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The Outlaws first album was released in 1974. David Dix joined them on record in 1977, on the Hurry Sundown album, but he'd been a member many years earlier when The Outlaws was a high-school band. The band has gone through several facelifts that have taken it from being a country/rock band to a rock band with country influences. The Outlaws began as a one-drummer band, and when Dix joined they played with two drummers until 1979 when David became the main man.
Dix is like bottled energy. He's extremely serious about rock and roll and drumming. He has evolved by his own admission since 1977, learning what not to play more than anything else. I had a great time doing this interview, as David was extremely candid and straight-ahead. His goals for his future seem to be summed up in his statement, "I don't want to be just another tasteless rock drummer."
DD: The Outlaws started when I was a kid. Hughie Thomasson and I played in our first band together when we were both twelve or thirteen. We played in a couple of different bands together during our early teens. When we were both fifteen, The Outlaws got together. This was back about 1967. We played around like that for a long time, playing weekends in bars under the name The Outlaws. About the time I was eighteen or nineteen, I left the band. I went to work a steady job! It was a lounge gig, $135 a week, and at eighteen that was a gold mine. But, it was a terrible gig. It was piano, bass and drums playing the old standards. It was not one of the better gigs I had in my life, but the money was good—so, what the hell!
The Outlaws continued and Monte Yoho took my place. The band played around and broke up and reformed a couple of times. Eventually they got their first album deal which came out in '75. We were still good friends and kept in touch. I was basically trying to make a living and they wanted to be rock stars. Right after the third album, I got a call from Monte. He said, "The band wants to use two drummers!" He seemed all for it. If I was the drummer in the band—I would at least have my feelings hurt, I guess, but Monte was really excited about it.
I said, "Sure. Yeah." I've been with The Outlaws since July 1977. Monte left two years ago. Since then the band's just been with one drummer. It's been great! Working with two drummers is difficult. It's not my cup of tea.
SF: Could you and Monte switch from drumset to other percussion instruments?
DD: I play congas reasonably well and a little timbale, but with this kind of band there's not a lot of room for that. Rhythmically it works, but the sound doesn't work. Conga drums with rock and roll? There wasn't much we could do with it. There were a couple of tunes where I did some conga work, but on the whole, everything was two drumsets.
SF: Monte never switched off onto percussion?
DD: There were a couple of things that he played percussion on, but I think he might've felt a little uncomfortable. See, there were some songs where I thought having two drummers was like killing a fly with a shotgun! It's all backbeat, mainly. There's nothing really that technically involved. Sometimes we'd switch off just for the sake of not having two guys playing drumsets at the same time.
SF: We were speaking about Butch Trucks and Jaimoe Johanson as two drummers who were stylistically almost opposite, but who worked perfectly together. Do you feel that you and Monte were working that well?
DD: Monte was a straight "time" player. I could move around the set and I had a pretty good knowledge of that kind of playing. I think every drummer goes through a period of overplaying. That was my overplaying period. I look back on it now and say, "You were playing about eight times more than you needed to!"
SF: No wonder Monte left.
DD: We never really did sit down and work drum parts out. Monte wasn't into soloing, so we couldn't really do the drum battle thing. If you've got two guys that are of comparable ability that are into the same things, you can probably do something like that real well. Like Butch and Jaimoe, and Keith Knudsen and Chet McCracken. They do it real well.
When I first started learning how to play, I sat around playing to Dave Brubeck records, and listened to Joe Morello and Buddy Rich. Monte learned how to play from listening to, like, Charlie Watts, and there's nothing wrong with that. Monte is a good, steady timekeeper. I studied with a a couple of different people, mainly Mark Morris in Nashville. He did percussion work on the last two Allman Brothers albums. I probably learned more from him than any teacher I had other than myself. Just about everything I've done over the last ten years has been self taught. I've taught myself more through trial and error than I've learned from any other teacher. Mark Morris is a very competent percussionist. He plays with symphony orchestras, he plays tympani, and he can read anything.
SF: Does he play drumset?
DD: Yeah. He taught me to read, although at the time, I hated it. I was not interested so it was a struggle just to get to the next lesson. It was like, "Sit down and work this crap out," just so I could play it right and not be embarrassed when the teacher came. I didn't realize how much it would do for my playing if I'd taken it more seriously. Now I know! When we're on the road it's hard to find practice time, so it's good for me to get out the Morris Goldenberg book, for example, and start going through that to refresh my memory. I'm getting my reading back together to where I can move onto some of the more complicated stuff. Then a tour break will come, I'll go home and put the book away, and forget about trying to polish up on reading!
SF: There's the school of thought that if your interest is in playing backbeat material, why hassle with learning jazz and reading?
DD: That's true. You don't have to, but any extra time spent other than actual playing with the band is bound to benefit you. It may not benefit you within the confines of what you're doing. You wouldn't think it's going to help me with The Outlaws to sit with a book trying to learn a snare drum piece. But, it improves your time and your technique. Even though you may never play anything near as difficult as what's written on the paper, it's going to help you. It's going to filter through. Let's put it this way: It doesn't hurt! As to how much good it does—that would vary from drummer to drummer.
SF: Did you ever get a chance to play jazz?
DD: I've always wanted to and I know I can, but I've never actually played a jazz gig. From playing in Vegas with different lounge groups I had quite a bit of experience playing swing. That was a lot of fun. I've played with a lot of different kinds of bands. There was a show band I played with called Deep South. That was like a rock and roll show band and real interesting. I got to play everything from rock and roll to funk to jazz. But, I've never had the opportunity to work as a part of a jazz or jazz/rock group. Hopefully, one day I'll get the chance.
But, I've got to do what's going to pay the bills, particularly because I have a family now. That makes a big difference. The traveling I was doing before The Outlaws was tougher. The Outlaws go out for three weeks and then we're home for ten days to two weeks. Before, I'd have to go out for eight or nine weeks at a time, and that's a long time to be away from home. I'm lucky my wife understands. The Outlaws was a blessing in that respect. Even though I'm away more total days in a year, it is broken up into smaller segments.
SF: Can you take your family on the road with you?
DD: I could. My wife doesn't travel with me, number one, because she holds down a full time job of her own. And now that we have the baby, I don't think the guys would appreciate it too much. I think the dirty diapers would get to them!
SF: Do you play any instruments other than drumset?
DD: About three months ago I decided I was going to take guitar lessons. It's something I've always wanted to do. I've been taking lessons but it's coming very slow. I'm just approaching it as a hobby, hoping one day I'll get good enough to where I may be able to write, or at least be able to play for my own enjoyment.
SF: What is your contribution to the albums? Let's use Ghost Riders as an example.
DD: I'm not a writer. To write songs you have to write lyrics or music, and to write music you have to play something melodic. Lyrics is a whole different story. I think lyrics are harder to write than music. I try to contribute ideas towards arrangements and the feel of the songs. We might be working on something and I'll think of how it would sound with a different feel or tempo. The next day I'll present it to the band. A lot of times we'll end up changing a tune completely just from a suggestion like that. That's about all I can contribute in that respect.
SF: Are you still playing double bass drums?
DD: Yeah. When Monte left the band I decided to give it a try.
SF: You never played double bass drums prior to that?
DD: No.
SF: You must've had a few rough nights!
DD: Oh yeah! Initially I didn't try to incorporate it into what I was already doing. I wanted to incorporate them into my solo. I'd start from there and still…I use them very sparingly. It's a very fine line between tastefully playing what needs to be there, and sounding like a guy that just went out and bought an extra bass drum and wants to use it desperately! Before I used two bass drums I thought it was stupid that guys who did use them played nothing but "dugga-dugga-duggadugga." That was until I got two bass drums and tried to do it myself! You've really got to learn to do that before you can take it any further.
SF: You record with double bass drums?
DD: Yeah. There's two ways to use them: Within the time figure that you're playing or with fills. I want to work them into my fills by starting off with simple things like ruffs, and gradually moving to where they're more a part of the fills until I can use both bass drums within the time framework of what I'm playing. So far, the opportunity hasn't presented itself. On Ghost Riders I think there's only one small fill where I use the second bass drum. But, I tell the producer I might decide to use it on something so put a mic' on it.
SF: Do you have any role models for double bass drum playing?
DD: Tommy Aldridge is the first guy that really impressed me. Pat Travers was on one of our tours so Tommy and I got to be real good friends. I'd watch him every night do some amazing stuff. I'd ask him for things to work on. He said, "Man, I don't know. I really don't know." He's just one of those kind of players. He just knows what he knows. He doesn't really know how to get it across to anybody else.
Louie Bellson was the pioneer in that sort of thing. I haven't heard Billy Cobham live in a while, but he doesn't use them as much as I thought he would. He has a lot more room to use them in the music he plays than he does. Simon Phillips is really good, too.
SF: Do you have trouble hearing your bass drums onstage?
DD: I use my own mixing board right next to me. I was tired of trying to wave or signal at soundmen/monitor guys to say, "More snare! Less kick! Put the toms in!" That's impossible. I like the idea of having control over it.
SF: So you have the option of having everyone in the band coming through your monitor?
DD: If I want. Some nights I can hear everything onstage and other nights I can't even hear myself. Other nights it's the opposite. It all depends on the hall. If you've got your own mix it's so much simpler. When I first joined the band I was used to playing in bars and lounges. The volume of this band was incredible! When I tried to use monitors, that only seemed to add to the confusion. For a long time I didn't use monitors at all. I just got stronger and played harder. For a while I had a headphone mix. I liked that but felt like I was too removed from the rest of the band.
SF: What did you hear in the headphones?
DD: Usually I'd have the whole drumset, probably bass guitar and one or two of the guitars. No vocals. I don't even listen to vocals onstage.
SF: That seems strange.
DD: Usually I can hear enough of the vocals from their sidefills and individual monitors to know where I am. I find it easier to concentrate on what I'm doing without the vocal in there.
SF: Who do you listen for mostly?
DD: Bass and usually Hughie. He's the easiest for me to hear. I try to key on everybody, but mostly the bass player.
SF: How is it different with Harvey and Rick's bass playing?
DD: Harvey's a good bass player, but I prefer Rick. Rick comes from the same background as me. He's played in a lot of different kinds of bands, different kinds of music, and he's capable of adapting to any kind of musical situation. Harvey was a rock bass player. That was it. Then again…we play rock! But, Rick seems to lay in that pocket. We both like a lot of the same things musically, so we hear and feel things a lot alike.
SF: The Outlaws have been through several personnel changes. What are some key things you look for when you replace a member?
DD: Someone's adaptability to our thing. You want to have somebody who wants it and is not doing it just for the gig or the money. You want somebody who's into it.
SF: How did it affect The Outlaws going from using a single drummer, to two drummers, and then back to a single drummer?
DD: They were a little bit apprehensive about it at first.
SF: Did they try to replace Monte?
DD: Well, that was the original plan. But, at the time Monte left we were winding down a tour and only had a few dates left. It would've meant getting together in Tampa, Florida to rehearse to break in a new guy. I knew that if they'd just give me a chance it would be better in the long run if they just kept it with one drummer.
SF: Who decided to use two drummers? The guitar players?
DD: Yeah. At the time they added me they wanted to get more of a powerhouse band going. I needed the gig so I wasn't asking any questions! I was glad to have it. The first couple of gigs we did it was real strange for everybody, simply because they were having to focus on one drummer. But after seven to ten shows it started to click and it got much tighter. Everything was smoother, tighter, and it worked out better all around. I was very mentally prepared for the situation when it happened. When Monte left I thought, "Alright. Here's your chance. Don't blow it." I think they were a little bit surprised that it went as well as it did with just one guy.
SF: I would think that with all the mic's on the drumset they could just turn the drums up if they were looking for sheer volume.
DD: Without Monte there was a definite loss in the presence of the drums. But, it was quickly made up, I assure you!
SF: How are The Outlaws different today than they were in 1977 when you first joined?
DD: This combination of people is the best the band's ever had, not only in terms of playing ability, but also in being able to get along personality-wise. There's a cohesiveness now that was not there four years ago. The band's just playing more together.
SF: What kind of personal commitment does it take to put together a band like The Outlaws?
DD: I guess it depends on what you want out of it. The band is a well-known band and it is successful, but there's still a long way to go. I feel like we're really just starting to realize our full potential. So, the last thing you want to do is blow it with wine, women, song or whatever! I'd like to think I've been serious—but I want to get more serious.
SF: Now you're in the thick of a successful band. How is it different than you imagined it would be when you were fourteen or fifteen?
DD: When I was fourteen or fifteen I thought it would never happen. It wasn't that I didn't have any confidence in myself. When you're that age, or even twenty years old playing lounges and bars, and you have musicians that you idolize and emulate, you think, "Damn. I'll never get there."
SF: Who were you idolizing?
DD: I like everybody from John Bonham to Buddy Rich, David Garibaldi, John Guerin, Steve Gadd, Harvey Mason, and Michael Walden. Jeff Porcaro is one of the best rock drummers I've ever heard because he's inventive. With most rock drummers there's no color and not a whole lot of finesse. I mean, there's more to do than just play steady time! It's good that somebody like Porcaro came along who, when he plays with Toto is a rock drummer in every sense of the word, but he's very innovative about it at the same time.
For the most part, record producers don't like drummers who can play. It poses more of a challenge to them. They want a guy to sit back there and play a good backbeat.
SF: Do you get that when you're in the studio?
DD: Yeah. We did an album called Playing To Win produced by Mutt Lang. He's done AC/DC and Foreigner. Their drummers basically play time. They really don't like to do things with the band. At the time I was kind of brash and there was a lot of stuff I wanted to try. Mutt didn't want to hear about it. In the end it worked out good. You get in the studio and you've got all these ideas and want to get them on tape, but you realize after a while that there's only so much you can put down. Again, you get into the fine line between showing off and playing with the band. I can look back on that and see that I was trying to do too much, maybe. But my intentions were good! Now I know how to go about getting what I want to do with a band. I don't want to be just another colorless rock drummer. It doesn't have to be that way.
SF: Yeah, there are a few of those out there, aren't there?
DD: Yeah. If that's all I was interested in, I wouldn't waste time practicing. To just play the good old solid backbeat, you don't need to practice.
SF: When you record an album, what's the line between the artist and the producer in deciding what songs will go on the album?
DD: With us, that's been a running battle. The bigger the band, the more artistic control they have. That's only natural, I guess. On Ghost Riders we had two different producers. The project was started by Ron Nevison. He let us have a lot of freedom as far as what we wanted to play. He figured, "These guys are the players. They should be competent enough to know what works and what doesn't." He would not come to me and say, "Don't use that fill there. Don't use that lick," unless it was something really bad. He'd give you a chance to work with the idea and get it right.
Gary Lyons finished the album and mixed it. He also produced the newest album Los Hombres Malo. He's the type of guy that will give you a certain amount of freedom. If a producer respects the musicians and their ability—he'll give you room to work.
SF: Does a producer choose songs? "Ghost Riders In The Sky" is a pretty traditional pop song. Who decided to record that?
DD: Every time we'd go into the studio, Hughie would play that. Nevison was the first guy that let us try it. We fooled around with it for a few days. The hardest thing was getting the feel for it. At first we wanted to do it instrumentally and real up. You know how the song ends on the album? That was how we were going to do the whole thing, but that didn't work. Somehow we fell into the groove we used and it worked out real good. My point is: Where other people laughed at us with the idea—Ron didn't. He said, "If you get it right it'll be a mother!" As it turned out … it was!
SF: From a fan's perspective, do you think it changes things when old members leave a band and new ones are added?
DD: There's always going to be people that ask, "What happened to Henry Paul? What happened to Monte Yoho? Why did Harvey leave?" At the same time, if what you've done is an improvement, it's just bound to work out. The Eagles went through some personnel changes. It certainly didn't hurt them at all when Bernie Leadon left and Joe Walsh joined. Or when Randy Meisner left and Timothy Schmidt came in to play bass.
There's always going to be a certain amount of people who lose interest in the band because their favorite person is not there anymore. But, if the change is for the best musically—it's going to pay off for you. All the personnel changes we've been through have all turned out for the best. We've still got to do a lot of the material from those first albums because that's The Outlaws. At the same time, we've got a different bunch of people together and we want to take that into a direction also. We're trying to get a balance. You can only ride an old horse for so long. "Green Grass and High Tides" will always be part of the band's set, but we don't want to be a "one song" band.
SF: I see a large percentage of rock audiences who come to concerts to party, almost like the music is secondary. Do you ever look at an audience like that and wish they could just be there for the sake of listening to your music?
DD: That was hard to come to grips with because I'd have nights where I'd play atrocious. Just terrible. And these fans would say, "God, man! You were just cooking and kicking ass, man. That was great!" Then when you play something on a good night, something really brilliant, nobody says anything! That doesn't bother me anymore. If you play mediocre… okay. To your fans it may still come off good. But, if you play great then they're going to be more aware of that. If you play bad—they're going to assume that's the norm and that it's really good. If you play great you jump to another level.
A lot of people subscribe to the theory that it doesn't matter what you do or how well you do it, because your audience doesn't know the difference anyway. I can't buy that. Most musicians want to be respected by their peers. If a famous drummer came to hear me—even if he wasn't particularly fond of rock and roll—I'd still like him to walk away thinking he heard someone who was proficient; that he heard a good player doing the best he could within the framework he had to work with, rather than being just another hacker. I want to be a respected musician.
Confidence is half of it, too. It took me a while to develop that. I went straight out of playing clubs to playing this. When I met the band we set up the drums, ran over a few tunes, and went out to do the show that night. I faked the rest of it. There was no really intense concentrated rehearsal. A lot of the live album is real disappointing. I can't stand to listen to it now because it's so loose.
SF: How long had you been with The Outlaws when that album was recorded?
DD: About four months. There's a couple of things on that album that I'm real pleased with, but for the most part it's so sloppy that I listen to it now and think, "Damn!" It just takes a while. We were all green then.
SF: What do you feel is the band's responsibility to its audience?
DD: With any kind of a rock crowd, if you just go out there and play your tunes and expect them to sit down and listen to you—that ain't going to happen. What you play has to be presented. Instead of just tune after tune there's got to be some interesting segues. Otherwise, it's like you're back to playing in a bar again. You're up there saying, "Oh, here's one that our bass player wrote. Oh, here's one that our guitar player wrote." It really needs to be presented in a show fashion.
SF: Do you plan the concert sets?
DD: Generally we've got a set and we don't deviate from it too much except to shorten it. Our show is usually an hour and a half. There are certain songs that are always going to be in the set that we group together, back to back, to go with the flow.
SF: I have a quote from The Rolling Stone Illustrated History of Rock And Roll. It's written that the plane crash of the Lynyrd Skynyrd band "marked the virtual end of Southern rock as a vital source of new music, even though many of its early exponents continue performing." Do you consider The Outlaws a Southern rock group, and how do you feel about that statement?
DD: We do consider ourselves Southern rock, but a more apt description would be "rock and roll from the South." A lot of the material we do has a very Southern tone to it, but at the same time, there's material that we do, particularly on Los Hombres Malo, that's in a much harder rock and roll vein. The phrase "Southern rock" has been overused and abused. If you're a band from Los Angeles they don't call you "Western rock." Or, if you're from New York they don't call you "Northeastern rock." You're a rock and roll band! But, if you come from the South, all of a sudden you're a "Southern rock and roll band." That's not to say there's anything wrong with that. The Outlaws are not trying to disassociate themselves from that, but at the same time, we don't want to be known for that alone. We feel we've got a lot more going for us.
SF: Did you have friends in high school who were musicians?
DD: Yes and no. In high school we were always working weekends. It was great but it was a little strange because you didn't go to football games and all that crap. So, you were sort of an outsider. If you had long hair in those days it was all you could do to keep from getting kicked out of school. Growing up a musician was definitely different than being just a regular kid.
SF: Were there drummers in your peer group who played better than you that have since quit playing music?
DD: There were a couple of guys like that.
SF: Why do you think you went on to become a successful player and they didn't?
DD: Probably it was just timing. I probably had a better opportunity than they did. There was a guy that used to play drums with Blues Image named Manuel Bertimatti, from Tampa, Florida who was just a monster! Now he's in L.A. or something working for one of the movie studios. He gave up playing completely. I used to sit and watch him and think, "Man! That's how good I want to be." All of a sudden, a few years go by and you find yourself playing with a well-known band, touring, and then you hear about this guy who's given it all up. You wonder about it and think, "Damn. As good as he was, he gave it up. Where does that leave me?" It must be a question of the right place at the right time.
SF: Why did you hang in there? Was there ever a time when you felt like throwing in the towel?
DD: Yeah, there's been a couple of times. Particularly before I was with The Outlaws. I was practicing a lot because I always had in the back of my head, "If you practice and realize that what you're doing is to make a living, and that you're trying to step up, and if you keep that in perspective, then you'll do okay." But, there's times when you become so depressed about what you're doing because all you're doing is making a living. There was a lot of times when I thought, "Maybe I ought to just go sell shoes or something."
SF: What kept you going?
DD: Ultimately what kept me going was that I got with The Outlaws. I was twenty-five at the time and that's really when you start to grow up. Had I had my choice about what I wanted to play, I'd be out playing with a funk band in the vein of Tower of Power, Stuff, or Spyro Gyra. But, none of that ever came my way. This is what came my way so I'm going to do this. Even if you're at least a part of something that's successful—even if it's not exactly what you hoped for—at least you're not playing in a copy band someplace in a bar playing five sets a night. I can pretty much do my own thing with The Outlaws.
SF: How important to your career is it to have a supportive family?
DD: It makes me take everything a little bit more seriously. If you want to achieve any lasting success, then you've got to take it seriously, whatever you're doing. Having a family makes me think less about having a good time and more about accomplishing something.
SF: There's a myth that you can't have a successful career and a successful marriage.
DD: Well, it's hard. I used to wonder about that myself. Then I found myself in that position and I just had to learn to deal with it on a daily basis. It comes with the job. What's the alternative? The alternative is to stay home and work locally. In the end that's going to grow old. Doing something like this you are away a lot and it puts a stress and strain on your home life, but at least there's a chance of a payoff for you.
SF: What can you tell me about your current drumset?
DD: I've been using Yamaha drums for close to three years. I don't have an endorsement with them. I'm not really interested in having an endorsement. I want to play a good set of drums. I figure they'll come to me one of these days. Before that I was using a combination of Rogers and Pearl. A Rogers bass drum, rack toms, and floor tom, some Pearl concert toms, and a Pearl snare drum. I finally stopped using the concert toms because I wanted to go for a more rock power type setup. I went to bigger drums. I'm using two 24″ bass drums, 9 X 1 3 and 10 X 14 rack toms, and an 18″ floor tom. I'm using a Tama snare drum that's 6 1/2″, I think, standard wood. I do have an endorsement with Zildjian. When I got that it really meant something to me. I'm using a 22″ Deep Ride and four crash cymbals. One is a 16″ and the rest are 18″. The hi-hats are Quick-Beat 14″. And I've got an Earth Ride and a Swish. At one time I was using two ride cymbals and the Swish with the crashes, but I've just modified it.
I've been using muffling inside the bass drums. When I was playing clubs I wouldn't put anything in them at all. I'd just muffle the head itself with felt strips, tape, or both. If you get the head muffled down enough with that you don't have to put anything inside the drum and it really kicks! When you take a 24″ bass drum and put something inside—you don't have a 24″ drum anymore. The main reason I'm still using stuff inside my bass drums is because of the soundmen. It's easier for them to get a sound with a heavily muffled drum. That's the same set-up I use in the studio, too.
SF: Is it helpful to be in a band with people you can communicate with?
DD: It helps a lot. For instance, the band was passing demo tapes around amongst themselves, stuff they'd done on vacation that they were submitting for Los Hombres Malo. I'd get a tape and listen and maybe get an idea for one of the tunes. I could call them up and say, "You know that tape you gave me? Well, you ought to try this, maybe." When you've got that kind of a relationship, that's much nicer than when you're just a member of a band and you don't really give a shit. It's a much better feeling, and it's a lot more fun to be a part of a team than just a member.
The drummer is basically the quarterback. You control the intensity a lot of times. It's really the most unique instrument in the band. A drummer who can do more than just play time—a guy who can play at different levels of intensity and with a real good sense of dynamics—can make all the difference in the world to a band. There are subtleties that come out while you're playing, and you really don't discuss things like that—at least with this band. There's a lot of spontaneity. You're playing, and when you're excited about something and say, "Okay, I'll take it here"…when you've got guys that can respond to that—that's my ideal situation.
SF: Do you ever think about what you're going to do when you're sixty years old?
DD: Yeah. I'd like to be playing drums when I'm sixty. That's probably the true mark of any musician—his longevity.


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I am stoked to see Andre Benjamin (aka Andre 3000) as Jimi Hendrix in the biopic All Is by My Side. The Outkast frontman has the musical chops and (more importantly) the cool to pull off Hendrix, but unfortunately we will not get to see the full Hendrix experience. Experience Hendrix LLC, the stewards of the Hendrix estate, issued a statement last month that declared no film could use the Hendrix catalog without full participation from Experience Hendrix LLC. Writer/director John Ridley found a workaround by setting the story in London 1966-1967, shortly before the release of Hendrix's debut album, Are You Experienced. Instead, Benjamin will cover The Beatles, Muddy Waters, and more in All Is by My Side. Hit the jump for a list of the songs and a few new set photos.
Rolling Stone has the list:
- "Sgt. Pepper's Lonely Hearts Club Band," which Hendrix famously performed in a London club while Paul McCartney and George Harrison were in the audience.
- Muddy Waters' "Mannish Boy"
- Elmore James' "Bleeding Heart"
- Plus "Wild Thing," "Hound Dog," "Future Trip," and "Driving South"
So long as we get to see Benjamin try out his Hendrix impersonation, the distance from the Hendrix classics should serve as a buffer from sharper criticism of mimicry. And in lieu of authentic Hendrix, The Beatles and blues standards are a wonderful substitute.
Hayley Atwell and Imogen Poots star alongside Benjamin in All Is by My Side. Production is expected to wrap soon in Dublin, Ireland. The producers want to take the film to Sundance next year with a possible release later in 2013. Caught on Set has a few new set photos.

subset: commoncrawl


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White House press secretary Sarah Huckabee Sanders said Wednesday that God "wanted Donald Trump to become president."
Sanders spoke with David Brody and Jennifer Wishon of the Christian Broadcasting Network. Brody during the interview asked the press secretary for a "spiritual perspective" on Trump's presidency.
"I think God calls all of us to fill different roles at different times and I think that he wanted Donald Trump to become president," Sanders said. "And that's why he's there, and I think he has done a tremendous job in supporting a lot of the things that people of faith really care about."
Read more at The Hill.


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With the coins this kind donor found in a large jar in his home, he sponsored a cow for one of our impoverished mothers. Nandri provided the mother with a micro finance loan enabling her to buy the cow which will give her family food, in the form of dairy products, an income from the products she can sell and in the future, a calf which will further boost the income of the family. Because of the increase in income, the children will be able to afford to continue their education. What a difference a cow makes in the lives of our poor families. This mother will never forget how a jar full of coins changed her life.
Our generous donor called his cow Aideen after a family member! What would you name your cow?


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St. Joseph Catholic School, Batavia, NY
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Our partner high school is: Notre Dame High School


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About Me
"Poets say science takes away from the beauty of the stars ... I too can see the stars on a desert night, and feel them. But do I see less or more?" - Richard Feynman
"Question with boldness even the existence of God; because if there be one, He must approve the homage of Reason rather than that of blindfolded Fear." - Thomas Jefferson
"Humanity has the stars in its future, and that future is too important to be lost under the burden of juvenile folly and ignorant superstition." - Isaac Asimov
"Extinguished theologians lie about the cradle of every science as the strangled snakes beside [the cradle] of Hercules" – T. H. Huxley
"Given the right ingredients, which are everywhere, life may be inevitable. An inevitable consequence of complex chemistry." - Neil deGrasse Tyson
"We are just an advanced breed of monkeys on a minor planet of a very average star. But we can understand the Universe. That makes us something very special." - Stephen Hawking
Blog Posts
Hola From Spain!
Spent a couple of days in Madrid, then a couple of days in Barcelona, and now I´m writing from Seville. Got an hour a local Internet cafe. I´ve been having a wonderful time. Barcelona is one of the most amazing places I´ve ever visited. The streets are beautiful and the food (mainly tapas) is fantastic. Additionally, I have never seen so many attractive women in my life. There is no shortage of them. Of course, the abudance of attractive women doesn´t really help me any because there is no shortage of attractive men either. But hey, I get to enjoy the eye candy.
The accommodation at Madrid wasn´t great, but I had fantastic room in Barcelona with an enclosed balcony overlooking a street. My only issue was the fact that the bathrooms were communal. Two bathrooms shared by a floor of five guestrooms. The showers operated in the same manner as a public faucet, requiring a pump that provides a water for 30 seconds, so you have to keep hitting it over again. Futhermore, I could never get the water the right temperature.
It was the day of Sant Jordi (St. George´s Day) when I was in Barcelona, so there were throngs - wait, am I using that word correctly? - Hey look my keyboard has an inverted questionmark¿ - yes, throngs of people everywhere. Even the streets of Bombay were sparse compared to this. It reminded me a bit of Valentine´s Day since men bought roses for their women, and women of all ages were walking around with roses in their hands. Sant Jordi day also seemed to be a day of cultural pride. Many houses were flying the red and yellow striped flags and banners. At the end of the day the florists were getting desperate to sell what was left of their stock, and I wanted to participate in their festival, so I bought a rose and gave it to a waitress who was standing alone in an outdoor dining facility waiting for her shift to end. The next was spent at Park Güell and Sagrada Familia, perhaps the two most important landmarks designed by Gaudi.
Today I took a fast train to Seville. It peaked at 300 kmph (186 mph), not quite as fast as TGV´s 320 kmph (200 mph), but still pretty fast.
Well, that´s about it for now. Hope all is well with you guys. I´ll try to drop into an Internet cafe in the next day or two to post my Trivia Questions del Dia. Hasta luego!
By Evolution: 8 Observations
I wrote these eight observations, or eight lessons in humility as I sometimes call them, as a Facebook "Note" around this time last year. I think about this sort of stuff a lot - our place in society, our place in the universe, and so on, and I hope it makes you think as well.
No, he didn't win because he wanted it more.
I am a sceptic with regards to positive thinking. There is nothing wrong with being motivated and having determination, but whenever star athletes are interviewed, the reason that invariably comes up for his success is because he "wanted it more." It's utter rubbish. Does that mean that a silver or bronze medalist didn't want it as much as a gold medalist? People neglect to consider the fact that the gold medalist was simply faster.
50% of people are below average.
Most of us aren't gold medalists, though. Or even silver or bronze medalists. In fact, when it comes to intelligence, size, speed, strength, stamina, et al. half the human race is below average, while the other half is above average. That's just the reality of a normal bell-curve distribution. The next time you two people walking down the street odds are that one of them is below average in height or intelligence or some other measure of physiology, while the other is above average in the same measure. If you think you're below average in any measure, it could very well be true, but with 3.3 billion people* also being below average, you can take comfort in the fact that you're not alone.
But you're probably close to average.
Also take comfort in the fact that even if you're below average in height or intelligence or whatever, you're probably not that far from average. This is another reality of a normal bell-curve distribution. Regardless of whether people are below or above average, most people are going to right around it.
Everyone descends from kings and slaves.
There are some people who are proud of the fact that they are descendents of a great king, while others are humiliated by the fact that their forefathers were slaves. Our ancestries, however, are so vast and intertwined that everyone has had a king as well as a slave somewhere along their ancestry whether they realise it or not. So, you needn't be too proud of your ancestry, but you needn't feel ashamed either.
Either way, you're better off than your ancestors.
Regardless of whether your ancestors were slaves or kings, you're still better off because things get better with time. Such is the nature of scientific and technological progress. I may be a pauper compared to my royal ancestors - whoever they may be. I may not have a palace or 400 servants, yet I have amenities that they never dreamed of: I have refrigeration, airconditioning, a television, and a computer with access to the Internet; I have access to medicine and vaccines; I have the privilege of being able to drive a horseless carriage at 70 miles per hour or to fly over the oceans and go to Europe in less than a day. Of course, to our descendants 200 or 300 years from now even all these amenities will seem unsatisfactory and primitive, and they will be better off than we are.
We are so small that we are practically invisible.
The universe may not be infinite, but it's still big. Very very very big. At the risk of sounding like Douglas Adams, I don't think most people understand just how big the universe really is, but this may give you some idea: The Earth can fit 1,000,000 times into the Sun, the Sun is one of 200 billion stars that occupy the 100,000 lightyear-wide structure that we call the Milky Way galaxy, and the Milky Way is one of 170 billion known galaxies in the universe. It is also worth mentioning that these numbers are conservative estimates. (A lightyear, by the way, is approximately 5.6 trillion miles).
Chances are that we are not alone.
In 1543 the Italian astronomer Nicolaus Copernicus published his hypothesis suggesting that sun did not revolve around the Earth, but that the Earth revolved around it. Until then, the Earth had been considered the center of the universe. Four and half centuries later we realise that the Earth really isn't the center of anything. Astronomers discovered how big the universe really is and speculated that there must be life out there. The problem remained, however, that the sun was only star known to have planets around it. 1992 that changed with the discovery of three planets orbiting the pulsar PSR B1257+12. As of today (September 14, 2010) there are nearly 500 known extra-solar planets**, and most of those are within a 300 lightyear radius of space, which is quite small when set against the galaxy. That is, if the galaxy was the size of a dinner plate, a circle with a 300 lightyear radius would be roughly the size of a penny. Yet, even with the best technology currently available, it would take nearly 18,000 years to reach the nearest star, Alpha Centauri, which is a mere 4.2 lightyears away. So we may not discover extra-terrestrial life any time soon, but we can be fairly confident that it's out there.
Our only superiority is intelligence, if even that.
We have a smug sense of superiority over other animals, so much that many of us don't even believe that humans are related to other species. However, we are not the fastest. Cheetahs can run up to 70 miles per hour. We are not the largest. Blue whales can grow up to 85 feet and weight up to 100 tons. We are not the strongest. Rhinocerous beetles can lift 850 times their own weight. We don't have the best eyesight. Most birds of prey can spot a rabbit from several miles away. We don't live the longest. The Bowhead whale can live up 200 years, and the turritopsis jellyfish may not even have a limit of longevity - it's practically immortal. We can't fly, swim, or see in near darkness. Our only superiority is our intelligence, and given the possibility of sentient life existing elsewhere in the universe, even that probably isn't true.
Since I wrote this one year ago, some of the numbers are outdated:
*World population is currently closer to 7 billion
**There are currently 687 known extrasolar planets
Written by Evolution, Tuesday, September 14, 2010.
A pretty eventful weekend
So I went back to my alma mater, University of West Georgia, with my brother to see the full-size replica of the Bayeux Tapestry. Then went to one of my old hangouts in Carrollton, The Corner Café, for pizza. On Friday night I went to see my friend Mark play at the Black Bear Tavern in Atlanta.
On Saturday I bought a George Harrison gold record (All Things Must Pass) from Raven the wrestler. I've met him before, but this is the first time I've been to his apartment, and I was surprised to discover what a big nerd he was. He has all these comic books and action figures. But then again, I never would have guessed that he went to law school either. Not that it matters that he's a nerd - he could probably still kill me with a flick of his finger.
And today I had lunch at Crêpe Revolution with my friend David. I also ran into two Japanese girls at the restaurant who were taking pictures of each other. For some reason they really like making the peace "V" sign. I offered to take a picture of them together, and then got their e-mail addresses.
Yep. It's been a pretty eventful weekend.


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Douceur Dream BabydollRegular price $95.00 Sale price $67.00 Save $28.00
Made with a luxurious European Micro Modal that is exceptionally soft to the touch. Douceur is a unique fabric with similar properties to cotton but more soft to the touch and 50% more water-absorbent than cotton & less likely to pile. Because comfort your is our main concern we designed our fabric:
- Eco-Friendly
- Lightweight
- Breathable
- Hypo-Allergenic
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Feel sophisticated in our timeless Douceur Dream Collection Babydoll. Micro Modal drapes beautifully against your skin, and the lace scallop trim adds a delicate detail that resembles clouds. So silky smooth against your skin you will never want to take it off.
Compositions: 92 % Micro Modal, 8% Elastane
Hand-Wash with Delicate Detergent, Do Not Bleach
Gently Squeeze Excess Water, Air Dry
We deliver all our orders with FedEx,UPS and USPS
Please allow (1-2 business days) and international orders (7-10 business days)
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Drawstring Bags
These Personalized Drawstring Bags are great for kids on the go! Your child will easily spot his or her bag customized with their name and favorite image.
Each bag is made of poly-canvas, Customize edge to edge, front and back with black braided string ties!
- What's included in the price:One Draswstring poly-canvas bag
- Size: 5" x 19" Double sided


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27/01/2016 Session
The member States need sufficient legal instruments to combat terrorism efficiently but there is a risk that "counterterrorism measures may introduce disproportionate restrictions or sap democratic control", was the view today from the PACE, whose parliamentarians pointed to recent measures adopted in France and Turkey to express their concern that "the security crackdown might spread to other Council of Europe member States".
Passing a resolution based on proposals from the rapporteur, Tiny Kox (Netherlands, UEL), the Assembly asked the member States to ensure that, when adopting and implementing legislation or other administrative measures, "a fair balance is struck" between defending freedom and security on the one hand and avoiding the violation of those very rights on the other.
The text points out that a state of emergency should be limited "to the shortest possible period of time and space" and law-enforcement bodies should not abuse or circumvent basic legal requirements or disproportionately restrict individual freedoms.
The parliamentarians also asked that there be no "ethnic or racial profiling of suspects" subjected to search and seizure operations, arrests or other coercive measures, and that effective democratic oversight be exercised by both parliament and other independent actors, such as national human rights institutions and civil society.
The text calls on the intelligence services to refrain from indiscriminate mass surveillance, which has "proven to be inefficient", and instead increase collaboration among themselves. Financial lifelines of international terrorism and arms trafficking must be cut off, including through the effective implementation of United Nations and Council of Europe conventions against the financing of terrorism.
The Assembly finally asked the European Commission for Democracy through Law (the Venice Commission) for an opinion on the compatibility of the proposed draft revision of the French Constitution - aimed at incorporating rules on the operation of a state of emergency and on the deprivation of nationality into the Constitution - with the European Convention on Human Rights and with Council of Europe standards.


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Judo Club Championships
12th February 2017
Children who attend our school's judo club were invited to take part in the Stokenchurch Judo Club Championships—and came away with medals galore.
It was an early start on Sunday 12th February for the judo contestants (judoka) who had to arrive at the High Wycombe Judo Centre by 9.30am in their bright white judogi (judo suits) with a packed lunch, plenty to drink and family members to support them! The day finally finished around 5pm.
Rosie, Elodie, Annie, Meira, Leah, Callum, James, Kieran, Laurence and Eva all gave up their Sunday to compete and did fantastically well.
Callula, who helps Sensei Ron at our judo club each week, was also competing and helping reassure and encourage the Lewknor children. I'm pleased to say that Josie who started our judo club in Year 6 before moving onto secondary school has continued with judo and also attended the championship. The children were all extremely brave as for some of them this was their very first time competing at an organised event.
Vicky, mum of Callula, Elodie, Meira and Laurence, said: ''The children walked into the centre which boasts two large judo mats (tatami) and was full of children, instructors and families unknown to them but they didn't let this bother them and eagerly jumped on the mat, fighting hard against opponents in their weight range.''
Children need to learn not only the various basic skills (such as breakfalls), groundwork and throws but also the terminology and etiquette whilst training in the dojo (place where judo is practised). Some terminology the children will become familiar with include: hajime (begin), matte (wait), ippon (full point), Sensei (teacher/senior), shido (penalty) and other judo related facts such as the name of the man who established judo (Dr Kano) as well as the year (1882).
We are very proud of all the children for taking part in the championships despite many of them understandably feeling a little anxious initially. I know Sensei Ron was very proud of them too. Their dedication, hard work and achievements are clear to see – well done children!
Many thanks to Sensei Ron, his wife Jean, Stokenchurch Judo Club instructors/members and all the kind volunteers, many of whom travelled many miles and gave up their Sunday to put on such a brilliant day for the children's benefit.


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'American Idol:' Majesty Rose Didn't Deserve The Judges' Save
As much as I love Majesty Rose as a person and as a performer, she didn't deserve to be saved by the 'American Idol' judges on March 27 during the results show that eliminated her, keeping her from the Top 8.
Trust me — no one hates saying this more than I hate saying this, but as much as I personally love Majesty Rose for everything that she is, it wasn't time for the American Idol judges to use their one save to keep her in the running for the title. While I do believe that there were others that are less talented and less dynamic that should have been sent home before her, my point remains that the judges were right to hold on to their one-time use save. Read on and tell me if you agree with me, or if I need to be sleeping with one eye open.
Majesty Rose Did Not Deserve To Be Saved From Elimination By 'American Idol' Judges
Nobody loves Majesty more than I love Majesty, OK? She is a preschool teacher. On her first audition, she played Coldplay's "Violet Hill" on acoustic guitar while wearing a flower crown. She is basically too precious for this world.
We were big fans of Majesty up until the finals, but something happened — either Majesty began to crack under the pressure, or the more impressive talent of other frontrunners in the competition became clear and it made her seem less than what was needed for the Idol title.
'American Idol' Recap: Judges Refuse To Use Their Save By 'Narrow Margin'
Either way, the Majesty Rose we know as a performer now is not the Majesty we've come to love, for whatever reason.
When Majesty performed "Let It Go" from Frozen, she really dropped the ball. We were hoping that she would step it up the following week with "Wake Me Up" by Avicii, but she found herself in the bottom once again. Finally, after her March 26 performance of Florence and the Machine's "Shake It Out," she still wasn't bringing her A-game, and it was time for her to go.
Majesty Rose Shouldn't Have Been Sent Home Now, But She Didn't Deserve The Save
However, she went with a bang. When Ryan Seacrest delivered the sad news, all Majesty could do was smile as she performed the last song she'd sing on the Idol stage — Pharrell Williams's "Happy." True to the song's message, she was happy, smiling, and jumping around the stage in the face of her elimination. How great of a person is she? I mean, really?
The Idol judges told her that it was the hardest time they'd ever had deliberating on whether or not to use their save, but in the end, they chose not to. Let's be honest: Majesty didn't deserve the save, no matter when she got eliminated. However, I'll be the first one to tell you that I think that Dexter Roberts, CJ Harris, or Jessica Meuse should have gone home before Majesty — but unfortunately, that's not how America voted.
It's certain that the judges are holding on to their save for favorites like Alex Preston, Jena Irene, Caleb Johnson, and Malaya Watson — the season's most talented, most consistent performers. If it were Jena on the chopping block, the judges would have saved her, no question. As well they should.
That said, we'll miss your sunshiny presence, Majesty, and we wish you all of the best! There's a recording contract in your future, for sure.
What do you think, HollywoodLifers? Should the judges have used their save on Majesty? Do you agree with me, or are you going to burn my crops in the night? Whom do you think the judges are holding on to their save for? Vote and comment with your thoughts!
— Amanda Michelle Steiner


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Simple Ways to Get Fit During Your Workday
Did you know that the average person spends about 10 hours each day sitting down? According to the World Health Organization, physical inactivity is one of the leading causes of death and disability. Now commonly known as "sitting disease," this sedentary lifestyle can put us at risk for type 2 diabetes, hypertension, and some cancers. If you don't have time to go to the gym, you can do these simple exercises at work or home with no equipment needed.
Run or walk in place
Take a break from the computer. Stand up and walk or run in place for 3-5 minutes. For added intensity, alternate lifting your knees as close as you can to your chest. You can vary the intensity by alternating running and walking in place. Put your phone on speaker while you're on a conference call and do simple knee lifts. This is a great warm up for other exercises.
Sitting on the edge of your office chair, lift yourself up to a standing position, and then sit back down again. After 10 squats, take a 30-second break and repeat this move 10 more times. You can also do this move from a standing position without a chair. Squats work nearly every muscle in your lower body, and are great for building quadriceps, gluteal muscles, and hamstrings.
Jumping rope
You can use an actual jump rope if you have room, or you can use an imaginary rope with the same arm movements. Begin by hopping on both feet, then hop using alternating feet. This move will get your heart rate up quickly and is a great calorie burner. Just 10 minutes of jumping rope burns an average of 100 calories — a great way to burn off that morning latte!
You don't have to do a full military push-up on your floor: you can use the wall or desk to lighten the load on your upper body. If using the wall, face the wall and stand a few feet away. Keep your feet shoulder-width apart and put your palms flat on the wall straight out in front of you and shoulder-width apart. If using your desk, put your palms on the desk shoulder-width apart and do the push-up at a 45-degree angle. Do 10 full push-ups, take a 30-60 second break, and repeat.
Wall squats
This move is tough! Place your back against a wall. With your feet hip-distance apart and your shoes two feet away from the wall, drop your knees down until your legs form a 90-degree angle. To protect your knees, do not let your knees come out over your toes. Hold this position for 30-60 seconds. After a quick break, repeat up to three more times. When you're ready for the next challenge, try doing this move holding one leg straight out in front of you and switch legs after 30 seconds.
Triceps dips
Stand in front of your desk or chair. With your hands shoulder-width apart and your legs out in front of you, grab the edge of the desk or chair behind you, move your bottom off of the chair, and lift yourself up and down. Straighten your arms and keep a slight bend in your elbows to keep the tension on your triceps and off of your elbows. Aim for 10-15 dips, take a break, and repeat the set.
Lunges are a great way to work all muscles in your legs. With one leg in front of the other, lower the knee of your back leg down towards the ground. To protect your knees, make sure that your front knee does not go over your toes (your front knee should be at a 90-degree angle with the floor). Repeat the lunge 10-15 times and then switch legs. Try for two sets on each leg. For a change of scenery, try doing these lunges down the hallway at work, alternating legs with each lunge.
Calf raises
Holding on to your desk or chair in front of you for support, stand up and slowly raise your heels off the floor until you are standing on your toes, then slowly lower your heels back down to the floor. Repeat this move 10 times. After a 30-second break, repeat this set 1-2 more times. Calf raises are a great way to tone the muscles in your lower legs.
Shoulder press
You can tone your shoulders and improve your posture doing this move with little or no weight. Start without weight, and then build up to using something lightweight such as soup cans or water bottles. Hold your hands up at shoulder height (like a goalpost). Slowly raise your hands up until your arms are straight overhead and then lower them back down. After 10 presses, take a break and repeat this set 1-2 more times. Even a small amount of weight makes this exercise very effective.
The bottom line
Take a few minutes out of your day to try these exercises; it can have a huge impact on your health. When you don't have time to go to the gym, get creative and think of ways to fit in time for fitness. Take a walk with a coworker instead of sitting in a meeting room, march in place while on a conference call, or pop in a workout DVD in your office computer at lunchtime. Small bouts of exercise throughout the day can be just as effective as longer workouts when it comes to improving health.


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Opening times
The campsite is open from the 06/04/2019 to the 29/09/2019
Receptionis open every day from 8:30 a.m. to 12:30 p.m. and from 2:30 p.m. to 6:30 p.m. off-season and from 8:30 a.m. to 12:30 p.m. and from 2:30 p.m. to 7:30 p.m. in season (July and August).
The grocery is open every day in season (July and August) from 8:00 a.m. until 1:00 p.m. and from 4:00 p.m. until 8:00 p.m.
The launderette is open every day up until 11:00 p.m.
Services close-by to campsite
To ensure your campsite trip is as comfortable as possible, our campsite offers a whole host of services across its 4-star site.
Services free of charge
- Brittany tourist information
- Free WI-FI access in reception and bar areas
- Ironing (iron available from campsite reception)
Services with charge
- Laundry, 4€ per token
- Clothes drying, 3€ per token
- Fridge, 5.50€ per day
- Bicycle hire
- Free WI-FI in communal areas
- Wi-Fi at cost throughout the campsite
Groceries and bread delivery
Take advantage of a grocery store within the campsite and bread delivery in July and August.
Out of season: bread and pastries are available from reception: Subject to order. Do not hesitate to call the evening before to place your order.
Postal services
From the 6th April to the 29th September: there is a Postal service within the campsite in order to send letters.
Food services
We also offer a takeaway service for evenings spent with family or friends within your rental.
Relax at the occasion of an aperitif, lunch or dinner, and head to the campsite bar which is designed to present its refreshing drinks menu.
There is also an ice cream selling point within the campsite throughout the season, much to the delight of both adults and children.
The food and bar service is available every day in July and August, and just weekends and holidays off-season.
Select a 4-star campsite to spend your next holiday and take advantage of a place which offers a multitude of services ensuring your comfort and well-being throughout your stay.
Pleasant and successful holidays guaranteed! ! !


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A dreary sandwich shop in a soulless strip mall is the setting for Bess Wohl's thought-provoking, if unevenly seasoned "American Hero," a comedy about three "sandwich artists" left to pick up the Sun Chips when they're abandoned by the store manager and his corporate overlords.
Directed by Leigh Silverman, a Tony nominee for the Roundabout's stirring musical "Violet," "Hero" is an offering from Second Stage Theatre's uptown series, which focuses on emerging playwrights. Wohl is both a writer and an actress, whose on-screen credits include the Jodie Foster thriller "Flightplan."
In "American Hero," Wohl's minimum-wage workers are a trio of post-recession archetypes: a single-mom hoping to prevail in a custody battle (2ST vet Ari Graynor, of "The Little Dog Laughed"); an MBA recently axed from his banking job (Jerry O'Connell, last seen on Broadway in "Seminar"); and an awkward teen (Erin Wilhelmi), exhausted by her other gig at a taco joint.
The three are the inaugural employees at a toasted subs franchise with a cloyingly methodical South Asian manager (Daoud Heidami, fine as a by-the-books drone) who probably isn't a terrorist, as the crew briefly suspects, but is definitely a bozo—he's sunk nearly half a million into a franchise "opportunity" with slim odds of success.
We meet this awkward gang during a training session, as Heidami's Bob is passionlessly teaching the charges how to make a sandwich per the corporate manual. When Bob doesn't show up for the grand opening, Jamie (Graynor), Ted (O'Connell) and Sheri (Wilhelmi, above, with Heidami) are forced to examine whether the rudderless sub shop has the makings of a viable lifeboat for any of them.
This is the point in "American Hero" where you're meant to stop and wonder: Why don't these three just leave, since their paychecks walked out the door alongside Bob? It's a question Wohl answers only half-heartedly, and it leaves the rest of the 90-minute piece on shaky ground. "This f—ing place. It's all I have," kvetches Ted, the father of two now forced to live with his in-laws. It just isn't plausible that there would be no comparable jobs anywhere else in this humdrum town.
Graynor, of the just-axed TV comedy "Bad Teacher," is a reliable comic presence, notably as she attempts to seduce strait-laced Ted—this is Jamie's first gig since being fired from SuperCuts "for stealing mousse." O'Connell uses his 6-foot-2-inch frame to fine effect, creating a character who is, in all senses, too big a fish to operate in this small a pond. The lesser-known Wilhelmi (recently of The Public's "The Great Immensity") does yeoman's work, as the one employee with a vision for getting out of this mess.
The climax exposes a Russian nesting doll of corporate misery, straight up to the CEO's office. At times, "American Hero" makes you feel as if you're being bonked on the head with a foot-long loaf of 9-grain wheat, but we do get Wohl's point: no matter where you fall on the food chain, you're bound to encounter frustration in a day and age when uniformity and profit are valued over creativity and inspiration.
"American Hero" calls to mind a range of anxiety-generating post-recession narratives, among them Laura Marks' "Bethany," which saw America Ferrera employed at a doomed Saturn dealership. Wohl's dialogue can be as bland as iceberg lettuce or as peppery as arugula, but the ideas she's toying with do, indeed, leave you plenty to chew on.
"American Hero," through June 15 at Second Stage Theatre's uptown McGinn/Cazale Theatre, 2162 Broadway. Tickets: $25. Call 212-246-4422 or visit www.2ST.com.
Follow Robert Kahn on Twitter@RobertKahn


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Truncated Pyraminx (from Poundland!)
So, today I thought we could have a look at this guy – a truncated Pyraminx. I have a standard Pyraminx, and have had it for a while, but I heard some pound shops were selling these, so I kept an eye out if I was near.
By a stroke of luck, I found one – the shop only had two left when I went in.
For a £1 puzzle, it is surprisingly decent!! There have been a couple of instances where the panels have fallen off, but nothing that a bit of super glue won't fix!
It's exactly the same as a normal Pyraminx, apart from the trivial tips, but who needs those anyway?!!?
Only a quick one today for my quick, Pound shop, puzzle.
Here it is scrambled:
More tomorrow (only nine days to go!!):


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09-23-2020 Very happy. Source: Home Advisor
05-26-2019 James Elliott roofing is a local company that came recommended to my family. He had done some work in my neighborhood. When I seen the work he did I decided to call him about a repair. I left a voice mail and he got back to me the next day to set up a time and day to take care of my repair. Very responsive and fair pricing. I would recommend him to anyone who needs any work done. Source: Google
05-16-2019 Excellent Roofing company. Did exactly what they promised and a little more. I would recommend this company if you need a new roof. On time and very professional. New roof in 1 day. Source: Google
05-14-2019 I chose this company for its positive reviews and being local. First time about a few weeks ago we needed a trim piece at one of our dormers reattached and he provided quick help and follow up Source: Google
05-04-2019 Would absolutely recommend this company, we are so very pleased. The crew was great & very professional, 5 stars in our book! Source: reviewer
04-26-2019 We had wind damage so we got multiple quotes for our insurance claim. James' sales rep was not only competitive but also incredibly helpful in understanding the process. They got me scheduled, completed on time, and their workers were incredibly respectful of property. They moved my outdoor furniture to avoid damage and did great clean up. I highly recommend the entire crew! Source: Google
04-25-2019 In and out and did an amazing one day job! The quality work and outstanding service was great. Thanks so much for all the help! Source: Google
02-26-2019 Very professional!!!!! They always were prompt and on time. They would always keep me in the loop. They did a great job with the sky light and roof. Highly recommend this company. Source: Google
02-23-2019 James Elliot Roofing is an exceptional company. After getting the run around by another roofing company to fix a simple problem on my house a short phone call is all it took to have someone at my home in the rain the same day. The repair man was kind and professional and took the time to explain to me in detail what caused the problem and what he was going to do to repair it so we did not have any additional issues in the future. I cannot recommend this company enough, they are by far the best home repair company I have ever worked with. Source: reviewer
07-02-2018 We were very happy with the service we received.From the initial visit from Ed the sales rep to the end of the job.The crew leader Eric was very good and answered all my questions.The cleanup was very good.We are very happy with the entire job.Very professional. Scott C. In Covington KY Source: Home Advisor
05-19-2018 Just wanted to thank you and submit my testimonial. Exceptional!!! I am very satisfied with the service I received from James Elliott Construction. From beginning to end the service was professional and completed in a timely manner. When I called with questions Mr. Elliott answered. This is a truly honest company. The workers showed up on time and worked with precision and did not waste any time. They cleaned up completely after the roof was installed. I would recommend this company to anyone. Source: reviewer
05-11-2018 James Elliott not only did a great and professional job on my roof but took care of another issue that was unrelated to the roof without charge. In doing that he showed that he was not only in business of roofing but in the business of customer service and helping a client with a problem. I highly recommend James Elliott Roofing!!! Source: Home Advisor
01-02-2017 Awesome!!! James Elliott Roofing was outstanding from the first call all the way through completion on our new roof. We had originally contracted with another roofing contractor. He had ordered all the roofing materials, had them delivered to my house, but back out (quit) prior of tearing off and replacing the roof. Needless to say, this left me in a major jam, it was mid December, and all contractors are leery jump into a job were someone else had measured and delivered all materials. James Elliott's professional crew showed up immediately evaluated the roof, did checklist of delivered materials, then consulted my wife and I on best path forward. They saw a several areas of improvement, upgraded the underlay material to synthetic, and gave us a start date. Crew showed up on schedule and worked diligently until finish of project. I would highly recommend James Elliott Roofing to anyone needing a roof or repair. This has to be one of the most positive experiences we've had with a contractor ever. Thanks much to James Elliott Roofing. Source: Home Advisor
09-21-2015 Good work but responses and changes very slow Source: Home Advisor
06-21-2015 Professional and sound advise before, during and after the project. The team showed up on time and ready to work without hesitation or fail. All of the products were pre purchased and on site ready to be applied: there wasn't a spare trip mid roof to Home Depot for something more. The original quote was met, and actually done in less time than estimated! James Elliott and his team are pro-active, dedicated, and willfully able to do anything for the customers needs. I had other bids, and the only way I can imagine that he does business is to take a profit cut AND still use the best quality materials, mixed with the best service. That's how you do business. A true example for small business in America to follow. Source: Home Advisor
03-05-2015 excellent work and very professional Source: Home Advisor
02-22-2015 I had a major emergency in my house on a Saturday morning during a snow and ice storm. I was awakened by the sound of dripping water. We had a major roof leak right onto my 12 yr old son's bed .. a real gusher. Looking outside at the sleet/freezing rain and snow combo I had no idea what I was ever going to be able to do. We had just bought this wonderful 100+ yr home a year ago, in a dream area of Lexington and the home inspector had told us the roof needed to be replaced. I of course, waited to long. I logged into homeadvisor.com and James from James Elliot called me back within in 20 minutes at 7:45am > His wonderful #2 guy, Jeff showed up at noon as promised with my car not even being able to get out of the driveway snowbound. Jeff was incredible. He was here from noon until 6:50pm on a Saturday. He got up on our very high 2nd story house and somehow sealed the leak. He was pleasant, courteous and a dog lover which was great for me that has three dogs all trying to overwhelm him! I could not have been more impressed with both James and Jeff. The cost of the repairs was within reason considering the amount of time, and effort it took. Poor Jeff literally worked in the freezing rain outside for three hours. I tried to offer him extra clothing and supplies but he had all his own and was prepared. We are going to use James Elliot construction to not only replace this roof here now but also the roof on my mother's home in Paris, Ky. I cannot tell you how impressed I was with this super company and super people. Saved the day .. and my flooring, carpets, etc etc. Awesome experience for scary situation. Source: Home Advisor
11-08-2011 Out of all of the bids we had, Elliott Construction was the only company that actually got up on the roof to inspect what they were going to replace. They answered all of the questions that we had. They were quick and efficient and left our property clean. Jamie stayed with the estimate he gave us. There were no hidden costs. Source: Home Advisor
08-01-2011 Excellent customer service!! Was able to speak with contractor personally for any questions that I had. Very pleased with work. Will use them again for future work and would recommend to friends and family. Source: Home Advisor


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Minneapolis, MN (February, 2015) – Innovative Office Solutions has acquired S&T Office Products, Inc., making the combined organization the largest independent office productivity supplier in the Upper Midwest and one of the largest in the country. The company will operate under the Innovative Office Solutions brand.
Jennifer Smith, the CEO and founder of Innovative Office Solutions, started her office supply company in 2001, and has watched it grow five times larger since 2008 by investing in staff, technology and new business categories at a time when most companies were downsizing due to the recession.
S&T Office Products was established in 1971 by Frank Tschida. The company has a long history of growth during challenging economic times, and has focused on office supplies and contract furniture as its foundation.
The addition of S&T Office Products to the Innovative brand brings with it the S&T Office Interiors Group, adding a highly respected contract furniture service with known expertise in the Twin Cities architecture and design communities.
The move bolsters the Innovative Office Solutions brand tremendously and is another huge step forward for one of Minnesota's most dynamic and progressive companies. Innovative Office Solutions strives to be a single source, solution-based supplier with an emphasis on workplace productivity. S&T brings an additional wealth of creative experience resulting in a more robust menu of service offerings.
A Winning Culture
Throughout its growth, Innovative Office Solutions has made it a priority to maintain the culture that made it successful in the first place.
"When we started Innovative, it was to fill a gap in the market where service was suffering in the industry. We brought service back through our Relationships Matter belief system, and combined that with the technology and partnerships necessary to compete in the marketplace," Smith said. "We've created a growth culture, but kept it a fun and rewarding place to work and that attitude has resonated with our customers."
Innovative Office Solutions has landed on the MN Business 100 Best Places to Work list for three consecutive years by offering a health friendly workplace with initiatives such as sit-stand desks, daily workouts and health-based incentives.
That winning culture has given Innovative a unique spot in the marketplace as a business that deftly combines their large-scale technology and supplier partnerships with the touch and feel of a small company.
Simply put, Innovative Office Solutions provides the customized solutions and services you expect from smaller local organizations with all the capabilities, resources, products, services and technology a larger company offers. This model has proven to be successful as businesses flock to the personalized service offered by Innovative.
Moving Forward
"This acquisition will combine the two strongest independent providers in the marketplace and will enable us to provide even more services and solutions to our customers, and new opportunities for our employees and supplier partners," said Smith.
Frank Tschida, the President and CEO of S&T Office Products, weighed in, "As I planned my retirement, I only considered selling to a market leader that would keep a focus on being a local provider to our customers and providing growth opportunities to our employees. Innovative Office Solutions was the logical choice. We were incredibly aware of the company's growth history and visionary leadership with Jennifer Smith, I was certain that Innovative would maintain the high level of service our customers expect."
This is a collaborative acquisition that will bring both companies together under a single brand. Innovative Office Solutions will inherit the people and services of S&T Office Products, thus allowing customers to maintain continuity with their existing relationships, while adding expanded capabilities to the customers of both organizations.
The combined talents, technology and expertise of the two companies will bring more options to clients of both organizations and continue to deliver flexible solutions to their clients through a model of personalized local support.
"It's exciting to offer potential and existing customers the ability to work with a progressive, woman-owned, local business with an amazing reputation. I couldn't be happier than to work for this tremendous group," said Debbie Lazcano-Stai, a Business Development Manager at S&T Office Products.
"We have long appreciated the quality, value and expertise both Innovative Office Solutions and S&T Office Products have independently brought to us at Summit Orthopedics. This move offers us, as well as the community, a comprehensive solution for our furniture, office and break room supply needs," said Amy Zuber of Summit Orthopedics.
In Tune with Today's Ever-Evolving Workplace
Trends like digitization, mobility and millennials entering the workforce have all had a huge impact on how businesses operate and the types of solutions they need. This acquisition allows Innovative Office Solutions to take advantage of the strengths and experience of both organizations to deliver forward-looking, up-to-date solutions that align with customer needs.
With a foundation of experience, combined with fresh ideas, more flexibility and technology, the organization is set up better than ever to serve the needs of today's workplace.
About Innovative Office Solutions
Founded in 2001 by CEO Jennifer Smith, Innovative Office Solutions is a progressive, independent provider of office productivity solutions with a vision towards making the workplace more productive.
The products & services offered by Innovative include office supplies, furniture & design, cleaning supplies, breakroom products, promotional products, technology solutions, print & graphic design. This full portfolio is delivered in a personalized, relationship focused, approach designed to deliver the right solution to meet the unique needs of any organization.
Clients include the Minnesota Vikings, Minnesota Twins, Minnesota Wild, Minnesota Timberwolves, Minnesota Lynx, St. Paul Saints, Minnesota Swarm and Minnesota United FC. Innovative partners with each of these professional sports teams to give back to the community through a variety of sports-themed initiatives.
* 2014 Women's Presidents' Organization, 50 Fastest Growing Women-Owned/Led Companies for the fourth consecutive year.
* Minnesota Businesses 100 Best Places to Work Award for three straight years.
* Ranked in the Inc. 5000 fastest-growing privately held companies in the United States for seven years.
* CEO Smith has been featured in Forbes magazine and was the cover story for Upsize Magazine in January, 2010.
* CEO Smith was a finalist for the 2014 EY Entrepreneur of the Year Award for the Midwest.
* In 2010 Smith was recognized as WBE of the Year, presented by Women's Business Development Center of Minnesota.
About S&T Office Products
A fixture in the Twin Cities, St. Cloud and Minnesota business communities since 1971, S&T Office Products offers office supplies, contract furniture through the S+T Office Interiors Group, and a reputation of being the premier supplier to the local legal community. S&T has 110 employees in three locations.
For more information please contact Bill Hubbell or Noel Roos at Diedrich RPM at 952-446-6847.


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Explore America's Campgrounds
A gun barrel that is rusty inside can not only affect the weapon's accuracy, it can also negatively affect your safety. The rust and debris within the barrel can cause a drastic increase in pressure after the round is discharged, resulting in a split or bulged barrel--or even exploding the gun's action. Thus, ensuring that the barrel of your rifle, shotgun or pistol is free of rust is of the utmost importance.
Items you will need
Bore solvent
Bronze brush (sized to fit barrel)
Cleaning rod (with attachments)
Cleaning patches
Gun oil
Step 1
Soak the bronze brush in the bore solvent, and attach the brush to your cleaning rod. Run the brush through the rusty barrel. If possible, push the brush in the same direction as the bullet would travel, from the chamber out toward the muzzle. After you've completed several passes through the barrel with the brush, let the gun sit for five minutes.
Step 2
Attach a clean patch to your cleaning rod, and run it through the barrel. Remove the dirty patch, and attach a new one. Push the new patch through the barrel once again. Keep doing this until a new patch comes out mostly clean.
Step 3
Soak a large patch in bore solvent. If you do not have different sized patches or can't cut them yourself, you can combine two smaller patches. It is important that the solvent-soaked patch fit snugly inside the gun's barrel.
Step 4
Attach the solvent-soaked patch to your cleaning rod, and push it through the barrel. Repeat this several times, twisting the rod as you push the patch through the bore to ensure that the entire barrel is coated in solvent. Allow the gun to sit for approximately 10 minutes.
Step 5
Place a clean patch on your cleaning rod, and push it through the barrel. Once again, remove the dirty patch and replace it with a new one. Run a clean patch through the barrel until it comes out free of any traces of rust or debris.
Step 6
Soak a clean patch with gun oil, attach it to the cleaning rod and run it through the barrel a few times. This will apply a protective coating to the barrel and help prevent the formation of rust. It is important, however, that you clean the oil out before trying to fire the weapon.
Photo Credits
- rifle lady four image by Paul Moore from Fotolia.com


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text: For decades, we used our cars' cigarette lighters to actually light cigarettes. It was a smelly affair, but no one was yet complaining about second-hand smoke. Then tobacco became passe, and gadgets became much more mobile. From the CD Walkman with its 12V adapter to modern smartphone chargers, consumer electronics now make ready use of the electricity surging through our automobile power ports. But have you looked at what can be plugged into your car's cigarette lighter lately? The options are amazing -- you can now take a full complement of lifestyle accessories on a camping trip. Or, in a pinch, you could use your vehicle's cigarette lighter to power the amenities of a happy (albeit cramped and slightly downmarket) home. For video evidence, click the movie above. For more exacting detail, enjoy our gallery of awesome, automobile console-powered gadgets.Coleman Rechargeable Portable Blender Nothing fulfills one's recommended daily allotment of fruit and vegetables quite like a smoothie. It's difficult to find a quality smoothie stand along the highways and byways of our fast-food nation, but Coleman comes to the rescue with its Rechargeable Portable Blender. This $50 blender will handily crush ice and various fruits and vegetables with ease, and margaritas (as evidenced in our video) are just a few powerful blending adventures away. Coleman says the unit will dole out between 20 and 30 pitchers of drinks per charge -- more than enough to provision your very own smoothie stand at a rest stop. The blender can be charged via a household outlet, or, more apropos to our traveling and domestic needs, a vehicle's 12-volt port. Let the bananaberry flow!Black & Decker Auto Pivot Vac Car interiors take a beating. From family pets shedding all over the seats, to the colony of french fries that resides on the cabin floor, most vehicles need a seriously good vacuuming. This is where the cyclonic power of the $69 Black & Decker Auto Pivot Vac comes in. The Pivot Vac will make short work of these messes, and you won't even need an extension cord trailing from the wall outlet in your house. The 12V-powered vacuum has a 10-position pivoting head with an extension that adds a hose to the end. With all those positions and reach power, sucking up sand, dirt and fast-food straw wrappers should be a literal breeze.Car Cozy 2 You want the windows and sunroof open, but your passenger is cold. End the ongoing battle for climate control with an electric blanket that plugs into your car. The Car Cozy 2 wraps your guest in the warm embrace of cloth and electricity. The blanket ships with a 7-foot-long cord and has an auto-off mode to help reduce the chances of sleep sweats. At 58 inches by 42 inches, the cozy is large enough to wrap one person up like a burrito. You could even drape it on top of two people in a convertible, and stare up at the moonlight. Romance!Wagan Deluxe Ergo Comfort Rest After about three hours on the road, a car seat can transition from "basically comfortable" to the rolling equivalent of a wooden park bench. The aches, the pains, the inability to feel your toes -- it all adds up to a miserable drive to grandma's house. Enter the $60 Wagan Deluxe Ergo Rest back massager. Its five massaging motors and heat wave therapy promises relief from the pain, and you don't even need to get out of the car to stretch your legs. Use it for long drives, or to turn your mobile home -- you know, the one down by the river -- into a funky-freaky bachelor pad. The massager works in the car, or you can plug it into a wall outlet with an included AC adapter.Sceptre 16-Inch HDTV Enjoy your travels -- or days by the riverside -- in high-definition. Sceptre's 16-inch HDTV plugs directly into your vehicle, letting you bask in the glory of HD anywhere. The $200 television has two HDMI inputs, so if you come across a Blu-ray player and videogame console that also plug into a cigarette lighter, you're set. Of course you could get a DC-to-AC converter for those peripherals, but that would be like cheating on your new cigarette-lighter lifestyle.Burton Digital Stove To Go A steady diet of truck-stop hamburgers my appease your initial hunger pains, but eventually those burgers will come back to haunt you. But luckily a home-cooked (er, car-cooked) meal is only a few hours away thanks to the Burton Digital Stove To Go. The $45 slow cooker will reach temperatures up to 350 degrees Fahrenheit, and includes a steamer tray for vegetables, dumplings or fish. The stove comes with a recipe book filled with delicious road-trip meals, like macaroni and cheese, catfish stew and beef tostada pie. Each recipe takes about two hours to cook, so just make sure your destination is two hours away before getting your rolling chef on.Spotlight Rechargeable Flashlight Cars never break down on well-lit streets. They almost always stop running on scary dirt roads -- or on long stretches of highway surrounded by cornfields and the serial killers who live in them. It's in these situations where you need a flashlight the most. Too bad the only one you have has been rolling around in the trunk, and only provides five minutes of light before it fades into uselessness. The $20 Spotlight Rechargeable Flashlight will not only be ready the moment your car runs out of warranty coverage, but it will also be easy to find because it's nested in your car's cigarette lighter. It's always there, always charging, and always ready to pierce the darkness with a beam of light. And don't mock the small size -- this bad boy is deceptively bright.Wagan Personal Thermo-Fridge/Warmer Forget the bags of ice and the styrofoam cooler that smells of dead fish. The $110 Wagan Personal Thermo-Fridge/Warmer will cool -- or heat -- anything you can cram into its 10.5-liter space. Two cup holders and a padded armrest will let you enjoy your beverages in style. It's a bit too big to use as a center console in cars, but vans and trucks could benefit from this cooler on the go.All Photos: Ariel Zambelich/ Wired