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Rudresh Mahanthappa: Hybrid Energy
In addition to his own band, Mahanthappa leads or co-leads several other groups that push the boundaries of jazz. For almost two decades, he's worked with pianist Vijay Iyer and they currently tour as a duo known as Raw Materials. Indo-Pak Coalition, featuring guitarist Rez Abbasi and Dan Weiss, is another key project. Mahanthappa also works with Carnatic saxophonist Kadri Gopalnath in Kinsmen. The act explores the intersections between Indian and Western improvisatory approaches, with Mahanthappa taking on a jazz-oriented role, while Gopalnath represents the South Indian side of the equation. Mahanthappa is also one third of MSG, a mercurial trio with drummer Chander Sardjoe and bassist Ronan Guilfoyle that recently released its debut album Tasty! (Plus Loin Music, 2010).
Mahanthappa's latest recording, Apex, (Pi Recordings, 2010) is a cross-generational collaboration with the highly influential, yet unsung saxophonist Bunky Green. Best known for a string of albums on Vanguard in the '70s, including the acclaimed Places We've Never Been, Green is enjoying a renaissance of interest as a result of Apex. The fiery, impressive effort features original compositions from both Mahanthappa and Green, as well as performances from pianist Jason Moran, François Moutin, and drummers Damion Reid and Jack DeJohnette. While Green primarily focuses on his role as a jazz educator, serving as the Director of Jazz Studies at the University of North Florida at Jacksonville, the group is an ongoing one, with future recordings and performances planned.
All About Jazz sat down with Mahanthappa to discuss the making of Apex, as well other pivotal moments in his career, over potent glasses of sweet potato schochu at the O Izakaya Lounge in San Francisco's Japantown. In conversation, Mahanthappa offers a similar combination of intrigue, inspiration and humor as that which informs his art.
All About Jazz: Describe the seeds of the Apex collaboration.
Rudresh Mahanthappa: My relationship with Bunky goes pretty far back. I first heard Bunky when I was at Berklee. I had just moved there from North Texas. The reason I left North Texas was I was hearing something that wasn't necessarily traditional in my head and I started developing some kind of "modern" vocabulary as an improviser and composer to some degree. I thought Berklee would be a better place to work that out. I hadn't yet heard Greg Osby, Steve Coleman or any of those folks. I was checking out a lot of Coltrane and 20th Century classical music and trying to reverse engineer how they created vocabulary and fodder for melodic ideas. During my first semester at Berklee, Greg Osby did a residency and played a concert at the end of his week. I can't remember liking or disliking it, but I thought there was something there that was different and very interesting. This was all happening in 1990. It was the year that Dave Holland released the Expansions album. A friend of mine put some headphones on my head in the practice room and said "Check this out." And I was like "Whoa, Steve Coleman." I couldn't believe what I was hearing when I encountered his writing and playing. I heard a kind of kinship with that music and what I was striving for. I heard Charlie Parker, Persichetti and Bartok all at the same time in what he was doing. That was kind of what I was chasing too. So, I got pretty deep into that.
Once, I was warming up for a lesson with Joe Viola, a legendary saxophone teacher who passed away a few years ago. He was listening to what I was doing and said "Have you ever heard Bunky Green?" I said "Never, but I've seen the name before." Joe then headed to this private closet of special albums and weird mouthpieces he'd loan out to students he liked. He loaned me this album by Bunky called Places We've Never Been and it blew my mind. I did a little bit of research and found out he was teaching at the University of North Florida at Jacksonville. This was in the days before the Internet, so I was calling national directory assistance trying to track down his number. Finally, I got his office number and called him. He answered and I told him who I was. [laughs] I said I really loved his album and that I wanted to send him some of the tunes I was writing on a cassette tape, which was still the format back then. My goal was to get some feedback and it was something I was doing anyway. I was always giving cassettes to people I admired to get some sort of input, and hopefully lay some groundwork for playing with these people someday. Bunky actually called me back and said he liked what he heard and that he felt my direction was unique and to keep going and pushing. That was the beginning.
Bunky Green and Rudresh Mahanthappa
I didn't have any contact with Bunky for several years after that. I ended up in Chicago a few years later when I finished at Berklee. I chose not to move to New York City right away, and instead went to Chicago and do my Masters at De Paul University. I was in the big band there. The band went to perform at the Jazz Educators Conference, which was in Anaheim, California that year. I saw Bunky there and I reminded him of our phone conversation and the tape. He vaguely remembered it. I kept telling him I had a bunch of big solo features with the big band during our performance. I did it every time I ran into him over the course of the week. [laughs] I remember coming off the stage after our Sunday afternoon performance and there he was, standing by the side of the stage. He gave me a big hug and said "There are really only four of us. There's me and you, and Greg Osby and Steve Coleman. We all have to take the saxophone into the future." That was all I needed to hear. [laughs]
After that point, we always talked about trying to do something together. I think he had mixed feelings about coming back and playing in Chicago, where he was based. He's from Milwaukee, but he definitely spent a good chunk of his career in Chicago before he went to Florida. He had a lot of history with the clubs. I think he felt if he was going to come back and do something in Chicago, he wanted it to be something big, not just a couple of nights in a medium-sized club. So, that never really panned out. We kept in touch over the years, and then my friend Mike Orloff, a major concert presenter in Chicago, asked me to be part of a series called Chicago World Class Jazz that he curates. It takes place in Millennium Park and there has to be a Chicago orientation to the concert presented. It wasn't enough that I lived in Chicago. He wanted me to involve Chicago musicians. He initially asked me to bring the Kinsmen project to the series and add a bunch of Chicago musicians to it. That seemed potentially disastrous to me because it's already such a difficult band to mobilize that I don't need to dilute or complicate it. I said "I don't want to do that, but how about if Bunky and I do this thing we've been talking about doing for years?" He said yes and we performed with a septet, including four horns and a rhythm section, featuring Chicago musicians. It went down beautifully. There were 10,000 people there and it was amazing. It gave Bunky a lot of faith in doing something together.
He's of a different generation. He's been part of a lot of things and he's been screwed over. He's had to deal with things that weren't what they were supposed to be and he's a little cautious, with good reason. When I'm 75, I'll be really cautious too. But he was really pleased and knew we had to move forward, write more music and document the project. We started talking about rhythm sections. I know Jason Moran quite well, and Jason played on one of Bunky's albums too. Jack DeJohnette and Bunky knew each other from their Chicago days, but never really played together. I was playing in Jack's band, and still am, so there were all kinds of shared histories, combined with coincidences and incredible timing. Everyone happened to be around the one week we made the album and made themselves available to do some gigs.
AAJ: Tell me about the collaborative process that enabled the music on Apex to happen.
RM: It was interesting because Bunky made it very clear from the beginning that he didn't want to play any odd meters, or play in 5, 11 or 13. What he said was "I could practice and get it together, but it'll never feel comfortable. And if I don't feel comfortable, it's not about making music anymore." For him, it was more important to find vehicles to highlight what we do, and our interaction as improvisers. So, we agreed we would each write four or five tunes for the project. I thought to myself "How can I write a blues, a rhythm changes tune and a "modal" tune at this point, when I haven't written anything like that since my early college or late high school days? How can I do that and still have my voice present in that?" I also needed to create something that leads to a lot of healthy, productive interaction within the ensemble as well. So, that's exactly what I did. I wrote a blues, a rhythm changes tune, a modal tune, and a couple of other things. [laughs] Bunky's tunes very much have form and chords and all that, but there's a little bit of looseness in how we can play the melodies and how they dovetail off each other. They are very dialog-oriented, like we're talking to each other within them. It was also really about trying to bring the band as a unit to life. Arrangement-wise, we tried a lot of different things. A lot was right on the spot, in that as soon as we played it, we said "Oh, that sounds great. I guess that's the take for the record." [laughs] That was really cool and fun. We had two days to do the album, so we were able to play around with lots of different scenarios within the tunes we had. We didn't actually write any music together, but we each wrote with the project in mind.
AAJ: Describe the dynamic of the rest of the group and how it informed the proceedings.
RM: I never really worried about that aspect of it. I knew all those guys would show up with their "A game." It was fun to hear Jason Moran, François Moutin and Jack DeJohnette, and Jason, François and Damion Reid. I knew the hook-up with either rhythm section, regardless of drummer, was going to be seriously good. Jason really brought something special to the project too. He has an incredible way of knowing when to play and when not to play, and when to vary density. I remember thinking at one point that I wish Jason was playing more, but then when I heard it back on tape, I thought "Oh wow, this is perfect. He's seeing outside of it while he's in it." Jack and Bunky were on it right away and that was really cool. On one of the bonus tracks, they play a duet on "Seashells," one of Bunky's older tunes from his Healing the Pain album. It has this crazy, intervallic melody. I really wanted Bunky to record that again with Jack. I thought it would be really cool. Not that Bunky playing it with Freddy Waits is chopped liver. But it was really fun to see them play together and witness that shared history pouring out of them. It was exciting for me, and for them too. They were honored to be playing with each other.
AAJ: What's the future of the group?
RM: There will be more concerts in Europe and North America. We're really pushing it on all fronts. I think the group definitely has a future. I was very clear with Bunky when we were talking about doing Apex. I said "I want to record a group that's going to play gigs." With Kinsmen, I got very lucky given that we made an album and didn't play many gigs, yet it still got a lot of attention and did really well. I think that's a rare occurrence. Bunky is at a point where he's winding down his teaching career. He's not definitely going to retire, but he's teaching less than he ever has. He really wants to get out there and play again, so it's good timing.
AAJ: You mentioned you're also part of DeJohnette's new band. How did that opportunity come about?
RM: That's kind of funny. I actually played a gig with Jack at the Chicago Jazz Festival on Labor Day weekend in 1997. Then I moved to New York three weeks later. It was Von Freeman's 75th birthday and they said he could choose to play with whoever he wants. I was flattered he asked me to play a couple of tunes with him. He brought Jack in for that gig and that was the first time we met. We kind of hit it off when we hung out. I told him I was moving to New York City and he said "Oh man, when you get there, give me a call." That's what everybody says, but everybody is actually really busy. I did call him a few times and he said "It would be good to play, but I'm busy right now. Let's talk again in April. It'll be a little looser then." So, I'd call in April and he'd say "It's kind of busy, can you call me in July?" I know he's extremely busy and he doesn't really know me from anybody else, you know? I figured it I ever did play with Jack, it wouldn't just happen because I kept calling him.
What did happen was quite backwards. Dave "Fuze" Fiuczynski was playing with Jack in a Jack Johnson project that was commissioned by one of the French jazz festivals. I think they do a live soundtrack to the film. It includes Jack, Jerome Harris, Fuze, a British trumpet player named Byron Wallen, and a saxophonist named Jason Yardtwo cats from the London scene. So, Fuze was doing that project, and he and I were talking about doing something together. We discussed who we would want to play with, and I said "I'd like to play with Dan Weiss and François Moutinguys I know can deal with what I do and play incredibly well." Fuze said "What about Jack?" And I said "Of course I'd love to play with Jack." Fuze replied "Let me ask him. Send me some MP3s I can forward to Jack." I did, Jack heard the stuff and said "This stuff is killing, can you give me Rudresh's phone number?" [laughs] I thought "Okay, cool." Jack's manager called me a month later and asked if I wanted to be part of Jack's new group. He said "Let's do a rehearsal, record it, send out some demos and try to get some gigs." That's how it happened. We hit it off and have a really great relationship, musically and socially. So, that was really cool. We've done a handful of things so far. Jack's got his hands in a lot of different projects, so I think it will take awhile to mobilize, but I know he's really excited about this group. He's told us several times he feels this is the best band he's had.
AAJ: Fiuczynski recently joined your quartet. How does his microtonal approach complement what you do?
RM: It's interesting because I have a handle on a good bit of the microtonal stuff, but not to the degree that Fuze does. He works with a 72-note octave in which he's dividing the half-steps into six parts. That's virtually impossible to do on a saxophone, though I'm sure someone is doing it out there. I can do a good amount of quarter tone stuff, either finger-wise or through manipulating embouchure. Within Jack's band, things are really interesting because we can do some real ornamented stuff that's South Indian gamaka-like which is really nice. But the idea of us doing something in which we write music that has that within the composition is something Fuze and I are pursuing, together with François Moutin and Dan Weiss. Fuze and I have a really interesting interaction happening. If he's doing the microtonal thing and I'm playing the melody straight, a really cool rub happens that works. It works because we're not playing the same instrument, so it becomes a timbral thing. It's almost like the pitch difference turns it into that. So, that's really cool.
AAJ: What were the key lessons that emerged through your work with Kadri Gopalnath?
RM: It was obviously great to play with him, but if there were any life lessons, it was just him talking about happiness and family. At one point, we were traveling and playing gigs and he would say "You know, you have to take care of your wife." And it's something so obvious, but there was something about the way he said it that made me go "Man, no shit. I do need to do that." [laughs] And he said "You need to buy property, because property can be passed down to your kids." He would also talk about deriving joy from playing music. It's easy for us as jazz musicians to maybe think what we're doing is more important than communicating and reaching an audienceyou know, that idea of music for music's sake and the "I don't care what people think" mentality. It can be easy to believe "What I'm doing is amazing or important." Kadri has done so much that's new for Carnatic music, yet he always talks about reaching the audience. He and I were talking about another saxophonist once and he said "I heard him and wondered if an audience likes this?" And I remember thinking "Wow, maybe not, actually." [laughs] The saxophonist I'm talking about has so much emphasis on being new and interesting, but is he communicating something to a broader base? Every conversation Kadri and I had about music, our interaction, and where jazz and Carnatic music intersect, had an undertone of "We have to reach an audience, whoever it is." I feel I have to be reminded of that for sure. There's so much joy when he's playingnot that I don't experience the same thing. I do when I play, but he's just a special person. It's funny, Bunky and Kadri are two halves of the same person to me. [laughs] I'm both of those guys put together, or at least that's what I want to be when I grow up.
AAJ: You've said you pushed Gopalnath into Western harmonic territory, which was a challenge for him. How did you grow as a musician working with him?
RM: More than anything, whatever I was going to do within the confines of the project could not be jive in any way. I couldn't jive some sort of Indian melodic raga-oriented thing with him sitting next to me doing it for real. What was important about the situation is that I felt like I could be a jazz musician within this kind of Indian setting, as opposed to finding a way to negotiate both sides, because half of it was taken care of. So, that was new territory. Of course, rhythmically, when we're trading all of that stuff he's throwing at me so quickly, I have to answer back. That was a ballbuster. It was like "Okay, I think I have good ears, but this guy has amazing ears and can play anything back." We did some gigs a few months ago for the first time in awhile and it was great. I saw how much I had grown in three years in terms of having a greater understanding of what I'm trying to do and where I'm headed. I felt like I was coming to the music with a more substantial level of maturity. I was thinking "Wow, I can hang in a way I wasn't hanging in 2007." That was very cool.
AAJ: Both you and Gopalnath have been considered outsiders during your careers. Did you have conversations about that?
RM: We didn't have conversations about sharing that experience, but we did talk about his past, which was great, because it was like a jazz musician's past. I always think a lot of Indian music is about lineage, involving the son or the grandson of the disciple of so and so, with all of this knowledge passed down. People are almost anointed. And then you have the whole Brahmenical culture on top of that too. That adds another layer of high-falutin' superiority. With Kadri, you have a guy who's not a Brahman. He's the son of a semi-professional musician who plays in the local temple. Kadri is a self-made man. He talked about how he was on this schedule in which he was working at an electronics store, selling transistor radios, and working a 10-hour shift there. Then he'd come home, eat, and practice until 3:00 am in the morning. He'd go to sleep for three hours and go back to work. He did that for a few years while he was trying to get his thing together. He also discussed the All India Radio thing, in which you get "Class A" or "Class B" for your playing. You're judged on your abilities in order to get work on radio. He walked into All India Radio with his saxophone and they laughed at him. Then he started playing and they said "Ohhhhh." They conducted a kind of examination and said "Now do this. Now can you play this?" And he's playing the hell out of all this traditional Carnatic musical literature. What a novel experience it must have been to get over with those folks.
I didn't really tell Kadri about the ways I felt like an outsider, because really, I wasn't sure if he would even get it if I did. I think being trained as a Western musician and making a living in that universe is very alien to him. He would even get hung up on really basic things like clothes. He would say "You don't wear traditional Indian clothes?" I said "No, I never have." He'd respond "You don't wear a black-and-white tuxedo like the orchestra musicians either?" I said "No, I usually wear nice pants and a good shirt. Very occasionally I'll wear a suit for something special." And he'd say "So, what you wear is traditional jazz dress?" That would crack me up. I didn't know how to explain it to him. [laughs]
AAJ: Tell me about the beginnings of Indo-Pak Coalition and how the idea evolved into the current line-up.
RM: What's funny about that is I had an entertainment lawyer at the time, which meant someone who was trying to find me a record deal. I had done my first album, Yatra, which was released on a student-run label through a college in Chicago. It was shopped to a few majors by a guy who taught a class, who was also the former CEO of Polygram. There was some really good interest, but it didn't go anywhere. He said "I can't really help you, but talk to this lawyer. She might be able to help you find something out there." She really jumped all over the Indian thing and said "I think it will be easier if I can sell you as a blah, blah, blah." She was the one that said "Maybe you could have Ravi Shankar as a guest." And I thought "Oh God, I really don't want to do this." During that period, Fareed Haque and I had talked about doing something and I wrote some music. We had a great tabla player named Maninder Singh and did a couple of gigs in Chicago around 1996. We even recorded a little demo. It was fun but it was also jive, superficial and all the things I didn't want to be. I didn't feel that engaged with the tabla like I am now that I have a real understanding of the instrument. When I moved to New York, a venue asked me to put together a band and it happened that Fareed was going to be in town, so I called the tabla player Sameer Chatterjee, and we rehearsed like crazy. We did a gig and a couple of record labels showed up and were interested, but the project fell apart. There was a voice in the back of my head that said "this doesn't feel right." I wasn't going to be able to make an album with that band and really be able to look at myself in the mirror every day. So, I disbanded the whole thing. I was disillusioned and pursued my quartet stuff.
Then I met Rez Abbasi and Dan Weiss and it was like "Wow." I started feeling that this idea could work. Of course, I was growing as a musician and really felt like it was something that could be captivating for the average listener, yet be something filled with a lot of integrity, as well as a situation we could all learn from. I think of where we were when we made our debut album Apti and where we are now, and there's no comparison. We're at an extremely high level compared to the album. I'm really looking forward to that band recording again. It's a really high priority for me.
AAJ: You just rereleased Yatra digitally. How do you look back at it?
RM: The idea of rereleasing it was really fun. I'm happy for it to be back out in the world again. I think for a guy who was 24, it's a pretty good record. It would be cool to remaster it. It's a live to two-track recording, so there's not much that can be done to it. It has a lot of sentimental value. A lot of that stuff was written after I went to India in 1994, which was the first time I had been there in 11 years, and as an adult. So, I know exactly where a lot of the inspiration for that music came from. It was my first experience leading a band and feeling that I had real musical relationships with people in Chicago. I didn't feel like a student, I felt like a real musician. So, the album reflects that stuff. I remember working on the cover with the designer. Ten albums later, it's just kind of funny what you think is important early on. You're making your first album and there are a lot of misguided notions that go into it and that's because you're not sure you'll ever make another one again. [laughs] There are a couple of tunes on the album that are really good that I'd like to bring back and play again.
AAJ: Tell me how the MSG group came together.
RM: Ronan Guilfoyle was someone I'd been hearing about for a while. People compared his work to Steve Coleman and I also later learned he is sort of a forefather of creative improvised music in Ireland. We finally met at the Calgary Jazz Festival a few years ago and hit it off. He was more familiar with my work than I was with his, but no matter. I heard about Chander Sardjoe from Vijay Iyer and Steve Coleman, who both said he was a rhythmic monster. He's a guy who can seemingly play any polyrhythm and make music out of it. He's also someone who can play any of Steve Coleman's music off the top of his head. More than anything, I knew that both of them had seriously delved into Carnatic music with a particular focus on its rhythmic aspects. Chander had gone to India and thoroughly dissected many concepts of Carnatic rhythm and Ronan has actually written a wonderful book about rhythm titled Creative Rhythmic Concepts For Jazz Improvisation that everyone should know about.
We all talked on-and-off about doing something for a while but needed the right opportunity. Ronan still lives in Dublin and Chander was living in Amsterdam, though he recently moved to Paris. So, it wasn't like we could rehearse on a whim. My quartet was booked for the Brecon Jazz Festival in Wales and Dublin's Improvised Music Company (IMC), an amazing presenting organization, contacted me about bringing my quartet to the Kilkenny Arts Festival. That was not financially feasible for them, so I suggested premiering this trio. They loved the idea. We rehearsed for a day before the gig and we had the instant hook-up we all expected and the gig was a great success.
AAJ: Describe the chemistry you all share.
RM: We all have similar influences within both jazz and non-Western music, but have garnered similar but different information and resultant musical attitudes from those sources. We see eye-to-eye, but simultaneously learn a lot from each other. We also have a penchant for groove. I had written several pieces for my quartet that I never recorded and they ended up being perfect for this trio. The rhythmic propulsion is second to none, as far as I'm concerned. The tunes are rather skeletal in nature, but fill up very nicely as we are all playing rhythm, harmony and melody at once. Our roles are flexible and we seem to break down some of the preconceived notions of what a saxophone trio can do or is supposed to do.
AAJ: That's one silly band name and album title.
RM: It's just the first letters of our last names. They didn't want to help me find a name so I went with what was easy and funny. MSG makes everything taste good. That's our motto. [laughs] IMC ran with it and set up a photo shoot in a noodle shop. Tasty! seemed like a great name for the albumat least to me!
AAJ: You lead or co-lead several bands. What's your philosophy as a bandleader?
RM: I feel like I'm getting to the point at which I can relinquish control. I can let go and trust the people I'm playing with or trust the situation when I don't know the musicians so well. I think I've been a control freak a lot with not only how things get recorded, but how stuff manifests itself live. Take Dan Weiss for example. No matter what happens, he can make great music out of a situation. It can be something that wasn't planned or even a train wreck, and he will make music out of it. So, it seemed to me there was another means to the same end, musically-speaking, that's really fun. I feel, especially if it's a situation that's already established, that I can provide less direction and we can intuit our way along, which is great. I'm grateful for that. And when I play with Vijay Iyer, there's a huge kind of ESP thing happening there. Even if we don't talk about anything, it'll probably be pretty smoking, so that's really cool. I'm trying to set up scenarios and structures that will highlight everyone's strengths and push us all to places we wouldn't normally go. That's what I'm more and more concerned with. I'm also more and more grateful and ecstatic to play with who I play with these days. I remember a time when it was more about me. It was "Oh, we have to play this because it will show I can do X, Y and Z really well." I don't give a rat's ass about that anymore. It's so unimportant.
AAJ: You toured as a special guest with Nguyen Le's trio last November. How did you hook up with him?
RM: I've always loved Nguyên's stuff. He's like me. He's always onto the next project and has a million things happening. He's a few years older than me and has a lot of traction in his career. He's had great support from his label A.C.T. which has helped him build his career, and that's fabuloushe really deserves it. I had seen him play in Europe and checked out his videos. I was kind of intimidated by him, really. He's just playing all this heavy shit. He'll have a project playing Vietnamese folk songs and play the fuck out of those. Then he's playing Jimi Hendrix tunes and playing the shit out of them. I was like "Who is this guy? I was kind of afraid to even say hi to him. [laughs] It was like "What am I going to say to you? You're running things as far as I'm concerned." Then one day, I got a two-word message from him through MySpace that said "Great music!" I wrote back through MySpace and said "Thanks, let's play and see what happens." He responded saying he was going to do some shows in the States and asked if I would be a special guest with his trio. He thought I'd be a good fit. I thought so too.
I was so honored that he called me. I decided "Whether or not it's a good fit, I'm going to do it. I'll make it fit." [laughs] It's really exciting. We had a great time. Nguyên is a really funny guy and incredibly nice. The hang is great. The other members of his trio are amazing too. Prabhu Edouard is a really smoking Indian percussionist. He's of South Indian origin, but he plays tabla. He knows his Carnatic stuff too. We were teaching some rhythm classes together at Cornish College and he's a really brilliant teacher. He was showing these kids some great stuff and they were blown away. Mieko Miyazaki flies on her kobo. It's a difficult instrument to play. She's constantly changing her tuning by moving her tuning bridges while she's playing. She's able to play some really complicated stuff. She's virtuosic and is a great listener. It was somewhat intimidating to walk into a trio like this where the people have been playing together awhile, and performing a certain repertoire. It's challenging to learn the music and also to find your voice within it. But it felt pretty natural. There's so much potential with this group. We each contributed a tune specific to us four playing together when we did the shows and it really put us in a different place right away. I hope there will be more work together.
AAJ: Tell me about your forthcoming album Samdhi featuring David Gilmore, Rich Brown and Damion Reid.
RM: That has to be one of the things I'm post proud of. It was the direct result of my Guggenheim fellowship. It's a combination of all this electronic stuff I've worked on, plus all this stuff I studied in South India. I took all the South Indian stuff and voiced it with situations that have nothing to do with that. So, it's me with laptop, some effects and programming. It also features the guys you mentioned, as well as Anantha Krishnan, a really incredible young mridangam player. The album is somewhat traditionally based, but pretty weird in a way too, as far as the Carnatic perspective goes. He fit into that well. It's been two years since it was recorded. Right now, I'm considering how to get the music out there.
AAJ: What do you consider your biggest challenges as a writer these days?
RM: It's hard to stay fresh sometimes. But more than anything, it's hard to make time to learn new things with all of the day-to-day life stuff. There's so much orchestration stuff I want to learn. I want to learn how to write for strings better. I don't know how I'll get around to any of it because I'm so consumed with regular life stuff and managing all of the music stuff I already have going on. I'm still doing a good bit of my own business stuff too, even though I have agents. The work never seems to completely disappear. There's a lot I want to absorb and implement. I'm always fearful of becoming that guy who writes the same tunes over and over again. There are so many guys like that out there. It would be a shame to be one of them since I've gone out of my way to avoid it for so long. It's one of the reasons why I've taken on the challenges of dealing with influences from outside of music in projects like Codebook and Mother Tongue. It forces me to not write the same tune again.
AAJ: You've also been known to make field recordings as inspirational tools.
RM: I haven't done that in a long time, but yeah, there was a time when I would screw around with that stuff. I should do it again, now that it's so easy to do with an iPhone. I used to record birds and was also really hung up on things that squeakedlike squeaky swing sets and turnstiles. It was like an urban version of Messiaen and the birds. It was like the "Symphony for squeaky turnstiles" or something. [laughs] It's easy to lose touch with that kind of childlike creativity or inspired frame of mind when you're thinking about how to pay your mortgage. I would like to spend some time getting back to that state of mind more often. I just want to work harder in general. I feel like I should be, but there's no way to have the same energy I had when I was 23 and multitasking like crazy and sleeping four hours a night.
AAJ: We're both second-generation South Asian. I'm amused by the consistent focus on your ethnicity in your media coverage. What's your perspective on that?
RM: It's a really unique talking point. It's something Vijay Iyer and I have talked about. There was no template for musicians of our generation to make jazz and art as South Asians. The industry almost didn't know what to do with us. Record labels and industry people would say things like "What you do is very interesting, but have you ever thought about doing an album with a sitar player? Maybe Ravi Shankar could be a guest?" [laughs] So, we had to forge our way ahead until we created enough buzz for ourselves. We had to be active enough that people started paying attention. And obviously, they honed in on this one unique pointthe blatant, glaring point that we weren't black, white or Latino. Rather, we were Indian. There was a time when I was regarded as "that Indian alto player." Now, it's more about being respected as a fine modern jazz alto player. But people still want to talk about the Indian thing. I don't know if they feel like they're making me comfortable by bringing that up, but I know it's a comfortable entry point for them. It does beat "Wow, you sound like Ornette Coleman or Eric Dolphy" though. [laughs] That's what people used to say about me for years, which is absolutely not true.
AAJ: Early in your career, you played in reggae and ska bands. Reflect on that period for me.
RM: I was just trying to make a living. My first real forays into being a professional musician took place during a very concentrated period. I played on a cruise ship in 1991. It was a small big band thing on Carnival Cruise Lines. That experience changed my whole perspective on playing music. It was my first professional gig and I was horrified by the music and the people. There was a lot of alcoholism, and a lot of "lifers" out there on the ships talking about what they were going to do when they got off the ship. And I didn't see that coming anytime soon for them. I actually kind of flipped out and ran back home to Colorado after six weeks instead of staying out the whole summer and going back to Boston like I was supposed to. I thought about quitting playing music. It was incredibly devastating and depressing. I thought "If that's what it means to be making a living being a musician, I don't want to have any part of it." I was so shocked by the whole thing.
At that point, I also saw the value of teaching. I knew I was a very good teacher and saw that as a way to perhaps sustain myself without having to play commercial gigs. I moved to Chicago shortly after that and I was unrelenting there. My attitude was "If I'm ever in a situation where I'm unhappy and my saxophone is in my mouth, then there's something wrong." So, I would go out and do weddings, playing "Hot, Hot, Hot" and when there was a saxophone solo, I would just play my shit. [laughs] Of course, I would never get hired again. Almost every wedding band I did a gig with was the first and last time I played with them. I thought that was hilarious, because I wasn't relying on it to make a living. I was teaching and more interested in playing for people who were actually listening.
I decided I'd rather play a reggae gig with people that were into the music. I was in a reggae band that was quite successful in Chicago called Charles Cameron and the Sunshine Festival. We're very briefly featured in the movie Love Jones, a beautiful African-American love story that takes place in Chicago. The director saw us play one night and asked us to do it. We did a shoot at The Wild Hare, a really famous reggae club in Chicago. It was fun. I also played a lot of salsa and merengue gigs during those days. They paid horribly and were always far away, which was hard, because I didn't have a car. They were also really, really loud, but man, I was able to get some real saxophone skills together playing merengue. That music is very hard to play. There's a lot of tonguing and weird, fast fingering involved. And again, I liked playing for people. It wasn't like putting on a tuxedo and playing a private party and feeling like wallpaper. In the meantime, I also had my own band. I was trying to get gigs and write music, but even with those reggae bands, if I had a solo, I would just play my shit too. [laughs] The leader thought that it was cool and even hilarious. So it was all good. In that sense, my role model was Michael Brecker. It's interesting to see what he got away with. No matter what he plays on, he's playing exactly like him. If he's playing with Dire Straits, he's still playing a bunch of Coltrane shit. If he's playing with Paul Simon, he's still playing a bunch of Coltrane shit. [laughs] It's almost like people didn't realize that he was pulling a fast one on them. I always thought if I was going to be in those situations, I was going to have the same attitude. I'm going to play my thing and somehow make it relevant to this reggae or merengue situation.
AAJ: Charlie Parker once said "Music is your own experience, your own thoughts, your wisdom. If you don't live it, it won't come out of your horn." How does that statement apply to you?
RM: I always liked that quote. The first time I read it was probably in junior high. I had no idea what it meant. Then I understood there was this glamorization of Charlie Parker and his drug addiction. I've never dabbled in any of the hardcore stuff, but there was once a little part of me that thought "Maybe that's what you have to do. Maybe that's what 'livin' it' means." But to look back now at almost 40 years-old, what "livin' it" meant for me was trying to figure out who I am and realizing I'm not white and not black and that I'm something else. The question was: What does that "something else" mean? How does that fit into this country and the rest of the world? How do you stake a claim for yourself and your people? I think anytime one of us does something non-traditional, we're making it easier for someone else to do that. When I see a restaurant review in Time Out New York and see it was written by an Indian or Indian-American, I'm totally thrilled by that. I'm like "Go, dude!" If I look through gallery listings in New York and see an Indian artist, I'm going to go. Even if the stuff looks like crap, I'll go. [laughs] I know that South Asians come to my shows and they're obviously into the music, but they're also thrilled by the occurrence of the event of one of their own performing.
AAJ: Is there a spiritual component to your music?
RM: It's not religion-based, but when I'm really into it, I feel connected to something that is almost otherworldly. I can't describe it very well, but there's something that happens even when I'm alone if I'm playing something that's very special. There's also that amazing thing that happens when the band and audience are all kind of in tune somehowsome sort of resonance takes place that's actually more important than the music itself. So, to that degree, I'm spiritual. I was raised Hindu, but then we were left to our own devices come high school. There are a lot of great teachings on Hinduism, but ultimately, all religions talk about being a good person. That's something I make a conscious effort to be. I know I've gone through periods of being kind of a dick and I regret those. I know why that was happening. Certain things were forcing that. Surrounding myself with good people is as important as surrounding myself with good musicians now. I feel like I'm finally at a place where I really respect everyone I'm playing with as a person. There was a time when I was okay with playing with someone who was an asshole if he played really well. I have no patience for that anymore. As I inferred earlier, the music becomes secondary when everything else is in tune and it's those experiences I'm after.
Selected Discography
MSG, Tasty! (Plus Loin Music, 2011)
Rudresh Mahanthappa/Bunky Green, Apex (Pi Recordings, 2010)
Rudresh Mahanthappa/Steve Lehman, Dual Identity (Clean Feed, 2010)
Rudresh Mahanthappa/Indo-Pak Coalition, Apti (Innova, 2008)
Rudresh Mahanthappa/Kadri Gopalnath, Kinsmen (Pi Recordings, 2008)
Rudresh Mahanthappa, Codebook (Pi Recordings, 2006)
Vijay Iyer/ Rudresh Mahanthappa, Raw Materials (Savoy Jazz, 2006)
Rudresh Mahanthappa, Mother Tongue (Pi Recordings, 2004)
Rudresh Mahanthappa, Black Water (Red Giant Records, 2002)
Rudresh Mahanthappa, Yatra (RM, 1997)
Photo Credits
Page 2: John Rogers
Pages 5, 9: Cees van de Ven
All Others: Courtesy of Rudresh Mahanthappa


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Register to enjoy the benefits of My Account.
Register to enjoy the benefits of My Account. Only registered users can:- Access all personal information through My Account- Use the Wish List to save their favourite products- Complete the checkout process more quickly.
Lamé fabric, Bouclé, V-neckline, Two pockets, Frogs, Unlined, Contrasting applications
Model is wearing a size S and is 175cm/5'74''

subset: commoncrawl


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Since last week, Saudi women's male guardians began receiving text messages on their phones informing them when women under their custody leave the country, even if they are travelling together.
Manal al-Sherif, who became the symbol of a campaign launched last year urging Saudi women to defy a driving ban, began spreading the information on Twitter, after she was alerted by a couple.
The husband, who was travelling with his wife, received a text message from the immigration authorities informing him that his wife had left the international airport in Riyadh.
"The authorities are using technology to monitor women," said columnist Badriya al-Bishr, who criticised the "state of slavery under which women are held" in the ultra-conservative kingdom.
Women are not allowed to leave the kingdom without permission from their male guardian, who must give his consent by signing what is known as the "yellow sheet" at the airport or border.
The move by the Saudi authorities was swiftly condemned on social network Twitter -- a rare bubble of freedom for millions in the kingdom -- with critics mocking the decision.
"Hello Taliban, herewith some tips from the Saudi e-government!" read one post.
"Why don't you cuff your women with tracking ankle bracelets too?" wrote Israa.
"Why don't we just install a microchip into our women to track them around?" joked another.
"If I need an SMS to let me know my wife is leaving Saudi Arabia, then I'm either married to the wrong woman or need a psychiatrist," tweeted Hisham.
"This is technology used to serve backwardness in order to keep women imprisoned," said Bishr, the columnist.
"It would have been better for the government to busy itself with finding a solution for women subjected to domestic violence" than track their movements into and out of the country.


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UCLA defeats USC for just the second time in 14 years
Harry How/Getty Images
Joseph Fauria #8 of the UCLA Bruins celebrates his touchdown with Jerry Johnson #9 for a 17-0 lead over the USC Trojans at Rose Bowl on November 17, 2012 in Pasadena, California.
In a game that will be talked about for years -- by UCLA fans -- Brett Hundley's Bruins beat up Matt Barkley's Trojans 38-28 in Pasadena.
The win Saturday snapped a five-game UCLA losing streak to USC and allowed the Bruins to clinch the Pac-12 South title.
Despite the fact that No. 17 UCLA had a better record than No. 20 USC entering the Rivalry Week game, most considered the Bruins underdogs in the match-up as just a year ago the Trojans easily won the annual skirmish 50-0.
After today's game, UCLA head coach Jim Mora was at a loss for words when asked what the victory means for him, in this, his first year at the helm.
"It means so much to the seniors. Look at them, they're going to address the fans," he told Fox Sports. "It's awesome. I don't know what to say. What do you want me to say?"
UCLA unveils 8-foot, 400-pound bronze statue of Coach John Wooden
The man who lead UCLA basketball to an unprecedented 10 national championships over a 12-year period, and who was a staple in the stands after his retirement, was honored Friday with a statue outside the newly renovated Pauley Pavillion in Westwood.
An 8-foot, 400-pound bronze statue stands tall on the UCLA campus celebrating the late coach who led the likes of Kareem Abdul-Jabbar, Bill Walton, Walt Hazzard and Gail Goodrich during his 27-year career.
Basketball great Ann Meyers Drysdale hosted the unveiling and noted that the modest coach, who died in 2010 at 99 years old, would have downplayed such a ceremony.
"He'd probably pooh-pooh this," Meyers Drysdale said. "He was not one to draw attention to himself."
Nan Wooden said, "He's probably shaking his head, saying, 'I don't deserve this.'"
Who has a better chance of winning today: USC or UCLA?
Andres Aguila/KPCC
The Rose Bowl will host the UCLA - Houston game Saturday night.
The second-ranked USC Trojans travel north to battle the Stanford Cardinal this afternoon in what promises to be a excellent Pac-12 matchup.
Meanwhile down in Pasadena Brett Hundley and his 22nd-ranked UCLA Bruins host the winless Houston Cougars at the Rose Bowl tonight.
Both USC and UCLA are undefeated in the young season and they each have something to prove.
Trojan quarterback Matt Barkley has never beaten Stanford and the Bruins would like to confirm that they deserve to be a ranked NCAA football team.
Las Vegas considers UCLA a 17-point favorite over Houston and USC is an 8-point favorite despite playing on the road.
So even though both teams are predicted to win, do you think they will?
Philanthropist's death sparks unusual lawsuit
Photo by Chris Radcliff via Flickr Creative Commons
The UCLA campus in Westwood, CA
When former model and philanthropist Phyllis Harvey died last year at 59, little note was taken. There was no mention of how she died - nothing about her struggle with alcoholism and mental illness. And there was no reference to one of the final projects she helped fund with nearly a half million dollars.
Those details now figure prominently in a medical board complaint and wrongful death lawsuit claiming her psychiatrist coaxed $490,000 in research funding from her while she was under powerful doses of psychotropic drugs that eventually killed her.
The suit filed on behalf of Brian Harvey accuses a University of California, Los Angeles psychiatrist of causing his wife's death with dangerous drugs while soliciting research funds from her.
UCLA has said it will contest the lawsuit.
Hearing delay for UCLA professor Patrick Harran charged in lab fire death of researcher
Damian Dovarganes/AP
UCLA organic chemistry professor, Patrick Harran appears for his arraignment at Los Angeles Superior Criminal Courts building in Los Angeles on Wednesday, April 11, 2012. Harran is being charged in connection with a laboratory fire that killed a staff research assistant at UCLA in December 2008.
The arraignment hearing for a UCLA professor charged in the death of a researcher has been postponed again.
KPCC's Corey Moore was at the Criminal Courts Building in downtown Los Angeles on Friday morning where accused organic chemistry professor Patrick Harran appeared briefly with his attorneys before an L.A. County Superior Court judge.
The judge added another delay to a series of pushes. The hearing isx now scheduled for later this month.
Harran is charged in the 2008 death of 23-year-old researcher Sheri Sangji who was fatally burned in a lab fire. Sangji was not wearing protective gear when a chemical she was handling ignited.
Both the professor and UCLA face felony criminal charges. Moore says a plea deal is reportedly being negotiated, but neither side would offer comment on the case.


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Simple question, but do you have to use the Sim card that was supplied with the iPhone or can a different card (from the same or other authorised carrier be used)?
Question relates to purchasing iphone in the US with AT&T card much cheaper that Europe, for us with approved EU carriers.
**Can a mod move please, meant to post in General Thread**


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Anyone else think the youkalis $12m offer was fairy dust?
Anyone else think the youkalis $12m offer was fairy dust?
Leo's Thought Of The Day
Jake. Future Buffet Champion and New Leo ManCrush.
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.....YankeesWFAN Raul Ibanez has said he wants to come back to NYY but PHI SEA TB also interested. Could Yanks snooze and lose on him too?
They're saying he could surpass CC's deal, pass.
Grienke's "mental foibles" will be a certifiable train wreck under the unceasing glare of the ny media.
And so, a new era begins.....
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I'd get Josh and Zach in a room. Ask them if they want to win a world series. Ask them if it pisses them off when everyone pops off about how they can't perform undertone big lights, can't handle NY. Then tell them they can make a ton of money, win a WS, and prove everyone wrong, and then cash in on mega payday.
Then offer them each a one year $30m contract.
Go out with a bang before $189.
Best staff, best lineup, then let everyone walk and retool in 2014, for a young team in 2015.
Tell me that's not exciting!
(best Dom Delouise impression) MORE WINE!
Solarte, oh, oh!
Solarte, oh, oh, oh, oh!
[Nel blu, dipinto di blu
Felice di stare lassù
Nel biu, dipinto di blu
Felice di stare lass]
how would him being a good pitcher be the bonus? isn't that the idea?
$25 million a year for Greinke? No thanks.
I wouldn't pay anywhere near 20 million a year. MAYBE 15, but that's tops.
He is worth no where near those years at that price. Pass, and not even look back or think twice about it.
New York Yankees
FC Bayern Munchen
Bundesliga: Wins- 25 / Draw- 3 / Loss- 2
DFB-Pokal-Wins- 5 / Loss- 0 Finals vs Borussia Dortmund
Champions League- Semi-Finals vs. Real Madrid.
1st Leg- April 23rd in Madrid.
2nd Leg- April 29th in Munich.
couldnt of said it better not worth that kind of money 5 for 85 tops yanks need to trade for headly or morse somehow not easy i know that but its possible
Mental Makeup + NY = Bad Fit
I wonder if Joba would still throw at him...
Maybe stick a fastball under his chin when Youk is sitting on the bench?
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The Ritz-Carlton, Kapalua is thrilled to announce the launch of two organic herb gardens and fruit orchards. This new project is being led by Executive Sous Chef Marc McDowell. There are currently 18 different varieties of basil, six types of beans, five varieties of beets, 15 types of peppers, five varieties of eggplant, 10 types of mint, 16 varieties of tomatoes and more than 30 types of fruit, being grown at The Ritz-Carlton, Kapalua!
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text: First, I'd take a 2'x2' piece of plastic and tape it securely to the floor...maybe do this in several places. Leave it a couple of days to see if any or how much moisture is trapped underneath the plastic. Then, I'd evaluate my choices. Personally, if things stayed dry, I'd seriously consider an engineered hardwood product rather than solid wood (and probably still would once I had moisture controlled). There's a huge amount of it available in various price ranges and various thicknesses. I'd look for one that can be installed as a floating floor. Quite awhile ago, I was at a home show in LA. I asked a guy, after telling him I lived on the east coast and wasn't going to buy anything from them, what he would install, if he were going to install wood flooring. He said something from www.kahrs.com . He said the company he worked for did not sell that brand, but he had worked elsewhere, sold it, and found it to be topnotch stuff. They have a huge selection, but you may have to search for a dealer. They do not sell online, so you have to find a dealer. Both glue down, floating and nail down stuff, in lots of woods, finishes, thicknesses, and choices...all real wood surfaces. Adding a lot of thickness to the floor, if there are stairs getting to that level, may mean rebuilding your stairways since there are some strict requirements about consistency of the rise of each step.


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Department: Marketing and University Relations
Position: Full-time
Salary Range: $31,000 - $34,000 year, full benefit package
Posting Date: June 2013
Manage the university's public relations (PR) program including strategic planning as a part of Montana Western's overall marketing plan. Serve as the university's spokesperson with area, state, regional and national media. Provide copywriting, proofing and editorial services to support PR and marketing efforts. Lead the content development process for the university's news and marketing-related websites. Manage the department's media contact database. Develop a proactive news gathering organization across campus. Develop and execute a social media plan to support university marketing efforts. Provide photography to support news and marketing efforts. Assist in maintaining the university's brand. This position reports to the director of marketing and university relations.
Bachelor's degree in journalism, PR or English. PR experience preferred. Demonstrated writing, editing and media engagement skills. Experience with crisis communication. Familiarity with writing web content, social networking strategies and software, and web content management systems. Demonstrated photographic acumen (experience with equipment and applicable software) and aesthetic sense.
To be considered for this position, please submit the following by July 9, 2013.
Letter of Application stating reasons for interest in the position and addressing the desired qualifications.
Shelly Kessel, assistant to the chancellor
The University of Montana Western
Campus Box 119
710 S. Atlantic St.
Dillon, Mont. 59725
Review of applications will begin on July 10, 2013. Anticipated start date is Aug.1, 2013.
The University of Montana Western, located in Dillon, Mont., is an innovative institution nestled in a scenic valley in the Rocky Mountains of southwestern Montana. The campus Full-Time Equivalent (FTE) for student enrollment is approximately 1,289. Montana Western has over 60 FTE faculty members, features small classes for all students and has been recognized for excellence by U.S. News and World Report. Montana Western's small size and focus on education innovation have earned it the reputation of being a place where faculty and staff choose to collegially and creatively make a difference in the education of students. Montana Western is the first and only public four-year college in the nation to use block scheduling in which students take a single class at a time. This immersion learning program facilitates increased opportunities for experiential types of learning.
The mission of the University of Montana Western is to provide innovative interdisciplinary education through experiential learning that combines theory and practice. Montana Western services citizens of all ages with its academic, community-service, and lifelong-learning programs. As part of the global community, Montana Western encourages diversity, international awareness, environmental responsibility, and mastery of technology as a gateway to the world.
Dillon, a community of 5,000 people, is known for outstanding public schools, safe environments, recreational opportunities and an excellent quality of life.
The University of Montana Western is an equal opportunity/affirmative action employer and encourages applications from qualified women, minorities, Vietnam era veterans and people with disabilities. This position is eligible for veteran's preference in accordance with State law. Finalists for this position will be subject to a criminal background investigation.


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Sierra Express Media (12.29.12)
Director of the National AIDS Secretariat Dr. Brima Kargbo announced that the Global Fund has contributed $49 million in support of HIV/AIDS activities in Sierra Leone. Kargbo disclosed this news on December 28 during the opening of a three-day workshop in Freetown, noting that the donation will support the second phase of the Global Fund Round Nine HIV/AIDS Project. Kargbo also stated that the Global Fund will cut the number of its partners from 52 to 20. These partners will receive fixed-cost resources, but procurement funds will go directly to providers.
Copyright © 2013 -CDC Prevention News Update, Publisher. All rights reserved to Information, Inc., Bethesda, MD. The CDC National Center for HIV, STD and TB Prevention provides the following information as a public service only. Providing synopses of key scientific articles and lay media reports on HIV/AIDS, other sexually transmitted diseases and tuberculosis does not constitute CDC endorsement. This daily update also includes information from CDC and other government agencies, such as background on Morbidity and Mortality Weekly Report (MMWR) articles, fact sheets, press releases and announcements. Reproduction of this text is encouraged; however, copies may not be sold, and the CDC HIV/STD/TB Prevention News Update should be cited as the source of the information. Contact the sources of the articles abstracted below for full texts of the articles.


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Colonoscopy is one of the screening procedures used in the early detection of colorectal cancer when it is most treatable. Colonoscopy is a diagnostic procedure that allows the physician to examine the entire large intestine. Watch and learn more about what to expect when having this procedure.
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Healthgrades America's 100 Best Hospitals for Coronary Intervention™ for two years in a row (2013 -2014).
Top 10% in Nation for Women's Health 2013. Five-Star Recipient for Women's Health 2013.
You're in healing hands with Strecker Cancer Center in Marietta and Belpre.
ER and Physicians Care Express wait times are approximate and provided for informational purposes only. If you are having a medical emergency, call 911.
Our wait times are updated every 15 minutes. The wait time provided displays the amount of time (in minutes) that it takes for a patient to see a qualified medical professional from the time of their arrival at the Emergency Room or Physicians Care Express location. The wait time displayed represents a rolling-average of the previous 120-minutes for all patients who are currently visiting our Emergency Room or Physicians Care Express locations.


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The Seven Stationery Types
Not sure where to start? Here are the top seven types of stationery every household needs.
The Folded Note
The beauty of folded note cards is not only external, but internal as well. Our best-selling personalized stationery, folded note cards give a splash of color and personality on the outside, paired with plenty of room on the inside to say what's on your mind.
The Flat Card
Whether you prefer a streamlined look in your personalized stationery, or you're extremely to-the-point, a flat notecard is a great solution. With just a touch of personality, your message will stand out as your hand-written salutations command the page and your reader's attention.Flat cards also make great children's stationery, teaching good manners and the benefits of brevity all in one fell swoop!
The Memo Pad
This is one piece of stationery that certainly isn't stationary. In days of yore when phones were screwed to the wall, you needed just one memo pad by the phone. Now with portable phones, mobiles, WiFi and more, you need these helpful pads all around the house. Phone messages, shopping lists, errand reminders, quick questions to a teacher, or a DO NOT TOUCH sign for your freshly frosted cupcakes. The uses are endless, so make sure your supply is as well.
Non-Personalized Stationery
We all like options, which is why in addition to personalized stationery, you might find yourself needing non-personalized note cards. Some styles are strictly children's stationery: thank you note cards and invitations complete with lines, fun art and much of the writing pre-printed for simplicity. Keep some of these on hand for last-minute party planning and avoid a trip to the store. For bigger kids, there is fine stationery with edge-to-edge artwork that leaves a blank area for personalized stampers. If you're like us you have several monogram stamps that address a wide variety of situations. It's a good idea to have some non-personalized stationery around, just in case.
During that rebellious phase in high school, "label" was a bad word. But now, as grown-ups, we love them. There are numerous shapes of personalized labels, all of which can multi-task like no one's business. The custom address label is usually a rectangle and fits easily on the top left corner of a standard envelope. It saves time writing your return address, and ensures legibility.Square labels or gift labels pack a punch of design and flair. We print ours with two lines of personalization so they are perfect for CDs, toys, even food in a shared fridge! Ditto for round labels. They are well suited as gift tags, or shouting "this belongs to Katie", and they are spiffy with a your signature salutation and used like an envelope seal. Book labels, or book plates go in the front of a book so that if it wanders into your best friend's library, it might someday make its way home. The magic of labels is that they can be almost anything you want them to be. Lunch bags, school folders, cookies to a new neighbor, a dish taken to a pot luck and more can benefit from a little identification. Plus they'll never complain that "you just don't understand."
Social Cards
The adage "everything old is new again" perfectly applies to the category know as social cards or calling cards. They were once a crucial part of formal social rituals for making acquaintances, inviting others to your home, or to signal you had paid a visit. In today's world of triple phone numbers, multiple emails and too many team sports to remember everyone's name, it's a smart cookie that carries one or more calling cards. Whether you're setting a play date, signing up to volunteer at school, running a home-based business, or sharing book club information, social cards will forever banish writing on the back of receipts.
Stamps and Embossers
Sometimes fun pops up where you least expect it. We get a feeling of discovery every time we use custom stamps and personalized embossers. Take your imagination to new levels and stamp and emboss with abandon, creating works of art for sending to friends or tricking out cards, letter paper, paper bags, the list goes on. Customized embossers are a stately way to mark your return address on an envelope flap. And a monogrammed embosser turns a blank card into correspondence suitable for the most formal of occasions. Using tried and true construction of two plates and those amazing silver handles, embossers are so old school even that great aunt would approve. Conversely, stamps have leapt into the new millennium. And while you may still go retro with rubber stamps in your crafts, today's personalized stationery stamps (or stampers) are all science and technology. High-quality silicone leaves a clean, crisp impression on paper (along with a satisfying "ki-chunk" sound as it kisses the paper). Plus ink pads built into the housings keep a rainbow of hues at your very clean fingertips. Stamp your non-personalized stampable notes. Stamp a roll of butcher paper for fabulous wrap. Mark your books. Turn squares of cardstock into fierce gift tags. The possibilities are endless—Just like your imagination!


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FarmVille Creator Zynga Worth More than Electronic Arts According to Valuationby Brian Leahy, Oct 27, 2010 4:20pm PDT
According to SharesPost Inc., which handles trades for shares of privately held companies, FarmVille creator Zynga has been valued at an estimated $5.51 billion. This tops Electronic Arts' $5.22 billion valuation as calculated by its NASDAQ stock price (via Bloomberg).
Keep in mind that Zynga is not a publicly traded company and this valuation is based upon what people are spending for shares or stake in the company. This is similar to when Microsoft dropped $240 million into Facebook for a 1.6 percent stake in the social network, valuing Facebook at $15 billion.
Zynga might not actually be worth $5.51 billion, but at least some people think it is and when dealing with that stock market, that's usually enough. "The valuation is not that crazy, given what's going on in the market," said Atul Bagga, an analyst at ThinkEquity LLC. "It's not that terribly expensive seeing the growth prospects." Bagga "estimates the virtual goods market may reach $3.6 billion in three years," according to Bloomberg.
Activision Blizzard is currently sitting at $13.9 billion valuation, while China's Tencent Holdings Ltd. comes in at a whopping $43 billion. FarmVille's success continues to mystify me. It's no Cow Clicker, though.


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I'm going thru withdrawl again.
I'm going thru withdrawl again.
WTB Chat. Where?
Here We Go Steelers!
Draft 1.0
1. Sammy Watkins, WR, Clemson
2. Jason Verrett, CB, TCU
3comp. Charles Sims, RB, WVU
4. Dion Bailey, FS, USC
5a. Will Clarke, DE, WVU
5b. Walt Aikens, CB, Liberty
6. Jeff Janis, WR, Saginaw Valley
7a. Devon Keynard, OLB, USC
7b. Eathyn Manumaleuna, DT, BYU
omg Decastro hurt knee


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99 Robots and Me
Design by Malo Tocquer
Say somethin' nice
No account? Join us!
- Submit ideas for a chance at $$$ and loot
- Be a part of our creative community
- Earn points for participation and use them for purchases
khaozz on Dec 4, 2013 at 19:50:22
Please print in adult sizes! :D
capbobokc on Nov 7, 2013 at 16:35:07
what the frick. Is it not available or what? Why is it here then?
BerniceG on Oct 26, 2012 at 15:54:33
Space Invaders anyone?
Diablo 3 Mouse Pad Review
Diablo 3 Mouse Review
Diablo 3 Speed Review
soolayah on Jul 27, 2012 at 12:56:49
I wish this came in girly sizes too.


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Top 3 Apps Right Now
Author: Ollie G | Category: Apps | Tags: iPad, iPhone, Mac
Here are the Top 3 Apps on the Mac Market Place, as of right now, March 2014. The results of our search came up with the most downloaded apps that aren't likely to jump out of the top ten anytime soon, so get to downloading when you can and join all your friends. You don't want to be left behind while they are having fun!
Clash of Clans
You probably didn't need to be told about this one topping the list, currently. Clash of Clans has such a large scale marketing campaign going on right now that their thumbnail of a yelling grunt with yellow hair screaming, sword in hand, is the most seen thing on your phone other than your home screen.
Clash of Clans is a strategy game that pits you against other clans with their own individual villages. You have to build up your village, increase your military might, and take down other players for rewards. Rise in the ranks and you may be able to conquer the realm.
There are single and multi-player options in this game, so you don't necessary have to play with others, but you would certainly be missing a large portion of the game by playing alone.
Candy Crush
Another obvious game, as you most likely already know someone who has it already. You are probably already stuck on a level throughout the different worlds that this game lets you play through. It is kind of like a candyland board game type environment that you are traversing stage to stage. The actual game play is the same as bejeweled or other such: you match colors to break the candies.
The visuals of this game, fun and endearing, are one of the main reasons for its success. Also, the sound effects can be both rewarding and infuriating – both pushing you to keep trying until you win or get completely candy stuck! Special striped candies can be made with a 5+ combo match which obliterate whole lines at once. It is oddly satisfying and addicting. This game is free to play and mostly single player, but you can purchase in game coins to buy power ups or your friends can give you extra lives and other such goodies.
It's surprising that pandora is still top dog in the app store with services like spotify hedging in on the market, but it makes sense. Pandora is a great service that lets you make channels based on you favorite song or artist. Pandora then generates through its magical algorithms the songs it expects you to like. You may skip or thumbs up/down to make the channel personally yours. If you are getting bored of the music on your channel, you can add another artist to it or combine channels.
The only negative to this service are the ads. They pop-up after a few songs and you can't mute them without pausing Pandora. Also, after continuously ignoring Pandora on your browser it will ask if you are still listening, which can interrupt a party mid-grind or thankfully shut it off if you fall asleep.
*Top 3 Apps chosen by the Highest Grossing Category*
13 Mar 2014


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Design for Living®
Speed Prep Slicer with 3 Blades
Sales & Special Offers:Save an additional 20% Discount applied in cart
This Design for Living Speed Prep Slicer is a culinary convenience that makes prep time much easier. It lets you grate, julienne, and slice easily with just one hand, and features 3 different blades for specific tasks. Ideal for everything from vegetables to cheeses. Dishwasher safe. Speed prep slicer measures 9-1/2 inch long.
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Rated 3.7 out of 5 by 3 reviewers.
Rated 1 out of 5 by queenof4 Piece of JUNK! Does not grate carrots. Is not one hand operation. June 4, 2013
Rated 5 out of 5 by Juber Amazing! I bought this on a whim and I am soooo glad I did. This thing does exactly what it says. I sliced an onion in seconds. Then radishes, grated carrots, sliced cucumbers, it does everything. It cleans up easily and stores compactly. I needed minced onions and I did them thru the julienne blade and they were perfect. I love this item and I have a neurogenic disorder and it has made cooking so much easier! May 13, 2013
Rated 5 out of 5 by DonnaOK A little dissappointed. I was expecting something a little more user friendly. This slicer is hard to load. I am better off using my mandoline. February 4, 2013
1-3 of 3


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Monday was one of the lowest volume days of the year, and while no one watches the Volatility Index (VIX) in the kind of environment where stocks are at historic highs, it is worth noting the market's fear gauge is hovering close to the multi-year lows we saw earlier in 2013.
Why? Much of it can be attributed to Federal Reserve chairman Ben Bernanke's offensive to convince the markets that no rate hikes are imminent. The Fed may be considering tapering, but they are not raising rates. Traders have translated this to mean less need for insurance.
This is a positive for markets, as long as Mr. Bernanke hews to his message tomorrow that Fed policy is "data dependent", flexible, adaptable, and refrains from rocking the boat.
Good luck with that. Mr. Bernanke obviously believes that interest rates have moved too far, too fast — and he wants to stop that immediately. He also seems to want to avoid any asset bubbles.
As for tapering, the recent data is really a problem. True, payrolls have been slowly improving. Still, the economic data have been choppy at best. How is the Fed going to reduce tapering when U.S. retail sales and business inventories have been so crummy, and we are facing a sub-one percent second quarter growth?
Still, other central bankers are taking a page from Mr. Bernanke's playbook. Traders were passing around a comment from ECB board member Joerg Asmussen, insisting that interest rates will stay long for a very long time: "We will operate an expansive monetary policy for as long as is necessary" Mr. Asmussen told a local German chamber of commerce.
1) On earnings, make it four in a row for the financials: Goldman Sachs reported earnings well above expectations, following on strong reports from JP Morgan, Wells Fargo, and Citigroup. Investment and Lending was especially strong, with net revenue of $1.42 billion vs. 891 million expected; bonds accounted for nearly half ($658 million) of the gains.
Perhaps more relevant, Comerica (CMA), one of the nation's biggest regional banks (California, Texas, Arizona, Florida) also saw its bottom ling strengthen in the latest quarter: 76 cents per share vs estimates of 70 cents. Credit improvement continued, and as with all banks there were lower loan loss provisions. Loan growth, however, remains modest, up roughly 3 percent. Meanwhile, strength in commercial and also in construction loans offset by a decline in commercial mortgage loans. They lowered guidance for loan growth, expecting growth to be lower than 2012. Deposit growth was modest, with average balances up only 1 percent.
Coca-Cola was a clear disappointment,with earnings of 63 cents per share that were in line with expectations, but revenues of $12.75 billion were below consensus. Elsewhere, volumes (the key metric) was well below normal, up 1 percent vs. consensus of up about 3 percent. European sales accounted for much of the weakness, which were down 4 percent; while Latin America was up 2 percent, North America down 1 percent. Pacific was up 2 percent, all below consensus.
2) European car sales at 17-year lows in Europe? Ouch!
—By CNBC's Bob Pisani


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Stokerized Bow Stabilizer 4 Weight Accessory Kit
Product Family #: 3245315387
Suggested Products
- Bohning Tex-Tite Bow String Wax 1 oz Tube... $4.19 Available
- Bohning Serving Thread Bow String Serving .018" Diameter Nylon... $10.79 Available
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- Vista V-Pod Kickstand Bow Stand Polymer Black... $17.79 Available
- Vista Padded Loop Bow Wrist Sling Fleece Camo... $9.49 Available
- Scorpion Venom The Stick Polymeric Bowstring Wax Bow String... $9.39 Available
- Bohning Serve-Tite Bow String Serving Tool Polymer Red... $14.79 Available
Substitute Products
Product Information
The Weight Kit is the perfect way to achieve optimum balance and performance from your Stokerized stabilizer. This kit includes three different weights and a rubber dampener, allowing you to experiment with different weight options to achieve perfect balance.
Kit Includes:
Kit Includes:
- One aluminum 3/4 oz weight
- One steel 2 oz weight
- One steel 5-1/8 oz Saturn weight
- One 1 oz rubber Saturn dampener
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Customer Reviews
The statements and opinions expressed within Customer Reviews reflect each author's personal perspective and do not imply endorsement by MidwayUSA, its Employees or any other organization. Customers should in no way infer that MidwayUSA has validated review information as safe, accurate or appropriate.
NOTE: Prices, specifications and availability are subject to change without notice.
We reserve the right to correct typographic, photographic and/or descriptive errors.
We reserve the right to correct typographic, photographic and/or descriptive errors.


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Customer Reviews
Very good vanilla flavor
Posted by Reviewer1503868 From Canada on Oct 25, 2011
Purchased at iHerb
This is my favorite of the Sweetleaf drops I have tried so far. I use it in coffee and tea (especially good with a chai blend)and in plain yogurt. I find this one has less of an after-taste than some of the others.
Vanilla Creme
Posted by Reviewer3080723 From Australia on Nov 06, 2011
Purchased at iHerb
Delicious. I love it it mineral water, 5-8 drops makes it taste just like creaming soda. Yum! Will buy again.
Little flavor
Posted by SillaVanilla From Norway on Sep 07, 2013
Purchased at iHerb
In the beginning I had some issues getting the right amount of stevia in my drinks/yoghurts. Usually I can't taste it at all or it's too bitter. I've tried it in sparkling water, coffee and homemade orange soda. One drop can make a huge difference, so be careful. The vanilla drops don't really give much flavor, I also bought the toffee and it tastes much more. I see many people use it in water, so I'll have to try that.
Posted by Reviewer3272178 From Norway on Feb 27, 2012
Purchased at iHerb
In smoothies, coffe, yoghurt and so on. A little goes a long way!
A good substitute for Davinci or Torani sugarfree syrups
Posted by Reviewer3177127 From Canada on Mar 04, 2012
Purchased at iHerb
This is a nice little product. The vanilla flavor is not perfectly exact to how a vanilla bean would taste, but it's flavor is good regardless. It's excellent in coffee or lattes, and it's a great substitute for Starbucks Vanilla Sugarfree syrup. And the little bottle is very easy to put in your purse and add to your drinks as needed. The price is very good for the amount and concentration of stevia in this liquid. I like it a lot and will generally buy it when iHerb puts it on sale (which is often, fortunately.) I'd recommend it, but individual opinions of the flavour may vary.