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Dog Walkers in Isabella, MO
Book a dog walker to give your dog a 30-minute walk around your neighborhood.
large fenced yard/doggy door
Mountain Home, AR, 72653
Dog Boarding, House Sitting, Drop-In Visits, Doggy Day Care
"Elaine is someone who has taken in so many rescues and got them back on their feet, she has a huge heart and is amazing with animals. Anytime I leave town, ... (more)"
Experience exceptional service and a personalized match
From start to finish, we'll handle all the details for you.Learn About Premier
Rover also offers dog walking in:
|Almartha, MO
|Bull Shoals, AR
|Foil, MO
|Gainesville, MO
|Noble, MO
|Oakland, AR
|Peel, AR
|Pontiac, MO
|Theodosia, MO
|Thornfield, MO
No more begging your friends to take your dog for a walk when you can't make it home in time. With Rover, you can find a loving Isabella dog walker who'd love to take your dog for a 30-minute stroll or jog around the neighborhood. Book a dog walker for one day or all week, just tomorrow, or every Tuesday. We're proud to bring you dog walkers who've built dog walking businesses right here on Rover. No matter how much exercise your dog needs, we can help you find the perfect dog walker in Isabella, MO. And just like overnight services booked on Rover, dog walking booked on Rover includes premium insurance, photo updates, and 24/7 support. Someone nearby can't wait to walk your dog, and it's easier than ever to find them.
Wondering what you should be paying for a walk? Check out our standard dog walking rates for a comparison.


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KANSAS CITY, Mo. – MIAA softball regular season co-champions Emporia State, Missouri Western and Nebraska-Omaha combined for eight All-MIAA First Team selections, and swept the five end-of-season awards to highlight the all-conference team announced Thursday by the league office. The selections were made by the league's 12 head coaches, and coaches were not permitted to vote for their own players.
Emporia State second baseman Angela Mahan was named the MIAA Player of the Year after a season in which she held a .715 slugging percentage, recorded 17 doubles and scored 51 runs, all tops in the conference. The senior from Liberty, Mo., was also an All-MIAA First Team selection.
Nebraska Omaha senior Beth Haley is the MIAA Pitcher of the Year for the second consecutive season. The Highland, Ind., native led the MIAA with a 0.91 ERA and was third in the conference with 19 wins on the season. Haley was named All-MIAA First Team as well.
Nebraska Omaha catcher Lauren Larson was voted the MIAA Defensive Player of the Year after finishing the regular season tied for the MIAA lead with three runners picked off and second in the league with 331 putouts. The Omaha, Neb., native was also named All-MIAA Honorable Mention.
Missouri Western pitcher Jackie Bishop was honored as the MIAA Freshman of the Year after a season in which she ranked second in the MIAA with a 1.00 ERA, second in the conference in wins with 23 and second in the league in strikeouts with 193. The Kirksville, Mo., product was also an All-MIAA First Team selection.
Nebraska Omaha head coach Jeanne Scarpello and Missouri Western head coach Jen Bagley were voted MIAA Co-Coaches of the Year after guiding their squads to identical 18-4 records in MIAA play and a share of the regular season conference championship along with Emporia State. It is the third coach of the year honor for Bagley, and the second for Scarpello.
Emporia State led the way with four first-team selections, followed by Central Missouri, Missouri Western and Nebraska Omaha with two each, and Fort Hays State, Missouri Southern and Northwest Missouri with one apiece.
Angela Mahan, Sr., 2B, Emporia State
Beth Haley, Sr., Nebraska Omaha
Lauren Larson, Jr., C, Nebraska Omaha
Jackie Bishop, P, Missouri Western
Jeanne Scarpello, Nebraska Omaha
Jen Bagley, Missouri Western
P: Beth Haley, Sr., Nebraska Omaha [r1]
P: Jackie Bishop, Fr., Missouri Western
C: Malinee Powell, So., Fort Hays State
1B: Megan Roark, Sr., Missouri Southern
2B: Angela Mahan, Sr., Emporia State
SS: Abby Hughes, Sr., Emporia State
3B: Katie Groves, Jr., Central Missouri
OF: Kit Daugherty, Sr., Northwest Missouri
OF: Ashlea Bengtson, So., Central Missouri
OF: Jessica Brewer, So., Emporia State
OF: Brittany Douglas, Sr., Missouri Western
DP: Abby Smith, Sr., Emporia State
UT: Lindsey Slocum, Sr., Nebraska Omaha [r1]
[r1] - Repeat first team selection from last season
[Note: Ties in voting created an additional spot at OF]
P: Karley Schmelzer, So., Emporia State
P: Nicole Reed, Jr., Missouri Southern
C: Amanda Self, So., Emporia State
1B: Adriana Wortley, Jr., Fort Hays State
2B: Brianna Fulkerson, Jr., Missouri Southern
SS: Molly Feichtinger, Jr., Nebraska Omaha
3B: Taylor Reichard, Fr., Emporia State
3B: Maegan Roemmich, So., Missouri Western
OF: Toni Dance, Sr., Missouri Western
OF: Katelyn Hinton, Jr., Nebraska Omaha
OF: Erin Eddy, Sr., Pittsburg State
DP: Amber Lutmer, Fr., Nebraska Omaha
UT: Kelsey Bollman, Fr., Truman
[Note: Ties in voting created an additional spot at 3B]
Central Missouri: Kelli Kurka, Sr., 1B; Braylyn Bivens, Fr., SS; Nicole Norberg, Jr., OF; Kasey Martin, Sr., DP; Brandi Campbell, So., UT.
Emporia State: Jennifer Heerey, Jr., P; Kaitlin Martin, Jr., UT.
Fort Hays State: Kayla Rupa, Sr., P; Britney Workman, So., 2B; Danie Brinkmann, So., SS; Erin Dyok, Jr., 3B; Sara Tani, Sr., OF; Maddie Holub, So., UT.
Lincoln: Clair Lorenz, Jr., P; Raschel Hoeflicker, Sr., 2B; Megan Braun, Jr., OF.
Missouri Southern: Breanna Volkmann, Jr., OF; Dawn Grass, So., DP.
Missouri Western: Jonnelle Belger, Sr., P; Keri Lorbert, So., C; Blair Stalder, Jr., 2B.
Nebraska Omaha: Lauren Larson, Jr., C; Ashley Lynch, Jr., 2B; Sarah Elliott, So., 3B.
Northwest Missouri: Jenna Creger, So., P; Kristen Hessel, Sr., C; Hailee Hendricks, So., 2B; Dacey Hassey, Sr., DP.
Pittsburg State: Amanda DeCastro, Jr., SS.
Southwest Baptist: Josie Rose, Sr., P.
Truman: Mary Manley, Jr., 1B; Laura Miller, So., OF; Bridget Schade, Jr., OF.
Washburn: Kacy Covert, Jr., OF; Lauren Himpel, So., OF; Lindsey Moore, Jr., UT.
MSSU will try to upset the top ranked Bearcats and pick up their first win of the season.More >>
MSSU will try to upset the top ranked Bearcats and pick up their first win of the season.More >>
The Tigers are 3-0, while the Dragons are 2-1.More >>
The Tigers are 3-0, while the Dragons are 2-1.More >>
High school football scoreboard for Friday, Sept. 15More >>
High school football scoreboard for Friday, Sept. 15More >>
There are four inductees in this year's HOF class.More >>
There are four inductees in this year's HOF class.More >>
The Sophomore was named MIAA Special Teams Player of the Week.More >>
The Sophomore was named MIAA Special Teams Player of the Week.More >>

subset: commoncrawl


text: Matthew Vernon wrote: > Hi, > >> This is an issue I have noticed that the python science world has VERY >> strong opinions about . . . and I was hoping that maybe people would >> answer my final questions before becoming a BSD'er ;-) > > I'm a GPL person myself. > >> In John Hunters very good pitch, I find his main points being: >> 1) GPL generally can not be comfortably/legally used by companies, so >> you cut off these developers needlessly. > > That's not entirely true; for example, companies could agree to pay > you to let them release your code under a non-GPL licence. This is not really an option for projects with multiple contributors that sometimes disappear. At least those that aren't large enough to require copyright assignment to a Foundation. If you're hoping to accept nontrivial patches, you need to make sure that you get them under a license that allows you to relicense (or sublicense; I don't want to look up the difference now) to something else. But if you are going to ask that of your contributors, it just makes sense to extend that same courtesy to them, too. > Also, some > companies do work on GPLd code (e.g. Ubuntu) And there are many more companies that don't. We call them "customers." > - if their business > model doesn't rely on creating proprietary software and selling it, > then there's no reason for them not to use GPL code. That makes complete sense. Unfortunately, as with most sensible things involving law and business, it's not true. While the GPL is fine for them for some software, like say gcc and the rest of the GNU/Linux toolchain, it's not for other things. It's often very not fine for libraries. Companies buy proprietary libraries and code-bases all of the time and hire other companies to build on them and combine them with other things. "In-house" code frequently isn't. > There's a side-point about whether it's good to encourage non-free > software to be used in science. I would always advocate doing science > with free software wherever possible [that discussion really is for > somewhere else. Maybe I should blog about it ;) ]. Well, we're not. We're encouraging people to use BSD. Discouraging the GPL in favor of BSD is not encouraging non-free software for science. >> 3) GPL is generally used by developers without thinking about the >> above, and they use it because it is popular. > > Now this really isn't on. Many developers (like myself) chose to use > the GPL, because we think that it's model of free software is > superior to the BSD-licences'. However, it *is* very often true. Like in this case. See the post that starts this thread. -- Robert Kern "I have come to believe that the whole world is an enigma, a harmless enigma that is made terrible by our own mad attempt to interpret it as though it had an underlying truth." -- Umberto Eco


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Erie County (PA) Genealogy
Conneaut Township Cemeteries
Keep Family Cemetery
Contributed by Andy Pochatko
The Keep Family Cemetery is a very small inactive cemetery located in Conneaut Township. This cemetery is located near the corner of Knapp Road and Keepville Road, on the bank of the Conneaut Creek West Branch in a grove of trees. It cannot be seen from the road. A history of this cemetery has not been provided, but will be added along with any other information as it becomes available. The oldest burial date seen was 1822, the latest death date noted being 1855.
The contributor has indicated that the listing below has been transcribed from a cemetery reading dated April 26, 1981 by Thomas A. Hutzelman.
Any questions or comments concerning the material provided on this page should be directed to the contributor, Andy Pochatko.
Added: December 4, 2006:
Asa Hewitt is a Revolutionary War Patriot. Two other Revolutionary War Patriots are supposed to be buried in this cemetery; however, the exact location of the graves is unknown. Both Barnabas Cole and Matthew Keep are listed in the SAR publication, Revolutionary Patriots in Erie County, as being buried in Keep Cemetery. One record for Barnabas Cole has him buried on the Abe Knapp Farm.
Barnabas Cole - born 20 Mar 1751, died 23 Feb 1839.
Matthew Keep - born 24 Mar 1745, died 6 Feb 1827.
This page was originally posted on Wednesday, July 23, 2003.
Last updated on Monday, December 4, 2006.
Return to Erie County Genealogy
Return to Cemetery Index
Return to Conneaut Township
© 2016 Erie County Pennsylvania Genealogy


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CONTROVERSIAL plans to limit decorations on graves in Torfaen have been announced by the local authority.
Torfaen council says it wants the help of grave owners, and families who have lost loved ones, to preserve the dignity of the borough's cemeteries, as over personalisation is becoming an issue.
It has said that while a certain amount of grave personalisation is acceptable providing it is confined to the memorial area, Items such as glassware, stone chippings, windmills, solar lights and wind chimes are no longer permitted.
Grave owners and visitors have been given until May 31 to remove any non-regulatory items. After this time decorations that do not meet cemetery rules and regulations will be removed by staff.
Cll John Cunningham, executive member for neighbourhood services, said some items have health and safety implications for grounds maintenance staff, while others have an adverse impact on the serenity of a cemetery.
"What is seen as acceptable by some can cause offence to others and It is the council's responsibility to maintain the dignity and tranquillity of our cemeteries," he said.
"In recent months we have seen over-personalisation in some cemeteries that has made maintenance difficult and raised concerns from visitors, and in order to ensure consistency across all four cemeteriesWe need to ensure the policy on personalisation of graves is consistent and adhered to."
The cemetery rules and regulations can be viewed at http://bit.ly/1fJh3vG
To speak to the council's cemetery officer please call 01633 871786.


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Check out the concerts in your area and never miss a show.
Thursday, December 28th, 2017
By Scott Feinblatt The main appeal of the 1992 Kevin Costner/ Whitney Houston film was that of Houston's musical performances, especially her rendition of Dolly Parton's song "I Will Always Love You." Now, Houston fans can revel in their nostalgia for this and numerous other Houston numbers, which have been assimilated into this musical theater adaptation. Indeed, while the songs from the film are recreated here (on most nights by Deborah Cox, alternatively by Jasmin Richardson), other Houston songs like "So Emotional," "One Moment in Time," "Saving All My Love," and "I Wanna Dance with Somebody," form the principal focus of writer Alexander Dinelaris's adaptation, which premiered in London's West End, in 2012.


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"We have 115+ people working here. The last year the company grew quite fast, we almost doubled in size. And although we are still very much agile, we noticed that some things started to be different. We felt something had to change. Starting last Christmas we now hand out a couple of Kudo Cards to everyone every month."
– ROBERT MISCH, Gutefrage web designers
There is a constant need for organizations to give thank-yous for jobs well done, small tokens of appreciation, a written memory of when your coworker made you laugh so hard you spat coffee, or a recognition of just stellar teamwork. But it's the recognition of valued work, not financial incentives, that encourages intrinsic motivation within an organization.
"Money is only advised as a reward when you need to motivate people do an uninteresting or repetitive job," wrote Jurgen Appelo. But there's no doubt that recognition is essential to feeling like your work is valued in an organization.
That's why Kudos are becoming a trend around the world, as a way to facilitate thanks and acknowledgement.
What are Kudo Cards?
Some companies call them HERO awards, others Rippas or Hugs, we call them Kudos. It is a written and public recognition of a colleague for something he or she has contributed to the team. A Kudo is not just given from the top down but peer-to-peer, across departments and organizations, anyone can publicly recognize someone else's work. It's a way to break down hierarchical limitations and to encourage everyone to offer instant feedback.
Bring Kudo Cards Back to Your Office!
Want to recognize a coworker for going the extra mile?
Buy your own deck of Kudo Cards today!
Download Kudo Cards as:
- http://management30.com/shop/kudo-cards/A4 format or Letter format or PDF (English)
- A4 format (German)
- A4 format (Czech)
- A4 format or Letter format (French)
- A4 format (Swedish)
- A4 format (Polish)
- A4 format or Letter format (Portuguese)
- A4 format (Russian)
- A4 format or Letter format (Spanish)
- A4 format or Letter format (Dutch)
- A4 format (Japanese)
- A4 format (Hungarian)
- A4 format (Finnish)
- A4 format (Korean)
What is the Kudo Box?
While some companies create a Wall of Kudos, proudly displaying Kudos all the time, others decide to build a "shout-out shoebox" or a Kudo Box (like this one at the office of TUI.com), in which they store the Kudos and then have monthly or so celebrations, where they read out the Kudos. Others choose to turn the Kudo Box into a raffle, giving away Starbucks giftcards or movie tickets to whoever is drawn.
"Teamwork can only emerge as an outcome of people's individual contributions to that team."
Now you can send Virtual Kudo Cards to anyone on Twitter!
We love Kudo Boxes, but they can be virtual too – heck, we can turn Twitter into a Kudo Box! Our rocking team member Sergey created this free tool to help spread the gratitude, positive energy and public recognition of Kudo Cards. Want to share your Kudos with us? Tweet to @management30!
Visit KudoBox.co to tweet your first kudo!
Or buy your own deck of Kudo Cards today!
"People realized that giving feedback is as important as getting it. And that it's all in finding the right words. What's even better, we see that our culture is changing. What started as a great and constructive way to say thanks, now evolved in a new feedback culture."
Read more about Gutefrage's experience.
More tips & case stories of Kudo Cards in Action:
- "How Zendesk is using their Kudos Board"
- "How to build sustainable relationships with positive feedback"
- "How Gutefrage Banking used Kudo Cards to change their culture"
- How to Motivate Employees: 5 Steps
- "Kudos for Coworkers: You rock and I want you to know it!"
- How one multinational software company implemented their Kudo Boxes
- "How to recognize individual achievements at the office"
- "Have We Forgotten to Say Thank You?"
- "Kudo Cards in Action: Supporting Peer-to-peer Appreciation"
- "Kudos for Coworkers: You rock and I want you to know it!"
- "How one multinational software company implemented their Kudo Cards"
- "How the Kudo Box awards results and behaviors"
- "The Virtual Kudo Box"
- Slideshare: Agility in the Classroom
- "3 Agile Guys on Recognition in an Inspiring Way"
- "The Art of Saying 'Thank You' "
- VIDEO: Kudo Box connects teams via gratitude
- VIDEO: Gratitude is true intrinsic motivation
- "Thank somebody today with new Kudobox application!"
- "Want to thank a teammate? Behold… Kudo Cards!"
- "My short story about global 'thank you' the first kudo cards experiment"
- "Use Kudos to avoid short-term goals trap"
Buy a deck of Kudo Cards today and please take note of our Delivery Policies.


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These are a collection of questions we've been asked in the past about cosplay construction or etiquette, but if you have a question you don't see answered here, please shoot us an email!
Q: At conventions, I'm always afraid to ask cosplayers for pictures. Do you guys prefer it when people ask?
A: We love having our pictures taken (especially if you're a photography enthusiast and/or a professional)! You shouldn't be afraid to ask for photos - most cosplayers are very friendly (and have worked really hard on their costumes so appreciate being appreciated) and will be flattered that you want their picture. The other issue (for us anyway) is that although we're totally happy to have our picture taken, we do sometimes want to see the convention. Our rule is usually that if you ask to take our picture, we'll hold still for you as long as you need, but if you're one of those stealth photographers who doesn't ask, we probably will start moving again after some time. We try to be accomodating for everyone, but we are also at the Con to enjoy it for other aspects. So yes, we love having our pictures taken, but just remember that we're people too - we need to eat, get to panels and use the restroom. We also love having our picture taken with small children and dogs :)
Q: I'm never sure whether to refer to cosplayers as your character's name - what do you guys prefer?
A: For us - go ahead and call us by our characters' names! It's the easiest way to get our attention with all those people. We've actually only ever met one cosplayer that didn't want to be called by his character's name, but it seems super confusing.
Q: What do you guys make your costumes out of? How long does it take/how much does it cost?
A: It definitely depends on the costume - the costume tends to dictate what materials we use. One of our favorite materials is Wonderflex - a light weight thermoplastic that works really well for making lightweight armor or masks. We also work with leather, a variety of fabrics, feathers, metal, sculpey, wood, etc. We try to find the best material for the job at hand. As far as how long it takes - most of our costumes take at least a month to make from start to finish, usually a bit more. As far as cost - quite a bit! Just take a look at Josh's collapsible wing tutorial to see how expensive the brass wings for the SteamHawks were (and that's not including the leatherwork).
Q: I've always wanted to get into Cosplay, but I'm a little intimidated to start. What should I do?
A: Go for it! It doesn't matter if your first cosplay isn't your best, the fun is doing it (and making the costumes). Choose something relatively familiar that plays to your starting strengths (are you good at sewing? sculpting? mechanical things?) and go from there. We recommend staying away from difficult fabrics (like spandex or pvc) to start with, just because they can be really frustrating. The internet is chock full of fabulous tutorials and forums ready to help you (check out cosplay.com first!) If you're still concerned, we do offer consulting services to get you started on your own project or custom costume & props.


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got the parts but i feel like im missing something
ok so i got a 408 bat machine action, remington jewel trigger (recommended by bat) and a kreiger custom barrel. so what am i missing. i know the stock. of course i want it magazine fed, but, what do i need in order to accomplish that? then do i have to order a specific stock, or do i just cut out the one i buy to the dimensions of the magazine? basically i just dont know what else i need to finish it off.
ps i am a newbie and im not building this, a competent gunsmith will be but i havent enlisted the help of one yet. i just want to get all the stuff and take it to him/her and get it built. an help is appreciated.
i guess with the non repeater action i wont be able to use a magazine. ill have to load it one shot at a time right? DUH why didnt i think of that lol
I STRONGLY reccomend you take what you have to your local smith and he may offer or think of a lot more options than you realize is available.
|All times are GMT. The time now is 11:14 AM.
Copyright ©2000 - 2017, Jelsoft Enterprises Ltd.


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And as is the norm for this fandom, another background pony with literally 2 seconds of screentime has spawned an entire comic....filled with shipping.
I love you guys.
Click for full as always.
Sunday, August 14, 2011 op 8:00 PM
Labels: Comic, Not-Fanfiction
For archival purposes, you can find the IntenseDebate comments for this post (if any) archived over here
Comic: Pinkie Pie's hidden Talent


text: Hi! I don´t know where else to put my request. So hopfully I am not in the wrong place here. Several X apps require more then 640x480 or 800x600 pixels. Some can be resized but are too large next time started, some cannot be resized. So it would be a good idea to mention the screen size neccessary in the package description. Maybe there could be added a line "Requirements" for essential requirements to use a special appliction, couldn´t it? cu Jutta


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Dumb And Dumber Trailer Features A Glimpse Of El Paso – Sort Of
Part of the new movie was filmed here. Just not the part with the sign that actually says "El Paso"!
The sequel to Dumb and Dumber is finished and set to open in theaters November 14th. Dumb And Dumber To finds the original actors looking for the daughter that Jeff Daniels' character never knew he had.
Yeah, I'm thinking this one will totally live up to the "dumb" part of it's title.
Parts of it were filmed in downtown El Paso last December along Santa Fe Street. For some reason though, the scene in the trailer that shows a sign reading "Historic El Paso" was NOT filmed here. That shot that scene in Georgia.
What? Our El Paso signs aren't cool enough to be dumb?
Watch for the sign in the trailer but, pay attention! It happens at 1:28 and it goes by REALLY quick!
Subscribe to KLAQ El Paso on


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This intensive, hands-on workshop is designed for business owners that want to quickly master their firms' business development potential through LinkedIn. It's a packed agenda, including:
Date & Time(s): Wednesday, February 19 from 6:00pm to 8:00pm
Harvard iLab
Batten Hall
125 Western Ave.
Allston, MA 02163
Fee: $40/2 hours. Must register to attend. Partial scholarships may be available to those who qualify.
Email | Directions


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Free, In Your Backyard and Spectacular
This week should be a good time for watching for shooting stars. There's a new moon, which means no pesky lunar light pollution and, according to the LA Times, two meteor showers are happening at about the same time.
So if the weather cooperates this week, you can sit out in your backyard (or somebody else's – but let's not be creepy about it) and see the oldest free show known to mankind.
And without all the drama and man-crying of "The Bachlorette"…and World Cup Soccer.
Click here for more info and all the science.
Banana Don and Stephanie McCoy amuse and thrill you every weekday morning from 5:30 – 10AM on the radio at 100.7 WITL.
Banana Don can be reached via email at firstname.lastname@example.com and on Twitter at @WITLBananaDon and @WITLFM. Also, Facebook friend Banana Don and Stephanie at Facebook.com/BananaStephanie and Facebook.com/WITLFM.


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Cross & Triangle
Cross and Triangle
This page is the result of several people asking us a simple question: "What does a cross with a triangle mean?" A simple enough question, but not clear enough to give any answer without being more specific; for example:
|"What does a cross inside a triangle mean?"
|"What does a cross above a triangle mean?"
|"What does a cross below a triangle mean?"
|"What does an inverted cross inside (or outside) a triangle mean?"
|"What does a diagonal cross inside (or outside) a triangle mean?"
|"What does a vertical (or inverted vertical or diagonal) cross that extends from the inside to the outside of a triangle mean?"
|... and so on.
A few meanings
The cross
First the cross, invariably a Christian symbol, but of course Christians have neither the monopoly nor the copyright.
It can be seen standing upright or inverted. An upright cross in heraldry is commonly known as a Crux Immissa and in Christianity as a Latin Cross, but there are several other names as well, and the symbol's origin is much earlier than Christianity.
It can be sideways, commonly seen in Nordic flags but is not exclusive to Northern Europe. Several Brazilian and North American cities and states incorporate the horizontal cross. Historically battle flags were horizontal where a short flagpole was preferred for reasons of weight, for example when riding a horse, and a vertical banner when height was important for the cannon fodder scurrying alongside.
There's also one in between, leaning to the left or right, and known as a Portate Cross (from Latin portare "to carry", from which we get "portable") and symbolises a cross being carried over the shoulder. In Christianity this is sometimes called the St. Gilbert's Cross and in astronomy the Northern Cross.
A cross with four arms of the same length, vertical and horizontal, is called a Greek Cross. As with the battlefield connection mentioned above, this pattern is also from the time when crosses were emblazoned on short shields.
Then there's the X-shaped cross, known in Christianity as the St Andrews Cross to the Scots, the St Patricks Cross to the Irish, the Southern Cross to the wannabe Confederates, Saltire in heraldry, and lots and lots of other names.
And we have a few hundred other cross designs, so before asking the question "What does it mean", we have to determine the shape, orientation, and most importantly the context.
The triangle
On this page we're keeping things simple by using triangles with sides more or less of equal length (equilateral), rather than isosceles, scalene, right or obtuse triangles – you know, those Euclidean geometric things most of us spent hours trying to learn at school but never actually made use of outside school.
Unlike the cross, in most symbols the type of triangle is not as important as its given meaning, although its orientation is often relevant.
The triangle is a geometric shape and since geometry has been a branch of mathematics used by philosophers for thousands of years, their quest for wisdom through developing knowledge, and just a tiny esoteric jump from there to spiritual progress, means it's not surprising we find triangles in religion.
In non-Abrahamic religions and the occult in particular, the three interdependent sides have been used to symbolise mind, body and spirit; or past, present and future; or anything that suits the need of the religion.
A triangle pointing upwards refers to the fire, air and the spiritual world, and downwards refers to earth, water and the physical world.
And a pink downwards-pointing triangle has been used by gays to show unashamed pride.
Combine a masculine upwards-pointing triangle with a feminine downwards-pointing triangle, and you have the six-pointed star. This is perhaps more commonly associated with Judaism, yet as a Jewish identity it is a relatively modern symbol.
Triangle with a cross
With so many interpretations it's impossible to pin down the best one. For example in some occult writings, a triangle with a cross on each point will amplify energy.
Those helpful words stop short in explaining whether the crosses should be vertical, horizontal, inverted, diagonal, etc., and more importantly don't give any indication of how strong the amplification could be. Sounds rather dangerous.
Similarly in Christianity, the triangle and cross can have several "meanings".
The triangle usually represents the Holy Trinity, but not always.
In Surabaya, Indonesia, for example, the triangle on the emblem of the Petra Christian School Board symbolises the spiritual, mental and physical interrelationship for education to be fruitful. Further, the relationship between family, school and church, must be on a solid foundation ("Petra" = rock).
Moving away from the various religious connections, we also see the cross and triangle in commerce and in other symbols.
Throughout Europe, a black cross in a triangle warns road users of crossroads ahead.
Also in Europe a diagonal cross in a triangle is used at intersections where priority to the right applies.
This diagonal version is not found in the UK or Ireland, where driving is on the left. Continental drivers have enough problems in the British Isles without adding this confusion. Continental visitors, on the other hand, often have no idea what this sign means when they drive off the ferry at Cherbourg, Calais, Zeebrugger, or where-ever.
The T-junction sign tells drivers they must make a choice whether to turn left or right.
In Christianity this form is called a Tau Cross, and the Cross also tells us that we must make the correct spiritual choice in life.
The triangle is an important part of the sign, for without it, the road sign means "Dead end", the end of the road is ahead.
Similarly in a Christian context, this sign reminds us of our earthly mortality. Yet as with the road sign, there is something beyond.
And the diagonal cross that extends from the inside to the outside of a triangle? Yes, you've seen that before. But where?
It's just a laundry symbol meaning "Do not bleach".
Finally, the cross outside the triangle. As shown at the top of this page, the cross can be seen above or below the triangle, where the upwards-pointing triangle reminds us of the cross atop the hill of Calvary or a church steeple. (The symbol on the extreme right is also the alchemical symbol for sulfur, and for that, please see the Brimstone Cross.).
The rest of this page is mainly about the downwards-pointing triangle shown on the left.
First we'll mention the triangle in the logo of Caterpillar Inc., which puts us on the right track, bulldozing away all the mystery behind the meaning of the downwards-pointing triangle beneath a cross.
The photo on the left was kindly sent to us by a keen observer in Texas, USA, who noticed a cross above a triangle on the empennage (posh name for "tail") of a 1998 Cessna Citation 10 at Love Field in Dallas, TX. The aircraft is registered to Peter Holt, CEO of Holt Cat, the largest Caterpillar dealership in the United States.
Not a poor man, he has quite a few business interests and properties, one being a ranch in Texas named... yes, you've guessed, the Cross Triangle Ranch.
His wife, Julianna, manages successful race-horse breeding on the ranch and that gives a hint to the origin of the symbol. The Cross Triangle is a symbol for branding on the hides of livestock. This is one of the oldest cattle brands in Texas and would have been known to the quintessential cowboys of the American Old West.
But returning to the brand featured above, the question arises: Why should the triangle point downwards? And the answer is probably pragmatic:
When making the branding iron head, the triangle and cross are made separately and then welded together. If the artisan tried to attach the base of the cross to the triangle's apex, this would melt the apex. Attaching the base of the cross to the middle of the triangle's side, avoids this problem.
Branding livestock made cattle-rustling more difficult.
Branding an aircraft is less logical, since it only takes a few seconds for a thief to use a can of white spray paint.
Esoteric folk seem to be obsessed with sexual symbols.
A rain cloud descending as a raindrop; an obvious symbol ...
... if you have lots of imagination.
The gay association with a pink triangle possibly originates from Hitler's insistence that gays wore a pink triangle, although it is understood those pointed upwards.
Branding has not been restricted to cattle. Humans also have been branded in the past by slave owners, by civil and military judiciary, and even by the Church (for crimes such as adultery or for being Anabaptist). Fortunately we are more enlightened today. Even so, people self-brand themselves to join gangs or fraternities, and countless people brand themselves with tattoos.


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Global Marketing Index (GMI)
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Global Marketing Index (GMI)
January 26, 2017
Global Digital and Mobile Growth Remain Rampant
Global Trading Conditions rise
Digital and Mobile grow strongly in all regions
Employment growth rises globally
Global Marketing Headline Index
remained stable at 51.7 in January, indicating continuing growth, albeit modest, in marketing sector activity across the world. There were observable regional differences with the European GMI, rising slightly to reach 56.6, the fourth consecutive increase. The Headline Index for the Asia-Pacific region dipped slightly to 48.1 while in the Americas, marketing activity fell marginally for the third successive month with an index value recorded of 49.3. This figure includes both South America, dominated by Brazil, which is still in recession and the United States, where marketing activity is growing.
Global Marketing Budgets Index
in December recorded a value of 48.7, down by 0.5 and showing a fall in budgets for the fifth successive month after three years of continuous growth. Again there were regional differences, with Europe showing steady growth rising to 57.4, the fourth rise in a row. In contrast, budgets fell in the Asia-Pacific Region and the Americas, although the result in this region was biased downwards as a result of the inclusion of South America in the index calculation. The
Global Trading Conditions Index
rose in January to 53.1, showing that panellists thought that trading conditions were improving steadily. Trading conditions saw growth in Europe and in the Americas, but were unchanged in the Asia-Pacific region in January compared to the month before.
In January,
media continued their rapid expansion and their share of marketing budgets increased globally and across all regions. Digital media fell back slightly by 0.5, but still recorded a high index of 70.5. Mobile also experienced robust growth, with a global index value recorded of 69.8, up slightly on the previous month. Both of these media advanced in all regions. In contrast, globally the share of traditional media (
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Staffing Index
, which reflects the number of staff taken on compared to the same period last year, saw growth globally with an index value of 53.2 recorded in January. This was up by 1.4 on the month before, after a long period of monthly declines.
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Sounds Like a Winner!
Houston music fans are nothing if not reliable. Year in and year out, they stick by their favorite local artists; for evidence, just take a gander at the names that have proven themselves hardy perennials in the Press Music Awards. It's hard not to be in awe of such unfettered loyalty -- though at times, we must admit, we wish that voters would glance beyond the acts they've grown to love. There are a lot of worthwhile musicians out there who labor in unfortunate obscurity merely because listeners are wary of anything new. And while we agree there's a certain comfort in consistency, getting out and experimenting every now and then can be fun, too. It only stings a little -- really.
None of that, however, is meant to diminish the considerable achievements of this year's Music Awards winners. They're consistently atop the Houston heap for a reason -- if not always for their trailblazing natures, then at least for their strong work ethic and proficiency on-stage. And as many of the multi-year victors would likely admit, knowing how to campaign and work a mailing list aids invaluably in the quest for votes.
Though the bulk of the 1996 honors went to the circuit's old guard, the up-and-comers weren't completely shut out. The race for best new band was a fairly close one, which implies that some Houstonians are indeed breaking free of routine to sample fresh talent. Also promising was the number of newer bands (four) that captured respectable chunks of the vote in this year's Best Rock/Pop category. Throughout the ballot categories -- from Best Folk/Acoustic to Best Rap/Hip-Hop to Local Musician of the Year -- new names not only popped up as write-ins, they vied for top honors.
1996 Houston Press Music Awards
Yet another hopeful sign was the impressive turnout at the July 28 Music Awards Showcase. Unhampered by last year's soggy weather, music lovers showed up by the thousands, packing clubs to see a wildly eclectic roster of 45 bands. (Where else in town but at the Press showcase could you witness the Afro-roots strains of Wazobia sandwiched between the metal thrash of Saddlebag and the raging vatobilly of the Flamin' Hellcats?) No doubt encouraged by a tight core of venues all within steps of one another in Shepherd Plaza, spectators this year were less inclined to plant their derrieres on a single barstool for the duration, and milling about between venues was constant throughout the evening. So revel in the results of your utmost participation; you've earned it.
Upcoming Events
Luke Combs: Don't Tempt Me With A Good Time Tour
TicketsFri., Nov. 3, 7:00pm
Hoodie Allen
TicketsSat., Nov. 4, 7:00pm
World Famous Gospel Brunch
TicketsSun., Nov. 5, 1:30pm
TicketsSun., Nov. 5, 7:00pm
So You Think You Can Dance
TicketsTue., Nov. 7, 8:00pm
(Profiles by Brad Tyer, Mitchell J. Shields, Hobart Rowland, Craig D. Lindsey, Greg Barr and Jim Sherman.)
And the winners are...
Best New Act
The Hollisters
Best Rock/Pop
Hadden Sayers
Best Metal/Hard Rock
Galactic Cowboys
Best Alternative/Non-Commercial
Best Cover Band
Toy Subs
Best Rap/Hip-Hop
Geto Boys
Best Blues
Carolyn Wonderland and the Imperial Monkeys
Best Funk/R&B
Global Village
Best Folk/Acoustic
Shake Russell/Jack Saunders
Best Jazz
Paul English
Best Traditional/Ethnic
The Gypsies
Best Tejano/Latin
La Mafia
Best C&W
The Hollisters
Best Reggae/World Beat
Beat Temple
Best Industrial
The Hunger
Best Cajun/Zydeco
Pierre and the Zydeco Dots
Best Classical Performer/Ensemble
Houston Symphony
Best Act That Doesn't Fit a Category
Flamin' Hellcats
Local Musician of the Year
Carolyn Wonderland
Best Male Vocalist
Mike Barfield (The Hollisters)
Best Female Vocalist
Miss Molly
Best Guitarist
Joe "Guitar" Hughes
Best Bassist
Chris King (Carolyn Wonderland and the Imperial Monkeys)
Best Drummer
Leesa Harrington (Carolyn Wonderland and the Imperial Monkeys)
Best Pianist/Keyboardist
Ezra Charles
Song of the Year (Local)
"No Really, I Can Drive," Carolyn Wonderland andthe Imperial Monkeys
Best Horn/Horn Section
Global Village
Songwriters of the Year
Carolyn Wonderland and the Imperial Monkeys
Release of the Year (Local)
Play with Matches
Carolyn Wonderland and the Imperial Monkeys
Best Local Label
Best CD/Record Store
Cactus Music & Video
Best Rock Venue
The Fabulous Satellite Lounge
Best Blues/R&B Venue
Big Easy
Best Jazz Venue
Best Folk/C&W Venue
McGonigel's Mucky Duck
Best Latin Venue
Elvia's Cantina
Best Classical Performer/Ensemble
Houston Symphony
If you go by raw numbers, the Houston Symphony didn't just win its category, it won the whole shebang: it got more votes than any other group or individual on the Music Awards ballot. And they didn't even have to play the Press showcase to come out on top. (Though it might have been interesting to see the 98 players with their 62 strings, 16 woodwinds, 14 brass instruments, a quintet of kettle drums and a grand piano crowd into, say, the Rhino Room. Note for next year: you are more than welcome to join the other performers.)
Of course, we must admit to harboring a touch of skepticism when we saw the votes pile up. It's not that we suspected any ballot stuffing (we know who stuffed, and no, you did not win). It's just that we wondered if folks might have voted more out of obligation than appreciation, voted for an ensemble they thought they should have heard rather than one they had heard. If so, you folks were right: this is one group you should have heard lately (kids' concerts while you were in school don't count). If you haven't, march straight down to Jones Hall and get your ticket. They're not to be missed. World-class is one of those public relations phrases tossed around with way too much abandon, but under the direction of Christoph Eschenbach, world-class is exactly what the Houston Symphony has become. (M.J.S.)
Best tejano/latin
La Mafia
Last year, when the Latin and Tejano categories were combined, La Mafia, the 1994 Tejano winner, failed to place. But we knew it was only a matter of time before voters got around to remembering that a) La Mafia is a Houston act; b) they're hugely popular on a scale that dwarfs their competition; and c) they deserve some hometown applause.
It's been a particularly busy year in an active decade for La Mafia's godfather, Oscar De La Rosa, and his slicked-back gang of strapping banditos. The group fell together in 1980 with modest aspirations. But it wasn't long before word about La Mafia's Spanish-sung, Tex-Mex pop spread below the border, and the band began selling out venues all over Mexico. That success led to more widespread Hispanic appeal at home, and the hits started proliferating on both sides of the Rio Grande. By the late '80s, La Mafia had joined Selena in contemporary Tejano's superstar ranks.
Not surprisingly, Tejano's cultural and language barriers worked against La Mafia in some major ways. It wasn't until the second or third platinum release that a large portion of the Anglo media got wind of the group's formidable presence. Now La Mafia's label, Sony Discos, is working to speed the assimilation process. Un Million de Rosas, the group's latest CD, might as well be subtitled the "Oscar De La Rosa Show," its cover photo and interior shots throwing the spotlight on the band's suave, ballad-crooning leader. The hope is, of course, that this singular focus will give De La Rosa -- if not the band -- a better shot at crossing over. Plans for an English-sung La Mafia release are said to be in the works, which should boost the band's multicultural visibility even further. (H.R.)
Best rock/pop
Hadden Sayers
He may look like the kid that, chronologically, he still pretty much is, but that doesn't mean that Hadden Sayers can't lay claim to being a hardy Houston perennial. From his time with Miss Molly as the Whip with the hottest guitar to his 1994 startup of the Hadden Sayers Band (a group that just happened to be selected as the '94 Best New Act in the Music Awards) to his wins last year and this in the Best Rock/Pop category, Sayers has been a steady force in the local music world.
Not that he's been a particularly steady presence of late; like the Imperial Monkeys, Sayers and crew are making their living on the road these days, and trying to figure out how to translate a monster work ethic into a commercially viable CD. Retrofutura is Sayers' latest attempt, and aside from a title that's unfortunately reminiscent of a particularly noxious Neil Young phase, it's a step forward. When he's in town, he puts on a good show, and he means it. (B.T.)
Best rap/hip-hop
Geto Boys
While West Coast rappers get a wealth of credit for bringing to life the realities of the ghetto, the Geto Boys remain gangsta rap's most credible "other coast" link. And now that Bushwick Bill, Scarface and Willie D have finally settled their personal conflicts and reunited, they're back to being not only credible, but dangerous.
Last year, the Geto Boys returned to form in a big way with their The Resurrection CD, unleashing "The World Is a Ghetto" and other blunt, streetwise anti-epics on the public. They also contributed tracks to the soundtrack of Original Gangstas, a movie in which Bushwick had a small (ahem) role. Lastly, the Boys are capping off their comeback season with this summer's "Resurrection Tour." Plain and simple, the Geto Boys put Houston on the rap map, and recent local success stories such as Crime Boss and Eightball and MJG ought to be able to tell you just what that means. For that little piece of history alone, the Geto Boys deserve this award. On 1991's We Can't Be Stopped, Willie D made this demand: "I've sold a lot of records / And a lot of people know me / So where's my goddamn trophy!"
Here you go. (C.D.L.)
Best guitarist
Joe "Guitar" Hughes
Ladeez and gentlemen, in this corner, nattily attired in a spotlight-grabbing neon-green suit and a Fender with smoke coming off the strings, the undisputed champion of the Best Guitarist category of the Press Music Awards for as long as we've been doing this thing ... Houston's own Joe "Guitar" Hughes!
Since winning this award last year -- adding to the ones he won the year before, and the year before that -- Hughes has released another European-produced album (Texas Guitar Slinger, distributed in the U.S. by Rounder/Bullseye) and made his obligatory annual romp across the festival stages of Europe. In the four decades that he's been making his music, Hughes has proven himself the equal of any picker around. If you've never understood what musicians mean when they say music isn't the notes, it's the spaces, go see Hughes: he can make more music with three notes than lesser talents who fill the same length of time with 30. Opportunities to see Hughes around town are ample; he's a regular at Billy Blues, the Shakespeare Pub, the Big Easy and other fortresses and outposts of the blues. Because the same writer -- an unabashedly partisan fan of Hughes' -- has done this profile for the last three years and doesn't want to repeat himself, he's going to take advantage of this opportunity to tip the fedora to Hughes' manager and wife of 35 years, Willie Mae Hughes, who is as sweet and lovely as she is knowledgeable about music -- and deserves at least some portion of the praises so often directed at her husband. (J.S.)
Best folk/acoustic
Shake Russell/Jack Saunders
Singer/songwriters such as Shake Russell and Jack Saunders wind up with some of the most loyal fans around: all it takes is a lyric that rings so true that it seems the songwriter has either been reading the listener's mind or mail for a lifelong enthusiasm to result. Not that great lyricists are guaranteed of achieving a high level of fame: for every Lyle Lovett, there are dozens of praiseworthy less-than-household names such as Steve Fromholtz, Dave Bromberg, Robert Earl Keen, Shake Russell and Jack Saunders. Still, even in a fame-driven industry, there are no skills that result in more peer respect than the ability to write a moving lyric. Over the decades, Shake and Jack (no one but a critic can call them Russell and Saunders with a straight face) -- along with their multitude of cohorts from the days when Anderson Fair was more of a spaghetti kitchen than a nightclub -- have mastered the art of intimate, up-close delivery of universal emotions and sentiments. Of the many local acts that can sell out the house at McGonigel's Mucky Duck, Shake and Jack's most common venue, it's their audiences who show the deepest familiarity with the music being played. Listener response -- the kind created by fans who have seen a show repeatedly -- is an integral part of the magic of Shake and Jack, and it's a big part of why the recent Live at the Mucky Duck is a much more accurate explanation of their art than were earlier studio recordings. (J.S.)
Best alternative/non-commercial
It's a bad thing to see the Jinkies -- who took home the 1995 Press prize for Best New Act -- winning in consecutive years, because as much fun as we all have watching them play, there's not much left to say. I mean, after you've gone over the basics -- the lineup of brothers Carlos and Mike DeLeon, Vince Mandeville and Matthew Thurman on guitar, drums, bass and guitar, respectively; the pop-pretty harmonies; the catchy songs; the irreverent attitude -- what can you add? The Jinkies aren't a band that stands much analyzing. To do so, to repeat the standard riffs, could end up making the band look like a cliche, which isn't fair, because they aren't. They try to mix it up, and what they can't swing in subtlety they make up for in volume, in the finest rock tradition. And to top it off, their drummer plays like a muppet. (B.T.)
Songwriters of the Year
Song of the Year
("No Really, I Can Drive")
Release of the Year
(Play with Matches)
Best Blues
Carolyn Wonderland and the Imperial Monkeys
Local musician of the year
Carolyn Wonderland
Okay, we give up. What say that next year we combine all these separate categories into a single one: Best Carolyn. Then Carolyn Wonderland can walk away with all the goodies, and people will be less inclined to ask, "How does she do it?" It'll be obvious how she does it. She's Carolyn. Who could be better at it?
Of course, some people might raise the objection that it's not just Carolyn; it's the Imperial Monkeys as well. As Wonderland herself isn't shy about mentioning, she may be the voice up front, but there are others who are playing their butts off as well. If you want to know who they are, you just have to check out the winners for Best Bassist (the Monkeys' Chris King), Best Drummer (the Monkeys' Leesa Harrington) and Song of the Year (written by King and Monkeys guitarist Eric Dane). Nonetheless, Wonderland's name comes first, and so does her recognition. She's even so influential that she's convinced a good chunk of the Houston listening audience that what she does is blues, even though any fool ought to be able to appreciate the context and put Carolyn and her Monkeys over in the rock category, where they'd undoubtedly do just fine. As is, the band gets Best Blues, which is a nod toward Carolyn's pipes and guitarist Dane's influences. And Carolyn gets Local Musician of the Year, which in part is a nod from the thousands of semi-employed musicians who've been made to feel at home on any Wonderland stage. They get Song of the Year for King and Dane's boozy, after-hours wind-down "No Really, I Can Drive," which is quite an accomplishment, considering that the tune is a hidden track tacked on at the end of Play with Matches, which gets Release of the Year. And Carolyn and the band get Best Songwriters.
What do the rest of us get? A chance to sit back and listen, which isn't a half-bad prize of its own. (B.T.)
Best bassist
Chris King
Chris King has a cool beard, a cool dad, some cool hats and he's an Imperial Monkey, which never hurts. When he won this award last year, helping to anchor yet another Carolyn Wonderland and the Imperial Monkeys sweep, he didn't have much to say about it. When he won Local Musician of the Year honors in '94 before passing the baton to (is there an echo in here?) Carolyn Wonderland, he didn't have much to say about that either. King isn't a big proponent of self-promotion, which is really why we didn't have any expectation of him saying much about winning yet one more time. So we'll step up on the dais for him and give the sort of heartfelt acceptance speech we're sure he'd pour out if he were a more image-minded (and less music-obsessed) performer.
"Thanks." (B.T.)
Best drummer
Leesa Harrington
Leesa Harrington has a cool smile, a cool kid and some cool hats of her own. She's an Imperial Monkey, too, which never hurts. She isn't as tightlipped as her bassist bandmate (when she won top honors in this category last year, the first year the category was part of the Music Awards, she allowed that she was happy; she even allowed that she thought it was cool that people would vote for her; and she even modestly allowed that she thought there were other drummers in Houston who were much better than she was -- not that she was going to hand the award over to them), but really, what more can you say once you've let folks know you've drummed for a half-dozen Houston bands over the last few years, have been part of the Imperial Monkeys for close to two and really like banging away at your kit? We're not absolutely positive, but we imagine that about all that's possible is stepping up on the dais, clearing your throat and letting all your emotion emerge unfettered with a passionate:
"Thanks." (B.T.)
Best metal/hard rock
Galactic Cowboys
A nice pat on the back for anything ought to feel pretty comforting to the Galactic Cowboys, whose goose looked to be well-cooked as of last summer. Thoroughly disenchanted with the music industry, the group had all but disintegrated. It was difficult to blame them; they had plenty to be discouraged about.
Circa 1990, the Cowboys appeared ready to make a play for a significant national audience; six years later, they have yet to translate their feverish meld of heavy metal guitars, Fab Four harmonies and often intricate art rock structures into anything more than a rallying point for enthusiastic critics. Even a choice deal with David Geffen's label wasn't enough to get the job done; two Cowboys CDs, Galactic Cowboys and Space in Your Face, met with a flat-line public response before DGC dropped the band. Frustrated, band members began dropping like flies. First to go was guitarist Dane Sonnier; the next was drummer Alan Doss.
Then last June, out of nowhere, a call came from Metal Blade, a California-based label known for nurturing Metallica early on, and the Cowboys were back in business. Doss quickly returned to the fold, while guitar tech Wally Farkas replaced Sonnier. The Cowboys' first Metal Blade CD, Machine Fish, was released this January. Heavy yet heady, catchy yet confounding, it's all the things fans have come to appreciate and expect from the group. With the new disc and the rare club appearance, the Cowboys have reclaimed their local support base (if it ever went away), dislodging dead horse, the band that's had a lock on the Metal/Hard Rock category for the last two years, from the top spot. Their Houston dominance re-established, the Cowboys are now touring with King's X, chasing after a recurring dream of an ever-expanding Galactic universe. (H.R.)
Best New Act
Best C&W
The Hollisters
A funny thing happened to the Hollisters in the process of working their tails off to get established: they've become the city's biggest genre-bending, new-country sensation this side of Jesse Dayton. Here's a band that's as at ease playing to skate-punk crowds at Emo's as they are entertaining the Stetson set at Blanco's. Which just goes to show what sort of pros make up this "new" act. The name and configuration may be fresh, but the Hollisters are far from a band of neophytes. The creative partnership between guitarist Eric "Eddie Dale" Danheim and lead vocalist Mike Barfield began ten years ago, when the two founded Houston nouveau-country favorites the Rounders, an outfit that only hinted at the more satisfying reconciliation of honky-tonk's past and present to come.
For a time, Danheim tried to go after that reconciliation on his own, leaving the Rounders in 1988 to work with Austin acts the Wagoneers and Chaparral. But by the time the Rounders officially disbanded in 1995, Danheim was back with his old mate Barfield and ready to begin anew. The pair found a new rhythm section -- bassist Denny Dale and drummer Kevin "Snit" Fitzpatrick -- and started from the ground up. The goal was to keep it simple, drawing upon the band members' common affinity for Buck Owens and other purveyors of the Bakersfield sound. For the sake of that simplicity, Danheim would provide the sole electric guitar, while Barfield stuck to vocals, harmonica and his old acoustic. Seasoned from day one, the Hollisters proceeded to pluck and croon for anyone who'd have them.
A year later, that "anyone" has grown to just about everyone, and the Hollisters' fine-tuned bounty of originals is electrifying rooms all over town. With a sound at once rustic and urbane, Barfield and Danheim have finally uncovered the right formula: a classy, roots-reliant approach that can muster up enough immediacy to make country institutions sound clothesline fresh. Infused with Hollisteria, everything old is new again. (H.R.)
Best male vocalist
Mike Barfield
"Naturally, they say I sound like Johnny Cash. Guess it's because I'm a baritone."
In truth, there's a little more to it than that. The Hollisters' Mike Barfield isn't one of those late-blooming, roots-savvy singers who grew up on a steady dose of mainstream country and rock acts before turning to the classic crooners. His childhood home in south Houston was teeming with the sort of salt-of-the-earth sounds that would likely send a wave of wistful remembrance down the spine of the most hardened rockabilly outlaw. He sang along to old 45s from the likes of Carl Perkins, Elvis Presley and, yes, the Man in Black. That informal schooling has given Barfield an appreciation of both the power and the mystery of his low register, as well as a sixth sense of where he can let go of that gentlemanly restraint and holler a little. Like an oft-traveled country byway that jolts us out of a road trance with the occasional sharp dip and fresh pothole, Barfield gives listeners familiarity, but with a trace of the unexpected. (H.R.)
Best jazz
Paul English
Seeing as he's clinched the Best Jazz category again this year, now seems as good a time as any for a Paul English update. Most of us would require a clone or two to maintain English's hectic schedule, so we won't blame anyone for not keeping track; to be honest, we have a hard time doing it ourselves. English is out of town a lot these days, which is typical for any musician and composer of his caliber; on his '96 "to do" list are a number of commissioned classical pieces. Recently, he's been laboring hard on a classical project commissioned by Palmer Episcopal Church. The piece, which English cohorts describe as one of his most demanding ever, combines pipe organ, solo vocalists, a full choir and a chamber orchestra. Its inspiration? The poetry of Gerard Manley Hopkins. A debut is set for the spring of 1997.
Among his many compositional distractions, the accomplished pianist still manages to squeeze out enough time to work on the follow-up to his 1995 CD, Beauty, put in hours at his own Capstone record label and perform with both the Paul English Quartet and his much-loved improvisational baby, PICO. The working title of English's upcoming release is World Tour. Its themes promise to be global in scope, its musical grounding jazzy and contemporary, its shadings exotic and well-traveled.
So, no, English hasn't downshifted once since last year, and he shows no signs of doing so in the foreseeable future. We wanted to ask English how he manages -- and if he really is stashing a few spare likenesses in his broom closet. But we couldn't -- he's out of town. Guess it's business as usual. (H.R.)
Best funk/r&b
best horn/horn section
Global Village
Maybe the recent hype surrounding the release of its long-anticipated debut CD gave Global Village the boost required to take this pair of categories for the second year in a row. Maybe it had something to do with the funky (and free) spring throw-down the group hosted at the Hard Rock Cafe to celebrate said release. Or maybe Bud Ice, a Global Village sponsor, simply waved its aluminum magic wand. Most likely, though, the whole thing was simply inevitable.
Global Village owns this dual honor once again for a number of reasons -- smart publicity maneuvers and sound business sense being but two of them. First and perhaps foremost, the Villagers know how to kick out the jams, and their reputation for peddling reliable, crowd-pleasing entertainment has kept the gig requests pouring in from all over Texas and Louisiana. Equally important, Global Village has found a way to keep their act together through thin times and thick. With us since 1990, they've endured only minor lineup fluctuations -- no small feat for a nine-member band. All the while, the group continues to find new ways to escape the methodical, party-band doldrums, toeing the line gracefully between impeccable musicianship and playful spontaneity. Also vital to the band's success is lead singer Chad Strader, whose giddy, soul-drenched vocals owe an obvious debt to Stevie Wonder. Strader can just about compete with the considerable blowing power of the Global Village horn section. For fans, the funk begins and ends with that airtight brass brigade, whose colorful and assertive flourishes give Global Village's music its bull's-eye-accurate grooves and its racing R&B pulse. (H.R.)
Best cajun/zydeco
Pierre and the Zydeco Dots
Even changing Pierres couldn't shake the Zydeco Dots' grip on this category, which they have won every year since the inception of the Press Music Awards. In the 12 months plus since longtime Dots frontman Pierre Blanchard left the band to start the Bayou Stompers, Pierre Stoot has shouted and squeezed and generally held down the accordion/vocals spot in front of a veteran lineup that's certainly one of the hardest-working and best-exposed zydeco units in Houston. The Dots can be found all over town, at both clubs with a long-standing zydeco tradition such as the Shakespeare Pub and the Big Easy, and at less likely venues such as the Firehouse, Crescent City Cafe and Jax Grill, where a long-running Friday gig has become the band's home base.
As for being the best at what they do ... well, that's when guitarist Tom Potter dons his humble hat, mentions fellow members of the local zydeco community that he holds in high regard and talks about how the Gulf Coast's most endearing and infectious folk music hasn't even touched its commercial potential yet. Still, the Dots can take more credit than most for moving zydeco out of the Houston neighborhoods that were built by Louisiana natives and into clubs that had never dreamed an accordion-based band could pack the house. (J.S.)
Best cover band
Toy Subs
Toy Subs' charismatic frontman Jamie Jahan is likely to be both pleased and a little frustrated with this repeat win. Sure, it's swell that his slick, moneymaking machine continues to purr like a kitten six years after its inception. Still, Jahan and the rest of Toy Subs might have felt more aesthetically fulfilled had their all-original Shed, a project closer to their hearts (and further from their bank accounts), received the same voter attention as its bread-winning Richmond Strip alter-ego. Shed has released a pair of CDs funded largely with earnings from Toy Subs gigs, and has been working overtime to find an audience. But alas, on this year's Music Awards ballot, the group wasn't even a write-in.
As it is now, Toy Subs are suffering through the all-too-common cover band dilemma: they'd rather be artists than impersonators, but they've made more financial headway doing the latter. (And as any artist will admit, it's difficult to create with an empty wallet.) Make no mistake, Toy Subs are a remarkably efficient, often inspired, outfit, and if you go by the numbers, they're far and away the best party in town. Playing someone else's tunes may not be Toy Subs' idea of a respectable living, but damned if it hasn't earned them some respect -- and a living. (H.R.)
Best pianist/keyboardist
Ezra Charles
Sweet justice returns to the Ezra Charles camp. Apparently, the demon spirit of Jerry Lee has been called up to right the wrongs of last year, when Charles was excluded from the Music Awards ballot by a gaggle of unappreciative nominators. But this year he was back on the ballot, and sure enough, he ended up a winner. Whether you credit Charles' success to paranormal activity or to (more likely) a remarkably effective ability to get out the vote, a victory's a victory, and it couldn't have come at a better time.
This could be the beginning of a barnstorming year for Houston's ivory-tinkling, party-blues savior. He's got a brand-new CD, Drive Time, which he plans on shopping to national labels. And he's still hauling his piano and his band, the Works, all over the Gulf Coast as their sphere of influence continues to spread. As for Charles' fervent, key-pounding technique, it's as sharp as ever, his fingers as finely conditioned for endurance as his free-standing coif.
In '96, it appears Ezra is unstoppable, and the proof is now in print: Houston's finest piano man of '96. If you're still skeptical, Charles would be more than happy to show you a video documentary of his life. (H.R.)
Best reggae/world beat
Beat Temple
Beat Temple's roots are more homegrown than international, so imagine our surprise when the group was chosen winner in the Reggae/World Beat category, defeating more globally authentic favorites such as Wazobia and D.R.U.M. To be sure, far stranger things have happened in Music Awards history, but this odd little coup is definitely deserving of mention. We could have sworn that Beat Temple was a funk band and, when the occasion warrants, a hearty, retro jam band.
Maybe the "beat" in Beat Temple's name swayed voters. Who knows? Who cares? This multiracial quintet has certainly stuck its neck out far enough lately to be recognized for something. Last July, Beat Temple released the strong-willed and potent Hands of Mercy CD, which brought to an impressive close a lengthy musical evolution -- and my, how things have evolved. When Beat Temple's founding members -- guitarist Gary Wade, singer Ralz Mathias and bassist Carl Jones -- came together in 1986 as Western Eyes, the ideas that took shape were more along the lines of Prince and Patti LaBelle. By 1990, they'd changed their name to Beat Temple, and the aggressive edge they'd applied to their sound was jibing perfectly with the Chili Peppers-ignited funk-punk movement of the period. In '91, Beat Temple made the finals in a national music search. But despite a number of proposals from hungry labels, they came out of the experience with handshakes, false promises and little else.
Hard lessons learned, Beat Temple went about fleshing out their sound to the soulful, positive experience it is today -- Sly Stone's earth-toned grit set soaring by Earth Wind and Fire's breezy "love rules" optimism. Perhaps most central to Beat Temple's staying happy and sane is the band's sense of take-it-as-it-comes realism. They're making music by and for themselves, and doing it at an easy, enjoyable pace. (H.R.)
Best female vocalist
Miss Molly
Another year, another honor. For some artists who win these prizes like clockwork every year, the whole thing can get a little tiresome. And that's why Miss Molly remains a cut above the rest: not only does she keep winning Press Music Awards, but she never shows any signs of lapsing into babble when she considers that her fans are more than eager to keep crowding her mantel with trophies. That's one of the things we like most about Ms. Elswick, who has won Best Female Vocalist four times in the past five years. Her well-greased business machine is running like clockwork, she has plans to head into the studio this fall to dish out a follow-up to 1994's In the Garden and, in between, she's gigging on the roadhouse circuit like crazy.
The woman who once brought President Bush to his knees with a crack of the ol' leather is at ease these days, establishing herself more as a heartfelt blues/soul vocalist while gradually distancing herself from her persona as Houston's reigning dominatrix diva. Reached at home early one morning, a still sleepy-eyed Molly -- who was happy to report she's been catching fish hand over fist -- said the award represents a token of friendship between her and the fans. "I hope," she added, "I can do right by them." (G.B.)
Best industrial
The Hunger
Knowing that the Hunger has taken the Best Industrial award for the fourth consecutive year is bound to piss off some people, but then again, they're not the ones who gleefully line up at the band's shows. Drummer Max Schuldberg, reached in California during a break from the band's current tour, said he's happy and also a bit surprised by the award -- happy that the fans are behind the band, and surprised that the group can still be considered industrial, especially given that "Vanishing Cream," the Hunger's Top Five single from its Devil Hitches a Ride CD, is playing on the straight rock radio format.
"It's weird to be considered both as industrial and rock," Schuldberg says. "I guess maybe we're somewhere in between." Formed by brothers/keyboardists Jeff and Thomas Wilson some six years ago, the Hunger's sound has spread out across the spectrum of '80s techno-arena rock, post-grunge guitar grinders and tortured, Reznor-influenced vocal ramblings. At this point, the Hunger's hard work in the early days is paying off big, with sold-out shows, a smattering of local radio support, hot tubs filled with champagne, stretch limos -- okay, maybe not those last two, but pretty damn close. The band will be home at the end of August just for a rest -- there won't be any local gigs until fall -- and then they'll be heading back on tour for nine shows opening for Kiss, something Schuldberg still can't get over. "Can you believe how cool that is? I mean, it's Kiss." (G.B.)
Best act that doesn't fit a category
Flamin' Hellcats
There I was, hittin' over a hundred roaring down the two-lane from the Bolivar Ferry to High Island in a "borrowed" turbo-diesel pickup, an unregistered, fully automatic assault weapon on the dash, a bottle of mescal between my legs and a head full of this weird jimson-weed seed analog some chemistry student from A&M had cooked up. Suddenly, I realized what was wrong with the picture: as I power-slid sideways to a halt, blocking both lanes, I crowbarred the CD player out of the dash, flipped it into the dunes and poured a full clip of hollow-points into the useless piece of junk. After all, there's no point in serious insanity without an appropriate soundtrack, and the Flamin' Hellcats' first CD still hadn't hit the stores. But it's a ride I'll have to take again when Speed Freak does come out.
Over the last couple of years, the Hellcats -- founders of a one-band genre called Texas vatobilly -- have established themselves as an act whose energy is as intense as its unpredictability. It's a niche that has made them the party band of choice for that kind of party where you might as well invite the cops, 'cause they're gonna show up anyway. I have it on reliable authority that at one such party, ZZ Top's Billy Gibbons was spotted on the dance floor yelling, "Vatobilly! I get it!" Gibbons got it, and so should you -- but fasten your seat belt next time you "borrow" that truck. (J.S.)
Best local label
Justice Records
Justice owner Randall Jamail doesn't always get on well with the media. Critics have raised a landfill's worth of stink about his ego and his policies in the studio. But the fact is, a vat of bad ink couldn't stain his label's reputation as the biggest non-rap game in town. And it appears that voters see it that way, too.
Jamail has spent an inordinate amount of time this year wooing out-of-town talent, firming up his artist base with the well-known names of Waylon Jennings, Willie Nelson and Billy Joe Shaver. He's also placed stock in the reputation of Austin singer/songwriter Kimmie Rhodes. Not to worry, though: Justice still owns Houston's most promising export, honky-tonk heartthrob Jesse Dayton, a big winner in last year's Music Awards. Also freeing up Justice for continued forward movement is a settlement reached July 7 between the label and two major industry players, Sony and Philips. Back in 1995, Jamail filed an antitrust suit against the two corporations, alleging that their plants were preventing the manufacture of Justice CDs endowed with Jamail's patented Soundboard technology. The feature makes use of the spare space on CDs, allowing the listener to access interviews and other extra goodies if they so desire. With this resolved, Jamail will be able to freely license and market his technology (can you smell the money?). Another obstacle dealt with, the wheels of Justice continue to roll over the local competition. (H.R.)
Best rock venue
The Fabulous Satellite Lounge
You can't always credit (or blame) music for the crowd it draws. Sometimes you have to credit (or blame) the venue. Still, there's no use bitching and moaning about having to go to the Fabulous Satellite Lounge just 'cause you need to see some really badass band, as some of the hip in Houston have been known to do. Sure, it might appear a bit pushy to build the "fabulous" right into the name, so that papers can't even list the club without seeming to applaud it. And you might even argue that the sound can get muddy bouncing off those warehouse-style walls, or that the swirly, trippy light show that fills those self-same walls doesn't appear to have any connection with anything else that's going on in the place -- with the music, the atmosphere, the crowd, the surroundings. You might even complain that there's always some drummer trying to cut in the urinal line. But the fact that you know what you're bitching about means you've been there, and for the obvious reason: the Satellite books the best shows their size in town and, for my money, most of the best shows of any size in town. So shower cash on them. Good money for good product, I always say. Just don't get hung up on calling it fabulous. The Satellite's only a rock club -- a good one. (B.T.)
Best traditional/ethnic
The Gypsies
It's been more than 20 years since Greg Harbour, then living in Atlanta, found himself exploring the cultural aspects of his Russian ancestry by teaming up with three gypsy musicians of Hungarian, Russian and Ukranian descent. Traditional Central European folk music, played lovingly and well, proved to be more popular than one might imagine and led to long-standing, lucrative gigs around Georgia's capital city. After Harbour met the future Mary Ann Harbour -- and discovered that her skills as a violinist included an impressive range of fiddle styles -- the couple moved to Houston and continued the Gypsy tradition. For their more intimate gigs, the Harbours often perform as a duet, with Mary Ann on fiddle and Greg selecting the occasion's appropriate instrument from an impressive array that ranges from accordion to guitar to hammer dulcimer. For occasions requiring a more extensive lineup -- the Gypsies are the wedding orchestra of choice in the local Lebanese, Russian, Greek and Jewish communities -- the Harbours draw from an extensive collection of fellow trad-music enthusiasts to create an ensemble of a dozen or more musicians.
"We need to be able to do both pop and traditional music for most of the weddings we do, so there's a fun give and take between us and the rest of the band, who might be a little more up on what's current than we are," explains Greg, who also makes participating in everything from the Mucky Duck's Irish Session to Django Reinhardt-inspired acoustic jazz jams at festivals in Holland a part of his unending study of the art of music. It's such unending -- albeit enjoyable -- labors that make the Gypsies a band in demand for a list of audiences that reads like a United Nations roster. (J.S.)
Best jazz venue
Ovations' brief closing last summer for renovations may have benefited lesser-hyped clubs more than Houston jazz insiders could have imagined. For the second year in a row, Cody's has come from behind to snatch the Best Jazz Venue honor from the Big O's mighty grasp. It seems, perhaps, that once jazz lovers were forced to stray from habit and sample the alternative, they liked what they tried.
Despite a lower profile than Ovations and less of a highbrow reputation than Cezanne, this second-floor Rice Village sanctuary at the intersection of University and Kirby continues to rule weekends. Friday and Saturday nights, no-frills jazz and R&B (courtesy of New News), an impressive free buffet and drink specials combine for just the right hip and affordable urban atmosphere -- cozy, but a far cry from rustic. And with a pair of ringers such as guitarist Tod Vullo (he hosts a jam Tuesdays) and Norma Zenteno (she's a regular on Thursdays) locked into the club's schedule, it's unlikely the club will soon fall out of favor. The new Cody's may not have the tradition-rich ambiance of its former Montrose location, but it's making up ground at a fast clip. (H.R.)
Best latin venue
Elvia's Cantina
If you find yourself at Elvia's Cantina waiting for a table -- or a friend to emerge from the restroom -- not to worry; there's plenty to keep you occupied. The clutter of framed customer photos (celebrities, dignitaries and the like), family mementos and bizarre keepsakes continues to grow, swallowing up the entrance hall of one of Houston's most popular Mexican nightspots in a colorful collage of kitsch.
Elvia's has been through some remodeling in recent months. The new furniture, floor coverings and platform for the bands are all welcome improvements. Also, the bar was repositioned and booths added. Typically, the good times reach their peak at Elvia's on weekends. Houston faves Walter Suhr and Mango Punch! (who had a strong write-in showing in this year's Music Awards) hold down the Friday spot, while Oro y Plata serves up merengue and salsa music Saturdays. Weeknights, Roger Rodriguez continues his lock on Tuesdays, hosting a live flamenco show, and for aspiring dancers, salsa lessons are still a part of Wednesday's festivities. The Latin Connection is a Thursday night regular. So if you're wise, you'll venture beyond Elvia's initial entranceway barrage -- and wind up all the more entertained for your decision. (H.R.)
Best folk/c&w venue
McGonigel's Mucky Duck
The main reason many new clubs -- no matter how cleverly conceived -- shutter their doors soon after they open is that the owners don't understand that the nightclub business is a business, not a hobby. Rusty and Theresa Andrews, by contrast, carefully aligned their passion for Celtic, folk and acoustic music with a vacant niche in the local entertainment industry, structured an environment that would attract a specific clientele and wound up with a popular, unique and successful live-music venue that has prospered (or at least survived) while countless other places have premiered with a bang and closed with a whimper. This may draw sneers from many too-cool scenesters, but there are a great many music lovers who don't find a high-decibel, cheap-drink, meat-market environment conducive to live music -- and frankly, those people are willing to pay for their enjoyment.
So go ahead, kids, wave off the notion of a place where listening to music is more important than seeing and being seen, and where the prices for a glass of imported draft beer make drinking secondary to listening. Someday -- sooner than you think -- the lyrics will be more important than the drum solos, being surrounded by drunken idiots will be a detriment instead of an asset and your ambitions for a night on the town will relax. At that point in your personal evolution, you will probably find yourself with the Mucky Duck's calendar taped to your fridge, right next to the baby-sitter's phone number. (J.S.)
Best cd/record store
Cactus Music & Video
True story. A short while back, one of our staffers was breaking the monotony of a late Houston evening by cruising the interstates and soaking up the heat, the humidity, the seemingly endless Texas sky when he decided something was missing. He needed loud driving music. In particular, Phil Spector Wall of Sound loud driving music. A side trip to one chain CD store proved fruitless; it was closed. Ditto the next chain store, and the one after that. Then he peeled off 59 up Shepherd, and there it was: a musical oasis shining in the night. With Spector's Back to Mono ready for purchase. Soon "He's a Rebel" was blaring out of the stereo, and all was right with the world.
Okay, so being open until midnight may not be the most important factor in determining the city's best CD/record store, but it doesn't hurt. Factor in a staff that (most of the time, anyway) is pretty knowledgeable about what they sell, live in-store performances and a commendable selection of both local product and off-the-beaten-track national selections and it becomes clear why Cactus has swept this category for the last couple of years. There are other stores that can beat Cactus in particular areas (used CD selection, average price), but readers seem to be in agreement that when you consider the whole package, Cactus comes out on top. (M.J.S.)
Best blues/r&b venue
Big Easy
Local talent, live music seven nights a week and no cover charge has proven to be a winning -- for two years in a row -- combination for Tom McClendon's blues and zydeco cubbyhole on Kirby Drive. The at-least-a-couple-of-times-a-week jams at the Big Easy, hosted by the likes of suave Leonard "Low Down" Brown and consummate wild man Rick Lee, have established the club as a premier spot for up-and-coming musicians to hang out, cross-pollinate and learn from one another. More established musicians such as Pearl Murray, Pete Mayes and Joe "Guitar" Hughes can be found on-stage on weekend nights on a frequent basis, doing the blues the way the blues is done best -- up close and personal, in an intimate room with considerable ambiance and panache.
Of course, when someone mentions ambiance and panache in relationship to a blues club, it's just a way of saying it's cozy and has a low ceiling, that it's the sort of joint where newcomers feel welcome and regular patrons feel at home. The Big Easy is also notable for being the only bar in town with an on-premises record store, one that specializes in blues and zydeco. The ever-growing popularity of the Big Easy, and its dedication to the roots music of the Gulf Coast, could serve as a lesson to other clubs that have tried to mix a few blues acts in with their regular bookings and were disappointed with the results: there's just no such thing as being a part-time blues club. Them ol' blues is powerful music; don't jump in unless, like the Big Easy, you're ready to swim the distance. (
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Totally tapas: The restaurant scene in Oakland continues to buzz with new places opening one after another. Next up: Venga Paella, Eduardo Balaguer's new Spanish eatery, which is opening in a matter of weeks just blocks from Jack London Square. If you recognize the Catalonian chef's name, it's likely because he ran a popular catering business that popped up at farmers markets, too. Balaguer will be doing a menu of tapas and paellas at the new bricks-and-mortar eatery, a Spanish taverna that was inspired, he says, by "fond memories from my youth of festive gatherings of family, friends and many a stranger, and the chance for all of us to slow down, eat well and enjoy each other's company for more than just a moment."
The new place has a casual, rustic vibe with a reclaimed redwood bar, bright scarlet walls and decor that includes Spanish Revolution posters. As for the food, think paellas ($10 to $14) and tapas ($5 to $10), such as stuffed piquillo peppers with goat cheese and Tortilla Española. Take a peek at the menu at www.vengapaella.com. The new place, at 229 Brush St., at the corner of Third Street, will be open for lunch on weekdays from 10:30 a.m. to 2:30 p.m., with extended hours Fridays that include a happy hour — or rather happy two-hour — from 4 to 6 p.m. and dinner until 9 p.m.
Challah and kugel: You know when people say, "What am I, chopped liver?" It's all about the chopped liver at The Pasta Shop in Oakland and Berkeley at this time of year. Ditto on the challah, kugel, matzo ball soup and all the other lovely foods enjoyed during Rosh Hashana and Yom Kippur. The artisanal food shop just released its High Holy Days menus, with Rosh Hashana dishes available for pickup Sept. 3 to 6, and a Yom Kippur menu running Sept. 12-15. This year's new items include a Braised Chicken with Pomegranate and Tamarind, and Apple Strudel with Golden Raisins and Chestnut Honey. Yum. Get the details at www.rockridgemarkethall.com or at the stores: Rockridge Market Hall, 5655 College Ave., Oakland; and Fourth Street Market Plaza, 1786 Fourth St., Berkeley.
Send your restaurant tips to food editor Jackie Burrell, firstname.lastname@example.com.


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Bike Ride
0 ft
- Begins in:
- Denver, CO, United States
- Created By:
- Jeff Stankiewicz
- Description:
- This is a 10.0 mi Bike Ride in Denver, CO, United States. The Bike Ride has a total ascent of 0.0 ft and has a maximum elevation of 5,326.15 ft. This route was created by stanky on 08/01/2006. View other Bike Rides that stanky has done or find similar maps in Denver.
- Type:
- Bike Ride


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The thing is, the British attitude toward how one might go about teaching history is a bit more… relaxed than most.
Not that this has traditionally trickled down to UK classrooms anymore than it has North American ones; only that it's not surprising that when the floodgates did finally open, it happened in the land of 1066 and All That, et endless seq.. When once you've decided to adopt Rowan Atkinson as a media icon, there's not much use trying to prevent children learning about the Renaissance from the perspective of a sewer rat.
Thus was enabled the origin story of the best-beloved Horrible Histories franchise. When asked circa 1992 by Scholastic Books UK to write an historically-themed joke book with a few factoids thrown in, British children's author Terry Deary had traumatic flashbacks to his struggles to stay awake during middle school courses on the subject. Wouldn't it be much more fun, Deary suggested instead, if he were to write a book of historical factoids with some jokes thrown in…?
As he delved into the 'serious' history texts, that quite naturally evolved into lots of jokes—in fact, into the entire grand gold mine of black comedy that is human civilization throughout the ages, just naturally packed full of the kind of bodily-fluid-filled gags that invariably set children to squealing happily. All of it underpinned by the particular sort of shrewdly anarchistic cleverness that the UK media have been on high alert for, oh, just about f40 years now. Hey, "Chapter One: The Dead Pirate Parrot Sketch" has a nice ring to it…


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American U. in Cairo Press Offices Vandalized
The offices of the American University in Cairo Press were trashed in the upheavals that continue in the Egyptian capital.
"Persons unknown ransacked our rooms," writes Neil Hewison, the Cairo press's editorial director. His vivid account of damage at the press and violence in his home neighborhood appeared today on the blog of Oxford University Press, the new distributor for AUCP in North America.
Hewison describes "drawers and files emptied, windows broken, cupboards and computers smashed."
"But it could have been much worse," he adds. The press's office is located near the hot spot of Tahrir Square. Press staffers also discovered CS tear-gas canisters and bullet casings left on the roof of their AUC wing by police firing down on protesters.
According to an e-mail from OUP, the upheavals have spurred the Cairo press to accelerate production of a key title. "Our efforts to publish important scholars and authors from Egypt and the Arab world continue," a spokesman told Oxford. "In fact, we are now moving up publication and distribution of Alaa Al Aswany's On the State of Egypt with a new introduction addressing the current crisis immediately."Return to Top


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But , why would they say something in the abstract thats not in the text? That would make no sense to me.
You are right, but keep aware of this when reading papers. You will be suprised how often this happens.
Cannot understand it either....maybe its just bad writing that the point of the abstract does not get clear or it is sloppy writing......
Edited by gebirgsziege, 10 September 2009 - 01:23 AM.


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scottwilliamson November 10, 2013 Link
0@scottwilliams It is about war... more specifically the American Civil War as viewed by a witness tree.Flag bjohns7778on January 15, 2016
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Vladislav Kravchenko
Vladislav Kravchenko was born in Odessa, Ukraine, in 1968. He obtained the M.S. degree in applied mathematics from the University of Odessa in 1991 and the Ph.D. degree in physical and mathematical sciences from Rostov University, Russia, in 1994. He was a Full Professor at the National Polytechnic Institute, Mexico, Mexico, from 1995 to 2006. He has been working with the Department of Mathematics, Center for Research and Advanced Studies of the National Polytechnic Institute (CINVESTAV), Campus Queretaro, Mexico, Mexico, since 2006. His research interests are in complex analysis, its generalizations (pseudoanalytic function theory and quaternionic analysis) and applications, ordinary and partial differential equations, models of mathematical physics, and wave propagation in complex media. He published three books: Integral Representations for Spatial Models of Mathematical Physics, Pitman Research Notes in Mathematics Series, v. 351, Addison Wesley Longman, 1996, 256 pp. ISBN 0582297419; Applied Quaternionic Analysis, Heldermann-Verlag, Research and Exposition in Mathematics Series, v. 28, 2003, 136 pp. ISBN 3-88538-228-8; Applied Pseudoanalytic Function Theory, Birkhäuser, Series: Frontiers in Mathematics, 2009 ISBN: 978-3-0346-0003-3. Moreover, he has more than 60 research articles in refereed journals.
Biography Updated on 11 September 2012