Archive for March, 2010

the class of 2011

melvin goins, steve wariner and john michael montgomery at the WKYT studios following yesterday's announcement of the 2011 inductees to the kentucky music hall of fame. photo by herald-leader staff photographer david perry.

It won’t convene for another year. But the 2011 Kentucky Music Hall of Fame Induction Class is now official.

Entering the Hall in Renfro Valley will be:

* Chart-topping Nicholasville country star John Michael Montgomery.

* Grammy winning singer and guitarist Steve Wariner, who grew up in Russell Springs after living briefly in Louisville.

* The Goins Brothers, the pioneering Eastern Kentucky bluegrass duo. Its 50 year career is maintained today by surviving sibling Melvin Goins of Catlettsburg.

* Grammy winning country-bluegrass vocalist Patty Loveless, a Pikeville native who grew up in Elkhorn City and, later, Louisville.

* The late Sandy Hook-born bluegrass singer turned country celebrity Keith Whitley.

* Multiple Grammy winning Danville gospel artist Larnelle Harris.

* The late Pike County-born singer Molly O’Day, whose brief recording career (1946-51) helped define Kentucky country music.

“It’s the ultimate achievement to be inducted into a Hall of Fame in your home state, where you grew up learning your trade, doing something you always loved to do,” said Montgomery.

For Wariner, who was born in Indiana, the induction furthers the bond with the state he has long viewed as home.

“Kentucky has recognized me way more than Indiana has,” he said. “This state has always taken me in as one of its own. That has meant a lot.

“Another cool thing for me is getting to go in with Melvin and John Michael, Patty and my buddy Keith Whitley. Keith and I were pretty close friends, so I’m really tickled about him going in.”

An exuberant Goins said the induction was something of an affirmation for a bluegrass career that remains active after a half-century.

“Yes sir, it’s a great day here in Kentucky. And I’m glad to be part of it. An honor like this makes you think your years haven’t been wasted. It’s something you never thought would happen. But, boy, I’m glad to see it happen. This is a shot in the right arm.”

Yesterday’s announcement also marked the first time Montgomery and Wariner met Goins. The two country artists marveled at the road stories the bluegrass elder spun about touring with brother Ray Goins in the 1950s.

“Melvin was talking about the vehicles they toured in back then” Montgomery said. “He said they traveled in some old Buicks down all the curvy roads through each town, stopping at all the stop lights because there weren’t any real highways. So I told him I wasn’t going to complain anymore about the satellite not working on my bus.”

The newest class, announced yesterday on WKYT-TV, will be officially inducted at a ceremony on April 7, 2011 at the Lexington Center Bluegrass Ballroom. This is the fifth group of inductees for the Kentucky Music Hall of Fame. Past classes have included Bill Monroe, Dwight Yoakam, Rosemary Clooney, J.D. Crowe and Loretta Lynn.

New physical therapy data have been reported by researchers at Vanderbilt University.(Survey)

Health & Medicine Week November 9, 2009 According to a study from the United States, “Variation in referral rates for physical therapy exists at both the individual physician and practice levels. The purpose of this stud), was to explore the influence of physician and practice characteristics on referral for physical therapy in patients with traumatic lower-extremity injury.” “A cross-sectional survey was conducted. In 2007, a Web-based survey questionnaire was distributed to 474 surgeon members of the Orthopaedic Trauma Association. The questionnaire measured physician and practice characteristics, outcome expectations, and attitude toward physical therapy. Referral for physical therapy was based on case vignettes. The response rate was 58%. Surgeons reported that 57.6% of their patients would have a positive outcome from physical therapy and 24.2% would have a negative outcome. The highest physical therapy expectations were for the appropriate use of assistive devices (80.7%) and improved strength (force-generating capacity) (76.4%). The lowest outcome expectations were for improvements in pain (35.9%), coping with the emotional aspects of disability (44.1%), and improvements in work-place limitations (51.4%). Physicians reported that 32.6% of their patients referred for physical therapy would have no improvement beyond what would occur with a surgeon-directed home exercise program. Multivariate analyses showed positive physician outcome expectations to have the largest effect on referral for physical therapy (odds ratio=2.7, P<.001). The results suggest that orthopedic trauma surgeons refer patients for physical therapy based mostly on expectations for physical and motor outcomes, but may not be considering pain relief, return to work, and psychosocial aspects of recovery. Furthermore, low referral rates may be attributed to a preference for surgeon-directed home-based rehabilitation," wrote K.R. Archer and colleagues, Vanderbilt University (see also Physical Therapy). physical therapy salary go to site physical therapy salary

The researchers concluded: “Future research should consider the efficacy of physical therapy for pain, psychosocial and Occupational outcomes, and exploring the differences between supervised physical therapy and physician-directed home exercise programs.” Archer and colleagues published the results of their research in Physical Therapy (Factors Associated With Surgeon Referral for Physical Therapy in Patients With Traumatic Lower-Extremity Injury: Results of a National Survey of Orthopedic Trauma Surgeons. Physical Therapy, 2009;89(9):893-905).

For additional information, contact K.R. Archer, Vanderbilt University, Medical Center, Dept. of Orthopedic & Rehabilitation, Medical Center ES Tower, Ste. 4200, Nashville, TN 37232, USA.

The publisher of the journal Physical Therapy can be contacted at: American Physical Therapy Association, 1111 N Fairfax St., Alexandria, VA 22314, USA.

the parting glass

You know a movie is cool when it scans across an Irish coast, acting almost as if you and it were airborne, with The Waterboys’ Fisherman’s Blues playing as a backdrop.

That’s how one of my favorite Irish films, Kirk Jones’ 1998 comedy Waking Ned Devine begins. Well, that’s the scene that rolls under the opening credits. The film actually starts with the bounce of lotto balls in the weekly Irish National Lottery. How those balls land radically re-arranges the lives of the 52 inhabitants of the Irish village called Tullymore.

Viewing Waking Ned Devine is a St. Patrick’s Day ritual for me. It is as appealing a recreation of rural Ireland (the film was actually shot on the Isle of Man) as 1983’s Local Hero is of similarly removed Scottish coastal regions. It offers a simple, exceptional story of a friendship that endures the ages as it unites a town and, in a way, outwits death.

I first saw the film nearly a decade ago in Florida with my sister – coincidentally, the day after U2 opened a North American tour there. A few winters ago, I found the DVD of Waking Ned Devine marked down to $5.99 at a K-Mart. I bought a dozen copies to give as Christmas gifts.

It is, in short, a film that is beautiful inside and out. That, of course, goes for its music, too. The Waterboys disappear after the opening. But the rest of the soundtrack, written and adapted by Belfast composer Shaun Davey, mixes orchestration and traditionally minded Irish airs. But nothing in the score is as emotively commanding as the finale version of The Parting Glass, sung by Liam O Maonlai of Hothouse Flowers.

It’s a centuries-old tune the Scottish and Irish both lay claim to. Everyone from The Clancy Brothers to The Pogues have recorded it. But with the main cast of Waking Ned Devine gathered on a cliff side with hands raised in a toast, The Parting Glass sounds richly, purely and honestly anthemic.

As the title suggests, The Parting Glass is a song of fond farewell between friends. So I leave you with its first verse as a bit of St. Patrick’s Day cheer.

“Of all the money e’er I had, I spent it in good company.

And all the harm I’ve ever done, alas, it was to none but me.

And all I’ve done for want of wit, to mem’ry now I can’t recall.

So fill to me the parting glass. Good night and joy be to you all.”

critic's pick 115

A sense of restless contentment circulates around the newest recordings of John Hiatt, Graham Parker and Randall Bramblett. Admittedly, the geographical and, to an extent, stylistic grounding of all three differ. Hiatt is a native Hoosier whose songwriting regularly surrenders to rock ‘n’ roll jubilation. Parker came to view at the height of the British punk movement even though his often venomous songs embraced American pop and soul. Bramblett hails from the Deep South with a literary slant in his songs that remains as far-reaching as his multi-instrumental abilities.

But given how all three have been making records since the ‘70s, there is an unassuming and worldly character to these new albums. Yet the recordings almost lovingly allow a few restless twinges to color the music.

john hiatt: the open road

john hiatt: the open road

Hiatt is as embracing as ever of domestic tranquility on The Open Road, although the record happily accelerates the guitar rock accents. Haulin’ even brings Kentucky into view as it details a romantic quest from Fort Smith to Louisville over a sleek Chuck Berry rhythm. The highlight, though, comes when Hiatt’s heartland roots snap in Homeland. Here, three centuries of dark history “heavy as death, cold as a broken stone” are underscored by even bleaker visions of suburban sprawl (“you can’t bury anything; men or nations, old memories, old vibrations”).

graham parker: imaginary television

graham parker: imaginary television

That’s also the sort of wicked spin Parker has long used to set fire to his songs. Ever the social strategist, his new Invisible Television was triggered by original songs commissioned but ultimately rejected as TV themes. Ultimately, though Invisible Television becomes a series of snapshots with Parker still the outsider looking in, be it through the modernist paranoia of Weather Report (“I just don’t seem to get it, man, not even if I want to”) or the glowing salvation he offers in 1st Responder. The latter harkens back to the hopeful party soul of his ‘70s days with The Rumour and seals Invisible Television‘s sense of expert pop songcraft.

randall bramblett: the meantime

randall bramblett: the meantime

Bramblett’s The Meantime is a real curve ball – a sampler of 12 songs, some of which stem from his earliest recording days (Sacred Harmony being the most beautifully steadfast) designed for the contemplative grace of a piano trio. Blue Blue World sums up the album’s understated but eloquent mood by that seeking refuge from “a dark road washed with rain.” The scales would tip on songs like Witness for Love to the sentimental were it not for the soulful, conversational reserve in Bramblett’s playing and singing that molds the many moods of The Meantime into a welcoming Southern sanctuary.


The Record (Bergen County, NJ) August 13, 2001 | VERA LAWLOR, Staff Writer VERA LAWLOR, Staff Writer The Record (Bergen County, NJ) 08-13-2001 GIVING THEM SHELTER By VERA LAWLOR, Staff Writer Date: 08-13-2001, Monday Section: NEWS Edition: All Editions — Two Star B, Two Star P, One Star B Series: NEIGHBORS

The barking and pacing never stops, but attendants at the Bergen County Animal Shelter do not seem to notice.

With more than 200 cats and 145 dogs in residence, as well as rabbits, guinea pigs, ferrets, rats, and mice, workers have no time to waste. All the animals have to be fed and their cages and kennels cleaned before the doors open to the public at 1 p.m. It’s the same routine every day.

Doris Surkes, a retiree who volunteers at the shelter 12 hours a day, seven days a week, likes starting her mornings by feeding and cleaning up after the small animals in the lobby display units. Then she goes past a maze of cages full of cats to the laundry room, where a mountain of dirty blankets and towels awaits.

“This is my therapy. Instead of going to a shrink I come here to the shelter,” said Surkes, who has worked in animal welfare for 24 years. “I would sleep here with the animals if they’d let me.”

But working at the shelter brings its share of stress and emotion.

About 30 percent of the animals are euthanized either because they are sick or are not adopted.

Surkes and many other longtime staff and volunteers have a special bond with the shelter in Teterboro. They remember going door to door in the early 1970s, collecting 8,000 signatures on a petition for building the county shelter. Back then, just two for-profit pounds serviced homeless animals in Bergen County — in Lodi and Saddle Brook. The Bergen County Animal Shelter in Teterboro opened in June 1978.

It initially operated strictly as an animal pound with little or no emphasis on adoptions or wildlife rescue and rehabilitation. Today the shelter, which contracts to 51 towns and responds to animal-related calls from county parks, highways, and the Port Authority, has a staff of 23 and a budget of $680,000. On a recent weekday, Susan Formilan, one of the shelter’s six animal control officers, searched for a bat in a playground, picked up a dead skunk from a street, and rescued a duckling that had wandered up a driveway in Fairview.

Renee Trey, among those who campaigned with Surkes for the shelter, said the first wild animal to be lodged at Teterboro was a coyote. It had been kept illegally as a pet in Lyndhurst. how to get rid of fleas in your house

Since then, the facility has played host to a variety of animals, including an alligator, a llama, a ram, a boar, and a python. Because the shelter is open seven days a week, it’s become like a “library for animal questions” said Director Mary Ellen Stout.

The phone never stops ringing, with calls coming as late as midnight. Some people want to have wildlife taken from their property, others want to know how to get rid of fleas, and still others ask for a list of breeders because they want to mate their purebred pet.

Friends of the Bergen County Animal Shelter (FOCAS), founded in 1984, is the only volunteer organization authorized to raise funds for the Teterboro shelter. The non-profit group has 105 volunteers and sponsors such programs as spay/neuter, foster care, pet therapy and education, dog obedience classes, socialization of dogs, and controlled feral cat colonies.

“I like to concentrate my attention on cats,” Surkes said. “Each animal is an individual, just like human beings. Some are snappy and some are lovers. This cat here is Oliver — he only loves me, and when I have time, I come in here and sit with him.”

Marge Mullen, supervisor of animal attendants, said volunteers who want to be hands-on with the animals help staff clean cages and kennels, do feedings, check for sick animals, and walk the dogs. Others, she said, prefer to interact with the public, helping with adoptions and paperwork and responding to the shelter’s help line. Two of Mullen’s 10 children work with her at the shelter.

“When I started, I worked at the front desk,” said Mullen, who has been at the shelter for eight years. “I used to get in at 1 p.m. and the place back here was always clean — I had absolutely no idea the hard work it took to get it looking like that.”

Mullen said forming special bonds with the animals helps her and other employees cope with the huge numbers being turned in.

“At least we know we can take good care of them while they’re here,” she said. “I love to go home in the evenings and talk to my kids about the animals. There was one, a Chihuahua-mix called Scrappy, we had a very special bond. He was always so excited to see me. I couldn’t stop crying when he went to his new home because I really missed him.”

Because not all animals are lucky enough to find new homes, volunteers are cautioned not to get too attached.

“It’s very difficult for everyone at the shelter when animals have to be put to sleep,” said Trey, president of FOCAS. “I tell volunteers, `If an animal is not here when you come in, just go on to the next one that needs your attention.’ If they want to help the animals, there’s no point in getting upset over something they can’t control.”

The shelter is required by law to hold strays for seven days, to give owners the chance to reclaim them. After that, the animals become the property of the shelter. Animals are not put to sleep after seven days unless they are extremely aggressive, very sick, or there is absolutely no room, Stout said. And pets are never euthanized while volunteers are at the shelter.

The shelter is full this time of year, so Stout has to make decisions more often than she’d like. Many families are relocating without their pets, she said. A nationwide survey by the Humane Society of the United States found that moving was the primary reason for leaving pets at shelters. To make matters worse, animal adoptions are typically down this time of year because people are away on vacation.

“We don’t have one cage free and it’s discouraging when animals keep coming in,” Stout said. “I’m the one who has to make the final decision on who gets euthanized.”

There’s no list of pets to be put to sleep, and shelter staff often are hesitant to approach the director when they’ve run out of space.

“I hate to see them coming. I tell them wait until the end of the day because we might have more adoptions,” said Stout, who fosters kittens and baby wildlife in her home.

Stout said shelter staff are constantly on an “emotional roller coaster” and feel hurt when outsiders criticize them for putting animals to sleep. There’s never been a day in the history of the shelter, she said, when animals haven’t been turned in.

“We get animals other shelters turn away or that were adopted from other shelters,” Stout added. “What’s the alternative to euthanasia for non-adoptable animals? We do everything we can here to find them homes.

When we choose an animal for euthanasia, it’s because we feel it’s the kindest thing to do.”

On days when animals have to be put to sleep, Stout takes an elderly dog or cat home.

“I just brought an 11-year-old pug home,” Stout said. “Is this a way of saying forgive me? I don’t know. The ultimate goal for me would be for every pet to have a good home and for me to have to look for a new job.”

Animals scheduled for euthanasia don’t die alone.

“We sedate them and rock them in our arms,” said Formilan, who also fosters animals in her home. “Some people drop their sick or elderly pets here for us to euthanize because they can’t deal with it themselves. We rock those animals, too. It kills us.”

Stout said the shelter has an “open-door policy.”

“We can’t say, `There’s no room; go someplace else,’ Stout said.

“Once inside our door, we have to take the animals.”

Staff and volunteers cope with stress and grief by focusing on the many positives at the shelter, such as Alumni Day, when families come back to visit with the pets they adopted; photo shoots of animals with Santa and Mrs. Claus, The Blessing of the Animals, and the annual dog and cat shows. go to website how to get rid of fleas in your house

One of the first visitors to the shelter on a recent Saturday was a woman dropping off a 14-year-old cat whose elderly owner had died. The scared tabby hissed as a volunteer tagged his crate. Lydia Rutledge, the staffer who signed in the cat, hoped a family member would retrieve him.

“Last week, animal control picked up a cat under similar circumstances and the next day a family came from Atlantic Highlands to claim her,” Rutledge said. “The cat had been willed to them and they were anxious to be reunited with her.”

Next in line, a couple with an out-of-control shepherd mix came to adopt another dog in the hopes it would calm the shepherd. Mullen told the couple that another dog would make their dog even crazier and suggested they sign up their pet for the shelter’s obedience classes.

Once he was under control, she said, they could adopt a companion for him. They followed her advice.

Meanwhile, Rutledge asked a young couple why they were leaving their Jindo (a Korean sporting dog) at the shelter. The man said they had owned the dog for two years but could no longer keep him because they “traveled a lot.”

It was 2:20 p.m. and the lines in the lobby grew longer. The Jindo kept moving toward the exit as Rutledge explained to the owners that not every pet at the shelter finds a new home.

“If he gets sick here or if he’s here a long time, there’s a chance he may have to be euthanized. Do you understand that?” Rutledge asked the couple.

“Yes, I’ve thought about that,” the man said. “We still want to leave him here.”



{BOX} Total at shelter in 2000: 2,373*

{BOX} Reclaimed by owners in 2000: 501

{BOX} Adopted in 2000: 1,002

{BOX} Dogs returned to shelter after adoption in 2000: 196

{BOX} Euthanized** in 2000: 680


{BOX} Total at shelter (including ferals) in 2000: 4,626

{BOX} Cats adopted in 2000: 1,331

{BOX} Reclaimed in 2000: 92

{BOX} Returned after adoption in 2000: 115

{BOX} Euthanized in 2000: 1,678

* Of the total number of dogs and cats at the shelter, about 3,300 were strays; about 2,600 were handed in by owners,; 519 were dead dogs and cats picked up by animal control; 276 were trapped by the rabies task force; and 276 were abandoned outside the shelter.

** Euthanasia figures include at least two elderly or sick pets per week brought by their owners to be put to sleep.


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FOCAS currently needs volunteers literate in computer graphics; people to help with adoption counseling; and people to feed the animals and clean cages and kennels in the mornings.

For more information: (201) 943-4019 or

Illustrations/Photos: 5 COLOR STAFF PHOTOS BY CHRIS PEDOTA 1 – Shelter Director Mary Ellen Stout — her hand showing a cut that was the result of a dog bite — with a cat suffering from a respiratory illness. 2 – Above, a kitten waiting for adoption. 3 – Left, Mary Ellen Stout in the cat room. The director says working at the shelter is an “emotional roller coaster” because some animals are euthanized. 4 – This baby raccoon, trapped in a garbage pail in Cresskill, was freed by an animal control officer. 4 – Left, caged felines at the Bergen County Animal Shelter in Teterboro checking out the stranger among them, a rooster.

Over the years, the shelter also has housed a coyote, a boar, an alligator, and a ram.3 STAFF PHOTOS BY CHRIS PEDOTA 6 – Denise Pate of Washington Township and her daughters, Chelsea and Taylor, getting acquainted with kittens that are up for adoption. 7 – Veterinarian Lester Morris and shelter Director Mary Ellen Stout giving a dog a free rabies shot, one of the shelter’s many community services. 8 – Volunteer Doris Surkes feeding a kitten. “This is my therapy,” she says. “Instead of going to a shrink, I come here to the shelter.”

VERA LAWLOR, Staff Writer

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current listening 03/13/10

+ King Crimson: In the Court of the Crimson King (1969/2009) – The beginnings of the mighty Crim were celebrated last year with three separate editions of its debut album, a groundbreaking mix of prog rock invention, heavy psychedelia and free jazz exploration. A two-disc version features a vivid remix by Porcupine Tree’s Steve Wilson along with numerous extras, including a lovely acoustic guitar/woodwind duet of I Talk to the Wind.

+ The Misled Children/Odean Pope: The Misled Children Meet Odean Pope (2008) – A cross generational summit that brings a West Coast hip hop outfit featuring the enigmatic Clutchy Hopkins to the veteran Philadelphia saxophonist Odean Pope, now in his 70s. The results favor Pope in lean groove settings that recall the organic meshes of jazz, soul and funk spearheaded by Blue Note Records in the early 1970s. Very, very cool.

+ David Bowie: Heathen (2002) – The three studio records Bowie released over the past decade barely dented the charts, but all are gems – especially this spooky/spiritual session where his ghostly croon meets the guitar loops of David Torn. The way the ethereal Sunday surrenders to a trip hop beat is a thrill, as is the evolution of the title tune from an outer space noir soundscape into a deliriously static party piece. A masterful sleeper.

+ John Jorgenson Quintet: One Stolen Night  (2010) – Having played country music in the Desert Rose Band and arena rock with Elton John, guitarist Jorgenson offers his latest gypsy jazz outing. Fashioned after the ‘30s records of Django Reinhardt and Stephane Grappelli, Jorgenson makes the sunny string sound his own with discreet Eastern European accents and a curious bit of Greek flavored bluegrass titled Kentucky Kastrinos.

+ Michael Hoenig: Departure from the Northern Wasteland (1978) – Definitely one for the “Whatever Happened To…” files, Hoenig is a German composer from the modulated “Berlin School” of electronic music. He briefly played in Tangerine Dream, which seems the prototype for this spacious sounding album of synthesizer music. Dated? Absolutely. But the emotive, cinematic flair of these works makes for a majestic chill out soundtrack.

Eagle Ford Shale in the US – Oil and Gas Shale Market Analysis and Forecasts to 2020.

Energy Weekly News November 12, 2010 Increased Drilling Activities and Encouraging Well Results Allow Eagle Ford to Emerge as a Major Potential Oil and Gas Producing Region in the US The encouraging results from the wells drilled in Eagle Ford shale have significantly increased the drilling activities in the shale play. As per Texas Rail Road Commission (RRC), as on April 16, 2010, there were 231 permitted wells and 123 drilled wells in the play. The activity in the play is expected to continue to increase over the next few years. Major companies in the play together plan to drill approximately 230 wells in Eagle Ford shale in 2010. here eagle ford shale

The Shale play is expected to emerge as a major oil and gas producing field in the US over the next decade. EOG Resources, one of largest players in the Eagle Ford shale play has estimated that the Eagle Ford, as an oil discovery, will rank sixth in size among the all time giant oil fields in the US – just after the Bakken Shale. The overall production of Eagle Ford shale is expected to reach approximately 2,827.4 million cubic feet equivalent (Mmcfe) per day by 2020.

Oil and Condensate Production from the Eagle Ford Shale Makes It A Lucrative Investment Destination The Eagle Ford Shale, in contrast to other major shale plays in the US like Barnett, Haynesville and Marcellus, which primarily produce natural gas and condensate, produces oil in addition to natural gas and condensate. The oil and condensate percentage in some regions have been quite high giving the companies a huge premium. in our site eagle ford shale

The Eagle Ford shale is expected to attract huge investments over the next decade with rapid increase in activities in the play. The major eight companies in the play plan to spend over $1billion in 2010.

wy not

wynonna judd

wynonna judd

I’ve been following with interest the online responses to a Wednesday story by Linda Blackford and Rich Copley regarding the recruitment of Kentucky-born country/pop star Wynonna Judd for the opening ceremony of the 2010 Alltech FEI World Equestrian Games this fall. I say interesting because not many of the postings seem terribly thrilled with the news.

“Are you kidding?” wrote one poster. “This is supposed to get people excited about going to the opening ceremony for the WEG?” Said another succinctly: “I am not impressed.”

Such a chilly local response for a veteran country artist is surprising. That said country celeb is as honored as much around these parts for being a Kentucky native as she is for her music makes the collective response even more of a suckerpunch.

Frankly, I think it’s a fine choice. Wy is only being called upon to sing My Old Kentucky Home. It will be far from a full concert-length performance. So why not have an established Kentucky celebrity on hand for some pageantry when Lexington goes parading before the world? I also have every confidence than when the WEG ceremonies commence, audiences will treat her royally.

But the story’s responses suggest the kinds of expectations – realistic or not – that local audiences have for the entertainment they see fitting of an event like the WEG. Names like Springsteen, the Stones and U2 have been casually tossed around along with larger marquee country names, none of whom are the sort of performers that hire themselves out for a specific event, regardless of the paycheck. Well, they all did for the Super Bowl. That’s about it.

I’m sensing, though, that these readers are only asking for a performance that is special and exciting enough to be worthy of an equally unique event like the WEG. In other words, I think they’re saying having Wy here isn’t that big a deal.

What would be? That may well depend on who will be touring in the fall. Here in March, many acts simply haven’t confirmed the routing of their 2010 tours. But let’s start by looking at the major acts that we already know will be passing Lexington by this summer. Tickets go on sale this weekend for Tom Petty dates in Louisville and Cincinnati. Both cities have also secured dates by the Dave Matthews Band. Outside of the region, U2 will be touring stadiums for a month with no dates anywhere near here.

So perhaps the fall will offer something of the size and scope that reaches beyond that of country and rock acts that make the rounds at Rupp Arena every few years. Something that won’t get snagged by Louisville and Cincinnati instead. Something as special as games themselves.

in performance: ani difranco

ani difranco

ani difranco

“Nice to be in the crate here with you,” remarked Ani DiFranco, referencing the tight stage quarters she shared last night at Buster’s with drummer Andy Borger and longtime bassist and keyboardist Todd Sickafoose.
Actually, the club space only seemed sparse if you compared it to the types of venues the renegade folk stylist has been playing over the past two decades. Her last Lexington appearance, for instance, was an unaccompanied solo performance at the Singletary Center for the Arts seven years ago. Last night, thanks to her trio’s mighty groove, she offered twice the racket in half the space. And that made for a pretty cool crate.

With Sickafoose’s muscular acoustic bass support and Borger’s lean percussive drive, DiFranco conjured a concert full of unexpected physicality. In many cases, the band’s tough but very clean propulsion mirrored the lyrical spark of her songs, as with Manhole and the title tune to DiFranco’s 1996 album Dilate. On other works, she matched her bandmates’ rhythmic charge with densely brittle guitar runs. Such was the setting for Alla This, curiously one of the very few songs offered from DiFranco’s most recent studio album, Red Letter Year.

That recording’s predominantly hopeful cast (well, hopeful when placed next to such bitter break-up songs as Dilate) was instead measured out in newer, as-yet-unreleased works like as Mariachi and Hearse that fell near the end of the 90 minute set. On the surface, both tunes seemed opposites with the former reflecting a sunnier cast and the latter de-evolving into, as DiFranco called it, “a dirge.” But both possessed a sense of conversational intimacy that was unexpectedly warm.

Fine and energetic as the trio was, the concert’s uncontested highlight was a solo version of 1998’s Two Little Girls, a jagged, semi-sisterly love story of volcanic opposites (“this little girl breaks furniture, this little girl breaks laws”) with no happy ending. Last night, its performance was nothing short of combustible as DiFranco’s vocal and guitar delivery became as physically vital and involving as the song itself.

After Two Little Girls concluded, DiFranco faced the crowd, her unstrapped guitar in hand, looking exhausted but exhilarated. You almost expected a referee to walk over, hold up her arm and declare her the evening’s champ by a knockout. The song’s performance was that physically intense.

“Winner and still champion.” Yeah, that title suited DiFranco just fine last night.

critic's pick 114

The Emerald Isle inspiration that has made The Chieftains uncontested masters of Irish musical tradition might seem culturally removed from the war stories of 19th century Mexico. But then, chief Chieftain Paddy Moloney  has, especially over the last half of his band’s near half-century history, provided Irish inspiration for international pop summits, Asian ensembles and Nashville collaborations. So why not Old Mexico?

San Patricio digs into an altogether different corner of Irish tradition. Along with fellow roots music journeyman Ry Cooder (who collaborated with The Chieftains on their Grammy winning 1995 album The Long Black Veil), Moloney unearths the story of Irish immigrants that left their homeland during the Potato Famine of 1845 to begins a new life in America. Some of them were essentially drafted into fighting in the Mexican-American War only to find conditions of bigotry and poverty were little better than those existing in Ireland. Thus was born the San Patricio Battalion – Irishmen fighting alongside Mexicans against Americans.

In America, they were viewed as traitors. In Mexico, they were revered as gallant heroes. And that is simply the backstory to this fascinating cross-cultural adventure.

The closest The Chieftains have previously come to a mix of Irish tradition and anything remotely Mexican was on the 1996 album Santiago. That record explored the music of Galicia, a Celtic province near Spain. A key contributor to that album, Carlos Nunez, returns on San Patricio to play the gaita or “Galaician bagpipes.” The harmonies the instrument creates when played alongside Moloney’s uilleann pipes on tunes like San Campio are profoundly bittersweet.

Links also appear between the Irish and Mexican harps (on the lovely A la Orilla de un Palmar) and between Celtic reels and the Spanish rooted dance music of the zapateado (on El Chivo). Sometimes, though, it simply takes an Irishman to underscore the resolve of the San Patricio Battalion and a troupe of Mexican artists to convey the heritage of the battleground that was fought on. Thus we have San Patricio‘s mightiest track, a militaristic requiem titled March to Battle (Across the Rio Grande) that is colored by the Chieftains’ always-hopeful musical cast, narrated stoically by Liam Neeson and fleshed out by the pipes and percussion of Banda de Gaita de Batallon.

Cooder adds similarly cool narrative to The Sands of Mexico, the popular norteno band Los Tigres Del Norte drives the festive Cancion Mixteca and Linda Ronstadt provides the Spanish elegance of A la Orilla de un Palmar. Best of all, Celtic vocal stylist Moya Brennan (formerly of Clannad) serves as a grand Irish muse for the beautiful Lullaby for the Dead.

Perhaps this isn’t the pat St. Patrick’s present you expected from The Chieftains. But within its 19 songs, San Patricio unleashes unexpected history, cultural unity and musical grace that shines as brilliantly from south of the border as it does from across the pond.


US Fed News Service, Including US State News October 8, 2011 LEWES, Del., Oct. 7 — Delaware Department of Natural Resources and Environmental Control issued the following news release:

A clutch of nearly 190 eggs laid by an endangered green sea turtle on the beach at Cape Henlopen State Park in late August was successfully moved on Oct. 5 to a climate-controlled room at the University of Delaware’s College of Earth, Ocean, and Environment. The move marks the latest in a series of actions to help the nesting – the first of its kind recorded in Delaware – and ensure the safety of the eggs.

“Sea turtles usually lay their eggs on beaches in warmer climates, and the sand temperature was getting too low for them to survive,” said DNREC Biologist Edna Stetzar, who was part of the team that painstakingly excavated and moved the eggs.

DNREC Division of Fish and Wildlife staff joined a group of 15 volunteers from MERR (the Marine Education, Research and Rehabilitation Institute), and spent more than an hour moving the ping-pong-ball-sized white eggs one by one into specially-prepared 22-quart styrofoam boxes. With a Fish and Wildlife Enforcement escort, the eggs were transported by car – very slowly, so as not to jostle their precious contents – to the nearby University of Delaware campus. In the climate-controlled chamber, under the watchful eyes of MERR volunteers, temperatures were gradually raised by 2 degrees every three hours with the goal of reaching optimal hatching temperature of about 80 degrees. this web site green sea turtle

“These eggs have had a lot of obstacles,” said MERR Executive Director Suzanne Thurman, who led the MERR team in the delicate move. “But this is a big step in helping them survive.” Since the nest’s discovery by a Delaware State Parks ranger who observed the green sea turtle mother laying the eggs near a jetty on Aug. 18, high tides, predators, hurricanes and tropical storms have threatened its survival. The nest was first protected from the encroaching tide by moving it to higher ground, and then protected from predators by erecting an enclosure around the site and posting 24 hour guard. A week after the first move, Hurricane Irene deposited a heavy14-inch layer of sand on top of the nest. After being carefully excavated by hand from the effects of Irene, volunteers were faced with the same task after Tropical Storm Lee.

The green sea turtle is protected by Delaware’s endangered species regulations as well as federally protected as a threatened species. As a result, any dealings must pass though strict regulations. “Since the nest was laid, we have been working closely with the U.

S. Fish and Wildlife Service’s Florida office and with North Carolina Wildlife Resources Commission biologist Matthew Godfrey, who has experience with nesting,” Stetzar said. A special temperature module sent from North Carolina was buried in the sand at the same depth as the eggs, and helped make the determination that the eggs would have to be removed from the beach to have a chance of hatching, she said.

“We have such a devoted volunteer base, who at times stayed overnight to keep tabs on them. But it was still not the best conditions for them,” Thurman said.

After the U.

S. Fish and Wildlife Service granted permission to remove the eggs and incubate them, the Dean and faculty of the UD College of Marine Science and Policy gave permission to use their Lewes facility to incubate them. “We could not have done any of this without their incredible generosity,” Thurman said. Many individuals and organizations also have helped with this endeavor, including Delaware State Parks, the Greene Turtle restaurant and sports bar, and members of the public, she added. see here green sea turtle

The eggs are continuing to be closely monitored by MERR volunteers, and could possibly hatch by late October or early November. Depending on if and when they do, a plan will be executed to transport the hatchlings to the ocean and get them on their way into the Gulf Stream.

“Water temperatures will be a big factor in where they can be safely released, so we’ll just have to see what the conditions are like if we have a hatch,” Stetzar said.

“A lot of people care very much about these little sea turtles, so we’ll keep hoping for the best,” said Thurman. For any query with respect to this article or any other content requirement, please contact Editor at Joanna Wilson, 302/739-9902; Rob Rector, 302/930-5925.

a happier ani

ani difranco

What a difference decade makes.

As the ‘90s drew to a close, folk anarchist Ani DiFranco issued her 11th album in just over nine years. It was a seething, darkly inward recording called To the Teeth that hinted at a career rattled by cynicism, discontent and a touch of rage.

For all we knew, things were fine in the DiFranco camp and in the inner sanctum of Righteous Babe Records, the label that made the singer/songsmith a self-described “indie weirdo” when the decade began. But, man oh man, check out some of the songs on To the Teeth and you would think DiFranco was ready to toss in the towel.

“We live to hear the slack jawed gasping,” she sang in an especially grim and jittery To the Teeth rant called Freakshow. “We live under a halo of held breath.”

Flash forward to the newest DiFranco opus, Red Letter Year. If To the Teeth was the sound of resignation in motion, Red Letter Year is the sound of renewal. While the record’s lyrical cast is bright, DiFranco’s singing is even brighter. And throughout there is the redemptive vigor of an artist who is older, wiser and, most of all, happier.

Maybe that’s because she co-produced the record with her partner – and, since the record’s late 2008 release, husband – Mike Napolitano. Maybe it’s because in the midst of the album’s recording sessions, she became a mother. Maybe it’s because during the two years it took to make Red Letter Year – an eternity by DiFranco’s standards – this still righteous babe found a lot to make her feel blessed.

“Having a baby in the middle of making that record meant there were long breaks filled with not working on the record,” DiFranco said by phone last weekend prior to a performance in Covington. “And those moments were wonderful. They certainly infused a lot of perspective into the whole process of recording.

“I’m about 80% finished with my next record. I’m working away between mom-ing and touring. But, again, I’m on baby time. I don’t make deadlines anymore.”

Motherhood and music making for DiFranco are going hand-in-hand for the time being with daughter Petah Lucia, who turned three in January, serving as her constant road companion. The balance of family and art has worked for DiFranco thus far. But changes, she said, are on the way.

“It’s been going really well,” DiFranco said. “I’ve had the kid out on the road for her three years of life. But now that she’s starting to talk to me in English, she says things very regularly like, ‘I want to go home.’ And it really… well, you can imagine how that feels.

“I haven’t made any big announcement or anything. But my plan in the near future is to tour a lot less. We’re going to go home soon and try to make a normal life for her for awhile.”

Home, for the past six or so years, has been New Orleans. That’s excepting the time DiFranco was displaced during the making of her Reprieve album by Hurricane Katrina. The storm forced relocation to DiFranco’s hometown of Buffalo, New York, where Reprieve was completed.

One hesitates to ask about the current state of New Orleans. Reports in recent years tell of progress made only in baby steps and of a city forever scarred. DiFranco, however, is quick to sound celebratory about New Orleans’ rebirth.

“Oh, the feeling there is super high, man,” she said. “Ever since the Super Bowl (which, in case you’ve been vacationing on Neptune this winter, was won by the New Orleans Saints), it’s just been insane. This last Mardi Gras people were still flying over the Super Bowl victory. It’s great to see people happy there again.

“Of course, there are still a lot of people struggling to get back on their feet. There are a lot of people struggling just to get back home. But the Super Bowl was a real kick in the pants.”

DiFranco’s New Orleans pride spills over onto a new recording by the Preservation Hall Jazz Band titled simply Preservation. The album places one of the city’s most honored traditional jazz groups within the storied and still frill-free music club that shares its name. The record also enlists a wildly stellar guest list that includes, along with DiFranco (who moves Freight Train from its familiar folk and country surroundings to regal new digs of swing), Tom Waits, Merle Haggard, Steve Earle, Del McCoury and New Orleans musical ambassador Dr. John.

“It was a thrill to go down to the Pres Hall and sing instead of just listen,” DiFranco said. “That’s a place to go to be transported back in time to the roots of jazz, right there in the epicenter of the birthplace of jazz. The art that emanates from that part of the globe is really profound on so many levels. So it was an honor to sing with the band in that room and be part of their record.”

The jubilance of Preservation seems to crown – or perhaps extend – DiFranco’s true red letter year, a time where family and music are setting a most favorable course.

“Honestly, things have never been better. I have never felt more ready to be pleased and grateful for all aspects of my life. That includes the touring, the screaming fan who always wants more from me and just the pressures of the job. Now that I have a balance in my life, it’s all beautiful again.”

Ani DiFranco and Erin McKeown perform at 9 p.m. March 9 at Buster’s Billiards and Backroom, 899 Manchester St. Tickets are $25. Call: (859) 368-8871.


The Buffalo News (Buffalo, NY) May 19, 2000 | JIM SANTELLA Movies that generate laughs by breaking taboos are doomed to bomb if for no other reason than comedies are running out of taboos to break. Each generation aspires to recreate its own version of “National Lampoon’s Animal House” whether they call it “Porky’s,” “Overnight Delivery,” “American Pie” or, the latest exercise in taboo bending, “Road Trip.” The ingredients are all the same. A bunch of randy male students with a gross-out factor right off the Richter scale interact with alcohol, drugs, squishy food and lots of nude women. in our site movies to watch

Writer/director Todd Phillips adds nothing to the genre. Wasn’t it Spike Lee who said, “It used to be that kids would go to the movies to watch adults have sex, now adults go to the movies to watch kids have sex?” Ironically, “Road Trip’s” target audience (young teens) can’t gain admission.

The plot of “Road Trip” revolves around Ithaca college student Josh (Breckin Meyer) cheating on his girlfriend Tiffany (Rachel Blanchard) who attends school 1,800 miles away in Austin, Texas. It’s really not cheating — as his male friends inform him — if you’re in different time zones, if you’re too wasted to remember or if you’re with two people at the same time because they cancel each other out. However, it is cheating when you accidentally send videotape of the dirty-deed to your sweetie.

Josh hastily hits the road for Austin with best buds E.L. (Seann William Scott), Rubin (Paulo Costanzo) and nerdmeister Kyle (DJ Qualls) whose car they need to intercept the package. Don’t believe for one minute that I’ve given away the sweet meat plot of this time- waster. movies to watch

Skip the 91 minute running time of “Road Trip” and you could accomplish something useful like carving a belated Mother’s Day tattoo on your chest. MTV star Tom Green, the film’s narrator, tells the tale of the ill-fated Josh to a group of parents and students he’s leading on a tour of the campus.

He is supposed to be funny. Holding a mouse in his mouth, mooning the camera and lip-locking a student’s mom is neither funny, shocking nor entertaining.

High points (what few there are) go to Seann William Scott (who played Stiffler in “Pie”). He plays a character very similar to Stiffler, and has the best lines and delivery of any other character.

With summer fast approaching and school coming to a close, “Road Trip” just might be this year’s “There’s Something About Mary.” That still doesn’t make it funny, entertaining or worth watching.

ROAD TRIP * STARRING: Tom Green, Breckin Meyer, Amy Smart, Seann William Scott DIRECTOR: Todd Phillips RUNNING TIME: 91 minutes RATING: R for strong sexual content, crude humor, nudity and drug use THE LOWDOWN: College student cheats on girlfriend, videotapes it, then accidentally mails it to girlfriend JIM SANTELLA

current listening 03/06/10

+ Jimi Hendrix: Valleys of Neptune (2010) – New Hendrix? Sort of. Due out on Tuesday, Valleys of Neptune offers unreleased documents of an especially restless guitarist at work during the final days of the Jimi Hendrix Experience. A chaotic instrumental version of Cream’s Sunshine of Your Love signals Hendrix’s push to a more percussive sound. But the post-Experience take on Elmore James’ Bleeding Heart proudly upholds the blues.

+ Johnny Cash: American VI: Ain’t No Grave (2010) – The last of the Rick Rubin-produced American Recordings has Cash making peace with the world. The funereal title tune, cut with the Avett Brothers, may brood a bit. But this is still the warmest, most affirming entry in the American series. From the resolute reading of Satisfied Mind to the island farewell of Aloha Oe, Ain’t No Grave brings Cash’s mighty last chorus home.

+ Mose Allison: The Way of the World (2010) – Due out March 23, The Way of the World places an 82 year Allison back in the studio with Joe Henry producing. Sounding hip and human as ever, Allison stays the course here with slices of spry jazz piano cool. Henry brings the guests, including drummer Jay Bellerose and guitarist Greg Leisz. But Allison’s ageless whimsy on My Brain, Modest Proposal and Ask Me Nice bring on the big fun.

+ Nigeria Afrobeat Special: The New Explosive Sound in 1970s Nigeria (2010) – This new sampler album shows just how deeply Fela Kuti’s Afrobeat sound permeated the music emanating out of Nigeria in the early ‘70s. Kuti and his Africa ‘70 band lead the 11 act roster. But all of the performers follow a unified course with extended, mantra like grooves that balance percussion and brass for a funk sound of a truly different color.

+ Jason and the Scorchers: Halcyon Times (2010) – On the first new Scorchers album in 14 years, Jason Ringenberg and Warner Hodges reteam to redefine cowpunk, from the high octane misfit anthem Moonshine Guy to the free-for-all charge of Gettin’ Nowhere Fast. But Mother of Greed bears a comparatively worldly cast as Ringenberg sings of a civilization “losing history to a modern reality.” Clear headed cowpunk with its eyes wide open. Due out Tuesday.

Store defends Hitler cake snub Market won’t put 3-year-old Adolf’s name on icing.(News)

Rocky Mountain News (Denver, CO) December 18, 2008 Byline: Associated Press A supermarket is defending itself for refusing to a write out 3-year-old Adolf Hitler Campbell’s name on his birthday cake.

Deborah Campbell, 25, of nearby Hunterdon County, N.J., said she phoned in her order last week to the Greenwich ShopRite. When she told the bakery department she wanted her son’s name spelled out, she was told to talk to a supervisor, who denied the request.

Karen Meleta, a ShopRite spokeswoman, said the store denied similar requests from the Campbells the last two years, including a request for a swastika. see here easton express times

“We reserve the right not to print anything on the cake that we deem to be inappropriate,” Meleta said. “We considered this inappropriate.” The Campbells ultimately got their cake decorated at a Wal-Mart in Pennsylvania, Deborah Campbell said Tuesday.

Wal-Mart spokeswoman Anna Taylor told The Easton Express- Times that the store won’t put anything illegal or profane on a cake but thinks it’s important to respect the views of customers and employees.

“Our No. 1 priority in decorating cakes is to serve the customer to the best of our ability,” Taylor said from Bentonville, Ark.

Heath Campbell said he named his son after Adolf Hitler because he liked the name and because “no one else in the world would have that name.” The Campbells’ two other children are named JoyceLynn Aryan Nation Campbell, who turns 2 in a few months, and Honszlynn Hinler Jeannie Campbell, who will be 1 in April. here easton express times

Campbell said he was raised not to avoid people of other races but not to mix with them socially or romantically. But he said he would try to raise his children differently.

“Say he grows up and hangs out with black people. That’s fine, I don’t really care,” he said. “That’s his choice.” He said about 12 people attended the birthday party on Sunday, including several children of mixed race.

INFOBOX Children’s names The names of the Campbell children:

* Adolf Hitler Campbell * JoyceLynn Aryan Nation Campbell * Honszlynn Hinler Jeannie Campbell CAPTION(S):

Photo Heath and Deborah Campbell pose with son Adolf Hitler Campbell, 3, in Easton, Pa., on Tuesday. They attempted to buy a birthday cake, but the store would not spell out the boy’s name. RICH SCHULTZ / ASSOCIATED PRESS

in performance: richard shindell

richard shindell. photo by alejandro baccarat.

richard shindell performed last night at natasha's. photo by alejandro baccarat.

Like all great songwriters, Richard Shindell is versed in the ways of making doom seem almost fanciful. Take, for instance, the title tune to his 1992 debut album Sparrow’s Point – one of several highlights from his engaging solo acoustic concert last night at Natasha’s Bistro. It told the story of a drifter from a busted family born between the two world wars. He winds up finding gainful employment with a herd of like-minded vagabonds (“their heads bowed low, their hopes not high, their hearts weaned of their homes”) as a soldier in the second one.

The songs that made up the performance weren’t all that dire. But the way their narratives balanced the haplessly human and the obliquely fanciful certainly spoke well for the show’s sense of emotional reserve. Shindell even assigned very human roles to animals on at least three occasions – specifically a cow (on the new Stray Cow Blues, where an outcast bovine has “nothing to do but hang my head and low”), a canary (the modestly bossa nova accented There Goes Mavis, where a freed bird reflected a sort of emancipated childhood) and a mule (a blind-leading-the-blind saga titled Get Up Clara).

Shindell further blurred his songs’ senses of time (the grim post Civil War remembrance Reunion Hill) and place (a cover of The Band’s majestic Acadian Driftwood, which detailed migration and wintry displacement). But still the human detail glowed. Shoot, he even went to the Sparrow’s Point album again for the jilted reverie Are You Happy Now? which detailed a romantic break-up on Halloween.

To color these ends, Shindell sang with a clear, descriptive and unfussy voice that revealed a preference for elongating vowel sounds. He regularly sang like a folkish Michael Stipe as a result, although the hushed, warm detail of his vocals on the traditionally flavored Fenario brought a late ‘70s Art Garfunkel to mind.

Ultimately, though, the songs ruled this show. And none captured the dodgy human wonder of Shindell’s music more than Waiting for the Storm, a 2000 work of a self-made iconoclast that braves a hurricane alone against the protests of his wife and the local police. There was no sentimentality in the song or the performance last night. It was simply a weary requiem of a man accepting – and almost welcoming – a sense of impending ruin.

In a performance full of unassuming snapshots from the edge, Waiting for the Storm was a grand, weatherbeaten trophy.

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