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Raquel Welch
Celebrity Babes Home / Entertainment ChannelRaquel Welch was the iconic sex symbol of the 1960s and into the early '70s, though don't underestimate the appeal she still has to many men today. Appearing on countless "Most Sexiest Women" lists through the last four decades, at the ripe age of 64, Raquel has managed to transform herself from a sultry bombshell to a sexy, mature woman who looks better than most 30 year olds.
Raquel's film debut came in 1964 in a small role in Elvis Presley's "Roustabout." After appearing in a few more box-office duds, the sexy actress graduated to a true celebrity with the two sci-fi smash hits "Fantastic Voyage" and "One Million Years B.C.," for which she shed most of her clothes in place of a small, fur bikini. While neither of the films fared well in most theaters, the appealing movie posters brought the star the attention she needed to succeed. Raquel continued to appear in a number of popular Broadway shows and even won a Golden Globe for Best Actress for her work in "The Three Musketeers," proof to all of her critics that she could indeed act.
After Raquel lost steam in Hollywood, she went on to introduce her workout video "Raquel's Total Beauty and Fitness Program" in the 1980s and, more recently, she's released a line of wigs and skin-care products. Raquel broke back into the entertainment business in 2002 with her role in "American Family," the first all-Latino drama series and the first original primetime American episodic drama on PBS in decades.
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Raquel Welch on the WebClassic Movies
A large collection of links to numerous biographies, articles, film reviews and picture galleries.
A database listing of Raquel's film and television appearances.
TV Guide: Raquel Welch
Raquel Welch Videos, Interviews and More on TV Guide's Online Video Guide
Swingin' Chicks
The best Raquel Welch biography on the Web.
Yahoo! Movies
A profile highlighting Raquel's extensive career.
A nice site of five galleries featuring Raquel in some of her most classic poses.
Raquel Welch on the ScreenRaquel has appeared in a number of films throughout her long career, including "Roustabout," "Fantastic Voyage," "One Million Years B.C.," "The Three Musketeers" and the sequel, "The Four Musketeers," to name a few. In the 1990s, Raquel appeared in cameos on a number of hit sitcoms, including "Spin City" and "Seinfeld," along with an appearance in Carrot Top's "Chairman of the Board" before settling down in the 2002 premiere of "American Family," for which she has received extensive critical acclaim.
Raquel SaysOn her ex-husband:
"I couldn't stand that my husband was being unfaithful. I am Raquel Welch -- understand?"
On her role as a sex symbol:
"Being a sex symbol was rather like being a convict."
On being a mother:
"I was not a classic mother. But my kids were never palmed off to boarding school. So, I didn't bake cookies. You can buy cookies, but you can't buy love."


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ORLANDO, Fla. (AP) — A college student killed himself in a dorm at the University of Central Florida early Monday and investigators found homemade explosives and two guns in the room, forcing the evacuation of hundreds of people in the middle of the night, authorities said.
Authorities gave no immediate details on what the student may have been planning.
"Obviously you never want somebody to commit suicide, but knowing what we know about what was in his room, we feel better at least that no one else was hurt," said Grant Heston, a spokesman at the 51,000-student campus.
Classes and other campus operations resumed around noon after the explosive devices were taken away, while the dorm remained closed, Heston said. A bomb squad spent the morning examining the devices.
University police were called to the Tower I building around 12:20 a.m. after a fire alarm went off, Heston said. While they were on their way, a 911 call came in about a man with a gun.
Officers arrived to find a student dead from what appeared to be a self-inflicted gunshot wound inside the dorm where he lived with three roommates, police said.
Investigators said they discovered an assault weapon, a handgun and makeshift explosive devices in the room where the student died. Florida law prohibits guns on state university campuses.
About 500 students were evacuated from the building and morning classes were canceled.
Antonio Whitehead, 21, said he heard the fire alarm go off and thought it was a routine event.
"All of a sudden, I felt the crowd move a little faster. And a police officer with a machine gun or something told everyone to start moving a lot faster," he said.
Grant Hernandez, 20, said: "We weren't allowed to get our cars. We weren't allowed to get our personal effects." He added, "All we saw were people running, and they were not telling us what was going on."
Associated Press writer Freida Frisaro in Miami contributed to this report.

subset: commoncrawl


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Dried blood and brain matter cover the once-crisp white dress shirt. The gray wool suit coat and pants are stained with blood drops.
The thin, blue necktie was nicked by a fast-moving bullet.
The clothing worn by President Kennedy on the day of his assassination 50 years ago Friday is preserved at the National Archives and Records Administration facility in College Park, Md.
Dr. Peter Cummings, a forensic neuropathologist from Beverly, had a front-row seat to history when he examined the former president's clothing, along with X-rays and autopsy photographs, for "Cold Case JFK,'' a special episode of the PBS science show "Nova."
"The gravity of the situation just really hit me," Cummings, 42, said of his experience. "The president's suit, right there in front of me — I wasn't just walking through a museum, seeing a display. I was participating in history."
"Nova'' arranged for researchers to apply modern forensic science and ballistic testing to try to answer questions that still fuel conspiracy theories a half-century after that fateful day — Nov. 22, 1963 — in Dallas.
From which direction was the fatal shot fired? Where did it strike the president?
"It was a single gunshot wound to the back of his head," Cummings said without hesitation. "It was right where the autopsy doctors said it had happened."
The president's clothes provided valuable clues.
"I was mostly interested in the shirt and tie," said Cummings, who specializes in gunshot wounds to the head. "I wanted to see the location of a hole in the shirt, to see if it was consistent with a gunshot wound. It was."
Cummings made his conclusions after spending eight months poring over thousands of pages of hearing transcripts, medical testimony, and other materials available online from the national archives.
In September, he traveled to Maryland to examine the slain president's clothing and original autopsy materials. Access is limited to federal government officials and qualified researchers, who must be approved by the Kennedy family.
The restriction aims to "prevent the undignified or sensational use of the materials or any other use which would . . . dishonor the memory of the late president, or cause unnecessary grief or suffering to members of his family," the National Archives said in a statement to the Globe.
Cummings had a strict limit on how long he would be able to examine the materials, he said.
'Once I saw those photographs, it became very clear what had happened to President Kennedy.'
"When the door closed, I knew I only had two hours. I just sat down and looked at the photographs," he said. "I treated it like any other gunshot wound case."
The president's clothing has been kept in a deep cold storage, Cummings said.
"It looks pristine. I could not believe it was 50 years old. It's so well-preserved, " he said.
With the X-rays and photos spread before him on a table, Cummings wrote notes about fracture patterns, lacerations, bruising, and other injuries to the skull.
"The quality is fantastic. Once I saw those photographs, it became very clear what had happened to President Kennedy . . . It was a single gunshot wound to the back of the head. Based on the fracture pattern, we can say there was no shot from the side or the front."
But was Lee Harvey Oswald the gunman?
"Whether or not Oswald pulled the trigger, I don't know," Cummings said of the man who investigators say shot the president from a sixth-floor window of the Texas School Book Depository. "But I know that it [the fatal shot] came from above and behind. That's what I would have told the police."
"Cold Case JFK" ended a week of being shown nationally on PBS stations Wednesday, and the episode is still available online.
"Thousands of people have made up theories about the assassination, and most of them are not experienced or qualified," said Rush DeNooyer, director of the TV program. "We thought, 'It's been 50 years. Let's see what some real, qualified science can tell us about what happened.' "
For the show, Cummings teamed up with James Pokines, a forensic anthropologist at the Boston University School of Medicine, and Greg Mahoney, a forensic artist with the Boston Police Department.
They created a 3-D model of Kennedy's skull to help them re-create his head wound.
"We tried to take the fragments of his skull and put them back anatomically, where they belong," Cummings said.
Mahoney used a bust of the late president and his hat size, 6⅞ inches. "We were able to approximate the size and shape of Kennedy's skull," Mahoney said. "We got it as close as we could to the actual size."
Cummings, who works as a forensic neuropathologist for the state medical examiner's office, also maintains a private consulting practice. He is frequently called as an expert witness in court cases around the country.
He recently agreed to consult for the Irish Innocence Project in Dublin, which is part of a global network that uses DNA to examine cases where wrongful conviction is suspected.
"I think its important for everybody to have access to good science," said Cummings. "I think it's very important for justice to work. My job is to look at the science, interpret it, and then convey that information to a jury. They make up their mind about what's best."
Cummings, who grew up in Millinocket, Maine, earned a bachelor's degree in zoology from the University of Maine, a master's degree in pathology at Dalhousie University in Halifax, Nova Scotia, and a medical degree from the Royal College of Surgeons in Dublin.
He fell in love with forensic pathology after enrolling at Dalhousie in 1997, Cummings said.
A year later, a Swissair jetliner crashed off the coast of Nova Scotia, killing all 229 people on board. A chance meeting with the medical examiner led Cummings to volunteer for two years, collecting DNA to identify victims.
"From the moment they unzipped the first body bag, I said, 'There is nothing else in the world I can do with my life.' It was the fascination of trying to reunite someone's remains," Cummings said.
He moved to Massachusetts in 2008 after landing a fellowship at the state Office of the Chief Medical Examiner. He was hired as a staff pathologist the next year, he said.
Cummings and his wife, Sarah Parker, an economist, settled in Marblehead, where she had lived as a child. The couple last month moved to Beverly, where their son, Fionn, 7, attends school.
Cummings' interest in medical investigations is long and deep. In Millinocket, a small town 70-odd miles north of Bangor, he grew up playing with chemistry sets, and earning bragging rights as the best science student in school.
He recalls watching a PBS special on President Kennedy's assassination with his mother when he was 10 or 11.
The crackle of gunfire, and the sight of the fatally wounded president, shocked the precocious boy. He was puzzled to learn that there could be controversy over the assassination.
"I think the narrator said, 'Science can't answer these questions.' I remember thinking, "What do you mean? Science tells me everything,' " he said.
Over time, as he learned more about forensics and medicine, Cummings sometimes wondered about the lingering mystery of Kennedy's death. But he never spent any time on it until he was asked to participate in the "Nova'' program. He was not paid for his work on the show, Cummings said.
He spent much of the last year immersed in the mystery of the most famous murder in modern history.
"I spent nights, weekends, even reading on the train about it," he said. "Every free moment I had, I was reading about Kennedy."
Like his father, Fionn Cummings had his own questions about JFK. One day, as his doctor-dad sat surrounded by model skulls, copies of autopsy photos, and pages of medical testimony, Fionn posed a question: "If President Kennedy has been dead for 50 years, why does it matter now?"
His father paused before answering: "Because the truth always matters, no matter how long it's been."Kathy McCabe can be reached at katherine.mccabe@ globe.com. Follow her on Twitter @GlobeKMcCabe.


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Built in 1930, 939 8 Avenue is a 4-floor mixed residential & commercial structure (57,586 ft) in the Midtown area of Manhattan. The building is currently owned by Eighth & 56th Associa.
Stealth's underground fiber-optic network is close to this building. To determine if Stealth can bring fiber-optics into the building, fill out the following form and our team will coordinate a building survey with you:


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A lot has been happening in the Microsoft Exchange Server world recently, so this week's column is dedicated to a roundup of various news items that you might have missed.
First, Microsoft unveiled the next version of Office Communications Server, which is now called Microsoft Communications Server. That's right; the OCS brand has now been replaced with MCS, bringing it more in line with Microsoft's other server products. (Well, except for SharePoint, but that's a topic for another day!) MCS offers a number of interesting new features, including a new emphasis on location information and the ability to send location information using Session Initiation Protocol (SIP) to provide accurate information for emergency services such as 911. There's little word on how MCS will integrate with Exchange Server, or what changes it will bring for organizations that are already running Exchange, so we'll have to wait for more news to see what's what.
Second, a growing number of people are discovering that you can run the Exchange Edge Transport role together with the relatively new Microsoft Forefront Threat Management Gateway 2010 (TMG) product, which replaces ISA Server. In this configuration, a single server can provide remote access protection, network access management, all the services offered by the Edge Transport role, and antivirus and antispam protection courtesy of Forefront Security for Exchange. This development is a major improvement over the prior requirement to run Edge Transport servers and ISA Server on separate computers, but it hasn't gotten the kind of attention in the Exchange community that it should. Check out TMG on Microsoft's website.
Third, Microsoft released the Outlook Mobile Update, which brings the features of Outlook Mobile 6.5 (or whatever it's formally called—I'm talking about the version included with Windows Mobile 6.5 phones) to Windows Mobile 6.1 devices. There's a post on the Microsoft Exchange Team Blog that talks about the update in some detail, and it includes some good-looking screen shots.
In other mobile news, there's Windows Phone 7 Series. That's about all I can say, given that the Windows Phone team hasn't said much publicly about what email features it will include in its devices. Much has been made of Windows Phone 7's market potential versus the iPhone; as I've written before, the iPhone isn't a great device for heavy mail users, so Windows Phone 7 definitely has a chance to surpass the iPhone even if all it does is provide a re-skinned, prettier version of Outlook Mobile 6.5.
Finally, a bit of non-news. While working on a training course for Exchange rookies, I needed a good overview and explanation of how transaction logging works. I'm always surprised at how many Exchange admins don't fully understand this critical aspect of Exchange database behavior. Luckily, Microsoft has a pretty good article that describes transaction logging in enough detail to be useful, "Exchange Transactions and the Exchange Database Overview." It's from 2006, so it's a bit dated because it still refers to EDB and STM files. However, the basic mechanism of logging is the same as it was then, so you should definitely read it if you want more information on how logging works.


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Aug 15, 2006 at 3:09 pm
lol i voted for the challenge your car was in... but that was a while ago now. lol
Aug 6, 2006 at 8:50 pm
Don't know which vote for what, but thank you!!
Aug 6, 2006 at 8:48 pm
Hey bud whats up? You got my vote!
squirrelishere has no Car garage photo albums.
squirrelishere has not posted to his car garage blog.
Log in to post comments.


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DUBAI (Reuters) - Iran's most powerful leader, Ayatollah Ali Khamenei, warned the Iranian public on Tuesday against helping Tehran's enemies by criticizing the forthcoming presidential election.
Iranians go to the polls in June to elect a successor to President Mahmoud Ahmadinejad, and Iran's leadership is keen to avoid a repeat of the widespread protests that followed the last presidential vote in 2009.
Khamenei's comments appear to be a response to a debate inside Iran about whether reformist candidates - those with a more moderate stance on issues such as social policy and greater political freedoms - should be allowed to run.
"Everyone, even those who make general recommendations about the election through (expressing) concerns, should take care not to serve the purpose of the enemy," Khamenei said in a statement published on his official website.
Analysts say reformist candidates may be allowed to run for election if they distance themselves from the two 2009 presidential candidates, Mirhossein Mousavi and Mehdi Karoubi, who have been under house arrest for nearly two years.
The two opposition leaders alleged Ahmadinejad's landslide reelection was rigged and they became figureheads for the "green movement" anti-government demonstrations across Iran, the biggest opposition protests since the 1979 revolution.
The government denied vote rigging and said the protests had been stirred up by Iran's foreign enemies as part of a plot to overthrow the Islamic Republic's system of government.
Reformist groups are torn between participating in the election and boycotting it unless Mousavi and Karoubi are freed. Their position is expected to be debated at a meeting of reformist groups later this month.
Last month, former President Ali Akbar Hashemi Rafsanjani said that a free, transparent and legal election could pave the way for "restoration of moderation" in the country, the Tehran Times newspaper reported.
Longstanding enmity between Iran and the West has deepened in recent years, with increasingly severe sanctions led by the United States and European Union, designed to halt Iran's nuclear programme, strangling the economy.
Iran says its nuclear project has only peaceful purposes and has refused in three rounds of international talks since April to scale back its uranium enrichment activity unless major economic sanctions are rescinded.
(Reporting By Marcus George; Editing by William Maclean and Robin Pomeroy)


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Soup Up Your Shop Vacuum
Had enough dust? Hook up to any portable power tool with this set of accessories.
by George Vondriska
Most shop vacuums are big and powerful, like SUVs. These vacuums have tons of suction power for cleaning the mess on your floor, but their standard hoses and fittings are way too big to use with portable power tools. There's no way you're going to attach a stiff, heavy, 2-1/4-in. hose to a random-orbit sander! You need accessories that are small, lightweight and nimble, like a sports car. With this set of options, you can hook up nearly any workshop vacuum to any portable power tool. What a difference! No more choking sawdust—it's definitely the way to go.
Versatile Hose
Super-flexible, long, lightweight and small in dia-meter—that's what you're looking for in a hose. This 1-1/4-in. hose from Shop Vac weighs less than 2 lbs., runs 18 ft. long and bends easily. The end that fits into your vacuum's tub is a standard 2-1/4-in. straight sleeve.
Tool-Actuated Switch
This convenient gadget will really turn you on. Actually, it's your vacuum that automatically turns on whenever you fire up a power tool. Plug the Craftsman Automatic Power Switch into an outlet; then plug the tool and vacuum into the switch. It works just like the tool-actuated switch on a high-end vacuum. The vacuum starts up with the tool and runs an additional 2 to 3 seconds to clear the hose after you've turned off the tool. The switch is rated to handle a total of 15 amps for the vacuum plus a tool.
Finer Filter
The smallest dust particles are the largest health hazard. To best capture sanding dust, switch from a standard filter to a high-efficiency particulate air (HEPA) filter. This CleanStream HEPA-grade fabric filter doesn't clog as easily as a paper HEPA filter and can be cleaned with water. These filters are machine-specific, so you'll need to buy one that fits your vacuum's make and model.
Hose Adapters
Chances are every power tool in your shop has a different size of dust port, right? It's time to buy a set of hose adapters. These two from Fein should be good for most situations.
– Cut the step adapter to custom-fit the inside or outside diameter of a dust port. The large end fits on the hose; the small end has a 7/8-in. inside diameter and 1-1/16-in. outside diameter at the taper's end.
– The flexible rubber sleeve connects to a dust port that has approximately the same outside diameter as the end of the hose—about 1-1/4 in.
Hose Clips
These handy clips from Fein bind together your tool's power cord and a 1-1/4-in. vacuum hose. Five clips are usually enough for an 18-ft. hose.
This story originally appeared in American Woodworker October 2005, issue #117.
Source information may have changed since the original publication date.
Shop Vac, (570) 326-3557, www.shopvac.com 1-1/4-in. x 18-ft. hose, #903-24-00, $51. CleanStream, (800) 758-6755, www.cleanstream.com CleanStream Filters, about $30, but price depends on your vacuum's size. Fein, (800) 441-9878, www.feinus.com Step Adapter, #921072K13, $3.70. Rubber sleeve, #921069A13, $1.50. Fein, (800) 441-9878, www.feinus.com Hose/cord clips, #921063K13, $1 ea.


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Beaver causes damage at Md. dollar store while 'shopping' in Christmas section
CHARLOTTE HALL, Md. - The St. Mary's County Sheriff's Office had an interesting encounter while responding to a destruction of property call at a Dollar General store in Charlotte Hall.
When an officer arrived at the store at around 10 p.m. Monday, a beaver was found to be the culprit causing the ruckus.
Cpl. Yingling had a unique call for service when the suspect, pictured, was witnessed causing prop. Destruction at a store in Char. Hall. pic.twitter.com/6qKlu7tqA7— St. Mary's Sheriff (@firstsheriff) November 30, 2016
The beaver apparently wandered into the store and pictures tweeted by the sheriff's office showed the beaver browsing around and causing damage in the Christmas section of the store.
Thankfully, the incident was resolved peacefully.
The beaver tweet may go viral! All joking aside, the beaver was safely rescued by animal control & was released to a wildlife rehabilitator. pic.twitter.com/0VyLXJPjxh— St. Mary's Sheriff (@firstsheriff) November 30, 2016


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kiddy tickler is what you call your bro when you find out he's dating underage girls
buddy walks in the room; "heyyyy, its the "kiddy tickler" so how was your date? chucky cheese makes a hell of a pizza dont they? so was there any "fluff on the muff" bro?bahaahhaah fucking kiddy tickler
by Kyle Prosko March 18, 2007


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- Inside Athletics
- Tickets
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"We showed a lot of heart tonight," said head coach Lindsey Devine. "We made good adjustments for games three, four and five, and I am so proud of the way we didn't back down and kept fighting for every point."
Both squads hit .246 in the opening game, but it was the Lady Bucs (25-5) who earned the first game point at 29-28.
After dropping the second frame, ETSU responded with 17 kills in game three, led by six from senior Sarah Buhr (
The Lady Bucs released their talent in the fourth stanza, hitting .316, nailing 17 kills against just five errors and evening the contest with an easy 12-point win. Sartor led the way with five kills, followed by four apiece from Palmer and Buhr.
ETSU controlled game five, securing three match points on Sartor's 29th kill of the night. After the Lady Flames (10-17) saved two of the points, Buhr ended the festivities with her 19th kill.
Sartor's 29 kills marked a new career high for the senior, as did Palmer's 21. Senior Nani Emreson (
The Lady Bucs conclude regular season play Monday, November 13 at in


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"Hezbollah is in its strongest position and even Israel also says that Hezbollah is the second military in the region," Nasrallah said in a televised address from the Lebanese capital city of Beirut on Saturday evening
Warning of plots that certain foreign countries are hatching in order to plunge Lebanon into conflict, he stressed that the movement seeks to preserve national security and stability in the Arab country.
He added that Hezbollah supports the incumbent Lebanese government led by President Michel Aoun, advising political parties and factions in the country to avoid defiance and avail themselves of dialogue in order to resolve local issues.
The Hezbollah chief further stressed the importance of Lebanon's parliamentary elections, which are expected to be held next spring.
"I totally agree with [Parliament] Speaker Nabih Berri that the parliament's term must not be extended. Legislative elections will be held on time and based on the agreed electoral law," Nasrallah pointed out.
He also highlighted victories achieved by Hezbollah fighters and Lebanese army soldiers in the fight against foreign-sponsored Takfiri militants along the border with Syria, emphasizing that Lebanon was "one of the world's safest countries."
Nasrallah then called on Syrian refugees residing in Lebanon to come back to their country, and take part in its reconstruction.
"Your interest lies in going back to your country," he addressed them.
The Hezbollah secretary general also pointed to discovery of Israeli spying devices in southern Lebanon, stressing that the Beirut government must lodge complaints against the Tel Aviv regime with international organizations.
"The Zionist regime (of Israel) is violating international law and regulations," Nasrallah commented.
Elsewhere in his remarks, Nasrallah said days of the Daesh Takfiri terrorist group are numbered, stating that Israel was seriously concerned about the terror group's defeat in the region.
"Daesh is losing ground in both Iraq and Syria. It was created by the United States, and supported by Israel as well as their regional allies," Nasrallah said.


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Dan Deacon is one of the few pop electronic dance music-makers who is also consistently described as a composer. His music takes sharp turns — from raucous dance party to gentle orchestration and back, sometimes within the same song. He spoke to All Things Considered host Audie Cornish about the making of his new album America, hearing his orchestral music performed for the first time and phasers. Hear the radio version at the audio link and read more of their conversation below.
In college you studied electronic music composition. Where? What is a program like that like?
I went to a school called SUNY Purchase and the conservatory of music there. It was a composition program but the focus that I did was almost exclusively computer and electronic music. I studied under two people — one was Dary John Mizelle, who was a former student of Stockhausen and very much into the new complexity and making music as radically insane as possible. I liked studying with him, but I wasn't so into esotericism and the prerequisite knowledge that a listener needed to have to appreciate the sounds that were made, like post-serialism.
So the first songs that you truly composed, did you do it on a computer?
No. Well, yeah, I learned how to write music on computer. I had a MIDI notation software program that I found on the family computer that my dad's friend built. I'd never seen a blank staff of music before on a computer. It looked exactly like MS Paint but instead of it being like you draw lines and circles and there was a paintbrush, it was like you can click in notes or rests and ties and clefs, and it sort of just blew my mind in a way.
It was really fun to click on notes on the staff and just hear how it sounded and play it back and then change it and augment it, and that's how I learned what chords were and how to read the treble clef. I was already in the school band playing trombone but that was just sort of like, "I get out of gym twice a week to be here."
It sounds like you really felt like you were coming to this later on.
Definitely. Then in college I was studying political science and drama studies, and I was just sort of like the classic post-high school American youth who felt like they had to go to college or they'd be relegated into the realm of shame. But then you realize that you're just tricked into getting this huge amount of debt. I was like "Oh! Now I'm just going to college for no reason and I'm tens of thousands of dollars in debt." And I was thinking about dropping out and then my friends were like, "All you do all day is write these midi files. Why don't you at least try to get into the music program?" And I was like, "Nooo, what are you joking? There's no way." Thank God I listened to them because it really just radically changed my life. I got into the program, and I'd already taken all of the required academic courses so all I had to do were music classes.
And you were still making music during this time, right?
Oh, yeah. And in that time I switched and I started handwriting everything. I started to hate the limitations of the computer and how rigid and quantized everything was. I wanted things to be loose and free, and I fell in love with fluxism and chance and the absurd nature that humans bring to something as serious as a concert. Do you know what I mean?
I was still writing computer music but not for school. I was only writing these pieces for two flutes that would never get played by anyone ever, and never will because they were just student experiments where it's just like, "I want them to jump in range! And I want it to be triple forte and five octaves lower than they can play!"
Your music does have this wonderful kind of layering that happens. When I think of a song like "True Thrush" -- what goes into crafting a song like this?
Those are all live drums played by drummer Danny Bowen, and I wanted to mix them so they'd sound like synthetic drums but they have that human feel — they've got a groove to them. Not that you can't achieve a groove with a computer or sequencer, but it's just different.
I think that's the cornerstone of the idea of this record — it's not electronic music and it's not acoustic music. It's electro-acoustic music; it exists in both realms. I started working with electronic music because that was available to me. I had a computer and I could write that music. And I didn't have to worry about other people's schedules, and I could go on tour and if we were only making $15 a night I didn't have to split that with other people.
So, I was writing electronic music both out of a love for it and also just that it was all that I could write. I couldn't write a piece for orchestra because it would never get played, and I wanted to focus on work that would exist and people could hear and it would develop and grow and not just sit in a box in a closet.
Anyway, I didn't get tired of writing electronic music, but I started to feel its limitations because obviously there's differences between music that's made by a human being and music that's made by a computer. There's perfection — endless, limitless perfection that a computer has and because of that, that's its limit. Do you know what I mean?
A quantized beat is never going to have the same slight imperfection in timing that a human drummer's going to have. Even if they're a solid drummer, it's going to always not fall exactly ... they're not always going to be like 1.8356 seconds apart. They're going to vary back and forth. And you can do everything you want to make a computer sound like a cello but it's not going to sound like a cello.
The music [on America] takes the elements that electronic music has — which are precision and the timbres that electronics can create and those limitless soundscapes you can have — and it merges with the fragility of what a human can do and what human instruments and acoustic instruments can do. I think it's the meshing of those sounds that I find very interesting.
And you do on this album start to work with strings. "Prettyboy," is a good example of a song that starts with the electro-acoustic sound you're describing.
Oh yeah, there's the sequencer of the synth floating around in the delay and the phasers.
They're actually called phasers?
They sound like what they're called.
There's three types of things that I make sound with. One's a computer and one's electronic hardware and the other [is] acoustic instruments.
I think most composers who write new music don't want to limit themselves. They want to have everything on the table; they want to use samples and electronics and computers and synthesizers and virtuosic players, and for the first time I had that available to me. I could sit down and was like, "All right, we can actually achieve recording a slew of string instruments and brass instruments. We have the time; we have the facility. Let's do it. Let's not take that bassoon and make a synth sound like a bassoon or not even sound like it but just give it the harmonic qualities and keep it in that range. Let's actually try it on the bassoon and see if that works."
You premiered your first orchestral works with the Kitchener-Waterloo Symphony. Is that really the first time you had written for such a big group of live instrumentation?
It was the first time I had written for it and it was performed. I wrote for orchestra in college but again they were really unrealistic. Not that this piece wasn't unrealistic as well, but this was the first time it ever happened.
Writing music is like any language — if you don't speak it or write it for a while you start to forget it, and I had forgotten almost everything except for the basic nouns and verbs of what the essence of writing music is. I've been doing it so long with a computer and in a computer I can tweak it in its own language. I'm not looking at a page of sheet music, I'm looking at a piano roll and I'm looking at automation lines and things that look more like bar graphs. It'd been a long, long time since I'd communicated with players.
So that collaboration with Kitchener-Waterloo and especially working with So Percussion really — the experience sort of shook me. It just showed me how much I had forgotten and how the nuance of an instrument — like if you're going to write for a cello, don't just make it sound like the MIDI demo you have of the cello, dive into it. What can the cellist bring into it? That got me excited about working with people.
What are some of the challenges for you in this collaboration?
I think the extro to "Pretty Boy" is a great example because it was originally written for three bass clarinets. The line that ended up being a bassoon part is very fast and dexterous. The player was like, "I don't think this is really going to work on bass clarinet. I mean it could, but to me it sounds more indicative to a bassoon." And we were like,"Bring in the bassoon!" And they were right and it worked out great.
Victor Ruch, the violinist — with every player we would show them the parts. Basically we gave them just the pitches and the rhythms; we just give them the basic information of the notes. And then we'd try it out in the studio and we'd experiment with different articulation. With Victor we were like, "All right let's just have you interpret this part. If you feel the need to slur, go for a slur. If you want to swell or shrink down, go for it." And that really paid off. I feel like his approach to all the violin parts really brought a new life to them.
He was one of the first people we recorded and sort of set the tone for how we were going to work with all of the other 30, some odd players that we brought in.
This album, it's titled America, and I'm curious if that's inspired by politics or geography?
I would say it's inspired by both. The music is definitely inspired by geography. I do many, many cross-country trips a year because I tour, and it's hard to — you could really despise every aspect of what you think American culture is but it's hard to deny that the land itself is beautiful. Do you know what I mean?
I can hear that in the titles. ... The first one is called "USA I: Is a Monster."
That's named after an old favorite band of mine [The USA Is a Monster], who sort of inspired the beginning of that piece. They played a show at my house and it was this epic, raging show where they just kept playing and playing and playing.
One day I sat down at the computer and I was like, "Let's write something long." And I ended up saving the file "USA Is a Monster" thinking about that performance. Then my computer was terrible — it would crash every five minutes so I would save constantly and since I would save constantly I'd save all long file names, and I couldn't find anything cause it was called "USA IS A MONSTER_THE DATE_THE LONG DESCRIPTION OF THE CHANGE," so I just started calling the file "USA," and I think it started subconsciously affecting me.
I started thinking more about the U.S. then I was [the band] USA Is a Monster. So, that influence started happening. I started thinking about the desert at night, and a lot of these things I think came across subconsciously. I feel like my brain plays horrible, fun tricks on me, especially in the writing process, because I don't really like to sit there and think, "And now I will depict this beautiful lake in sound." It's not really how I work.
Maybe we are used to more cinematic approaches to things like the aerial shots in the movies. The closest you come to that is in the song "Rail." I thought I saw men working on the railroad in some movie about immigration at the turn of the century. Is that wrong?
There's no wrong way to interpret music. Your musical brain is different from anyone else's. I used to have a hard time when people would be like, "Yo, when I hear your music, I hear something that you never hear." And I'd be like, "No! YOU'RE WRONG." And then I was like, I'm wrong. There's no way I could ever tell anybody how to hear music — I don't even know if this microphone is the same color as you see it. There's no way to even begin to interpret our realities other than the few basic things that we have in common. Like, we seem to agree on temperature.
You've talked about wanting to produce music where the value of the music is in the music itself — the music is not necessarily telling a story. And then I come to this part of the album [the four-part movement called "USA"] where I feel like I'm very much in the middle of a narrative.
This record definitely has a narrative to it. It would be program music rather than absolute music, which are the music terms. I'd say it has simultaneous, sort of juxtaposing narratives.
The one narrative — the music — is the celebration and inspiration of the geography, and the lyrical narrative is one of frustration and confusion and anger toward where the culture is going in regard to corporatism and complete corruption and lack of faith in the government.
No one's pumped on the American government or the direction of America right now. You could talk to someone in Occupy or a Tea Party rally or someone who's not even involved in politics and be like, "So, do you think things are going well in the government?" I don't think anyone would be like, "Yeah, man! It's going great. I love what they're doing. Love the Congress. Love the president. Love the Supreme Court. They're all just killing it. I love it. Can't get enough." You're not going to find that anywhere.
The record is political in nature, but it's subtle because I don't think the way you can get someone to start thinking about themselves in relation to an idea or a problem is to point at them and be like, "You know you're directly responsible for the exploitation of others?" No one's going to want to hear that. I don't like hearing that, but it's important for me to realize that. And this record is a lot of me questioning my role in a society that I don't necessarily agree with. How do I change myself to better that?
Music has the beautiful luxury of being able to mask ideas and put them in a frame and put them in a sphere of context that would never otherwise exist. So, while I'm talking about issues that I think are heavy or intense or sad or rage-influenced, they're framed in a way where the music is very inspirational and uplifting to show that it's not without change; it's not without focus and future.
Is there a song that, as you're making this argument, comes to mind?
I think "Lots" is the most concise example of that or "USA IV," where we have the layering of the vocals where it's basically dialogue with myself about all of these topics.
It's not always clear what you're saying.
I treat the voice like any other instrument. The lyrics don't really stand at the top. I really loved Nirvana and one of my favorite things about Nirvana is I have no idea what Kurt is saying most of the time. It's a voice; it's a human voice. I love The Boredoms and I have no idea what The Boredoms are saying.
But with this record I wanted there to be lyrics. Some people might be like, "I still can't understand a word you're saying," but to me it's like they're like naked in the wind — they're just out there.
What do you say to people who are dismissive about electronic music? I hear you often being someone who talks very much about what you think your role is and what kind of music you're trying to make and what you want it to say. Do you ever feel that kind of criticism?
I don't really feel that criticism, but I think it's insane that people still call electronic music, "electronic music." It's like calling guitar music, "guitar music." It just doesn't make any sense. Electronic music has been in the musical vocabulary for 60, 70 years now. The majority of pop music is made almost exclusively electronic[ally]. People talk about how it's permeating the mainstream but it's been in the mainstream forever.
When people think about electronic music, I think they mainly think about music without vocals that's beat-driven that you're made to dance to. I don't think they're thinking about Britney Spears or the majority of hip-hop or Devo or Talking Heads or anything like that. All of those bands use heavy elements of electronics; they also have guitars and vocals, and people associate those sounds before they associate the electronic instruments.
When you have an artist that's using a majority of electronics and there's no guitar, no drums and the voice is running through delay and pitch-shift and stuff like that — it's all synthetic so we just focus on the synthetic nature. But to me those timbres have existed for so long now that it'd kind of be like people saying, "I can't believe they're allowing trombones in the church. Can you believe it?" "These brass bands [are] just nuts, never going to last." "This piano, who wants to hear notes louder and quieter? I don't want to hear it. I just want all of my notes played the same. We've got harpsichords, we don't need these pianos." That's sort of the mentality I feel when people are like, "Electronic music, do you think it's going to last?"
I wonder this as you get more and more into this orchestration. You're encountering these audiences now and I wonder how it's going?
I think it's going well. I think most people who are interested in new music and new sounds are open to any sound source. We're constantly swimming in this sea of sounds — of sirens and cellphone beeps and pre-recorded music outside of gas stations. It just permeates our system; there's always sound coming in, and nine times out of 10, it's synthetic. We live in this weaving of music that we don't even realize. You think of [John] Cage sitting there listening to his environmental sounds and how different that is now 50 or 60 years later and how much more chaos there is that surrounds us.
We are being conditioned to exist in this synthetic, chaotic-based environment and I think our music is starting to really accurately reflect that. I think minimalism in pop art obviously existed in a time when mass reproduction was entering into this sphere and permeated everyone's way of thinking. Now, we live in a time period where that is the case but there's also constantly morphing change and constantly augmenting chaos amongst uniformity and homogeneity. So, I guess this is sort of how I think about my own music.
When you first heard a symphony performing your music, what was that like?
It was completely insane. A lot of my career is me sitting there thinking, "This is insane. How is this happening? How am I no longer the guy who has $2 and is Dumpster diving for food?" It's surreal and it's very exciting and it felt like it woke up a hibernating part of my brain that I didn't know existed.
This is ALL THINGS CONSIDERED from NPR News. I'm Melissa Block.
And I'm Audie Cornish. Dan Deacon is one of the few electronic music makers who is also consistently described as a composer. His work has even been performed at Carnegie Hall. But if you've never heard his music, do not be deterred by what you hear next.
CORNISH: This is from Deacon's new album titled "America." And it gives you a sense of the sharp turns his music can take: from gentle orchestration, to hardcore electronic and back. "America" is Deacon's first album working with an orchestra, which is a big change for a guy who at first became enamored with the music he could make alone on a computer.
DAN DEACON: I'd never seen a blank staff of music before on a computer. And it was like you can click in notes or rests and clefs, and it sort of just kind of blew my mind. And then in college, I was still writing computer music, but I was like only writing these pieces for two flutes that would never get played by anyone ever and never will because they were just like, you know, student experiments, whereas it's like, I want them to jump in range, and I want it to be triple forte and five octaves lower than they can play. You know what I mean? Just sort of like really getting into that idea of complexity.
CORNISH: And your music does have this wonderful kind of layering that happens. When I think of a song like "True Thrush"...
DEACON: Mm-hmm.
DEACON: I've been listening to this for a long time. It's kind of interesting to hear the kick drum. I can't believe how loud we mixed it.
DEACON: The most amount of debate that we had on the record was in regards to the drums.
CORNISH: Now, what's the debate, because for people who don't listen to electronic music regularly, maybe they think they're only hearing drums or kind of only hearing percussive sounds? So, for you, what goes into crafting a song like this?
DEACON: Well, those are all live drums. And I wanted to mix them so that they would sound like synthetic drums but they have that human feel. And I think that's like the cornerstone of the idea of this record is that it's not electronic music, and it's not acoustic music, and it's, you know, it's an electroacoustic music. It takes the elements that electronic music have, which are, you know, precision and merges it with the fragility of what a human can do and what human instruments and acoustic instruments can do.
DEACON: I started working with electronic music because that was what was available to me. I had a computer, and I could write that music. And I couldn't write a piece for orchestra because it would never get played. I wanted to focus on work that would exist and people could hear, and it could develop and grow and not just like sit in a box in a closet. So anyway, skipping years ahead...
DEACON: ...I didn't get tired of writing electronic music, but I started to feel its limitations, because obviously, there's differences between music that's made by a human being and music that's made by a computer. There's perfection...
DEACON: ...endless, limitless perfection that a computer has. And because of that, that's its limit. Do you know what I mean?
CORNISH: Yes. There's something about the computer that makes it feel like you can make it perfect.
DEACON: Definitely. But it's that ability that takes it - like, even in regards to a drummer, you can have a 45-armed drummer that can play forever if it's a computer, but it's not going to have that groove that a human drummer has. It's not going to have that, like, slight hesitation or the stronger impact.
DEACON: You can do everything you want to make a computer try to sound like a cello, but it's not going to sound like a cello.
CORNISH: You premiered your first orchestral works with - I guess, it was the Canadian orchestra, the Kitchener-Waterloo.
DEACON: The Kitchener-Waterloo Symphony. I wrote for orchestra in college, but it'd been a long, long time since I'd communicated with players. So, like, I don't know. Those experience sort of like, shook me. And it was like, you need to remember this, get back to work. Computers aren't all there are, Dan.
DEACON: And it just showed me how much I had forgotten and how the nuance of an instrument - like, if you're going to write for a cello, like, don't just make it sound like the MIDI demo you have of the cello. You know what I mean? Like, dive into it.
CORNISH: So what were some of the challenges for you in this collaboration? I don't know if there's a song you can point to where you had an idea on the computer...
CORNISH: ...how it would be executed, and then a real person looked at you and said, what are you thinking?
DEACON: I think the extro to "Pretty Boy" is a good example.
DEACON: It was originally written for three bass clarinets, and the part's just very fast and dexterous. And the player was like, I don't think this is really going to work on bass clarinet. I mean, it could. You could definitely do this. But to me, it sounds more indicative to a bassoon. And we were like, bring in the bassoon. And, you know, and they were right. It worked out great.
CORNISH: What do you say to people who are dismissive of electronic music? Do you ever feel that kind of criticism?
DEACON: Well, I don't really feel the criticism, but I think I just feel like it's insane that people still call electronic music, electronic music. It's just - it's like calling music guitar music, or vocal music or something. And I don't know. It just doesn't make any sense. Like, you know, and people talk about how it's permeating the mainstream, but it's been in the mainstream forever, forever. But I feel like it'd be kind of like, people saying: I can't believe they're allowing trombones in the church.
Can you believe it? These brass bands, nuts, never going to last. No one's going to - this piano, who wants to hear notes louder and quieter? I don't want to hear it. I just want to hear all of my notes played the same. We've got harpsichords. We don't need these pianos. That's sort of like the mentality that I feel when people are like: Electronic music. Do you think it's going to last? Do you think - so...
CORNISH: Well, I wonder as you're getting further and further into...
DEACON: I don't mean to attack you.
CORNISH: No, no.
CORNISH: I welcome the attack.
DEACON: It wasn't an attack.
CORNISH: I wonder this as you get more and more into this orchestration, because you're encountering these audiences now, and - I guess, I just wonder sort of how it's going.
DEACON: I think it's going well. I think most people who are interested in new music are open to any sound source. I feel like we live in an era where it's impossible to think of how 10 years from now, we'll still be calling electronic music, electronic music. Or maybe we still - I don't know, when we're constantly swimming in this sea of sounds, of sirens and cellphone beeps and prerecorded music outside gas stations, like it just permeates our system. There's always sound coming in, and nine times out of 10, it's synthetic.
And we live in this, like, weaving of music that we don't even realize. So, of course, our music is going to reflect that. And we're going to have more noise, and we're going to have more synthetic (makes noise) like sneaking into our sounds. And for most people, I think all these things are very subtle, but they still impact them. And they affect the way that they hear something. So we're just being conditioned to exist in this synthetic, chaotic-based environment, and I think our music is starting to really accurately reflect that.
CORNISH: Well, Dan Deacon, thank you so much for talking with me.
DEACON: Oh, no problem. Thank you.
CORNISH: Musician Dan Deacon speaking to us about his album called "America." It's out today.
BLOCK: You are listening to ALL THINGS CONSIDERED from NPR News. Transcript provided by NPR, Copyright NPR.


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Tottenham Hotspur (Spurs) Football Club is located in North London. The club is also known as Spurs. Tottenham's home ground is White Hart Lane. The club motto is Audere est Facere (To dare is to do).
The latest in our summer Snapshot series features a young Spurs fan striking a happy pose...
My daughter Montana Smedley in Spurs kit at two. She's been to the Lane once and will go more next year as we are season ticket holders.
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MIAMI (AP) — The U.S. Coast Guard is interviewing migrant rafters rescued by two cruise ships off the Florida Keys.
Petty Officer Mark Barney says Coast Guard officials will decide whether to send them back to their country of origin or turn them over to U.S. authorities.
The Carnival Conquest says it picked up 13 Cuban nationals about 40 miles from Key West on Friday. The Disney Wonder picked up eight people but their nationality was not immediately known.
Generally, if a Cuban national does not reach U.S. shores, they are sent back to their homeland.
Crews on both cruise ships provided their new passengers with food, water and medical attention.
No injuries were reported.


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Grapefruit PeelGrapefruit Peel is derived from Citrus paradisi - the same common grapefruit that you have eaten at breakfast for years. It is not a true herb, but rather the dried peelings that are commonly discarded as a waste product, used for commercial cattle feed, or converted into ethanol. Despite the fact that powder Grapefruit Peel is not particularly exotic nor glamorous like some wildcrafted herbs, it is nonetheless a very useful herbal supplement. Like other organic herbs, it can confer many health benefits.
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By Doug Palmer
WASHINGTON (Reuters) - The U.S. House of Representatives voted overwhelmingly on Friday to "name and shame" Russian human rights violators as part of a broader bill to drop Cold War-era trade restrictions, brushing off warnings from Moscow that the move would damage relations.
The House voted 365-43 to approve the legislation, which takes a jab at the policies of Russian President Vladimir Putin while ensuring U.S. companies get the full benefits of Russia's entry into the World Trade Organization on August 22.
"Since Vladimir Putin was re-elected president in May 2012, his government has taken a harsh and confrontational approach to ongoing protests, cracking down on the Russian people's growing discontent with corruption and creeping authoritarianism," said Representative Jim McGovern, a Democrat.
The bill, which still needs Senate approval, would establish "permanent normal trade relations," or PNTR, with Russia.
In a provision that infuriates Moscow, the bill would direct President Barack Obama to publish the names of Russians believed involved in the abuse and death of Sergei Magnitsky, a Russian anti-corruption lawyer who died in a Russian jail in 2009.
It also would require the United States to deny visas and freeze the assets of any individual on the list, as well as other human rights violators in Russia on an ongoing basis.
Russian opposition leader Boris Nemtsov was in Washington to witness the vote, which came on the third anniversary of Magnitsky's death.
House Foreign Affairs Committee Chairman Ileana Ros-Lehtinen, a Republican, said in statement that Nemtsov told her that Putin had made stopping the legislation his utmost priority because it threatened to ensnare those closest to the Russian leader.
Without PNTR, Russia could deny U.S. exporters some of the market-opening benefits others will enjoy due to Russia's WTO entry. The United States also could not use the WTO dispute-settlement system to challenge Russian actions without PNTR.
U.S. business groups believe PNTR could help them double or triple exports to the world's ninth-largest economy.
"With our high unemployment, we cannot afford to pass up any opportunity to increase our exports and create jobs," said House Ways and Committee Chairman Dave Camp, a Republican.
U.S. Trade Representative Ron Kirk called the vote an important step toward making sure U.S. companies receive all the benefits of Russia's WTO membership and are not left at a competitive disadvantage to other suppliers.
"We look forward to action from the Senate that will send a bill to the president," Kirk said.
Obama is expected to sign the bill if it reaches his desk, even though the White House initially pressed for PNTR legislation without the human rights sanctions provisions.
The Russian Foreign Ministry called House approval of the legislation "an aggressively unfriendly, provocative insult" and said "measures in response will certainly follow.
It urged Obama not to sign the bill, saying: "We hope the American executive authorities understand the pernicious consequences to which the legislative actions of ill-wishers and opponents of our bilateral interaction may lead."
Deputy Foreign Minister Sergei Ryabkov said earlier on Friday that Russia has already prepared its next steps but gave no details. Other Russian officials have indicated that Moscow would retaliate by imposing sanctions on U.S. officials it accused of violating Russian citizens' rights.
They would be likely to include officials involved in refusing a Russian request for the extradition of a convicted arms trader, Viktor Bout, serving a 25-year prison term in the United States.
Some Senate supporters of the bill are pressing for a broader version that would allow the United States to impose sanctions on human rights violators anywhere. Senate approval is expected, but no date is set yet for action.
"I will continue to work in the Senate to get PNTR across the finish line and onto the president's desk by the end of the year," said Senate Finance Committee Chairman Max Baucus, a Democrat.
Both the House bill and a similar one pending in the Senate would allow the White House to keep secret the names of some individuals on the Magnitsky list if the president determined that was in the national security interest of the United States.
Magnitsky was jailed in 2008 on suspicion of tax evasion and fraud, charges colleagues say were fabricated by Russian police investigators he had accused of stealing $230 million from the state through fraudulent tax refunds. The Kremlin's own human rights council has said he was probably beaten to death.
U.S. farm and business groups welcomed the House vote, but would have preferred a bill focused solely on trade.
They have been in a vulnerable position in the Russian market since Russia's entry into the WTO in August because of a U.S. Cold War-era provision called the Jackson-Vanik amendment that is contrary to global trade rules.
The nearly 40-year-old measure tied the most favorable U.S. tariff rates to emigration rights for Jews in the former Soviet Union. WTO rules require normal trade relations on an unconditional basis.
The House bill would lift the Jackson-Vanik amendment for both Russia and Moldova, another former Soviet republic that has been in the WTO for years.
(Additional reporting by Thomas Grove and Steve Gutterman in Moscow; Editing by Will Dunham, Tim Ahmann and Paul Simao)


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If you want to stay on top of all of our video reviews of the latest tech, be sure to check out and subscribe to the Gear Live YouTube channel, hosted by Andru Edwards! It's free!
Monday August 11, 2008 12:06 pm
Steve Jobs to WSJ: App Store rakes in $30 million in first month
Posted by Andru Edwards - Categories: Apple, Cell Phones, Corporate News, Handhelds, Software
Well, if you were curious just how successful the App Store has been since its launch, Steve Jobs spilled the beans in an interview published in the Wall Street Journal this morning. First and foremost, the most amazing part is that sales in the App Store hit about $30 million. Now, if you think about that figure and realize that Apple only keeps 30% of it (well, 30% of sales of apps that aren't their own), that is $9 million for Apple, and $21 million for developers.
Of course, a large percentage of apps downloaded are free. You just know those have to be popular, right? Well, we didn't get an official breakdown of free app downloads versus paid, but Jobs did say that there have been over 60 million downloads from the App Store. That's an average of 2 million downloads per day, every day. If you had any doubt that the App Store would be a hit, well, there's your proof.
Other tidbits from the interview include confirmation that Apple did bake in a kill switch into the iPhone 2.0 software, which would allow them to remotely disable an application, in the event that they accidentally approve a malicious app that people start downloading. According to Jobs, "hopefully we never have to pull that lever, but we would be irresponsible not to have a lever like that to pull." Okay, that's fair.
Lastly, you know that I Am Rich app that was selling for $999.99? Well, Steve says pulling it from the App Store was a judgment call by Apple. In our opinion, though, that doesn't make it right. Who is Apple to say that an app should be pulled just because people were complaining that they accidentally purchased it? The fact is that the app worked, didn't crash phones, and didn't compromise security. This may be the start of a slippery slope. After all, what else might Apple pull or deny entry into the App Store just because they don't like it, or because they think it is too expensive? Isn't that up to the developer to decide?
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Lakeville Regency was competed in 2006, a new compound that consists of 645 units, It is an amazing executive residence featured by its close distance to Xintiandi, which offers a comprehensive range of recreational facilities to meet all of your leisure needs. This property is the best in the area with imported material used to decorate the units and lobby. Service and security is excellent. Suitable for those who demand only the best.
Lakeville Regency is Lakeville's keystone 'P... more


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Unifying master data management with existing data practices
By Philip Russom, Research Director for Data Management, TDWI
The TDWI Checklist Report, Seven Tips for Unified Master Data Management Integrated with Data Quality and Data Governance, examines the interaction of master data management (MDM) with other data management practices and provides best practices to help organizations implement successful unified data management (UDM) projects.
Master data management can be practiced many different ways, with various user conventions and a broad array of vendor-built technologies. The report focuses on a specific practice called unified MDM. In unified MDM:
- MDM is part of a unified program for many data management disciplines. Unified data management (UDM) is a best practice for coordinating diverse data management disciplines. UDM enables MDM to leverage competency synergies with related disciplines, such as data quality, data integration and data governance.
- MDM is one of many solutions built atop a unified vendor framework supporting many data management functions. By using a vendor's unified toolset, developers can share development artifacts (for productivity and consistent standards), plus design solutions that incorporate diverse DM functions. The initial investment in a vendor's unified platform reduces system integration and other costs over time because multiple MDM solutions are built on top of it. A unified platform also accelerates time-to-use for DM projects.
- MDM is part of a series of easily managed projects. This phased approach avoids risky big-bang projects, and it enables an organization to incrementally grow into multiple MDM solutions that in aggregate amount to enterprise coverage for MDM.
- MDM is controlled and guided by data governance and data stewardship. Master and reference data are like all data in that they are subject to the enterprise regulations of governance as well as detailed improvement via data stewardship. A modern, unified platform will provide software functions that automate governance and stewardship tasks.
- MDM is continuously improved by multiple data quality functions. Master and reference data benefit strongly from quality measures for standardization, address verification, data enrichment, profiling, monitoring of quality metrics, and so on.
- MDM is for business people who act as hands-on stewards, not just technical personnel. A growing number of stewards want and need tool functions designed for them, such as profiling, search, collaboration and remediation.
- MDM is organized and optimized via a hub. Many high-value features of MDM are more broadly disseminated when enabled through a hub, namely collaboration among multiple stakeholders, one-stop governance and stewardship, entity resolution, and publish/subscribe methods.
This TDWI Checklist Report examines these characteristics typical of business programs and technical solutions for unified MDM. The report begins with basic definitions for some of the data disciplines discussed in this report, such as master data management, data quality, data governance and data stewardship. It then provides seven tips for practicing unified data management.
For example, the report begins by explaining that there are many good reasons for coordinating MDM, data quality, data governance and related disciplines. Such coordination is evolving into a common best practice among business and technology users. It goes by many names – among them enterprise data management and enterprise information management (EIM) – but TDWI prefers to call it unified data management. MDM has a prominent place in UDM – especially when coordinated with data quality and data governance – and MDM definitely benefits from the coordination.
In fact, lack of coordination can lead to redundancies. The report points out two key requirements that UDM should satisfy and balance in order to be considered successful. Furthermore, we explore the importance of taking a phased approach to MDM projects and the role of data governance and data stewardship, the part data quality plays, and the necessity of user-friendly tools.
For more details about these and other key points, download the full Checklist Report free at Seven Tips for Unified Master Data Management Integrated with Data Quality and Data Governance.


text: In paintings, photographs, sculptures, drawings, and prints, Jason Alexander Byers draws on the graphic power of design and illustration, borrowing heavily from the vibrant imagery of heavy metal and punk rock. Referring to both rock 'n' roll album covers and painters such as Kenneth Noland and Jasper Johns, Byers's print Dixie Plant (2010) features a circular turquoise target overlaid with the white silhouette of a cannabis leaf. A logo designed by Robert Plant for the album Led Zeppelin IV (1971) is set at the center, conflating themes of rock, pot, and art. Byers also incorporates political imagery—including missiles and the UN logo—into his pieces. His tar-on-paper works, such as 22:05 (2014) and 9:47 (2014), consist of altered film stills lifted from cult movies. He mirrors and rotates the images, eroding their original legibility and evoking the appearance of Rorschach ink blots.


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Are We Born Free
Few would claim the mantle of Pelagius today, but it is a common belief that God's commands imply our ability to obey. Thus, many people overestimate the degree to which they have kept God's law. We must have a strong, ...Read More
The Truth Shall Make You Free
Sin is a harsh master, leading its slaves finally to death. Christ, however, is a kind master who gives us an easy yoke. His servants will not experience eternal death but eternal life. If we think that we can find ...Read More
The Grace Of Perseverance And Glorification
Knowing that God will keep us in grace inspires us to work out our salvation, obeying Him as evidence that He is indeed preserving us. And when we see someone apparently fall from grace, that is our cue to pray ...Read More
The Grace Of Sanctification
Until we are glorified, the presence of sin remains in us, affecting all that we do. Thus, our obedience cannot merit salvation because none of our obedience is perfect. But God is pleased to accept good works done in Christ ...Read More
The Grace Of Justification
We will cover justification in more detail in the weeks ahead. For now, let us note how critical it is that we know our good works do not and cannot justify us. The very honor of Christ is at stake ...Read More
The Grace Of Regeneration
God's saving grace is not weak but powerful and effectual to save. It can bring dead souls to life, and since the life that God gives is far more powerful than death, no one to whom saving grace is shown ...Read More
Grace And Repropation
The elect get what they do not deserve—salvation—but the reprobate get what they deserve—condemna-tion. The doctrine of election should not lead us to pride or to consider ourselves inherently holier than others. It should be a continual reminder to us ...Read More
The Grace Of Predestination
That nothing in us moved God to choose us for salvation is hard for many people to accept. But Scripture is clear that God chose us only on account of His good pleasure. We cannot take credit in any way ...Read More
The Covenant Of Grace Fulfilled
The process of God's writing His law on our hearts begins in this life but is not completed until our glorification. Christians grow slowly but surely in their willingness to obey and to repent for even the smallest sins, and ...Read More
The Kingly Covenant
In addition to making His people righteous before God, Jesus, Son of David and Son of God, also restores to humanity the rule over creation originally given to us in creation (Gen. 1:26–28). Those who are in Christ by faith ...Read More


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LOUISVILLE, Ky. (AP) — The 139th running of the Kentucky Derby at Churchill Downs had a field of 19 horses, with Orb topping the field in just over two minutes.
He's the newest contender for a Triple Crown in thoroughbred racing.
The Preakness follows in two weeks and the Belmont Stakes is June 8. The last horse to sweep all three races was Affirmed in 1978.
Black Onyx was scratched from the race on Friday.
NBC televised the 1¼-mile race from 4 p.m.-7 p.m. The purse is $2,199,800, with $1,439,800 to the winner.
Here's a running account of the event and everything going on around it, with journalists from The Associated Press bringing the flavor and details of everything surrounding the race.
Orb is almost certain to be among the favorites as he chases the second leg of a Triple Crown in two weeks. On May 18, Orb will be at Pimlico Race Course in Baltimore for the Preakness Stakes. The race lasts 1 3/16 miles.
Orb paid $12.80, $7.40 and $5.40. Golden Soul returned $38.60 and $19.40 while Revolutionary paid $5.40 to show.
QUICKQUOTE: SHUG McGAUGHEY
"I'm thrilled to death for (the owners), thrilled to death for the people who put so much time into this horse, and, of course, I'm thrilled to death for me." — Orb trainer Shug McGaughey, who said the victory meant everything to him.
"Orb! Has come in with giants strides in the center of the track. It is Orb in front, down to the wire, Orb has won the Kentucky Derby!" — Larry Collmus, NBC's play-by-play announcer, as the Kentucky Derby finished.
The sign makers at Churchill Downs were ready, no matter who won. Once the horses at the Kentucky Derby headed for the post parade and the starting gate, a tall ladder went up in front of the posted name of I'll Have Another, the 2012 winner.
Workers began taking down the name as soon as the race started. Once Orb crossed the finish line, the name of 2013 Orb quickly went up.
Orb joins Aristides, who won the first Kentucky Derby in 1875, on the awning of the paddock until a new winner crosses the finish line the first Saturday in May 2014.
— Brett Barrouquere — http://twitter.com/BBarrouquereAP
"I was so far behind and I just let him be calm and let him be relaxed and he was available to do it all." — Orb jockey Joel Rosario after winning the Kentucky Derby.
The moments before the running of the Kentucky Derby included a 7-figure avalanche of betting on Orb, the winner. According to live odds on the Kentucky Derby website, more than $4.7 million was wagered on Orb of $36.6 million gambled on the race, making the horse a 5-1 favorite as betting closed.
Just minutes before, Orb pulled even with Revolutionary as a 6-1 favorite even though more than $4 million was bet on Revolutionary and around $3.5 million on Orb.
— Oskar Garcia — http://twitter.com/oskargarcia
Orb rewarded last-minute bettors with a win at the Kentucky Derby, with a time of 2:02.89.
Orb is surging among bettors and is now a 6-1 co-favorite in the race with Revolutionary moments before the horses load into the gate. With $33.7 million wagered, more money has come in on Revolutionary but Orb backers made a late move.
The bugle has called the horses to the post, and it's almost time for the 139th running of the Kentucky Derby. The riders are trotting across the track, and soon they'll be ready to settle the race.
"I saw a lot of men doing it today and I thought I'll try one. ... It might be a once-a-year thing." — Missy Reynnolds of Cincinnati, Ohio, as she puffed on a thick cigar in the paddock area with some friends. Women smoking cigars is a common sight at Churchill Downs on Kentucky Derby day.
— Dylan Lovan — http://twitter.com/dylanlovan
The AP's Brett Barroquere is in the paddock, where some of the folks most anticipating the race are waiting.
There, sign makers are scrambling to replace the name sign in Frac Daddy's stall after misspelling it "Farc Daddy."
Also, Vyjack is jumpy in the paddock stall, repeatedly kicking its back wall.
— Brett Barrouquere — http://twitter.com/BbarrouquereAP
Wise Dan, the Horse of the Year, overcame a boggy turf course to easily win the $500,000 Woodford Reserve Turf Classic.
Jose Lezcano was aboard as the 6-year-old extended his winning streak to six, a span that began when he switched from the main track to the turf last August at Saratoga. Wise Dan, the 3-5 favorite, beat Optimizer by 4 ¾ lengths with Middie third.
Steady showers for most of the day have finally stopped, bringing many out from under cover and livening up the Derby atmosphere.
Hanging cloud cover didn't stop many from discarding plastic ponchos and hat covers, which began piling up around the grandstand. Judging from those blowing on their hands, gloves might've been a nice idea as temperatures dropped into the 50s.
Ladies trying to brave the cool temperaturess in sleeveless dresses probably would welcome jackets.
— Gary Graves — http:://twitter.com/GaryBGraves
Delaunay, the 9-5 choice, powered to a four-length win in the $443,600 Churchill Downs Stakes for his sixth straight victory.
Rosie Napravnik was aboard as the 6-year-old gelding improved to 4 for 4 here. Long shot Pass the Dice rallied to take second.
Trinniberg, last year's Breeders' Cup Sprint champion, set the early pace before fading to seventh.
It's impossible to ignore the rain amid the partying and anticipation at Churchill Downs. As AP photographer David Goldman notes, boxes in the clubhouse considered premier seats on the second level overlooking the straightaway have been deserted during early races because they're wet. They can fetch about $1,000 per seat.
Others have been using plastic sheets to make tents.
Even in a downpour, Megan Grable and Cindy Brenner of St. Louis stayed perfectly dry and enjoyed a box lunch in their trackside box along the finish line.
— David Goldman
With just under 1 hour before post time, bettors are racking up the wagers but not changing the odds on the Kentucky Derby much.
Revolutionary is still a 5-1 favorite with $24.5 million wagered, according to the Kentucky Derby website. Orb and Goldencents are at 7-1, while the longshot is Falling Sky at 36-1.
— Oskar Garcia — http://twitter.com/oskargarcia
AP correspondent Janet Cappiello's picks for the Derby are personal — a tribute to her mom who adored the race and never missed a bet, despite living in Connecticut, not Kentucky. Since she always made her bets based on numbers, Cappiello bet a four-horse, $2 exacta box of her mother's favorite numbers: 3, 8, 7 and 11. That's Revolutionary, Goldencents, Giant Finish and Lines of Battle. An added connection: Janet's father lives in St. Croix, home of Goldencents jockey Kevin Krigger.
— Janet Cappiello — http://twitter.com/janetcappiello
Stephanie's Kitten rallied from eighth to edge Hungry Island by a neck in the $288,750 Churchill Distaff Turf Mile.
Julien Leparoux swung the 4-year-old to the far outside with a five-wide move turning for home over the rain-soaked course. She improved to 3 for 3 on the turf here, including the 2011 Breeders' Cup Juvenile Turf Fillies.
"You think about it: A state of 3 million people. Last year Kentucky wins the (NCAA basketball) championship, we win it this year, the Derby is part of our fabric and we have a horse in it. It's really special. ... We have no professional sports, this is it." — Louisville coach Rick Pitino to NBC anchor Bob Costas when asked whether people outside Kentucky can truly understand the influence of basketball and horse racing in Kentucky.
Of all 19 horses in the field, Verrazano is the only one who's undefeated after winning five races this year.
The horse didn't run as a 2-year-old, so to keep the unbeaten streak Verrazano will have to buck a trend that's lasted more than a century: No horse since Apollo in 1882 has won without racing as a juvenile.
Verrazano is named for the bridge that links Brooklyn with Staten Island in New York City.
Verrazano will be ridden by John Velazquez, who broke a rib and wrist in a racing accident nearly a month ago. He hustled back two days ago and rode a handful of races in preparation for the big Derby.
For trainer Kelly Breen, it's not the Derby Day he was expecting.
Breen was forced to scratch Black Onyx from the Derby on Friday morning when an X-ray showed a chip in his right front ankle. His absence leaves the field at 19 horses.
"Disappointment is probably the best word to describe it," Breen said Saturday morning. "I thought he had legitimate chance and I was going to bet my money. I was ready to put my money where my mouth was. Now we'll never know."
The injury is unlikely to require surgery, Breen said, but the Spiral Stakes winner will need at least 60 to 90 days of time off before returning to training.
The New Jersey-based trainer will stick around for Derby but may pass the glitz of the frontside and just watch from the barn area.
He wasn't the only member of his family looking to put money on the horse.
"My son is 9 years old. He'd saved up 20 bucks to bet on Black Onyx. He's even disappointed," Breen said.
— Josh Abner — http://twitter.com/joshabner
Umbrellas are piling up in growing puddles at the security station outside Churchill Downs, as national guardsmen and police confiscated the items which barred from the Kentucky Derby.
The lack of cover that could be carried made ponchos, dry shirts and hats popular sellers at vendor stands surrounding the paddock at the historic racetrack. Of course, getting into a vendor tent Saturday afternoon is proving to be a challenge.
People are taking shelter under nearly every inch of overhang, awning and vendor tent, even if they have no interest in buying officially licensed items. Even with a roof over their heads, though, racing fans can't escape the water. Rain is pooling on the brick walkways at the entrance to the track and around the Kentucky Derby Museum.
Alas, of all the branded goodies being sold at the Run to the Roses, dry socks are not among the offerings.
— Brett Barrouquere — http://twitter.com/BbarrouquereAP
AP reporters have been on the Churchill Downs backstretch all week, interviewing owners, trainers and jockeys and keeping their eyes on each and every horse during their morning gallops. Now that it's Derby Day, Derby Live presents their picks:
— Beth Harris (http://twitter.com/bethharrisap) 1. Goldencents 2. Itsmyluckyday 3. Revolutionary.
— Jim Litke (http://twitter.com/jimlitke) 1. Overanalyze 2. Normandy Invasion 3. Goldencents.
— Gary Graves (http://twitter.com/GaryBGraves) 1. Orb 2. Goldencents 3. Verrazano.
— Josh Abner (http://twitter.com/joshabner) 1. Orb 2. Revolutionary 3. Overanalyze
— Mike Farrell: 1. Itsmyluckyday 2. Orb 3. Goldencents.
Aubby K, the 7-2 favorite, rallied past Burban to win the $345,600 Humana Distaff for fillies and mares. Edgar Prado guided the 4-year-old through the slop to get up by 1 ½ lengths for her second straight stakes victory.
The normally rowdy infield crowd at the Kentucky Derby appears well behaved.
As the rain comes down, fans have taken to sliding across water-slickened tarps and muddy stretches in a makeshift slip-and-slide.
Louisville Police Officer Carey Klain said as of mid-afternoon, only two people had been arrested and three cited for ticket scalping.
"So far, so good," Klain said.
While the area under the grandstand is crowded, people are milling about and moving through slowly but efficiently.
— Brett Barrouquere — http://twitter.com/BbarrouquereAP
How rainy is it at Churchill Downs?
Even the bugler is wearing a red poncho as he blows the call to the post in the early races.
— Beth Harris — http://twitter.com/bethharrisap
This stat check comes from ESPN sports business reporter Darren Rovell (http://twitter.com/darrenrovell ). According to Rovell, roughly 5.1 million ounces of beer will be consumed at the Kentucky Derby.
That's nearly 319,000 16-ounce pours.
Berlino Di Tiger held off Chamblerlain Bridge by a nose to win the $138,250 Twin Spires Turf Sprint, the first stakes on the Derby Day program at Churchill Downs.
Making his third start in the U.S. after beginning his career in Brazil, Berlino Di Tiger pulled the 11-1 upset with Leandro Goncalves aboard.
Chamberlain Bridge showed he is still going strong at 9. He won the Breeders' Cup Turf Sprint here in 2010.
With $11,2 million wagered and a little more than four hours before post time, Falling Sky is getting the least love from bettors. The horse trained by John Terranova II and ridden by Luis Saez was at 37-1 odds.
Among the actors, musicians and athletes arriving on the red carpet are a fitting type of celebrity for a horse race: Poker players.
Imagine that, gamblers at the Kentucky Derby.
Among them is Phil Hellmuth, who's won 13 gold bracelets and $12.2 million at the World Series of Poker and is known to place a bet or two beyond the felt. He tweeted a picture (http://bit.ly/10duKeu ) of himself, with "The Voice" contender Nicholas David and actress Jennifer Tilly — all posing with the Stanley Cup. Makes sense, we guess.
Fellow poker player Robert Williamson dressed in all black and white, from his hat to his shoes, with one exception — socks covered in sometimes neon-colored daisies.
"They give me a little color," Williamson said.
Tilly, a poker player herself, glided onto the red carpet to cheers from a large throng of onlookers assembled under a canopy near food and booze vendors at Churchill Downs. Tilley, who voices some characters on "Family Guy," agreeably posed as photographers shouted requests: "Look this way please!" ''Can you pose to the right?"
— Brett Barrouquere — http://twitter.com/BbarrouquereAP
David Lehr, the Churchill Downs track superintendent, has downgraded the main track to "sloppy" due to consistent rain falling Saturday morning and early afternoon. The track is now "sealed," or packed down so that excess water rolls off rather being absorbed in the surface.
Track conditions could continue to change before the Kentucky Derby, the day's 11th race.
Only eight of the 19 Derby runners have ever run on a dirt track rated worse than "fast."
Normandy Invasion is one of the 11 never to have run on an off track but trainer Chad Brown hoped this morning that his colt would take to the possibility of a sloppy surface.
"I'm told his breeding is good for the mud," Brown said. "I see that go both ways. Sometimes it does prove to be true and sometimes even if they're bred for it, they don't run in it. You really don't know until you try it."
— Josh Abner — http://twitter.com/joshabner
Revolutionary is the first Kentucky Derby horse with $1 million in bets. The 5-1 favorite passed the mark with $8.3 million in total wagers at Churchill Downs.
The famous faces are starting to arrive. Among the sightings: National anthem singer Martina McBride, TV personality Star Jones, basketball greats Julius "Dr. J" Erving and Scottie Pippen, Speaker of the House John Boehner, New England Patriots lineman Vince Wilfork, actor Anthony Anderson and actress Valerie Harper, who was recently diagnosed with terminal brain cancer.
— Janet Cappiello — http://twitter.com/APLouJanet
"The more, the merrier, as far as I'm concerned." — Frank Hanlon, 31, of Memphis, Tenn., on added security joining at Churchill Downs in response to the bombings at the Boston Marathon last month. Kentucky National Guardsmen searched bags and passed metal detecting wands over race goers, while raincoats, towels and small cameras were being inspected.
— Brett Barrouquere — http://twitter.com/BbarrouquereAP
The last Kentucky Derby run on a track listed as sloppy was in 2010, when Calvin Borel rode 8-1 Super Saver to victory. That day, 1.32 inches of rain fell at Churchill Downs. Saturday's forecast calls for the rain to become progressively steadier as post time approaches.
Borel also won on a sloppy track in 2009 when 50-1 shot Mine That Bird splashed home first. The jockey nicknamed "Bo-rail" because of his rail-hugging rides at Churchill will be aboard Revolutionary in the Derby.
— Beth Harris — http://twitter.com/bethharrisap
Betting strategies at the Kentucky Derby vary as wildly as the hats.
Some racing fans plan out their wagers days in advance, poring over statistics and previous races to make an informed decision. But many fly by the seat of their pants, choosing an interesting looking horse or colorful jockey silks.
"I love cats," said Shelly Dozier-McKee of Atlanta, who decided to bet on Charming Kitten in the Derby. It's her first trip to Churchill Downs, and Dozier-McKee said she received some betting tips from former University of Louisville coach Denny Crum during a party Friday night.
She said Crum, who won two NCAA basketball championships, showed her how to bet exactas and trifectas, she said.
"I got some good insider tips from him," Dozier-McKee said from under a black, wide-brimmed hat adorned with a feather.
Jeremy Hewson learned how to bet horses from his grandfather back in Greenfield, Ind. He'll study the racing form, looking at speeds and performances in past races.
Hewson said the rainy track would factor into his picks, but so far he likes Verrazano in the Derby.
"Unless I see something that changes my mind," he said.
— Dylan Lovan — http://twitter.com/dylanlovan
Derby Live follows the Kentucky Derby and all the activities surrounding the event as seen by journalists from The Associated Press from across Louisville, Ky. It will be updated throughout the day with breaking news and other items of interest. Follow AP reporters on Twitter where available.