text: Jason Pyeron wrote: > Can I get some recommendations: > > We are looking for a hosting provider (other than godaddy) with > godaddy is a registrar, not a hosting service. they pretend to be the latter, but seriously... i'd be looking for someone providing either VPS or dedicated servers. you get root, you get to configure. lots and lots of choices.


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Call: 630-232-9973
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subset: commoncrawl


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I know this isn't doll related - but it is something different - and it was a beautiful day and everyone seemed to really enjoy themselves - and the Maori food!
'The Rite Journey' is just one of many web sites that are opening up to encourage more 'Rite of Passage' celebrations, if you are at all interested. It is an old tradition that has been lost and it's importance is being recognized.
Rangi having his hair plaited before the ceremony. The family cuts a plait first - and then others are invited to come and participate. He looks such a different boy now!
I think he did very well to have long plaited hair for twelve years - it's hard to be different among your peers.
The tables laid out with some of the food! There was chicken, pork, veges etc cooked on the hot rocks - then Alice and family made dishes like 'banana poke' etc as accompaniment.
Everyone was great about being game enough to try different food.
Farm looks beautiful - it was perfect weather!


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FORT CHAFFEE, Ark.- River Assault 2012 provides soldiers from the 412th Theater Engineer Command with the opportunity to hone present skills, learn new skills and experience different weapons systems, here, July 14 to July 27, 2012.
"In the last two days, we have been firing the Squad Automatic Weapon (SAW)," said Sgt. Corey Chadwick, from Clemson, S.C., combat engineer and NCO for one of the lanes on the range, "Today, we switched to the M240B."
River Assault 2012 provides a wide range of training events. Today, the 323rd Engineer Company, from Spartanburg, N.C., are training soldiers on the machine gun range, here, with the M240B belt fed automatic machine gun. Experienced NCOs share their knowledge polishing the skills of those who have fired the weapon, as well as the newest of soldiers.
Corey explained that the soldiers begin by zeroing the weapon and making sure the soldiers can make the transition. Then, they move to pop-ups for qualification, he said.
Spc. Benjamin Milo, with the 94th Military Police Company, Londonderry, N.H., is on the range looking forward to firing the weapon and soaking up as much training as possible, he said.
"We're shooting the M240B," he said. "It's a familiarization with the weapon. It's big, it's loud-it's everyone's favorite." He explained that the M240 essentially works the same as the SAW (M249). "It's just a bigger bang and more bullets-who wouldn't want that?" The M249 fires a 5.56 mm round; the M240, a 7.62 mm round.
Chadwick says they don't train Soldiers how to shoot. "They already know how to do that. They are well trained, they do their preventative maintenance and inspections, before they get out here," he said. "We make sure they can hit what they're pointing at. You're putting a lot of rounds downrange when you shoot this thing, so you have to be able to control this weapon."
Milo, who just finished Advanced Individual Training December 2011, and on his first annual training, is looking to get as much training as possible. "Anything they can throw at me," he said. "Training like this is exciting."
Training on the M240B is a new exciting experience for newer Soldiers like Milo. It's a way to hone skills and expand skill sets for experienced Soldiers like Chadwick, who is running a lane for the first time in his career. It is one of many opportunities River Assault 12 affords Soldiers of the 412th TEC.
|Date Taken:
|Date Posted:
|07.26.2012 19:34
|Story ID:
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This work, A Range of Opportunity to Expand Horizons, Skills, by SGT Timothy Book, identified by DVIDS, must comply with the restrictions shown on https://www.dvidshub.net/about/copyright.


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As recently announced on the EBB, Kevin Lynch of Connecticut, USA, has taken up residence in the Netherlands, bringing with him an encyclopedic knowledge of bluegrass music and over thirty years' experience in practically every field of bluegrass activity, including as a professional performing and recording artist on mandolin and guitar.
In the USA Kevin was a founding member of Traver Hollow, who recorded an album Live in Holland (SCR-16) for Strictly Country Records. He played at the first EWOB Festival in 1998 with Amy Gallatin & Stillwaters, and has since been mandolin player and harmony singer with TrueGrass. He also hosted a weekly radio show, 'U-H Radio Bluegrass', on WWUH 91.3 FM in West Hartford, CT; produced or co-produced music festivals and concerts; and has been a director of the Connecticut Bluegrass Music Association (CTBMA), and a charter member of the IBMA.
At recent EWOB Festivals at Voorthuizen (NL), Kevin has been a valued part of the sound and stage crew and Mandolin Workshop presenter (again in 2009 as well). His residence in Europe is a welcome addition to the scene here. He can be contacted at +32 172 411676 or by e-mail.
Southern Raised – Another World
2 hours ago


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Efa-Lata's Mother's day story from Jenny She on Vimeo.
As part of the Literacy learning process, Mrs She's children over many years wrote stories and then drew pictures to illustrate their stories. This story writing was integrated with childrens' Inquiries. Children also recorded their stories in movies so that they could share them with the world. We are proud of this work.
Tuesday, May 20, 2014
Efa-Lata Wrote a Story about Mother's Day too!
Here is what happened on Mother's Day for Efa-Lata's family.
Posted by Little Voices, Little Scholars. at 9:31 PM
Labels: Efa-Lata
2 comments:
Wow Efa-Lata it sounds like you made a very special Mothers Day for your mum. I like how you read your story so clearly.
- May 27, 2014 at 12:29 PM
Hey CLass 18
My name is Maree and I am Efelata's big sister. I am in class 14. I wanted to comment on your blog and say hi!
- June 16, 2014 at 2:47 PM
Subscribe to: Post Comments (Atom)


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When businesses start selling on the web, there's a raft of consumer protection legislation that applies throughout the EU to be aware of.
If you're operating fairly, there's nothing to be afraid of. However, it's good to understand what the regulations are so you don't fall foul of them.
EU Consumer Commissioner Meglena Kuneva today announced the results of an EU-wide investigation – involving 26 Member States and Norway and Iceland – into misleading advertising and unfair practices on websites selling consumer electronic goods.
Here's more posts other people found interesting...
© Copyright 2012 : Website goodness by us Big Bang Business


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Talk:Druid (Evaluational Base Class Layout)/Ready to Begin?
From D&D Wiki
Ready to Begin?[edit]
Do you think we are ready to begin formatting the base classes on D&D Wiki? Have we discussed formatting enough so that everyone is happy? Are there more issues that need to be addressed? Should we wait for voting to completely finish?
Begin — I think we are ready to being with the basic formatting. The first things that need to get done are much simpler and I think they do not require the voting to be 100% complete to be implemented. Templates needs to be added first off, "Back to" footers fixed, and the DnD Class Preload needs to be modernized. All these things can be done without voting done so I think we are ready to begin. --Green Dragon 23:07, 19 April 2007 (MDT)
Wait. We need more votes on 2-4 on Talk:Druid (Evaluational Base Class Layout). Once those are done (or if we do actually have enough votes and those notes on the talk page need updating), we'll be ready. Armond 11:23, 24 April 2007 (MDT)
- All that is left is three then (cmon guys). --Green Dragon 16:56, 30 April 2007 (MDT)
Begin - Looks good. Hooper talk contribs email 12:13, 27 May 2007 (MDT)
Begin—The last two discussion have to do with modifying the CSS, which doesn't effect how the class pages are edited. If the new layout is applied now, there will be no need to re-edit once resolutions to the last discussions are reached. Only the CSS will need to be modified. —Sledged (talk) 15:55, 29 May 2007 (MDT)
Final Call on Voting and Discussions[edit]
Time for a final call on the discussions that are left:
- Talk:Druid (Evaluational Base Class Layout)/div.messagebox
- Talk:Druid (Evaluational Base Class Layout)/L4s
All voting discussions and close 2007 June 6th Midnight (MDT). —Sledged (talk) 10:48, 23 May 2007 (MDT)
- Removed extension - we are back and this needs to be started sometime.... --Green Dragon 16:14, 5 June 2007 (MDT)
|Step #
|Finished By (when multiple users please use bullets)
|Modernize DnD Class Preload


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text:
Fayetteville is located in Georgia.
Fayetteville, Georgia 30215has a population of
Fayetteville 30215 is
family-centric than the surrounding county with
33.77% of the households
containing married families with children.
The county average for households married with children is 36.05%.
The median household income in Fayetteville, Georgia 30215 is
The median household income for the surrounding county is $79,993
compared to the national median of $53,482.
The median age of people living in Fayetteville 30215 is
41.3 years.
The average high temperature in July is 89.8
degrees, with an average low temperature in January of 31.8 degrees.
The average rainfall is approximately 50.9 inches
per year, with 1.1 inches of snow per year.
Maximum One Realty / REALTORS® - West Cobb
5041 Dallas Highway, Suite 700
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770-919-8825 x318
Realtors & Staff


text:
My 2016 BULLET JOURNAL // studyblr inspired
Thanks for watching! **I'm aware of the background noise and choppy editing, I'll keep that in mind for next time's vid!** Some more info about things I mentioned: Notebook: Baron Fig's Confidant Highlighters: Mildliner Links to YouTube Bullet journal videos I got ideas from: https://www.youtube.com/watch?v=ZDttRueKfFU https://www.youtube.com/watch?v=QUQpKbepq_8Read More


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Fashion tips for jewelry. Round face shape.
Many of you have asked, " What type of jewelry should you choose, what earrings or necklaces will better fit my facial shape?" I'm very happy to share some of the fashions tips for the best jewelry what will fit your face shape.
To answer this question I decided to create an earring and necklace chart so you can visually see what compliments different face shapes.
Let's start with a round face shape, the round face is ideal for wearing longer vertical styles: especially dangles, drops, narrow chandeliers, and ear threads. Remember that opposites attract for round facial shapes: choose rectangles, trapezoids and other long vertically angular designs. Any style that draws attention to a strong vertical line will be flattering for a round face.
Try to avoid hoop earrings they will make your face more round and it is not usually complimenting to do this. Also, it's not recommended to wear studs or post earrings unless, the stud has a long dangle piece.
On this image you can see what is flattering to wear and what is not. I hope these little tips will help you with your next jewelry shopping trip.
If you like what you see save your trip to the mall Topaz Earrings or more office style jewelry Smoky Quartz
Now some fashion tips for beaded necklaces you should wear to compliment your face shape.
The best choice for round face shape will be wearing longer, looping necklaces. Try to draw the eyes down and lengthen the look of the face. Large focal components which create a "V" or draw attention below the neckline also create a powerful triangular point that creates a longer line. As an example Carnelian necklace, ruby necklace, rock crystal necklace.
Try to avoid choker, collar and princess lengths, since they shorten the neck and add width to the throat and will make your face and neck line rounder.
Hope this necklace chart for round face shape will help you to visual understand what will be good for you.
Would you like to know how to look thinner instantly? Read Jewelry tips. How to pick a jewelry that slims.
2 Comments
Thanks. This confirms what I thought about my chubby round face! Great pictures too!
Nice post.


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My 8th Grade Advisory (we call them Magnets) and I held our first Tasting of the school year, yesterday. The ginger candy and - surprisingly - the fermented tofu in chili oil were hits.
Pandan Coconut Candy (Vietnam), Fresh Rambutan, Ting Ting Jahe Ginger Candy (Indonesia), Fermented Tofu in Chili Oil (China) - $14.01
Subtotal (year so far) - $278.07


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Two wonderful authors are confirmed:
Monday, July 23 - Janet Lane Walters
Wednesday, July 25 - Natalie G. Owens
Only a week and a half to visit with Judith Graves, the July Featured Author! Don't miss out!
And for all you writers who include characters in the service or who dabble in espionage, I hope you'll share your story blurbs next weekend.
Thanks, as always, for your support,


text:
Your search for Spider Games
Fruit RescueCategory: Action Games
Tags: Fruit Rescue, fruits games, rescue games, spider games, adventure games, skill games, volcano, arcade game
Help the adventurer recover the fruits from the volcano by bouncing them on his raft. Make sure to avoid the spider who wants t...
Jumping SpiderCategory: Adventure Games
Tags: Spider, jumping, jump, goal, skill games, spider game, spider games, goal reaching, coin, coin collecting, spikes, falling, hopping, insect.
Try to get your jumping spider to the goal in each level. Spikes will minus points, and coins will add to points.


text:
Reporting on desktop and mobile search trends from Yellow Pages Group.
As people continue to make the shift toward digital platforms, now more than ever, location is influencing the success of digital marketing strategies.
This paper examines the most popular search categories that consumers search for on YellowPages.ca (YP.ca) – both desktop and mobile – and reports on consumer's wants and needs, as well as their increasing reliance on local search platforms.
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text:
The page on the left is a bold color with a simple border and starts with a question about the layer of the house they are building. On the right side are the tools and their names. The entire right side lifts as a flap, showing the worker beneath using the tools. So the first spread is brick red and says "To build a house, start down low. Whose tools are those? Do you know?" and on the right is pictured a chalk line, chisel, joiner, and float. Lift the page and see the masons laying a foundation.
The pictures are cute and cheerful with little eyes on the tools, silly details to look for, and a diverse population of smiling workers, including many different skin colors and women as well as typical male construction workers.The big flaps feel pretty sturdy, but I can see them separating at the fold fairly soon. However, with something this fun and potentially popular, it's worth a few replacements and some strengthening tape would probably help too.
Verdict: This is a must-have series for little ones who are obsessed with how things are made and you may even find older kids sneaking it out of the board book section.
ISBN: 9781419714313; Published 2015 by Abrams Appleseed; Borrowed from another library in my consortium


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About Atlanta Fixture:
Atlanta Fixture has been servicing Atlanta and the Southeastern United States for over 86 years. An industry leader in the distribution of foodservice supply products in Georgia, Alabama, Mississippi, South Carolina, North Carolina and Florida. Our vast inventory, over 9,000 in-stock items, is housed in our showroom and warehouse which spans over 172,000 square feet. Atlanta Fixture maintains its own fleet of delivery trucks allowing us to deliver products and equipment quickly and efficiently. Generally, orders received by 6 pm can be prepared for delivery by 7 am the following morning.
Phone: 800-282-1977
Primary Services
- Bar Equipment
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- Restaurant Furniture
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Contact Atlanta Fixture
Ron Bruck


text:
Been in a bit of a recovery over the winter. Parotid gland cancer gave me a good shake. But surgery and radiation now over, let's hope that's the end of that. Kinda thought I'd be full of inspiration and songwriting savant-ness but nope, only full of radioactive isotopes at the moment. All the same, life continues and spring is around the corner! D
As I suck at blogging, podcasting audio is forthcoming. I think I'll be better at that.
So much has happened and so much time has past. Wow. I suppose getting my solo release written and recorded has kept me from posting pointless drivel on my website so we'll call that a good thing. Scheduled to come out later this summer - I'm excited and exhausted to finally be in the final stages. So many great musicians have helped me out in the recording process so many thanks go out to all of them.
'Cold Medicine' is the title of the record and I believe it's an equal combination of rock, blues, singer/songwriter - album oriented music. In music industry talk that would mean 'there should be no hit singles on this record!'..... But I hope people will disagree. We'll see. I'm making a note to myself to update more frequently with 'Cold Medicine' info and some documentations of the whole process! Yep! d
I leave for Japan this Tuesday- whenever I leave for these kind of things i get anxious that I'm not nervous enough about going. I guess most people would be getting themselves organized and put together for the trip by now, but I usually just wait till a few hours before and pack it up and head to the airport. Things will work out.
Not sure what will unfold over there but I'm excited to see - these are shows with my buddy Travis Feaster who is a great guitarist/vocalist. We'll be doing a bit of his material, a bit of my material and some covers that don't make us want to stomp a bunny. He and I have been throwing around ideas about a collaborative project for a while and the Japan excursion sounds like a great way to spend some extended time to chat that shit out and jam on some tunes while we're at it!
OK, I've got less than 48 hours before departure....time for a bowl of cereal......walking dead's coming on...d
Well this is anything but consistent. I have been extremely busy with various shows but most importantly I've been writing and recording for my very first solo release. I've decided on an EP format which means anywhere from 6 to 8 songs. I've had the pleasure of having a few different musicians from the area in on the recording process which makes it anything but the same old thing. Hoping for a release by years end!
Got some cool things in the works for the end of October with my buddy Travis Feaster as well. I'll keep ya posted. d
Here's to a great new year everybody.. I have a number of recording projects going on right now which is keeping me fairly busy. This year I intend on releasing my first solo record depending on funds, friends, scheduling and inspiration. Having a bit of an identity crisis when it comes to that. Singer/Songwriter? Blues? Rock? All three? Three completely separate releases? That's something to sort out. d
Like the title says, cold and flu. I've been fighting a bad cold for the past week and luckily I haven't had to sing very much. Got lucky.
I'm excited to see Joe's DVD set came out this past month and the response has been very positive. I've had lots of kind words from lots of people and that's really cool.
Been working on a video shoot of the LLC that's going to start 'rearing it's ugly head' very soon. I'm really excited about it because it did capture us (at least for a portion of the show) in what I consider the 'zone'. There was a power outtage towards the end of the night, I had an hour or so to get good and inebriated (thinking that the power was out for good), only to come back when it came back on and do a few songs slurring and stumbling. Those may stay off the DVD...maybe a bonus DVD only for friends....anyway, keep an eye out for it if you can - I'll post it here on the site as soon as the first one pops up on youtube or what have ya.
OK. Stay healthy out there everybody! d
It was the busiest summer ever, and though I do suffer from Autumn depression, I am looking forward to some down time. I'm excited to see some of the Joe B. promos out there for the London shows. It's funny when I look at that footage all I can think of is how cold I was! I wore my ugly eddie Bouer down jacket zipped to my chin the entire time. Not a good look. But I am looking forward to watching the DVD set.
I've started a 'Songwriter Night' at a club here in town that has gone very well. It's in it's 15th week -never thought it would last this long- so that's encouraging.
With the busy summer I've struggled with my writing but as of late this has changed. Got a few in the oven. Got some videos coming out soon.....and I've found my newest favorite comedian. Doug Stanhope. I love great comedians. There is a great parallel between musicians and comedians in my opinion and I have a great respect for the artform. Till next time.
Yeah that whole posting journal entries thing was a bad idea. Think I'll keep those under wraps.
So it's been a very very busy summer so far. Busy is good, but I need a vacation desperately. Haven't been able to really focus on my own songwriting the way I need to since 2012! Doing what I do for a living, it's a feast and famine kinda sitch so I gotta take it when it's there, but I am spread thin.
One thing I'm doing now that I feel good about is hosting a songwriter night. So far it's gone very well. Big thanks to all of the artists I've had out to spotlight at the venerable Ale Emporium. There's a bit of an adjustment curve as the night progresses, now being 8 to 10:30 every Wednesday. Next week Jason Brown will be hosting in my stead while I play the annual "Guitarmelfest" in Carmel. It's a fun show where a handful of Indy's guitar geeks (like myself) get up and do short sets with plenty of self indulgent guitar. So I'll be back hosting the Songwriter Night on July 10th.
Got to see a bit of the Joe Bonamassa DVD the other day from the London shows - very cool. It's always a little unsettling to watch yourself on video. I think for me the strangest is the fact that I can remember exactly what was going through my head and random thoughts I was having in every scene I saw myself in. Weird. The brain's a whacky thing. Cheers everybody.
Back in July I got a call from Kevin Shirley - he was organizing a number of shows in London for Joe Bonamassa and wanted to bring me out to be part of them. 'I know you and Joe like to do things off the cuff but it has to be well rehearsed and great so I want you out there for a couple weeks prior to work out the kinks'. Awesome. Unfortunately this would be 9 months down the road, and I had to keep it under wraps - I remember someone saying 'Facebook be damned'. That's a hard thing to keep quiet about for nine months.
But now it's over and I'm back home. Now I can reflect on all the crazy things that have happened - the ups, the downs- the incredible experience I had over there. I tried to keep a journal. I used to keep a journal when I was younger and decided at one point that journals are for self absorbed young people with too much time on their hands. I was wrong. There is a clarity that you maintain by keeping one. My memory is not that clear. I drink too much, I sleep too little, and the details elude me. So I'm planning on posting some journal entries and photos here for those of you who are interested. I am very grateful for the people who believe in my talents - and I've been fortunate that they've gained me some incredible experiences that I would otherwise never have.
I'm ashamed that I went to do some house keeping with the website and noticed I hadn't blogged since November?? How is this possible? I've been so busy with other projects. Even now I'm preparing for another project going on this spring which I'm very very excited about- but it's tempered with the reality of bill paying and here I am chasing those dollar bills. Damn! I've been feeling very inspired lately and have a few songs in the oven that I'm real excited about. Can't wait to get them presentable. One is in process. It's very weird for me because it's about the demise of a midwestern band. I wrote it about 6 months or so before the end of H6s but it really didn't have anything to do with the demise of that great midwestern band.
Just posted the new song "What I've done to You" after dragging my feet on it for quite a while. Truth is I did what everyone always does when they get a new song put together - play it for industry people first to see what they think. That never goes well, why do I fucking do that? So my confidence gets shaken and I contemplate throwing it back in the lake to grow into the monster it could be one day. But it's done, and it is what it is - I like it. It's posted for streaming and/or downloading- don't cost nothin. I hope it can become a part of your personal soundscape at this moment in history for you and yours. That would make me happy.
Speaking of streaming - I'm getting ready to post another tune and it's a first for me- a cover tune posting. A legal one. It's an old Stevie Wonder song that I've wanted to do my thing on and put out for a very long time. So I had to get the licensing squared away - and it is in process. Anyway, it's costing me about 25 bucks to throw it out there as streaming audio - no downloads. But if I burn through the number of streams I paid for super quick and get some rabid feedback then I may pull the trigger on giving Stevie even more money so you all can download it on my dime - it would be my Christmas gift to you. And Stevie needs those groceries. Cheers.
So I've spent the past couple of weeks trying to finish up a song that I'm very proud of - "What I've done to You". I brought Wade Parish (of H6s fame) to play drums and he was great- very reminiscent of the 'Bluejay' sesh for me. Will post soon.
I've been trying to write as much new material as possible between my gigs and bohemian lifestyle here in Indianapolis (sarcasm is an American invention btw). Speaking of that bohemian lifestyle, I was having a conversation with friends last week about what being an artist/musician here in Indy is like....somewhere between the Dead Marshes (LOTR) and the island of misfit toys is pretty much where we ended up.
Here's the deal- there are an enormous amount of killer musicians in this town but not nearly enough artists...what's the difference? A musician is a person with a specific talent who hones his skill on an instrument (voice is an instrument btw), works his ass to the bone and gigs while chasing his tail apologetically in front of bar owners flanked by large screen televisions. Artists do what they are inspired to do and make no apologies about it..they entertain with their own conviction and their honesty.....in front of large screen televisions.
I'm both of these things...back home in Indiana. Where the artists are few, but the mortgage is due.
So it's been a busy summer and I want to thank everyone who's come out and supported my efforts with the LLC. Had a great show at the Rathskellar last week even though hurricane Isaac showed up and forced us inside. When you perform in a small little space like that it's a bit stressful because it's so intimate you become, or I become, over aware of how intrusive you can be to someone who might just happen to be there. You got a quiet little evening planned with your lover of choice and the next thing you know Doug's there with his Les Paul and an Orange cab screaming in a microphone. So it always takes me a good amount of time before I relax and get the mojo going once I realize that we've got the upper hand. We have the place packed with you peeps who want to hear it! So off you go my little lovers, we're gonna do this thing and you can either join the party or go watch 'The Vow' again until sleep overtakes you. You guys made that happen and I appreciate it.
Now I'm going to start tracking the next Doug tune this coming week. Not sure which one it's going to be yet- I'll make that decision on Monday. So if you've been out to the shows, then you've heard the potentials so here are the titles - you pick! I know that the titles don't help you remember the tune - that's what makes it interesting.
The next song to get underway will be....
a) Simple Plan???
b) Lament for the Band???
c) What I've done to you???
Fall has always been the season that spins me into a bit of a funk. Always been that way. Particularly and curiously when I smell burning leaves (chances are I won't have much of that with the burn ban still in effect around here). Why is this? It's always however been a good season for songwriting. I think it's true that to write a great song you have to be at least a bit miserable.. so here's to fall depression!
Went to see John Hiatt in Bloomington this past Monday - what a great show, and what a great town Bloomington is. There are people there who actually listen to music! And they seem to enjoy it! What happened? Anyway, John is truly a legend in my humble opinion. We would have a statue of John Hiatt and Kurt Vonnegut on the circle downtown if it were up to me....
So I got a pre-release copy of Johns newest CD "Mystic Pinball" and I love it. And I'm not just saying that cause I got to sing on it. It's rocking, it's intelligent, it's fun and clever, and Kevin did a killer job on the production- it just drips out of my truck speakers like sweet sorghum. My favorite track is "Wood Chipper".. (which I did not get a chance to sing on-damnit!) fucking brilliant.
After a couple of false starts on a trip to LA this week, I'm diving back into one of the big projects on my plate - 'The Easthills'. I'm producing the record, we've been in the final stages for quite awhile, and I'm really excited for people to hear it. It's not your typical rock record - a breath of fresh air for my ears even after thousands of plays in the studio over the past year.
Been trying to find some 'inspirato' lately. A bit of writers block going on. Tried to spring the lock with some Coors (Smokey and the Bandit style) tall boys last night to no avail..
Hello out there. Finally have the site up and going and all I have to say is- what a relief to have


text:
Yes, I went to the state fair again this year. I thought about it for a long time: Did I want to go back to work at the 4-H Encampment building this year? How would I feel going by myself after Jim and I had always gone together? We never missed a year -- this would have been Jim's 45th year. I finally decided I should go. I figured I'd kick myself later if I didn't go.
We had developed strong friendships through the years with the other people working at the dorm year after year, and the 4-H families also staying year after year. In fact, the 4-H'ers coming now are grandchildren of 4-H'ers that stayed when we started working back in 1966. The encampment building was built in 1934 by WPA workers. It has an interesting history. I'll tell you about it sometime.
I received many hugs and comforting words of sympathy; they all missed Jim and expressed their feelings to me. I was given a precious gift -- pictures taken of us since 2002 thru 2008 assembled on scrapbook sheets, touching memories of friendships made.
Jim is gone, but life goes on. The encampment building was ready to welcome its overnight guests, the fair was up and going at full speed, following the schedule day-by-day, hour-by-hour -- a fast-moving, well organized machine.
I had mixed feelings. I felt sad Jim couldn't see or hear the loud excitement we shared. I felt so alone, seeing the exhibits, walking thru the buildings watching demonstrations and stopping for a bit by myself. When I walked past the Huchinson Clinic booth where Jim always got his PSA test, I got a lump in my throat.
Let me tell you about more positive things I did. I worked 7 a.m. to 1 p.m., welcoming kids and their families, checking them in, giving them their bed tag and explaining the rules. It always amazes me how far they come. Many travel from the far west corners or far eastern parts of Kansas. Just spread out the road map and see the distance and time required to be part of state fair, exhibiting, judging and enjoyed the climax of the 4-H year.
Here is an example of what I did after I was off for the day. Sometimes I'd take a nap in the motorhome or take my walker out on the fair grounds. Jim and I had purchased walkers last year. It's easier to walk distances with one, and it has a seat.
One hot afternoon I was headed for the Sunflower Building. I wheeled into the shade of a huge bull, sat and visited with a lady named Gladys. There also was a huge holstein cow, as large as the big refrigerated truck, at the spot with people giving out free cups of ice cream with a small wooden spoon to eat it with. Can you imagine this truck pulling this huge cow down the highway from Hutchinson to the state of Pennsylvania?
I came home with a sack of free goodies, pens, note pads, emery boards and countless pamphlets. I did buy a few things: coasters for the car drink holder, bottle of Shu-Nu, a pretty necklace and a book. The book, "Come to the Fair," by Carol Murray has poems inside that are light, heartfelt verses showing love for the fair.
Of course, I had to try some of the interesting foods offered; stuffed cucumbers were delicious and the baked sweet potatoes (large enough for 3 people) were big but good. I always have an ice cream cone from under the grandstand, had a walking taco and a nacho smothered with toppings that were dripping off the side.
On a hot afternoon walk, an ice cold limeade really hit the spot.
When I was tired and felt lonely, I just sat and watched the people parade. People watching is never boring. Isn't it amazing how everyone is different. The Lord has done an unbelievable job making us all different individuals.
When I am at the fair, I can just put out of my mind things that need to be done at home. When I came home, it all came back, wham! The mail, the newspapers, check obits -- catch up time.
I'm glad I went to the fair. It was a big step into this new life I am now living, a life without Jim but his memory is with me every move I make.
The last verse in one of the poems titled "Home Again, Home Again" somehow fits:
"Out of the present and into the past, the years go by, the years go fast.
"But love survives and touches lives with memories that last and last."
Opal Flinn, Ellis, is a member of the Generations Advisory Group.


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text: No one pronounces it correctly, but everyone goes there for restaurant reviews. Zagat (stress on the second syllable, rhymes with "cat") is the Web incarnation of the popular series of restaurant guidebooks first published by New Yorkers Tim and Tina Zagat. Based on surveys completed by the public at large, the site's reviews now cover restaurants in dozens of American cities as well as Tokyo, London, and Vancouver (stress on the second syllable, rhymes with "Hoover").


text:
3 bird strikes within hours at NYC's LaGuardia
NEW YORK (AP) — The Federal Aviation Administration says three bird strikes were reported in a four-hour period at New York's LaGuardia Airport. No one was injured.
The FAA says two of the arriving planes Wednesday belonged to ExpressJet Airlines. One was turning to land at around 7:15 a.m. when a bird apparently hit its nose gear. The other was taxiing to a ramp at around 9 a.m. when it reported a strike.
At around 11:15 a.m., an incoming Air Canada flight landed safely after reporting a bird strike 12 miles northeast of LaGuardia.
Birds have been a longstanding problem around LaGuardia. In 2009, a jet leaving the airport hit a flock of geese, knocking out both engines. Pilot Chesley Sullenberger safely landed it on the Hudson River, becoming a national hero.
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Deltek Acumen Fuse | Risk | 360 Fundamentals Training Class
Duration: 1-Day
Course Description
Created for those who are new to Deltek Acumen and need to get up to speed quickly with all the main features and functionality of this ground-breaking schedule analysis tool. This 1-day fundamentals training class is a fast paced introduction to Deltek Acumen Fuse, Risk and 360. Students will learn how to navigate Acumen, customize options and use its capabilities to perform detailed schedule quality and comprehensive project risk analysis. Deltek Acumen supports a proven process that will allow organizations to improve schedule quality, deliver risk adjusted project schedules, help track trends, and help ensure greater and more consistent project success.
This class covers the core functionality of Acumen including:
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- Data Management within Acumen Fuse
- Acumen Metric Library
- Risk Management Fundamentals
- Performing Schedule Risk Analysis and Risk Adjusting Project Schedules
- Publishing and reporting from Acumen
Beyond the basics, the student will learn the power behind the fuse workbook concept, how to compare projects and scenarios, how to develop reports that communicate a schedules vulnerabilities and opportunities.
Open Class Dates
|Chantilly, VA
|June 7
|Chantilly, VA
|July 9
|Chantilly, VA
|August 30
|Chantilly, VA
|October 11
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|November 8
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|December 10
Costs and Registration
The class costs $995 per person with discounts for multiple attendees. Please contact us if you have more than 3 people wishing to attend to enjoy an additional discount. To register, simply click here to register online or contact us by phone at (703) 910-2600 or email.
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Lesson 1 – Introduction & Learning Objectives
- Slide show introduction
- About this course
- The PMI Groups and Acumen
- About Acumen Fuse & Risk
Lesson 2 – Getting to know Acumen
- Basic navigation in Acumen
- Acumen file structure
- What's up with the S1 // S5 tabs?
- Acumen Help system
Lesson 3 – Analyzing a Single Schedule
- Importing a single project
- Understanding the Activity Table and Gantt Chart area
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- Understanding the results
- The Acumen Fuse Phase Analyzer
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- Acumen Logic Analysis
Lesson 5 – Working with Scenarios
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- Using scenarios
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Lesson 6 – The Logic Tab
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- Logic Redundancy
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Lesson 7 – Benchmarking
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- The S2 // Benchmarking tab
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- Dashboards Overview
- Using Dashboards
- Publishing Dashboards
Lesson 9 – The Forensics Tab
- Forensics Overview
- Comparing Projects/Snapshots using the Forensics tab
Lesson 10 – Acumen Publishing
- Publishing Introduction
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Lesson 11 – Risk Management Fundamentals
- Risk Management Definition
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- Loading a project for risk analysis
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- Uncertainty Inputs
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Lesson 14 – Exporting Risk Adjusted Schedules
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Earn Valuable PDUs To Maintain Your PMP Certification
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THORNTON F. BRADSHAW WAS, TO AN EXTRA-ordinary degree, the epitome of a business statesman.
On any number of matters, from the state of business to the state of the world, his views were frequently sought and freely given. Five feet 11 inches tall, with round, ruddy cheeks and a genial manner, he could look back on a distinguished career that included terms as a professor at the Harvard Business School, as president of Arco, the oil conglomerate, and, most recently, as chairman of the RCA Corporation. On this morning of Nov. 6, 1985, as he headed for the monthly meeting of the RCA board of directors at Rockefeller Center, Bradshaw might rightfully have felt that he had reached a new pinnacle.
Almost five years before, at the age of 63, he had been chosen to take the reins of RCA, at a time when the grand old institution was floundering. Bradshaw had undergone open-heart surgery a few years earlier, and it was widely believed that he would be an interim figure, a caretaker who would simply calm the internal politicking that had become an RCA hallmark and find a successor to lead the company out of its financial doldrums. Instead, he had done the job himself, selling off weak divisions, hiring Hollywood's Grant Tinker to rejuvenate the NBC television network and fending off a swarm of corporate raiders.
Thornton Bradshaw had been hailed as RCA's savior. Yet before this day was over, he would set in motion the process whereby RCA would cease to exist as an independent company.
At the board meeting, Bradshaw and his hand-picked chief executive officer, Robert R. Frederick, proudly unveiled a long-range strategic plan. RCA would continue to assemble television sets in Bloomington, Ind., helped by a change in exchange rates that would make American-made sets more competitive with those produced by Japanese rivals. The company would concentrate on special, high-profit segments of its semiconductor business; its $200 million chip-making facility at Camas, Wash., a joint venture with Sharp of Japan, was in its early stages. The defense division was cranking out components for the Navy's Aegis weapons system. Buoyed by the $1.5 billion proceeds from the sale of its C.I.T. Financial division, and by growing profits, the new RCA molded by Thornton Bradshaw faced a rosy future. The board's approval of the plan was a foregone conclusion.
After the session was adjourned that afternoon, Bradshaw donned evening dress. He was to deliver a few remarks at a Navy League fund-raiser - he had been a lieutenant on a destroyer in the Pacific in World War II. But, unknown to his board and C.E.O. Frederick, Bradshaw had another appointment earlier that evening in the Park Avenue apartment of Felix G. Rohatyn of Lazard Freres, the company's investment banker. The only other guest, the man Bradshaw had been invited to meet, was John F. Welch Jr., chairman and chief executive officer of the General Electric Company.Continue reading the main story
Welch had set G.E. on an aggressive acquisition course. (On Wall Street, he had been dubbed ''Neutron Jack'' because, it was said, when he took over a company, the facilities remained but the people disappeared.) Now, Welch had more than $2 billion at his disposal and he was widely known to be looking for another company to acquire.
Bradshaw would later insist that the meeting was purely ''social'' in nature, but there could be little doubt what Welch's intentions were. In the event, the small gathering in the Rohatyn apartment that November evening turned out to be the first step in a complex, secretive process that ended with G.E.'s $6 billion purchase of RCA, the largest takeover in history outside the oil industry.
Almost two years have passed, but the merger still stirs anger and controversy. Many former RCA executives and some former board members question the tactics followed by Bradshaw, by the majority of the board and by Felix Rohatyn. Why, they ask, did RCA - a viable, profitable institution in its own right - have to be sold? Some impartial experts believe that, more than anything else, the saga reflects a business environment dominated by the hunger for immediate financial gain.
Many of the answers have emerged in the course of dozens of interviews with those who engineered the takeover - including Bradshaw, Welch and Rohatyn - and those who opposed it. But the G.E. buyout of RCA will undoubtedly be debated for years to come. Says Samuel L. Hayes 3d, Jacob H. Schiff Professor of Investment Banking at the Harvard Business School, ''The whole situation is not only bizarre, it's disquieting and very puzzling.''
THE THREE MEN WHO GATHERED IN FELIX Rohatyn's apartment the evening of Nov. 6, 1985, disagree as to whether the meeting lasted 30 minutes or an hour. But there is little dispute among the participants as to how it came about or what was said. Some time earlier, Welch had asked Rohatyn, a longtime adviser, to set up a meeting with Thornton Bradshaw - a request with a certain weight. Welch had tried to buy CBS just that spring. He had backed off when CBS demurred, for he does not engage in hostile takeovers.
Rohatyn said that as far as he knew, RCA was not for sale, but he agreed to make the approach. Several days later, Bradshaw said that he would be happy to meet with Welch. He had only two conditions. One, the meeting should be as small as possible to prevent word from getting around. And two, it should be made clear to Welch that RCA was not on the block.
''It was not a very optimistic meeting,'' Welch recalls. ''Brad was on his way to his meeting, and we didn't have much time. We got to talking about business in general and common philosophy and foreign competition and a variety of those things.''
As Rohatyn remembers the conversation, ''Jack was very openly interested in acquiring RCA, but he clearly wasn't going to do anything hostile. There was some discussion about where G.E. was going, and there was some discussion about where each company stood in the defense business. There was a fairly long discussion about the future of the broadcast business. As I recall it, Brad said, 'Look, G.E. is a serious company. If you have a serious proposal to put to us, we'll consider it seriously, but we're not for sale. I don't want a lot of rumors going around. You'll have to think about what you're going to do. A lot of the things we're doing seem to fit with the things you're doing. Call me, I won't call you.' ''
When Bradshaw rose to leave, he discovered that he had been sitting in the favorite chair of the Rohatyn cat, Figaro. His dinner jacket was covered with cat hair.
The next day, Welch marched into G.E. headquarters in Fairfield, Conn., and assigned a team of executives to tear RCA apart on paper. Lawrence A. Bossidy, one of Welch's two vice chairmen, once remarked that G.E. had looked at a staggering 3,000 companies since Welch, then 45, became General Electric's youngest-ever chief executive in 1981. But there was looking and then there was glancing.
In the view of G.E.'s strategic planner, a Briton named Michael A. Carpenter, fully 90 percent of all merger possibilities make no sense. The price has to be right, the fit has to be fairly exact, and the corporate cultures must be compatible. Among G.E.'s 3,000 prospective acquisitions, only about 50 had rated the 60-page study that Carpenter now began to prepare.
''I thought from the general tenor of the conversation,'' Welch says today, ''that Brad would at least listen to an offer.'' The question now was whether to make one. ''We went into high gear,'' Welch recalls.
There was, particularly in the defense and technology areas, a good fit. RCA made seaborne radar; G.E.'s radar was land-based. G.E. made military satellites; RCA made civilian satellites. Most important of all, though, was the lure of NBC, which was about to turn itself into a fabulous money machine.
Moreover, the Reagan Administration's tolerant attitude toward corporate mergers that in years past would have drawn antitrust prosecution provided a rare window of opportunity. If G.E. wanted to move, it should move soon and weld the companies together in ways that would be extremely difficult to undo.
With the study complete, Welch told Carpenter and his team to think the matter over during the Thanksgiving holiday. Welch himself took his family to West Palm Beach. ''On Monday morning,'' he says, ''to a person, we all came back fired up to go.''
THE COMPANY G.E.'S JACK WELCH had his eye on had started life in 1919 as the Radio Corporation of America, and G.E. had been one of its early owners together with Westinghouse and the United Fruit Company. All through RCA's formative years, it was led by David Sarnoff - always ''General Sarnoff,'' in deference to the rank he earned in World War II.
Sarnoff carefully fostered tales of his humble birth in Belorussia, his struggling immigrant boyhood and the myth of his role as the boy telegrapher who was the sole link with the rescue operation when the Titanic went down. (''Will you ever tell them the truth about yourself?'' an associate once asked the aging tycoon. ''Never!'' he cried.) Irascible but brilliant, a man who inspired deep loyalty, Sarnoff saw the possibilities of radio as a medium of home entertainment, founded NBC, merged with the Victor Talking Machine Company and fought free of G.E. He tenaciously developed television and then bet the company on his belief that he could colorize it.
''Sarnoff was a great genius, but he made two mistakes, I think,'' says Bradshaw today. ''One, he refused to take RCA international. He thought that there would always be a large enough market in the United States for a world-size electronics company, and he initiated the policy of leasing the patents and the know-how to other companies abroad. That provided RCA with a good income for a long, long time, but it also provided the Japanese with the technology to take over markets that should have been RCA's birthright. Second, he thought that television and radio programming existed solely to sell radios and television sets. Right across the street at CBS, William S. Paley was saying that television sets were just the messenger boy, and in a famous raid, Paley went out and bought up Sarnoff's talent, knocking NBC down to what looked like a permanent second fiddle.''
To these mistakes, Sarnoff added a third: At first, he failed to groom a successor, and then he decided to give the job to his son.
Robert W. Sarnoff seemed hypnotized by the conventional business ''wisdom'' of the 1960's. Under his guidance, RCA became a crazy quilt of a conglomerate. While research and development stagnated in its traditional product lines, RCA produced greeting cards and carpets, bought Banquet Foods and Hertz rent-a-car, and acquired Random House, the publisher. The younger Sarnoff also sought to enter the computer business by going head-to-head with International Business Machines, invariably a losing tactic in those days. (In 1971, RCA took a $250 million writeoff and stopped manufacturing computers.) In 1975, as a former RCA officer tells it, Robert Sarnoff threatened to dismiss two corporate executives who were board members and then set off to Japan to join his new wife, Anna Moffo, the opera singer. ''While he was off in Asia,'' the former officer says, ''these guys got together with the board, and when Bobby came back, they gave him an ultimatum. Either resign or be fired. He resigned that very day.''
Robert Sarnoff was succeeded by Anthony L. Conrad, one of the two executives Sarnoff allegedly threatened; Conrad quit 10 months later when it was discovered that he had failed to file his income tax for at least five years. Conrad's successor was Edgar H. Griffiths, a longtime RCA executive, who proceeded to sell off many of the younger Sarnoff's acquisitions while practicing his own form of diversification, buying C.I.T., a factoring, consumer finance and leasing enterprise, for about $1.3 billion in 1980.
These spasms of acquisition and divestment, whatever their effect on RCA, were of considerable benefit to the company's investment bankers. They made money on both ends, bringing Bobby Sarnoff new companies to buy, then selling them off for Ed Griffiths. Says a former RCA insider, ''Andre Meyer [ of Lazard Freres ] and Paul Mazur [ of Lehman Brothers ] were David Sarnoff's closest friends in the business world. For many years, Lazard and Lehman had seats on the board.'' It gave the banks unusual leverage. When they brought the board a proposal for an acquisition, say, they were talking not simply to clients but to colleagues.
Griffiths did not prove to be the answer to the company's prayers. He put his emphasis on the bottom line, and long-range planning in the company's technological areas went out the door. At RCA, one executive recalls, ''Long-range planning meant, 'What are we going to do after lunch?' '' In 1978, Griffiths hired Fred Silverman, who had done wonders with the programming at CBS and ABC, to run NBC. But wonders ceased. In 1978, the network earned $122 million. For 1980, the figure would be $75 million, with prospects for a further slide. But by that time, it had become clear that Griffiths would have to go.
His successor, announced in the first month of 1981, was Thornton Bradshaw. In approach and style, he was very different from the dour, demanding Griffiths. Open and amiable, Bradshaw laughed easily and embodied a rare quality: he made people want to please him. And he moved easily in the higher reaches of the worlds of culture - he was a member of the board of the Los Angeles Philharmonic and the Aspen Institute, for example - and power.
He seemed ready-made to carry the flag of a high-profile corporation like RCA, to restore its image as a responsible and responsibly managed company. Many observers thought that would be his chief role, that he would pass on the baton within a couple of years. He had other ideas.
Bradshaw started by dropping the inside directors from the board. He says he disapproved of their presence on principle, but the move also offered assurance that, on his watch, there would be no palace coup, such as the one that had toppled Bobby Sarnoff. He announced that the company would return to its roots in broadcasting and technology. He sold Hertz to United Airlines. He sold C.I.T. to Manufacturers Hanover -''a marvelous asset play,'' as he describes it.
To engineer the company turnaround, Bradshaw made some tough decisions. RCA had led the way in broadcasting technology, had introduced the first minicam and had pioneered in split-screen capabilities. But by 1985, Thornton Bradshaw's RCA no longer made TV broadcasting equipment. A joint effort with RCA's landlord, Rockefeller Center, to establish a cable television enterprise, the Entertainment Channel, was closed down after posting a pretax loss of $34 million. A much-ballyhooed videodisk operation begun by Robert Sarnoff was dropped with a loss estimated at $575 million: the public preferred videotape.
At NBC, Bradshaw hired Grant A. Tinker, who had posted a remarkable record with his own television production company in Hollywood. Tinker had tough sledding. Cable, independent stations and VCR's were eroding the networks' share of the viewing audience like a rainstorm loosed on a sand castle; between 1980 and 1985, the share dropped from almost 90 percent to a little more than 70 percent. Tinker's new shows earned NBC showers of Emmys and, to begin with, wretched audience ratings. But that changed dramatically in 1985, when NBC generated record profits, increasing its audience even as competitors were losing theirs.
Meanwhile, RCA became a takeover target. In 1982, Donald J. Trump, the New York real estate magnate, had a position in the stock. William M. Agee's Bendix Corporation acquired 7.2 percent of the company at close to the book value of $20 a share in a move that was widely viewed as preliminary to a raid. RCA responded: ''Mr. Agee has not demonstrated the ability to manage his own affairs, let alone someone else's.'' It was a clear reference to Agee's much-publicized relationship with his colleague and future wife, Mary E. Cunningham. The threat passed. In 1983, Irwin L. Jacobs, the Minneapolis raider, bought a little more than 4 percent of the company. He soon liquidated his holding, but the Bass brothers of Fort Worth were rumored to have moved into the stock.
With its pending sale of C.I.T. and overfunding in its pension plan, caused by inflation, RCA expected to find itself with close to $2 billion. A raider could borrow funds to buy the company, eventually paying off much of his debt with that $2 billion. To some observers, it began to look as though in saving the company, Bradshaw had sealed its doom.
By 1985, the breakup value of the company was variously estimated at $85 to $90 a share, while the market priced the stock at between $34 and $49 a share. Investment bankers Kohlberg, Kravis, Roberts & Company approached RCA and suggested its trademark transaction, a leveraged buyout led by existing management. T. Boone Pickens Jr. bought 50,000 shares. Joel A. Silverman, a Herzfeld & Stern broker, placed more than 5 million shares with his clients.
Bradshaw actually approached Disney with the thought of selling off NBC to keep RCA independent. He says he stayed his hand when he realized that RCA could not survive without the network. As far as cash flow and profitability were concerned, RCA was NBC.
It seemed only a matter of time before something happened. In the United States in the 1980's, no publicly-owned company could afford to keep a large sum of money on its books for any substantial period of time.
And yet the money was a sword that cut more ways than one. It could be used to finance a spirited defense in the event of a raid. On the advice of Martin Lipton, a specialist in defensive strategies with Wachtell, Lipton, Rosen & Katz, RCA had already staggered the terms of its directors, intending to foil any raider who hoped to get himself elected to the board and oust its members wholesale. Now, a raider would have to pick up vacated seats one at a time. The board had also endorsed a poison pill: RCA stockholders were given the right to acquire $300 worth of the stock in any raid for only $150; a raid would thus trigger an automatic counterattack. The pill would not apply, however, if the bid for the company was perceived by the board as friendly.
The $2 billion had other potential defensive value. It could be used to repurchase RCA stock, thereby driving up the price, or it could be used to acquire another company. Indeed, RCA was rumored to be a possible purchaser of troubled Time Inc. And in the summer of 1985, RCA made a serious approach to MCA, the Los-Angeles-based company that controls, among other assets, Universal Pictures and an amusement park. The negotiations foundered at the last minute, Bradshaw says, when Lew R. Wasserman, who controlled MCA, decided that he didn't want his people taking orders from a bunch of engineers. Through all the Sturm und Drang, RCA's executive corps was, as one of them recalls, ''confident, even cocky.'' The company had been turned around. Bradshaw had provided for the succession by importing Bob Frederick, a senior vice president at G.E., and appointing him president and then chief executive officer. And on Nov. 6, 1985, the board approved the long-range strategic plan.
JACK WELCH, THE MAN WHO would set that plan on its ear, had taken command of G.E. in 1981, the same year Bradshaw became RCA's chief executive. Intense, driven, with piercing blue eyes, Welch was turning the huge company inside out. He made it crystal clear that if a G.E. product could not dominate its market, or stand a fighting chance of doing so, he wanted no part of it. His rallying cry: ''Fix it, sell it or fold it.''
Between 1981 and 1986, Welch would close 73 plants and facilities, including 30 manufacturing plants, and reduce employment by 132,000 to about 300,000. He acquired 338 businesses for $11.1 billion and got rid of 232 businesses or product lines for a yield of $5.9 billion. Earnings grew at a compounded rate of 9 percent a year no matter what the national economy did, and the market pegged the value of G.E. stock as third in the nation, behind only Exxon and I.B.M.
As of Thanksgiving, 1985, G.E. was cash rich with the $2.4 billion it had received from the sale of its Utah International Division. The company's debt-to-equity ratio was a very low 12.9 percent, so Welch could borrow a great deal of money with comparative ease. If he was going to swallow RCA, he would need it. G.E., with $29 billion in revenues that year, was immense, but RCA, with its 88,000 employees and sales of close to $9 billion, was a mouthful. Still, the two companies did fit nicely, the $2 billion in the RCA coffers would ease the pain, and Thornton Bradshaw was willing to listen to an offer. Bradshaw's willingness was still a well-kept secret, unknown to his executive colleagues at RCA, to the board, to the public at large. Indeed, during that month of November, long after Welch's initial approach, Bradshaw was interviewed by Forbes magazine on the very subject of a possible takeover of RCA. ''We don't worry about it much,'' Bradshaw told the reporter, Allan Dodds Frank. ''We are prickly. The usual takeover artists milling around the market would look at us and say, 'It's a troublesome problem, and it might take quite a long time.' ''
Frank's article would point out that any takeover would have to be approved by the Federal Communications Commission and the Defense Department, and that RCA had a potent poison pill in place. RCA, Frank would conclude, ''looks for all the world like a company that knows where it is going, not easy prey to greenmailers and takeover artists.'' At least, as Bradshaw had put it, not the ''usual'' takeover artists.
The article appeared in the issue of Forbes dated Dec. 16, which landed on New York newsstands Dec. 4. By that time Welch was already making his move. On the same day, Felix Rohatyn was contacted by Goldman, Sachs, G.E.'s investment banker. Would Rohatyn set up a second meeting between Welch and Thornton Bradshaw?
The following day, Thursday, Dec. 5, Welch visited the Dorset Hotel, where Bradshaw was staying in RCA's duplex suite while his apartment was being decorated. The two men were alone. Welch told Bradshaw that G.E. would offer RCA stockholders $61 a share (the stock was then trading at 47 3/4), but he also indicated that the offer might not be carved in stone. Whatever the final figure, the deal would be done in cash.
Bob Frederick, the chief executive officer of RCA, first learned that his chairman had entertained an offer to buy the company at 6:30 A.M. Friday. He was in Los Angeles for a business meeting when a telephone call from Bradshaw roused him from bed. Frederick immediately flew to New York.
On Friday and Saturday, members of the RCA board of directors were called and alerted to Welch's approach; they were also informed that a board meeting to consider the matter would take place on Sunday. With the exception of Bradshaw and Tinker, the members of the board refuse to discuss on the record the emotion-charged events of those two days, but sources close to the action offer some insights.
On Friday evening, John R. Petty, chairman and C.E.O. of the Marine Midland Bank and a longtime member of the RCA board, found a message on his answering machine when he arrived at home. Would he please call Thornton Bradshaw? When Petty returned the call Saturday morning, he learned of the G.E. offer.
Along with Donald B. Smiley, the retired C.E.O. of R.H. Macy & Company, and Robert Cizik, C.E.O. of Cooper Industries Inc., Petty was recognized as one of the board's seasoned financial experts. On Saturday afternoon, he arrived in New York. He was scheduled to catch a special flight to Moscow that day to take part in a trade conference, an obligation he apparently felt he could not ignore. First, though, he had some business at the RCA building.
During a meeting with Bradshaw, Petty suggested that he had some strong doubts about the G.E. bid - specifically, about Bradshaw's failure to inform the board about the November meeting with Welch, about the impact of a takeover on RCA's executives and other employees and about the very notion of selling the company without some form of auction to get the best price. Bradshaw was unmoved.
Petty found an empty office, intending to call his fellow board members and express his concerns. He tried several numbers, but no one was at home; the other numbers were unlisted, and he had not brought along his pocket diary where they were set down. Defeated, he caught his plane for Moscow.
There were other key players who were upset about the potential takeover. Bob Frederick, for example. On paper, the chairmanship of the board, Bradshaw's post, had become largely ceremonial; the real power within the corporation resided with the president and chief executive officer. But Frederick had only become C.E.O. that same year, and Bradshaw clearly assumed that he remained in control of the board and the company.
Frederick, on the face of it, had the most to lose in a takeover, and apparently he was assured that, if he chose to make a fight of it, to rally the troops, he had the support of Cizik and perhaps of Smiley as well. But Frederick was accustomed to doing things by the book, and the book hadn't been written for this kind of situation.
''If Frederick had been more aggressive, there'd still be an RCA,'' says one former executive today. ''Remember, Jack Welch doesn't do hostile takeovers. Make this simple test: imagine that Jack Welch was the C.E.O. of RCA. Jack Welch is Lenny Dykstra. He's Nails. Did you ever see Dykstra try to break up a double play?''
Frederick declined to be interviewed for this article.
ON SUNDAY, DEC. 8, THE 11-member board met in the offices of Wachtell, Lipton. The substance of the discussion - whether there was any debate about seeking other offers, for example - could not be determined; G.E. says the minutes of the meeting are confidential. In any event, the vote was 9 to 1 in favor of pursuing the talks with G.E., with Frederick the lone dissenter. Smiley voted with the majority. No vote was recorded for John Petty. Cizik, in touch by telephone from Texas, abstained. RCA was as good as sold.
Welch, Bradshaw, Frederick and their staffs set about hammering out a deal. The meetings - in G.E.'s apartment in the Waldorf Towers and the company's Fairfield headquarters, at the companies' respective law firms - were top secret, but word got out. RCA stock, which had closed the previous Friday at 47 5/8, soared to 63 1/2 by Wednesday. (Eventually, the Securities and Exchange Commission would bring insider trading charges against a Houston family, one of whose members worked at Lazard Freres, and against a G.E. executive.) The agreed-upon price was $66.50 a share. And as part of the financial arrangements, Frederick and eight other RCA executives would be given employment contracts that guaranteed the payment of their base salaries through 1990. Bradshaw had no employment contract, but he accepted a three-year consultancy at $500,000 a year. In addition, RCA executives would receive cash payments for the cancellation of their employee stock options; in Bradshaw's case, that would provide a pretax bonanza of more than $7 million.
The G.E. board approved the merger at 6 P.M. on Wednesday; the RCA board followed suit at 7 P.M. This time, Frederick and Cizik joined the majority. Petty was away in Moscow. G.E. will not make available the minutes of the RCA board meeting.
And finally, on Feb. 13, 1986, in the Grand Ballroom of the Marriott Marquis Hotel in New York City, Thornton Bradshaw officially presented the terms of the sale to the owners of RCA, the stockholders. It was not a pleasant event. Some of the shareholders publicly denounced their chairman. Others demanded to know why the deal had not been done with an exchange of stock, sparing them the capital gains tax that an all-cash merger inevitably involved. One woman wore mourning, and many of those present saw no reason the grand old American institution had to die, particularly given its healthy new financial state.
But the proxies received by RCA demonstrated that the dissidents in the grand ballroom, with thoughts of the past and of potential long-term gain, were in the minority. Across the nation, among institutional investors and money managers and private individuals, the opportunity for short-term profit carried the day. Of the 61 million shares present and voting, 56.1 million favored the takeover. Some months later, pay day arrived for RCA's investment banker, Lazard Freres. Felix Rohatyn will not discuss the matter, but according to proxy statements, his firm's fees were at least $1 million and, according to some estimates, as much as $16 million.
IN THE EXECUTIVE RANKS OF RCA, the decision to sell out to G.E. produced shock and disbelief. The blow had fallen so suddenly. Many feared for their jobs at the hands of ''Neutron Jack'' Welch. ''Everyone knew his reputation,'' says a former RCA vice president. ''The deal might have been a good one for Welch and Bradshaw and the company, but on a personal level, it was going to be a disaster.''
At NBC, though, calm prevailed. The network had climbed to the top of the ratings, and most executives thought G.E. would, like RCA, applaud and keep hands off. In fact, Grant Tinker roundly approved of the change. Under RCA, NBC profits had been siphoned off to help support the rest of the company. G.E., he thought, might allow the network to keep a greater share of its profits.
Within the rest of RCA, surprise soon yielded to anger. There, and in the financial community, the first questions and criticisms began to be heard. They still resound today.
Did RCA have to be sold? Bradshaw thought so then, and feels that way still. He believed that once word of G.E.'s offer became public knowledge, the company would be in play on the stock exchange. A company in play, he was convinced, was a company sold. Further, Bradshaw says, most of the possible buyers would pay for their raid by selling off parts of the company once they had acquired it; he wanted RCA to remain intact. By that logic, G.E. was a safe port in the coming storm. (Bradshaw was also motivated, he says, by the conviction that the merger with RCA was good for America - that the G.E.-RCA combination would be a powerful new weapon in the trade war with Japan.) ''Did RCA have to be taken over?'' asks George H. Fuchs, a retired RCA vice president. ''That's nonsense. Over the past year NBC alone has posted greater profits than RCA ever recorded in its entire history. How can one say that there wasn't the strength and vitality to keep that company going?''
Critics insist that, in the case of RCA, being in play was not necessarily the same thing as being sold. G.E. was a friendly suitor that would not have pursued the company if spurned. Bradshaw had already shown his ability to fend off corporate raiders, the argument goes, and, armed with the poison pill, could have done so again. The ''usual takeover artists'' Bradshaw mentioned in the Forbes article would presumably still have found RCA ''prickly.'' Moreover, there was considerable doubt as to whether the Defense Department and the F.C.C. would have approved a takeover of RCA by any company other than a major American corporation like G.E. None showed any inclination to compete with G.E. for the chance.
Some of the criticism of the RCA merger has focused on the behavior of Bradshaw, Rohatyn and the directors.
''Modern boards are largely passive,'' says Harvard's Samuel Hayes, ''but they do have two important functions - when there is a change in management and again when there is a change of control.'' The RCA board failed twice, he says, by naming a C.E.O. who ''was not, in fact, a C.E.O.,'' and by accepting the G.E. merger proposal without making certain that it was the optimum deal from the stockholders' point of view.
If the company was to be sold, Hayes says, ''it was the board's responsibility to get the best possible price, even if it meant selling it off in pieces or selling it to somebody who would break it apart. It was not impossible for a second suitor to step forward. Nor was it impossible for G.E. to counter with a second, even higher bid. You can't know what will happen, but it was the board's duty to find out.''
One board member who agreed, according to the proxy statement, was Robert Cizik. He wanted the company to remain independent, but if it were to be sold, ''RCA should not limit itself to merger negotiations with any one company.'' And similar views were set forth in 16 shareholder suits filed against RCA in the last days of 1985, charging that the board had failed to ''expose RCA to the marketplace in an effort to create an active auction for RCA.'' The complainants also criticized the board for not providing would-be purchasers with ''sufficient time to make an acquisition proposal.'' Under an out-of-court settlement, the agreement was changed to make it easier for another bidder to enter the fray.
In takeovers, timeliness is all. Some critics suggest that Thornton Bradshaw's failure to inform the directors of the outcome of the first meeting with Jack Welch or the request from Welch for a second meeting effectively predetermined the outcome. Only three days elapsed between the actual receipt of the G.E. proposal and the board meeting to consider pursuing the offer. That left little time for the directors to consider the matter or to hear from any colleagues -John Petty, for example - who might have argued against the move. Once the decision to proceed was taken, the deal took on a momentum that would have been difficult to stop.
''What I'd like to know,'' says one disgruntled director, ''is who the hell Felix Rohatyn thought he was working for.'' Rohatyn, privy to both meetings with Welch, failed to inform the board. In Rohatyn's view, Bradshaw represented the board, and in any event, nothing substantive occurred until the second meeting. He says that his firm's responsibility after the offer was received was fulfilled by providing an opinion as to the fairness of the offering price.
According to Louis Lowenstein, a professor at the Columbia University law school, Bradshaw had no formal obligation to tell the board of his contacts with G.E. (Some boards, however, have taken a dim view of such matters. The failure of Thomas H. Wyman, C.E.O. of CBS, to report merger discussions hastened his departure last year.) Nor was Rohatyn required to inform the board of these contacts.
The question of ''who Felix Rohatyn was working for'' raises another issue. One charge made in the law suits was that the price per share to be paid by G.E. ''was not based upon any independent appraisal of the current value of RCA's shares, assets or business.'' In other words, given Rohatyn's role in bringing Bradshaw and Welch together, how could his company's opinion as to the fairness of the G.E. bid be perceived as ''independent?'' Should not the board have sought an outside opinion?
''Seeking a second opinion is not unusual in a merger acquisition that is likely to generate controversy,'' says David A. Sirignano, chief of the S.E.C.'s office of tender offers. ''That is especially true,'' he adds, ''where some members of the board feel that the investment bank has just gotten too involved, and there might be a contingency fee or something like that. They would be inclined to seek a second opinion.'' A contingency fee would be paid for services to management or for brokering the deal, as opposed to the ''fairness'' opinion.
What gives this issue special significance is that, at the time of the G.E. bid, there were substantial doubts about how fair the price really was. The stockholder suit alleged that RCA was worth ''considerably more'' than the $66.50 offered.
Analysts and brokers on Wall Street had repeatedly and publicly stated that RCA was a seriously undervalued stock. It was trading in the high 40's when G.E. made its bid. Some analysts pegged the value of the stock at 70, others at 90.
The variations largely reflected opinions about the NBC television network. Everyone agreed that NBC was doing well; the question was, how well?
The RCA board approved the merger in December. Two months later, Nielsen and Arbitron would conduct one of their quarterly audience surveys. It strongly confirmed NBC's lead over its competitors, and the network was shown to be particularly popular with viewers 18 to 49 years old, the age group that advertisers consider most desirable. By all accounts, G.E. got a bargain.
TWO YEARS AFTER THE TAKE-over, what remains of the old RCA has a new, lean look. Many of Jack Welch's moves were predictable: The RCA Records division was sold to Bertelsmann A.G., a West German media company. The carpet mill and some other holdovers from the pre-Bradshaw years were spun off. The David Sarnoff Research Center in Princeton, N.J., was given to SRI International, with a promised $250 million in contracts over the next five years.
There were a few surprises. The NBC radio networks were peddled to Westwood One Inc., a Los Angeles company that owns the Mutual Broadcasting System. The RCA plants that produced radio and television sets and their G.E. counterparts were sold to Thomson S.A., the electronics giant owned by the French Government. (Thomson was given the right to use the General Electric brand name for 10 years and the RCA brand name indefinitely.) Expectations that the NBC television network would be left to its own devices proved mistaken. The new president of the network, Robert C. Wright, called for a network-wide budget cut, and suggested that NBC form a political action committee. Both proposals produced an uproar, and both were put on the shelf. A third of the network's employees went on strike over G.E.'s refusal to negotiate the terms of a new contract. Last March, a talk by Jack Welch before a closed meeting of NBC executives sent a chill through the network. G.E. was proud of the network's successes, he said, but he went on to suggest that some NBC executives were ''turkeys'' who would shortly be seeking other employment.
In fact, they would not be alone. More than 8,000 former RCA employees have been dismissed and another 3,000 have retired. More than 30,000 went with the divested units.
Thornton Bradshaw comes to his office at 30 Rockefeller Center each day. He sits on the G.E. board. Robert Frederick occupies an office in the G.E. building on Lexington Avenue. According to a G.E. spokesman, Frederick ''plays no active role in the company.''
As expected, Jack Welch used the funds in the RCA treasury to pay down some of his debt. Thanks to lowered interest rates and a strong performance from NBC, the acquisition added 14 cents a share to G.E.'s earnings for 1986 - Welch had actually expected a first-year dilution of earnings. He has realized $1.3 billion from the sale of RCA divisions, not counting the sale of the combined RCA-G.E. consumer electronics operations. He still has more than $2.8 billion on his books and is known to be looking for something else to buy.
In July 1987, the red RCA sign high above Rockefeller Center passed a milestone. It was just 50 years since the Rockefeller interests, eager to have General Sarnoff occupy their flagship building, permitted RCA to become the only company in the complex with an illuminated sign. It sits there still, though RCA is nothing but three initials inside G.E.Continue reading the main story


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I need you to write some articles. 6 Steps for Writing an Article in my Mind
Choose a topic that interests you enough to focus on it for at least a week or two. If your topic is broad, narrow it. Instead of writing about how to decorate your home, try covering how to decorate your home in country style on a shoestring budget. That's more specific and, as such, easier to tackle.
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Quotes by well-known people
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