text: Summary of North Atlantic weather station bathythermograph data : 1946-1950 / Leipper, Dale F. creator Adams, Richard M. contributor Texas A. and M. Research Foundation. contributor United States. Geophysics Branch. contributor United States. Office of Naval Research. Geophysics Branch. contributor text book College Station, Tex. : Texas A & M University, Dept. of Oceanography, 1952. 1952 print English Sponsored by the Office of Naval Research (Project NR 083-061, Contract N7 onr-487, Task 0rder 3). Project 29 is the Atmospheric Influence on the Thermal Structure of the Oceans. Research conducted for the Texas A & M Research Foundation. "September, 1952." North Atlantic Ocean Ocean temperature Ocean-atmosphere interaction GC1 .T42 Proj 29, TR 3 Project 29 (Texas A & M University. Dept. of Oceanography) Technical report ; no. 3. http://www.biodiversitylibrary.org/bibliography/39192 18993164 10.5962/bhl.title.39192 TXA


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Lionel Messi suffers thigh injury
Lionel Messi was substituted during the first half of Barcelona's La Liga victory at Almeria after picking up an injury.
Ledwith: Style change
Although Messi, 26, was only taken off as a precaution, the club confirmed via their official Twitter account that he sustained a right thigh muscle injury.
Barcelona also said that Messi will undergo additional tests on Sunday in a bid to determine the extent of the injury.
Messi sustained a right thigh muscle injury in the first half of the match against Almería. He will undergo additional tests on Sunday.— FC Barcelona (@FCBarcelona) September 28, 2013
Coach Gerardo Martino was unable to confirm if Messi is set to face an extended period on the sidelines.
"Apparently Messi picked up small muscle strain in the back of his right leg when he scored," Martino said. "It's hard to say anything else until he undergoes additional tests."
Team-mate Adriano told AS: "Hopefully it's nothing and he's with us for the coming games because he's a very important player. With him, it's a different team."
The Argentina international opened the scoring for Barca in the 21st minute before departing in the 29th minute for Xavi.
Barcelona rested Xavi and Neymar for the Primera Division game ahead of their Champions League tie against Celtic on Wednesday night.
Messi appeared in court alongside his father, Jorge, on Friday after claims the pair evaded evaded over €4 million in taxes between 2007 and 2009.
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subset: commoncrawl


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Anthropologists will begin excavating dozens of graves at an infamous Florida reform school this weekend, in an effort to uncover what actually went on at the facility, where many men allege they were severely abused.
"In these historic cases, it's really about having an accurate record and finding out what happened and knowing the truth about what happened," said University of South Florida anthropologist Erin Kimmerle to the Associated Press of the dig.
Read more from GlobalPost: Graves found at infamous boys reform school in Florida
Located in the town of Marianna, in Florida's panhandle, the school has become notorious for accounts of beatings, rape, and murder during the 1940s, 50s', and 60s'.
Nearly 100 children are known to have died at the school, writes CNN, largely due to a deadly dormitory fire and the 1918 flu epidemic. Twenty-two children who died at the school are unaccounted for, and it remains unknown which child is buried where.
In late 2012, researchers identified at least fifty grave sites at the former reform school, nineteen more than had previously been described. The graves of black and white children were segregated.
USF has been given a year to excavate the graves and conduct DNA testing and other work, partially in hope of giving some families closure, writes the News Service of Florida. The bodies of the unidentified will be returned to the site.
A Justice Department grant of $423,528 will aid the research effort, coupled with $190,000 from the state of Florida, reports the Tampa Bay Times.
"They were poor kids and a lot of times, people never came to visit them," said NAACP leader and Marianna resident Elmore Bryant to CNN.
"Even when they were dismissed, they got home, their family had moved. So, who was going to pay attention if something happened to them while they was at Dozier?"
Known both as the Florida School for Boys and the The Arthur G. Dozier School for Boys in later years, the facility was finally shuttered in 2011 due to budget cuts, after 111 years of operation.
The victims of the abuse have called themselves the White House Boys, and now speak publicly about their abuse, ever since the dark history of the facility was revealed in a Miami Herald story in 2008 — a video version of the story is embedded below.


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As a longtime collector of architectural drawings, the jewelry designer Monique Péan (www.moniquepean.com) recognizes a strong correlation between the architect's craft and her own. "Jewelry," she says, "requires the same attention to the details of proportion, form, and materials as architecture." Her fascination with the relationship between these two disciplines prompted Péan to unite them by transforming blueprints of significant buildings into wearable designs in her Lahnse Collection. "I was awe-inspired by the artisanal scrimshaw technique that has existed for generations," she says. Though traditional examples of this medium typically depict landscapes and wildlife, Péan applies the technique to express her own minimalist aesthetic.
To fashion these miniature interpretations of modernist architectural ideas, Péan works closely with her master carvers based in the United States, who often spend several days or more etching a single image. Among the most elegant creations from her workshop are the designs based on Ludwig Mies van der Rohe's plans for his much-admired Barcelona Pavilion; these pieces feature delicate carvings accompanied by conflict-free diamonds in Péan's simple signature settings of recycled gold. Items from the Lahnse Collection start at $2,455 and climb to $45,730 for the large collar necklace with labradorites and Guatemalan black jade shown here.


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Ashcroft refused to reauthorize warrantless wiretapping program
At the hospital, Ashcroft also refused to sign the reauthorization directive. Comey related that the entire senior staff of the Department of Justice, including himself and FBI Director Mueller, were prepared to resign over the issue. Had that happened--in an election year, no less--perhaps the outcome of that election would have been different.
Bush consulted directly with Comey and Mueller, and gave them assurances that the program would be modified to comply with Department of Justice recommendations, and Comey signed the reauthorization several weeks later. It's not clear whether it continued to operate without authorization for that period of weeks.
A Talking Points Memo reader comments:
When the warrantless wiretap surveillance program came up for review in March of 2004, it had been running for two and a half years. We still don't know precisely what form the program took in that period, although some details have been leaked. But we now know, courtesy of Comey, that the program was so odious, so thoroughly at odds with any conception of constitutional liberties, that not a single senior official in the Bush administration's own Department of Justice was willing to sign off on it. In fact, Comey reveals, the entire top echelon of the Justice Department was prepared to resign rather than see the program reauthorized, even if its approval wasn't required. They just didn't want to be part of an administration that was running such a program.
This wasn't an emergency program; more than two years had elapsed, ample time to correct any initial deficiencies. It wasn't a last minute crisis; Ashcroft and Comey had both been saying, for weeks, that they would withhold
approval. But at the eleventh hour, the President made one final push, dispatching his most senior aides to try to secure approval for a continuation of the program, unaltered.
I think it's safe to assume that whatever they were fighting over, it was a matter of substance. When John Ashcroft is prepared to resign, and risk bringing down a Republican administration in the process, he's not doing it for kicks. Similarly, when the President sends his aides to coerce a signature out of a desperately ill man, and only backs down when the senior leadership of a cabinet department threatens to depart en masse, he's not just being stubborn.
It's time that the Democrats in Congress blew the lid off of the NSA's surveillance program. Whatever form it took for those years was blatantly illegal; so egregious that by 2004, not even the administration's most partisan members could stomach it any longer. We have a right to know what went on then. We publicize the rules under which the government can obtain physical search warrants, and don't consider revealing those rules to endanger security; there's no reason we can't do the same for electronic searches. The late-night drama makes for an interesting news story, but it's really beside the point. The punchline here is that the President of the United States engaged in a prolonged and willful effort to violate the law, until senior members of his own administration forced him to stop. That's the Congressional investigation that we ought to be having.
Jacob Sullum at Reason observes that Tony Snow's response to Comey's testimony (quoted in the New York Times) amounts to "the administration's position is that the program was always legal, became a little more legal after the changes demanded by Ashcroft, and is even more legal now."
UPDATE (May 17, 2007): The DOJ says Gonzales has no desire to modify or retract his statement in Congressional testimony that the warrantless wiretap program raised no controversy within the Bush administration, even though that is clearly contradicted by the above account.
FURTHER UPDATE (May 17): TPM Muckraker has gotten to the bottom of why this came to a head on March 10, 2004. The program had to be reauthorized by the Attorney General every 45 days, which Ashcroft had been signing off on. In June 2003, John Yoo left his position as Deputy Director of the Office of Legal Counsel. On October 3, 2003, Jack L. Goldsmith was confirmed by the Senate as the Assistant Attorney General for the OLC, and on December 11, 2003, James Comey was confirmed as Deputy Attorney General. Comey was authorized to have access to information about the warrantless wiretap program, and he put Goldsmith to work reviewing "what [Goldsmith] considered shaky legal reasoning in several crucial opinions, including some drafted by Deputy Assistant Attorney General John Yoo," to quote The New York Times. Comey brought his evidence to Ashcroft a week before the reauthorization date, and they both agreed that it could not continue as it had been. Now that the been reviewed by lawyers in the DOJ for the first time, it was found to be severely problematic, and neither was willing to reauthorize it.
Bush reauthorized it on March 11, 2004 without Attorney General approval, which led to threatened resignations from Ashcroft, Comey, Mueller, and others, at which point parts of the program were suspended and a DOJ audit of the program commenced.
As TPM Muckraker summarizes:
The warantless wiretap surveillance program stank. For two and a half years, Ashcroft signed off on the program every forty-five days without any real knowledge of what it entailed. In his defense, the advisors who were supposed to review such things on his behalf were denied access; to his everlasting shame, he did not press hard enough to have that corrected.
When Comey came on board, he insisted on being granted access, and had Goldsmith review the program. What they found was so repugnant to any notion of constitutional liberties that even Ashcroft, once briefed, was willing to resign rather than sign off again.
So what were they fighting over? Who knows. But there's certainly evidence to suggest that the underlying issue was was whether constitutional or statutory protections of civil liberties ought to be binding on the president in a time of war. The entire fight, in other words, was driven by the expansive notion of executive power embraced by Cheney and Addington. And here's the kicker - it certainly sounds as if the program was fairly easily adjusted to comply with the law. It wasn't illegal because it had to be; it was illegal because the White House believed itself above the law.


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To make reservations by phone, dial freephone 0800 221 222 in the UK, 1 800 409 929 in Ireland, or view our regional telephone reservation numbers.
Book your stay at our Courtyard Annapolis hotel located less than five miles from the United States Naval Academy, Maryland State House, Annapolis City Dock, and twenty miles from Baltimore-Washington International Airport (BWI).
Our Courtyard Annapolis hotel is located less than five miles from the United States Naval Academy, Maryland State House, Annapolis City Dock, and twenty miles from Baltimore-Washington International Airport (BWI).
Welcome Pedestals
Our state-of-the-art lobby features a new, more personal arrival experience that is sure to delight even the most traveled road warrior.
Lobby - Sitting Area
Gather with friends, family and/or co-workers in our hotel's comfortable and stylish lobby sitting area featuring comfy seating options, free Wi-Fi, and a flat-panel TV.
Lobby Fireplace
After a long day of work, unwind in our inviting lobby space. Our hotel offers a variety of areas for reading, working, relaxing, and dining. You'll find an array of seating and furniture configurations for your convenience.
Outdoor Patio
Our beautifully landscaped patio is the perfect place to relax. Grab a sandwich or salad right inside at our 24-hour Market.
Double/Double Guest Room
Our double/double guest rooms feature comfy beds with luxury Marriott bedding, rich linens, and plenty of fluffy pillows. Catch up on work at our spacious work desk or lay back, relax and watch a movie.
King Guest Room
Spread out and relax in our king guest rooms featuring a king bed, a large work space with an ergonomic chair, and a sitting area convenient for guests and extra seating options.
Guest Room - Work Desk
Each of our guest rooms features a large work area with plenty of space to spread out and catch up on work during your stay at our Annapolis hotel. Each work station offers plenty of lighting and an ergonomic chair.
Bathroom Vanity
Our guest rooms feature a vanity area that is separate from the bathroom. The added space, with full closet and mirrors, provide you with the privacy you've asked for when traveling with a companion.
King Suite - Sleeping Area
Spread out and relax in our King Suite sleeping area during your stay at our hotel near Edgewater, MD and many top local area attractions.
King Suite - Living Area
Our King Suite living area features a comfy couch, table, TV and extra seating options, perfect for working, relaxing or entertaining guests during your stay at our Annapolis hotel.
Double/Double Suite
Each of our Double/Double Suites offers guests two double beds with comfy mattresses and luxury Marriott bedding perfect for families and groups traveling together.
Suite Amenities
Each of our Annapolis hotel suites features separate living and sleeping areas with seating options, a kitchenette with a microwave and mini-fridge, and a spacious desk with plenty of lighting and an ergonomic chair.
Our signature GoBoard, an interactive, touch-screen informational display panel, located in our lobby, allows you to access driving directions, view local weather, find a local restaurant, and catch up on all the latest news.
Media Pods
For more privacy, guests can work or relax in one of the comfortable media pods, featuring free wireless high-speed Internet access, power outlets for cell phone chargers and laptops, and a flat-screen TV with personal remote control.
Business Center
Business travelers can easily stay connected at our hotel's business center featuring free high-speed Wi-Fi, individual work spaces and print/fax/copy capabilities.
The Market
Need a quick bite to eat or nice cold soda? Our on-site Market, open 24 hours a day, has all of that and more waiting for you!
Communal Table
Designed to give you what you want, when you want it, you'll always find time to eat at The Bistro. You can grab anything: a cup of gourmet coffee and eggs cooked to order in the morning, a quick Grab N Go lunch, or a glass of wine and a comfortable place to relax with colleagues in the evening.
The Bistro
Enjoy a freshly prepared meal at the Bistro, our Annapolis hotel restaurant featuring Starbucks® coffee and a wide selection of pastries, egg sandwiches, and healthy fruit and yogurt parfaits.
The Bistro Breakfast Options
This Bistro is our hotel's dining destination for fresh breakfast choices in the morning, and a variety of dinner and cocktail options in the evening. The Bistro also offers specialty beverages made with Starbucks® coffee to help you get a jump on the day.
Healthy Start Breakfast Sandwich
Start your day with our Healthy Start sandwich made with egg whites, roast turkey, spinach, Havarti cheese on an English muffin.
Spicy Chicken & Spinach Flatbread
The Bistro offers several flatbreads to choose from: Spicy Chicken and Spinach, Tomato Mozzarella and BBQ Chicken.
Annapolis State House
The Maryland State House is a popular tourist attraction as it is the oldest state capitol still in continuous legislative use and is the only state house to have ever served as the nation's capitol. Photo courtesy of Annapolis CVB.
Historic Annapolis Museum
At the Historic Annapolis Museum, visitors can learn all about our city's history. Photo courtesy of Annapolis CVB.
Historic London Town Park & Gardens
Historic London Town and Gardens is a 23-acre park located on the South River in Edgewater, MD. The site includes part of the late 17th and early 18th century town of London. Photo courtesy of Annapolis CVB.


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Clusters FAQ
Contact the Clusters
Cluster Problem Report Form
List of Computers and Cluster Hours
List of Available Software
E-mail @ SMC
Virus Protection
Acceptable Use Policy
Apply for a Job
Manage your Saint Mary's Computer Account
Change Your Password
Check Your Quota
ResNet @ SMC
ResNet FAQ
Information Technology
Saint Mary's College
The Apple Macintosh computers in the clusters are running Mac OS X,
version 10.8 (Mountain Lion). They are also have Microsoft Office 2011.
The Dell computers in the clusters are running Windows
XP Professional Edition or Windows 7 Enterprise Edition. They are also have Microsoft Office 2010.
Mondays-Thursdays: 8:00am - 11:00pm
Fridays: 8:00am - 4:00pm
No staffed hours on Saturdays
Sundays: 12:00pm - 11:00pm
(Note: These hours are for when the College is open and classes are in session -
during breaks the Trumper Computer Cluster follows normal
Library hours.)
Last Modified August 18, 2013


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Islamic Articles Blogs
Quran Reading Blog provides amazing Islamic articles written on Islam, Quran, science and current.. affairs by expert authors and religious scholars.
Owner: quranreading
Listed in: Religion
Other Tags: Quran, Holy Quran, Qur'an, learn
The quran reading blog provides information about Islam,Quran teaching,Learn, Teach & spread.. Quran & Hadith and Sunnah.The Holy Quran, Hadith and Fiqh are the sources one must consult.. in order to practice Islam.
Owner: Quran
Listed in: Religion
Other Tags: Learn Quran
Miftah Hadi's Personal Blog. Get any information about Islam and computer here. You can also.. download e-books and software
Owner: miftahhadi
Listed in: Personal
Other Tags: wordpress, free e-book download, free software, ahlus sunnah


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With the NBA Draft inching closer, the rumor mill is running, but the meat of the information behind rumblings seems to be quite thin. Hoping to see a Sixers-Kardashian television show? CBS' Ken Berger says no shot, "Iguodala-for-Lamar Odom swap with the Lakers, nothing there -- "zero" -- said a source."
But will Iguodala be dealt at all? That remains the biggest question. As one Sporting News article points out, the looming lockout is making a draft day deal for a guy like Dre ($) much more difficult.
Kate Fagan echoes those sentiments, also noting that the change in ownership could hinder an Iguodala deal as well. She goes as far as saying things this morning were "very quiet" around the team.
We'll obviously learn a lot more about the future of this team this evening. What would your ideal scenario be? Our resident NBA junkie, Andrew, says his would be dealing Iguodala to move into the lottery along with some expiring contracts in return. Get young, get money.


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Three International Space Station crew head back to Earth
A three-person crew at the International Space Station boarded a Russian Soyuz rocket Sunday to begin their trip back to Earth, NASA said.
ISS commander, Russia's Maxim Surayev, his American colleague Reid Wiseman and German Alexander Gerst from the European Space Agency have been onboard the space laboratory for 165 days.
The crew undocked from ISS at 7:31 pm (0031 GMT) and are expected to reach Earth's surface by 10:58 pm, touching down northeast of Arkalyk, Kazakhstan, NASA said.
The three men were pictured smiling and with their arms around each other before hitching the ride back home.
The US space agency said the "departure of Wiseman, Gerst and Surayev marks the end of Expedition 41," referring to their mission to the ISS to carry out equipment repairs, maintenance and experiments.
Surayev is on his second long ISS mission, while the other two astronauts are on their first trip into space.
Another three-person crew remains aboard the ISS to "continue research and maintenance aboard the station," NASA said.
NASA Television is airing live coverage of the Soyuz deorbit burn and landing at http://www.
NASA lost its ability to reach the space station when the shuttle program ended in 2011 after 30 years.
The US space agency has helped fund private companies in a push to restore US access to the ISS.
In the meantime, the world's astronauts must rely on Russia's Soyuz spacecraft to get to the ISS and back, at a cost of $70 million per seat.
There are 15 country participants in the ISS program, though the US and Russia contribute the lion's share of funds for the project.


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Shoulder Screw, 5mmX16mm, M4x0.70mm, PK5
VALUE BRAND| Zoro #: G1757621| Mfr #: MSB2-13
Zoro #: G1757621Mfr. Part #: MSB2-13
$12.80 /pk
Orders over $50.00 ship free. DetailsStandard ground shipping
Technical Specifications
|Zoro #: G1757621 Mfr #: MSB2-13
|Shoulder Length Tolerance: +0.050mm
|Min. Tensile Strength (PSI): 80, 000
|Rockwell Hardness: B95 to B100
|Item: Shoulder Screw
|Head Style: Standard
|Meets/Exceeds: ASME/ANSI B18.3.3
|System of Measurement: Metric
|Type: Precision
|Finish: Plain
|Material: 18-8 Stainless Steel
|Class: 2A
|Head Dia.: 8mm
|Shoulder Dia.: 5mm
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|Drive Size: 2.50mm
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|Shoulder Length: 16mm
|Head Height: 4mm
|Country of Origin (subject to change): United States
Product Description
Shoulder Screw, Precision, 18-8 Stainless Steel, Finish Plain, Head Style Standard, Thread Size M4 x 0.70mm, Drive Type Hex Socket, Drive Size 2.5mm, Shoulder Dia. 5mm, Shoulder Length 16mm, Thread Length 5mm, Head Dia. 8mm, Head Height 4mm, Shoulder Length Tolerance +0.050mm, Min. Tensile Strength (PSI) 80,000, Class 2A, Rockwell Hardness B95 to B100, Meets/Exceeds ASME/ANSI B18.3.3, Package Quantity 5


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Scott Jagow: Does the term sovereign wealth funds mean anything to you? Essentially, it's a pile of money invested by a government. China has one, Dubai has one, lots of places have one. We talked about them earlier this year, when they were investing in American banks. Some people are worried that those kinds of investments are politically motivated. So, a group of sovereign wealth funds gathered today in Singapore to address those fears. John Dimsdale reports.
John Dimsdale: Sovereign wealth funds pose a dilemma for the U.S. On the one hand the economy craves capital investment from overseas -- especially these days when domestic banks are skittish about lending.
But could investments made by governments in Beijing or Dubai be used for strategic competitive advantage over the U.S.? The meeting, convened by the International Monetary Fund, will try to hammer out a set of best practices to assure Western countries that sovereign wealth fund investments are no threat.
The guidelines will be voluntary, but that should be good enough says Edwin Truman, who tracks sovereign wealth funds at the Peterson Institute for International Economics.
Edwin Truman: I think there's gonna be a strong degree of naming and shaming or international public opinion that will put pressure on certain funds to comply.
To be credible, Truman says the funds should agree to disclose their assets and profits, and how they decide to make investments.
In Washington, I'm John Dimsdale for Marketplace.


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Industry News Sponsored by
Robertet (Grasse, France) has reported 2009 turnover of 305.1 million euros, a gain of 0.6%, year-over-year. Fragrance turnover totaled 112.9 million euros, up from 2008's 111 million euros. Meanwhile, flavors grew 5.3% to 122.3 million euros (2008: 116.2 million euros). Ingredient sales dropped to 68.1 million euros.


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BWW Interviews: Artistic Director Paul Hope Talks Bayou City Concert Musicals, Charity & Education
Despite being completely busy preparing for the concert staging of A TOUCH OF VENUS, Paul Hope, Artistic Director and Founder of Bayou City Concert Musicals, took a break from his busy schedule to talk to me about his innovative and charitable organization. Since it's inception, Bayou City Concert Musicals has been providing Houston audiences with well-produced and lauded performances of often-neglected musicals. Continuing to grow an ever-increasing loyal audience and fan following, I asked Paul Hope to tell me more about Bayou City Concert Musicals and the shows they choose to produce.
What is your inspiration for performing often ignored scores in a concert setting?
City Center Encores! in New York. They're our inspiration. They produce concerts of shows that they do not think in revival could sustain a commercial run. Ironically, some of their products have wound up on Broadway, most notably their CHCIAGO revival. I think their WONDERFUL TOWN, FINIAN'S RAINBOW, and maybe their HAIR wound up on Broadway. HAIR, maybe I'm wrong about that, but there was some overlap in the cast. Most of the City Center things do not transfer to Broadway. I think the impetus for their company and certainly for Bayou City Concert Musicals (BCCM) is that there is a whole raft of shows that were hits in their day, we're not talking about producing obscure flops-although there are a few of those that could certainly entertain an audience if their material is good- but these shows for one reason or another did not get filmed or they got filmed in a very inaccurate version, like ON THE TOWN where only two songs of Leonard Bernstein's score were retained for the Hollywood film version. As a result, audiences may not enjoy the piece when they see it on film, so then it becomes a risky prospect for producers to program that piece because audiences, particularly musical theatre audiences, respond to what they know.
As a result, ON THE TOWN, as one example, GENTLEMEN PERFER BLONDES, even though everyone loves the Marilyn Monroe movie; it's not very much like the stage version, and not much of the stage score is included, PAL JOEY was very much corrupted by bringing in other Rogers & Hart songs and cutting songs that were really written for PAL JOEY and actually kind of cleaning it up a little when it's a much racier show, and in the case of ONE TOUCH OF VENUS, which we're doing this year and was a big hit being Mary Martin's first starring vehicle; it was made into a film starring Ava Gardner and RoBert Walker, and all the songs were cut except for the hit song "Speak Low," which in the middle of an otherwise non-musical film, suddenly Ava Gardner bursts into song, albeit dubbed song, and sings "Speak Low." So, the masses never got to experience VENUS on film as a musical, so they don't know if they would like or enjoy it if they bought a ticket to it, so producers then are nervous about programming it. That should answer your question.
Oh, the difference between what City Center Encores does and what we do is in New York they usually edit the script and do a very abbreviated version of the book, mostly because I think they think New Yorkers already know these shows when they walk through the door. We do the complete script because, in many cases, this is the first time that Houston audiences will be seeing one of these pieces. Also, we are completely staged-no one holds book. There are costumes involved, even sometimes if it is just enough to give people a flavor of the period and the locale. We use bentwood chairs and stools, which are sometimes dressed with tablecloths or pillows or whatever, to suggest furniture or location. The orchestra is onstage behind us, and the numbers are fully choreographed. We've kind of taken City Center Encores! and gone as far toward a full production without it yet being one.
It's like you read my mind regarding the next question. However, for some clarification, I'll ask anyway: New York City Center Encores! does three concerts a year; however, they only rehearse for eight days and perform on-book. Tell me about the differences in your concert style and why you made these changes to the format.
That's to accommodate local audiences, and because we are doing a fully staged version it requires more rehearsal. So, we do rehearse for four weeks, although not every day. We do a five-day rehearsal week. We give money from each production to a local charity, so it's technically a charity event, and so that enables us to use members of Actor's Equity in our cast. I don't set out to cast Equity people; I just cast the show, so sometimes we have more Equity people and sometimes less. So, I have to be more careful about how many rehearsal hours I call them (members of Actor's Equity Association) for. Most of them are so into... well, they're all are so into what we are doing that even if it would only be kosher to call them for X number of rehearsal hours, they just show up (Laughs) because they want to be rehearsed. They want to know what they are doing. But, I do have to at least give them the option of if they're going to be there that day or not, up to a certain point, and then, I am allowed to rehearse them a certain amount of hours. So, we just try to be very sweet to our Equity people, but currently we've benefited a number of local organizations.
We actually got started as a benefit for the AIDS Foundation of Houston with our first production, which was FOLLIES. Then when we decided to remount downtown for a one-nighter, the Center for AIDS, which was an organization that I had not heard of, contacted us and said, "We want it." It was such a big success that we decided to do an annual event. That's when I got the idea that this would become the Houston City Center Encores!, or that would be our goal to become that or to emulate them. So, for about six years, we were a volunteer fundraising organization for the Center for AIDS, and then we became our own 501(c)(3). After that, we have also benefitted Ronald McDonald House.
Then, when we decided to start hiring a union orchestra-that was particularly the year we were going to do ON THE TOWN and I wanted to make sure any dissonance coming form the orchestra was intentional (Laughs). I wanted to make sure Mr. Bernstein had written that strange note, and so we dropped the other show and hired the union orchestra, and sort of as a you-scratch-my-back-I'll-scratch-yours, we said, "why don't we benefit some charity that the local musician union supports?" They do have a benevolence fund for musicians that are out of work due to catastrophic illnesses or injury, so we have benefited-proceeds from our shows since we have had the union orchestra-proceeds are donated to that fund. So, we are also a charitable organization. Sometimes it's not as big a gift as others, but we still manage to make an impact.
Bayou City Concert Musicals wants to expand their season. Given the chance to expand, how many staged concerts can Houston audiences expect?
Well, this expansion is predicated on corporate support and grants from foundations, which we have already started getting that, but it's a slow process. What we need is a full-time grant writer, and we're in a search for that person because the rest of us are busy putting on a show. Our goal is to have three musicals a year. We also have two cabarets in the spring, which are tributes to particular Broadway songwriters and I pull the singers from the people who have appeared in our shows, mostly. And those have been a huge success and sort of a missionary (Laughs), if you will, for the musical. Because people who have not come to the musical get brought to the cabarets by their friends and find out about it, so then they come to the musical. And sometimes people who come to our musical don't know about the cabarets, and so the two performance types sort of benefit one another and have helped really grow our audiences.
Just to elaborate and clarify, as you have talked about this some already, how do you choose the shows you produce?
When we started out, I wanted to do neglected shows, but I was hoping to do a Sondheim every other year, but I got to a point where I knew Sondheim shows in Houston were not necessarily neglected. When we did A LITTLE NIGHT MUSIC, Everett Evans at the Chronicle wasn't particularly excited about it because it had been done by TUTS twice, and there had been a bus and truck that came through, and University of Houston had done it by that point. So, he wasn't really excited; he didn't consider it neglected. Also, I began to realize to build our audiences faster, I wanted to have our audiences come to see us no matter what title we were programming. So when we became our own 501(c)(3) and we moved out of Zilka Hall and into the Heinen Theatre at HCC Central, which is a much cheaper venue, we were terrified we were going to lose audience and we didn't. Our audiences fell in love with the space. We were going to do THE MYSTERY OF EDWIN DROOD, and I thought, "well, if we were putting in all of these changes in front of our audience, let's do an older show that is neglected that may have more name recognition with older audiences." It was still a bit of a crapshoot because the show was FIORELLO, which is one of the most famous musicals that nobody does-it won the Pulitzer and tied with THE SOUND OF MUSIC for the TONY's, and then it disappeared. So, we programmed FIORELLO, and at every performance, and it was very well-attended, people were coming up and saying, "Oh, this is my favorite show album. I know all the words to all the songs. I haven't seen this since my father took me to see it when I was a kid in New York or to the national tour when it came through Houston." So, the light bulb when on and I thought, "Ok. In order for us to build a large, loyal following we need to do older neglected titles for a while to build the audience."
I made a list of older 1940s neglected titles, which we have proceeded to do within the last five years. Starting with PAL JOEY, following that with ON THE TOWN, then GENTLEMEN PERFER BLONDES, and last year's FINNIAN'S RAINBOW. All of these were well attended, ON THE TOWN particularly-it was a Houston premiere; it had never been done in the city. FINNAN'S and GENTLEMNEN hadn't been done in forty or fifty years each. I wanted to do ONE TOUCH OF VENUS, but I did not want to do it until we built up our audience with those other better-known shows, and VENUS was a hit, as I said. It shows up in a lot of collections, like anthologies of the 10 Greatest Broadway Musicals. It'll be there with CABARET, 1776, CAMELOT, and BRIGADOON. There was also this great coffee-table book that came out about three years ago called Broadway Musicals: The 101 Greatest Shows of All Time, and VENUS is in there because they are one of the great musicals. And City Center Encores! did VENUS in their third season, so they obviously thought it was something they needed to get to fast.
Once we finish with VENUS we're starting a series of neglected 1950s titles. Two years ago, I put a ballot in our program for our audiences to fill out, and it was a list of 15 or 16 1950s titles. I said, "let us know, what are the titles you'd most like to see us do and which of the titles on this list have you never heard of?" And, then we can have a sense of what sequence we should do these in. So, for instance, since we are doing VENUS this year, there's a chance it won't draw as well as the other shows-we don't know yet. There may be Kurt Weill fanatics that come out of the woodwork in Houston that have never been to a BCCM show. What was encouraging about that ballot was that a number of people wrote on it, "I don't know many of these titles, but just keep doing what you're doing and I'll be there." So, they like the quality of our work, and they know if they come to see a BCCM show that they will be entertained, that it will get a lot of bang for their buck, and see something that is so old that it is new again. Although, I don't consider something that was written in the 40s old, you know. God knows, Hugh Jackman is still getting kudos for playing in OKLAHOMA. That's sort of how I choose what we're doing.
For next year we're doing THE PAJAMA GAME because I figured, after VENUS, let's give them something that has not been done professionally in Houston since I was in high school when TUTS did it out at Herman Park. It's a very famous title, but as far as stage productions in Houston, its history here is very very limited. Then I would like to do a rarity following that, although we'll have to see. I am hoping to do a show called NEW GIRL IN TOWN, which was a Bob Fosse Gwen Verdon vehicle that she won a Tony for-the musical version of (Eugene O'Neill's) ANNA CHRISTIE. Actually, she and Thelma Ritter tied for the Tony, but it's a show that is completely forgotten. One of my choreographers is good friends with Ann Reinking, so we have an in to try and find some of the original choreography and recreate it for our Houston production.
That's what I try to do, to jump back and forth either with a couple of more familiar things to then chance it on something that is less well known or to simply alternate to something that is well known with something that is less well known. Again, the irony is that these are all shows that were hits, like FANNIE, WISH YOU WERE HERE, DESTRY RIDES AGAIN, TAKE ME ALONG, Cole Porter's SILK STOCKINGS, CANDIDE, and WONDERFUL TOWN. The ones that got the most votes ironically were the ones that have had productions at Theatre Under the Stars, which were THE PAJAMA GAME, CAN-CAN, and KISMET. KISMET would come fairly far down my list since TUTS has done it three times. When they've done CAN-CAN they've added numbers from other Cole Porter shows and taken out numbers from the CAN-CAN score. If we did CAN-CAN, it would be very much like our production of PAL JOEY. We would stick to the score the composer wrote and not bring in other songs by that songwriter. So, in that sense, when we do CAN-CAN, in a way, it will be a Houston premiere because it would be one of the few, if not the first time, that that show would be done in Houston with all the original songs. I think there was a production at the old Houston Music Theatre that Anne Miller starred in, and perhaps they were faithful to the score, but I think other productions like the TUTS production tended to follow the movie a little bit in terms of what the songs were, like "Let's Do It" was in there and "You Do Something For Me," which were not written for CAN-CAN. So, that's how I pick shows.
With obscure flops out of the window, would flops, such as the now legendary CARRIE musical, ever be considered?
I think the CARRIE musical would be a blast to do! Particularly, since I understand it's being revived, that it's in workshop or something to do a revival of it off-Broadway. They're taking a look at it.
Yes, the MCC Theatre just recently closed their limited-run revival. It was fairly well received.
Ok. Everything I ever heard about the original was that like half of it was amazing, but half of it was so bad your jaw was on the floor it was so horrible. What's ironic is that our audiences' favorite show was the biggest flop in its original production, which was Kander & Ebb's 70, GIRLS, 70. I think it only ran a month in its original incarnation, but it was opening on Broadway the same season as FOLLIES and NO, NO, NANETTE. It was the third show with a lot of veterans, sort of old-timers, coming back to Broadway. You know, it's a real fluffy little piece, but it's about a group of senior citizens that form a gang and start knocking over fur salons and hocking the furs so they can buy their residence hotel. Our audiences ate it up. At that time, we were in Zilka Hall and only did four performances, and I think if we had done five we would have done even better. We had maybe half a house on Thursday, then by Sunday we were sold out. You could not get a ticket to it. People had a ball and people still ask us, "When are you going to do 70, GIRLS, 70 again?" And I say, "When I directed that show it aged me ten years." (Laughs) Directing a show with all senior citizens is like trying to heard cats, and it's sort of like the opposite end of The Little Rascals, you know. As Everett Evans said, "It's not that they're all kicking on the same foot, it's that they are kicking at all." It's a real fun time for the audience, and here it was the biggest flop of anything we had ever programmed and it was one of our biggest hits. That show still has a life around the country, some man came to our last performance and said, "We're going to do this in New Orleans."
Ideally, of course, this is why I want us to get more funding for what we are doing, so we can do more than one show a year. Oh, and another thing that has kept us from doing more than one show was that my full time job was as a member of The Acting Company at The Alley. I'm transitioning into teaching now, so my schedule is more flexible. Where as before, I could only afford to commit myself to a timeslot that was in August and the beginning of September, so that I wasn't conflicting with the first assignment in The Alley season, but I'm not having to worry about that so much anymore. I'm really ready for us to get the money to do another show and to put another show on the docket because there are so many wonderful shows on our list that I want to get to all of them before I kick the bucket. (Laughs)
One other thing is that all of our performers work for a $100 honorarium, and another reason we want more corporate support is so we can start paying the actors more. But, I don't have any problems talking people into doing our shows because the actors have a wonderful time-it's sort of like summer camp for them, and they have an ownership of the show knowing that they are doing because they want to do it not because it is a job. The actors realize they are doing a piece of material that they might never get to do otherwise, and I have to pat myself on the back because I have put together some pretty wonderful casts. Every once in a while, someone I have cast poops out and almost always whoever I wind up replacing them with turns out to be a better choice than the person I am replacing. So, knock wood, I've been very lucky in that respect.
So, our two main goals are to do one to two more musicals a year and to pay our actors more. That would be a wonderful thing for us.
What is the casting process like for Bayou City Concert Musicals?
I try as much as possible to go see local musical theatre, and that can be pretty difficult for me. But, I tend to have a pretty big Rolodex in my head of who's out there. Sometimes young performers will just e-mail me and say, "Hey, I'd like to work for you." That's how I found out about Cole Ryden, who was my male lead last year in FINNIAN'S RAINBOW. He sent me a video of him singing with his gorgeous voice, and he came in and read for me. I auditioned three different actresses for Sharon in FINNIAN, and I realized that I hated saying no to the two actresses that didn't get it, but they very graciously wound up in the production anyway. Mostly, I just start thinking about who is out there in the community and whom I would like to see in such and such a role. Then I make the phone call, and, if they are not available, I go back to the drawing board. Then, every once in a while, I have to call somebody and say, "Who do you think we could get for this?" As I've said, almost always, it has been a wonderful other choice if I'm not able to get who I want-I usually end up getting someone that I am very happy with. Rarely have we had anybody work for us that we have had any difficulty with. I say rarely, because there have been a couple, but 98% of The Players have thought of these as really incredible experiences.
Karen Ross who was our leading lady in FIORELLO was in tears on closing night, saying, "This was my favorite theatrical thing I've ever been involved with." I'm just bowled over with responses like that. There was one performer whose mother had been challenging at one of our cabarets, and she said she told her mother, "Mom, you've got to be nice. I want to work for these people." And we were like, "Oh my God! We feel honored that she's working for us." Just to know that this performer is afraid we'll be offended, no! It was like, "No, we feel so lucky that you want to work for us!" It's sort of a jaw-dropping thing.
There is one thing I would like to do in the future, and it's just not something we have put into place yet in any kind of formal way. We use a lot of students from Sam Houston State University's musical theatre program, particularly male dancers because it is hard to find male dancers in this town-male dancers who sing particularly and who would be available to us and are interested in musical theatre. I've talked with their chairman and some of their faculty about BCCM coming up to Sam and having an open call just for any of their students who are interested in working for us to audition for us, so we have a file and I'm not constantly having to call one of the Sam Houston folks that has worked for me and saying, "Hey, we need two more male dancers. Who's good up there? Who do I need to call?" or "Who can you call for me?" to get them on board. And, we love that because we feel like we're giving the Sam Houston folks an opportunity to be in an almost full-scale production outside of the school environment and work with some of the professionals in the Houston community.
There is another thing, just while I'm on that educational slant, we're in the process of trying to make happen. For many years, we have wanted to have an increased educational presence in the city and the community. We've wanted to try to have workshops to teach high school theatre teachers in underfunded programs how to do a musical in a concert staging. If you don't have the money for a set, don't worry. Just invest in 12 bentwood chairs and a couple of stools and do your musical. Unfortunately, when we've tried to go though HISD, anytime we talk to an enthusiastic administrator by the time we got back to them they've been replaced. It's like roulette over there as to who's in that administrative position. Also, we were warned that a lot of high school teachers do not want to go to a workshop unless they get credit for it, like continuing education. So, I thought, maybe we need a different carrot to attract these teachers. So, I thought of the Tommy Tune Awards. I called the Tommy Tune Awards people at TUTS, and I said, "I have an idea to get more high schools entering your competition. Those that don't probably don't have the money to compete with schools like Stratford, Cinco Ranch, St. John's-these schools with a lot of money. Why don't you create a new category of best concert staging of a musical? Then they can enter the Tommy Tune Awards. They can do a musical in a concert staging, be eligible for a Tommy Tune award, and compete in the event." TUTS has been very intrigued with this. I said, "We will do a workshop at no cost to anybody to show them footage of our productions and show them how to put on a musical this way and show them that they can be part of the Tommy Tune Awards." We're having this conversation with the TUTS people, and I think its something that they're very receptive to. There is nothing definite yet, let me hasten to say that. I said, "We don't want anything out of it other than documentation that we did the workshop and performed this educational function in the community." That is where it helps us; it gives us educational credibility when we are trying to apply for grants. So, we're very excited about that aspect of things.
You've mentioned that you have five rehearsals a week for four weeks, but what is the rehearsal process like?
We rehearse 7 to 10 during the week. We used to rehearse at the Emory/Weiner School; we're not there this year, but we're hoping to be back next year. It's this private Jewish school, so we could not rehearse there on Friday. I was tending to then give everybody Friday off and then have a three-hour rehearsal on Saturday and a three-hour rehearsal on Sunday. Then, I had a stage manager one year say, "Why don't you give them Saturday off and turn Sunday into a longer rehearsal? Rehearse 1 to 6 on Sunday and that way everybody saves on their gas money." I thought that was a great idea, so we're still giving two days off, and with the musicians union they need the hall on Mondays so, Sundays and Mondays are the days off for this show (A TOUCH OF VENUS).
Usually, I try and schedule musical rehearsals prior to the first day of rehearsal so people can at least have taped their music and had the chance to work on it before we start staging. We were able to do that with the principles, but not with the ensemble because it took me a long time to assemble the ensemble this year. So, the first week has been Michael teaching the ensemble their vocals.
We finally found a bootleg recording of VENUS that was done in New York in the 80s, so we were able to hear some of the songs for the first time. There was no original cast album of ONE TOUCH OF VENUS. There was a recording of Mary Martin and her leading man going into a studio, probably with a studio chorus-I don't known that the Broadway chorus came on board for any of it-and they did songs from ONE TOUCH OF VENUS, but it meant that there were about five numbers that were not recorded. I heard four of them on a record album, produced by Ben Bagley, Kurt Weill Revisited, so I knew what those songs sounded like, but there was still 2 or 3 numbers that I still had never heard-that none of us had ever heard. One of my dancers, who is also my assistant director, unearthed this bootleg and my conductor almost burst into tears when I told her we had this. She was so thrilled. Finally, we had a blueprint to go by. It was like we were unearthing this artifact or doing a new show because we had only heard a limited amount of the material. Luckily, the stuff that hadn't been recorded was also very fun. We haven't had any numbers that we were like, "Oh well, no wonder (Laughs) this wasn't recorded" or numbers that we've wanted to cut. They're all worthwhile, definitely.
Just to recap, not including this season's upcoming musical, what are some shows you hope to stage at Bayou City Concert Musicals?
THE PAJAMA GAME. If that does well enough, I hope to follow that with the lesser-known NEW GIRL IN TOWN. Some others on my list are A TREE GROWS IN BROOKLYN, CAN-CAN, SILK STOCKINGS, WONDERFUL TOWN, PLAIN AND FANCY which is a really neat show about New Yorkers going into the Amish territory, a musical comedy, TAKE ME ALONG, DESTRY RIDES AGAIN, FANNIE, WISH YOU WERE HERE, and this legendary show called THE GOLDEN APPLE. It is on every musical theatre historians list of brilliant Broadway shows that should have run longer and didn't. Why doesn't anyone do THE GOLDEN APPLE? It's really an opera, almost completely sung through. There is very little dialogue, and it is a retelling of The Iliad and The Odyssey, but set in America during the Spanish-American War. There is this one sort of a hit from it called "Lazy Afternoon" that I first heard on a Streisand album in the 70s. That's the name of the album, Lazy Afternoon, but that song is from THE GOLDEN APPLE. I would program that way down the line, making sure that we've got the audience that will come see us no mater what we do, enjoying a show that is an album they've had and liked for a long time or experiencing a vintage musical for the first time.
In that way, we're lucky. Unlike audiences that will come in and say, "Well, I've never heard any of these songs before." Our audiences are excited about the prospect of seeing something that isn't their 31st LITTLE SHOP OF HORRORS or their 22nd ANNINE. They like the fact that they're coming in and seeing and responding to new material. That's something else, in these classic musicals that are being done all the time, I always feels sorry for the people in the comedic numbers because people have already heard the jokes, you know. Does anyone want to see anybody do "Bosom Buddies" from MAME ever again? We can all quote the jokes in that song. Whether it is drag queens at a gay benefit or whatever, we keep dragging that song out. (Laughs) It's like that song needs to go away for 20 years so that a new generation can pull it out and laugh. When we unearth these shows, and there are plenty of people that don't know them-I was surprised at how many people didn't know FINIAN'S RAINBOW-and the lyrics get laughs it's a gratifying experience as an artistic director to know that we made people laugh with material that's been around for a while, but we made somebody laugh. It's a great feeling.
Bayou City Concert Musicals is thrilled to produce and perform Kurt Weill's ONE TOUCH OF VENUS at Houston Community College Central Campus' Heinen Theatre. ONCE TOUCH OV VENUS will run from September 6 to September 9, 2012. For tickets or more information, visit www.bayoucityconcertmusicals.org or call (713) 465–6484.
Finian's Rainbow 2011: Charles Krohn (as Finian) and Mark Ivy (as Og the Leprechaun).
Finian's Rainbow 2011: Beth Lazarou (as Sharon) and Charles Krohn (as Finian)


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1) Just A Chance; 2) You're So Fine; 3) Got To Get Out Of Here; 4) Know One Knows; 5) Dennis; 6) In The Meantime/Some Other Time; 7) Love Time; 8) King Of The Load (T); 9) Meanwhile Back At The Ranch/Should I Smoke.
Wish You Were Here may be no masterpiece for the ages, and it might not have the most easily memorable, stay-with-you-for-life Badfinger songs, but it is definitely the Badfinger-est album of the all. A record, that is, which tries to dig as deep and to climb as high as could be physically possible for these guys, without a single overtly wrong twist or turn, a single glaring lapse of taste, a single court case of the band trying hard to be somebody else. It probably would not have been a big commercial success even if it did not undergo the proverbial «Badfinger luck» treatment (due to legal haranguing between Warner Bros. and the band's management, it was pulled from the stores only seven weeks after the initial release; we cannot even technically call it a «flop», since it did not have enough time to flop). But it is exactly due to the fact of sounding like a Badfinger album, not like a «1974-oriented album», that it has aged much, much better than numerous hit records from that year.
With all the neuroses and psychoses pursuing the band's members, I do not even manage to understand how they succeeded in getting it so right after two relative misfires in a row. Maybe things had temporarily settled down, and the band just had a chance to sit down, catch a breath, and realize that, perhaps, if they were not able to achieve success with stuff that they weren't too good at (hard rock, funk, arena-rock, whatever), then they might be able to do better if they just concentrated on what they did best — folk-based pop songs with «power» arrangements, with varying degrees of complexity.
Chris Thomas is still retained as producer, but who could tell? The production is no longer muddy: the guitar sound is effervescently clear, and the vocals are for the most part echo-free (with one or two exceptions) — there is simply no need to compensate for the melodic weakness with extra varnish, since the melodies are anything but weak. Furthermore, there is not a single song here — not one — that has any direct connotations to a Beatles predecessor. On Wish You Were Here, Badfinger are, for the first time in their life, fully transformed into a self-sustainable band. Big tragic irony, considering all that happened next.
Song-wise, Pete Ham is almost absent on Side B, but his creations dominate Side A, creating a somewhat tilted balance of quality. ʽJust A Chance' is one of the band's crunchiest pop-rockers: the riff may not be nearly as much in your face as on ʽNo Matter What', but it's still a good roots-rocky riff that earns extra points for subtlety — and the song could have easily become a classic rock radio staple, if only there had been an opportunity to cull a couple singles from the album. ʽDennis' is a slightly veiled ode to Pete's little son, Blair, which starts off a little lumpy (not unlike, say, a «prog ballad» à la Styx, with a somewhat heavy accent on «anthemic» power chords), but soon picks up steam, conjures some genuine fatherly love, and then ends in an optimistic explosion of heavenly harmonies — the coda is a brilliant example of the band's «lush pop» sensitivity, here rivaling the Beach Boys themselves in force of expression, I'd say, if not necessarily in the technicalities (perhaps if Pete Ham only had two brothers and a cousin...).
Most won'drous of all, and my personal favorite Badfinger song of all time (yes, with these guys, I'm really quite a sucker for conciseness and simplicity), is the orthographically silly ʽKnow One Knows', which, as a chivalrous love confession, I'll take over ʽDay After Day', well, day after day after day. Where that particular classic had a little blemish — it was way too self-consciously designed as a thing of «heavenly beauty ™» — ʽKnow One Knows' is perfectly natural, and it might even have been by pure supernatural accident that Pete (or was that Joey?) fell upon that particular sparkling guitar tone when recording the rhythm parts, the kind of deep ringing that affects the subconscious in such a special way (later favored so much, for obvious reasons, by the Cocteau Twins). The riff itself could hardly be any simpler, but this is gorgeous simplicity, and taken together with Pete's catchy and ever so «humanly» singing, the sparse, but meaningful guitar solo aping the vocal melody, and the strange gimmick of having Japanese artist Mika Kato reciting the chorus words translated to Japanese over the instrumental section (somehow it does add a little extra mystery spice, particularly if you have no knowledge of Japanese) — well, personally, I like to describe these moments as «breathtaking beauty». There's not much of it in the overall Badfinger catalog, but there's plenty of bands who aren't capable of even a single moment like this, so let us give due where due is due, I say.
Amazingly, the rest of the guys generally rise to the challenge. Gibbins contributes the lightweight, but amicable folk-rocker ʽYou're So Fine' — perfectly adequate, especially when you remember that, only a year ago, he was veering into the realm of the cowboy song instead. Evans' ʽKing Of The Load' is a bit of meditative Brit-pop with Dylanish lyrics, which they decided to set to the sound of two different keyboards and no guitars (bar Pete's shrieky solo) — again, nothing great, but it gets where it wants to get. And Molland's highest point is ʽGot To Get Out Of Here': an attempt not to «rock out», but to create an oscillating mood piece that would take you from despair to hope and back to despair and back to hope depending on whatever simple organ chord is played at the moment. J. S. Bach would certainly be appalled at the crudeness of it, but for less demanding tastes, it works quite well.
The two long medleys on Side B are not quite as striking — I am not even sure they should have been medleys, even if Ham's ʽMeanwhile Back At The Ranch' and Molland's ʽShould I Smoke' do belong together quite naturally, with a melody overlap in the chorus. They seem to have a little too much of everything thrown in, without the ability to grow a face of their own. Still, there is nothing embarrassing about them or even particularly boring — I just wish they didn't put that goddamn echo on Pete's vocals on ʽRanch' — and quite a few people list them among their favorite tracks on the album, maybe because of some sort of Abbey Road-esque thrill which I do not think was intended here at all (in line with the overall «no more Beatles dependence!» policy).
Contrary to what one could expect, and contrary to the lonely whiff of the title and the album cover, Wish You Were Here is not a particularly depressed record. On Side A, in fact, there is only one track dealing with despair — ʽGot To Get Out Of Here' — and although some of the songs on Side B are a little more mopey, nothing here even remotely approaches the universalist grief of ʽTimeless'. Rather, it is just a very humane record, and a mature one at that. The love songs are never sappy, the complaining songs never wallow too heavily in misery, and there are no attempts to suck up to someone or something just for the sake of «trying out something that's not us». All of which makes this one of the most wonderful not-to-be-thought-of-as-wonderful albums of the decade, and my guess is that, had Badfinger's career not crashed right upon its release, this is as high as they could go anyway. Naturally, a delighted thumbs up.


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Mehdi Abdesmad visited Boston College last weekend and really hit it off with the coaches and players so that familiarity was a big reason why he ended up committing to the Eagles.
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Mixed signals from Europe's long-running debt crisis. The economic outlook in Greece remains dismal and new forecasts by the IMF could derail talks to avert a damaging default. Greek officials and private creditors continue negotiations on restructuring government debt. Italy has easily raised more than $14 billion in a pair of successful bond auctions and interest rates fell for the second day in a row. Demand today exceeded analyst expectations in another indication that confidence was returning to Italy's finances thanks to austerity and growth measures imposed by the new government.
Twitter has refined its technology so it can censor messages on a country-by-country basis. The change may raise fears that Twitter's commitment to free speech is weakening as the site expands into new countries. But Twitter sees the censorship tool as a way to ensure individual messages, or "tweets," remain available to as many people as possible while it navigates a gauntlet of different laws around the world. Before, when Twitter erased a tweet it disappeared throughout the world. Now, a tweet containing content breaking a law in one country can be taken down there and still be seen elsewhere.
A new Justice Department fraud-fighting unit will bring together 55 prosecutors plus federal and state investigators. They'll focus on the collapse of mortgage backed securities in 2008 - a major cause of the financial crisis. State and federal crime fighting efforts will be combined. The effort was first announced by President Obama in the State of the Union address.
A setback for oil and energy giant BP as it fights legal claims from the largest offshore oil spill. A federal judge has ruled the rig owner involved in drilling the well that blew out in the Gulf of Mexico in 2010 was shielded by its contract with BP from having to pay many pollution claims. But U.S. District Judge Carl Barbier ruled that Transocean Ltd. is not exempt from paying punitive damages and civil penalties. He also says Transocean is responsible for some claims that are directly related to pollution caused by its rig.
Richard Davies Business Correspondent ABC NEWS Radio twitter.com/daviesabc


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Join Date: Aug 2009
Posts: 8,857
vCash: 500
Originally Posted by
You do realize the past two seasons he's been much better right? To the point where he is actually was the Hawks most consistent PKer this year right? Yeah it doesn't make up for the rest of his career but come on here. His deficiencies apparently weren't glaring enough for teams to stop using him. And to say Campbell lacks physicality REALLY makes me think you haven't seen him play. He actually does hit from time to time. Ask Umberger if Campbell lacks physicality. He's not the most physical guy in the world, sure. But to say he actually lacks physicality is awful. His defensive positioning is what causes him issues when he's been bad. His size causes him issues in front of the net sure. A lot of smaller Defensemen have that issue. But you clearly are out of your element saying that he lacks physicality.
The most consistent PK'er that was 7th on the Hawks in SH TOI/G, 4th among D. Campbell also only had 28 hits to his credit last season. If I kept going further back, I doubt that'd change. Obviously, hits isn't the be all and end all of physicality, but it sure is a pretty big part of it. How, exactly, is he physical? I've never really seen it.
Originally Posted by
Orr only won 2 Cups - the Flyers and Canadiens both beat him in his prime.
Whatever "prime" is, it's clear Campbell wasn't in it before the lockout.
So we should just ignore those years?
Leading a team in ice time means something. Leading a good team in ice time means more.
Agreed.. something Campbell did once.
Is Ehrhoff a regular on Eden Hall's PK units?
No, and thank god for that. He's brutal defensively. Maybe brutal is too strong a word, but he definitely is well below average in my books.
Originally Posted by
If Campbell should be a bottom pairing guy, then Gibbs, a clearly inferior defenseman, should be a spare.
I don't know enough about Gibbs to comment on this. You may be right. The only reason I don't want Campbell on a 2nd pairing is because the only thing he really brings at any significant level is offense.
It's not like teams don't win Cups with Campbell on their second pairing, right?
Spare me the cup counting. Campbell wasn't the main reason they won. 15th on the team in scoring, 5th among D, 0 PP points, despite 2:21 per game on the PP.. he had better have been AWFULLY good defensively to say that this post season of his was worthy of all time greatness. And didn't you say he was 3rd in TOI/G for the cup winning Hawks among D? He was 4th.. and a distant 4th.
Keith - 28:11
Seabrook - 24:10
Hjalmarsson - 21:00
Campbell - 19:34
I've just lost even more respect for Campbell. He didn't do anything of note in this cup run. Nothing to display all time greatness.
He was much better in 2009.. but still a very distant 3rd in TOI/G for that playoff run. At least he actually did something with his PP time.
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BRADENTON - An explosion at a well-known juice producing company in Manatee County left one worker with serious injuries.
It happened Thursday at the Tropicana juice plant in Bradenton around 9:45 am.
According to first responders, the worker was shocked and burned. He was flown to Tampa General Hospital via Bayflite.
The fire department is still on scene ventilating the warehouse. No word yet on what caused the explosion or the identity of the victim.
We'll have more details as they become available.


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So the price of gas is hovering near $4.00 a gallon again. Have you noticed a change in your driving habits? More people are choosing to stay home over driving long distances for vacation. They're also combining trips to multiple locations to get more things done all at once and if they forget to stop at one, well maybe it wasn't that important. Even here in Atlanta where a group of 10 people…
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My kids look forward to Valentine's day because we do a party every year. I love this simple craft idea. It is festive and easy enough for anyone to make. Once you cut out all the hearts and punch the hole on them, to make it easy to attach to the string, you may want to personalize them. Write family members and friends that you want to remember or write verses on love on each heart.
Valentine's Day Garland
What You Need:
- Red, pink, and white construction paper
- Scissors
- Pencil
- Hole punch
- Yarn or string
- Ruler
What You Do:
- First, draw and cut out hearts from the construction paper. Kids can cut hearts in many shapes and sizes, or create one basic shape. To make one unified shape, cut one heart and use it as a stencil for the rest.
- Next, take a hole puncher and make a hole in each of the hearts. Be sure to do it far enough from the edge of the heart so that the paper does not tear when you hang it.
- Cut one string for each of your hearts (8-12 inches long). Fold each string in half and pull the center loop through your heart's hole, then pull the ends through the loop and tighten them down.
- Now you'll have two ends of yarn from each of the hearts. Separate the strings. Pull one end of yarn from two separate hearts, and tie the two separate ends together to connect the hearts.
- Then, continue tying one heart to another, until all the hearts are attached in a long garland.
- Snip the loose ends from each of the knots you've tied on the string.
- Finally hang the garland. Tie the final ends of string to a curtain, banister, or tape it onto the walls. Now you are decorated and ready for Valentine's Day!


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98/36 The training of journalists in Central and Eastern Europe
Tiina Meri, Börje Wallberg
Serier Sida EvaluationDescription:
During the first half of 1998, as requested by the Swedish Government, Sida outlined its strategy for support to Central and Eastern Europe for the next three year period, 1991 to 2001. This strategy is partly based on appraisals made of Swedish support for the period 1995-1997 to the three Baltic states and on an ongoing appraisal of support to Russia for the same period.
In order to obtain a more comprehensive picture of the support for one selected are, Sida decided to make an in-depth evaluation of Swedish support for the training of journalists from countries in Central and Eastern Europe.
- Download: 98/36 The training of journalists in Central and Eastern Europe
- Filesize: 255,59 KB


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Welcome to my Music of the Week, in which I rank my top five albums of the week. They may be new discoveries, or already established staples of my musical library, but in any event, I'll make sure to provide my favorite song from the album and a little bit of information about the band/song/album. This week, a grumpy old doctor with a vendetta against parties showed up at my front door trying to sell his cure-all, anti-party kit, which coincidentally comes in a case. I didn't buy it obviously; I party hard.
Neko Case - The Worse Things Get, the Harder I Fight, the Harder I Fight, the More I Love You
Favorite Song: "Night Still Comes"
I'm still getting a pretty solid meh from Neko Case. Her work with The New Pornographers is superb, but I haven't found anything particularly compelling among her solo stuff...yet. The Worse Things Get, the Harder I Fight, the Harder I Fight, the More I Love You is one part awesome because of that title, one part terrible because of that title, and one part alright for the music it represents. Case's mellow alternative sound is pretty good at times, but it still doesn't elicit much of a response (positive or negative) from me. "Night Still Comes," despite being constantly played at my work, is my favorite. Definitely the most marketable song on the album because it has a more distinct rhythm and structure, and therefore, it's also the most catchy.
Dr. Dog - We All Belong
Favorite Song: "Alaska"
I think it speaks to how much I like/am going to potentially like Dr. Dog more (excuse that grammatical nonsense) that I've been so thoroughly surprised and impressed by the two albums I've come across. That's partially because they've been so different. My previous experience, Be the Void, was an energetic and surprising foray into modern, upbeat, and raw indie alternative greatness. We All Belong was like listening to The Beatles. And that's not a bad thing. That massive band has obviously had a major influence on how music in general is played, but Dr. Dog's We All Belong plays like an ode to '60s and early '70s pop rock. While this album definitely didn't keep the energy quite as high while listening to it, there's still a different, almost more light-hearted energy running alongside an immense amount of likability and power that's hard to attribute to any one aspect or song. "Alaska," however, became my highlight song because of those vocals, man. Also, instruments and stuff help, obviously. But still, those vocals. Powerful stuff.
John Lennon - Walls and Bridges
Favorite Song: "What You Got"
Like Dr. Dog, John Lennon is this indie artist you may not have heard of. Obviously, I'm familiar with Lennon, but that's because I'm like a music expert, or something. That being said, I haven't listened to every Lennon album. Heck, I've only really listened to two all the way through. So maybe that's why Walls and Bridges took me by surprise. I know, look at me, being surprised by a 40 year-old album from a massive musical icon. Yeah, I was joking earlier, and yes, I'm young. But I found a lot more power and energy in Walls and Bridges than I expected to come across. I think the album's better than Imagine, and it's because of "What You Got" (and songs like it). There's a lot more groove here (and yes, I can use that without irony because this album came out in the '70s so...it applies), and I like it. "What You Got" is my favorite Lennon song, as far as I know, and closely trailed by "How Do You Sleep," and it's because of Lennon's screaming vocals and the groovy (I love saying that word) horns and, well...groove. There's at least one song/album every week that escapes accurate description, and this is it/one of them. Just take a listen!
Anti-Flag - The People or the Gun
Favorite Song: "Sodom, Gomorrah, Washington D.C. (Sheep in Shepherd's Clothing)"
Unlike John Lennon's Walls and Bridges, Anti-Flag's The People or the Gun, as you would expect from a punk band, doesn't have a ton of groove. That doesn't mean it's not a great album, nor that it doesn't have some catchy songs. This is my first experience with the leftist, hardcore punk band, and I liked it. I don't really buy into a lot of the impassioned attacks on certain aspects of American life/government, even if I agree passively, but the music behind, or rather in front of the messages, is great. This is some aggressive stuff, for the most part, and I know a lot of people that would be turned off by it. I usually don't have punk songs stuck in my head, per se, but "Sodom, Gomorrah, Washington D.C. (Sheep in Shepherd's Clothing)" got as close as it gets, so take that as you will; or as a testament to how good the album as a whole is.
Bloc Party - Four
Favorite Song: "Octopus"
Bloc Party's consistently great, at least in my relatively limited experience with the band. Their debut album was great, especially as a debut album, and I found the more electronic Intimacy to be pretty killer as well. Four returns to their original style of guitar work, and it's also great. So they have three for three greats as far as I'm concerned. Four has a lot of those intense, quick guitar riffs that got me into the band in the first place, the same kind of pump-inducing rhythms and lyrics, and singer Kele Okereke's voice, which I'm infatuated with. "Octopus" is, by a slight margin, my favorite song off the album, and it's because it exhibits best all those attributes I just mentioned in one track. Bloc Party is fast becoming one of my go-to names on my "List of Cool Bands to Casually Mention That I Like in Conversation."
So there you have it, my eighteenth Music of the Week! Pretty tough to sort this week out. That means it was a great week. It's always a great week! Life is great! OK enough of that. In any event, I hope you enjoyed the blog, and at least one of the songs. And since I'm actually interested: have you heard any of these bands/albums/songs? What do you think? Let me know in the comments!


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A Brief History of Auburn Volleyball
Auburn University wasn't founded until 1856, making it the fifth-youngest of the 12 Southeastern Conference schools, and didn't receive its land-grant status from the Morrill Act until 1872, but the former East Alabama Male College has produced its share of pioneers in its 139-year history.
Holland "Howlin' Mad" Smith left the Plains and later pioneered the amphibious assault landings that helped the United States win World War II, and five AU alums have traveled in space since Neil Armstrong took his "one small step" in 1969.
Auburn has had its share of athletic pioneers, too --- not the least of which is Sandra Newkirk, the first coach in Auburn volleyball history.
Newkirk, then Sandy Bridges, was Auburn's intramural coordinator and a physical education teacher in 1967, a year removed from her native Indiana where she had just finished her master's degree.
In the fall of 1967, Newkirk's boss, Dr. Mary Fitzpatrick, head of the women's service program in physical education, received a letter asking if Auburn would like to send a team to Memphis for a volleyball tournament. Fitzpatrick asked Newkirk if she would like to get a team together and be its coach, and Newkirk jumped at the chance.
Newkirk would go on to coach the team for 13 seasons, gradually elevating the status of the program from little more than a celebrated intramural team to a fully-sanctioned sport. Later, Newkirk would help found the Alabama Association for Intercollegiate Athletics for Women (AAIAW), an organization that helped raise the level of women's athletics to a higher status than it had ever achieved before the NCAA delved into women's athletics in the early 1980s. Auburn played host to the AAIAW's first state tournament in 1971, the same year Auburn offered its first volleyball scholarship to a sophomore, three-sport athlete from Ft. Walton Beach, Fla., named Sheila Smith, who later became the school's first female All-American in track.
"Pure and simple, I had played ball in college and I knew what the kids could get out of it," remembered Newkirk, now an assistant professor of health and human performance at AU. "I thought, 'what the heck.' If we had known that was the start of something, we would have kept forms and written everything down, but we just thought we were playing ball."
From such simple beginnings Newkirk started the Auburn volleyball team.
That first team, composed entirely of players Newkirk handpicked from the intramural fields, was as innocent and unpretentious as its uniforms, which consisted of each player's own white shorts and blue "Auburn" t-shirts which team members bought from a local bookstore. When the team took the court for its first match in Memphis, Newkirk was politely told that her team's jerseys were illegal because they lacked numbers. So out came the adhesive tape and the players got numbers. Such was the case with Auburn's women's teams in those early years.
"The kids paid their own way," Newkirk said. "The only thing the University covered the first several years were the tournament entry fees.
"The most scholarships we ever had, I think, was six. We went to nationals in 1970 and 1971 and they bought the uniforms from 1970 on. We were also selling stationary and cookies for extra money. Eventually, the University paid our travel, but food was the last thing they started covering. They didn't cover housing, food or anything at first, so whenever we went anywhere we tried to stay as cheaply as we could."
Although one can hardly imagine one of AU's current athletic teams going anywhere without first-class accommodations, the financial situation created some lasting memories.
"We slept on gym floors a lot. We slept on trampolines. That was hilarious because every time one person moved the others would bounce around, and it was so cold. That was the first year where we slept on the trampoline. I guess we slept on gym floors for a few years after that."
Susan Hinds, a member of that first team and now a supervisor of circulations at Auburn's Draughon Library, remembered the first road trip as fun and enlightening.
"We practiced outside on the spot where Haley Center is now," she said. "The thing I remember about that trip was that every other team was playing what we called 'power volleyball.' We played 'sweet volleyball' --- no spiking or anything. It was a completely different style of game. They were all spiking the ball and diving around and we were slowly and deliberately setting the ball and serving underhanded.
Newkirk said about the only things her early teams got out of being on the team was a chance to play ball and some good friends.
"I was half physical education teacher and half intramural director, so I knew all the kids who wanted to, and could, play. I asked about 15 and about 10 or 12 wanted to play. We started practicing the only way I knew how --- that was when the bump (dig) was just becoming part of the game and I had never seen it before --- so we got to Memphis and ended up about in the middle."
"Well, after the Memphis tournament I thought, 'holy smokes, we've got to get better and quick'. At that time, MUW (Mississippi University for Women) and West Georgia were the top two teams in the South and probably the entire nation, so I called Dot McNabb at West Georgia and asked her to come over and teach us how to play volleyball, the skills, drills and all. After that we started watching the other teams best players and eventually you could see an improvement."
Despite the early struggles, by 1970 Newkirk was fielding competitive teams. One of her athletes, all-state player Reita Clanton from Opelika, went on to become captain of the United States Olympic Handball team.
After that first year, the team members would put up posters around campus telling when and where volleyball tryouts were to be held, Newkirk said.
Several players who saw those signs were on the 1970 team that made the national tournament held in Lawrence, Kan. Once again disaster struck, and once again the team survived.
"In 1970 we drove the team to nationals at the University of Kansas in two cars," Newkirk said. "Talk about hilarious. This is the national tournament, the biggest match of the year, and we're staying about an hour away from Lawrence in Olathe at the house of one of our player's aunt.
"We had 15 people in one lady's house. Well, we drove over to the tournament the first day and everything was fine. Then we drove over on the second day and got snowed in. We absolutely could not get back to the house and the kids only had their uniforms and warm-ups. So they announce over the p.a. system, 'Anybody that has a sleeping bag, please bring it to the gym.' We ended up staying at one of the professors' house. He was building a new family room and was glad to share it with us. You don't find people doing stuff like that at the national tournament too often."
In 1971 the team once again qualified for nationals, but the method of transportation had markedly improved.
"We thought we were something in 1971 when we went to Miami for the national tournament," Newkirk admitted. "We were about the only team from the South that got to fly. We thought that was bigtime."
Auburn played host to the first AAIAW state volleyball tournament that same season. The matches were played in the old Student Activities Building.
"We practiced and played in the gym that's now the Foy Union cafeteria during the first season," Newkirk said. "The Sports Arena was only for men's basketball and the Student Act was split for men's and women's intramurals."
Although the team enjoyed success on a regular basis in those early years, winning state titles in 1973 and 1974, Newkirk said, "The only thing I worried about was that we were going against teams that had full scholarships and there we were with partial or no scholarships in all our sports. Even the last year when Sandra Leigh won the championship, Auburn only had six partial-scholarships and she had to beat an Alabama team that had 12 full-scholarships for the championship.
"We were going with a half deck against teams with a full deck every time out, and we were still holding our own. I think that says a lot about the Auburn students and the kids we get here. We were happy with anything we got. We never asked to be on even terms with the men, we just wanted to compete on even terms with the teams we were playing."
Things started to change after that 1971 season as the school began to increase its support for women's athletics, Newkirk said.
"After we started having scholarships, it definitely changed because we started getting another caliber of athlete," she said. "Even then I could see why some teams had recruiters because it could be a full-time job. The thing that was always good for us was that we could sell Auburn pretty easily. People wanted to come here and parents have always liked to send their kids to Auburn because of the small-town atmosphere."
Auburn did all of its recruiting by mail and telephone. No recruiting budget, per se, existed. "You have to remember, at that time nobody had video tapes or computers or a recruiting service to help them," she explained.
By 1979 Newkirk realized she had to make a career decision: either coach full-time and give up teaching, or get out of coaching. She decided to turn the program over to someone else.
The following year the University decided to drop men's wrestling, women's golf and volleyball, which it deemed too expensive.
Sandra Leigh coached the team in its final season, 1980, and in a twist of fate, the Auburn team managed to win the state championship in its last season of existence until the program was reinstated by then-Athletic Director Pat Dye in 1986.
The rest, as they say, is history.
Written by former graduate assistant Adam Kelley


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