, for example, has a #1 record right now (produced by Skrillex) that is clearly influenced by Caribbean dembow. I'm still waking up from that dream where Macklemore wins a Grammy award over the 2014 jazz griot giant that is Kendrick Lamar. The FADER, like so many media outlets, assigns white writers to cover emerging Latin culture in the US: Exhibit A on contemporary cuban music & Exhibit B on J. Balvin and reggaton. And, I could go on. But because it is so pervasive, we need to keep asking, "Who benefits?"
It don't make you right cause you majority.- Bree Newsome, South Carolina-based activist & artist who removed the Confederate Flag earlier this past Summer from SC's capital
Mamacita, pass me a beer-a – Will Smith on Bomba Estereo's "Fiesta" (Remix) for SONY
Because all around the world – or the worldwild, I like to say, people are waking up and acknowledging themselves, their neighbors, and the stories of their movement, exploring what those moves truly meant and what they will mean for a humanity needing to be increasingly inter-reliant in our crumbling late-Capitalist era. Radio Coyote is a product, a revelation, and a confluence of these worldwild movements, amplifying the true vibration and rhythms of a very specific history and examining how they will mutate in the future.
Our voices and spirits have always been dangerous. During the conquest in what is now Mexico, for example, the Spansh conquistadors killed the ceremonial drummers first. In Chile, when Augosto Pinochet seized power in 1973, he ordered revolutionary singer Victor Jara executed, and his soldiers kidnapped Jara, smashed his hands and wrists and shot him 44 times. But what was once dangerous has been disempowered and I predict, increasingly exploited. Now Canadian DJ A-Trak calls himself "Plantain Papi," Roots drummer Questlove goes by "Questlove Gomez," and Kendrick raps in Spanish. Bieber just dropped that dembow-influenced pop record while dembow legacy artists, Los Rakas (via Panama & Oakland) switched to Latin pop.
Cause I just need one more shot at second chances – Justin Bieber in "Sorry"
I get a lot of success because I'm white. – Diplo in YourEDM.com
Radio Coyote is our chance to explore these ideas and who benefits from the global flows of culture . To empower me. To empower us. To get back to the place where this expression was dangerous . We are smuggling these sounds to you over what was once pirate radio – now, online – because the boundaries between u$ are quite pronounced. Radio Coyote is my moment of love in a land$cape of domination and hate. We are powerful. It's clarity through the confusion. Radio Coyote simply must be. It's an effort at radically witnessing the expressions all over the world of people who've had access to Internet these last 10 – 15 years, but who also seek to honor, understand & feel a past which we are indisputably products of!
Though I am fiercely frightened to get on the mic every Friday from 2 – 4 PM PST, I like to think I'm reversing the common programming Latinas go through, constantly told to shush in this world. I also feel a true duty. We simply need to step up and be ourselves! We need to acknowledge and be proud of our own particular story of being human in a world with the same level of equality as the other, together, with immense respect for the planet we live on and all the resources she provides (another topic I like to think about, but more on #PACHAMAMAISM at another time…).
There is nothing else we should be doing but seeing ourselves in each other and being very adamant about that. So this is my love force to you and I hope you continue to enjoy/share it. Lift your voice in love, too, in any way you feel is important out in the worldwild! And, then, tell me about it so we can have you call in and talk to us on Radio Coyote: email@example.com! 😀
Tune-in to #RadioCoyote: Smuggling #DIASPORADICAL Sounds Across Borders Every Friday From 2 – 4 Pm PST With DJ Nipslip aka Naticonrazon and Jesucio aka Sweet Jesus: www.radiovalencia.fm. Archives:www.soundcloud.com/radiocoyote
all images courtesy of the author
Nati Linares aka Nati Conrazon is an artist advocate and cultural lobbyist rebalancing the world who was raised in New York City, but is currently living a #Bicoastalidad lifestyle which is rooted in Oakland, California. Her womanagement clients include Brazil-via-Brooklyn's Vocalista Making Interracial Music Babies, Zuzuka Poderosa & Powerfully Raw Chilean/Irish Emcee, Nani Castle. Check out all her current projects: www.conrazon.me/projects/current-projects and follow her on Twitter: @conrazon, Instagram: naticonrazon and beyond! Embrace the hybrid!
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SO! Amplifies: Sounding Board Curated by Leonardo Cardoso–Jay Loomis
SO! Amplifies: Shizu Saldamando's OUROBOROS–J.L. Stoever
SO! Reads: Norma Mendoza-Denton's Homegirls
"When I wear my eyeliner, me siento más macha (I feel more macha) I'm ready to fight" (54)
Makeup has long been an intentional part of a chola aesthetic: in particular, the skillful sign of bold black eyeliner or a carefully arched, thin, brow. The quote above by Norteña Xótchil, one of author Norma Mendoza-Denton's interviewees, reminds us that make-up not only creates a sense of empowerment but also evokes the idea of physical strength ("feeling macha"). Norma Mendoza-Denton's ethnographic study Homegirls: Language and Cultural Practice among Latina Youth Gangs (Wiley-Blackwell, 2008) presents a project of high ambition, and even higher execution, in its carefully crafted discussion of the linguistic and cultural practices of Latina youth gangs at Sor Juana High School in northern California. Homegirls offers much needed insight into the relationship between language style and the cultural, lived experiences of Latina youth gangs. She centers her analysis on the linguistic, the cultural, and the phonetic, and in this way she pushes students of ethnic studies and sound studies to consider how young Latinas craft and articulate their own identity through meaning-making practices that challenge tropes of deviancy that are often unfairly cast on young women of color.
Throughout the book, speaking chola – an urban, gendered variation of Chicana English – becomes an audible badge, a marker of experience rather than a punch line, a culturally appropriated costume, a music video fad, or linguistic variety in need of policing. Recently, celebrity white or non-Latina women, such as Gwen Stefani and Lana Del Rey, have adopted telltale signs of a chola aesthetic – the crisp centered hair part, baggy pants, big hoops and/or only-the-top-buttoned plaid shirt. By focusing on the language styles of cholas, Mendoza-Denton encourages readers to think beyond the stereotypical images and sounds that so often circulate in mainstream media about cholas. Homegirls offers Sound Studies and Chicana/o Studies scholars a notable addition to the growing literature on the intersections of language, race, and sound.
"You gotta take pride to do your clothes
you know I have to iron,
when I go out I have to iron my shirt for half an hour
or forty-five minutes, you know,
my pants, you know
they gotta be
you know they gotta-" (56)
Homegirls joins conversations on Latinas and gang culture (Fregoso 2003; Miranda 2003; Ramírez 2009), which have historically been male-centered. Thelma, one of the Norteña girls, demonstrates in the quotation above her engagement with an aesthetic practice often linked with Latino gang members. Although the topic of language and linguistic identities, specifically bilingualism and translating, are emerging topics within Chicana/o Studies, Mendoza-Denton's work joins that of a small number of scholars who take on Latina/o language practices and identities as the central focus of their work. She observes, in fact, how identity and meaning-making processes are intertwined to language, as are other social markers of identity such as race, class, gender, ethnicity, and accent. Homegirls joins recent discussions that demonstrate specifically how accents are vocal stand-ins for a person's racialized, classed, and gendered experience. Where Fregoso and Miranda center their discussion on the cinematic representations of cholas and a historical account of pachucas respectively, Mendoza-Denton's work is more in line with Miranda's ethnographic approach to Latina youth gangs. Homegirls listens to the women's voices and allows them to speak for themselves. This approach yields a work that reminds us how language identities are racialized when conflated with other racial markers, how they negotiate power relations (in/out group dynamics), and how they can also function as political forms of resistance.
"My dad dice que me miro como lesbian (says I look like a lesbian), my mom dice que qué guangajona (complains that it's baggy). How much you wanna bet that I can go outside like this y no me dicen nada (they won't say anything)" (151)
Maureen, a 14-year-old participant, speaks above to the code switching that many of the young women in this study practice. Mendoza-Denton re-imagines the chola as an innovator, highlighting the role of language and the body in creating new cultural practices. For example, in Chapter 5, the author heralds an exciting discussion on play and applying makeup as forms of gendered performances expanding on notions of beauty and grooming amongst Latina youth. She writes, "The symbolic and unconventional use of makeup among the girls claiming Norte and Sur at Sor Juana High School literally painted gender and ethnicity on their bodies," marking a critical intervention in how the chola aesthetic racializes and genders bodies, yet also functions as a self-directed performance (152). In paying close attention to the symbolic meaning of makeup and its application, the ritual of carefully drawing the brow dismantles the mainstream appropriation of this often-criminalized look.
Mendoza-Denton's close phonetic analysis demonstrates how the visual aesthetic coupled with a sonic aesthetic speaks to the political implications of embodied linguistic and cultural practices. The chola vocal aesthetic challenges traditional notions of femininity, closely associated with politics of respectability through Spanish honorifics like "usted," within the Chicano family. This idea echoes other studies that show how pachucas, precursors to contemporary homegirls, with their extravagant attire and deviant behavior embody an adolescent rebellion against the patriarchal Chicano family and how pachuquismos forged a stylized linguistic resistance. Such stylized linguistic and embodied resistance can be seen in the excerpt below from T-Rex, one of Mendoza-Denton's most candid participants in her study.
T-Rex: A girl could be more macha than some guys. For example me.
Norma: You think you're more macha than guys?
T-Rex: I am more macha.
Norma: What makes you macha?
T-Rex: The way I act. The way I don't let them step on me. (164)
In this brief excerpt, T-Rex articulates her notions of being 'macha,' a prime example of a discursive and material Latina youth practice that transcends the boundaries of normative gendered expressions for Latina youth. We are accustomed to seeing urban cholas with curiosity, envy, or both. Mendoza-Denton allows us to hear them and gain a deeper understanding of their social practices.
In framing the chola aesthetic as a transgressive type of beauty, Mendoza-Denton poses that the cholas in this study act as cultural producers who assign alternative meanings to femininity through their body and speech. Recalling Xóchitl's remarks about mascara, the eyeliner serves in one form as a tool for a racialized feminine ideal of beauty, while simultaneously a sign for "willingness to fight" for other girls (154). Eyeliner, in this example, very visibly displays the complex interactions and negotiations of gender norms and agency. In this sense, Mendoza-Denton grants the reader a primary example of how cholas participate in a type of feminine gender expression that challenges expected ways of acting, which includes speech.
From Mendoza-Denton's conversation with T-Rex, we see that speech and accent are just as meaningful in the construction of this alternative aesthetic. T-Rex, explains how the eyeliner is a "power-based interpretation" that when correlated with a tough, or even threatening, manner of walking—the use of the body—cholas command power and respect. Here, her intervention serves not only to gain a deeper understanding of Latina youth practices but also frames the chola as an empowered, vocal (what some would consider, mouthy) woman. Too often cholas receive harsh criticism or complete disregard for their assumed subversive behavior, criminality, and social deviance. In Homegirls, Mendoza-Denton challenges those notions by finding the symbolic capital in how these young women employ discursive, material, and phonetic practices.
The final two chapters of the book focus on the specific linguistic features relevant to studies of language and sound. Mendoza-Denton highlights phonetic variation among the girls speech in how their realization of /I/ demarcates core speakers from members of the group in the periphery yet points to similar speaking characteristics for girls of both gangs. The author's focus on the stigmatized Th-Pro set (i.e. something, nothing) in the speech of Latina girls demonstrates how it discursively positions theses young women's interactions and group affiliation due to its frequency and saliency. These later chapters demonstrate one of the author's most significant contributions: projecting a specific accent is often linked to the creation of an identity. As Mendoza-Denton writes, "How speakers pronounce their words says a lot not only about the identities that they wish to project, but also about the history of the language(s) that they speak" (231). These linguistic variations give readers insight on the importance of how distinctive discourse markers are vital in the creation of stylized identities for young women of color.
Norma Mendoza-Denton has produced a rich account of a community largely ignored and misinterpreted in the conversations on Latina youth culture in the United States. As she reminds readers in her conclusion, Homegirls is one of the only studies of its kind that documents gang dynamics outside of discussions regarding violence, control over territory, or drug trafficking. While this approach provides a much-needed focus on the self-making and cultural processes amongst youth of color, I wonder if some significant discussions might be left out with this approach. Although there is large need for research on this topic that deviates from traditional approaches (such as criminality, violence, drug trafficking) when working with youth, particularly women of color, in her effort to subvert these sociological mainstays Mendoza-Denton avoids certain experiences that leave out pertinent context.
For example, in her discussion of the young women's makeup practices, Mendoza Denton mentions the perceived threat they pose to teachers and police at school but does not go into more detail. These questions are not to discount the contributions of the book but rather to introduce future considerations for work surrounding Latina youth gangs. However, for Mendoza-Denton, the focus on the creativity and agency these young women embody is never lacking:
"So when you walk down the street,
you got the special walk, [begins to walk deliberately, swinging her upper body]
you walk like this,
you walk all slow,
just checking it out.
I look like a dude, ¿que no?
I walk, and then I stop.
I go like this [tilts head back – this is called looking "in"]
I always look in, I always look in,
I never look down.
It's all about power
You never fucking smile.
Fucking never smile" (155-6)
Homegirls is at its finest when the reader is presented with excerpts like the quote above where T-Rex's assertive physical and mental stance illustrates the linguistic and cultural practices that Mendoza-Denton seeks to highlight in her work. Mendoza-Denton's contribution to this topic privileges the symbolic capital in linguistic, embodied, and cultural practices which sets up a platform for future work on Latina identities. When we read cholas in popular culture we might think of the aesthetic, the stereotypes, the big hoops, the dark lips, and the mascara. When we read Homegirls, Norma Mendoza-Denton compels us to consider the complex web of how linguistic and cultural practices (through material and vocal embodiments) speaks to the intersections of race, gender, and class amongst Latina youth gangs.
Featured image is of Yasmin Ferrada (the author's sister) as photographed by King Kast. It is used with permission by the author.
Juan Sebastian Ferrada is a doctoral candidate in the Department of Chicana and Chicano Studies at the University of California, Santa Barbara. His work investigates the intersections of language and sexuality among LGBTQ Latina/o communities. Specifically, Sebastian explores the politics of Spanglish as a method for articulating ideas of sexuality and family acceptance within an LGBTQ Latina/o community organization. Sebastian earned a B.A. in Global Studies, in addition to a B.A. and M.A. in Chicana and Chicano Studies from the University of California, Santa Barbara.
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Deaf Latin@ Performance: Listening with the Third Ear — Trevor Boffone
SO! Reads: Dolores Inés Casillas's ¡Sounds of Belonging!
In Sounds of Belonging: U.S. Spanish-Language Radio and Public Advocacy (NYU Press, 2014), Dolores Inés Casillas turns up the volume on the sonic and the political dynamics of the Latino immigrant experience in the United States. A theoretically rich yet accessible book, Sounds of Belonging jump-starts Spanish-language radio studies, proving that the broader field of radio and sound studies can no longer continue to ignore or silence the importance of Spanish-language radio—from its historical significance for Spanish speaking Latinos to its lucrative place in radio markets today. Spanish-language radio reveals the power of sound in shaping the lived experiences of Latina/o communities, including immigrants and those with deep roots in the United States. Casillas shows how sound acts as a platform through which Latin Americans insert themselves in the U.S. imaginary, despite the nation's attempts to erase their presence.
Sounds of Belonging provides keen insight into the constant buzz of immigration on the airwaves. Some questions that propel this book: What sonically constitutes the Latina/o experience in the United States? Also, what immigration-related sounds are found on Spanish-language radio airways? Casillas's emphases shows how little we know of how the Latina/o sounds.
Sounds of Belonging deftly navigates the historical and contemporary domains of Spanish-language radio, theorizing them as a dynamic sonic terrain where we can listen to struggles for and against power, as well as to modalities of difference. Beginning with the traces of Spanish-language radio that emerged early in American radio's so-called "Golden Age" in the 1930s-1940s, moving through the activist-driven bilingual Chicano community radio of the 1960s and 1970s, and then laying out the landscape of the highly profitable world of Spanish-language broadcasting today, Casillas guides readers through a historical trajectory of Spanish-language radio. She draws from Spanish-language radio broadcasting in its commercial and non-commercial iterations, while keeping tuned to the transnational connections transmitted through these frequencies.
Casillas engages with critical cultural studies, Chicana/Latina studies, and radio/media studies to explore the production of masculinity on El Cucuy's morning radio program. Casillas studies El Cucuy as both an on-air personality and a political figure advocating for immigrants' rights, illustrating the "complex interplay of gender, labor, and globalization" (104). While El Cucuy's "shock-jock" style–imbued with sexual humor–often garners him comparison to Howard Stern or Rush Limbaugh, El Cucuy does more than shock and entertain his listeners. Casillas argues that sound and immigrant listening practices are integral to El Cucuy's discursive aural constructions of a transnational working-class male audience, one that is not shamed for speaking Spanish, enjoying ranchera music, or laboring in "women's work." However, by highlighting how El Cucuy and his listeners reinscribe traditional gender roles that silence and marginalize Latinas, Casillas reveals the complexity of El Cucuy's political advocacy for male workers on the one hand, and the program's misogynistic message on the other.
Sounds of Belonging pushes scholars to think more thoroughly about the role format and genre play in the characterization of radio stations, as well as the audience constructed through these programming choices. She characterizes Spanish-language radio as both on-air dialogues and conversations between callers and radio hosts. This approach provides an intersectional analysis comparing radio listeners to those working in production. Casillas opens a line of inquiry into non-normative or non-hegemonic radio practices by positing that Latino radio listening is public and communal and not a solitary practice. Casillas shows how research that frames listeners as a market—simply audiences or consumers—polarizes our understanding of radio practices, particularly within research on Spanish-language radio.
One of Casillas's most important interventions is her granular analysis of the role of radio in Latino communities, particularly within migrant and working class groups who may have easier access to and familiarity with radio, as opposed to other media such as the Internet. For these communities, radio becomes as an anchor, grounding the cultural ties Latinos have to the communities they migrated from—through stations' language and music—but it also functions as a way to aurally migrate between borders, specifically when listeners-turned-callers locate themselves bi-nationally.
Casillas also argues that Spanish-language radio is an alternative site of congregation and dialogues amongst communities that are marginalized and made hyper visible by mainstream English-language media. Anti-immigrant policy and legislation—heard and seen in popular media as a narrative of "illegal aliens" invading America—is the backdrop against which Casillas explores the role of Spanish-language radio as an "acoustic ally," a concept she explores in the chapters "Acoustic Allies: Early Latin-Themed and Spanish-Language Radio Broadcasts, 1920s-1940s," and "Sounds of Surveillance: U.S. Spanish-Language Radio Patrols La Migra." She explains that Texas and California were home to the debut of U.S. Spanish-language radio in the 1920s, crafted specifically for Mexican listeners. Radio announcers such as Pedro J. Gonzalez brokered airtime, typically broadcasting during the unfavorable times of late night or early morning. As a method of resistance, radio provided Spanish-language audiences with the capability of listening to "home."
In the chapter "Mixed Signals: Developing Bilingual Chicano Radio, 1960s-1980s," Casillas uncovers a major gap in research on the aurality of the Chicano Media Movement. She pivots the analytical lens of Chicano movement activism from urban to rural areas and traces the emergence of bilingual community in conjunction with farm worker activism in California and Washington. Bilingual community radio stations such as Radio KDNA in Granger, Washington, KBBF-FM in Santa Rosa, California, and Radio Bilingüe in Fresno, California—places that rely heavily on low-wage farmworker labor—showcase how the political activism of this movement era took place on emergent community airwaves. Listener-focused Chicano community radio stations "sought to broadcast independent of commercial influence, produce local programming, and, perhaps most significant, operate under the full control of Mexicans and Chicanos themselves" (52-53). While under the control of Chicano/a community radio producers, Casillas demonstrates how the funding model for community radio stations—namely, a heavy reliance on grants from the Corporation for Public Broadcasting—underscores the bureaucratic limitations for public broadcasts.
Sounds of Belonging opens the path for a new line of inquiry regarding Spanish-language radio while revealing that there is much work to do in the area of Spanish-language radio studies. Despite the chapter "Mixed Signals"'s focus on the community radio format, Casillas's dedication to commercial radio highlights an urgent need for scholarship on non-commercial radio. Studying non-commercial stations will advance necessary conversations around content and innovation rather than economic success and failure.
Overall, Sounds of Belonging is an exciting and foundational text for scholars and readers interested in Latina/o media studies, sound, radio, cultural production, immigration and the Latina/o experiences in the United States as experienced and lived through sound and listening. Casillas's agility in drawing from various theoretical and methodological perspectives provides a rich analysis of Spanish-language radio situated in a transnational context that reflects not just the listenership, but also the continued importance of radio for Latina/o communities living throughout the U.S. borderlands.
Monica De La Torre is a doctoral student in the Department of Gender, Women and Sexuality Studies at the University of Washington. Her scholarship bridges New Media and Sound Studies by analyzing the development of Chicana feminist epistemologies in radio and digital media production. A member of Soul Rebel Radio, a community radio collective based in Los Angeles, Monica is specifically interested in the ways in which radio and digital media production function as tools for community engagement. She is an active member of the UW Women of Color Collective and the Women Who Rock Collective. Monica earned a B.A. in Psychology and Chicana/o Studies from University of California, Davis and an M.A.in Chicana/o Studies from California State University, Northridge; her master's thesis was entitled "Emerging Feminisms: El Teatro de las Chicanas and Chicana Feminist Identity Development." Monica received a 2012 Ford Foundation Predoctoral Fellowship, which recognizes superior academic achievement, sustained engagement with communities that are underrepresented in the academy, and the potential to enhance the educational opportunities for diverse students.
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Family budgets squeezed in April as households report feeling worse off for the first time this year
Already-pressed families faced tighter conditions in April with low-earners and renters the worst hit, a report found today.
For the first time this year families reported their budgets had worsened. Four times as many households (32 per cent) reported a squeeze on their finances this month than those that said they saw an improvement in their financial situation (8 per cent), according to financial information firm Markit.
The overall Markit Household Finance Index reading for April was 37.7, down from 39.3 in March. It marks the first time this year that financial wellbeing worsened month-on-month. Readings above 50 indicate people's finances are improving and those below this point show a deterioration.
Budget squeeze: Four times as many people reported feeling under financial pressure in April than said they saw an improvement in their finances.
Markit, which interviewed 1,500 people across the UK, said worsening finances largely reflected an ongoing squeeze on cash availability for people on lower incomes, combined with higher living costs in April.
The figures coincide with sweeping Welfare spending cuts including the so-called 'bedroom tax' which came into force at the start of April.
Other reforms to welfare include the introduction of a £26,000 cap on the amount of benefits a household can receive, cuts to housing benefit for working-age social housing tenants whose property is deemed to be larger than they need and the replacement of disability living allowance by the personal independence payments. Working-age benefits and tax credits also rise by 1 per cent - a below-inflation cap
All income groups reported a sharper fall in their finances in March, and people earning between £15,000-£23,000 were particularly badly hit, as were those renting from local authorities and housing associations.
Graphs show household finances have suffered a bumpy ride - and turn negative again in April.
Just under 42 per cent of households expected their finances to worsen over the next 12 months, compared with 27 per cent who expected to see an improvement.
People living in the North East and the North West were the most pessimistic about their future prospects, while those living in the East of England were the most optimistic.
Public sector workers reported a slight drop in their employment incomes this month, while private sector workers saw a moderate increase. Manufacturing bucked the overall trend, with pay growth at its strongest in eight months.
Workplace activity has also been on the increase for three months in a row, with the strongest lifts being seen in the IT/telecoms and energy and transport sectors.
A widening gap has emerged between public and private sector workers in terms of job security. Public sector staff noted the most marked levels of job insecurity since January 2012, while private sectors were the least downbeat since the survey began more than four years ago.
Tim Moore, a senior economist at Markit and author of the report, said that weak household income growth compared with high living costs will continue to drag on consumers' ability to spend in the coming months.
Social renters have suffered more than other households.
He said: 'April's survey highlights a deepening downturn in financial wellbeing, driven by renewed pressures on household income and another strong rise in living costs.
'The worsening financial environment stood in contrast to reports from households of increased workplace activity and relatively subdued concerns about job security, especially among those in the private sector.'
Elsewhere, research from Halifax today showed half of people living in Britain feel worse off than they did a year ago.
Those in their 40s and 50s felt most under pressure, with 55 per cent and 60 per cent respectively saying that their budgets have deteriorated, compared with 49 per cent across all age groups Halifax said.
Couples with children were most likely to have run out of money at least once before their next pay day in the past year the research found. Halifax said 58 per cent of 30 year-olds, who were most likely to have small children living at home, admitted this had happened to them, while 57 per cent of those in the forty-something age group admitted running out of cash before payday.
Those in their 30s were also the least likely to save money at the end of each month at 58 per cent – the same proportion as teenagers.
This compared to households with people in their 60s, three quarters of which said they saved any spare cash.
Despite the continued tough economic climate and high living costs, nearly three-quarters (74 per cent) of households said they felt they were continuing to cope well financially. Those in their 60s also seemed to be managing the best, with 87 per cent saying they were getting by.
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Permalink Submitted by Sandra Fackler on Thu, 2009-04-30 14:32
I want more information. I am worried about maintaining the separation of church and state and rolling it back to prior to 2000 levels.
Pres. Obama is an even-handed man but what he establishes will be there for the next president, who might have an agenda to elevate one faith to state-supported statis. This will destroy our country.
Kept as equal in the eye of government, faith-based organizations can do much to help the poor and needy in our communities, but nobody should have to pretend to accept religion to partake of services offered by federal funding. This is a fine line to walk.


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- 07-30-2014, 10:09 AM Thread Author #1
- Posts
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Error Handling Troubleshooting Popup Messages
I was wondering if there was a guide somewhere that describes error handling and what to do about it?
Anyways, I have had several errors popup like "Error: E9 EPHRD", or "Error: Can't download Files". These types of messages popup in what appears to be the OS dialog box and either disappears after a few seconds or has the "OK" button.
The problem is the message usually disappears before I can even write it down and even if I did, what do I do about it? I have no idea what App is having a problem or if it is Android OS. I don't know what program can't download files etc... Seems like there should be a log of some sort that gives significantly more information about the error.
I do have Eclipse Development software installed and created some very simple apps but am still very new with it. I thought there maybe something there that I can use.
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With eight IPOs scheduled for this week, it started of with a bang when Russian Internet search giant Yandex (NASDAQ:YNDX) debuted on Teusday with an increase of 55% on their first day of trading (closing at $38.84, after pricing 52.2M shares at $25, well above the original range of $20-22). So far the rest of the week has had mixed results with 4 offerings all pricing below their original ranges: Active Networks (NYSE:ACTV) closed up 6% and Freescale Semiconductor (NYSE:FSL) closed up 1.8%, while Lone Pine Resources (LPR) closed down 3.5% and Spirit Airlines (NASDAQ:SAVE) closed down 3.75%. Two other offerings have been pulled or pushed back due to weak demand or as they like to put it "market conditions," Sabre Industries and Nobao Renewable Energy. That brings us to the final deal of the week, Solazyme Inc. (SZYM), which all indications point to a successful ending.
Solazyme priced an upsized offering of 10.975 million shares (vs 9.975M) at $18.00, above the indicated range of $15.00-17.00. Of the shares offered, 10.375M are primary or company shares and 600,000 are secondary shares being sold by selling shareholders, Jonathan Wolfson (CEO) and Harrison Dillon (President). Post offering Mr. Wolfson and Mr. Dillon will own a combined percentage of approximately 14.4%. At the midpoint of the range the market cap of the company is approximately $1.04 billion. Proceeds are expected to be used to fund research and development activities, working capital, and general corporate purposes. Morgan Stanley and Goldman Sachs are leading the offering.
Solazyme converts low cost plant sugars into high value renewable oils. Solazyme feeds sugars (like sugarcane and corn) to highly productive micro-algae in standard industrial fermentation equipment. Their oil can be tailor designed to specification, and can either enhance or replace the existing sources of oil (petroleum, plant oils, and animal fats). Their target markets represent over a $1.5T opportunity, including: Fuels (diesel and jet) with a TAM of over $800B, Chemicals with a TAM of over $600B, Nutritionals with a TAM of over $100B, and Skin and Personal Care with a TAM over $50B.
The company has been able to achieve fuel economics, by achieving commercial scale in 2007, and a descending cost curve, that now enables them to produce oil for less than $1000 /MT. This cost curve has declined from approx $10,000/MT in 2007. They have achieved linear performance at all scales, and have over 60 runs at 75,000 liter scale. From Jan 2010 to Feb 2011, they produced over 500k liters of oil. They now have commercial or commercial ready process in all markets. They believe that they have produced more non-ethanol, microbial-based fuels and oils than any other company in the world. From January 2010 through February 2011, they produced well over 500,000 liters (455 metric tons) of oil. The company plans to increase capacity to over 550k metric tons to support over $1B in revenue. They plan to have a Fuels and Chemicals facility (with an estimated cost of $90-110M) in production by 2013. The estimate is for 100k metric tons of production in 2013, growing to 500k metric tons by 2015.
The company has a site-specific commercial strategy in which they partner upstream at the site of sugar or corn mills. They bolt on an oil production facility at the site. The value proposition to mill owners is that they can dramatically increase product diversity into products such as food oil, diesel, oleochem and dielectric, rather than just ethanol and sugar. The payback period is just 4 years, and the mill can more than double their EBITDA.
Solazyme has development partnerships with numerous companies such as Bunge (NYSE:BG), Chevron (NYSE:CVX), Dow Chemical (NYSE:DOW), Ecopetrol (NYSE:EC), Qantas (OTCPK:QUBSF), and Unilever (NYSE:UL) (with Unilever and Bunge also investors in the company), as well as a partnership with the U.S. Navy. The company also has a joint venture with Roquette, called Solazyme Roquette Nutritionals, where Solazyme provides the technology and Roquette pays all development costs, while they split ownership 50/50.
While the company had revenue of only $38M in 2010, and does not expect to reach profitability until 2013, the ramp in revenues will be dramatic if Solazyme is able to achieve their production and capacity estimates. In the Fuels and Chemicals segment alone, they expect to grow from 1,300 metric tons in 2011 to 100k metric tons in 2013 and 500k metric tons in 2015. The company has current non-binding offtakes that exceed this planed 2015 capacity.
Two successful IPOs in the last eight months from renewable energy/biofuels companies Amyris (NASDAQ:AMRS) and Gevo (NASDAQ:GEVO) bodes well for the near term success of Solazyme. AMRS priced on 9/28/10 at $16.00 and is currently trading up approximately 84% at $29.52, and GEVO priced on 2/8/11 at $15.00 and is currently up 30% to $19.60. All three can at this stage be considered "story stocks," with a bet on future growth. However current investor appetite seems to be buying into their stories and the time is right for Solazyme to ride this wave.
Disclosure: I may initiate a long position in SZYM within the next 72 hours.


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PUMA has put a new collection of super weightless sneakers on the market. They are called the PUMA L.I.F.T. Racers and represents one of the famous global brand's most light and incredible fit shoes, created from lightweight foam injected into the mould.
I really love the TV commercial with its visual trickery. We see a couple moving through a series of film-projected virtual scenes onto a white painted apartment.
The ad is made by New York based advertising agency, Droga5.
The L.I.F.T. Racer is available online and from PUMA concept stores as of March 14th, 2009.
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References: hypebeast & todayandtomorrow.net
References: hypebeast & todayandtomorrow.net


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text: Assoc. Prof. Michael Gradisar Clinical Psychologist, Clinic Director Michael has been specialising in the treatment of adult and child sleep disorders (insomnia, circadian rhythm disorders) since 2002. He has provided training to over 420 psychologists throughout Australia on the treatment of paediatric sleep disorders, and published several research studies evaluating the treatment of insomnia and circadian rhythm disorders in children, adolescents and adults. Neralie Cain Clinical Psychologist Since completing Master of Psychology (Clinical) in 2009, Neralie has been specialising in the treatment of sleep disorders while working in a private psychology clinic in Canberra. There she was involved in setting up a multi-disciplinary Insomnia Treatment Program in conjunction with medical sleep specialists. She is currently completing a research PhD investigating the effectiveness of treatment for school-aged children with sleep problems. Neralie has several publications in areas relating to adolescent sleep. Lyn Moseley Psychologist Lyn Moseley is a registered psychologist and teacher with more than ten years of experience in secondary teaching and twelve years of experience as a practicing psychologist (including seven years as a psychologist in a Rec-12 school setting). Lyn's extensive experience in schools gives her a unique ability to work with children, adolescents and their families to resolve a range of issues. Lyn has delivered sleep education programs to senior secondary students and enjoys working collaboratively with clients and parents to increase knowledge about the 'science' of sleep. She supports clients action evidence based strategies that improve sleep, general daytime and family functioning. Kate Bartel Provisional Psychologist Kate has been part of the CASC team since 2012, working with children and adolescents who experience sleep problems. Kate completed her Bachelor of Psychology Honours degree in 2012, researching the effects of iPad light on adolescent sleep. She is currently completing a PhD in Clinical Psychology, looking into protective and risk factors for adolescent sleep. Cele Richardson Provisional Psychologist Cele is currently completing a PhD in Clinical Psychology, investigating the efficacy of bright light therapy for the treatment of a sleep problem common in adolescents and young adults. As part of her research, Cele has published papers investigating factors involved in the development and maintenance of Delayed Sleep Phase Disorder and insomnia. In addition to her research responsibilities, Cele has worked at CASC since 2015 and has experience treating sleep problems in children and adolescents.


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Handbook on Radiation Probing, Gauging, Imaging and Analysis
Volume I: Basics and Techniques
The need for this book arose from my teaching, engineering, and - search experience in the non-power aspects of nuclear technology. The lack of a comprehensive textbook in industrial applications of radiation frustrated my students, who had to resort to a multitude of textbooks and research publications to familiarize themselves with the fundam- tal and practical aspects of radiation technology. As an engineer, I had to acquire the design aspects of radiation devices by trial-and-error, and often by accidental reading of a precious publication. As a researcher and a supervisor of graduate students, I found that the needed literature was either hard to find, or too scattered and diverse. More than once, I discovered that what appeared to be an exciting new idea was an old concept that was tried a few decades earlier during the golden era of "Atom for Peace". I am hoping, therefore, that this book will serve as a single comprehensive reference source in a growing field that I expect will continue to expand. This book is directed to both neophytes and experts, and is written to combine the old and the new, the basic and the advanced, the simple and the complex. It is anticipated that this book will be of help in - viving older concepts, improving and expanding existing techniques and promoting the development of new ones.
Titel: Handbook on Radiation Probing, Gauging, Imaging and Analysis
Autoren/Herausgeber: E.M. Hussein
Ausgabe: 2003
Seitenzahl: 440
Format: 29,7 x 21 cm
Produktform: Hardcover/Gebunden
Gewicht: 2,390 g
Sprache: Englisch


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Suns 105 Spurs 101 (OT)
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Domaine / A. R. Nouvel
Popular Maison Grand Maison leading creative advertising without cost in a steady position diligently winemaking! Recognized global media relations, Paris-3 star ★ ★ ★ high evaluation in the Richard Juhlin Champagne lover's Bible called "4,000 champagnes"!
Ranged from the Alsace wine merchant in 1915, Armand Rafael Glazer moved to champagne family began winemaking is starting point of this Maison.
Damery become a stronghold of the current city, 1920-sale started with A... R. Nouvel trademark. Founder letter (Armand-Raphael), also named "Nouvel" are honor wine from champagne nobility, given what seems.
That rather than to spend on advertising, unlike large Grand Maison, but their management of the Maison Antoine's is currently in the great-grandchild brother and sister of Armand Rafael Glazer and Anne's 4th-generation, and are diligent in winemaking and marketing in a steady position. Tahini, because is is supposed to be very reasonable price not higher advertising expenses for consumers who appreciate!
I think that might enjoy the taste and drink champagne and expensive tend to be seen as the status that is, no flashy affordable in this book, now once your understanding would be greatly appreciated!
Also called a champagne lover's Bible [Richard Juhlin (Richard Julian)] of one of the few "4000 Champagnes (4000 Champagne)★★★3-star producer, great attention!
About Richard-Julien ★
| Nouvel's producers keep the family since 1915. Is the underground cellar in the basement, holds large amounts of Kusu. Unlike the famous champagne will find in the fashion industry, is a producer who has been making Champagne at affordable prices affordable. Recently, quite highly, most cuvée are getting high emphasis on quality is appreciated.
Fullest put Chardonnay through the "Blanc-de-Blanc Grand Cru"!
Sensually in court de Blanc butter thought I make one spectacular tribute to Shay village flavor character born of a Blanc de Blanc's distinctive greenish golden colour, very delicate bubbles rise from graceful.
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11 posts tagged with divorce and infidelity.
Displaying 1 through 11 of 11. Subscribe:
How to navigate a potential divorce?
Hi. This is me. I have been thinking for a couple weeks and am leaning towards divorce. I have multiple questions about this. [more inside]
What should the future with my ex look like?
My husband cheated on me and left me after nearly two decades of a wonderful, loving, respectful marriage. The betrayal came out of nowhere, and involved emotional and on occasion physical abuse. I can't just go no contact, because we've got a daughter, we're financially entangled, and we will be for years. I am having trouble forging a new, post-marriage relationship with him because I'm deeply hurt, raw, angry, sad, and disoriented. I also can't picture what that relationship even looks like. And he has asked to spend all day on Christmas here at the house ... I don't know if I can handle it. [more inside]
Do I tell or do I let it go?
My soon-to-be ex-wife is having a long-term affair with a married man. Should I tell his wife about it? [more inside]
Need advice: Is it time for a divorce, or do I ride this out?
Should I seriously be considering a divorce now, or give it more time? And if I do want to initiate a split--how do I do it, since this will totally blindside him? What else should I do to prepare if it comes to that? [more inside]
Is it still your business even though I left?
I split up with my wife a couple of months ago, and have been doing really well since then. Recently I've been feeling a little bit like she's been stalking me on social media, and today I've woken up to messages asking me why I'm in contact with someone from my past. How do I handle this? (I've tried to anonymise this as best I can) [more inside]
Desperately seeking stability
How do I get a handle on what I've uncovered in therapy outside the therapist's office whilst my therapist is unavailable for a few weeks? [more inside]
Bird in a gilded cage, with a cuttlefish of infidelity and a newspaper floor of possible visa fraud
TL; DR: I think my marriage is at an end, and I need some coping strategies. May be the victim of visa fraud. No money for an attorney or another place to live. Help? Suck it up? [more inside]
Ugly Divorce
How does an adult child deal with the divorce of their parents? [more inside]
Can this marriage be saved?
Can this marriage be saved? Infidelity, drug and alcohol abuse, low libido, and ADD... but are those reason enough to leave? [more inside]
How do I cope with bitterness and vengefulness toward my ex?
My husband of 17 years had an affair and left me for someone else. Three years later, I'm still feeling bitter and vengeful. Please help me cope. [more inside]
Can we save our marriage from my past infidelities?
DivorceFilter: I've revealed some past infidelity (going on for at least five years with a number of men) to my husband and, being an engineer, he's googling the situation to try and find people that have gone through the same thing and kept their marriage together. He's looking for statistics/probability of marriage survival. He's only found people that have split up and are now bitching about their exs on boards. We're in couples therapy, I'm in individual therapy, he's getting some treatment but both of us have this "is it best to cut our losses?" feeling. There is a small child, a cute dog and an expensive house in the mix, besides a marriage now in its tenth year. Anyone have any ray of hope? Or, if not, advice on being friends and keeping this from damaging the elementary school-aged child?
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What Would Brian Boitano Make?
Hosted by Brian Boitano
Band Aid
With his nephew's band crashing at his place, Brian rocks an impromptu party, and his menu is music to your mouth: Southwestern Sopapillas, Italian Chicken Sliders with Tomato Jam, Chicken Fried Steak on a Stick, and Fudgey, Gooey Brownies. (Episode: BZ0209)
Recipes from this episodeAll What Would Brian Boitano Make? Recipes
South Western SopaipillasRecipe courtesy of Brian Boitano
Italian Chicken Sliders with Tomato JamRecipe courtesy of Brian Boitano
Chicken Fried Steak on Stick with Whatsthishere SauceRecipe courtesy of Brian Boitano
Brian's Fudgy Gooey BrowniesRecipe courtesy of Brian Boitano


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Top-notch facilities and equipment
With 100+ facilities throughout 21 states, we've gotten good at developing centers that truly represent Averitt's values. With security features like automated ID access, guards and cameras, you can rest assured that not only will you be safe, but so will your personal vehicle and other belongings while you're at work or on the road for a few days. Now factor in our on-site, state-of-the-art maintenance facilities and an overall clean, professional environment, and you can see why there's no better or safer place to get work done than at Averitt.
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· MP3 / Bluetooth radio


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Alice in Wonderland (1951)
Photo 4 of 78 Show all
1 March 2011
© Disney. All rights reserved.
Titles: Alice in Wonderland
Characters: The White Rabbit
The White Rabbit (14)
Find showtimes, watch trailers, browse photos, track your Watchlist and rate your favorite movies and TV shows on your phone or tablet!IMDb Mobile site
|Amazon Affiliates


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Prairie Heritage Fund - Acquisition and Restoration
Project Overview
Pheasants Forever and partners protected 1,020.7 acres of priority prairie grassland, wetland habitat as state wildlife management areas (WMA). In addition, acquired lands were restored and/or enhanced to prairie and/or wetland habitat. These WMAs will provide quality grassland/wetland habitat complexes that will benefit a myriad of game and non-game species and will provide public recreational opportunities for the citizens of Minnesota.
Project Details
Working with numerous partners throughout the state of Minnesota, Pheasants Forever acquired 1,020.7 acres of land from willing sellers within the project area of Minnesota. These lands have been enrolled into the state Wildlife Management Area (WMA) System and will be protected and managed in perpetuity by the Minnesota Department of Natural Resources. In addition, these newly acquired WMAs will provide public access and recreational opportunities for ALL Minnesotans, so fundamentally important to our outdoor heritage.
More specifically, a total of 9 parcels were acquired within Mower, Dakota, McLeod, Pope, Wright, Pipestone, Kandiyohi and Todd Counties. A total of 10 landowners were presented with offers and PF was successful in securing 9 of those parcels (90% success rate). Offers to landowners were based on appraised values and seemed to be competitive with the market at the time. Most projects were closed early enough in the project period, and therefore the agricultural land boom of 2012 seemed to have little affect on our ability to secure parcels. Parcels were identified in conjunction with DNR wildlife professionals and based on criteria in addition to minimum WMA standards that included: habitat restoration potential, landscape scale significance, presence of significant natural communities, future expansion potential, and multiple benefit analysis.
In total, $3,014,821.38 of Outdoor Heritage Funds were matched with $501,571.03 of non-state funding to complete this work. We are slightly short of our match goal on this appropriation ($23,428.97). However, when looking at all of our WMA acceleration appropriations, we currently are exceeding our match goals by over $425,000 and expect that number to grow.
Striving to build upon past investments in wildlife habitat conservation and landscape level habitat complexes that protect and sustain wildlife populations, 6 of the 9 parcels are additions to existing WMAs or are adjacent to existing permanently protected lands. All parcels acquired have been restored and/or enhanced to as a high quality as practicable. All agricultural row crops on these parcels have been restored to native grassland/wetland complexes. The grasslands were restored using a broadcast or drill seeded method with a diverse mix of native grasses and forb species. Wetlands were restored using a combination of tile breaking, sediment removal, dike construction, and water control structures. 45 acres of native prairie have been protected, and all parcels have been opened for public use.


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Check in from 15h / Check out prior to 12h
Doubletree by Hilton Charlottesville: Find photos, reviews, information, amenities and compare prices for 3 stars hotels in Hollymead, United States.
Set in Hollymead, Doubletree by Hilton Charlottesville is an easy drive from Charlottesville and offers meeting rooms, an express check-in and check-out feature and a swimming pool. It provides a fitness centre, as well as a 24-hour reception, an airport shuttle and room service.
Hotel description
This 3-star hotel offers laundry facilities, a safe and a shuttle service. Additionally, the multilingual staff can provide tips and local knowledge.
Those staying at Doubletree Charlottesville can relax in their stylish rooms that offer ironing facilities and heating. All individual bathrooms have a hair dryer and a private bath or shower.
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Hotel features
Room Service, Air Conditioned, Hair Dryer, En suite, Private Bathroom
Business Center, Elevator / Lift, 24 Hour Reception, Conference Room(s), Multilingual Staff, Safe-Deposit Box, Meeting Rooms, Laundry service, Shops, Photocopier, Designated Smoking Area, Shops in Hotel, Express Check-In/Check-Out, Self Laundry
Fitness Room/Gym, Swimming pool, Pool Indoor
Airport shuttle
Private Toilet, Souvenirs/Gift Shop
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text:
A 2006 concert recording at London's legendary Vortex by Evan Parker (sax), Steve Beresford (piano), John Edwards (bass) and Louis Moholo-Moholo (percussion) with guest Kenny Wheeler for a 2nd set.
Foxes Fox
Live at the Vortex
Label: psi
Released in: Great Britain
"A 2006 concert recording at London's legendary Vortex by Evan Parker (tenor saxophone), Steve Beresford (piano), John Edwards (double bass) and Louis Moholo-Moholo (percussion) with special guest Kenny Wheeler (trumpet & flügelhorn) joining the band for the second set."-psi
See all items in the EMANEM & psi category
Related Categories of Interest:
Improvised Music
European Improv, Free Jazz & Related
Parker, Evan
EMANEM & psi
Staff Picks & Recommended Items
Free Improvisation
Quintet Recordings
Search for other titles on the psi label.
Other Recommended Releases:
Customers Who Bought This Item Also Bought:
In Stock
Shipping Weight: 2.00 units
Quantity in Basket: None
Label: psi
Catalog ID: 12.01
Squidco Product Code: 16047
Format: CD
Condition: New
Released: 2012
Country: Great Britain
Packaging: Cardstock gatefold foldover
Recorded at February 20th, 2007 at The Vortex, London.
Evan Parker-tenor saxophone
Steve Beresford-piano
John Edwards-double bass
Louis Moholo-Moholo-percussion
Kenny Wheeler-trumpet, flugelhorn
Highlight an artist name or instrument above
and click here to Search
Track Listing:
1. Foxes Set 1 38:39
2. Foxes Set 2 30:32
3. Foxes Set 3 9:44


text:
iHerb Customer Reviews
Savings of: $0.26 (8% off)
Posted by 5485927591551881327 on Jul 22, 2013
If you look at the ingredients, it contains more rice flour than sweet potato. It just tastes like sweetened rice chips and I felt like throwing them out. I love the BBQ and original flavor, though.
Not that good
Posted by 5740356004156854382 on Oct 24, 2013
Tasted too muck corn and I could taste some starchy flavor through.
Too sweet.
Posted by 4724576710253723500 on Jan 22, 2014
These have a great taste and texture, sadly they're drenched in sugar. Would have been great without.
Items 1-3 of 3 total


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In Houz Jumbo Queen Bed Mahogany
Sold By Partner
Material: Solid Wood (Sheesham Wood)
Color: Mahogany
Style: Contemporary
- Click here for more details
- Material Solid Wood
Short Description
* Color: Mahogany
* Style: Contemporary
* Bed Size: Queen
* Bed Type: Non Storage
* Headboard Material: Solid Wood
* Queen Bed Height: 36.6 inches (92 cm), Length: 85.4 inches (214 cm), Width: 66 inches (165 cm)
* Required Mattress Size Length: 78 inches (195 cm), Width: 60 inches (150 cm)
* Delivery Condition: Knock Down
* Quantity: 1 Piece (Queen Bed)
This item is a large queen size bed which has been styled in a very elegant fashion that lends it a distinct look which is bound to make it an instant hit. It has been given a low profile with strong legs and beautifully designed head and foot boards which is sure to draw much attention.
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Just like the beautiful and splendid design showcased by it, this bed also equally sturdy and strong. It is made out of the best quality of sheesham wood with a mahogany finish and is bound to provide long lasting durability and resistance to termite infestation. The mattress support of the bed is made out of the highest quality of ply wood.
Finish the look
Bring home this modern piece of furniture to adorn your bedroom. The mattress dimensions are recommended to be 60 x 78 inches. You can combine this bed easily with any other style of furniture
Brand information
Care Instructions
QA / Warranty


text:
iHerb Customer Reviews
Savings of: $2.20 (37% off)
Great taste!
Posted by livetsrose on Apr 02, 2016
Sweet and very good cookies. I'll definitely but this again! I've already ordered a new package :-)
Good gluten-free cookies
Posted by 4782275782913981739 on Nov 15, 2013
My son loved these cookies and I was pleased that they were also dairy free. They were a crunchier cookie and had a generous amount of chocolate chips.
Posted by Reviewer1819146 on Apr 16, 2012
They are expensive, but you do not need to eat as much. One package last the whole week.
Best cookies ever!
Posted by Reviewer1185493 on Aug 15, 2012
They are amazing! I have tried so many glutenfree cookies, but never found one I could "fall in love with", but this one does it. It's absolutely perfect!
Really good!
Posted by 5321240690530720851 on Aug 11, 2013
Really nice cookies!!!!! Just like normal nonglutenfree =)
Allergy Free cookie
Posted by Reviewer2503490 on Mar 07, 2012
Nice option. They are crunchy not soft, perfect for a sugary snack.
Posted by HildeK on Jun 22, 2012
Really nice and tasty, but has a tendency to disintegrate. I keep buying them though, and sorting them out in "whole, will be eaten as cookies" and "the crumb jar" for ice cream.
Posted by Reviewer1645988 on Apr 13, 2013
글루텐이 들어가지 않아서인지 다른 쿠키들보다 훨씬 바삭해요. 먹고나서 속이 괴는 느낌도 없고 너무 달지도 않아서 좋아요. 양이 좀 많았으면 좋겠지만...흑
I just love it
Posted by 5229352523086449102 on May 03, 2013
I love Lucy's cookies and this is my favorite flavour. It's not so sweet and I always need to hold myself, because I could eat it all in one go. I trully recommend this.
Posted by 4785827449187275957 on Aug 16, 2013


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Product & Brand Information
- Item # 286152
- Approx. 1¼'' wedge heel height
- Croc-embossed patent leather or croc-embossed metallic patent leather upper
- Fabric lining
- Lightly padded footbed
- Rubber sole
Customer Ratings & Reviews
100% would recommend to a friend.
- write a review
Love these shoes...
I wear either these or my black pair Monday thru Thursday every week. I love them. They can be dressy when I need them to be or casual if I am dressing down that day.
The Ara Phoebe is for a sophisticated and confiden
Ara makes the most comfortable and stylish shoes I have ever worn.
Most comfortable and stylish shoes!
I now own four pair of Ara shoes, with another pair on the way. I wear the loafers with dress pants as well as jeans and the ballerina shoes with capris and dresses. Lovely to walk in these shoes all day, it's like wearing house slippers with great arch support. Complete strangers comment how great these shoes look! I have no disparaging comments on these shoes.
Comfortable!! Second pair I bought
Went back for a second pair two years later
Great Shoe
I use these shoes to go to work. I work in the main office at a school. I would also wears these shoes into NYC for walking. I have "problem" feet. I need a cushy sole. Very comfortable shoes.
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This outdoor wall light mounts flush to the wall to create a refined look.
From Savoy House, this distinctive pocket wall lantern is part of the Felicity Collection. Sophisticated styling features a new tortoise shell finish. Pretty panes of cream seeded glass are decorated with subtle detailing to complete the look. A wonderful addition to your exterior.
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The Best Darn Curly Products Period.
Face Tags
Miko loves @Derekjhair !! Congrats on your new show!!
Lance Gross + Miss Jessie's
@angelayee + Miko celebrating AYee's Birthday!
Titi and Miko taping @katieshow. Airs on Friday! Check it out!
The fabulous @daisylewellyn with @CocoaFab and Miko of @missjessies . Holiday curls and cheer!
Miss Jessie's New CurlBar NYC. Quick Service. Great Prices.
Manager extraordinaire and executive producer of "Love & Hip Hop" @monascottyoung! Congrats and we hope you and your daughter enjoy your @miss_jessies!
Manager extraodinaire and executive producer of "Love & Hip Hop" @monascottyoung! Congrats and we hope you and your daughter enjoy your @miss_jessies!
Another photo of @monicabrown from yesterday evening @ascap Women Behind the Music! Congrats and enjoy your miss_jessies!!
We cant wait to see everyone in Atlanta!
HI MJ Fans - If you are in the ATL area this weekend come by and see us at Sweet Auburn Fest May 7-8
Hi MJ Fans! We are just a few days away from appearance in Philly - cant wait!
MJ is heading to Philly 4.9 - come meet us!
Check out this drawing of Titi & Miko in the children's book 'Madam C.J. Walker's Road to Success!'
Check out our MJ bags at @naturallycurly's "Curls Gone Wild" speed dating event. What lucky ladies!
Check out our #MJHolidayCheer event on 12/15. Participate by coming to our store or through Facebook!
Are you ready for the Black Friday BOGO? Details here!
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