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Search results for: Contact Details Of Axa
Contact Details Of Axa
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Gallery: Photos From The Set Of Britney Spears New 'Criminal' Video
Britney Spears is currently filming the video for her new single "Criminal" on location in London. Her new-ish boyfriend is in the video with her, because why not? It was all her idea! "I'm shooting a video [and] I've never shot on location out of the country of America for a video," she told AOL. (Oh, Brit Brit.) "So, it should be very interesting. It was partly my idea … to see if it could to happen, and they were like, 'Yeah, it's a great idea,' so we did it." There are guns, convenience stores, and booty shorts. Could it be that she's attempting to critically engage with the socioeconomic problems that recently caused the citizens of that good city to riot? Let's take a look.
(Via Idolator and breatheheavy)

subset: commoncrawl


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I LOVE unisex names for girls. Which is why my daughter is Francis, or Frankie.
I have been able to talk my husband into the name Addison for a girl and Logan Miles (which he will go by Miles) for a boy.
We are having a very hard time coming up with a middle name for Addison.
We kind of like Addison Cheyenne, but its not 100%.
Any ideas?
our last name starts with a C (but sounds like a K). This is probably important.
Edited by ro_sanne, 22 May 2013 - 11:16 AM.


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Exploring Identity
Eric Vignola, CAS/BS '17
AUx is a huge step in a positive direction.
I've been a student peer leader in the AUx2 course [on race, identity, and inclusion]. I love the class discussions because, with issues of identity and culture, the conversations can go in a wide variety of directions. AUx is a huge step in a positive direction, eventually having all first-year students required to come face-to-face and learn in a safe environment. At AU, I think people become more self-aware and more aware of people who are not like them. Students hopefully learn to step outside their own experiences and understand other points of view.
News & Events
Why the Right to Vote Is Not a Right
The New York Times reviews CAS Professor Allan Lichtman's latest book: The Embattled Vote in America.
Movement Speaks
Join us for an evening of with Julie Kent, Artistic Director of The Washington Ballet. Friday, September 21 at 7:30 pm in the Abramson Family Recital Hall.
Faculty Achievements
Maria Floro (economics) received $1,800,000 from the William and Flora Hewlett Foundation for her three-year project "The Care Economy and Gender-Sensitive Macroeconomic Modeling for Policy Analysis."
"Attic Order" by David Keplinger (literature) was featured as Poetry Daily's poem for July 27, 2018.
Teju Cole Visits AU
The prolific writer, photographer, and critic will present two lectures on art, activism, and the ways we sometimes refuse to see.
Why the College of Arts & Sciences?
Students and alumni discuss distinctive features of the College, why they chose their particular degrees, and program opportunities they pursued.
CAS by the Numbers
Average Class Size for Graduate Students 14
CAS Undergraduates 82 percent Participated in an Internship


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Main Site - :: Why Won't God Heal Amputees? ::
Plus one to any one who can find and post the pic of the kid in Africa about to be lunch for the vulture. That will say what I want to without any more words. (Does not seem like a fair opportunity to me).


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For a weekend, at least, the state of Florida has become a talking point in college basketball with three teams in the Sweet 16.
ARLINGTON, Texas — For a weekend, at least, the state of Florida has become a talking point in college basketball.
Three teams from the Sunshine State advanced to the Sweet 16 for the first time in NCAA Tournament history. Two will face each other Friday night, when third-seeded Florida plays 15-seed upstart Florida Gulf Coast University at cavernous Cowboys Stadium. Miami, meanwhile, will take on Marquette tonight in just its second Sweet 16 appearance in school history.
A population explosion and millions of dollars poured into coaching and facilities have helped college basketball programs in the state develop. But it wasn't always that way.
Former Miami All-American Rick Barry, who played with the Hurricanes from 1962-65, recalled practicing at an armory off campus. "The trucks used to drive across the court," Barry said. "We played our home games at the Miami Beach Convention Center and at (Miami) Dade Community College. Could you imagine that? A major college program playing at a community college gym." Barry was the state's first college basketball superstar, a smooth-shooting, 6-foot-7 wing player who went on to a Hall of Fame career in the ABA and NBA. An Elizabeth, N.J., native, Barry said he chose Miami over more tradition-rich programs to get out of the cold and play across the country. "As the programs in the state continue to show they can have success, I think the weather will continue to be a big selling point," Barry said. "Those kids in the Northeast and Midwest realize that they can come down here and be part of teams that win championships." The Florida Gators had some success in the late 1960s behind big man Neal Walk, who was taken second overall in the 1969 NBA Draft by the Phoenix Suns. But team success was more difficult for programs in the state to achieve. Jacksonville was the first team to make the Final Four in 1970, followed by a Final Four appearance by Florida State in 1972. Florida didn't play in a Final Four until 1994, when Lon Kruger led the unheralded third-seeded Gators to upsets over Big East powers Connecticut and Boston College at Miami Arena before eventually falling to Duke. And then came Florida coach Billy Donovan. Hired a month shy of his 31st birthday in 1996, Donovan has led the Gators to 13 NCAA Tournament appearances in 17 seasons, the longest sustained string of success of any college basketball program in the state. The breakthrough came in 2006, when Florida became the first school within the state to win a national title. Donovan followed that up by leading the Gators to another national championship in 2007. After three years of rebuilding, Donovan has led Florida to three straight Sweet 16 appearances. During his 17 years at Florida, Donovan said he's witnessed the talent level within the state evolve at the high school and grassroots level. "I've always said Florida is a great state as it relates to basketball," Donovan said. "I totally understand that football recruiting gets seen maybe in a different light with Miami, Florida State and Florida, South Florida. But I think the one thing when you look at players that have come out, whether it be a Kenny Boynton or Austin Rivers, there's been terrific players that have come out of this state, Udonis Haslem, Brent Wright that we had, kids that have really played well." Of the 37 players on the rosters of Miami, Florida and Florida Gulf Coast, 15 are from the state of Florida. Two more (Miami's Kenny Kadji and Florida's Will Yeguete) traveled from overseas to play high school basketball at boarding schools within the state. Yeguete spent two years at Florida Air Academy in Melbourne, while Kadji played at IMG Academy in Bradenton. "I think a lot of these rosters whether it be our roster or Florida Gulf Coast or Miami, there's a lot of Florida kids," Donovan said. "You look at a guy like (Miami point guard) Shane Larkin coming out of Orlando and the year he's had. I think this is a very, very good state as it relates to basketball at the high school level and I think this state is very fortunate that we have a lot of really, really good high school coaches." Larkin, the son of Major League Baseball Hall of Fame shortstop Barry Larkin, remembered the reaction when Florida Gulf Coast upset the Hurricanes last November. "A lot of people gave us grief for that," Larkin said. "But now it's just showing that they're a great team and for everybody who said that we weren't a great team because they beat us, they're showing how great of a team they are. So, just for us, Florida and Florida Gulf Coast to be in the Sweet 16, it's just a great feeling and it just proves that Florida has great basketball teams, just like everybody else in the country." ESPN national recruiting analyst Dave Telep said high school basketball talent in the state of Florida has been "steadily on the rise" in the last 20 years. He pointed to Chandler Parsons, Joey Rodriguez and Nick Calathes playing on the same high school team outside Orlando as an example. Parsons is now starting for the Houston Rockets, while Rodriguez led VCU to a Final Four and Calathes is enjoying success playing in Russia. Florida's population has expanded from five million in the 1960s to more than 19 million, according to 2012 U.S. Census figures. "It seems to be a big producer, just because of the sheer numbers and demographics," Telep said. "Teams are well-funded at the high school and grassroots level. And I also think Florida winning the two national championships, it told kids that were 10 or 15 years old, it's OK to play basketball." Though football overshadows basketball in the state for publicity, its popularity has helped bring in money needed for new facilities and to pay market value for elite coaches. Florida built an $11 million, state-of-the-art basketball practice facility in 2001, which attracted recruits such as Joakim Noah and Corey Brewer. Miami spent $48 million to build an on-campus arena in 2003 after playing a number of years off campus downtown. Miami moved into the Big East in 1991 and joined the ACC in 2002, further enhancing its basketball credibility. In 2011, after Frank Haith left for Missouri, Miami took a chance on 61-year-old coach Jim Larranaga, who had led George Mason to a Final Four in 2006. This season, with a roster that includes six seniors and four juniors, Larranaga guided the Hurricanes to their first ACC regular-season title and first ACC Tournament title. "We had a lot of pieces in place, and then by adding Shane Larkin and Tonye Jekiri, it kind of gave us all the ingredients we needed to go on a run this year," Larranaga said. Spring football games are around the corner, but for this weekend, basketball will take center stage. "It shows that Florida is more than a football state," Barry said. Contact Kevin Brockway at 352-374-5054 or firstname.lastname@example.com. Also check out Brockway's blog at Gatorsports.com.


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Weekend picks: Behold the American Grands in Elgin
A dozen grands
See the spectacle of music performed by pianists on 12 grand pianos when American Grands XVIII plays Saturday at the Elgin Community College Arts Center, 1700 Spartan Drive, Elgin. $24; $15 kids ages 12 and younger. (847) 622-0300 or elgin.edu/arts. 1, 4 and 7 p.m. Saturday, Jan. 26
Dog days
The Lake County Fairgrounds in Grayslake plays host to two days of dog shows as the Park Shore Kennel Club hosts its own dog show on Saturday, Jan. 26, and the Chain O' Lakes Kennel Club hosts a dog show on Sunday, Jan. 27. Exhibitors and breeders from the Midwest and beyond showcase and discuss various breeds. The Lake County Fairgrounds is at 1060 E. Peterson Road, Grayslake. Admission is $5 per car. (847) 680-7200 or visit lcfair.com. 8 a.m. to 4 p.m. Saturday and Sunday, Jan. 26-27
Skating at the 94th floor
While it may not be the city's tallest building, the John Hancock Building and Observatory can certainly brag about having the world's highest ice skating rinkat the 94th floor observatory, 875 N. Michigan Ave. Offering 360-degree views of Chicago, the lake and even Michigan, Indiana and Wisconsin on a clear day, the 900-square-foot skating rink has a synthetic surface so you don't even have to bundle up to make your figure eights. You can still have a hot chocolate, a bite to eat or a cocktail at the Lavazza Espression Café after you take a spin around the rink. Each 25-minute skating session is $5 (admission to the observatory is a separate fee) and skate rental is $1. (888) 875-8439 or JHOChicago.com. 9 a.m. to 10:30 p.m. daily through April 8
Spring blossoms
On Saturday, the Lincoln Park Conservatory opens its annual Spring Flower Show, featuring descendants of the azaleas that once bloomed at the World Columbian Exposition of 1893. The show also features a changing selection of spring blooming plants, including azaleas, annuals and perennials. The Lincoln Park Conservatory is at 2391 N. Stockton Drive, Chicago. Free admission. (312) 742-7736 or chicagoparkdistrict.com. 9 a.m. to 5 p.m. daily starting Saturday, Jan. 26; runs through Sunday, May 12
Getting ready for adventure
More than 150 exhibitors feature programs and exhibits relating to travel at the 2013 Travel & Adventure Show at the Donald E. Stephens Convention Center, 5555 N. River Road, Rosemont. Guests can interact with Sea World penguins and sled dogs, scuba dive in a 15,000 gallon scuba tank, attend cooking, music and dance events and more. Admission is $9 online (with promotion code CHPR) or $15 at the door. Youth ages 16 and younger are free. Visit adventureexpo.com. 10 a.m. to 5 p.m. Saturday, Jan. 26, and 11 a.m. to 4 p.m. Sunday, Jan. 27
Angler's delight
Die-hard sport fishers won't want to miss the Chicagoland Fishing, Travel & Outdoor Expo this weekend at the Renaissance Schaumburg Hotel and Convention Center, 1551 N. Thoreau Drive, Schaumburg. $12; $3 admission for kids ages 5 to 11. (847) 303-4100 or sportshows.com/chicago. 10 a.m. to 7 p.m. Saturday, Jan. 26, and 10 a.m. to 5 p.m. Sunday, Jan. 27
Active outdoors
See displays, meet with experts and more when the Chicago Outdoor Sports Show returns at the Donald E. Stephens Convention Center, 5555 N. River Road, Rosemont. $10-$12; free admission for kids ages 11 and younger with paid adult. (847) 692-2222 or chicagosportsmenshow.com. 10 a.m. to 8 p.m. Saturday, Jan. 26, and 10 a.m. to 5 p.m. Sunday, Jan. 27
Snow way out
Navy Pier's annual winter party returns this year with snow-sculpting competitions among 15 professional teams from the U.S. and around the world. Watch teams from Spain, Mexico, Czech Republic, Russia, Germany and other countries carve and mold snow into magical creations that are illuminated by a festive light display each night of Snow Days at Navy Pier's Gateway Park, 600 E. Grand Ave., Chicago. Enjoy snow painting and other kids' activities including a new interactive snowboarding experience and live entertainment on the Family Pavilion Stage. Free admission. navypier.com/snowdays. 11 a.m. to 8 p.m. Saturday, Jan. 26, and 11 a.m. to 6 p.m. Sunday, Jan. 27
Icy princesses
The Disney/Pixar princess Merida from "Brave" joins the lineup in the latest Disney On Ice show "Rockin' Ever After." Catch it first at the Allstate Arena, 6920 N. Mannheim Road, Rosemont, or later at the United Center, 1901 W. Madison St., Chicago. $15-$26 with $45-$75 VIP tickets. (800) 745-3000, allstatearena.com or unitedcenter.com. 11:30 a.m., 3:30 and 7 p.m. Saturday and Sunday, Jan. 26-27, in Rosemont; then Wednesday, Jan. 30, through Sunday, Feb. 10, in Chicago
'It Happened One Night'
Step back in time to see the 1934 comedy classic film "It Happened One Night," starring Clark Gable and Claudette Colbert, at the Music Box Theatre, 3733 N. Southport Ave., Chicago. Admission is $7.25 per person. (773) 871-5504 or musicboxtheatre.com. 11:30 a.m. Saturday and Sunday, Jan. 26-27
Big brawls
The World Flyweight Championship is on the line with UFC on FOX: Johnson vs. Dodson Saturday at the United Center, 1901 W. Madison St., Chicago. $40-$250. (800) 745-3000 or unitedcenter.com. 3 p.m. Saturday, Jan. 26
Drury Lane's 'Sunset'
Drury Lane Theatre revives "Sunset Boulevard" -- the Andrew Lloyd Webber musical inspired by Billy Wilder's iconic 1950 film about fading silent screen star Norma Desmond who's desperate for a Hollywood comeback and sees her opportunity in struggling screenwriter Joe Gillis. Christine Sherrill and Will Ray star in director William Osetek's production, which also features Don Richard as Norma's faithful butler, Max. See it at 100 Drury Lane, Oakbrook Terrace. $35-$46. (630) 530-0111 or drurylaneoakbrook.com. Previews at 5 and 8:30 p.m. Saturday, Jan. 26, and 2 and 6 p.m. Sunday, Jan. 27
Raised voices
Dexter Walker and the Zion Movement Chorale are just some of the performers featured in the 25th Annual Gospel Extravaganza Saturday at North Central College's Pfeiffer Hall, 310 E. Benton Ave., Naperville. $10-$15. (630) 637-7469 or northcentralcollege.edu/showtix. 7 p.m. Saturday, Jan. 26
Remembering the '80s
The 1980s tribute band Breakfast Club headlines at the Fuel Room at Austin's Saloon and Eatery at 481 Peterson Road, Libertyville. Admission is $7. (847) 549-1972 or austinsaloon.com. 7 p.m. Saturday, Jan. 26
Divas 'For Good'
Former "Wicked" co-stars Emily Rozek and Julie Reiber sing a boatload of Broadway tunes with the Elgin Symphony Orchestra in the weekend concert "Wicked Divas" at the Hemmens Cultural Center, 45 Symphony Way, Elgin. (847) 888-4000 or elginsymphony.org. Tickets $28-$68; $10 for students. 7:30 p.m. Saturday, Jan. 26, and 2:30 p.m. Sunday, Jan. 27
Missing slipper
Go to the ball with "Cinderella" when the The State Ballet Theatre of Russia performs Prokofiev's classic fairy tale ballet at the Genesee Theatre, 203 N. Genesee St., Waukegan. $32.50-$52.50. (847) 782-2366 or geneseetheatre.com. 7:30 p.m. Saturday, Jan. 26
Humorous whodunit
Successful artist Jack devises a plot to kills his art dealer after he discovers the man has tricked him in the comedy whodunit "The Art of Murder" by Joe DiPietro ("I Love You, You're Perfect, Now Change," "Memphis"). American Theater Company's Jason W. Gerace directs Fox Valley Repertory's season-opening production at the Pheasant Run Resort main stage, 4051 E. Main St., St. Charles. $32, $42. (630) 584-6342 or foxvalleyrep.org. Previews at 8 p.m. Saturday, Jan. 26, and 2 p.m. Sunday, Jan. 27; show runs through March 17
Memory lane ahead
Bob Abrams, guitarist and vocalist in the Buckinghams, and Mick Brock, former member of Herman's Hermits, will join forces Saturday on a musical love letter to the 1960s and 1970s. "Generation: The Sixties Experience" will feature Abrams, Brock and their band ripping through high-energy renditions of classic '60s-'70s pop songs at Viper Alley, 275 Parkway Drive, Lincolnshire. Tickets start at $10. Go to viper-alley.com. 8:30 p.m. Saturday, Jan. 26
Brian Daniels Band
The rock/country group the Brian Daniels Band headlines at Tokio Pub, 1900 E. Higgins Road, Schaumburg. $5. Guests can avoid the cover charge after 9 p.m. by wearing cowboy boots. (847) 278-5181 or tokiopub.com. 9 p.m. Saturday, Jan. 26
Count the coins
The Coin Club of Crystal Lake hosts its Mid-Winter Classic Coin Show in the grand ballroom at the Holiday Inn Hotel and Suites, 495 Airport Road, Elgin. The show features U.S. and foreign coins and paper money, gold and silver bullion and more. Fifty tables of items will be on display. Free admission and parking. For information, call Dave at (815) 814-1255 or Fred at (630) 677-3866. 9 a.m. to 3:30 p.m. Sunday, Jan. 27
Opera lecture
The Lyric Opera Lecture Corps. presents an opera lecture about Wagner's "Die Meistersinger" at the Northbrook Public Library, 1201 Cedar Lane, Northbrook. The program includes composer information, story insight, history and musical highlights. Free. (847) 272-6224 or northbrook.info. 2 p.m. Sunday, Jan. 27
'Thoroughly Modern Millie'
Schaumburg on Stage presents the musical "Thoroughly Modern Millie," which re-creates the "roaring twenties" with a full orchestra, big tap dance numbers and more at the Prairie Center for The Arts, 201 Schaumburg Court, Schaumburg. $18 adults; $16 for students and seniors ages 62 and older. Dinner packages available. (847) 345-0092 or schaumburgonstage.org. 2 p.m. Sunday, Jan. 27


text: The exhibition reconsiders postwar literature and the ways it mirrored, predicted, and remade the culture around it, with special focus on the influential group known as "the Beats." Pulling from the Rose Library's rich literary collections, especially the Raymond Danowski Poetry Library, the show rediscovers a number of fascinating countercultural writers and will be the first major consideration of the Beats in the U.S. in nearly a decade. Rare artifacts and interactive elements add to the immersive experience. Related events include a poetry reading by Anne Waldman 9/27, opening reception 9/28, and a group reading of "Howl" planned for 11/2.


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Ripley County Extension Gives Advice on Food Safety After a Flood
Food contamination is often a problem after a flood because floodwaters can carry silt, raw sewage, oil or chemical wastes, says a University of Missouri Extension specialist.
Filth and disease-causing bacteria can contaminate any food the water contacts and make that food unsafe to eat, said Phyllis Flanigan, MU Extension human development specialist and county program director for Butler and Ripley counties.
"You will need to discard all food and any garden produce," she said. "You will also want to disinfect your kitchen utensils and cookware, and clean and disinfect all surfaces in the kitchen just like other parts of the home."
MU Extension has a step-by-step guide to cleaning flood-damaged homes. The free publication covers electrical systems; repairing walls; cleaning furniture, flooring and floor coverings, bedding, and kitchen items; and controlling mold and mildew. The guide also contains financial advice, including filing insurance claims, avoiding fraud and hiring a contractor.
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Key words: Health, Teaching, UM System,
County: Ripley


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Horsemeat scandal harming Ireland's reputation
DUBLIN -- Ireland's prime minister says the latest finding of horsemeat in products labeled as Polish beef is harming Ireland's reputation as an exporter of high-quality meat products.
Enda Kenny spoke before Tuesday's Cabinet meeting to discuss the widening scandal. Food Safety Authority of Ireland scientists made the discovery last month by conducting DNA tests on dozens of beef burger brands and finding some contained horse as a substantial ingredient.
Irish investigators have pinned the problem on Polish offcuts imported to Ireland for use as filler in factory-made burger patties. Poland says it has found no evidence to support Ireland's charges.
In results announced Monday, Ireland says one sample of the Polish-labeled product was found to be 75 percent horsemeat.
Kenny says identifying the source is "a matter of reputation."


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Events on September 21, Location: Croydon
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Hi Blackcat. My name is Terry> I work for a Ricoh dealer in NZ, and came here 3 yrs ago from Canada. KM has offered me a job, and I'm just wondering how an old Ricoh tech (55 y.o) would transition to KM's? Curious for your thoughts.
"Suzuki swift exhaust fan cooling system trucks Suzuki lessons May photocopying Rang su machine check fabric" ???
I sure don't know what that's supposed to mean.
I answered in your thread.
HI blackcat4866 you post on my question about printer memory up grade on kyocera km 2050 can you help me whit that, i bayed 3 memory ram and got the same problem on 2 different machines km 2050, i put the memory on the slot and print status report and say memory:64 + 0 MB, so any idea what i doing wrong, thank you.
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I work out of Caro, MI but we only work on printers for the pharmacies that we service. I'm the "printer guy" for a company that sells computer systems to pharmacies for handling all of the prescriptions, insurance, and etc for them. Kyocera 4020's are what we sell currently, but with them being discontinued in the near future we are looking at the 4200's to replace them. Have you worked with either of them in the past?
hi, please help me to find compatible toner for my Oce 2065 machine. I'm from Sri Lanka and i cannot find that particular toner for my machine. Your help is greatly Appreciated!!
Hey I just joined the forum recently hoping to get some information from you. in this thread http://www.copytechnet.com/forums/ky...code-f615.html post #4 you mentioned being a member of a kyocera only forum, I was just wondering if I can get a link to that forum? And greetings from a fellow Michigander. Thanks!
If you got some tiny piece of information out of a post or thread, read the rest of the thread.
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Return to Faculty Profiles
Instructor of Adolescent Special Education
B.A., LaSalle University M.A., Teachers College Columbia University, M.P.A., The Maxwell School at Syracuse UniversityPh.D. (in progress), Syracuse University
Kate McLaughlin's interests lie in the pedagogical and policy issues surrounding the inclusion of students with disabilities at the secondary level. Her work focuses primarily on the impact of individualized education plans on adolescents with disabilities and their families, and the consequent policy implications.
Prior to coming to LIU Brooklyn, Kate worked as a middle and high school special educator in New York City and a coordinator of special education services. In addition, she has supervised student fieldwork and taught courses at Syracuse University.
Disability Studies in Education, Teacher Education, Special Education Policy and Practice
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First Friday in Greeley offers art displays for viewing
September 8, 2013
These are some of the highlights of this month's First Friday events. The events highlight the latest offerings from galleries, businesses and even churches in the downtown area. Many feature talks from artists, demonstrations and special openings. The events run from 5-8 p.m. Friday, unless otherwise noted.
If you would like to submit your event for October, send a description of the event, along with a high-res JPEG of the artwork you are featuring, to firstname.lastname@example.com. There is no charge.
At least 15 different displays are available for viewing Friday.
For a complete list, go to http://www.greeleydowntown.com/signature-events, then just click on First Friday.


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No reason to start calling each other idiots, whether we're joking or not.Anyways, it is good news I think that the Animated stuff won't be coming back... I understand that some people like those, but it seems like such a small niche. I'd rather see the 3-3/4" line keep a realistic style...Was the question asked, "Why doesn't Hasbro focus on the 3-3/4" line, seeing that is what sells and so much space at retail is dedicated to other Star Wars lines that everyone knew would flop (Choppers, Force Battlers, small Unleashed)?"A question I'd like to see asked is why Hasbro went with the 2" Unleashed... if they want to go away from the 7", why not experiment with a 3-3/4" scale Unleashed, using all army builders? Galactic Marines, Stormtroopers, Battle Droids, etc.
Someone should let them know.
I did not think my question would have been chosen. Otherwise, I would have put some more thought into it.
Yes, but they aren't TSC Basic figures. Like Jesse said, the only figures who even come CLOSE to having ROTS quality articulation are Sun Fac, Sora Bulq, Leia Boussh, AT-AT Driver, and the Firespeeder Pilot.
KAY-BEE STANDARD RESPONSE: "All we have is 1990's 'Robocop' toys."WHICH MEANS: "Holy ******* ****, please shoot m
So are we due another installment of the Q and As this week?
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SOURCE: Media Arts Center San Diego
February 20, 2013 17:14 ET
SAN DIEGO, CA--(Marketwire - Feb 20, 2013) - Join the fun! As San Diego comes together to celebrate the 20th anniversary of the San Diego Latino Film Festival (SDLFF) mix and mingle with celebrities, filmmakers, and civic and community leaders. Enjoy live music, great food, and a great time!
Showcasing the latest in Latino cinema, from the highly anticipated documentary Hecho en Mexico featuring Diego Luna, the historical drama Cinco de Mayo: La Batalla, to the film that delves into the life and mystery shrouded murder of Mexican presidential candidate Colosio, this year's SDLFF promises to bring a unique and exciting film experience to audiences and participants. Other standout films this year include Luna Escondida with Ana Serradilla, K-11 with Kate del Castillo, Chiapas: The Heart of Coffee featuring Jaime Camil, and Heleno starring Rodrigo Santoro, plus the international premiere of Marcelo with Héctor Jiménez & Aarón Díaz. Guests will also enjoy access to star-studded galas, parties and workshops with filmmakers.
The SDLFF is truly a binational celebration with festivities spanning across the border into Tijuana, Mexico where the CECUT (Centro Cultural de Tijuana) will present films for Tijuana audiences. One of the highlights of the SDLFF's 20th Anniversary will be the screening of our top 10 groundbreaking and influential Latino films from the past 20 years, funded by the Academy of Motion Pictures Arts & Sciences. Audiences will have the opportunity to see films that revolutionized Latino cinema and captured worldwide attention such as Amores Perros, City of God and Cronos on the big screen. Start celebrating at the Opening Gala on Thursday, March 7th; and enjoy films and special events over the next 11 days, including the Centerpiece Gala on March 13th, and the Closing Gala on Saturday, March 16th.
Opening Day is March 7th, 2013, and the festival runs from March 7-17 at the Digiplex Mission Valley Cinemas at Hazard Center (off THE 163 Freeway at Friars Rd, 7510 Hazard Center Dr., San Diego, CA 92108)
Tickets: General Admission -- $10.50 per film. Students, Seniors, Military and MACSD Members -- $8.50 per film. Pre-sale tickets, special passes, gala tickets, and family discounts are available. For more information, PLEASE contact us at 619-230-1938 x 102 or visit us online: www.sdlatinofilm.com.
San Diego Latino Film Festival Sponsors: Major Sponsors: Academy of Motion Picture Arts and Sciences, U-T San Diego, Vida Latina - San Diego, Enlace, City of San Diego Commission for the Arts & Culture. Showcase Sponsors: "Science on Screen" - Coolidge Corner Theatre Foundation, Neighborhood House Association, San Ysidro Health Center, KPBS, County of San Diego, Azteca San Diego 15, El Latino Newspaper, ViendoMovies, Cafe Sevilla, Metropolitan Transit System (MTS), Centro Cultural Tijuana. Screen Sponsors: National Endowment for the Arts, Harrah's Rincon Resort and Casino. Gala Sponsors: Union Bank, Stella Artois, Uniradio, Radio Latina, Vida Latina - San Diego, Univision, Fluxx. Award Sponsors: Macy's, ViendoMovies. Film Sponsors: Bamboo Lounge, Diego 99.3 FM, 5 Star Tours, Latino Public Broadcasting, Radio Latina 104.5 FM, New York Life Insurance, Mujer Actual, Para Todos, TijuaNEO, El Informador, Frontera San Diego, Gang Kitchen, EULA Radio, KISS FM 95.7, Channel 933. Official Magazine Sponsor: Giving Back Magazine. Official Hotel Sponsor: Town & Country Resort Hotel. Newspaper Sponsors: El Mexicano, San Diego City Beat. Official Spanish-Language Television Sponsors: Telemundo 33, Univision KBNT 17. Official English-Language Television Sponsor: ABC10. Official Spanish-Language Radio Sponsors: La Invasora 99.7 FM, Pulsar 107.3 FM. Official Airline Sponsor: AeroMexico. Official Transportation Sponsor: Amtrak.
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Nick Calathes is making the most of his opportunities as an NBA rookie after playing abroad in two different countries.
MEMPHIS, Tenn. — The first thing noticeably different about former Florida turned Memphis Grizzlies point guard Nick Calathes is his hair.
"A little lighter up top," Calathes joked, pointing out his now visible scalp.
For Calathes, the circuitous route to the NBA included four-plus years playing abroad in two different countries. But as a 25-year-old NBA rookie, the 6-foot-6 former Gator has made the most of his opportunity. In a six-game stretch replacing injured starting Memphis point guard Mike Conley, Calathes averaged 16.1 points, 12.1 assists and 4.7 rebounds.
"In the beginning, I wasn't playing too much," Calathes said. "But now I've gotten a great opportunity, starting to get more minutes and get in a better rhythm and obviously more confident."
Calathes said he felt no nerves in living up to expectations replacing Conley, who led the Grizzlies deep into the NBA playoffs last season.
"I was ready," Calathes said. "I was prepared. It wasn't my first professional basketball game, I've played overseas for four years. I was ready for the challenge, playing with the guys on my team. It's just easy to get them the ball and to make the game easier."
It's no surprise Calathes has made an impact in the NBA through his passing and court vision. In his two years at Florida, Calathes set two single-season records for assists (221 in 2007-08 and 231 in 2008-09). But for as well as Calathes set up his teammates, the Gators as a team could not overcome the loss of three lottery picks across the frontline (Joakim Noah, Al Horford and Corey Brewer) following UF's back-to-back national title seasons.
Florida failed to make the NCAA Tournament both years Calathes was on campus, settling for NIT bids. Then, following his sophomore season, Calathes left UF to play professionally in Greece for a contract worth more than $1.1 million annually for three years.
"Obviously I wish we would have won more," Calathes said. "That's the biggest thing. If you look back, we had a talented team — me, Chandler (Parsons) and Marreese Speights, we obviously should have went far and should have made the NCAA Tournament. As freshmen I think we didn't know how to take that next step. That was on us.
"Coach (Billy) Donovan, I thought, did a great job with us. We wanted to make the NCAA Tournament. He coached us probably the best he could do. We won some big games, but we lost some bad ones and that's what really hurt us."
Parsons stayed all four years and helped lead Florida to the Elite Eight as a senior, becoming the first UF player to win SEC player of the year. Across the world, in Greece, Calathes said he was pulling for his close friends and former teammates.
"Alex Tyus, we all played great minutes being freshmen and those guys, each year, kept getting better and better," Calathes said "I was hoping they took it home. I was hoping they would win a championship."
Asked if he had any regrets watching them, Calathes said: "Obviously I wish I could have played in an NCAA Tournament, could have done those things, but I was happy with the decision I made. I don't regret that all. The two years at Florida were great, I couldn't probably ask for a better two years. I loved Coach Donovan and my teammates, but I thought it was time to play professional basketball and try something different. And like I said, I don't regret it at all and I think it worked out (well) both ways."
Calathes said the four years playing in Greece and Russia "against grown men" helped him mature physically and mentally. After earning Eurocup MVP honors last season playing pro ball in Russia, Calathes took a pay cut to play for the Grizzlies. He's making the rookie league minimum of $490,180.
"I thought if I was going to try it, this was going to be the year," Calathes said. "And I saw a great opportunity. I won the MVP on the Eurocup last year. I thought if I had a chance, this would be the time."
In Memphis, Calathes has found a good supporting cast, and some stability. He's a father now, and the family is together in Memphis. Calathes and his fiancee, Tiffany Altman, had their first child together last year, a son named Luke. He turns 1 in three weeks, but the family chose to celebrate his birthday over the NBA All-Star break.
"It's the best thing that's ever happened to me," Calathes said.
On the Memphis team, Calathes has a big brother in former Gator and 14-year NBA veteran Mike Miller, who signed with the Grizzlies this past offseason after winning two rings with the Miami Heat.
"He's been great with me," Calathes said.
Grizzlies coach Dave Joerger compared Calathes with Greivis Vasquez, who began his NBA career with Memphis and is now playing point guard for the Toronto Raptors.
"They can throw some risky passes and their bravado is what makes them good," Joerger said. "But given that, Nick had the opportunity to play through some mistakes and gain some confidence. Then he had the opportunity to get some minutes and his confidence has remained high, and now that he's coming off the bench I don't want him to play conservative. That's not who he is."


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How creative are you? "Scribblenauts Unlimited" will give you an idea. (5th Cell/Warner Bros. Interactive)Link
Race as a bird in "Chasing Aurora." (Broken Rules)Link
"Scribblenauts Unlimited" can melt hearts. (5th Cell / Warner Bros. Interactive)Link
A look at "New Super Mario Bros. U." (Nintendo)Link
A look at "New Super Mario Bros. U" (Nintendo).Link
Watch how different objects interact -- and then burn them in "Little Inferno." ((Tomorrow Corporation)Link
Burn things! The puzzle game "Little Inferno" is beautifully addictive. (Tomorrow Corporation)Link
You can play as Catwoman in "Batman: Arkham City." (Warner Bros. Interactive)Link
An image from eShop game "Chasing Aurora." (Broken Rules)Link
This is what displays on the TV screen in "Mario Chase," a mini-game from "Nintendo Land." (Nintendo)Link
This is what the GamePad user sees in "Mario Chase" in "Nintendo Land." (Nintendo)Link
A look at the action in "FIFA Soccer 13." (Electronic Arts)Link
Stats! One glimpse at what the GamePad holder can see in "FIFA Soccer 13." (Electronic Arts)Link
A look at "Madden NFL 13." (Electronic Arts)Link
Shhh … listen. Nintendo's new home console the Wii U has been out for about two days now, and if everyone gets really quiet you can probably hear someone somewhere fighting over whose turn it is to control the GamePad.
The GamePad, of course, is Nintendo's new controller, and it's modeled after a touchscreen tablet. Sometimes, the images on the GamePad are the same as those on the television screen, but more often they're not. At launch, Nintendo has promised more than 30 games that take advantage of this dual screen technology — some of these are available in stores, and some are for purchase in Nintendo's online eShop.
So what to play? Now that the launch-day lines are gone, peruse the below while your GamePad battery recharges.
REVIEW: Wii U and its GamePad set a course for gaming's future
"Scribblenauts Unlimited" (5th Cell/ Warner Bros. Interactive, $59.99)
Picture this: There is a classroom, and your mission is to put a pet in the school's empty cage. Sure, you can give the kids a hamster, and yes, you can go with a standard-issue caged pet such as a rabbit, but maybe, just maybe, the school deserves a petite dragon that sings opera rather than breathes fire.
"Scribblenauts Unlimited" leaves decisions like these completely up to the gamer. The game presents a puzzle, and the GamePad can be used as a sort of magical keyboard. Type a word, any word (within reason, of course), and — poof! — it exists on screen.
If there's an old man who won't let you pick up the baseball on his lawn, try chasing him inside with a storm. Or send a gargoyle after him. Or play "Scribblenauts Unlimited" like you're a digital Cupid and give him an age-appropriate woman to swoon after.
The puzzles in "Scribblenauts Unlimited" aren't necessarily hard to solve. A hamster, in the earlier example, will do the job. The world is large — subways, farms, zombie-infested hospitals, you name it — and the challenge isn't in finding a solution. Time and time again "Scribblenauts Unlimited" asks the gamer a question: How creative can you be?
The "Scribblenauts" experience was initially tailored for Nintendo's dual-screen DS, and 5th Cell did more than just make it bigger in the jump to the Wii U, fully utilizing the full breadth of the GamePad's touch abilities. Using the GamePad to type in adjectives and nouns is a breeze, so much so that it's a wonder this game ever worked on a smaller scale. And for those who really want to test their ability to daydream like they could when they were 5 years old, "Scribblenauts Unlimited" has an object creator, allowing players to use the GamePad to draw whatever mutant creature they can dream.
The relatively free world of "Scribblenauts Unlimited" may initially perplex the uninitiated. It takes a little while, after all, to get comfortable with the idea that yes, you really can create whatever word you type.
"Little Inferno" (Tomorrow Corporation, $14,99 in the eShop)
This downloadable game isn't a Wii U exclusive, but the Wii U edition is the only one that works as a combination game/living room art piece. The concept is simple: Combine objects to solve a puzzle, and then incinerate them. There's catalogs of stuff to set aflame, and burning old toys, vintage video games and oddities such as Uncle Sam firecracker dolls is a blast, especially because each one burns differently.
It's also gleefully fun to look at. The game has a cartoonishly devilish art style that makes everything look slightly off. It's part Tim Burton, part Ugly Doll and the '50s style advertising music adds to the weirdly approachable vibe. As items go up in flames, they hoot, howl, glow, meow and, in the case of the low-self-esteem doll, try to drunkenly pick up guys at the bar. Burn a creepy leprechaun, psychedelic cereal boxes and "mommy pills" (no description needed).
What's more, the game has a sense of humor — the inclusion of a zombie doll contains the admission that you "can't make a game without one of these" — and as puzzles are solved a surprisingly affecting back story emerges, making it clear that setting fire to corporate goods has an unexpected cost. Playing with fire has never been this safe — or adorable.
"New Super Mario Bros. U" (Nintendo, $59.99)
Don't doubt Nintendo when it comes to platform games. Wii titles such as "Kirby's Epic Yarn" and the "Super Mario Galaxy" were delightful twists on an old genre. Each boasted graphics that were smile-inducing bright and motion controls that were embedded into the world rather than slapped onto the game. So if there were anything close to a sure bet with the the launch of the Wii U, it was this: Nintendo wasn't going to fumble its first major platform game for the new console.
"New Super Mario Bros. U" doesn't disappoint. Now in high-definition, Mario has never been this effervescent. The game is more old-school than up-to-the-minute, and that means the GamePad is actually used relatively sparingly. Yet it still plays a vital role. Control Mario with a Wii remote, and the GamePad becomes a god-like tool. Tap it to create insta-platforms for Mario to jump on to explore new nooks of the Goomba-infested world. The GamePad sits there like a dare. Go ahead, tap me, it teases, tempting gamers to create new surfaces so Mario can jump higher and higher — all while the clock ticks away.
"Madden NFL 2013" (Electronic Arts, $59.99)
None of the available Wii U sports games will steer you wrong. This genre perhaps more than any other is the one most ideally suited to a bounty of superfluous stats and data on a second screen. Of the sports games sampled — "Madden NFL 2013," "NBA 2K13" and "FIFA Soccer 13" — all offered an enjoyable experience and all attempted to use the GamePad in creative ways.
In "FIFA Soccer 13," for instance, one can tap the GamePad to make player substitutions without pausing the action on the big screen. Or, more fun, tap a player or location on the field to pass the soccer ball using the GamePad rather than a button. Also fun, tap a player to use the GamePad to set a route for him to run. Yay for the future! In "NBA 2K13," you can use the GamePad as a sort of heat-finder Viewfinder. Turn the controller toward the screen and the GamePad offers a biometric scan of all the players on the screen, supposedly to see who is tired, who isn't, etc. It's a cute little novelty.
So why does "Madden NFL 2013" get the vote? It mainly gets the edge for ease of use, meaning it offers the cleanest, most simple route to a quick game and the title outlines in its opening moments how to jump a game from the TV to the GamePad. Yet pick your favorite sport. An added nice touch of "Madden" was the ability to use the GamePad as essentially a mini-TV, as multiple players can use old Wii remotes to play on a propped-up GamePad.
"Nintendo Land" (Nintendo, $59.99)
There's a game in "Nintendo Land" called "Donkey Kong's Crash Course." Like all the games in "Nintendo Land," it can be learned in seconds. This one, however, stole an entire day from me.
At its core, it's simply a game of perception. The TV offers a full-fledged view of the "Donkey Kong" course. The GamePad provides an extreme close-up. Neither is 100% optimal for completing the game. To navigate through the course, one largely tilts the GamePad, although occasionally you will asked to huff and puff into the GamePad's microphone to push your little digital avatar skyward.
"Donkey Kong's Crash Course" gives the familiar "Donkey Kong" universe an arts-and-crafts makeover, and tilt too much in one direction and your little cart tumbles to pieces. Watch the GamePad and you won't know what's ahead of you. Watch the TV, and you will overly compensate and tilt too hard.
"Nintendo Land" is full of addictive little games like this and "Mario Chase." Some gamers will gravitate toward some more than others. Not everyone, for instance, will spend seven hours on "Donkey Kong's Crash Course," but rest assured puzzle fans, something will hook you, and each one of these games highlights a different us of the GamePad. (Read more on "Nintendo Land" in our Wii U review.)
"Batman: Arkham City" (Warner Bros. Interactive, $59.99)
This will be quick. Everyone who really wants this game likely already owns it for the PS3 or Xbox 360. Those of us, like this writer, who waited a year for the Wii U version are probably in the minority. Yet those who did will be pleased to know that this is the definitive version of the game, and those new to the Wii U and the series looking for an action game would be wise to investigate "Arkham City."
Players accustomed to Xbox and PS3-style controllers will go through an adjustment period, but one of the reasons to be most optimistic about the Wii U is the way in which the GamePad has the early ability to simplify lengthy, complex action games. Having maps and gadgets on the GamePad neatly compartmentalizes the presentation, and the GamePad, depending on its need, can become fancy goggles, a magnifying glass or a tool for laying bombs. The GamePad's knobs and eight-plus buttons allow for plenty of sparring and fighting as well, but don't underestimate the power of pointing and clicking.
"Chasing Aurora" (Broken Rules, $14.99 in the eShop)
Bird race! That's the hook of the game. You race as birds.
Yet the game actually attempts to simulate flight without overloading the user with physics. You flap, you dive and you hopefully won't crash your bird into cliffs. The single-player game is a straight-ahead race-against-the-clock mode, and it's a challenge to unlock future levels as bird flight isn't as easy as it looks.
But the reason to get this game is for its multiplayer options. Think of it as a sort of indie-focused answer to "Nintendo Land." These are party games for up to five people that take their cues from the simple games of our childhood — hide & seek and tag, for instance — and most of them use the GamePad to provide a different view of the action. And don't worry about fighting over the GamePad, as "Chasing Aurora" encourages it to be passed around.
Yet even after you've played through all the mini-games and completed some of the single-player races, "Chasing Aurora" offers reasons to return. One, the game features a lovely soundtrack. It's a little indie-pop and a little magical, and the races are full of all sorts of clickety-clack rhythms that fuel the pulse. Two, flying through the game is the digital equivalent of flipping through the pages of a gorgeously illustrated children's book. Developers aptly describe it as something "between origami and pop-up book," and it's as pretty as that sounds.
— Todd Martens
'Epic Mickey 2: The Power of Two': Magic and music
Nintendo's GamePad to reinvent the playing field?
Nintendo Land lets Zelda show off GamePad
Miiverse and Nintendo's plan for keeping it clean
Shigeru Miyamoto isn't ready for 'game over'
Pokémon puts players in the game … literally
Review: 'Halo 4′: Master Chief is human after all
Review: 'AC3,' an alternate history, with footnotes
Review: 'Dishonored' is only as violent as you make it


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© - Steven A. Cerra, copyright protected; all rights reserved.
The editorial staff at JazzProfiles wanted to do something special to honor alto saxophonist Lee Konitz's upcoming appearance at the Los Angeles Jazz Institute's 4-day festival - Something Cool: Celebrating Jazz Sounds of the Cool School [October 30-November 2 2014 at the Sheraton Gateway Hotel in Los Angeles, CA] - which will mark the 66th anniversary of Lee's performance on the Gerry Mulligan and Miles Davis Birth of the Cool recordings that Pete Rugolo produced for Capitol Records in 1949.
We especially wanted to feature something about Lee's association with these epic recordings and his early years in Jazz.
So we wrote to Gordon Jack and requested his permission to post his chapter on Lee from his superb book - Fifties Jazz Talk: An Oral Retrospective [2004].
Imagine our delight when he gave his consent!
Gordon's book is published by The Scarecrow Press and you can find order information about it by going here.
[The footnotes to Gordon's essay are listed at the end of this piece.]
© - Gordon Jack; used with the author's permission; copyright protected; all rights reserved.
"Lee Konitz, who was born on October i3, 1927, in Chicago, was one of the very few alto saxophone players of his generation not lo fall under the spell of Charlie Parker. Throughout a long career, his unique sound and approach to improvisation have shown him to be one of the great individualists of the music. This interview took place in May 1996, when he was visiting London to play at Ronnie Scott's club.
It was thanks to Milt Bernhart that I got my first job with Teddy Powell's band in 1945 when I replaced Charlie Ventura, which meant I had all the hot solos on tenor. Unfortunately, the chords were written in concert, which was difficult for me, as I was just beginning to understand how all that worked. When I stood up to play on my first gig, I was told that Teddy walked off the stage and started banging his head against a wall. He wasn't an instrumentalist, but he had a fine jazz/dance band, with good musicians like Boots Mussulli, who was very encouraging but mystified by my lack of knowledge. Boots was a lovely guy, and he wasn't only a very fine saxophone player but he was also the best poker player in the band; he never lost. A month after I joined. Teddy Powell had to disband because of tax problems with the IRS. A little later, I went with Jerry Wald for a while, and he could certainly play the high notes on the clarinet, but he didn't let me play any solos.
In 1947 I joined Claude Thornhill, who had a lovely "ballad" band, as you know, and I did my first recording with him. He had excellent arrangements by Gil Evans and Gerry Mulligan, and Gerry of course was mainly a writer then. His charts were great, and I also played his music with Stan Kenton.and those pieces were some of my favorites, because he really knew how to write for saxophones.
Moving on to the Miles Davis "Birth of the Cool" group, Miles was the titular leader because he had more of a name, and I suppose he could get the gigs; big deal, so he got one week at the Royal Roost. It has been said that we did two weeks there, but the way I remember it, the band did the first week, and for some reason Miles and I did the second week as a quintet with John Lewis, Al McKibbon, and Max Roach, I appreciated that Miles asked me, but we were basically playing bebop and I was not all that comfortable. The nonet was an arranger's band, because they rehearsed the music. Miles made some suggestions, but very few that I recall; I thought of it as Gerry's band really. What really concerns me is the way the band has been called 'The Birth of the Cool," which I think is a little off. The nonet was a chamber ensemble where the solos were incidental to the writing, which was the most important aspect. The real "Birth of the Cool" for me was Lennie Tristano's music. [1]
I wrote "Subconscious-Lee" for my first recording session as a leader in 1949, [2] but the title is not mine; I would never call a tune "Subconscious-Lee." I think it was my colleague Arnold Fishkin who came up with that name, and all the other "Lee" titles over the years have been suggested by other people as well. Tony Fruscella was supposed to be on the date, but when he came to my room to rehearse, I apparently offended him in some way with a couple of suggestions, so he pulled out. He was a sad guy, and 1 didn't play with him again. I had real trouble relating to him because that whole junky mentality was always a big turnoff for me. I could never identify with it and hated that aspect of my environment.
During the late forties I rehearsed with a band Benny Goodman was forming with Wardell Gray, Gerry Mulligan, Doug Mettome, and Buddy Greco. I was playing lead alto, and I remember Benny sitting in a chair right in front of me as we ran down one of Eddie Sauter's arrangements, I was able to read alright, but I had no lead alto experience to speak of. and Benny said, "O.K., Pops, can you do something with it?" In other words, he wanted some "Hymie Schertzer'-like vibrato. He asked me to go on the road with the band, but I turned him down, as I was studying with Lennie Tristano. I remember him saying, "You're studying with Tristano? Why don't you study with Paul Hindemith?" Looking back, I wish that I had gone on the road with him, because I am sure I would have enjoyed the experience. Something else I remember from those rehearsals is that Benny and Gerry didn't get along at all.
Lennie Tristano played very little in public, because the club pianos were so bad. It was also difficult for him to get around, and he didn't like depending on others for that. We didn't work much, except at the Half Note once in awhile, and I could probably count the gigs there on a couple of hands and maybe a foot. Audience reaction to him, though, was always great. Leonard Bernstein was very interested in Lennie's ideas and music, and they were very good friends. He once brought Aaron Copland to Lennie's studio to find out what Lennie was doing currently, and they both liked "Intuition," our free improvisation piece. [3] They wanted to know if there was a score to look at, but Lennie pointed out that it was fully improvised. Bernstein was always curious about jazz.
Neither Tristano nor Warne Marsh, who was one of the great improvisers of this music, have been fully acknowledged, and I think they were both resentful about that. Two other Tristano students. Sal Mosca and Don Ferrara, have since retired from the active scene. Sal has followed in Lennie's footsteps and become a teacher, and Don, who was a very capable player, seemed to drop out just as he was becoming known for his work with Mulligan's CJB in the sixties. Apparently he started to change his embouchure, and the next I heard was that he was teaching but not playing, in California. Willie Dennis was another of Lennie's students, who unfortunately died in the mid sixties. He was a wonderful trombonist and a lovely guy, but I didn't know him that well because he used to drink and hang out at places like Jim 'n' Andy's. Being a family man, I didn't hang out there, and as a result I didn't work that much. Things have changed—I still don't hang out, but I work a lot now.
In 1952 Stan Kenton was trying to get more of a jazz band with charts by Bill Russo, Bill Holman, and Gerry Mulligan, so I joined playing the jazz alto chair, with Vinnie Dean on lead. Stan was a heavy drinker and I wasn't, which meant that I didn't hang out with the guys in the back of the bus, but a certain reputation had preceded me, and I just quietly tried to do my job. I appreciated him very much because he was great to everyone in the band, although he used to tell them not to smoke pot on the road, so there wouldn't be any legal problems. Some time after Vinnie left, Davey Schildkraut joined, and he was a very musical guy. He played really well, and I remember when Warne Marsh heard his recording of "Solar" with Miles, he thought it was Bird playing.
Charlie Parker of course was the major influence on alto, but it wasn't difficult for me to avoid, since temperamentally that music didn't really get to me. It was more intense than I was able to identify with at the time, but eventually I decided that was all ego and I was missing the greatest alto player who had ever lived. I started to learn his music without adopting his whole vocabulary, because it is such a temptation to play all those nice melodies like everyone else did, but I had other stimuli.
When the Kenton band was at the Palladium in Los Angeles, Gerry asked me to come and sit in with his quartet at the Haig on our nights off. I loved the pianoless concept, and I have worked in many similar groups over the years. I had heard stories about Chet not reading, but I was never in a situation to check that out. I had also heard that he didn't know chord changes, but I remember seeing him at a piano, playing changes to tunes, so that wasn't true. On my recordings with the quartet, I actually rejected "Too Marvelous for Words" because it didn't seem to fit into Gerry's context. [4] Later on, in 1957, I played on another Mulligan album called The Sax Section, with Al Cohn,Zoot Sims, and Allen Eager, and that was a fun date. What impressed me most was how nice Zoot sounded on alto—Allen Eager, too. [5] Looking back, Gerry and I didn't play that much together, but he was very encouraging to me in the early days, and I always felt he was an ally. We even got high together for the first time because we had that kind of close relationship.
A few years later, in 1959, I came to England with a group called "Jazz from Carnegie Hall," with Zoot Sims, J. J. Johnson, Kai Winding, Phineas Newborn, Oscar Pettiford, and Kenny Clarke, but I don't have happy memories of that tour. Oscar, rest his soul, was a beautiful musician but a terrible drinker. He became very hostile when he drank, and I got some bad vibrations from him. Before the tour, he had asked me to play with a little band in New York, so we already had a relationship. In Europe, though, he became really mean, which intimidated me, and if I get uncomfortable I can't play. Every night he and Kenny Clarke would be arguing back and forth, accusing each other of rushing the tempo, but eventually they would hug and kiss. Kenny of course was a lovely guy and a great drummer, and I used to sit behind the curtain, playing time with some sticks when he was on with Jay and Kai. Zoot didn't have trouble with anyone, as he was pretty stoned most of the time anyway.
Another time when I was uncomfortable in a playing situation was fairly recently at Carnegie Hall, just before Red Rodney died in 1994. We were both with Gerry Mulligan, John Lewis, Paul West, and Roy Haynes, and I just didn't feel that I was fitting in, but I never heard Red play so brilliantly — wow! When I play, I try to improvise from the first note, and if the acoustics are right I can do it. If they are wrong I'm messed up, because I don't have all that ready vocabulary, like a real professional should, I guess. All those cliches and hot licks carry you through sometimes.
I moved to California in 1962 because my wife and I felt there was a need to separate from Lennie Tristano, who was a very strong father-figure to me. We had been living at his house, but she encouraged me to move away to see what was happening elsewhere, and we stayed on the West Coast for a couple of years. I wasn't working much, but Warne and I used to play at Kim Novak's house in Big Sur on Sundays. Kim was not only a lovely woman but she was really nice, and she was quite a jazz fan. I wasn't soliciting for work, and it was nice forgetting about all that for a while, but I remember around 1963 going to see Miles with Frank Strozier at the Jazz Workshop in San Francisco. He asked me to sit in, which I didn't want to do, because that is the type of situation I am uncomfortable with, especially when another sax player is there. It was almost as though Miles was checking out a replacement, and I could never do that. I did sit in with Miles at the Village Vanguard when Herbie Hancock was with him, but again,! wasn't happy just jumping into an organized band and trying to find a voice.
During the seventies I did some work with my own nine-piece group. Dave Berger, who is a very fine writer, suggested the instrumentation, which was two trumpets, two trombones, alto, baritone, with three rhythm, and although I couldn't afford to pay for arrangements, there were a lot of people who were eager to write for it without a fee. Kenny Berger was with us for a time, and he is a fine baritone player, but he had to take a night off. Someone suggested Ronnie Cuber, who I didn't know, but he turned out to be very impressive. Kenny had been taking long solos with the band, and even though I wanted to give everyone a chance to play, I had suggested to him that we shorten the solos a little. For instance, I would start off with a couple of choruses, then the next guy would play four, someone else would take six, and suddenly you say, "Hey, wait a minute!" Not being a leader as such, I found I was sitting there listening to all the guys blow, which is fine up to a point, but eventually 1 decided that I wanted to do the playing myself. Getting back to the baritone chair, because Ronnie was so good, I hired him, and Kenny didn't forgive me for a long time, but sometimes these decisions have to be made.
In 1980 the band was booked to play some concerts in Washington, D.C., and we were asked to recreate some of the "Birth of the Cool" arrangements. I called Miles to see if he still had the charts, but he wasn't interested in helping, so I started transcribing from the records. In the end, I had to call Gerry Mulligan, because there were ensemble passages that I couldn't decipher. I went to his house in Connecticut, and he rewrote "Godchild," "Jeu," and "Rocker" in four hours. It was great to see him work. [6]
In 1992 Gerry asked me to join the "Rebirth of the Cool" band, and I stayed with him until the end of the European tour, when Jerry Dodgion took my place for some concerts in South America. After the initial novelty of playing those arrangements again, it became a little much for me. It was Gerry's show, and he did it very well, God rest his soul, but I was just sitting there interpreting the parts, and I felt I wasn't playing enough. The very last time we worked together was in Marciac, France, when Bob Brookmeyer and I were guests with his quartet in 1993. At Gerry's memorial concert I played "Alone Together," which had been my feature on the "Rebirth" tour, and I asked everyone to hum a D concert, which is common to all the chords of the tune. I often do that so audiences and I are doing something together. While I played, there was a beautiful photo image on the wall of Gerry.
I travel six or seven months of the year, and I often do workshops for students. I sometimes ask myself what I can tell these young people, who probably play three times faster than I do and know every pentatonic scale created by man. In Austria last year I did a workshop with a difference, because 1 wanted to focus very directly on the music, so I just used hand signals and didn't say a word. Communicating these concepts in English can be difficult, but a translator creates even more problems. I got through two of the allotted three hours in that way in total silence, and humming was the main point. They warmed up their musical instrument with a hum and placed that hum in different parts of the body. I then played an interval and a chord and the students had to hum them both, and it really worked. They all seemed pleased to be doing something and not just listening to a bunch of concepts, but then I started to talk and spoilt everything!
Leonard Feather [Jazz critic], who got a lot of things wrong, once claimed that I had turned down the chance of playing with some of the "name" bands, but that wasn't true. I would have loved to play with Duke Ellington or a real jazz band like Woody Herman, but they never asked me. I keep busy, though, by recording, and since December 1995 I have appeared on about twelve CDs. I'm just making them left and right, and I think these little boxes will be the only things left after it is all over!"
1. In Ira Gitler's Jazz Masters of the '40s (Da Capo), Gerry Mulligan is quoted agreeing with Lee: "As far as the 'Birth of the Cool' is concerned. I think Lennie is much more responsible than the Miles dates. It's hard to say unemotional because it's not exactly that, but there was a coolness about his whole approach in terms of the dynamic level. Lennie always had his own thing going. He never came out in the big world."
2. Lee Konitz Quintet. PRLP 7004.
3. Lennie Tristano Sextet. EAP 1-491.
4. Gerry Mulligan Quartet with Lee Konitz. Mosaic MR5-102. We must be thankful thai Konitz did not get his way in rejecting "Too Marvelous for Words," because the title sums up his playing both on this track and on an inspired "Loverman." Mulligan and Baker, however, were not at their best, and for this reason Gerry initially felt that the material should not be released. He changed his mind because of the brilliance of Lee's playing.
5. Gerry Mulligan and "The Sax Section." Pacific Jazz 7243 8 3357520.
6. Whitney Balliett reports in American Musicians: 56 Portraits in Jazz (Oxford) that after Miles Davis had refused to help and Mulligan had transcribed some of the charts, Konitz called Davis again, telling the trumpeter that the arrangements had now been rewritten, and Miles apparently replied, "Man, you should have asked me. They're all in my basement." Konitz told Gil Evans about the conversation, who said, "Miles wouldn't have told you he had everything in the basement if you hadn't first told him you'd gone to the trouble to transcribe the records." Lee told Balliett that "Miles is a bona-fide eccentric."


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11th January 2012, 12:28 AM
Today Bentley got some teeth pulled and his kisses are much better. I no longer have to turn my head or plug my noise. I haven't talked about him but he is such a love bug. Dad picked him up and when they came home he came galloping to my lap and I went snif you smell good. lol


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NEW YORK (MarketWatch) — Treasury prices climbed Tuesday as demand for longer-dated U.S. government debt remained robust, extending gains after an auction of 3-year notes at the highest yield since May 2011.
The 30-year bond US:30_YEAR which has rallied strongly in recent sessions, continued to be the biggest gainer on Tuesday, marking its fourth day of gains in five sessions. The long-term yield, which falls as prices rise, dropped 3 basis points on the day to 3.380% and now trades around levels from last June.
The 10-year noteUS:10_YEAR yield fell 2 basis points to 2.590%, while the 5-year note US:5_YEAR yield was down slightly at 1.679%.
The rally in long-term U.S. government debt since the beginning of the year has led to returns of over 11% for the Barclays U.S. Treasury 20+ Year index. It's also brought out corporate issuers like Caterpillar Inc. CAT, +0.24% to take advantage of low rates to buy long-term debt.
Yields on Italian and Spanish debt continued to hit record lows, with Italy's 10-year yield touching below 3% for the first time ever on Tuesday.
Investors have pinned the demand for long-term debt on a number of factors, including a stampede of purchases by long-term buyers like pension funds and foreign central banks, and technical short-covering that has had a snowball effect.
"When you combine new inflows from domestic and foreign players and this short base, you get the makings of this bonds rally," said William O'Donnell, head Treasury strategist at RBS. "The investing world is still awash in cash and it needs to find a home."
Given that Treasury yields are still high in comparison to debt of countries like Germany and Japan, as well as portions of the corporate bond market, long-term rates continuing to fall, according to Dan Heckman, senior fixed-income strategist at U.S. Bank Wealth Management.
"Don't focus domestically if you're trying to gage where rates are headed in the fixed-income markets," Heckman said. "If global rates remain low or trend lower, that's an indication you'll see lower U.S. Treasury rates."
The Treasury Department sold $29 billion of the securities at a yield of 0.928%, slightly below where the broader market was trading at the time. The high yield was the biggest.
Buyers offered to purchase 3.40 times the amount of debt for sale, compared with 3.38 times in the last six sales. Indirect bidders, a group that includes foreign central banks, took down 28.1% of the sale, below the average of 33.1% in recent auctions. Direct bidders, which can include domestic money managers, bought 25.5% of the auction, well above the recent average of 18.4%.
After the sale, the 3-year note US:3_YEAR yield was up 1 basis point on the day at 0.883%, according to Tradeweb.
Nomura Securities gain the auction a grade of A-.
The Treasury Department will sell $24 billion of 10-year notes on Wednesday and $16 billion of 30-year bonds on Thursday.
Treasurys gained after a report showed the trade deficit shrank 3.6% in March to a seasonally adjusted $40.4 billion. Economists had forecast $40 billion.
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March 22, 2012
Four shooting and four responsibility areas of competition offered to participants
WELLINGTON — On May 5, the National Rifle Association (NRA) will conduct its Youth Hunter Education Challenge (YHEC) at the Davis Pond, 5 miles north of Mayfield in Sumner County. (From Highway 160, go north 3 miles on Anson Road, west 1 mile on 40th, and north 1.5 miles on Mayfield Road.) This competition will include two groups: a Youth Division, ages 10-14, and a Senior Division, ages 15-18. Competitors may be 19 if they are enrolled in high school and turn 19 during the school year. Hunter education certification is required except for 10- and 11-year-old participants.
This a comprehensive program created to promote outdoor skills and safety training in young hunters. Youth who have received their state hunter education certificate are eligible to compete for awards and prizes in eight different skill areas. Competition consists of four responsibility events and four shooting events, including rifle, archery, muzzleloader, shotgun, ethics, wildlife identification, orienteering, and safety on the trail. All skill levels are welcome to participate.
Registration forms may be found online at kansasyhec.org/forms.html. Entry form, $20 early entry fee, copy of birth certificate, and copy of hunter safety education certificate must be post marked no later than April 20. Forms will be processed on a first-come, first-served basis. A limited number of participant slots will be available. Mail registration forms to SC KS YHEC, c/o Jarrod Davis, 747 N. Anson Rd., Wellington, KS 67152. On-site registrants will be on standby should participant slots become full. On-site registration fee is $30. More information may be found online at http://kansasyhec.org.
Parents are encouraged to stay and enjoy the event. For more information, email firstname.lastname@example.com.


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The 2012 Desk Calendar: pages that detach day by day and a pocket for notes to keep track of special dates.
Available at the Moleskine Store, MoleskineUS and Moleskine Asia
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GENEVA (AP) — Credit Suisse, Switzerland's second-biggest bank, returned to profit in the fourth quarter of 2012 but said it was planning to cut costs more than previously planned.
The Zurich-based bank said Thursday it made a profit of 397 million Swiss francs ($435 million) during the period, in contrast to last year's loss of 637 million francs.
CEO Brady W. Dougan said 2012 was "a year of transition" as the bank struggled with tough market conditions and made aggressive cuts in costs and risks while meeting new requirements that it hold more capital. But he saw this year starting well.
"Going into 2013, revenues have so far been consistent with the good starts we have seen to prior years, with profitability further benefiting from the strategic measures we took in 2012, including our strengthened capital position and our significantly reduced risks and cost base," Dougan said.
Credit Suisse also reported full-year results for 2012 that showed a net profit of 1.48 billion francs ($1.62 billion), a 24 percent drop from 1.953 billion francs in 2011.
The bank said that by the end of 2015 it would raise its cost-cutting target by 400 million francs to 4.4 billion francs. With some 47,400 staff around the world and 924 million francs in assets as of the fourth quarter, the bank is on the list of the 29 "global systemically important banks" that the Bank for International Settlements — the Basel, Switzerland-based central bank for central banks — considers too big to fail.
But the latest financial results also show total assets managed by Credit Suisse were 12 percent lower than in the fourth quarter of 2011. The bank also reported shedding 2,300 jobs during that time.
"We took significant steps to adapt our businesses and our organization to new regulatory requirements, changing client demands and the current market environment," Dougan said.
Shares in Credit Suisse sank 1 percent to 26.73 francs ($29.26). However, they have risen almost 20 percent since the start of the year.
On Tuesday, Switzerland's biggest bank, UBS AG, posted a loss of 1.9 billion francs ($2.1 billion) for the fourth quarter in the wake of a series of lawsuits, scandals and a wave of restructuring.


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LeapFrog® Leapster Explorer™ Bundle - Green
by LeapFrog | Item #: 929186 |
Included in this bundle
Leapster Explorer™ is the extraordinary learning handheld experience that encourages children to discover something new every day with endless ways to play and learn!
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LeapFrog Leapster Explorer™ Learning Experience (Green)
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- Choose and download your own learning and fun!
- Use the code to download learning games, e-Books, videos and more to your Leapster Explorer™ or
- LeapPad Explorer™ systems from the LeapFrog® App Center
- Appropriate for children ages 4 to 9 years
- Includes one download card, $20 USD value
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