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As a jazz and rock critic, one of the things that excited me in researching my book, The Essential Klezmer: A Music Lover's Guide to Jewish Roots and Soul Music (Algonquin Books of Chapel Hill, 2000), were the many correspondences I uncovered between klezmer and contemporary music. As it turns out, klezmer—the music and the musicians—has always pushed the envelope—what I like to call "rockin' the shtetl." From the colorful Old World wedding musicians to the boisterous, jazzy, immigrant-era bandleaders, to today's klezmers with one foot in the shtetl and the other in the downtown avant-garde—klezmorim have always reflected the particular geographic and cultural milieu of the musicians and their audience. And their music has always spoken the very particular language or accent of its time.
I. Old World klezmer
Much of what we know of Old World klezmer is contained in the pages of 19th century Yiddish literature. Fortunately for our purposes, the colorful klezmorim were favorite characters of great Yiddish writers like Y.L. Peretz and Sholem Aleichem. If these writers couldn't quite record the actual sound of the music, at least they did leave us with rich, colorfully descriptive, well-rounded written accounts of real and imagined klezmer musicians and their milieu.
Perhaps the most famous literary account of a klezmer is found in Sholem Aleichem's Stempenyu. Based on the historical figure of Yosele Druker, Aleichem's novella includes some beautifully descriptive passages of the violinist's playing: "He would grab his fiddle, give it a swipe with his bow—just one, no more—and already it would begin to speak. But how do you think it spoke? With real words, with a tongue, like a living person.… Speaking, arguing, singing with a sob, in the Jewish manner, with a shriek, with a cry from deep within the heart, from the soul…. Different voices poured out all kinds of songs, all so lonely, melancholy, that they would seize your heart and tear out your soul, sap you of your health…. Hearts would become full, overflowed, eyes would fill with tears. People would sigh, moan, weep." In this passage and others, Aleichem captures so much of the essence of the music as we know it—its mournful aspect, its questioning tone, its spoken quality.
The main role of the Old World klezmorim—much like today's ordinary working musicians—was to play music at weddings. Klezmer's happy, upbeat, frenetic quality can be traced back to its origins as a functional music intended for the highly-codified ritualistic dancing that made up a large part of the wedding ceremony. Equally important, however, was klezmer's function as music for listening and reflection—poignant music that expressed and enhanced the serious religious and spiritual aspects of the event. Each part of the wedding ceremony had its own choreography, its own ritual, and its own style of music. The klezmorim led processionals of the bride's and groom's parties, greeted the arrival of the guests, entertained during the banquet, provided the rhythms for dancing, and led the guests home at the end of the night. Working in tandem with the badkhn—the overall master of ceremonies—the klezmorim gave shape and structure to the entire event.
In Eastern Europe, Jewish folk and instrumental music developed a strong identity of its own, borne of its particular cultural and geographical influences. The distinctive modes of the khazones, or synagogue music, blended with Oriental Jewish melodies creeping up from the Jewish community of the Ottoman Empire south of the Black Sea. Various native, non-Jewish musics, including Russian drinking songs, Romanian dances and shepherds' laments, Hungarian and Gypsy melodies, and Turkish music, also exerted their influence on the repertoire of the klezmorim and the style of music they played. Through their travels throughout the region and through swapping tunes with non-Jewish musicians, klezmorim became familiar with the indigenous folk music of their particular geographic region, and local and regional songs and dances, such as polkas, quadrilles, and waltzes, made their way into the klezmer repertoire, albeit given a klezmerish spin.
II. Klezmer immigrates to the New World
The late 19th century was a time of great political upheaval across Europe, particularly in the east, and Jews of the Pale bore the brunt of the turbulence. From across the ocean the United States beckoned with the promise of freedom from persecution and the hope of prosperity. As a result, from 1880 until 1924, when the doors of Ellis Island finally slammed shut, approximately two and a half million Eastern European Jews made their way to the United States. The vast majority of these immigrants washed up on the shores of New York City, and most of them were ushered into the half-square-mile neighborhood of New York's Lower East Side. Overcrowded tenement apartments replaced the ramshackle wooden houses of the shtetl, and busy, noisy, city streets replaced the dirt roads that spanned the countryside of the Pale.
For the musicians, this meant change. Weddings were now held in catering halls instead of at private homes and inns. As for the ceremonial rituals that comprised the Old World wedding, these were soon abandoned by the new immigrants, many of whom had already been chafing at the religious practices of their parents or grandparents' generation. Others, on arriving in the city, were eager to shed all aspects of immigrant culture in favor of adopting the ways and manners of their new homeland.
The peak years of immigration coincided with the early growth years of the American recording industry, when New York-based record companies sought to broaden their scope beyond the "parlor songs" and all-American marching band music that comprised the bulk of their catalogs. The vast immigrant populations beckoned as valuable markets for "ethnic" recordings, nostalgic evocations of their homelands. Klezmer, heretofore a folk genre passed down orally, became a style of commercially marketed popular music; this had a significant impact on the music itself. Songs that formerly were performed in continuous twenty-minute suites for dancing at weddings and celebrations were now sold to individual consumers in the form of sheet music or 78 r.p.m. shellac platters containing three minutes of music per side that were played in private living rooms. As the music slowly left the firsthand world of live performance for the secondhand world of recording, whatever wound up on those recordings became the "record" of the music, in every sense of the word.
One of the first attempts to cater to the burgeoning immigrant Jewish population was made in April 1913, when trumpeter Abe Elenkrig and his ensemble, the Hebrew Bulgarian Orchestra, laid down some of the earliest known klezmer tracks in America. The dozen or so sides they recorded were typical of the brassy, marching-band style that predominated at the time, both in recorded klezmer and in American music at large. The violin-led kapelyes of the Old World were usurped by bands led by clarinets and horns, playing melody over a strict, oom-pah beat propelled by precise, military-style drumming.
Recordings of this era were also clearly geared toward playfully evoking nostalgia for the Old World, recreating wedding scenes with a theatrical, Vaudevillian flair, such as on "Dem Rebns Tanz (The Rabbi's Dance)" by Art Shryer's Orchestra, on which you can hear musicians irreverently mocking the figure of the Old World rabbi and his devoted followers. This piece is also a gem as it explicitly reveals the connection between the klezmer melodies and the nigunim, or the wordless vocal melodies of the Khsidim: the tune begins with the musicians singing the melody once through, and then playing it on their instruments, thus recapitulating the historical process that saw religious music find its way into the repertoire of the ostensibly non-religious music of the klezmorim.
The 1920s saw the emergence of the star soloist from the anonymity of the klezmer ensemble, roughly analogous to, as well as contemporaneous with, the same trend in jazz, which saw innovative, virtuosic players such as Louis Armstrong and Sidney Bechet eclipse their New Orleans-styled ensembles. The first such figure in klezmer was Naftule Brandwein, who was noted as much for his wild behavior as for his virtuosity. He supposedly once performed dressed as Uncle Sam, strung with Christmas tree lights that nearly electrocuted him when he perspired. Foreshadowing another moody, paranoid musical genius with an affinity for mood-altering substances, he is said to have often performed with his back to the audience, Miles Davis-style, the better to hide his fingering techniques from studious onlookers. He was a daredevil behind the wheel of a car, speeding down the curvy, winding roads of the Catskills while simultaneously serenading his passengers on the clarinet. He wasn't above surprising his audiences by playing with his pants around his ankles, and at times he is said to have played with a neon sign reading NAFTULE BRANDWEIN ORCHESTRA strapped around his neck. Brandwein was a shikker, a gambler, a card player, a womanizer, allegedly the favorite musician of Murder, Incorporated, the so-called Jewish Mafia. His tenure with the various bands he passed through never lasted long, due to his unreliability and the refusal of his fellow musicians to bunk with him on the road.
Nevertheless and in spite of himself, Brandwein was a fantastic musician, much in demand for playing parties, weddings, and hotel gigs in the Catskills until his death in 1963. The two-dozen-plus recordings he made on his own, mostly between 1922 and 1927, remain some of the most influential of the period. Brandwein's playing style matched his outsized personality. He played with great emotion and florid phrasing. Where just a few notes would do, Brandwein played many and in quick succession, as acknowledged in a 1924 press release which boasted, "Here's speed for you! Observe the swiftness of this remarkable music, the clarity and ingeniousness of the melodies that come so rapidly from Naftule Brandwein's musicians, and you will be thrilled."
Right behind Brandwein was a clarinetist equally gifted but the complete antithesis in his behavioral and personal style. Just at the time when Joseph Cherniavsky's musicians were fed up with Brandwein's drunken antics, Dave Tarras came to the attention of the bandleader, whose vaudeville-style outfit played concerts dressed alternately as Cossacks and Khusids.
Unlike Brandwein, Dave Tarras could read music, and this helped him enjoy a successful career as a recording artist and bandleader, as a player in the Yiddish theater and on Yiddish radio. He and Brandwein were as different musically as they were personally. Where Brandwein's playing was lively, elastic, and cantorial—the notes just seemingly pouring out of his clarinet in long, wailing, emotional arpeggios—Tarras's playing is much more stately and dignified, each note and phrase carefully parceled out as its own, carefully punctuated statement. Tarras makes much more use of pauses and rhythmic gestures and seems more aware of, and communicative with, the other musicians—he is genuinely playing with the band. Tarras was so successful that he became known as "the Jewish Benny Goodman."
The swing era ushered in the most overt and commercially successful fusion of Yiddish and American popular music. The Andrews Sisters' recording of "Bay Mir Bistu Sheyn" was the best-selling popular record of its time, sparking a brief fad of similar attempts that saw the Yiddish folk song "Di Grine Kuzine" remade as "My Little Country Cousin." The Andrews Sisters themselves followed up "Bay Mir Bistu Sheyn" with "Joseph, Joseph," their Anglicized version of "Yossel, Yossel," originally a hit for Yiddish theater performer Nellie Casman in 1923.
As for Benny Goodman himself, while there is no evidence that he ever played Jewish music, klezmer did work its way into his band. Trumpeter Harry Finkelman, better known as Ziggy Elman, played Jewish music before joining Goodman's band. Along with his klezmer style, Elman brought to Goodman's band the Yiddish tune "Der Shtiler Bulgar," which he had recorded under his own name in 1938 as "Frailach in Swing." The Goodman band rerecorded it in 1939 as "And the Angels Sing," with vocals by Martha Tilton and lyrics by Johnny Mercer, and thus was a swing-band hit made out of a tune first recorded by the Abe Schwartz Orchestra in 1918.
These examples of Yiddish-pop crossover successes were the exception to the rule. As a popular music, klezmer had already begun a long, slow decline at the end of the 1920s. By the mid-1920s, the wave of Jewish immigration from Europe had ended. Most of those who had been in America for a while had begun the long, slow process of assimilation into the American mainstream. Along the way, they became as enamored of big-band swing, Broadway, and other popular American styles as they once were of Yiddish theater and cantorial music.
In postwar America, brides wanted to hear the latest popular tunes from the hit parade at their weddings. What little interest in Jewish music remained was confined to a few token bulgars at a party. Jewish audiences were more likely to request one of the new Israeli folk dances coming from that young nation, its new Hebrew culture edging out the old affinities of American Jews still in shock over the destruction of their Yiddish culture in the Shoah. By the 1960s, the rise of pop music and rock and roll had all but driven klezmer music underground.
III. The Klezmer Revival and Renaissance
For the most part, through the 1960s and early '70s, klezmer was dormant. But in the 1970s, a new generation of Jewish musicians, or musicians who happened to be Jewish, rediscovered the music of their parents' or grandparents' generation. The revival of klezmer in the 1970s and '80s has been attributed to a variety of causes: to a growth in ethnic pride among American Jews spurred both by the popular success of Fiddler on the Roof and Alex Haley's book and TV miniseries Roots; to a reaction against the predominance of Israeli Hebrew culture at a time of some political disillusionment with Israel; to a more widespread folk revival and growing interest in world music; to a gradual spiritual awakening following the disappointments of the cultural revolution of the Sixties; and finally, to the sheer passage of time since the horrors of the Holocaust understandably caused American Jews to repress or ignore painful reminders of Eastern European Jewish culture.
The truth is likely to contain a bit of all of these reasons. Then again, it is perhaps best summed up by Hankus Netsky, who as the founder and leader of the Klezmer Conservatory Band, has played no small role in the revival and perpetuation of klezmer music since the late-'70s. "Archaic things come back," says Netsky. "The blues came back….And the same thing eventually happened when our generation came of age and said, 'Wait a minute. What happened? Where's our folk music?'"
Or, as violinist Alicia Svigals, a co-founder of The Klezmatics says, "It was natural that klezmer should come back. The good stuff always does."
For one pioneering revivalist, it was a case of realizing that all the different kinds of music he liked had a common stylistic influence. In 1975, when folk and jazz musician Lev Liberman stumbled upon a box of old klezmer 78s in a closet at a museum in Oakland, he found the missing link he had been looking for among all the music he liked. He and his musical partners began adding klezmer songs to their band's repertoire of Eastern European and Balkan folk music, and they made their official debut as The Klezmorim in a series of concerts in Berkeley in April 1976—the first public performances of a klezmer revival band. The popular success of those and subsequent shows led to the release of the group's first album the next year, thus paving the way for the full-fledged klezmer revival that was to follow. Like most early revival bands, the Klezmorim re-recorded playful versions of the early tunes by the likes of Brandwein, Tarras, and others they had found on the old 78s.
A few years after the Klezmorim kick-started the revival in the Bay Area, Hankus Netsky, a teacher at the New England Conservatory of Music in Boston, was asked to put together an evening concert of Jewish music. Netsky assembled various groups and ensembles consisting mostly of students from the conservatory, many of whom were not Jewish and most of whom had never played any Jewish music, including a big band that learned three, swinging klezmer numbers. The band was such a hit that by the end of the evening it got two offers for gigs. Thus in the winter of 1980 the Klezmer Conservatory Band was born.
The KCB, as it is known, remains one of the most perennially popular recording and performing groups in klezmer, and numbers among its alumni members of all the top contemporary klezmer bands, including the Klezmatics and Brave Old World. Avant-jazz clarinetist Don Byron was a founding member, and he went on to explore the work of Borscht Belt musical comedian Mickey Katz on the 1993 album Don Byron Plays the Music of Mickey Katz, which implicitly argued that Katz's blatant send-ups of the assimilationist streak in postwar American Jewry—to say nothing of his Spike Jones-influenced musical pastiches—were brilliantly inventive social satires.
By the mid-'80s, the Klezmorim had played Carnegie Hall, and the KCB and Kapelye, another early revival outfit, had appeared on Garrison Keillor's public radio variety show, A Prairie Home Companion, that bastion of middle-Americana, thus solidly establishing a place for klezmer alongside other mainstream American folk musics.
In the mid-1990s, world-renowned classical violinist Itzhak Perlman suddenly discovered his musical roots and invited several of the leading revivalists, including Andy Statman, to accompany him on a journey to his ancestral home in Poland for a PBS documentary. The subsequent concert tours and recordings by Perlman and company brought klezmer to the top concert stages of the world for the first time in history, including places like Wolftrap, Ravinia, and Tanglewood.
The groundbreaking work of the pioneer revival bands did more than just popularize an old style of music. By defining the parameters of modern klezmer, they helped point the way toward a future for the music. Musicians brought up on jazz, rock, classical, and other genres could approach it not only as revivalists, but also as creative partners in its ongoing development. As we have seen, since its earliest days, the history of klezmer was in part the story of a give-and-take with other styles of music. Thus it was only a few years after the first bands learned the rudiments of so-called traditional klezmer that they and others began building upon that foundation to create a new klezmer that spoke with a contemporary voice and attitude, ushering in today's full-fledged klezmer renaissance.
The Klezmatics embody this new dynamic; their version of klezmer combines the party music of the Old World and the New. They take the essentials of the old-time music—the repertoire, the melodies, the ornamentation—and they carefully filter them through a modern sensibility attuned to rock music and its contemporary offshoots. Their piece, "Khsidim Tants (Hasidic Dance)," based on an old Khsidic dance melody, is at once utterly traditional, but given a subtle, rhythmic tweaking which puts it into the realm of contemporary rock or even hip-hop.
IV. Klezmer and the Avant-garde
Having carefully built a bridge from functional dance music to hard-rocking nightclub music, the Klezmatics embody the Old World/New World dialectic of the klezmer renaissance, and helped chart a path for a new generation of klezmorim.
They have also opened the doors to other experiments. With his band Klezmer Madness, former Klezmatics clarinetist David Krakauer has combined klezmer with found sounds, electronic effects, New Orleans jazz, and James Brown-derived funk. On some of his more recent efforts, he has begun working with hip-hop techniques, including sampling.
Other musicians have discovered that the unique Yiddish modes are as rich a source of melodic and harmonic possibilities as blues and pop standards once were to mid-century jazz musicians. For Jewish musicians especially, the expressive potential of the ancient scales strikes a deep chord within them and within particular members of their audience who recognize and resonate with the poignant sound of the synagogue cantor.
The locus of John Zorn's Jewish work is his Masada project, aptly named after the hilltop fortress in the Judean desert where in 73 C.E. a band of Jewish patriots took their lives rather than surrender to and be enslaved by the Roman conquerors. It was the prototypical struggle against assimilation, and undoubtedly Zorn was attracted to the image of the relentless resisters, refusing to succumb to or to assimilate into the mainstream—a theme that runs through his entire career. For Zorn, Masada is several things at once: a jazz quartet, a group of chamber ensembles of various shapes and sizes, a set of over 200 original compositions in traditional Jewish modes that Zorn has written for these groups, and a conceptual framework and redoubt from which he could channel his creative attempt to do nothing less than to expand the Jewish musical tradition.
In the Masada Jazz Quartet, which includes trumpeter Dave Douglas, drummer Joey Baron and bassist Greg Cohen, Zorn plays alto saxophone and leads the group through the paces on compositions which veer from straight-ahead jazz to free improvisation, with snatches of blues, ballads, and traditional melodies thrown into the musical mixture—all, however, in a recognizably Jewish mode. Take, for example, Douglas's solo on the Zorn composition "Hekhal": what works as a post-bop improvisation also works surprisingly well as one of those Khsidic nigunim—the wordless prayer chants that were the original sources for Old World klezmer melodies.
On Sephardic Tinge, keyboardist Anthony Coleman reposits the classic Yiddish theater tune "Belz" as a bit of Afro-Cuban piano jazz—a pointed commentary on the cultural divide between the prevailing Yiddish/Ashkenazi/Eastern European Jewish heritage and the equally rich but curiously overlooked Sephardic/Ladino heritage, a tradition with glorious roots in Jewry's "Golden Age" in pre-Inquisition Spain. Having lived much of his life in New York City rubbing elbows with its large Hispanic population, Coleman's musical esthetic is highly informed by the Latin rhythms of salsa, mambo, and montunos. Coleman, who interestingly enough attended the New England Conservatory in the late-'70s alongside the Klezmer Conservatory Band founder Hankus Netsky, decided to explore this aspect of his "heritage" from the point of view of one whose family name was originally Cohen—hence the sly play on "Spanish Tinge" in the album's title.
The Boston-based group Naftule's Dream was formed by the members of the more traditional-based klezmer group, Shirim, as an outlet for their experimental inclinations (although Shirim itself was no mere reconstructionist-oriented revival band—its most popular project reinterpreted Tchaikovsky's Nutcracker as a klezmer suite, and they recently had a go at Prokofiev's Peter and the Wolf on their Tzadik album, Pincus and the Pig). The individual musicians in the sextet boast a vast range of experience: trombonist David Harris was a charter member of the Klezmer Conservatory Band and Frank London's Les Miserables Brass Band. Clarinetist Glenn Dickson is a graduate of the New England Conservatory who has performing in rock bands and played Greek and 19th-century American music. Other musicians have played ska, rock, New Orleans, South Indian classical, military marches, and avant-garde jazz. These various influences get remanufactured as Naftule's Dream, a borscht of free-klez, speed-klez (both descriptions are song titles) and anarchic punk-klez—sort of like what Metallica might play if it was a mostly unplugged klezmer band studying under Cecil Taylor.
The premonitions of Radical Jewish Culture were also being felt in the 1990s on the West Coast, where refugees from Hotzeplotz and The Klezmorim had formed the New Klezmer Trio. Clarinetist Ben Goldberg had been growing restless with performing music that he felt was merely recapitulating earlier styles rather than creating new ones. "I wrote a kind of manifesto then that said something like, 'Think of the difference between John Coltrane and Sidney Bechet, yet we consider them to be of the same lineage'," he recalls. "If klezmer music had been similarly evolving since the '20s, then we certainly wouldn't be here today trying to sound just like Naftule Brandwein. That was important to me."
As a result, Goldberg began thinking about the imaginary line between "traditional" and "avant-garde" music. "I wanted to take the kind of pent-up, stuttering, neurotic energy of klezmer and spread it over a long form and see what happened." In 1988, he began jamming with former bandmates Kenny Wolleson and Dan Seamans. Building upon a firm foundation in traditional klezmer modes and melodies, they began exploring the "claustrophobic, quick and darting, hurried, nervous" aspects of the music in extended pieces. In 1991, the group released its first album, Masks and Faces, which at the time was a truly groundbreaking effort that mixed klezmer with strategies gleaned from such jazz and avant-garde visionaries as Charles Mingus, Thelonious Monk, Steve Lacy, Lee Konitz, and Andrew Hill, prefiguring the shape of avant-klezmer to come. Listened to over a decade later, it still sounds startlingly fresh and original and stands as the benchmark for all subsequent attempts at a progressive, klezmer-jazz fusion.
Hasidic New Wave, co-fronted by Frank London of The Klezmatics and saxophonist Greg Wall, blends free-jazz, fusion, and funk-fueled improvisations, often based upon pre-existing Hasidic dance tunes, and its instrumental lineup features electric guitar in addition to trumpet, saxophone, bass, and drums. Hasidic New Wave itself has spawned some of the most exciting recent efforts in the klezmer avant-garde, including Wall's Later Prophets, on which he bases his jazz improvisations on trope, the ancient melodies used to chant aloud the books of the Torah, and drummer Aaron Alexander's Midrash Mish Mosh, which expands the Hasidic New Wave approach and applies it to an avant-big band.
Klezmer hasn't only had an impact downtown. Uptown, too, the sounds of Old World klezmorim have begun to make their way into composers' works.
Paul Schoenfield, born in Detroit in 1947, splits his time between Israel and the U.S. Among his major works are Klezmer Rondos (1986), a concerto for flute, tenor, and orchestra. While Schoenfield considers himself primarily a folk musician, he has variously been compared to Gershwin and Bartók for the manner in which he infuses native Jewish idioms into his orchestral forms.
While a fellow at Tanglewood, Osvaldo Golijov—born in Argentina in 1960 to a family of Eastern European Jewish origin—wrote his work, Yiddishbuk, the first of several compositions to draw upon the music of his Ashkenazic heritage. The Kronos Quartet has recorded many of his works, including The Dreams and Prayers of Isaac the Blind, which also featured clarinetist David Krakauer. Pieces by Schoenfield and Golijov are found on Klezmer Concertos and Encores, a 2003 recording released as part of the Milken Archive of American Jewish Music series on Naxos.
To coin a phrase, performers like the Klezmatics, David Krakauer, Hasidic New Wave, and John Zorn are all rockin' the shtetl. As it turns out, that just happens to be the utterly traditional thing to do.
Seth Rogovoy is the author of The Essential Klezmer: A Music Lover's Guide to Jewish Roots and Soul Music (Algonquin Books of Chapel Hill, 2000).


text: Rob Carr/Getty Images [ Wacha Time By John Williams March 27, 2014 Former Pleasant Grove pitcher Michael Wacha is gearing up for his first full season in the majors. Read More Category: Baseball News, News, Sports News, Texarkana News Tags: Michael Wacha, Michael Wacha St. Louis Cardinals, St. Louis Cardinals, St. Louis Cardinals Michael Wacha Send to a friend! Share on Facebook Share on Twitter Pin it! Reddit This! Share on Tumblr!

subset: commoncrawl


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Move over, "General Hospital"; Katie Couric is coming to town.
The long-running soap opera is being shifted from its timeslot on Sept. 10, to make room for Katie Couric's upcoming daytime talk show "Katie."
Also read: Katie Couric Talk Show Gets a Premiere Date
Starting on Sept. 10, "General Hospital" will air at 2 p.m. ET/1 p.m. PT/CT, with "Katie" airing in many markets in the 3 p.m. timeslot.
On the plus side, "General Hospital" fans will be able to get their daily dose of Port Charles intrigue an hour earlier.
Also read: No Soap: 'All My Children,' 'One Life to Live' Online Plans Ditched
The ABC soap, which took Best Drama honors at this year's Daytime Emmys, will celebrate its 50th anniversary on April 1, 2013.
The syndicated "Katie" will offer a forum for "smart conversation," Couric has said, with the topics covering a variety of subject matter.
"We'll be running the gamut from everything from serious stories, like a new cancer drug, or what's going on with the deficit and trying to explain it so people can really understand it, to dealing with kids and technology and what is all this technology doing to our children's brains and ability to socialize, to bullying, to fun, popular culture stories," Couric said.


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SAN DIEGO -- Even without Junior Seau, the San Diego Chargers punished the Denver Broncos.
The Chargers forced two turnovers in Denver territory in the second half, both setting up touchdown passes from Doug Flutie to Jeff Graham, and San Diego took out its frustrations with a 27-10 win over their AFC West rivals on Sunday.
Seau went out with a strained groin in the first half and didn't return. It didn't seem to matter.
The Chargers were leading 13-10 when Seau's replacement, rookie linebacker Zeke Moreno, forced a fumble by Mike Anderson and San Diego safety Jason Perry recovered at the Denver 33. Four plays later, Flutie hit Graham on a 17-yard touchdown pass for a 20-10 lead with 2:17 left in the third quarter.
Early in the fourth quarter, defensive end Marcellus Wiley tipped a pass by Brian Griese, and Al Fontenot intercepted at the 38. Five plays later, Graham got behind second-year cornerback Deltha O'Neal for a 20-yard TD catch.
The Chargers began the season 3-0 but then lost two straight, blowing leads late in the fourth quarter both times. With the victory, they're 4-2 and one-half game behind idle division leader Oakland. Denver (3-3) dropped into fourth place with its second straight divisional road loss.
Flutie completed 21 of 32 passes for 280 yards and two TDs, with one interception. Rookie LaDainian Tomlinson, the NFL's second-leading rusher, was held to a season-low 58 yards on 25 carries.
Griese, who came in with a sore right shoulder, threw two interceptions and was sacked four times. He was 26-of-41 for 212 yards and one touchdown.
It wasn't always pretty for the Chargers, although they got a huge boost when Ronney Jenkins returned the opening kickoff 88 yards for a touchdown. He slipped a tackle at the 30, turned around kicker Jason Elam at the 50 and was gone. He's returned two kicks for touchdowns in his two-year career.
The Chargers got inside the Denver 7-yard line twice in the first half but had only a field goal to show for it.
Published in the Athens Banner-Herald on Monday, October 22, 2001.
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A railway worker found slumped unconscious in his box due to drinking alcohol while he was responsible for a busy level-crossing has been jailed for three months.
A district judge heard that Peter Singleton, 29, was almost three times the drink-drive limit and way over Network Rail's drinking limit when paramedics were called to the Crofton Crossing, near Wakefield, West Yorkshire, last month.
Wakefield Magistrates' Court heard a colleague found Singleton on 18 October unconscious with a train waiting to cross. Singleton is an alcoholic but the district judge said he had no choice but to jail him. PA


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Credit unions are already preparing to grow loan portfolio revenue in 2015.
The loss of more credit unions is at stake if regulatory burdens do not ease up.
Credit unions anticipate robust loan growth in 2015. Auto and home equity lending drum up the most demand.
Sen. Elizabeth Warren (D-Mass.) grills FHFA Director Mel Watt during a Senate Banking Committee hearing.
Credit unions are well positioned as Republicans prepare to lead the next Congress.
Golden State credit union leaders gather in Los Angeles this week for their league's annual meeting and convention.
Credit union experts agree with Lennar CEO, who says borrowers find underwriting scary and invasive.
It's short-sighted for credit unions to dismiss new competition from two giants with loyal customers.
LAS VEGAS - See what you missed at this year's American Credit Union Mortgage Association conference.
LAS VEGAS — Don't expect any legislative changes until 2017 due in part to improved performance.


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|Home > Music Genre > Pop Music > Lilith Fair > Track Summary >
Track Summary
Music Track Title: What Does It Feel Like
Catalog ID: 444552 ISRC: US5UL1038598
Description: Pop rock ala Melissa Etheridge. About paybacks or destiny.
Poor girl is stood up, waiting for you. Crying, she heads out, makes the best of it, and meets guy of her dreams.
Social Media Link: https://www.audiosparx.com/sa/archive/Pop/Lilith-Fair/What-Does-It-Feel-Like/444552
Artist or Group: Verona Music
Keywords: Paybacks Over New
Music Genre > Sub-genre
Pop Music
Lilith Fair (female pop)
Extended Properties
Duration: 3:32 Tempo: Slow BPM: 67
Arrangement: Band / Ensemble
Instruments: Guitar, Cymbals, Drum Machine, Bass, 12-String Guitar
Vocal Mix: Female Vocals
Language: English
Album: Performed by M. Mehta
Moods: Confrontational, Earthy, Festive, Friendly, Joyful, Oppressed, Painful, Rebellious, Rousing, Snobbish, Soaring, Strong, Successful, Surprising, Triumphant, Unfriendly, Vengeful, Vibrant, Wicked, Wrong
Styles: 2000s (Y2K+), Film Vocal, Indie, Rock & Roll, Romantic Comedy, Romantic Drama, Romantic New Love, Rural / Country, TV Vocal
Lyrical Topics: Disgust, Emotions, Loss / Losing, Love, Hurt
What Does It Feel Like
S. Verona/J.Betsey
Six o'clock you don't show
I'm stuck again
since the restaurant's now closed
so much for plans
with the flow I'll just go
where I can
so I head down the street
to catch a flick
ok you got the best of me
make the best of it
as it hits that you don't give a damn
just as I start to cry
passing by someone says hello
baby, wipe your tears
I am here you're beautiful
there's that coffee shop so let's stop
when my cell phone rings
hello, you
you're now through
as I sing
what does it feel like
what does it feel like
what does it feel like that feeling
I hang up say let's go
to my new fine friend
we head off as feelings grow
hand in hand
feeling good like I should and unplanned
just when we reach the place
face to face we can't resist
the love in our eyes as we find
we stop to kiss
as your car drives by
and you sigh
watching this
oh what you could have that you missed
what does it feel like
what does it feel like
what does it feel like that feeling
what does it feel like
what does it feel like
what does it feel like everything
Extended Keywords: feeling feel like hurt missed heartache revenge retaliation success paybacks retaliate feelings karma feeling hurt stood up revenge destiny fate meet unplanned kiss missed out Kely Carkson Carrie Underwood pop rock Melissa Etheridge


text:
So I'm traveling aboard in just over a week...Going to Berlin, Austria and Italy(Florence, Venice and Rome). I'm trying to decide WHAT to pack in..
Now my plan right now is to pack a small roll-suitcase(it's very small and can actually fight a lot because the top expands)...that would be for my clothes.
But I also want to bring my backpack. It's just a regular backpack....It could fit my very small netbook computer and all the other things I'd be bringing along..
I also want to make sure I have something to carry my computer around with me as a I walk. I'd like to spend at least an hour a day, sitting a coffee, taking in the sights, relaxing and writing. Writing is a big part of my trip.
But I can't imagine walking around each day with a backpack strapped to my back, so I guess I'll need to buy a day bag...My netbook is small and light, so just need to find one that fits that and my kindle(where all my travel books/maps are stored)...
Now I some people get those big backpacks and just travel with those but I'm not sure if I want to do that...or can even afford it. I'd imagine my clothes getting wrinkle...plus keep all my things together seems like a recipe for disaster. Can I really put all things in one bag? And I'd need to buy a new backpack...and I have no clue what sort of backpack to buy. Definitely don't want to buy anything I'd have to check.
So yeah would a backpack and a small rolling suitcase be too much? Plus whatever day bag I buy. What's the best way to go about this if I'm bringing a netbook?
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Backpack or Suitcase or Both...
So I'm traveling aboard in just over a week...Going to Berlin, Austria and Italy(Florence, Venice and Rome). I'm trying to decide WHAT to pack in..
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You can fit a week's worth of clothes in a bag if you pack smart.
I suggest the eBags Weekender. You can fit a week's worth of clothes in it, you can carry it on the plane, plus there is room for your netbook. It's a really well put together bag. For your day to day activities, bring a small-medium messenger bag that your netbook and accessories can fit inside.
If you're more comfortable with a small roller suitcase, pair that with a messenger bag for your daily outings.
Netbooks are small so you can get away with a smaller messenger bag than a normal laptop.
Also, be advised that aside from some hotels, free WiFi is extremely hard to find in Germany.
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I use both, a small rolling suitcase that I check and a daypack that I carry on in addition to a purse or tote. After years on the road I find it's the best solution for me. When I take a side trip or go walking for a week I leave the suitcase at a hotel and just take the day pack. Filled with tablet, toiletries, emergency clothing items (in case the checked bag needs a day to catch up with me although it never does), it's heavy but manageable to carry on. I see no reason to carry everything on as the airlines do a good job of it in my experience.
I think there's a myth regarding carry-ons that it's the experienced travelers who take everything with them rather than check bags. I think it's the opposite. It seems to me it's the inexperienced ones struggling with all their worldly goods and fighting for overhead bin space while the experts check and relax. Not 100% I know but seems mostly that way to me. One can just tell by the anxiety levels.
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Sparkchaser is quite right. It's what you pack not how much that makes the difference. If you plan to travel more I suggest you invest in a few clothing pieces that you can rinse out and dry overnight. I can be on the road for 6 months, not just a week, with a smaller than maximum carry-on sized bag. I pick up accessories as I travel to keep absolute boredom with my clothes at bay.
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Yeah I don't plan on packing too much clothes. I just fear being short of things and not having room for stuff or having too much room and carrying bigger bags than I should. I just found a small bag that might be able to fit what I need it too..
But I guess my normal sized backpack and wheely wouldn't be too much? All my hostels have lockers and wifi. And I'm not looking to get onto wifi outside, just writing. What two things be too much. When I'm out and when I'm sleeping where do I keep valuables(? Lockers? In bag or outside it?
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Backpacks, even day packs, are awkward in crowded urban environments. Every time you turn, you whack somebody behind you. Getting anything out is a yoga exercise -- except for pickpockets. A messenger-style bag with its strap slung across your chest is more secure and convenient, and the right shape for a notebook computer.
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Sorry on cellphone shopping and clicked too soon. But continuing where do I keep tickets, passport wallet? On me at all times in those bags?
Also off topic but where do I get a money belt. Can't seem to find one.
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I agree with Southam about backpacks. They're a menace on public transportation and an invitation to pickpockets. I take a 21" rollaboard and a medium-size cross-body bag (same one I use at home; I don't like trying out new equipment when traveling). I never use a money belt and always have my passport, wallet, tickets, etc. inside a zippered compartment in the purse.
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Hmm yeah I was thinking about a messenger bag. Haven't found one that isn't super bulky though the one I just found is super small instead.
Isn't that risky to career with you though? All those things together at once in one place?
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Can't be too risky, as I've made well over 100 trips to Europe and never lost anything or had anything stolen. Other people lock things up in hotel safes, split up their money, and do things differently...it just depends what works for you. What works for me is not to vary the routine I'm perfectly comfortable with here in the USA (or anywhere else) and always to be aware of my surroundings and not be distractable.
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How are you travelling between the places you plan to visit? If you are flying you will almost certainly need to check the bag with your clothes in it, since one piece of carry-on means just that on all low cost and most legacy airlines.
Find a small messenger type bag for your valuables. Keep it on you. Have a look at Pacsafe for instance - their bags are slash proof and have wire through the strap so it can't be sliced. Keep the bag to your front at all times. You are unlikely to be robbed, but better safe than sorry. A wide shoulder strap will be most comfortable for you.
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I use a carry on suitcase and another small bag for electronics, medicines, papers,and pack an empty day pack and purse in my suitcase; they don't take up much room at all. I have both Rick Steves and Nike day packs.
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I guess I could buy these online or would luggage stores carry them?
And I'm doing all trains and hostels. Don't plan on taking many taxis.
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I have a Tumi crossbody messenger bag that I love.
Inside zipper pocket big enough for my passport and extra
money. Two compartments with a couple of pockets on each side
for phone, lipstick, etc.
Zipper pocket on the front and slipper space on the back the my iPad just fits into.
Very thin nylon - so the bag itself doesn't weigh more than several ounces.
Strap can easily be adjusted to fit crossbody or just over my shoulder.
Comes in many colors.
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Pacsafe seems like a nice bag. Decent size that could probably fit what I need + safe.
Which of these do you think is best...I'll be carrying a netbook, folders(with tickets), and a kindle. I guess I'll be keeping my toiletries and misc items in my suitcase(though I'll probably divide between the two)...
I'm an amazon prime member so I don't really need to worry about shipping. Can get it in two days.
I should use these as my dags right? And I guess they'd be my "second" luggage to store all my "other"(tickets, electronics, passport) items.
Another quick question...so would most hostels have room with two bags. Storage locker wise...I wouldn't want to keep my dag bag in there. I know lots have safe lockers(one of them have them right by the bed)...
One thing I do is use my phone as an alarm clock...which is important in terms of waking up to catch trains...So where do I store dag bags and computers?
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Also does anyone think the bag might be a bit too...womanly? It's called a handbag after all....But it seems to be the bigger of the two options.
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Assuming you're not as experienced European traveler as StCirq, bring a money belt. I do and I don't know how many times I've been to Europe. It's just safer -- for your credit/debit cards, passport, tickets. When you arrive, you'll be jet-lagged and sleepy for a day or so. En route, you'll be in foreign cities finding your way around when not everybody speaks English. You'll have to concentrate on protecting your phone, netbook, and Kindle. There's just an extra degree of general confusion. It's more pleasant not to have to worry about your non-electronic valuables.
BTW, can you read books on your notebook? We have a Kindle app on our iPad as well as Overdrive. So no need to bring a Kindle.
You can buy a money belt on line at Amazon. Or from a travel supplies store. There are different styles for you to pick from.
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Thanks Mimar and everyone else too! And yeah I can read books in my netbook but I need to be connected to the internet, so I still need the kindle..which is alright because it's super thin.
I bought the Pacsafe Luggage Mircosafe but a version that was just a tiny bit bigger then the one above. It looks good, so excited for it to come.
I guess I'll buy the money belt, just to be safe. I think at least traveling to the airport, it would make me feel better knowing my passport is right on me. Don't have to wear it all the time and with my pacsafe, I wouldn't have to wear it all the time.
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I'd wear the $belt all the time..Also lock the zippers or use rwist ries.. Open season for pickpockets and electronics no matter how aware you are of your things.. Any deteriment that can slow them down and let you come home with the toys you took with you!!!
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It's been a long and tense day with the Art Council's spending announcements bringing mixed fortunes for venues in the north.
Many of the big Manchester names, such as the Royal Exchange Theatre, the Cornerhouse cinema and art gallery, The Lowry in Salford and The Library Theatre, have secured funding, amid much relief.
However, smaller organisations have not been so lucky and among the losers in the funding was Greenroom theatre on Whitworth Street West, which has been honing new talent for 28 years.
But, elsewhere there's been a surprising knock-on effect from all the local authority cuts.
Manchester has started to charge for its rat catching services (and it has introduced a huge hike in mice catching.)
From Friday, it will cost £12 per callout for a service that had previously been free, the Manchester Evening News has discovered.
Rather inevitably it has led to fears of a "plague of rodents on the streets."
The council said the charge was 'nominal' compared to private-sector exterminators and denied it would put people off calling.
But John Davison – chief executive of the National Pest Technicians Association – said that even a small charge could lead to an increase in rat infestations by as much as 80 per cent.
He said: "For a lot of people, it would seem like they were paying to get rid of rats that were coming out of other people's gardens and then going back again.
"It's crazy that councils have a statutory duty to deal with dog fouling, yet no such responsibilities to tackle the far greater public health challenge posed by rats and mice."
The number of call-outs for rat infestations in Manchester has increased by 100 per cent in the last few years – with problems in Chinatown and Cheetham Hill due to the proliferation of takeaways and restaurants.
According to a NPTA survey, the number of call-outs to council rat-catchers fell by eight per cent between 2008 and last year.
There was an above average fall – 28 per cent nationwide – in boroughs that charge for their rat-catcher service, despite evidence that rodent populations had remained the same.
The decision to charge for rat-catching is part of a series of changes to Manchester's pest-control services.
Charges for mice treatments are also being tripled – from £20.83 to £60 for a residential call-out of up to three visits.
Sean McGonigle, the council's assistant chief executive, described the new charge as nominal. He said it will still be affordable and the service is heavily subsidised and much cheaper than for a private pest contractor.


text: During the down time I had a chance to surf through some other sites. The consensus seems to be that America got the elimination right. Next week is going to be really tough. Jason, Kayla, Melissa, and Ade have to be brilliant every week to keep going and hopefully pick up fans.


text:
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Tebow, who last year became the first sophomore to win the Heisman Trophy, comes from a family of missionaries and is a devout Baptist. Assistant Sports Information Director Zack Higbee said he chose not to nominate his quarterback for the Playboy spread based on what he knew about Tebow's spirituality.
"I've been working with Tim since his first day here and I know his priorities and his family," Higbee said. "He has that trust in me to make the decision." ...
Just a little bit of heresy is a good thing, eh? I have to thank you again for giving me an opportunity to point out for those who can learn, that The Doctrine of Apostates, in any amount corrupts completely.
Jim Lincoln wrote:It is great that this and other athletes have rejected the Playboy "honor" through the years, what is said is when you get at the bottom of the article, only the apostate church's Notre Dame has an institutional policy not to have its players appear in Playboy, while there are other institutions that call themselves Christian and don't make at least their feelings known they are against as an institution.


text:
SP WSH 5 years ago
Max Scherzer will make his Grapefruit League debut Sunday against the Braves.
Scherzer is pitching at a later day in spring training because he wants to repeat his 2012 routine. He dealt with ankle and shoulder injuries at the end of last season, but neither are expected to be an issue going into 2013.


text:
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