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Forgotten Photos Are a Window into Early Days of Gay Rights
June is LGBT Pride month and this weekend San Francisco hosts the nation's largest Gay Pride Parade. This year's events come at a time of extraordinary success for gay rights advocates. The gay and lesbian community in West Hollywood celebrated Pride recently with a mural unveiling at a Wells Fargo bank branch that includes an image from more than four decades ago, part of a collection coming to light only now.
It's a colorized version of a black and white photograph of two men, Morris Kight and Don Kilhefner. The two were gay rights pioneers, co-founding the Gay and Lesbian Community Service Center in Los Angeles in 1970.
Kight died 11 years ago but Kilhefner, now 76, was on hand for the unveiling along with Anthony Friedkin, the man who shot that photo. It was the first time they'd seen each other in over 40 years.
In 1969, Kilhefner and Kight were approached by Friedkin, then a 19-year-old photographer. Kilhefner remembers the young artist wanted their help getting entree to their community.
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"Up until that time gay people were not seen very much," Kilhefner recalls. "If we were seen in public, like a Life Magazine spread, our faces would be darkened out. It was almost as if you couldn't show us publicly."
Things began to change with the Stonewall Riots in New York City. Gay men and lesbians were beginning to emerge from the shadows.
"It was a political revolution, it was a social revolution, it was a cultural revolution," Kilhefner says. "It was a spiritual revolution in consciousness for gay people."
It's what Friedkin wanted to capture with his camera. Friedkin grew up around gay people -- his father was a Hollywood writer and director, his mother a dancer at Paramount Studios.
But while capturing images of an emerging community long in the shadows made perfect sense to him, he was a little ahead of his time.
"Some of my best friends were like, 'Why are you photographing gay people?'" Friedkin recalls. "'Like what's up with you? Are you gay? You know, why are you doing this, ya know?'"
But Friedkin wasn't deterred. Between 1969 and 1973, he spent months hanging out first in Los Angeles, then in San Francisco. On the streets, in bars and nightclubs -- sometimes in club bathrooms as drag queens transformed into character. These are some of Friedkin's favorite photographs.
"And these are big men who weigh, two, three hundred pounds," Friedkin says. "They're like football players. They have lipstick on and beautiful brassieres and necklaces around their neck. And also visually it was exciting to photograph them because just how they put it all together. It was like that Kinks' song 'Lola.'"
After hearing about the San Francisco drag troupe The Cockettes, Friedkin went to San Francisco, photographing the performers – including Divine – in a North Beach theater.
"I wanted to photograph gays who were willing to take the chance and be courageous and go out the door and say, 'This is who I am and I'm proud of it,'" Friedkin says.
Although he titled this collection of black and white photos The Gay Essay, he wasn't making it for a gay audience. He wanted to share his work -- documenting a movement and using the images to convey the empathy he felt for his subjects. But his work got only minor attention. Until now.
The de Young Museum in San Francisco is featuring The Gay Essay now through January 11, 2015. The de Young's photography curator Julian Cox says Friedkin's collection never got the attention it deserved.
"Friedkin's own efforts to get the photography into the best museums in the country that were working with photography at the time was [sic] not successful," Cox says. "And it's taken him 40 years to make it happen."
The reason, Cox says, is that there was a limited audience, and limited opportunities to reach them.
"The expression of gay lifestyles is so common in our culture nowadays, from television to videomaking and music as well that it's not really an issue anymore," Cox says. "At the time Friedkin was making The Gay Essay it was still red hot."
And too hot to touch, at least for most galleries of the day. In fact, homosexuality was still illegal in California. The FBI and the LAPD infiltrated gay political and social groups. There was entrapment, harassment and police brutality.
Through it all, Friedkin kept working with his Leica M4 camera. The result: a sensuous collection that also documents an era. There are drag queens and hustlers, intimate images of gay and lesbian couples, teenagers just discovering their sexuality. Friedkin's photos capture the humanity of them all.
"There was this incredible need for intimacy and physical passion with each other," Friedkin says. "The desire to connect, to communicate, to love one another. And I saw it more and more in the photographs."
Art critic Hal Fisher worked for Artweek in the 1970s. He says to fully appreciate The Gay Essay you have to appreciate how Friedkin used the rapport he developed.
"Anthony Friedkin's work goes beyond documentation," Fisher says. "It's art. It's not just people saying, 'Oh, I'm going to the gay day parade I'm going to photograph it.'"
As San Francisco holds its annual Gay Pride parade this weekend, Kilhefner hopes Friedkin's photos help younger LGBT generations understand how a rag-tag group of hippies, hustlers, drag queens and activists laid the foundation for this extraordinary era of civil rights progress.
"It's going to allow gay people to look back and say, 'Oh my God, that's what they looked like then. That's what they were wearing then. That's what they were doing,'" Kilhefner says. "These are the people who lived that formative period of our history called the beginning of gay liberation."
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Patent Pet Shedding Grooming Gloves For Cats, Canine & Horses (One Pair) Pet Ninja Shop
Animal lovers ought to stop calling their furry or feathered mates pets" because the time period is insulting, main academics declare. At Pet+E.R., you possibly can take comfort in knowing that your pet will be cared for by some of the region's leading animal specialists. The workforce at Pet+E.R. treats every of its sufferers as in the event that they were their very own pets, with the utmost care and compassion. As a leading emergency and demanding care veterinary supplier serving the Baltimore Washington corridor, Pet+E.R. gives the highest stage of assist potential for pet house owners whose pets are confronted with essentially the most severe emergency and demanding care conditions. Every of our two locations has a comprehensive suite of emergency and critical care companies all below one roof to deal with excessive animal accidents and diseases.
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IL Learning Standards / PARCC
Illinois has joined more than 40 states in a collaborative effort to raise learning standards and improve college and career readiness for all students, regardless of where they live. The new Common Core State Standards establish clear expectations for what students should learn in English Language Arts and Mathematics at each grade level. The standards are high, clear, and uniform to ensure that students are prepared for success in college and the workforce.
These new expectations also pave the way for the State to replace the ISAT tests with the Partnership for Assessment of Readiness for College and Careers (PARCC) assessments. The PARCC exams will align to the Common Core State Standards and provide better information about students' abilities to master the appropriate skills and content benchmarks for college and careers. Unlike the ISAT, which is given once a year, the PARCC tests will be given more than once during the school year. The PARCC exams will provide teachers, parents and students a clearer, more detailed picture of students' strengths and areas that need improvement. The transition to the PARCC tests is scheduled for the 2014-2015 school year.
Click Illinois Learning Standards to get an overview of Common Core Standards and student assessments.
To learn more about the new PARCC test, visit the Partnership for the Assessment of Readiness for College and Careers (PARCC) website at parcconline.org.


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GHello, Mr. RB♭adio, Gyou friendly stB♭ation, GSo glad of your B♭company, yGour morning musB♭ic, DmMy wife she ran away, Bmshe left our home, A♭And though you're here with me, Asus7I'm on my oA7wn. Hello, Mr. Radio, you friendly speaker, You played my request today, request to see her Your voice comes riding home across the air, You travel 'round the world, but still you're here. I heard on the news today the world is no good, But if she returns today mine could be so good I look into the sky, your waves rush by, The weather man has lied, it makes me cry. Hello, Mr. Radio, do I disturb you? Sometimes I forget my place, I seem to know you I miss you when you close, you'll never know, And when your programmes go, I'm on my own.Standard guitar tuning:EADGBENo capo
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It is pointless to talk about his ability as a pianist. He is exceptional. However, there are very, very few musicians, let alone pianists, who naturally understand the movement and free thinking necessary to hurl themselves into experimental or traditional areas of music, sometimes, ironically, at the same time. Mike does this with such enthusiasm that it makes my heart glad just to be in the same room with him.
David Bowie
At sixty-two, virtuoso pianist Mike Garson is still developing his piano style and imagination, through day-by-day dedication and practice. His capacity to come up with something new in the most diverse settings made him a perfect jazz counterpart to David Bowie, with whom he has worked for over thirty years.
Mike Garson is the only musician in Bowie's live band who is allowed to improvise. Bowie producer Tony Visconti has said about him: "Mike Garson listens attentively, then plays whatever the hell he wants.". Many new pop groups have hired him because of his unique, often quirky contributions. He has also developed an interest in electronic music and, along with guitarist Adrian Belew, has made major contributions to Trent Reznor's band Nine Inch Nails.
But Garson is also an all-round jazz musician, who because of the Bowie connection has not received the praise that is his due. A noted jazz colleague once said about him, admiringly: "I won't forget the night he exploded my piano into thousands of inspired notes finely funneled into the tape recorder."
An LA-based musician able to absorb and reproduce different styles, Garson took the advice never to become a superficial studio musician from Bowie's musical director and prominent fellow Spider From Mars, the late Mick Ronson.
There is hardly a stronger contrast imaginable than that between the original, experimental music that Garson puts on his MySpace page for free, and the Music Library recordings that he did as well, and was paid for, copying jazz piano giants. Sometimes, when he turns on the television late at night and catches a Hollywood movie with a jazz score, Garson will recognize his own playing.
Fame and talent are not always on the same page. The music Garson is most famous for and receives emails about every day, he did almost as a joke, in between. Imagine people grasping that other part of him…
Mr. Garson, even though you are primarily a 'serious jazz musician', you first became known as the antidote of that, a hip rock musician, almost 40 years ago. Were you a child of the sixties, involved with Timothy Leary and all that?
No. In the sixties, I lived in New York and had the great fortune to study with some great musicians. Three years with Lennie Tristano, three lessons with Herbie Hancock -who was playing with Miles Davis at the time- and a long, six hour session with Bill Evans. Another guy that taught me a lot was Hal Overton, Thelonious Monk's big band arranger. I used to visit him right after Tony Williams did.
So I was right on the scene and I would see Bill Evans all the time at the Village Vanguard, and I used to see Miles Davis and John Coltrane at the Half Note. I got to play with Elvin Jones in 1970 in Greenwich Village, because his piano player fell off the bandstand, drunk. So they dragged him out into the streets, and saxophone player Steve Grossman invited me into the band. At the time, I also used to play a lot with saxophone player David Liebman, a guy I used to go to high school with.
How did you, being a jazz player, become involved with a avant-garde pop artist like Annette Peacock?
Annette.. she was married to jazz bass player Gary Peacock, and after that to jazz pianist Paul Bley, and somehow she heard of me. I had studied a lot of avant-garde music, classical stuff. Plus I heard a lot of avant-garde jazz music, Cecil Taylor, Ornette Coleman and such. And I could just play that kind of music very naturally. I was very fortunate, because Annette Peacock recommended me to Bowie. I only recently found that out, by the way.
Peacock was very much into synthesizers when there were not so many around. Robert Moog gave her one of his instruments. However, as a pianist you seem to have not become too much involved with that technology.
I had one funny experience with that. We went into the studio at nine in the morning, and she started setting up the moog with an engineer. This was a long time ago, they had those wires they had to attach to the machine, you know? Well, I spent ten hours waiting, getting paid, you know, union scale. And nine ´o´clock at night she says: "OK, we are ready to go". And she picks up the microphone, connects it to the Moog synthesizer, and it goes: "pffff". It totally broke down. (laughter)
What is the story about you getting accepted to Bowie's band, after playing only eight bars?
Mick Ronson conducted the audition by the piano in the famous RCA studio in New York and David Bowie was in the recording booth, and they had the microphone on. So he wasn't right next to me, maybe because when he did not like me, he would not have to deal with the embarrassment (chuckles)….
And Mick, who was a well-trained musician and also a great pianist, gave me the chord changes to the song 'Changes'. He put it up to the music stand. And I think I played only six or eight bars, six or seven seconds, and he says: "You have got the gig!"
So in the beginning you were wondering: why did they pick me?
Yeah! Well, I have to tell you, I teach a lot of music and, whether it is classical music or jazz, if somebody plays four bars I know everything about their playing. And he knew. You know, maybe the chords and the voicings and the arpeggio and the jazz influence… It was all there in those seven seconds.
What was bizarre about the whole situation, was that an hour earlier I did not know who David Bowie was. I did not have a clue. And I just took it as kind of a joke. And, to be honest, I accepted the job partly to be away from the heroin-oriented jazz scene.
But then Bowie already had Annette Peacock's recommendation. He was probably half-sold before I got there. That's what happens a lot: artists recommend each other who to hire for their new band. Miles Davis always worked like that.
How did the world-famous piano solo on 'Aladdin Sane' come about?
Well, I did tell Bowie about the avant-garde thing. When I was recording the famous 'Aladdin Sane' track for Bowie, it was just two chords, an A and a G chord, and the band was playing very simple English rock and roll. And Bowie said: "play a solo on this." I had just met him, so I played a blues solo, and then he said: "No, that's not what I want." And then I played a latin solo. Again, Bowie said: "No no, that's not what I want." He then continued: "You told me you play that avant-garde music. Play that!"
And I said: "Are you sure? 'Cause you might not be working anymore!" (laughter). So I did the solo that everybody knows today, in one take. And to this day, I still receive emails about it. Every day. I always tell people that Bowie is the best producer I ever met, because he lets me do my thing.
Well, a lot of people started listening to jazz because of that particular track…
Exactly. And even a lot of guitar players, including Reeves Gabrels, who played with Bowie, he built his style based on my piano playing. I had no idea, because I did it almost as a joke.
The 'Aladdin Sane' solo stresses certain bits of the jazz idiom, makes them ironic in a sense?
Very much so… I just played what I heard! I had never played a solo like that on my jazz gigs, I was playing be-bop! And very seldom do I even do it on gigs now. I may do some introductions to songs, very abstract. But what I play mostly is straight-ahead jazz, swing. Only in my classical pieces I use those devices… But Bowie loved it, and I never heard the solo for twenty-five years.
You never heard it?
No! Because I didn't know anything about rock and roll, and when I stopped working with Bowie in 1975, I got back to playing jazz with Stanley Clarke and others. I did not get back with Bowie until 1992, when I again listened to 'Aladdin Sane', for touring. It is only history that has proven it to be… this famous solo. Because I do get these emails every day, and I don't understand it! (laughter) I mean, honestly, I thought nothing of it. It might be connected with time, and that it was very new to rock and roll…
I remember in the London Times On Sunday at the time they asked David Bowie about me, and right on the front page of the paper it said in the title: "Mike Garson, the best Rock Pianist in the World, because he does not play rock".
Then there is this other Bowie song featuring Mike Garson, that seems to touch people a lot, 'Lady Grinning Soul'.
That's the other one. I get an email about that one every week.
The thing about that track is that a pop pianist could have done sort of the same thing, but that it moves people because it is a jazz player doing that…
I think partially that, and I use a lot of the romantic style of playing like, you know, Liszt and Rachmaninov. It has those very flashy kind of arpeggios and runs, that kind of emotion, not very familiar in rock. It was more of me as the classical pianist, with a jazz sensibility with the harmonies, and then using some of my virtuoso technique. Mild, but it was enough for what they needed for that song. Again it was one take.
So it was the same thing, the same sort of magic that happened two times?
I think so. And then there is that other song out there called 'Time'. There I play a Vanguard stride piano from the 1920s, and I turn it upside down a little bit.
You mentioned re-discovering those signature Bowie songs much, much later. How did you yourself feel about them, hearing them after such a long time?
I knew I played well, but I honestly did not appreciate it to the degree that others did. I thought I was just doing my job as a session musician. I knew it sounded good, but I was a little bit of a jazz snob at the time, so I did not think much of it. Again, history has proven it to be something that is interesting to people with a certain sensibility. I did not think much of it.
But did it move you when you heard it again?
Oh, 'Lady Grinning Soul' still does. And the 'Aladdin Sane' solo actually shocked me when I heard it again and I realized… that it was pretty good.
Did jazz musicians think that you were selling out at the time?
Yeah, they still do. I have a very funny story about Dave Liebman. We went to high school together. I am a year older than him, and I used to give him jazz lessons and turned him on to Lennie Tristano. To make a long story short, when I went off with David Bowie he went off with Miles Davis. And for over thirty years he totally discounted what I did, and thought of it as a joke and was mad.
Well, last year… Now he has a daughter that is sixteen and she became a Bowie fan. And she was liking my music more than her father's. So she turned him on to 'Aladdin Sane', and so after thirty-five years he sent me an email, saying: "Oh, that was pretty good what you did there!"
But he was such a staunch jazzer that he did not realize… You know, the spirit of jazz, if you really think about it, was meant to continue and move on. It was not meant to stay as Bud Powell, Bill Evans, Herbie and Chick. I took it even further and I am still improvising now, but I am improvising now classical music that has elements of everything. Problem is, it is so new, that I do not get accepted in the jazz world or the classical world. And the only time I make any money is when I play rock.
Did Bowie use you for new inspiration in the 1990s, when you came back together?
Yeah, especially when we did the Outside album. Me, Brian Eno and Reeves Gabrels. And it took him out of a slump, because the eighties were not good for him.
One solo piano record that you did in 1979 has been praised by critics as well as jazz players. Avant Garson, which unfortunately is no longer in print. Can you tell a bit more about it?
It was done in Chick Corea's house, on a beautiful Bosendorfer. And I just improvised for an hour or two, and he sat there, mesmerized. It came out on a very famous jazz label, but somehow it disappeared.
How did you come to meet and work with Chick Corea?
He produced some of my albums and played on them in the seventies and early eighties -they are all out of print (chuckles). I knew him back in the sixties, visiting his concerts, and then we did a tour in Israel together, we did two pianos. Sometimes I would be in a jazz club and he would play synthesizer or minimoog. Also, my wife was his agent in the eighties.
There is an interesting remark that Chick Corea said about your musicianship. He said: "he mixes history with true abandon".
He sort of got how I play. He even seems to have been influenced a little bit by my solo piano in the early seventies. I heard some things where he was using some things that I was doing in terms of the complete scope of the piano, whereas he was using a smaller section of it. And then he started -not playing like me, because he has his own style, he is a genius- he started using the piano in a wider way.
'True abandon' also means that you are not controlled, like many musicians are, by what you know…
That's an interesting point. I think I studied very formally for many, many years, both classical and jazz. And at a certain point I just threw it all out, and just sort of played how I heard music and how I felt. But then, at an early age, at twelve, I also changed the music of the classics. My teacher at the time told me I had delusions of grandeur. He was very offended when I messed around with Chopin and Mozart, but I thought nothing of it.
Speaking about modifying the classics… I read somewhere that you played the piano parts for a 1988 ABC television movie about flamboyant piano star Liberace.
Well, I wasn't too keen on that job, but when I got the call and they chose me from hundreds of pianists…. When I was seven years old, like in 1952, I used to hear him on television. And, you know, when you are very young, you absorb better. And I absorbed his style and could actually imitate him. But when I moved into jazz, I disqualified it. So many years later, after he died, and I was asked to do this, I appreciated that he actually was a great pianist, it just wasn't my musical aesthetics or sensibility. But I had to spend a lot of months learning how to play like him for that movie. I had to learn Tchaikovsky's piano concerto, and Debussy's 'Claire de Lune', and Chopin pieces, plus how he played boogie-woogie and popular music. I had to do all that in his style.
Were you like a method actor in a way, re-tracing Liberace's steps?
I do happen to have that skill, I can imitate any piano player if I want. There is a company in Hollywood that asked me to play every jazz piano style, from Jelly Roll Morton to Herbie Hancock and Cecil Taylor for a musical library. So I had to tool that for that project. Which was very fascinating, because I have such a love for the history of piano. Nobody knows that recording, but sometimes when I am in Europe and wake up in the morning, turning on the television, I think: 'hey, that's Oscar Peterson or Bud Powell'. But then it turns out that it is actually me playing!
It makes it all the more fascinating how you could "abandon" all these things that you learned…
It is fascinating, I still learn about my own creative process. I was very uncertain of myself, because most musicians did not see music like me. And so, it would have the appearance that I was a jack-of-all-trades. It would look that way, because one day I would do a pop thing, something for a movie or television, and then I would be doing a classical thing or backing up Nancy Wilson, Mel Tormé.
But the truth of the matter is, in each of those areas, I would delve into very, very deeply and spend a lot of time on that. For fifty-five years, I have just been working on mastering the piano and everything connected with it, but beside that I have my very own style.
I will tell you a funny story about Mick Ronson. I remember standing outside a bus with him, before going on a tour, somewhere in 1972. And he said: "You can make a lot of money in the studio, and you would be great studio musician. But I recommend you don't do it." And I listened to it.
After the 1980s, other prominent pop acts than Bowie -Seal, the Smashing Pumpkins, Nine Inch Nails- have asked for your services. What do they look for when they hire you?
They all want me to play like on 'Aladdin Sane' or 'Lady Grinning Soul'. There are many elements as to how I feel about music, but these two seem to be the ones that stuck with these groups and kind of people. Last night, I did a jazz trio concert and I could see that some people were shocked who came only because of Bowie…
Because you are sort of the guy who makes jazz accessible to people who hate jazz?
Exactly. I played with Freddie Hubbard in the late eighties and nobody knows that, because there is no recording. I played with Lee Konitz in the seventies, but there is also no recording. Michael Brecker, Lenny White, Dave Liebman, Steve Swallow, Eddie Gomez, Charlie Haden, the list continues…
That would have been no problem at all in our age, with YouTube, MySpace and all…
Well, the next part of my life, I will be dedicated to getting my music out there, digitally. I do not really care about if people pay for it or not, I put a lot on MySpace. The things I did with Bowie that are well known now…
Do you know that at first I was hired by Bowie only for eight weeks? I ended up working for him for two or three years. By the time I went back to playing jazz, it was almost too late, because everyone was getting established. When I got called to do Bowie, the same night I was called to go out with Woody Herman. And a few weeks before Freddie Hubbard and Joe Henderson, I turned both those gigs down, because a lot of heroin was being used and I did not want to be around that environment.
Plus I sort of recognized early on that David Bowie was a genius. But because of my jazz-oriented ideas I did not get it the way I get it now.
Well, you just do things, and afterwards you understand what they were.
Isn't that the truth?
How did your collaboration with the Smashing Pumpkins come about?
That was so wild that I almost died… I felt that it would take me out of my comfort zone. I recognized that they were also very talented and had something going. But it was a different something than what I had. So I thought it could enhance may viewpoint of music, although I did not like all of… well, some if it I liked…
But you do appreciate Nine Inch Nails?
For the Fragile album, I actually recorded fifteen tracks. They only used three. So when I met Trent Reznor once, I asked him about it. He said he might bring them out separately, but that the truth of the matter was that the style was so strong and reminiscent of Bowie that it would take away the attention of his style. And I said: I am pissed at you for not using it, but I respect your integrity.
The title of your last solo CD, Conversations With My Family, seems very personal and soul-searching…
Very personal indeed. I wrote the compositions on the CD over many years, from the beginning of my marriage to the birth my first grandchild. It works like a suite from beginning to end, and I have interludes between each piece, made by Kuno Schmidt. He collected and re-arranged bits done by the Vienna Symphonic Orchestra. There is a bonus-DVD of me and drummer Peter Erskine and a bass player. We are playing standards, and it was the first time we played together.
At first he did not even want to, because he only knew me from Bowie. Most jazz musicians can't get the idea that if you play rock and roll, you can also play jazz. And that is probably true in most cases… Well, finally, during the session on the DVD, you can see his face light up while we are playing a standard, Autumn Leaves or something. It is more interesting to watch him, than even to listen to me… He looks absolutely shocked by… how come I never met this guy before?


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Hello everyone, it's with great regret that we have to announce that Adebisi Shank cancelled their performance at the Out Of The Crowd Festival as there drummer Mick just broke one of his finger.
Here's their official statement :
"agfgdgfrftyghyuuyuytfThis SUCKS. Mick has broken his finger so we can't do the Out Of The Crowd Festival this weekend. Sorry guys. We were really looking forward to playing, and seeing our buddies in Luxembourg again."
We'll try to find a band to replace them on the bill.
Sorry once again for that.
jeudi 29 mars 2012
Adebisi Shank cancelled!!!
Publié par Out Of The Crowd à 02:28
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The second lump of sugar
In our view, the effect of every policy must first be regarded from the standpoint of the workers of the Nation, and of the poorest and most helpless among them. The charwoman who lives in St Giles', the seamstress who is sweated in Whitechapel, the labourer who stands begging for work outside the docckyard gates in St George's-in-the-East ... The policy which annexes even an Empire, wins an immortal battle, raises this man or that to the Premiership, or sweeps the board at a general election, shall appear to us infamous, not glorious - evil, not good - a thing to weep over, not to acclaim, if it does nothing towards making the lives of these people brighter and happier. On the other hand, the policy will appear to us worthy of everlasting thanks, and of ineffaceable glory, that does no more than enable the charwoman to put two pieces of sugar in her cup instead of one, and that adds one farthing a day to the wage of the seamstress or labourer.
That is TP O'Connor, writing in the leader column of the first number of The Star, his popular London evening paper, in 1888. You can find it quoted in Matthew Engel's Tickle the Public, or wherever learned British journalists grow teary about their trade. I came across it again in The Last Chronicle of Bouverie Street, a 1963 book about the death in 1960 of the News Chronicle newspaper, and incidentally of the Star. While I knew some of the details of the Chronicle's demise - others were shocking; I may blog about them later - the Star's story came as more of a surprise.
At the time of its death, when it was rolled into the London Evening News for no more than the cost of its pension obligations and week-a-year redundancy payments to its staff, the Star had a circulation - and remember this was a London-only title - of about 700,000. In other words, it was selling 200,000 more copies daily than The London Paper now manages to give away. But in 1960, that was only enough to make it the second-best-selling evening paper in Britain. And it had been losing money consistently since 1956. The poorest and most helpless, while numerous enough to make for a substantial readership, were not a demographic attractive to advertisers.
The city and the country's biggest evening paper, it should be noted, was not the London Evening Standard, eventual sole survivor of this three-way fight, but the title into which the Star was merged, the Evening News. The Standard won out not because of sales but because it attracted the most affluent, advertising-friendly readers. In the end, raw numbers are not enough. That might be considered a parable for the age of the unique-user count.
The other thought the story brings to mind is prompted by O'Connor's leader - as a good a manifesto for intelligent populist journalism as anyone could hope for. Here's the thing. If the conventional media were swept away tomorrow, expert coverage and scandalmongering-shading-into-muckracking would probably continue without much interruption. There are bloggers and others for all of that. What it might take a while to rebuild is any organisation with a wide enough reportorial reach, and a deep enough attachment to a wide enough public, to keep an eye on that second lump of sugar.


text:
Women Making News
Gender and Journalism in Modern Britain
Women creating the space for their own political voices in the press
Michelle Tusan's Women Making News tells two stories: first, it examines alternative print-based political cultures that women developed during the late nineteenth and early twentieth centuries and second, it explores how British female subjects themselves forged a wide range of new political identities through the pages of "their press."
Starting in the mid-nineteenth century, a rising cohort of female editors and journalists created a new genre of political journal they proclaimed to be both "for and by women," which continued until the 1930s. The development of new specialized periodicals, such as Women's Penny Paper, Votes for Women, Women's Gazette, and Shafts, fostered the proliferation of diverse political agendas aimed at reimagining women's status in society. At the same time, the institutional infrastructure of the women's press provided new opportunities for women in nontraditional employments.
Tusan's approach employs social and cultural historical analysis in the reading of popular printed texts, as well as rare and previously unpublished personal correspondence and business records from archives throughout Britain. Women Making News is the first book-length study to uncover the important relationship between print culture and the gender politics that provided a vehicle for women's mobilization in the political culture of modern Britain.
"[Tusan's] detailed treatment of the journals and a splendid appendix . . . make this book an invaluable tool for researchers in British women's history. . . . Tusan has done a real service to women's historians by writing such a thorough survey of the women's advocacy press. Those wishing to draw on women's periodicals in their research, and those wishing to historicize the journals they are working with already, will find Tusan's book an invaluable reference. Her thorough research and her ability to put a multiplicity of journals into a compelling social context give two-dimensional print culture a three-dimensional character."--American Historical Review "Women Making News has excellent illustrations of the front pages of papers both familiar and rare, of women in press offices, and of women on the streets selling papers."--Victorian Studies "Tusan's Women Making News: Gender and Journalism in Modern Britain offers a richly researched analysis that advances women's journalism history beyond fragmentary accounts of individual experience to place the women's advocacy press at center of the cultural and political emergence of the British woman citizen between 1856 and 1930. . . . The book is the most intellectually ambitious and creatice book on women's journalism history that I can remember in the past decade."--JHistory
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text:
Remy Martin was founded in 1724 in the heart of the Cognac region, South West France. The Remy Martin cognacs are made with an exclusive blend from the two most sought after crus; Petite and Grande Champagne, delivering unbeatable quality. Today, Remy Martin produce 80% of all Cognac Fine Champagne and continue to respect their distilling traditions by remaining committed to classical methods. Resulting in their consistent signature aromatic flavour - making it the No. 1 Cognac in its homeland of France
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text:
In the Democratic primary race for Lt. Governor, the candidate with a firm grasp of the legislative system, a balanced approach to problem solving and an ability to craft legislation that wins the backing of both sides of the political aisle is Rep. Chris Bray of New Haven.
What to be more involved in your local community, but don't have a lot of time to volunteer — and, in fact, you can really only put in time during the week after work. And even better, could that volunteer work include carousing with friends and neighbors, enjoying dinner downtown first, and maybe include listening to stimulating music?
Get real, you say! Well, such volunteer work is not only possible, it is the call to action right now and through the rest of the week.
The full text of this article is only available to online subscribers.
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Asking what Addison County might look like 10 or 20 years from now is a provocative question that deserves thoughtful contemplation. To help, in today's issue we publish eight pages that review some of the ways area towns are going about planning for the decades ahead.
In its recent ruling upholding age discrimination for mandatory retirement of state police officers, the Vermont Supreme Court defies logic for political expedience, maintains entrenched bureaucratic preferences and inadvertently does more to place the public safety at risk than not.
As we reflect on the joys celebrated this Fourth of July, we would be remiss if we did not also take a moment to recall the immense importance of this date in 1776. It was that year when, by the unanimous declaration of the 13 United States of America, the Declaration of Independence was signed.
Below, then, are excerpts of the immortal words penned by Thomas Jefferson and the founding fathers.
Vermont gubernatorial candidate Deb Markowitz spoke to an interested gathering of potential supporters in Weybridge this week and sounded a familiar message on the economy among Democrats.
"I'm going to be the state's chief marketer, if elected," the long-time Secretary of State told the crowd, noting that for the past eight years Gov. James Douglas and the Republican gubernatorial candidate Brian Dubie, as lieutenant governor, have been bad-mouthing the state's business climate while doing very little to enact policies or practices that would spur such growth.
In a story in today's paper, Monkton resident Velissa Harris reminds all Americans that unemployment benefits are for those people who have lost their jobs and are struggling to make ends meet as they search for another job. And in this era of the Great Recession — which started the year before George W. Bush left office (2007) — most Americans are sympathetic to how difficult it has been to find work and are grateful the country has a national unemployment insurance fund.
New Haven's planning commission is asking good questions and hedging bets on an uncertain energy future by asking the developers of a proposed 40-acre, 178-panel solar installation — which would be one of the state's largest — to provide guarantees of its good intentions.
Last Thursday, Rep. Joe Barton, R-Texas, dropped a bomb of a comment that we're sure he wishes he could take back. What he said wasn't a major event; rather, it was a single comment during a day-long hearing as the House grilled BP oil chief Tony Haywood over his role in the environmental disaster. His comments were among dozens — most of which took the side of those Americans whose lives had been upended by the obscene about of oil gushing from the bottom of the Gulf each day.
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Stanley M. Fialkowski
Stanley was born on July 6, 1930 and passed away on Thursday, March 26, 2015.
Stanley was a resident of Woodbridge, New Jersey at the time of passing.
Funeral services will take place on Monday, March 30, 2015 at 9:45 a.m. from the Costello-Greiner Funeral Home (www.costello-greiner.com) 44 Green Street at Barron Avenue, Woodbridge. A Mass of Resurrection will follow at 10:30 a.m. at Saint James Catholic Church, Woodbridge. Interment will in Saint Gertrude Cemetery, Colonia. Visitation will be on Sunday from 2:00 until 6:00 p.m. at the funeral home.
In lieu of flowers memorial contributions may be made to Felician Sisters Retirement Fund, 260 South Main Street, Lodi, NJ 07644.


text: I am supposed to get the Droid within the next week, and I prefer to have a case to go with it, simply because it makes me feel a little safer if i accidently drop it. Any advice on which cases are recommended? and besides that, are screen covers useful and do they affect the touch screen in any ways? Thanks.


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Health Insurance in America
Research Paper
Assignment #4
Health Insurance in America has become increasingly more complicated throughout history, for those people considered poverty stricken. Solutions to help educate and finance health insurance for the poor have been issues for many years. A solution that has been in place now for many years is Medicaid/Medi-cal, which provides basic health care to those who qualify and are in need. However the un-discussed problem that has been around from the beginning but just not addressed is equality. American has provided the opportunity for a nation wide health care system but has omitted the equality of access in regards to appointment availability, specialty surgery (in most cases necessary surgery), prescription coverage and even denial to a primary care physician. These cost containment policies that are being implemented across the country are damaging our already frail health care system. It is time that the United States places the importance of health care equality up with that of education and state taxes.
A longstanding issue in low income health care has been the growing financial debt, especially in regards to prescription drug coverage. Dr. Peter J Cunningham, a senior health researcher at the center for studying health system change, states in his article entitled, "Access to Prescription Drugs: The case of Medicaid", that Medicaid program costs have become one of the largest items in the states budget, accounting for more than one-fifth of state budgets on average. Prescription drug costs have been one of the major cost drivers in the Medicaid program in recent years accounting for 33.7 billion dollars in 2003 and increasing by about 18% annually between 1999 and 2004 (Cunningham 1). Due to the increasing financial disparity, states have enacted some cost containment measures to alleviate such problems, but in turn have...


text:
Shattering Truths
Deadly Veils, #1
by Kyrian Lyndon
Publication date: January 30th 2017
Genres: Suspense, Young Adult
She was left fighting her demons alone . . .
For sixteen-year-old Danielle DeCorso, the old house in Glastonbury was an eerie place to grow up. Coping with mental health challenges exacerbated by a traumatic family dynamic, Danielle watches from the window for two men in a dusty black sedan who keep circling the house and harassing her with phone calls. The two predators drugged her and her cousin, Angie, and then lured them from Pleasure Beach in Bridgeport to a secluded cottage on Long Beach West. She remembers feeling dizzy, the room spinning. She recalls screaming, crying, fighting, and then slipping in and out of consciousness. Angie, however, has no recollection of the incident.
When Danielle attempts to jog Angie's memory and convince their best friend, Farran, that the two strangers had victimized them, no one seems to believe her. Alone in her pain, Danielle remains guarded, obsessed, and withdrawn. Soon she is sinking deeper into a tumultuous world of adolescent isolation and change. Grief, guilt, and anger send her spiraling into an even darker place.
Tormented by terrifying nightmares, . . .
READ more SHATTERING TRUTHS (Deadly Veils, #1) . . . Review & Giveaway . . .
READ more SHATTERING TRUTHS (Deadly Veils, #1) . . . Review & Giveaway . . .


text:
Replacement for CPI 5 Gallon Synthetic Refrigeration Compressor Oil - CP 4700-32
Availability: 3 - 5 Days
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The CPI CP 4700-32 is a refrigeration oil formulated from an AB-Alkylbenzene synthetic blend and designed to function under the stringent requirements of CFCs-Chlorofluorocarbon, HCFCs- Hydrochlorofluorocarbon refrigerants, DX, and liquid overfeed industrial refrigeration systems. It has an ISO grade of 32 and a viscosity index of 99.
The CPI CP 4700-32 provides performance advantages, including partial miscibility and solubility with CFCs, HCFCs and ammonia for improved oil return to the compressor, that improves overall system effiency and higher productivity. It is engineered for use with both rotary screw and reciprocating compressors for ammonia applications.
With its versatile features, the CPI CP 4700-32 is compatible with all types of seals and O-rings used in ammonia compressors including Neoprene (chloroprene), Buna-N and NBR. The CPI CP 4700-32 also works with naphthenic and paraffinic mineral oils, as well as PAO and AB synthetic oils, which allows top-off over these other oils and eliminates the need for system flushes and excessive evaporator maintenance.


text:
Maltby sneakers
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Customise 360: The Maltby stands apart from the rest thanks to its eye-catching fringe detail positioned around the collar. The mid-top chukka-style sneaker then welcomes three-eye lace-up entry, in addition to a round toe and a rubber cup sole.Your sneakers will be custom made for you and will take 4-6 weeks to ship. We cannot ship footwear made of python or crocodile to California. Please note that we are unable to accept returns on customized pieces.
Designer colour: GREY/RED
Designer Style ID: MALTBYMTO13
Farfetch ID: 12666172
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Delivery duties are included in the item price when shipping to all EU countries plus USA, Canada, China, Australia, Puerto Rico, Switzerland, Singapore, Republic Of Korea, Kuwait, Mexico, Qatar, India, Norway, Saudi Arabia, Taiwan, Thailand, U.A.E., Japan. This means all import duties are included in your order. The price you see is the price you pay.
Delivery duties are not included in the item price when shipping to all other countries. This means you may be liable to pay import duties on receipt of your order.
Swear's rebellious yet refined footwear has pushed the contemporary casual shoe market to new levels with playful silhouettes and unique colour combinations. The brand has built a reputation for imaginative cultural collaborations.


text:
Dan Brown
The Tree And Me - Poem by Dan Brown
I started from a little seed,
Brought about by nature's greed.
Now I sit, watch the world go by,
But which sad figure am I?
I stand alone among many others,
I am lonely though I have brothers.
I could grow and reach the sky,
But which sad figure am I?
I have branches each containing,
Bits of me which I'm detaining.
Don't ask me, I don't know why,
But which sad figure am I?
Now I'm fallen, broken and dead,
Too many thoughts inside my head.
Emotions escape me so I cannot cry,
But which sad figure am I?
I cannot mix and cannot see,
The big, wide world in front of me.
I'm here rooted to where I lie,
But which sad figure am I?
I see no future, no way through,
There is little I can do.
I cannot move, don't want to try,
But which sad figure am I?
My light and warmth will not go on,
There'll come a time when they have gone.
Won't live forever, soon I'll die,
But which sad figure was I?
Comments about The Tree And Me by Dan Brown
Missy Trinity Ferrari. (2/24/2006 11:07:00 PM)
omg i love you for this one.
i really could have not done better.
Melissa (Report) Reply
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Do Not Stand At My Grave And Weep
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I Do Not Love You Except Because I Love You
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Roald Dahl


text:
Card prize 2/2 for Yugara :D
So I came across this part in Shaman King where Ryu was trying to get revenge on Yoh/Amidamaru because he was possessed by Tokagero. And earlier that day, Amidamaru had been integrated with Yoh and accidentally cut up Ryu's pompadour (which makes him angry) so Amidamaru just figured that Ryu was after him because of the hair incident. :D
Sorry it's a little hard to read and that it's kind of boring... I couldn't do much with it because I don't have any coloring programs and it was a scan.
I think the image is from volume 3 or 4. I can't remember.
envythejealous (eCard Portfolio) Revenge...
Card prize 2/2 for Yugara :D
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text:
This is the standard.
K.CC.B.4 – Count to tell the number of objects
4. Understand the relationship between numbers and quantities; connect counting to cardinality.
b. Understand that the last number name said tells the number of objects counted. The number of objects is the same regardless of their arrangements or the order in which they are counted.
This was the task.
Six Tiles in All asks students to use six one inch tiles to make different arrangements. Each arrangement has to follow a special rule – each tile has to touch another tile in some way. The teacher showed several arrangements and also had the students identify non-examples. Then several students demonstrated their idea of how the six tiles could be arranged. The students were then challenged to find different arrangements of their own six tiles and to choose one way to record and then share with the class, using paper tiles and one inch grid paper.
On the following day these same paper tile arrangements were used as quick images. Children were encouraged to explain how they remembered the image to reproduce it.This task begins to meet the standard by having the students practice different arrangements of a single number, 6. To meet this element of the standard the students needs to demonstrate their understanding of this same concept with other numbers. They would also need to count the items in each arrangement, understanding that the last number said is the number of objects.
This is the background information.
Six tiles are used for this investigation because six is the number that most kindergartners can count with accuracy. Because it takes two hands to represent six, students naturally work with two numbers to make combinations of six. In addition, six is one of the largest amounts that can be mentally visualized and manipulated and instantly recalled. This is also a number kinders are intimately familiar with because most of them will turn six during the year!
This investigation gets to Piaget's work with conservation which is a foundational skill in number sense. Conservation of number is the understanding that the quantity of a given number of objects remains the same regardless of how it is spatially arranged. Six is six is six. The child that sees six tiles horizontally as six but then has to recount those same tiles when they take another arrangement would be unable to conserve numbers. But a child that identifies the horizontal as six, and then the same six tiles rearranged to make a rectangle as six, would be able to conserve numbers. The child that has conservation does not need to recount the same tiles as they take different shapes because he knows that the number stays the same.
This investigation also gets at subitizing which is the ability to immediately recognize an arrangement as a single unit. The ability to see the particular arrangements of indentions on a die and know it is 5 without counting would be an example of subitizing. This investigation, like dot cards, ten-frames and rekenreks, provide students with the opportunity to practice subitizing. Quick images help a child practice subitizing and visualizing what the number looks like with different patterns of that same number.
Eren was especially proud of his arrangement which he said looked like a chess board. He liked that the "ends" were touching and that it was a design that no one at his table had imagined.
Nia thought it looked like a zigzag and Alex recognized the checked pattern when he said it looked like a checker board. Tommy said it looked like racing and when Sawyer said he couldn't see racing, Tommy explained that it looked like the racing start line, the checkered flag! Love the fact that these very young children are beginning to challenge each other in their number talks!


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Welcome to Coastal IVF fertility services
Our centre offers a wide range of fertility treatments, which will be tailored to suit your particular diagnosis.
This is an independent, permanent facility, accredited with RTAC (Reproductive Technology Accreditation Committee) and the Health Insurance Commission.
Our team endeavours to offer a friendly personalised service, incorporating clinical, scientific, counselling & nursing care. We appreciate the importance of continuity of care for each of our patients.
Our mission
To conduct an Assisted Reproduction Technology program that provides excellent results based on high standards of clinical and technical expertise within a framework personalised to suit every couple's needs.
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27 August 2015
We love hearing from our patients and seeing their beautiful bubs. Look at gorgeous Oliver and the lovely message from his proud parents. "Just a quick hello to all of the team at Coastal IVF with an update on our little Oliver. We are so lucky to have him, and I can't believe how the time has flo...
A new granddaughter for Dr Stokes
19 August 2015
Check out Paul and Jenny's latest family addition - a new grandchild and first granddaughter. Harper Judith Glasson born 18th May. Photos by Kapture Me Photography...


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A rash of anti-minority hate posters slapped up on telephone poles downtown -- and illegally inserted into copies of the Independent -- have some in the city wondering if Colorado Springs is home to a new, well-organized white hate group.
The answer: probably not.
Most of the postering is the work of one man who identifies himself via e-mail as Robert Miles, a supporter of the West Virginia-based white separatist group, the National Alliance.
Though the Alliance openly calls for creating a whites-only homeland by whatever means necessary, Miles claims he is not motivated by hate.
"We are sometimes called 'haters,' yet nothing could be further from the truth," Miles said in an e-mail message to the Independent. "I am personally motivated by a love for my race and a desire to see it achieve its potential."
Such comments are a trademark of the National Alliance, which has sought to put a friendlier, less violent and more mainstream face on the white supremacy movement.
But Alliance literature reveals a darker picture: a thinly veiled attack on other races as less intelligent, peaceful and "decent" than whites, as well as an open call for white people to "root out" what it calls Negroid and Semitic influences in American culture.
Miles claims that he and an unspecified number of supporters have distributed some 2,500 National Alliance posters around the city, particularly at area colleges and high schools.
"Our posters have appeared all over town, and our efforts in the high schools, especially at Palmer, have been successful beyond our expectations," said Miles, who claims to have supporters at certain unspecified high schools and at Colorado College.
Indeed, several National Alliance posters have been recently sighted and pulled down at various locations, including on the Colorado College campus and in the largely African-American Hillside neighborhood. (College officials say they've seen no evidence of student hate groups, however.)
Still more fliers were discovered at Wild Oats, a natural-foods store on North Academy Boulevard. There, the fliers were illegally inserted into several dozen copies of the Independent.
"I was flipping through to see what my horoscope said, and I saw this flier," said Eduardo Brummel, the manager on duty at Wild Oats at the time. "I read through, and by the time I got halfway through, I realized, 'Oh, my God.'"
They were also discovered by Wild Oats customer and Independent reader, Carol Bowles-Tyndale. "I crumpled it up, I thought it was so disgusting," she said. "I'm a member of the [anti-racist watchdog group] Southern Poverty Law Center, and this kind of thing gives me the chills."
The posters, generated by the National Alliance, masquerade as a missing-child poster. Under the banner "Missing" is a picture of a wide-eyed, blond-haired girl in pigtails.
"Description: Blond or brown hair, fair skin; innocent, inquisitive, intelligent, trusting personality," the text reads. "Her future has been abducted by corrupt politicians and minority special-interest groups."
The ploy has been used in cities around the country to sucker local passersby into taking a minute to stop and read the text.
But if Miles has organized a flank of new Aryan youth in Colorado Springs, it's news to Denver Alliance member Lycia Musgrave, who said she was only aware of Miles' work but not of any other supporters or members in the Colorado Springs area.
Musgrave said she's so far been unsuccessful in organizing even one statewide chapter of Alliance members, adding that she was attracted to what she termed the Alliance's non-violent approach to white pride.
"The Alliance approaches this from a rational manner," she said. "They're not bashing people over the head. They're a non-violent group working to educate people to making them more aware."
But how does the Alliance intend to obtain and enforce its desired whites-only homeland? National Alliance founder William Pierce skirted that question.
"I have said many times that ultimately we will use whatever measures we have to use," said Pierce, who would not be specific about the meaning of "whatever measures."
Does it mean relocating minorities by force if they don't up and leave when asked politely by racists to vacate?
"That's a pretty hypothetical question. I do not know what will happen. As the flood of non-white immigrants pour into the country, there will be more and more conflict, more and more friction and unhappiness. I don't know ultimately how it will be resolved."
Underneath the veneer, however, there are plenty of examples of Pierce's violent vision for the future. Aside from being linked to a group of violent Aryan separatists who robbed banks in the 1980s, and other racist groups that promote genocide against Jews, here's what he wrote in fellow racist Tom Metzger's magazine WAR in August of 1990.
"It is clear that if most White males would respond to their rage in a direct, physical way, as skinheads do, then we would have no race problem, no Jewish problem, no homosexual problem and no problem with White race traitors in America. Our cities would be clean, decent, safe, and White once again after a relatively brief period of bloodletting."
Showing 1-1 of 1


text:
Watch Christmas List (2016) Watch Online
Isobel Gray plans a storybook Christmas with her boyfriend, including a snow-covered cottage in the Northwest, and a carefully composed bucket list of classic holiday traditions. But when the boyfriend goes AWOL, the list proves challenging and a tempting new romance turns her life upside down. Will Isobel have a White Christmas ending under the mistletoe?
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- About
- Scholars
Bioethics is the study of the ethical implications of advancements in biological research, biotechnology, and medicine. Genome sequencing and genetic engineering, stem-cell research and cloning, abortion and euthanasia, the distribution of limited medical resources and responsibility towards future generations, are only a few of the concrete questions that bioethicists address.
Bioethicists are also interested in broader questions concerning the ways in which new scientific and technological developments transform the ways in which we think about our shared humanity, and give rise to previously unforeseeable ethical imperatives. Nature has become malleable to human intervention, but what happens when the barely imaginable becomes real? What may we hope for and what should we fear?
The Dan David Prize in the Present Time Dimension will be awarded to an outstanding individual or organization in any field of the humanities or social sciences who have transformed our understanding of the moral and ethical significance of biological and medical innovations in our times.


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Product Review: Chamba Cookware
A reader wrote in some time ago saying that our braising contest had gotten her thinking about oven-ware and wondered what we knew about braising in Chambaware, a product we'd blogged way back in 2004 when we barely knew how to blog.
"They seem like a possible alternative and many things about La Chamba really intrigue me. They are made in Columbia by fair wage artisans from lead free clay and are nice looking pieces. The prices are good and the politics even better."
That sounded right up our alley, so we put a Chambaware casserole ($41.00) through the paces of some braising. A pot that goes from stove top to oven to table with good politics to boot is irresistible to cookware junkies like us.
We decided to braise some short ribs. The relatively small surface area in the medium pot made it difficult to squeeze in more than three ribs and since we were making six, we did the rest in a cast-iron pan. The ribs in the Chamba didn't get the same crust as those in the cast-iron, but the final product was comparable; nice, fall-off-the-bone meat and rich, deep flavors. Serving straight from the Chamba is a nice bonus. The pot is so beautiful, you almost don't want your meal to part with it. So for small-batch braises, we recommend the Chamba.
Then we made soup. That's what this pot is really built for. We did a slow-cook Ajiaco (traditional Columbian chicken and potato soup) and found the Chamba pot to be perfect for the job, holding and distributing the heat beautifully, and making for a gorgeous presentation.
Chamba casseroles and roasters, as well as their serving pieces and dinnerware are available from Toque Blanche.
The prices are nice: above from left to right, Soup and Stock Pots ($32.50 – $144), Rectangular Baking Pans ($32.50 – $62.00), Fish Roaster ($129), Sauté Pans ($17.50 – $39.95)


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Des Moines Firefighters Now Fighting Bedbugs | whotv.com
June 22, 2015 Leave a comment
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Firefighters from Station 4 responded to a medical call last week when they noticed the patient's house was over run with bedbugs. A couple of the pests apparently hitched a ride and have been found in the fire station. A pest ……Des Moines Firefighters Now Fighting Bedbugs | whotv.com
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Cureton – Everything at Daggers just feels right
PUBLISHED: 17:07 01 August 2014 | UPDATED: 17:07 01 August 2014
Dave Simpson/TGSPHOTO c/o 27 Plaiters Way, Braintree, Essex, CM7 3LR - Editorial Use ONLY - FA Premier League and Football League images are subject to DataCo Licencing restrictions
New Daggers striker Jamie Cureton has set himself a target of 20 goals this season as he looks to help push the club on.
The 38-year-old signed a one-year deal at Victoria Road last Thursday having spent a number of weeks on trial and the experienced frontman wants to hit the ground running.
"Normally if I play a certain amount of games I end up with one goal in every two games so hopefully I can have a good season and push towards the 20-goal mark," said Cureton.
"It puts pressure on me, but I put pressure on myself all the time. The first goal is always the target at a new club as you want to get that out of the way and then kick on."
Cureton was released by League Two rivals Cheltenham Town at the end of last season, only to be offered a deal with the Robins two months down the line.
However, he opted to continue his trial with the Daggers, and though moving back to the family home in Essex is ideal, it wasn't the only reason why he signed for the club.
"All of a sudden I got an offer from Cheltenham so it threw a bit of a spanner in the works," he added.
"I thought if I don't get nothing here and I turn down Cheltenham I am in a bit of trouble, but I was confident I could do enough to earn a contract.
"Thankfully I did and I have got the deal that I want.
"I wouldn't have signed just for the sake of it and because my missus was here.
"If I didn't feel it was right then I wouldn't have taken it, but I have been really impressed by everyone.
"Once the offer was there it was quite an easy decision to be honest and now it's a case of getting my head down and getting in the team and having a good year."
Whenever a new signing comes into a club, it sometimes takes a bit of time to acclimatise.
However, having spent a long spell on trial with the Daggers, Cureton already feels at home.
"Normally you sign and turn up and don't know anyone but I suppose the club had a look at me and I had a look at them," said Cureton.
"Thankfully the club wanted to keep me and in that time I have really enjoyed it. I've got on well with the everyone and the style of play.
"The attitude of everyone has been real good so I have been very impressed and I am thankful to be a part of it."


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|Blue Raspberry
|Hip hop, soul
|Associated acts
|Wu-Tang Clan
Blue Raspberry is a singer affiliated with the Wu-Tang Clan. Her stage name was given to her by Killah Priest, who said she reminded him of a blue raspberry.
Discovered by the Wu-Tang Clan when working in a casino, Blue Raspberry emerged as the group's in-house female vocalist during the first round of Wu-Tang solo projects. She added vocals to tracks on Method Man's Tical and Raekwon's Only Built 4 Cuban Linx, but seemed to have her position somewhat usurped by Tekitha on the Clan's second album Wu-Tang Forever. Nevertheless, she has continued to appear on Wu projects including Method Man & Redman's Blackout! and the Ghost Dog soundtrack. A solo album was in the works for 1999 and is known to have been completed but it was not released. Blue Raspberry finally debuted as a solo artist in 2005, releasing the album Out of the Blue through the semi-official Wu-Tang website Chambermusik.com. She recently made an appearance on Raekwon's Only Built 4 Cuban Linx... Pt. II album.
Recently Blue has been signed to Avalanche Records/Chen Chek Management and is currently working on her next album.
2009 ″Only Built for Cuban Links 2″→Raekwon ″Have Mercy″ − ft. Blue Raspberry and Beanie Sigel


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Now I realize that normally I'm a sweet mommy, but I must tell you about a naughty baby caller that I have. He likes to spy on Mommy doing all sorts of things. He spies on Mommy when I bathe, and he even spies on Mommy when I go potty.
When Mommy catches him them he is forced to masturbate for Mommy, sometimes Mommy will finger his asshole for him.
But what Mommy did the last time he called was to turn him into Mommy's little fuck-toy. That's right Mommy showed him how to put his winkie in Mommy's pussy. It felt so good. My little boy came as hard as he could in Mommy's pussy.
Are you wanting a naughty, sweet Mommy? Then I'm your Mommy boys. Cum to Mommy for a naughty good time.
Mommy Muffy


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Artist: Diissc Orchestra
Title: D.O.
Date: 2009-01-20
Keywords: electronic, contemporary music, live
01 - Antanas Jasenka "Minefield", 2008 - 11:44 (320 kbps)
02 - Martynas Bialobžeskis "CD in C (D)", 2008 - 13:19 (320 kbps)
03 - Jonas Jurkūnas "Call Estella", 2008 - 11:11 (320 kbps)
04 - Vytautas V. Jurgutis "Tinohi", 2008 - 10:28 (320 kbps)
05 - Antanas Kučinskas "Sum", 2008 - 10:20 (320 kbps)
cover front
cover back
disk label image
DIISSC Orchestra
Soon after its founding in 2008, the DIISSC Orchestra has been invited to play at all major Lithuanian contemporary music festivals. The Orchestra's unique architecture -- five composers -- enables it to to play their own compositions and that of world-reknowned composers, produce live videos, present compositions involving a variety of disc players, stopwatches, special graphic scores, and low-tech devices. No laptop supremacy, no meaningful staring at a monitor. Performers perform! The DIISSC Orchestra presents contemporary music as an engaging sonic adventure with unforseen outcomes on stage. They make you feel as though you're listening to contemporary electronic music in a rock concert atmosphere.
Antanas Kučinskas
"Sum" (2008)
The composition was created using the CD player's 'loop' and 'repeat' functions to connect one rhythm to the other, thus forming a multilayered isorhythmic pattern. Sum is a mathematical number obtained by adding several numbers together; the Lithuanian word suma also stands for Sunday Noon Mass.
Martynas Bialobžeskis
"CD in C (D)" (2008)
One synthetic sound, the pitch of which – C, in this case – is altered in different mono tracks, using the most popular and common controllers (Filter, Overdrive, Cutoff , etc).
Later on, an acoustic guest joins this synthetic company. Viole play by Vidas Vekerotas.
Jonas Jurkūnas
"Call Estella" (2008)
The mechanically generated text is divided into three paragraphs, compiled using the bigrams of two words from Charles Dickens' Great Expectations. An illusion of meaning in music and text.
Vytautas V. Jurgutis
"Tinohi" (2008)
A multilayered composition, in which the levels of analogue synthesizers, computer synthesis, ultra- and infrasounds are entwined.
Antanas Jasenka
"Minefield" (2008) for CD players and four performers
This piece is for CD players and four performers. All sound parables originate from the same device: its faults or interferences. The utilized potential of the device allows treating it like a music/sound production instrument. Minefield is a recorded digital sound of the de-mining device, which produces certain frequency sounds when gold, silver and other precious metals are detected.


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Directions from I-90
- Take Cliff Avenue Exit.
- Head South on Cliff and take a right when you reach Rice Street.
- Follow curve around to Falls Park east entrance sign on Weber Avenue.
- Take Rice Street Exit.
- Head West on Rice past John Morrell's until Rice turns into Weber Avenue.
- The café will be on your right on the east entrance to Falls Park.
From Downtown
- Take 6th Street or 8th St. east until you reach Weber Avenue
- Head north on Weber and follow it until you reach the east Falls Park entrance.
Falls Overlook Cafe
825 North Weber Avenue
Sioux Falls, SD 57103


text: I recently had a chance to visit the exhibit at the Kachina Gallery, and the work displayed there was extraordinarily beautiful. Walking through the door I was particularly impressed with the first painting I saw by Dlyn Parra, what a beautiful first impression of the exhibit! Kudos to all the artists and the people who have worked so hard to display their work so gallantly!


text: FREE Sample of Chocolate Dipped Fruit at Edible Arrangements 3/14 ONLYMarch 11, 2010 This post may contain a link to an affiliate. See my disclosure policy for more information. This Sunday, March 14th, stop into an Edible Arragenments location and get a FREE Sample of Chocolate Dipped Fruit! Info is posted on their Facebook page.


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Wild Rice to the Rescue
Although called rice, wild rice isn't rice at all. The black strands are actually a seed of a type of marsh grass. It is a hearty grain that takes about an hour to cook and has a slightly chewy texture and a nutty flavor. Often used as a mix in with other rice or grains, it is surprisingly good on its own.
Wild rice is a healthful alternative to regular rice and other grains. 1 cup of cooked wild rice has 165 calories, 6.5 g protein, 3 g fiber and good amounts of iron and copper. It is high in B vitamins as well as potassium and phosphorous -- it is even considered a complete protein. It actually wins out over brown rice which in 1 cup has 216 calories, the same 3 grams of fiber and only 4 grams of protein.
The chewy texture provides versatility to use this grain in everything from salads, to side dishes and soups. It is also a helpful weight loss tool. Cook up a big batch of wild rice on Sunday and turn it into a new dish every night of the week that will be filling and nutritious.
I love Jamie's Rosh Hashanah Simanim recipe for Wild Rice with Carrots and Beets. Clocking in at 200 calories a serving it is colorful, tasty and filling anytime of year.
For a sweeter taste, try this Wild Rice Recipe with Apricots and Pistachios, it serves 6 with 178 calories each and 6 grams of protein.
If you like a rich, hearty soup, try this Mushroom Wild Rice Soup or just keep it simple add wild rice to any salad, I love to mix it in with my tomato basil salad this time of year.
More Wild Rice Recipes
Avocado Stuffed Salmon with Wild Rice


text: At least, that's how Majesco puts it. I think the use of the term "virtual pet" does a disservice to the game. People who are into virtual pet games would likely find the interactions with Chomp too limited and the platformer on the top screen too distracting; and while those who like action-platformers would probably really like the upgrading system Chomp provides, they might never know it due to their instinctual evasion of pet sims.