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__label__wiki	0.611389	0.611389	6012's MEMBERS Adam - Adam began playing drums around the year of '96 - teaching himself the sacred art of the skins. This method of playing has lended him an original sound, sprawling over the kit in a unique fashion and making his decidedly small kit sound incredibly large. Adam usually takes care of mangling his hands rather effectively and his constipated looks show his tireless efforts behind his self titled drum kit. To make up for his years of hard work, Adam generally takes care of clearing up the band's bar tabs. Peter - Along with our man Adam, Pete is a self-taught artist. Pete got his first bass eight years ago and has played in many bands and done various side projects. He and adam have worked solidly on the rhythm section for almost three years.. His talents also span into the world of guitar - showing this in several bands before 6012, and again when this band first formed. The styles this man possesses are hard to explain, and I'm sure he likes it that way, confusing the general public with his ramblings. Pete's onstage antics definitely show him as more of an energetic player than most bass-heads, and a small pool of sweat (is it sweat?) is usually left beneath his bouncing limbs. Pete takes care of holding together 6012's hip-hop grooves rather nicely, and is also known for his oversized pantaloons. Mike b - Joining Peter and Adam in '97, Michael added his skills on the guitar to complete the original 6012 line-up. Having been taught by his father in the world of the classique, to being a self-taught electric guitarist has given him a different outlook into constructing his riffs. Steering well away from the 'guitar hero' patent lead solo's (you will find very, very few in 6012's sound), Michael prefers to let the band as a whole create the mood behind Adam's demented lyricism. Other than his work behind the microphone and guitar, Michael is also known for Brisbane's largest collection of Pinhead and Eggplant paraphenalia. Boomski - Completing the line-up for Sixty Twelve is DJ Boomski. Boomski joined the band shortly after his commendable efforts in the 1998 I.T.F. DJ Championships, and with years of turntable trickery up his sleeve, he decided to take a step towards a different live experience. Quickly coming to terms with their erratic song structures, Boomski was able to effortlessly blend his dynamic turntable skills into the band's existing tracks, and help structure new material. After settling down to the rigourous and demanding lifestyle of live performers, Boomski takes advantage of every off-stage moment, and is known to be partial to the occassional massage during the band's hectic touring seasons.	cc/2020-05/en_head_0013.json.gz/line0
__label__wiki	0.665896	0.665896	Everything You Need to Know About Affordable Health Insurance and More How to Find Affordable Health Insurance in the State of North Carolina There are many free and low-cost health insurance programs for low-income families in North Carolina. Many affordable health insurance programs are offered through North Carolina Care to Act Programs. These include Community Health Centers that provide health care services to all, and a Medical Assistance Program that helps pay for prescriptions for low-income families who have little or no health insurance. Both programs are available via the North Carolina Dept of Health and Human Services and other state government agencies. Medicare is available to those 65 and older and people under 65 with disabilities. Medicaid is available for low-income individuals and families who meet the income limitations; this includes coverage for infants and children under 19, families with dependent children, and pregnant women whose income does not exceed 185% of the Federal Poverty Level. Families who do not qualify for Medicaid can apply for assistance through the North Carolina Health Choice (NCHC) for Children program. Under this program, qualifying families can receive free or reduced cost health services. North Carolina Dept of Health and Human Services: www.ncdhhs.gov North Carolina Health Care Help: www.nchealthcarehelp.org Subscribe FREE to Affordable Health Insurance News More Helpful Information: About Us \| Experts \| Misconceptions \| Obamacare \| Resources	cc/2020-05/en_head_0013.json.gz/line5
__label__wiki	0.752884	0.752884	In Defense of: ‘1941’ By Jim MacQuarrie May 31, 2018 May 31, 2018 A lot of movies that I love are widely regarded as bad; they are often labeled flops, failures, train wrecks, disasters… and once in a while, I feel like defending one of them. Today it’s one of Steven Spielberg’s two flops (the other is Always, which I have not seen), a big-budget comedy spectacular called 1941. So let’s get to it. 1941 is a World War II movie that starred a who’s who of late ’70s comedy: John Belushi, Dan Aykroyd, John Candy, Tim Matheson, Robert Stack, Ned Beatty, Eddie Deezen, Wendie Jo Sperber, and Slim Pickens, along with dramatic actors like Treat Williams, Warren Oates, Robert Stack, Toshiro Mifune and Christopher Lee. The movie is mean to be a farcical look at some of the fear and hysteria that hit the west coast following the attack on Pearl Harbor, some of it justified by actual events. In fact, a number of real incidents are woven into the plot; there were numerous reports of submarines being spotted off the coast, as well as unconfirmed reports of Japanese planes flying over coastal areas. The film takes place in December of 1941, about a week after Pearl Harbor, when a Japanese submarine is sighted off the coast of California. The story cuts back and forth between several groups whose paths inevitably cross: Chuck Sitarski HATES eggs. Treat Williams with John Candy in ‘1941’. Wally (Bobby Di Cicco), a dishwasher at a restaurant, accidentally provokes conflict with a group of army personnel (including Dan Aykroyd, John Candy, Frank McRae, and Mickey Rourke), particularly Corporal Chuck Sitarski (Treat Williams) and gets fired from his job. Toshiro Mifune is the captain of the sub, whose mission is to attack Hollywood and thereby demoralize America. On board with his crew is Christopher Lee as a German Nazi intelligence officer serving as observer. Unfortunately, they don’t know where Hollywood is. Loomis Birkhead puts the moves on Donna Stratton. Tim Matheson and Nancy Allen in ‘1941’. Meanwhile, in Long Beach, Captain Loomis Birkhead (Tim Matheson, “Otter” from Animal House) has recognized General Stilwell’s (Robert Stack) secretary, Donna (Nancy Allen, Robocop) and remembered that she gets aroused by airplanes, so he schemes to get her onto a plane and seduce her. Also meanwhile, Captain “Wild Bill” Kelso (John Belushi) thinks he’s chasing a squadron of Japanese Zeroes across the California desert. Ned Beatty is a family man whose home overlooks the ocean in Santa Monica; his daughter Betty (Dianne Kay, Eight is Enough) is Wally’s girlfriend and a hostess at the local USO club. The army unit from the restaurant has parked an anti-aircraft gun on Beatty’s front lawn (this really happened). Sitarski meets Betty and flirts with her. Betty’s friend Maxine (Wendie Jo Sperber) is smitten with Sitarski, who is not at all interested. Hollis “Holly” Wood fought your kind in the Great War. Slim Pickens tells off his captors in ‘1941’. Meanwhile, the submarine crew has sent a landing party to find Hollywood. Instead, they abduct a Christmas tree farmer named Hollis “Holly” Wood (Slim Pickens, Dr. Strangelove), and intend to force him to reveal the location of Hollywood. Also meanwhile, Loomis and Donna have made their way to Barstow to borrow a plane from a training base run by lunatic Colonel “Mad Man” Maddox (Warren Oates) so that they can get their airborne freak on. While all this is happening, General Stillwell is trying to enjoy the new Disney movie, Dumbo, at a theater on Hollywood Blvd. (This really happened. In fact, Stilwell saw it twice that month.) When 1941 came out, it was widely reviled as being racist, due to the pervasive slurs against the Japanese peppered throughout the script. Modern audiences overlooked the fact that the film is set about a week after the Pearl Harbor attack. Anti-Japanese sentiment was roaring, and a lot of it involved offensive stereotypes, derogatory cartoons, and vulgar imitation of a pseudo-Japanese accent. For example, Spike Jones and His City Slickers had a big hit with their song, “You’re a Sap, Mister Jap.” If anything, 1941 vastly underplays the extreme racism of the time out of consideration for modern sensibilities; in reality, those insulting terms were commonly used by public officials and in newspapers, movies, radio, comic strips, and comic books, to a far greater degree than anything heard in this movie. Asian stereotypes were so common and so deeply entrenched in the culture that they were still prevalent in entertainment right up into the 1960s (see Mickey Rooney in Breakfast at Tiffany’s). If you’re going to make a movie set in Southern California that takes place in mid-December 1941, anti-Japanese attitudes are a huge part of the story, and ethnic slurs are going to be a commonplace part of the dialogue, unless you’re doing a whitewash. Given that part of the story also involves the notorious “Zoot Suit Riots.” and that the US military (and most of the country) was still segregated at the time, there are a lot of areas in which racial tensions show up in the script, usually as reflections of the society of the time. 1941 is not a racist film, it is an accurate portrayal of the racist attitudes of the time in which it’s set. Stanley Kubrick told Spielberg that 1941 was “great, but not funny.” I mostly agree with Mr. Kubrick, although many parts of it are funny, particularly the lunatic fringe. Belushi’s “Wild Bill” Kelso is barking mad and wildly irresponsible, leaving a path of destruction in his wake. Sometimes deliberately, as when he shoots the gas station radio, but more often unintentionally. Kelso is basically Bluto Blutarsky gone to war, and he steals every scene he’s in. Matheson’s desperate attempts to find a way to indulge Allen’s aerophilia fall more into the realm of “cringe comedy,” which wasn’t really in vogue in 1979. Neither were the awkward attempts at race-based comedy in which John Candy’s racist jerk Private Foley was pitted against African-American Private Ogden Johnson Jones (Frank McRae). The film also suffers a bit from the ’70s trend of comedies descending into carnage, as exemplified by many of John Landis’ films, including The Blues Brothers, Animal House, and American Werewolf in London. The last 20 minutes of the movie is an ever-escalating symphony of destruction that includes driving a tank through a number of buildings, crashing a plane on Hollywood Blvd., sending a fully-lit ferris wheel rolling into the ocean, and completely destroying a house. Some of these moments are funny, usually due to the quiet determination of Ned Beatty, but others are just needlessly frenetic. Treat Williams’ performance is borderline psychotic, far in excess of the demands of the plot. Some of the toilet humor involving Hollis Wood is on the gratuitous side, but his character is funny. Okay, so there’s a list of things that are arguably wrong with the film. What’s good about it? Why am I defending it? Some things I like about the film are the many little bits thrown in for people who are paying attention, like the fact that the Japanese submarine commander and the German intelligence officer understand each other even though they are speaking different languages; since we’re reading the subtitles, we don’t immediately notice that nobody’s translating for them. I find that funny. I like that Spielberg actually went to the trouble of hiring the same girl who was attacked by the shark in the opening of Jaws to parody the scene in the opening scene of this one. Bobby Di Cicco holds up his end of the comedy, aptly leaping from being a hapless Gilligan in over his head to being the smartest guy in the room, sometimes in the same scene. His spectacular performance in the combination dance contest/bar brawl (set to “Swing, Swing, Swing”) is brilliant, and Joe Flaherty’s sardonic take as radio host Raoul Lipschitz makes that scene even funnier. Di Cicco’s dance partner, Dianne Kay, more than carries her portion of the movie. She is perhaps the only sane person in the film, and her reactions to the lunatic asylum in which she finds herself are perfect. Whether fending off Sitarski’s creepy advances or trying to process her father’s actions, Kay grounds her scenes in reality. She’s a good actress and should have had a much more successful career. If 1941 had been a hit, she would have been a major star. Another favorite sequence is Murray Hamilton’s slow burn of exasperation with Eddie Deezen. The two are civil defense volunteers assigned as lookouts, and their assigned lookout point is at the top of the aforementioned ferris wheel. Hamilton is terrified of heights, and he’s locked in a seat all night next to Deezen, the world’s most annoying nerd (you saw him in Grease, and most annoyingly in WarGames), and he’s brought along his ventriloquist dummy. Hamilton’s fatalistic “I’m in hell” performance is hilarious. Trapped at the top of a Ferris wheel with the most annoying man in the world when you’re afraid of heights? Claude is in hell. Eddie Deezen and Murray Hamilton in ‘1941’. I like that TV’s Lenny and Squiggy (Michael McKean and David L. Lander) show up in a cameo as Bill Mauldin’s Willie and Joe, even if nobody else in the audience knew who they were supposed to be. I even liked Wendie Jo Sperber’s portrayal of Maxine’s frantic lust-crazed pursuit of Sitarski. Sperber, best remembered as Marty McFly’s sister in the Back to the Future films, was always funny, and she is missed. (She died of breast cancer at age 47.) I like Robert Zemeckis’ intricate plotting, weaving the disparate stories and characters together and having their paths cross in various ways, ultimately bringing them all together in the chaotic climax. The final scene with Ned Beatty’s inspirational speech and what follows, is perfect. But truthfully, the single best thing about 1941 is the music score. The 1941 Theme is hands down the best march John Williams ever wrote. All in all, I think 1941 may have simply been ahead of its time and a victim of bad marketing. Kubrick felt it should have been sold as a drama, but I think it’s more of a sardonic satire. As a comedic indictment of ignorance, irresponsible self-interest, and blind panic, it effectively makes its points, and it may have been better received if it had come out 10 years later. I think the film holds up well, and is well worth a second look. Or a first, if you’ve never seen it. Author: Jim MacQuarrie Jim MacQuarrie is a comics and animation geek, a professional cartoonist and graphic designer, professional balloon animal twister, a certified archery instructor (and yes, his arrows are green), former homeless person and occasional gadfly. He has three children who are all grown up, and an incredibly patient wife who is waiting for him to do likewise. Together they co-write the lifestyle blog Blue Collar, Black Tie. View all posts by Jim MacQuarrie → Behold the magnificent glory of ‘Reefer Madness’!!!! Aerial Dances with Death, Soviet-style M-Wolverine May 31, 2018 at 9:40 am 2 years ago Hmmmm, I’d say his other flop is The BFG. That had to have lost lots of money. So at least 3. I think the “racist” stuff stands out because it’s supposed to be a comedy. It’s not Schindler’s List, it’s not a documentary. So it’s hard to say it’s farcical at one moment and it’s an accurate depiction of the times in the same breath. You can get away with it if you’re Blazing Saddles, because you’re A. Funny and B. mostly poking fun at those who are the racists. I’m sure a lot of it is people looking at it with modern glasses on. There’s usually 3 categories: things that were just a part of their time, and you can’t change history; things that didn’t seem so bad back then but don’t really fly now; and things that were racist then and racist now. I don’t know where this one falls into that. I know Asian racism has seemingly been “ok” a lot longer than it was to make fun of other minorities. I loved Murder by Death, and understand Peter Sellers made his career off of playing oddball characters, inspiring Mike Meyers whole character and costume choices. But watching it now is a little cringe worthy. And you can go well into the 80’s with movies like Sixteen Candles and Long Duk Dong who are just this side of minstrel shows. With the opening of of the Asian film markets it’s changed some, but there are still a lot of Ghost in the Shell choices going on in Hollywood. I just think it’s unfortunate, that will all the movies Spielberg has done with Tom Hanks, that he never got to use Wendie Jo Sperber in a scene with him. Several people on the Classic Comics Forum have commented recently that the comic adaptation of this movie works better than the movie does. The adaptation was published in 1979 by Heavy Metal, with script by Allan Asherman and art by Stephen Bissette and Rick Veitch. May 31, 2018 at 12:49 pm 2 years ago “the fact that the Japanese submarine commander and the German intelligence officer understand each other even though they are speaking different languages; since we’re reading the subtitles, we don’t immediately notice that nobody’s translating for them. I find that funny.” If I noticed (and I probably would / did), I’d just think that they’re two people who can understand each other’s languages but are speaking their own. I’d take it for granted and neither think it was funny nor a problem. Then I’d think back to the times I was in Japanese class, and kept accidentally speaking German instead, for some reason. And noticed somebody else doing the same. (NB: Please don’t expect any fluency from me in either language; I’ve done beginners classes in both, years ago, no more.) Jeff Nettleton June 1, 2018 at 10:06 am 2 years ago My boss in the Navy was the son of an American father and Dutch mother and spoke fluent Dutch. We had a port visit from a Dutch naval vessel and he went down to meet the officers. When he came onto their quarterdeck, he spoke to the watch in Dutch and they were speaking to him in English and it took a few minutes for both to realize they were understanding each other while speaking the other’s language. June 2, 2018 at 8:00 am 2 years ago “What do you call a person who speaks two languages? Bilingual. What do you call someone who only speaks one language? American.” Count me as another who likes this movie; yes, it’s got it’s flaws, and it’s certainly not a conventional comedy, but it’s definitely worth watching. What I like about it is, in fact, that frenetic aspect of so much of it, that it’s almost like a fever dream. That, and the fact that it seems like individual members of the cast weren’t told what kind of movie they were making, hence Williams acting like a straight-up psycho. (Also, didn’t know until just now that Sperber had died – sad to hear; she seemed to appear in a lot of TV shows and sitcoms in the ’80s, and I mostly associated her with her role in Bosom Buddies. I agree that she was also quite good in 1941.) By the way, I first saw this on VHS in college with a few house-mates. We all loved the movie, but one thing that made us cheer out loud was when we saw that one of those hyperactive little kids running around the family home in Santa Monica was played by a certain Steve Mond – who lived on the same floor of our dorm in college the year before. He later occasionally appeared in Diff’rent Strokes, playing one of Arnold’s school chums, which he often mentioned, but never talked about this role. Our admiration for him really increased, although I honestly think he was mystified that we liked the movie at all. May 31, 2018 at 1:37 pm 2 years ago I remember a bizarre shtick in the TV series version of Mr. Roberts where the Japanese sub crew shadowing the ship are talking English but getting subtitles in Japanese. Which they can see. Actually I think the racism isn’t exactly true to the times. In one of the early scenes, a general brushes off all the crazy talk about Japanese spies and subversives as the nonsense we know it was; in 1941, people took it with complete seriousness. But my main objection to the movie is it’s just a big, suety lump of crap, despite the talented cast (sorry not to be more precise in my review). I’ve never gotten much further than about 15 minutes of this film. It was so painfully unfunny I couldn’t continue and that was even after Belushi showed up. I can speak about Always, as I had the misfortune to see it in the theater. It’s just plain boring. The characters aren’t particularly engaging, the romance never comes across very well and it is so forced in its sentiment that you never buy into it. John Goodman is about the only one I thought succeeded in making his character more than what was on the page, though Audrey Hepburn has a nice turn. Then again, that is mostly by just being Audrey Hepburn and having been away from Hollywood for so long. The actor who plays the hunk, Brad Johnson, was an ex-model and not much of an actor. He might as well have still been on a billboard, fro as stiff as he was. Holly Hunter and Richard Dreyfuss had no chemistry, so you never quite buy that she is mourning for him. He was deep in a period of mediocre work (with things like Moon over Pardor) and this did nothing to change it. The film is a remake of A Guy Named Joe, which had Spencer Tracy. Dreyfuss is a fine actor; but, he’s not a Spencer Tracy and romantic drama is not Spielberg’s forte, any more than comedy was. There is one interesting bit of trivia about 1941: it is filled with stunts from most of the Epper family, a legendary family of stunt performers in Hollywood. As Spielberg said in a documentary about Jeannie Epper (stunt double for Lynda Carter, on Wonder Woman) there were Eppers flying around everywhere on that set. June 1, 2018 at 2:59 pm 2 years ago Yeah, I had the misfortune of seeing Always, albeit rented and not in a theater. So boring, and so syrupy. I didn’t even know it was a Spielberg film. I lump it together with another rather similar, film made only a year or two later, Once Around – also starring Dreyfuss and Hunter. Normally, I like both of them, Hunter especially, but it seems like when they’re cast together they produce the opposite of movie magic. I’ll take 1941 over either of these cloying, annoying and tedious pieces of crap any day… June 1, 2018 at 12:47 pm 2 years ago I’ve seen both movies, once each, not long after they came out. And that’s about all I can say about either of them. I once had a conversation with a school friend from France, him speaking English, me speaking French. (But we did it on purpose; we both needed the practice.) I’ve often theorised that most people speak two languages – their own and English (which is the international language at the moment; I’ve heard all air traffic controllers are supposed to speak it, as an example). When your own language already is English, well, you’re down one. (BTW, that applies to all English speakers, not just Americans.) Similarly, I’ve noticed most people seem to know a lot about two countries: their own and the USA. When your own country is… you get the picture.	cc/2020-05/en_head_0013.json.gz/line14
__label__wiki	0.692526	0.692526	← Richard Liu and Creating A Steady Ground Knowing Andrey Andreev → Ryan Seacrest, Radio, Television and More Ryan Seacrest isn’t a comedian by any stretch of the imagination. That doesn’t mean that he doesn’t make people grin regularly, however. He’s been making people at home grin widely since commencing his role in 2002 on “American Idol.” At that moment, American Idol was a big turning point in American society. It was an entertainment competition that was part of the reality television umbrella (Blogwebpedia). People watched American Idol any time they wanted to think about doing well in the entertainment industry. They watched it any time they were in the mood to savor Ryan Seacrest’s pleasant vocal tone, too. It’s no surprise that Ryan Seacrest is such a big component of entertainment these days. People are drawn to his genial visage. They’re drawn to his voice with just as much zeal. “Live With Kelly and Ryan” is a New York, New York morning program that has many devotees in all sections of the United States. People who appreciate Kelly Ripa’s track record as an indefatigable television hostess often make a point to view it. People who simply like thinking about news stories that involve the entertainment industry frequently make a point to check it out as well. “On Air With Ryan Seacrest” is the title of an acclaimed radio program. People who want to be in the know often make a point to listen to it. On Air With Ryan Seacrest is chock-full of interviews with all sorts of respected individuals. It’s chock-full of engaging and enthralling podcasts of all kinds as well. The radio program embraces all types of people in pop culture. It has warmly embraced Taylor Swift, one of the biggest icons in the music field these days. Swift has been a significant entertainment icon for more than 10 full years at this point. The radio show has also teamed up with Jennifer Lopez. Lopez is basically a triple threat in entertainment, she is able to sing and churns out infectious and lively tunes all of the time. She does a lot of dancing. She acts any time she can as well. People frequently think about Lopez and all of her television credits teamed up with Ryan Seacrest thanks to what a lot of children end up feeling support. More interesting news about Seacrest´s new brands at http://chronicleweek.com/2019/05/ryan-seacrst-host-met-gala/ Filed under American Idol Hosts, Cosmetic Industry	cc/2020-05/en_head_0013.json.gz/line15
__label__wiki	0.710976	0.710976	The Promise of Youth: Rembrandt’s Senses Rediscovered May 11–August 28, 2016 The J. Paul Getty Museum is exhibiting three of Rembrandt’s earliest known paintings, lent by the Leiden Collection in New York, in a special installation highlighting the recentlyrediscovered The Unconscious Patient (An Allegory of the Sense of Smell), 1624 . One of a series by Rembrandt Harmensz van Rijn (Dutch, 1606 –1669) depicting the five senses, The Unconscious Patient, the artist’s earliest monogrammed signed painting, will be exhibited with two others from the series— Hearing and Touch —as well as other early Rembrandts. “Rembrandt is unquestionably one of the greatest and most -loved painters of the European tradition, whose work still grips modern audiences as strongly as it did his own contemporaries,” says Timothy Potts, director of the J. Paul Getty Museum. “This special installation provides a unique opportunity to witness him at the genesis of his career, some four hundred years ago, as a young man of only eighteen or nineteen just beginning on his professional career. While it is not yet the Rembrandt we know from his maturity, these works already demonstrate his experimental approach and show some of the emotional intensity that was to be an enduring features of his work. It is particularly appropriate to be bringing these works together for the first time at the Getty Museum, as we possesses the most significant collection of early Rembrandts in the United States. Complemented by other loans from Thomas Kaplan and Daphne Recanati - Kaplan’s Leiden Collection, this presentation represents a remarkable visual survey of the development of the artist. We, and other museums, are deeply grateful for Tom and Daphne’s continuing generosity in making his works accessible to a broader public.” Until last year, only three of the five Senses were known to art historians. The exhibition will feature The Sense of Smell along with The Three Musicians (An Allegory of The Sense of Hearing) about 1624, Rembrandt Harmensz van Rijn (Dutch, 1606 – 1669) Oil on Panel. Image Courtesy of the Leiden Collection, New York. The Stone Operation (Allegory of the Sense of Touch) about 1624, Rembrandt Harmensz van Rijn (Dutch, 1606 –1669) Oil on Panel. Image Courtesy of the Leiden Collection, New York. A fourth known picture from the set, The Spectacle Seller (An Allegory of The Sense of Sight), is in the collection of the Lakenhal Museum in Leiden. The whereabouts of the fifth sense, an allegoryof taste, remains unknown. “Rembrandt’s ability to convey emotions and create a compelling narrative on a small scale is fully evident in these fascinating and important paintings,” says Anne Woollett, curator of paintings at the Getty Museum. “Viewing these works with other important early paintings, including the Getty’s self -portrait Rembrandt Laughing (1628) and An Old Man in Military Costume (about 1630 –31), shows Rembrandt’s desire to capture a range of human emotions and ages in paint, and how rapidly he developed in only a few short years. Thanks to the generosity of the Leiden Collection, the Senses allow us to trace this remarkable trajectory.” In autumn 2015, The Sense of Smell surfaced at an auction in the United States. It has since entered the Leiden Collection, the private collection and gallery of Thomas S. Kaplan in New York that was already home to its sister pictures: The Sense of Hearing and The Sense of Touch. Recently, The Sense of Smell was on view at TEFAF Maastricht where it caused a stir and commanded a great deal of attention. Two other Rembrandts from the Leiden Collection, Portrait of a Girl Wearing a Gold -Trimmed Cloak (1632) and Portrait of a Rabbi (about 1640 –45), among other Dutch seventeenth -century paintings, have been at the Getty Museum on long-term loan and will be shown in conjunction with the Senses. It is likely that Rembrandt painted the Senses in his hometown of Leiden in about 1624 to 1625, following his training with Jacob van Swanenburg (1571 –1638) and prior to six months in Amsterdam studying with the illustrious hi story painter Pieter Lastman (1583 –1633). The Senses attest to Rembrandt’s close relationship with his friendly rival in Leiden, Jan Lievens (1607 –1674), whose Card Players(1623 –24), also from the Leiden Collection, will be included in this special installation. After being exhibited at the Getty Museum, the Senses as well as Rembrandt’s Portrait of a Girl Wearing a Gold -Trimmed Cloak and Portrait of a Rabbi will be exhibited internationally. Freeman’s American Art & Pennsylvania Impressionis... The Guggenheim Museum Bilbao presents Windows on t... Swann Galleries June 9, auction of American Art: S... London Calling: Bacon, Freud, Kossoff , Andrews, ... Francis Bacon: Invisible Rooms Electric Paris - Bruce Museum Mary Cassatt Retrospective and Auction Jasper Johns and Edvard Munch: Love, Loss, and the... The English Rose - Feminine Beauty from Van Dyck t... The Promise of Youth: Rembrandt’s Senses Rediscove... Catalogue Raisonné of Mark Rothko's Works on Paper... Christie’s London 30 June 2016: Francis Bacon, Si... Christie's Latin American Art , 25 May 2016: Rufin... Paul Mellon's European Works on Paper - National G... Correggio and Parmigianino. Art in Parma in the 16... Paul Mellon's American Works on Paper at National ... PAUL KLEE L’IRONIE À L’ŒUVRE Defining British Art (Christie's 30 June): Lucian... Christie’s New York Evening Sale of Post-War & Con... 'Matisse/Diebenkorn' Sotheby’s American Art 18 May 2016: Sargent, Rock... CHRISTIE’S AMERICAN ART SALE MAY 19 - O’KEEFFE, WE... Grandma Moses: American Modern JOAN MIRÓ. PAINTING WALLS, PAINTING WORLDS A Good Summer’s Work: J. Alden Weir, Connecticut I... Abstract Expressionism at the Royal Academy of Art...	cc/2020-05/en_head_0013.json.gz/line18
__label__wiki	0.504769	0.504769	About BHT BHT Newsletters Proton Beam Corporate - Shoosmiths Find Us On Facebook... Read our Latest Newsletter! Tweets by Ben's Heroes Trust \ Children's Cancer Charity Aurelio Bello I've known Kate and Simon for many years. When Ben passed away Kate and Simon wanted to launch a charity in Ben’s name to help other children and support their families. Over the past 10 years I've gained a lot of experience of charity work and wanted to help as much as possible. I'm very proud to be part of the charity because we have such a great team. Nick Gartrell Having known Ben’s parents Kate and Simon since 1995, I was inspired by both Ben’s and their bravery to get involved with the charity. I hope to help raise awareness of the charity by working with the Trustees on the charity’s website and communications to encourage families who need financial help to access new cancer treatments, to contact Ben’s Heroes Trust. Maryse Devonshire During Ben's battle with cancer in 2011, his courage and determination inspired me to run the Brighton Marathon to raise money for a national cancer charity. When Kate and Simon announced that they wanted to establish a children’s cancer charity in Ben’s name, to recognise and help other young heroes battling cancer, I didn't hesitate to get involved. © 2012 - 2018 Ben's Heroes Trust - All Rights Reserved UK Registered Charity Number: 1146468 email: info@bensheroestrust.org Children's Cancer Charity	cc/2020-05/en_head_0013.json.gz/line25
__label__cc	0.667981	0.332019	In which I earn the praises of PETA Thoughts on the Black Friday Massacre The Bike Bubba Weight Loss Plan More on that stimulus effect A thought on evangelical feminism and the struggle... Sad signs for our republic Picking the wrong fight? A depressing day at work..... Alternative theory on Penn State.... Hybrid brilliance Almost good enough Another "triumph" of regulation When in Seattle.... Reformation Day fun Call me weird, but part of me wonders why we bothered to ban the inspection of horsemeat a few years back. It's widely eaten in Europe, and quite frankly, since horses don't do well on grain, it's probably far richer in omega-3 fatty acids than most beef or pork. I'd eat it. Of course, part of me also wonders why we let the USDA have such a stranglehold on slaughterhouses, and quite frankly, I'm wondering why I as a taxpayer get to pay to inspect slaughterhouses belonging to others. Are we to say that inspection of slaughterhouses is something that can't be done to decent standards by states, counties, or for that matter private enterprise? Let's face it; butchering meat safely is not exactly rocket science, and the USDA has made a hash (pun intended) of it by missing obvious problems with our current meat supply. Saturday morning, the paper was filled with reports of people injured and arrested (mostly at Wal-Mart for whatever reason) trying to get the Black Friday loss leader, and it was noteworthy that for many of them, the loss leader was a DVD player--apparently as usual. Now this is very interesting, as apparently 80% of American households have at least one, and at $50 or less, they're practically giving them away already. I just bought a DVD/VCR player for $60 at a much safer store, Sears. So why are so many people so excited about saving a few bucks on a player? Well, hype certainly has something to do with it, but I'd suggest that another reason is product quality. My new Magnavox looks, to put it charitably, like the plastic used to make it (there is little metal in the unit, it appears) is a side business of Fisher-Price or Mattel. So I have to guess that one of the big reasons for the rush to get a new DVD player is that the buyers know their old units are not long for this world. It's a far cry from the days when your VCR would set you back $500, but would last through ten years of normal use. And ironically, this happens just as more and more companies learn how to do accelerated reliability testing to design for long term reliability. Step 1: Make brioche with your second daughter. She helped, but it took Dad's strength to mix it by hand. Step 2: go to work while your kids shape, bake, and eat it. If I'm lucky, I'll get to smell it. Thank you to the person at Syracuse who apparently chose to make another atrocity against children public. Hopefully I will be wrong about the extent, but thank you, whoever you are. Earlier, I've approached the idea that somehow the mere fact that government spends money makes it "do more economic work" than money spent in the private sector--more or less, the Keynesian idea that there is somehow a multiplier effect. To put it mildly, it's absurd that money will do more work just because Uncle Sam's name is on the purchase orders. It goes through the same banks, gets spent at the same stores....in short, the economy has no way of knowing that the money was stolen taxed from the taxpayer before being used for Uncle Sam's pet projects. Hence, there is no Keynesian multiplier effect. As Lott's column indicated, the opposite is closer to the truth--money spent on debacles like PBS, NPR, Solyndra, light rail, and so on does less work for the economy because it's not the taxpayer's favored use for the money. Hence, there is less incentive to do other things that benefit the economy. (say, like drill oil wells) One might object, however, that since so much of the money is borrowed, that what we're doing is impeding not our own economic growth, but rather China's. Well, let's consider that idea; Chinese companies use their profits to either build their own companies or invest in "safe" securities, more or less. We sell the safe securities here; what is the flip side? Well, China buys immense amounts of capital and raw materials from the United States, Japan, and elsewhere. So what happens when we sell bonds to fund fifty billion dollars worth of trolleys that nobody will ride, or to fund tax cuts for people who buy firetraps electric cars? Simple; the U.S. taxpayer still takes a hit because honest companies don't get those orders for capital goods. Hopefully someday government spending decisions will have a little bit more emphasis on "ROI" than is currently the case. A thought on evangelical feminism and the struggle for the offices My wife and I are investigating becoming members of a church we've been attending, and one of the things mentioned was the perceived need to give women a meaningful place to serve without violating Scripture's prohibition of female deacons and elders. And thinking about that, it occurred to me that what needs to be done is not to provide male roles to women--whether under the aegis of an official church title or otherwise--but rather to provide an environment in which women's natural roles can be allowed to flourish. To draw a picture, about a decade ago, I was a deacon at a little church in Boulder, and my responsibility included the nurseries. I'd put together a scheme to reduce the chances that pedophiles would be able to approach the children, but was dreading the difficulty of getting people to work the nurseries, clean up toys,and such. Enter two women who said "we'd like to coordinate scheduling and clean-up". What had happened? The major role was that the pastor had created a place where women were not afraid to be women--it was OK to keep at home, love one's children, and such. Combine that with a basic structure where it was "safe" to help in the nurseries, and given that opportunity, these ladies took care of everything but the background checks. Fully 2/3 of the adults served in the nurseries, allowing the rotation to go to once every six weeks. The church of sixty or so families had a baby boom of six babies that year, and all this while.....the church gained elderly members, too. There was no generation gap. I would suggest that if you told these ladies they were somehow less worthy or important because they did not hold a title, they would have laughed at you. So would I. The way out of the "gender wars" is, as Elisabeth Eliot would tell you, is to listen when women tell us "Let me be a woman." A sign in the bathroom at work: "Please flush." Sorry, but if a man has made it to adulthood without learning to flush the toilet, I'm guessing that "reading" isn't high on his list of abilities, either. A person asked me where my neighbor in the cube farm was. Thinking she must have already looked in his cubicle, I told her where he might be. Turned out that my visitor hadn't bothered to even read the sign on the next cubicle (not five feet from her) announcing the inhabitant of that cubicle. Sadder; this person has a key to her office. Like it or not, there are plenty of prospective Obama and Franken voters out there. I didn't dare ask any other women coworkers whether their bathroom had "please flush" posted inside the stalls. In more cheerful news, President Obama pardoned two turkeys from Minnesota today. Spokesmen for Senator Franken and Governor Dayton immediately expressed their gratitude. I just finished a book I should have read decades ago--Uncle Tom's Cabin--and there are a lot of things that I can say about it, starting with the fact that I now know why I didn't get to read it in school. It's the same reason that I didn't get to read Pilgrim's Progress, Paradise Lost, and any number of other great works of literature; just "too much religion" for the secular schools. And it's a shame for all of these. (but of course we did get to see the 1968 version of Romeo and Juliet, of which I am ashamed to admit that I remember exactly five seconds, and if you're a man, that's the five seconds you remember, too) OK, that aside, I almost wonder whether Stowe made the wrong argument; while a system of slavery can only be enforced with violence (at least the threat of it), and unaccountable power over the lives of others can only result in barbarism, is that the best argument, or is there another? A better argument perhaps being "What gives you the right to the rightful wages of your fellow man? What gives you the right to make decisions for your fellow man?" "Losertarian" argument? Yes, but it forces the opponents to argue inalienable rights, and denies them the opportunity--used by Stowe's detractors--of claiming that the atrocities catalogued were due to "bad actors" and not a bad system. And there are a lot of things we can apply this to. Think about who you can ask; "What gives you the right?" ....started with a meeting where our company's ISO registrar had a representative telling us that the ne plus ultra of quality control was effective flow charts for a company's processes, and spent at least 15 minutes illustrating the concept of a flow chart. Apparently many companies these days are hiring lots of people who have no idea that such a thing exists, and they're putting them on their ISO self-audit teams. What could possibly go wrong? More depressing was a meeting this afternoon regarding bribes from vendors, and in the name of cultural diversity, our HR manager never really got around to saying that if you accept more than a modest meal and a mug with the vendor's name on it, you're crossing a moral and ethical line that leaves it open to question whether you've chosen a supplier for business reasons, or for other reasons. So apparently business ethics rules are being written in Jell-O these days. (and yes, I know that in many companies, the sales team gets to live like kings--and often perverse ones--on the company dime, but there at least used to be a pretense that the engineers and managers in the factory had a higher code to honor) ....given by Paul Greenberg, one of my favorites. And it also appears that the man who didn't risk a confrontation with a man 30 years older is also out of coaching. I wish Mr. McQueary well as he repents from a grievous sin here. And, given that it's estimated that 3% of adult men have sexually abused a minor, it's my prayer that more people stand up to abusers and talk to the police. Do some math;100 D1-A football programs with ten coaches apiece, and up to 3% of them have a horrible secret. Maybe others have some talking to do. It sure beats drinking one's sorrows away at not standing up to protect a child. Evidently, as any good EE would tell you, there has been a problem with the Chevy Volt in crash testing; the battery caught fire, which is something you can expect of any battery holding a lot of energy when it gets shorted out. The trouble, of course, is that there are a lot more batteries in the Volt, holding a lot more energy per pound, than in ordinary cars. So not only is the Volt a technological boondoggle, its powertrain is a major hazard, too. And as luck would have it, it's still got a gas tank to incinerate you after the battery ignites. Maybe it's time to leave the car engineering to...say....carmakers and others who understand engineering tradeoffs, eh? It's a good thing that Big Red beat Penn State today (sorry Pentamom), but it's a shame that the Huskers didn't win 55-0 and get the coach who failed to stop a horrendous crime fired. That said, knowing the level of corruption in sport today, I'm waiting for the other shoe to drop on some other programs as someone who has seen some barbarity decides to speak up to the police. For the sake of little ones, I hope that whoever it is does so soon. Probably like many parents with newer homes, I've been getting better at patching sheetrock because of the weird doorknobs that are in my home. The kids open the door, not knowing their strength, and no matter how well I set the door stops, the hole in the sheetrock grows. So I went to the hardware store, and asked if they had any old style doorknobs that didn't have the lock tab protruding, but rather locked simply as you press the doorknob towards the door and rotate it. No luck, and Charlie--the owner--told me that it was supposed to make life easier for people with disabilities because the old doorknobs needed two actions to lock it instead of one. He also noted that he was selling a lot more spackle than he used to, for obvious reasons. So when I went home, I tried out my fancy new OSHA and Americans with Disabilities Act approved doorknobs. Press, and turn, just like the old ones, and the "benefit" for the disabled appears to be that instead of being able to use your palm or your fingers to work the old ones, you now need to use your fingers to unlock or lock your bathroom door. I'm sure the arthritis sufferers of the world appreciate it a lot, and if they could only get their hands into that position, would be giving our government the appropriate, one finger salute for their help. Along with every father who's patched the wall for the tenth time because of those fool things. The fix, for what it's worth, are little round things that glue right where the doorknob will hit the wall--some of them even featuring an indent just the size of the lock tab. I'll be sending the government a bill for this one.... ....you might do well to avoid Dr. Guillotine and anyone named Robespierre. Apparently the "Occupy Wall Street" protesters are starting to act like they're taking part in the French Revolution. Let me eat brioche, but we'll do it here in Minnesota, thank you very much. And away from the Jacobins in Minneapolis, of course. Alternatively, my friend Mark would tell me that the reign of terror started years ago in Seattle when Bill Gates more or less stole the visible parts of Apple's operating system without duplicating the magic inside. But that's just a Mac-head talking, of course. Who is also probably not in Seattle right now, either. While I respect those who abstain from Halloween Reformation Day festivities because of the Druidic roots of Halloween, our family has found a bunch of ways to really enjoy the observance--especially here where it's a lot safer, and not like Detroit at all. * Four year old son's costume: dinosaur. Dad's costume; Ken Ham, of course. * Posting the 95 Theses on our door. If people in our heavily Catholic town remembered history, we would have gotten some really dirty looks. We didn't. * Greeting "Trick or Treaters" with "Happy Reformation Day!", and getting blank stares. * Daughter #2's costume: Little Bo Peep. Daughter #4's costume: duh. * Ruining about 100 kids in town for cheap chocolate by handing out Lindt and Ghirardelli chocolates. * Turning off the front porch light when our stash ran out, and daughter #1 noticed that she was handing out candy to kids whose voices had changed.	cc/2020-05/en_head_0013.json.gz/line37
__label__wiki	0.558603	0.558603	Tag Archives: Arlen Specter Guest Writer Says Obama ‘Should Be Forced to Resign’ EDITOR’S NOTE: Below is a guest post by Paul R. Hollrah, a resident of Oklahoma who writes from the perspective of a veteran conservative politico and retired corporate government relations executive whose life experience includes having served two terms as a member of the Electoral College. Even if you disagree with him, this piece will make you think long and hard. As one who had never felt as though George H.W. Bush was a man of presidential caliber and, if nominated and elected, would be a one-term president, I was more than happy to serve as deputy campaign manager in the presidential exploratory committee of former White House Chief of Staff, former Defense Secretary Donald Rumsfeld, who had a far more impressive resume than Bush and was a far more capable, competent, and decisive leader. Unfortunately, the combined efforts of conservatives were unable to deny Bush the nomination and, as predicted, he was no match for the Democratic congressional leadership. He allowed himself to be lured into a political trap by the Democrats in which he reneged on his “no new taxes” pledge and was defeated for reelection in 1992. His poor performance in office caused me to write what was the first of many “Must Go” columns titled, “George Bush Must Go.” The “George Bush Must Go” column was followed in subsequent years by columns suggesting that Sen. Mitch McConnell (R-KY), House Speaker John Boehner (R-OH), and House Majority Leader Eric Cantor (R-VA) “must go.” However, lest I be accused of rejecting only members of my own party from positions of power and influence, I should point out that I have also called for the resignation or impeachment of former Attorney General Eric Holder. But now it’s Barack Obama’s turn. In a Nov. 14 column for the New York Post, columnist Michael Goodwin assessed Barack Obama’s approach to the war against radical Islam. He wrote, “In any time and place, war is fiendishly simple. It is the ultimate zero-sum contest… you win or you lose.” True, but that’s not how Barack Obama sees things. In his childlike world view he sees things not as they really are, but only as he wishes them to be. As Goodwin describes it, “President Obama has spent the last seven years trying to avoid the world as it is. He has put his intellect and rhetorical skills into the dishonorable service of assigning blame and fudging failure. If nuances were bombs, the Islamic State would have been destroyed years ago. “He refuses to say ‘Islamic terrorism,’ as if that would offend the peaceful Muslims who make up the vast bulk of victims. He rejects the word ‘war,’ even as jihadists carry out bloodthirsty attacks against Americans and innocent peoples around the world. He shuns the mantle of global leadership that comes with the Oval Office, with an aide advancing the preposterous concept that Obama is ‘leading from behind.’ He snubs important partners like Egypt, showers concessions on the apocalyptic mullahs of Iran, and calls the Islamic State the ‘jayvee team,’ even as it was beginning to create a caliphate. Having long ago identified American power as a problem, he continues to slash the military as the enemy expands its reach. In a globalized era, the Obama doctrine smacks of cowardly retreat and fanciful isolation.” Goodwin reminds us that, in an accident of timing that demonstrates his profound cluelessness, Barack Obama expressed his view of the current status of ISIS in an interview with ABC’s George Stephanopoulos just hours before radical Islamists staged a bloody attack on Paris. He said, “I don’t think they’re gaining strength. What is true, from the start our goal has been first to contain and we have contained them. They have not gained ground in Iraq and in Syria. They’ll come in, (then) they’ll leave. But you don’t see this systemic march by ISIL across the terrain.” The interview (above) aired at approximately 8:00 AM (EST) on Friday, Nov. 13, on ABC’s “Good Morning America.” The first bomb exploded outside the Stade de France, a football stadium north of Paris, at 9:16 PM Paris time (3:16 PM Washington time), followed almost immediately by volleys of gunfire and explosions at the Bataclan Concert Hall, the Le Carillon Restaurant, the Le Petit Cambodge Restaurant, and two other locations in Paris. In a matter of minutes, 132 innocent people were killed and 350 others wounded by Islamic terrorists. The coordinated ISIS attacks in Paris began just 7 hours and 16 minutes after Obama declared ISIS to be “contained.” Even as he pontificated for the TV audience, the terrorists were likely pacing the floor in their rented safe-houses, inspecting their AK-47s and their Kalashnikovs, loading ammo clips, and making last minute adjustments to their suicide belts. It was the most deadly attack on Paris by enemy forces since World War II, prompting French President Francois Hollande to condemn the attacks as an “act of war,” vowing that France will be “merciless toward the barbarians of the Islamic State group.” He said, “We will lead the fight and we will be ruthless.” Sadly, those are the words we expect to hear from Barack Obama. Goodwin concluded, “The time has run out for half measures and kicking the can down the road. The enemy must be destroyed on the battlefield before there can be any hope of peace. If Obama cannot rise to the challenge of leadership in this historic crisis, then, for the good of humanity, he should resign. Those are the only options and it is his duty to decide.” Yes, Goodwin is correct in his call for Barack Obama’s resignation. But is it even remotely possible that he… addicted as he is to the narcotic of holding power… would even consider the possibility of resignation? Unlike the Nixon example, wherein Republican congressional leaders… Senate Minority Leader Hugh Scott (R-PA), Senator Barry Goldwater (R-AZ), and House Minority Leader John Rhodes (R-AZ)… went to the White House for the purpose of informing Nixon that his support in Congress had all but evaporated and that, if he chose to fight impeachment, there was not sufficient support in the U.S. Senate to avoid conviction and removal. Is there a man or woman alive who can honestly visualize their Democratic counterparts of today… Senate Minority Leader Harry Reid (D-NV), Senate Minority Whip Dick Durbin (D-IL), and House Minority Leader Nancy Pelosi (D-CA)… going to the White House to tell Barack Obama that his presidency is over and that he must resign to avoid impeachment? Let’s face it. The sort of patriotism that Republican leaders have demonstrated over and over again… i.e. Watergate, Iran-Contra, etc… just does not exist in the Democratic Party. The desire to put the country’s best interests ahead of party interests is just not present in the Democratic DNA. At the outset of Bill Clinton’s impeachment trial in the U.S. Senate, every one of the 45 Senate Democrats went to the well of the Senate, raised their right hands, and swore: “I solemnly swear that in all things pertaining to the trial of the impeachment of William Jefferson Clinton, now pending, that I will do impartial justice according to the Constitution and laws. So help me God.” Yet, every one of those 45 Democrats made that solemn promise to God, knowing that they intended to violate that oath. In spite of mountains of irrefutable evidence of “high crimes and misdemeanors” on Clinton’s part, every one of the 45 Democrat senators voted to acquit. The only member of the U.S. Senate to be seriously punished for voting “not proven,” in spite of irrefutable evidence that Clinton had perjured himself before a federal judge, was Sen. Arlen Specter (R-PA), who was turned out of office in a primary election by Republican voters. And while impeachment is the most logical solution to the problem presented by Barack Obama, it is clear that, if Republicans had the stomach to impeach Barack Obama, who has to his credit a long list of impeachable offenses, would they not already have done so at some time since Jan. 20, 2009? The fact is, Obama continues to serve for no other reason than the color of his skin. As a black man, he relies on the collective guilt of white liberals to engage in whatever “high crimes and misdemeanors” he feels are necessary to his political agenda. It is indisputable that, if he were a white man, he would have been removed from office long ago. The one remaining alternative is for the military to remove him… non-violently, if possible; by force, if necessary. The Framers created a constitutional republic in which the military was, by design, made subservient to the civilian branches of government. However, Thomas Jefferson knew that there were no guarantees where governments instituted by men were concerned. In the first paragraph of the Declaration of Independence, in referring to the right of the people to enjoy the benefits of life, liberty, and the pursuit of happiness, he wrote, “… that to secure these rights, governments are institutes among men, deriving their just powers from the consent of the governed, that whenever any form of government becomes destructive of these ends, it is the right of the people to alter or abolish it, and to institute new government…” Inasmuch as Barack Obama has been, from the first day of his administration, destructive of our right to life, liberty, and the pursuit of happiness, and since he has repeatedly violated his oath of office by failing to “faithfully execute” the office of president of the United States, the American people are left with no alternative but to bring an abrupt end to his presidency, even at this late date. And since congressional Republicans lack the courage to impeach him and leaders of his own party demonstrate insufficient love of country to call for his resignation, it is left to our military leaders to advise him that it is time for him to do the honorable thing. If the joint chiefs of staff were to request an audience with Barack Obama, accompanied by a delegation of the most highly respected retired flag and general officers… such as General Tommy Franks, General Paul Vallely, General Stanley McChrystal, and General Ray Odierno… to remind him that, inasmuch as he no longer enjoys the loyalty and the respect of members of the military services, from the top generals and admirals down to the lowest of enlisted ranks, he should summon up the courage to do what is in the best interests of the nation and its people. If we were to judge our 44 presidents by their failures and their accomplishments, several would receive very low grades. Barack Obama would be the only one to receive a grade of less than zero. He has been, by far, the worst president in American history. And if we stop to consider the damage that has been done, globally, by radical Islam in just a matter of months, imagine the damage that an embittered Obama can be expected to do in the remaining 14 months of his presidency. For the good of the people, he should be forced to resign. For links to other articles of interest as well as photos and commentary, join me on Facebook and Twitter. Please show your support by buying my books and encouraging your friends and loved ones to do the same. Thanks in advance! This entry was posted in Guest Writer, Politics and tagged ABC, AK-47, Arlen Specter, Barack Obama, Barry Goldwater, Bataclan Concert Hall, Bill Clinton, Bob McCarty, Bush, Declaration of Independence, Defense Secretary, Dick Durbin, Donald Rumsfeld, Electoral College, Eric Cantor, faithfully execute, Francois Hollande, General Paul Vallely, General Ray Odierno, General Stanley McChrystal, General Tommy Franks, George Bush Must Go, George H W Bush, George Stephanopoulos, Good Morning America, Guest Writer, Guest Writer Says Obama 'Should Be Forced to Resign', Harry Reid, high crimes and misdemeanors, Hollrah, Hugh Scott, impeach Obama, impeachable offenses, Iran-Contra, Iraq, Islamic terrorism, Jihadist, John Boehner, John Rhodes, Kalashnikov, Le Carillon, Le Petit Cambodge, McCarty, Michael Goodwin, Mitch McConnell, Muslim, Nancy Pelosi, New York Post, oval office, Paris, Paul Hollrah, Paul R Hollrah, radical Islam, Stade de France, Syria, Terrorism, Thomas Jefferson, Watergate, White House Chief of Staff on November 23, 2015 by admin.	cc/2020-05/en_head_0013.json.gz/line41
__label__wiki	0.930086	0.930086	The Crash of the X-15A-3 The Rocketplane Jointly flown and maintained by the U.S. Air Force and NASA, the North American X-15 was a hypersonic rocket-powered aircraft that was part of the X-plane series of experimental aircraft which set numerous speed and altitude records in the 1960s. Reaching the edge of outer space and returning with valuable data used in aircraft and spacecraft design, the X-15's official world record for the highest speed ever recorded by a manned, powered aircraft, set in October 1967 when William J. Knight flew Mach 6.72 (4,520 mph) at 102,100 feet During the X-15 program, 13 flights by eight pilots met the USAF spaceflight criterion by exceeding the altitude of 50 miles, thus qualifying these pilots as being astronauts. The last qualifying flight was flown on November 15, 1967, by Major Michael J. Adams - but he would not live to pin on his wings. Michael Adams was born in Sacramento, California, in 1930, and graduated from Sacramento Junior College. Enlisting in the U.S. Air Force in 1950 - he earned his pilot wings and a commission as a 2nd Lieutenant in 1952 at Webb Air Force Base, Texas. After training in F-80 and F-86 Sabres at Nellis AFB's gunnery school, he proceeded to fly fighter-bomber aircraft in 49 combat missions during the Korean War before being transferred to the 613th Fighter-Bomber Squadron at England AFB, Louisiana, and six months rotational duty at Chaumont Air Base in France. In 1958, Adams received a Bachelor of Science degree in Aeronautical Engineering from the University of Oklahoma. A year later, when the first group of American astronauts was announced, Adams set his sights on joining the astronaut corps. After studying astronautics at the Massachusetts Institute of Technology, he was selected for the U.S. Air Force Test Pilot School at Edwards AFB, Calif., in 1962. While at TPS, he won the A.B. Honts Trophy as the best scholar and pilot in his class, Class 62C, and continued on to joined the fourth class at the Aerospace Research Pilot School. While attending the school, on August 28, 1963, was flying in the back seat of a F-104B, tail number 56-3721, piloted by fellow student (and future astronaut) Capt. David R. Scott. As Scott was making an approach simulating a X-15 flame-out for training and evaluation purposes into Edwards' runway 4, the jet suddenly lost engine thrust and began to descend rapidly. Trial by Fire... Both pilots realized that the jet would hit hard, and each made opposite decisions that saved their lives. Scott elected to stay with the airplane while Adams chose to eject. Adams pulled the ejection handle just as the F-104 slammed into the runway, breaking off its landing gear and sliding a couple thousand feet down the runway. Had he ejected before impact, his parachute would not have had time to deploy due to the rapid rate of descent. If he had delayed ejecting for even a fraction of a second, he would have been crushed when the airplane's jet engine slammed forward into the rear cockpit. Adams' parachute opened just seconds before he hit the ground. He waved to Scott, who was climbing safely from the burning wreck. As the cockpit floor disintegrated, Scott's ejection seat had partially sequenced during the initial impact, locking his feet into the stirrups, but did not fire because the torque tube was unable to rotate due to crash damage. If Scott had ejected, he would have been killed. Recovered from minor injuries but losing a shot at being in the second group of astronauts, Adams graduated with honors from ARPS in December 1963, and worked on several flight test programs, like conducting stability and control tests in the Northrop F-5A jet fighter and the Cornell Aeronautical Laboratory variable stability T-33 program. In 1964, Adams became one of four aerospace research pilots from Edwards to participate in a five-month series of NASA moon landing practice tests with the Martin Company in Baltimore, Md. The tests simulated lunar landing missions in a full-scale command module and lunar excursion module crew compartment mock-up. Four seven-day simulated lunar landing missions were conducted, each with a three-man crew. Experienced in what it took to handle long duration space flight, in November of 1965, he was selected to be one of the first 8 astronauts in the U.S. Air Force Manned Orbiting Laboratory program. An early space station design, the MOL, also known by its classified designation and codename of KH-10 Dorian, was designed to serve as a space-based reconnaissance platform. To be a series of five, or more, two-man flights - lasting up to 30 days - in polar orbit to begin in 1968, the astronauts were to use surplus Gemini spacecraft attached to a new, cylindrical laboratory, with the whole platform launched by a Titan-III rocket from Vandenberg AFB, Calif. The development on the MOL project moved slow, as there were delays in production and testing hardware. Adams realized that, with the advent of the Corona (KH-4) unmanned reconnaissance satellite program, there was little chance of a MOL flight in his future, and he requested transfer to the well-underway X-15 program, which was granted on July 14th, 1966. The X-15 Program Nearly three months later, on September 28, 1966 - Adams readied for his first flight aboard the X-15, but it was aborted due to weather. A week later, the flight was scrubbed, as a malfunction of the canopy seal regulator prevented the cockpit from pressurizing. But on October 6th, 1966, Adams made his first X-15 flight, designated 1-69-116. Aboard X-15 #1, he rocketed from the mothership, NB-52A #52-0003, to Mach 3 and an altitude of over 75,000 feet. However, the forward fuel tank bulkhead ruptured in flight, causing the engine to shut down early, and forcing Adams to make an emergency landing at Cuddeback Lake. The next five flights, spread out over the following year, all had issues - from radio malfunctions and engine control problems, to airborne experiments not deploying and and circuit breakers popping. During his third flight, on March 2, 1967, the X-15 lost cabin pressure while climbing through 77,000 feet. This caused his pressure suit to inflate and made it more difficult for Adams to fly the airplane. However, as Adams reached the top of the climb, a peak altitude of 133,000 feet and a maximum speed of Mach 5.59 (3,822 mph), his inertial computer failed, blanking all of his flight data readouts. Flying blind, Adams successfully returned to Edwards AFB On approach he radioed the ground controller, fellow X-15 pilot Major William J. "Pete" Knight, saying "I thought you said every once in a while something goes wrong, Pete?" In a post-flight debriefing, Adams revealed that he had suffered vertigo during the climb-out. It would not be the last time this happened. But by November of 1967, just about everything that could go wrong for Adams had during the program. But he continued on to fly his seventh flight. X-15 Flight #3-65-97 On the morning of November 15, 1967 at 10:30 a.m., the X-15-3 dropped away, Major Adams at the controls, from its B-52 mothership at 45,000 feet near Nevada's Delamar Dry Lake. Starting his climb under full power, he quickly passed through 85,000 feet when an electrical disturbance distracted him and slightly degraded the control of the aircraft. In the Dryden Flight Research Center flight control room, Pete Knight was working as mission controller, monitoring the mission with a team of engineers, and noticed something was wrong. As the X-15 climbed, Adams started a planned wing-rocking maneuver so an on-board camera could scan the horizon. The wing rocking quickly became excessive, by a factor of two or three. When Adams concluded the wing-rocking portion of the climb, the X-15 began a slow, gradual drift in heading. Forty seconds later, when the craft reached its maximum altitude of 266,000 feet , it was off heading by 15°. As the plane came over the top, the drift briefly halted, with the plane yawed 15° to the right. Then the drift began again; within 30 seconds, the plane was descending at right angles to the flight path. At 230,000 feet, encountering rapidly increasing dynamic pressures, the X-15 entered a spin at hypersonic speed! In the flight control room there was no way to monitor heading, so nobody suspected the true situation that Adams now faced. The controllers did not know that the plane was yawing, eventually turning completely around. In fact, control advised the pilot that he was ”a little bit high,” but in ”real good shape.” Just 15 seconds later, Adams radioed that the plane ”seems squirrelly.” At 10:34 came a shattering call: ”I'm in a spin, Pete.” A mission monitor called out that Adams had, indeed, lost control of the plane. Another pilot present said quietly, ”That boy's in trouble.” Plagued by lack of heading information, the control room staff saw only large and very slow pitching and rolling motions. One reaction was ”disbelief; the feeling that possibly he was overstating the case.” But Adams again called out, ”I'm in a spin.” As best they could, the ground controllers sought to get the X-15 straightened out. They knew they had only seconds left. There was no recommended spin recovery technique for the plane, and engineers knew nothing about the X-15's supersonic spin tendencies. The chase pilots, realizing that the X-15 would never make Rogers Lake, went into afterburner and raced for the emergency lakes, for Ballarat and Cuddeback. Fighting For His Life... Adams held the X-15's controls against the spin, using both the aerodynamic control surfaces and the reaction controls. Through some combination of pilot technique and basic aerodynamic stability, the plane recovered from the spin at 118,000 feet and went into a Mach 4.7 dive, inverted, at a dive angle between 40 and 45 degrees. Adams was in a relatively high altitude dive and had a good chance of rolling upright, pulling out, and setting up a landing. But one more technical problem arose - the Honeywell adaptive flight control system began a limit-cycle oscillation just as the plane came out of the spin, preventing the system's gain changer from reducing pitch as dynamic pressure increased. Adam's corrective action created a pilot-induced oscillation - a rapid pitching motion of increasing severity. All the while, the plane shot downward at 160,000 feet per minute, dynamic pressure increasing intolerably. High over the desert, it passed abeam of Cuddeback Lake, over the Searles Valley, over the Pinnacles, narrowing on toward Johannesburg. As the X-15 neared 65,000 feet, it was speeding downward at Mach 3.93 and experiencing over 15 g vertically, both positive and negative, and 8 g laterally. The airframe's structural limits were grossly exceeded, and the plane broke up into many pieces amid loud sonic rumblings, impacting in the desert northeast of Johannesburg some ten minutes after launch. Two hunters heard the noise and saw the forward fuselage, the largest section, tumbling over a hill. On the ground, NASA control lost all telemetry at the moment of breakup, but still called to Adams. A chase pilot spotted dust on Cuddeback, but it was not the X-15. Then an Air Force pilot, who had been up on a delayed chase mission and had tagged along on the X-15 flight to see if he could fill in for an errant chase plane, spotted the main wreckage northwest of Cuddeback. Mike Adams was dead and the X-15 destroyed. [ Flight Information ] [ X-15 Flight Request ] [ Operations Flight Report ] [ Planned Flight Path ] [ Radio Transcript ] In the wake of the accident, NASA and the Air Force convened an accident board, chaired by Donald R. Bellman. Ground parties scoured the countryside looking for wreckage; critical to the investigation was the film from the cockpit camera. The weekend after the accident, an unofficial NASA search party found the camera; disappointingly, the film cartridge was nowhere in sight. Engineers theorized that the film cassette, being lighter than the camera, might be further away, blown north by winds at altitude. Engineer Victor Horton organized a search and, two weeks after the crash, during the first pass over the area, Willard E. Dives found the cassette which was flown to Boston for specialized processing. The film revealed the puzzling fact of Adams' complete lack of awareness of major heading deviations in spite of accurately functioning cockpit instrumentation. The accident board concluded in its report, issued two months after the mishap, that he had allowed the aircraft to deviate as the result of a combination of Adams' becoming distracted by the electrical disturbance, his misinterpretation of the instrumentation display, and possible vertigo. An electric motor that was part of an experiment carried on the wingtip created a disturbance that interfered with the flight control system as the airplane shot out of the atmosphere. Adams, whose known susceptibility to vertigo had been ignored when he was assigned to the X-15 program, apparently became disoriented. From there, Adams' confusion was compounded as a needle on his primary attitude indicator could be selected to display either roll or yaw. Adams got mixed up and tried to correct with yaw for what was actually a roll cue. While the controllers on the ground could not tell what was happening, the airplane was rotating about its vertical axis until, when it reentered the atmosphere, it was flying sideways. A violent and dizzying ride followed. Adams reported that he was in a spin—a situation that had never before been encountered in hypersonic flight, and for which no recovery procedure was known. At first, however, the problem corrected itself, its rotation slowing as it straighten back into alignment with its flight path. For a brief period it was inverted but stable, with sufficient altitude for a recovery. But then the adaptive flight control system began pitching the aircraft up and down with increasing violence until, somewhere beyond 8 Gs, the airplane broke apart. A switch on the panel could have shut the runaway system off, but no one thought of it until too late. The board made two major recommendations: install a telemetric heading indicator in the control room, visible to the flight controller; and medically-screen X-15 pilot candidates for sensitivity to vertigo. As a result of the X-15's crash, NASA added a ground-based "8 ball" attitude indicator in the control room at Dryden to furnish mission controllers with real time pitch, roll, yaw, heading, angle of attack, and sideslip information. Posthumous Honors... Afterwards, Michael Adams was laid to rest at the Memorial Park Cemetery in Monroe, Ouachita Parish, Louisiana. The U.S. Air Force posthumously awarded Adams Astronaut Wings for his last flight, as its surpassed an altitude of 50 miles above the Earth's surface. In 1991, Adams' name was added to the Space Mirror Memorial at the Kennedy Space Center in Florida. The Crash Site Today Very little remains at this site. Small, scattered pieces are sprinkled there, and finding anything of the aircraft at the site is nearly impossible. However, portions of the X-15A-3 such as an engine access panel, a reaction control rocket for maneuvering in the upper atmosphere, a piece of the horizontal stabilizer, and a section of vertical stabilizer that had the numerals '72' on it, were found as late as 1992. In fact, aside from a small American flag posted in the center of the site, the average person would been totally unaware of the historic nature of their surroundings. Unlike most other crash sites, there is virtually nothing to be found of the aircraft laying on the surface. On June 8, 2004, a memorial monument to Adams was erected near the crash site as part of an Eagle Scout project. Click here to own a piece of X-15A Copyright © 2002 Check Six This page last updated Saturday, August 25, 2018	cc/2020-05/en_head_0013.json.gz/line42
__label__wiki	0.514353	0.514353	Cheyenne West Edge Area Wide Plan Sustainability Guide Capture West Edge Cheyenne’s West Edge is where Western heritage and leading-edge progress unite. Combining elements of the city’s rail-enabled industrial history with the shiny and new (the Laramie County Library, Saint Mary’s School, The Wyoming Tribune Eagle’s building, the Dineen building, etc.) the West Edge district has a unique and interesting persona. A persona that’s poised to create a welcoming and inclusive community focused on life, art, music and food. The West Edge persona celebrates its industrial past and its visible ties to the railroad. It’s proud of the extensive and well-worn brick inventory it holds — and excited about the progressive repurposing possibilities that inventory holds. The West Edge persona is hip, but not arrogant. It’s artsy, but not exclusionary. No matter why you need Viagra, it is always better to select trustful online pharmacies to order Viagra in Canada like super-viagra.com which offers sildenafil without prescription. It’s inviting, engaging, creative and cool. In 2011, the city of Cheyenne received a $1 million Brownfield EPA Coalition Grant. The grant became the foundation for planning and implementation efforts directed at making the Lower Capitol Drainage Basin and the West Edge of Downtown Cheyenne a vital, vibrant attractive and inviting place to live, work, shop and play. Although it has been historically challenged by the risk of flooding and the high costs of addressing the impact of previous industrial development in the area, the Lower Capital Drainage Basin has many assets, including historic buildings and proximity to downtown and the depot. An extensive public engagement process was initiated in September 2012 and concluded in May, 2013. The process revealed that there was a clear desire to inspire/motivate West Edge reinvestment efforts through development of a multi-purpose downtown amenity with a flexible footprint. Although a specific design wasn’t identified, the goal of the amenity would be to improve storm water management, mitigate potential brownfields and promote private investment in residential and commercial revitalization efforts.	cc/2020-05/en_head_0013.json.gz/line44
__label__wiki	0.628755	0.628755	Listings for Sky Atlantic on Saturday, January 18 2020 06:00 Fish Town Brixham plunders Devon's colourful piracy past, playing host to the annual Pirate Festival. Elsewhere, back at sea, fisherman Nathan sets off in search of 'Black Gold'... (2/10) 07:00 Richard E Grant's Hotel Secrets The Extra Factor Richard E Grant checks into The Goring and The Ritz as he discovers some of the hidden extras on offer in the world's most indulgent hotels. (S1, ep 5) 08:00 David Attenborough's Galapagos Origin Sir David Attenborough travels to the Galapagos, charting the archipelago's explosive rise from the ocean millions of years ago and looking at its unique wildlife. (1/3) 09:00 David Attenborough's Galapagos Adaptation David Attenborough stumbles upon species found nowhere else in the world that show how life has to quickly adapt to the islands' ever-changing landscapes. (2/3) 10:00 David Attenborough's Galapagos Evolution David Attenborough explores the unusual species that inhabit the unique islands of Galapagos, including giant tortoise Lonesome George. (3/3) 11:00 CSI: Crime Scene Investigation After The Show Catherine takes on a high profile case involving the disappearance of a young starlet, much to the annoyance of Sara and Nick who were vying for the job. (S4, ep 8) 12:00 CSI: Crime Scene Investigation Grissom vs The Volcano The sheriff piles on the pressure for the CSI team to find an elusive car bomber, while Warwick and Sara investigate the death of a Las Vegas performer. (S4, ep 9) 13:00 CSI: Crime Scene Investigation Coming Of Rage The team track down the murderer of a teenager at a construction site and try to work through a perplexing case involving a mystery gunman. (S4, ep 10) 14:00 CSI: Crime Scene Investigation Eleven Angry Jurors When a man is found dead in a jury deliberation room, his fellow jurors find themselves on the other side of the courtroom as suspects of the crime. (S4, ep 11) 15:00 CSI: Crime Scene Investigation Butterflied A victim bearing an uncanny resemblance to Sara piques Grissom's interest and causes him to re-evaluate certain aspects of his own life. (S4, ep 12) 16:00 Without A Trace At Rest When Samantha's estranged sister is abducted, she doesn't tell Jack or the team and begins to secretly search for her alone. (S5, ep 19) 17:00 Without A Trace Skin Deep When the child of a mixed-race couple is kidnapped, the team suspects that the boy's paternal grandfather, a wealthy white supremacist, is responsible. (S5, ep 20) 18:00 Without A Trace Crash and Burn When a stuntman disappears from a film set, the agents learn that the man had received a death threat shortly before he went missing. (S5, ep 21) 19:00 Without A Trace One and Only When a divorce court judge disappears, the team lists a number of angry husbands the judge had ruled against among the suspects. (S5, ep 22) 20:00 Without A Trace Two of Us The team investigates when a teenage girl vanishes on her prom night after leaving the event to go and rest in her hotel room. (S5, ep 23) 21:00 New: Elephant Film Elephant unfolds through overlapping points of view of several high school students in the hours leading up to a catastrophic act of violence. Gus Van Sant directs. 22:40 Band Of Brothers Crossroads After leading a tricky mission, Lt Winters is promoted. As Easy Co struggle in the cold, Winters is haunted by the innocents he has killed. Contains flashing images. (5 of 10) 23:45 Band Of Brothers Bastogne Woefully undermanned and short on supplies, Easy Company dig foxholes around the Belgian town of Bastogne as they attempt to hold the line. Contains flashing images. (6 of 10) 00:55 The Kettering Incident The Forest Anna discovers more about the boy with strange markings, Dutch grows suspicious of Roy. Distressing scenes and strong language from the start. (S1, ep 5) 02:00 New: The New Pope New & Exclusive. As Sir John leaves for the Vatican, everything appears to be going to plan. But the secretary of state could never have predicted Cardinal Spalletta's next move. (3 of 9) 03:10 New: The New Pope New & Exclusive. John Paul III travels to Venice to visit Pius XIII. Meanwhile, a tragedy in Lourdes calls for the presence of the new Pope. (4 of 9) 04:10 The British People Power Stars including Tim Roth and Tracey Emin explore the rampage and rebellion of medieval Britain during the Black Death and Peasants' Revolt. (Ep 2 of 7) 05:05 The British Revolution The factual series charges forwards to the Tudor and Stuart dynasties. CGI and guest stars give fresh insights on Henry VIII and the English Civil War. (3/7) 06:00 Fish Town Dreams become a reality when 17-year-old Logan takes to the high seas as an apprentice deck hand. Plus, landlady Pat enjoys a trip down memory lane, recalling the old days. (3/10)	cc/2020-05/en_head_0013.json.gz/line58
__label__cc	0.722355	0.277645	Mitigation and Adaptation Adaptation Measures to Counter the Effects of Climate Change with a Focus on Water Resource Management and Flood Resilience Barbados is particularly vulnerable to the impacts of climate change. The island receives significant rainfall, seasonally, yet it remains one of the most water‐scarce countries in the world. It is predicted that with ongoing climate change, periods of both drought and flooding may become more prolonged in Barbados in the future. USAID funded the AMCECC Programme, which included an initiative to lessen the possible effects of climate change, and increase the resilience of Barbados through public education. The AMCECC Programme was implemented by W.F. Baird & Associates Coastal Engineers Ltd., and was coordinated by the Project Management Coordination Unit of the Ministry of Environment and Drainage. This website is intended to provide an overview of, and access to the educational material that was produced as a result of this program. Copyright © 2017 Barbados Climate Change. All rights reserved.	cc/2020-05/en_head_0013.json.gz/line59
__label__wiki	0.93669	0.93669	Ponderosa Stomp The Wit and Wisdom of the Mystic Knights of the Mau Mau Tag Archives: C.C. Adcock Rod Bernard: This Should Go On Forever But It’s Not — One Night Only With Swamp-Pop Royalty September 22, 2015 Lakeview Kid 1 Comment WRITTEN BY BILL DAHL “I don’t think that it’s the singer as much as it’s the song,” claims south Louisiana swamp-pop legend Rod Bernard. “The right song at the right time is what makes the hit. I think if Johnnie Allan or Warren Storm or Tommy McLain would have recorded ‘This Should Go On Forever,’ it would have hit for them just like it did for me. It wasn’t anything I did. It was just the right song at the right time.” But it was 18-year-old Rod’s highly atmospheric reading of Bernard “King Karl” Jolivette’s “This Should Go On Forever” that became a national smash in 1959. Despite competition from King Karl’s original rendition, belatedly released by Excello in the fast-spreading wake of Rod’s hit, and the unknown Ronnie Dee’s soundalike cover on Savoy (cut with Gene Terry’s Down Beats), it was Rod who mimed his smash on national TV. That was a long way from Opelousas, where Bernard held down a daily airshift on KSLO radio. King Karl “A couple of weeks earlier, I was playing songs by Frankie Avalon and Chuck Berry. And all of a sudden, I’m on tour with them! It was like, ‘What am I doing here?’” he marvels. “I’m on the same stage, the same show, with Chuck Berry and Jerry Lee Lewis and Mickey Gilley and a whole bunch of guys. Mickey hadn’t made it real big yet, but Jerry Lee had. “You could tell I was a country boy because I was backstage getting their autographs. They said, ‘Well, weren’t you on the show with us?’ I said, ‘Yeah, but I still would like to have your autograph!’” he laughs. “I had a real good time. I really enjoyed it. I didn’t make a lot of money, but I had a lot of fun.” More good times are in store on the first night (Oct. 2) of the Ponderosa Stomp when Bernard co-headlines an all-star swamp-pop revue with Gene Terry and Tommy McLain, their backing provided by the Mama Mama Mamas, led by guitarist C.C. Adcock and featuring Pat Breaux, Steve Riley, and Dickie Landry. “I haven’t sung anywhere or played music in years,” says Rod. That makes his upcoming Stomp appearance all the more special. “I GOT TO REALLY LIKING RADIO” Born Aug. 12, 1940, in Opelousas, Rod had no musical models in his immediate family, though his grandfather operated the Courtableau Inn in Port Barre where Cajun mainstays Aldus Roger and Papa Cairo held forth. “I started singing in Opelousas, my hometown, when I was about 7 or 8 years old, on the radio,” says Bernard. “We had a place in Opelousas that was a feed-and-seed store that had radio shows every morning and on Saturdays. And a whole bunch of us from that area, anybody that could play an instrument and sing, was invited to come down and be on the show. So I went several mornings at 6:45 in the morning before school and sang on the radio. Then I’d go on Saturdays on the Saturday show and sing there. And I got to really liking radio.” Rod Bernard with the Blue Room Gang, 1950 Rod played rhythm guitar with the Blue Room Gang, a group of youngsters whose Saturday country-music program on KSLO was sponsored by Felix Dezauche’s feed store. “When I was about 10 years old,” says Rod, “I went up to the radio station where Johnny Wright was the program director and asked him if I could have my own radio program. And he said, ‘Yeah, but you need a sponsor.’ So that kind of threw water on the thing. So I went back to my grandmother’s house, and I was sitting there. Right across the street was the Lincoln-Mercury place, and I knew some of those men there. They would come over to our house and drink coffee with my grandmother and grandfather. “HERE COMES THIS 10-YEAR-OLD KID” “So I walked over there and I talked to the owner and told him I’d like to get a radio show, but I needed a sponsor. And he said, ‘Well, what does that cost?’ I said, ‘I don’t know. Let me call Mr. Johnny at the radio station!’ So I called him, and I found out years later what was real funny is that he had adult salespeople calling on this Lincoln-Mercury dealer, and they couldn’t sell him any advertising. He just didn’t believe in radio then. And here comes this 10-year-old kid walking in there, and I sold him a 15-minute radio program, and had it every Saturday. And that led to me having a radio program on Tuesdays, when I got out of school at 3:30. I went on the air at 4 and worked ‘til 10 at night. I did the deejay thing. And then that lasted all through high school. And after high school, I went to work there full time.” THE TWISTERS: “IT WAS JUST LIKE A HURRICANE” There was one brief hiatus from the KSLO airwaves. “My dad moved to Winnie, Texas. He worked in the oil fields for one year,” says Bernard, who met one of his future producers, Huey P. Meaux, while living in the Lone Star State. “I went to school there my freshman year in high school, and Huey was the only barber in Winnie, Texas, at the time. So I got to know him then. He was my barber, and he had a radio show on KPAC in Port Arthur on Saturdays, where he played French and Cajun music.” Back in Opelousas, “Hot Rod” patterned his deejay patter on his KSLO program “Boogie Time” after that of J.P. “The Big Bopper” Richardson, then burning up Beaumont’s airwaves spinning rocking R&B over KTRM. But Bernard’s musical ambitions remained. “We were in high school, and Mike Genovese, who was killed in a car wreck right after we graduated from high school in 1958, he was forming a band,” says Rod. “He asked me if I would be the singer. So he named it the Twisters. It had nothing to do with the dance, the Twist. It was just like a hurricane, a twister.” Genovese doubled on guitar and saxophone as the Twisters’ bandleader. Rod cut his 1957 debut single for Jake Graffagnino’s Carl label pairing the rocking originals “Linda Gail” and “Little Bitty Mama.” “We wanted to have some records pressed that we could bring around to record hops and deejays, and just make a record for the fun of it because no one else was doing that at the time,” says Bernard. “We would hang out a lot at Jake’s Music Shop in Opelousas. And we told him what we’d like to do. So he knew how to put a master tape together, which we did at the Southern Club in Opelousas with one microphone. “I guess we could have done it at the radio station where I worked, but we ended up recording it at the Southern Club. That’s where we were playing a lot, so we just went over there a couple of nights during the week when they weren’t open, and they let us go up on the bandstand and we set up a tape recorder and one microphone,” he continues. “He sent that in and had some records pressed. The band paid him for the records. He used the name Carl because his son was named Carl. It was just records that we paid for, that we bought to have pressed as the Twisters. It was just for promotion purposes.” “I KIND OF INHERITED THE BAND” Genovese received bandleader billing on Rod’s Carl encore, coupling his own stormer “All Night In Jail” and a ballad written by Mike, “Set Me Free.” “He was a very good musician,” notes Rod. This time they set up a mic at Jake’s Music Shop and recorded there, Graffagnino handling the trumpet solo on “All Night In Jail.” “They really didn’t sell anything,” says Rod of the two obscure Carl 45s, pressed in quantities of 500. “Nobody paid attention to it. Most of the radio stations wouldn’t even play ‘em because the quality was so bad. You can imagine, recording it in a nightclub instead of in a studio, it really didn’t have that good quality to it. “Right after we started playing at teenage centers and things like that, Mike was killed in a car wreck,” says Bernard. “So I kind of inherited the band and kind of took it over, because we didn’t have a leader. And I really wasn’t a leader either. But we just needed somebody to kind of head the band and start booking different places.” A TOUCH OF COUNTRY, A DOSE OF ROCK ‘N’ ROLL A new sound was sweeping south Louisiana, and Bernard got in on the ground floor. “In the late ‘50s, when Fats Domino came out with some songs, Bobby Charles, Jimmy Clanton had ‘Just A Dream,’ there were quite a few songs like that. (Cookie & His Cupcakes’) ‘Mathilda,’ which is probably the greatest No. 1 swamp-pop song of all, it hit real big. I just liked that kind of music. It had a touch of country to it, it had a touch of rock and roll, and it was something that I could play,” he says. “I was a senior in high school when all that happened. And I just really liked it. I just enjoyed singing it, because I was a country music singer before that, and this wasn’t that much different.” King Karl, front man for local R&B fret wizard Guitar Gable, encouraged Rod to cut his creation “This Should Go On Forever,” which Gable and Karl waxed for Excello and Crowley, La., producer J.D. Miller in February of 1957, only to see it languish on the shelf. “I went to a nightclub one night when I got off work, and he said, ‘Rod is here from KSLO. We’d like to play you our next record,’ which was recorded,” he says. “And he sang ‘This Should Go On Forever.’ It really hit me, speaking as a deejay, it was a really, really good (song). Very commercial. And I kept telling him that, every time a record (by the band) would come out. He was on Excello. He’d bring it to me. I’d say, ‘Is that that song I like?’ And he said, ‘No, the record company doesn’t like it.’ And I said, ‘Why?’ He said, ‘Well, they just don’t think it’s commercial.’ I said, ‘Man, tell ‘em to put the thing out. You’d have you a hit!’ And they never did put it out.” “MAN, I’VE GOT A SONG” With Excello boss Ernie Young unconvinced of the song’s potential, Karl didn’t mind the thought of Rod cutting a fresh version of “This Should Go On Forever.” “(Jin Records owner) Floyd Soileau in Ville Platte called me and said, ‘You guys want to make a record? I’m starting a record label!’ And I said, ‘Sure!’” says Bernard “He said, ‘Can you find a song?’ I said, ‘Man, I’ve got a song. I don’t remember the name of it, or remember the melody, or remember the words.’ But I went over to Karl’s house, and I told him the deal. Floyd Soileau “I said, ‘Would you mind if I recorded it?’ He said, ‘No, because the record company that I’m with, they’re never gonna put it out.’ We didn’t have any portable tape recorder, so we sat on his front steps and he taught me the words and the music to ‘This Should Go On Forever.’ And I left there and drove right back to the radio station where we had tape recorders, and I put it on tape so I could remember it. Between the time I left his house and got to the radio station, I was singing it over and over in the car, and I changed it a little bit. I didn’t realize I changed it, but I changed it a little bit.” “JUST A BUNCH OF 18-YEAR-OLD KIDS” Bernard and the Twisters cut their version at Miller’s Crowley studio, just as Karl and Gable had. “That was the only studio I knew of around here. Now, he didn’t have anything to do with it. Floyd is the one that owned it, lock, stock, and barrel. J.D. had the publishing on it,” says Bernard. “We had very little to do with J.D. He really didn’t have much to do with the record, except he was in the studio that night when we were recording it. He made a couple of suggestions that were good about some breaks at a certain time in the song, and doing it this way. Our band was not real strong. It was just a bunch of 18-year-old kids, so he called in a couple of his musicians that played in his studio (guitarist Al Foreman and bassist Bobby McBride), and they played along with us. And it really added a lot to the song.” “I STRAINED SO MUCH I DEVELOPED A NOSEBLEED” It wasn’t an easy session. “I sang so much from about 7 at night ‘til 3 the next morning, I strained so much I developed a nosebleed,” says Rod. “The final cut, I had a towel around my face. And I always said maybe I should have kept doing that. Maybe that was my style, and I didn’t know it!” On the flip was Rod’s own rocker, “Pardon Mr. Gordon.” “I wrote that when I was a senior in high school,” he says. “Just me starting out, trying to write a song. So Floyd said, ‘What are we going to put on the other side?’ And I said, ‘Well, I’ve got a song I wrote, a rock and roll song called “Pardon Mr. Gordon.”’ And he said, ‘Well, let’s do it!’” Soileau issued the coupling on Jin. “It hit real big around south Louisiana, and then it hit real big in Lake Charles. It became No. 1 there,” says Rod. “The same thing happened in Baton Rouge, then it went on to New Orleans. Spread out to Beaumont and Houston. And by the time it hit No. 1 in Houston and No. 1 in Atlanta, we had all these big record companies calling us wanting to lease it, which is the way they did back then. They’d find an unknown singer on an unknown label with what seemed like a hit record, and they’d all try to lease it. Floyd settled with Leonard Chess in Chicago. They sent us a nice check in advance and made us a good offer to put it out nationally. So we made a deal with them to go ahead and do it.” “I HAD MIXED FEELINGS ON IT” Repressed on the Chess subsidiary Argo, “This Should Go On Forever” roared up the pop and R&B charts during the spring of 1959 — and Rod got a quick lesson on the vagaries of the music business. “When Floyd sent it in to Billboard and Cash Box on his label, which was Jin, they gave it a really poor rating. Said it was a very amateurish-sounding song made by a bunch of teenagers that couldn’t play music that well and all that. We got like a D rating,” he says. “When Chess leased it, it was selling all over the South. And he put the exact same track — didn’t add anything to it, nothing — he put it out on Chess, and when they sent it in to Cash Box and Billboard, they made it a Pick of the Week and said it was destined to be one of the big hit records coming out of the South!” Excello woke up and belatedly released Guitar Gable’s rendition. “When mine started hitting real big, then Excello had it already in the can. So then they put it out,” says Rod. “But mine was so far along and being played nationally on the Top 40 stations that what they did was try to catch up with us and bypass us with what was really the original version. But nobody knew that. And I had mixed feelings on it, because he really should have had the hit record.” Suddenly Bernard was a hot commodity. “I got to go on tour, and I got to be on ‘American Bandstand’ a couple of times, and ‘Dick Clark’s Saturday Night Show’ once, and Buddy Deane, Milt Grant. All of those guys, they had programs like Dick Clark’s ‘American Bandstand,’” says Rod. “I would go on tour and go fly into each city, and some promotion guy would pick me up at the airport, bring me to the hotel, and the next day they’d pick me up and take me to a TV station where the show was. And I’d do the TV show and talk to the emcee of the program.” “ALWAYS ONE OF MY FAVORITE SONGS” Rod chose as his Argo followup “You’re On My Mind,” another swamp-pop ballad penned and first waxed on the Mel-A-Dee label by Lafayette, La., pianist Roy Perkins. “It was always one of my favorite songs,” says Rod. “Those three-chord progression-type songs, there were so many of them around here. And I liked ‘You’re On My Mind.’ We played it in the band the Twisters a lot. So we recorded it.” King Karl provided the B-side, “My Life Is A Mystery.” It didn’t hit. “We put it out, and then Chess took it and put it out because that was the deal we had. But then they didn’t own me after that or have me signed up after that,” says Bernard. “About the same time I recorded it, I met Bill Hall in Beaumont, who was the Big Bopper’s manager, and signed up with him. And he got me on Mercury right away. So I didn’t have a contract with Argo. It was just for one song, and they had an option on the second one, the second one being ‘You’re On My Mind.’ Benny Barnes, left, Jivin’ Gene, Rod Bernard, and Johnny Preston “Naturally, Chess didn’t push mine very much. Maybe I should have stayed with them. At the time, it seemed like a better thing to go with Mercury because it was a big, big company. But maybe too big,” he says. “Bill had George Jones and me and Johnny Preston, who had ‘Running Bear,’ and Jivin’ Gene, who had ‘Breaking Up Is Hard To Do.’ And he got us all on Mercury with Shelby Singleton, who was vice president of Mercury, which was how he got the Big Bopper on there. Anyway, we all ended up on Mercury.” “ONE MORE CHANCE” ON THE CHARTS Recording at Hall’s Beaumont studio, Bernard had a minor national hit in late ‘59 with his first Mercury outing, “One More Chance.” It was penned by the Bopper, who had recently perished in the horrific plane crash with Buddy Holly and Ritchie Valens. “Jack Clement had moved from Memphis,” says Rod. “Bill talked him into moving to Beaumont. And they built this studio, and that’s where we recorded most of the things during that period of time.” Bernard wrote the flip, “Shedding Teardrops Over You.” Both sides were quality swamp-pop ballads. Authorship on both sides of Bernard’s early ‘60 Mercury encore, twinning the jumping “Let’s Get Together Tonight” and a swampy “One Of These Days,” was credited to Karl Harrington, who wrote for Hall’s Big Bopper Music. Then Mercury dispatched Rod to Nashville to cut with Music Row’s A-Team, including saxist Boots Randolph and pianist Floyd Cramer. “That was a time when Brenda Lee and a bunch of people like that were hitting it big with the Anita Kerr Singers and the Jordanaires,” explains Rod. “They were getting one hit after another, so Mercury said, ‘We should bring Rod up here and let him record with this!’ More or less like an orchestra was what it amounted to. It sounded like a good deal to me, so we went up there and did it.” In the process, Bernard’s swamp-pop edge was smoothed out. Nonetheless, he made some nice singles in his new surroundings. JOHNNY AND EDGAR WINTER “DID THEIR USUAL GREAT JOB” First out of the box was the engagingly upbeat “Dance Fool Dance,” another of the Bopper’s creations (Boots provided a delicious sax solo). Clement’s pop-oriented ballad “Two Young Fools In Love” occupied the flip. Bernard’s next 45, pairing “Just A Memory” and the Bopper’s “Strange Kisses,” was done at the same date. Rod wrote his early ‘61 Mercury offering “Lonely Hearts Club,” attached to a reprise of Otis Williams’ doo-wopping Charms’ “Who Knows” (it was the B-side of their 1954 R&B chart-topper “Hearts Of Stone”). After a coupling of “Sometime (Tell Me)” and “I’m Not Lonely Anymore” quickly faded during the late summer of 1961, Hall brought Bernard home to his new Hall-Way label. Among Hall’s regular sessioneers in Beaumont was a pair of prodigiously talented young albinos. “We used Johnny Winter and Edgar Winter on a lot of my stuff I cut there in Beaumont because they lived in Port Arthur,” says Rod. “They came down and played a lot on my sessions and did their usual great job.” The Winters played on Rod’s first Hall-Way single, a rocked-up revival of the Cajun standard “Colinda” that hit the shelves at the start of 1962. “I didn’t want to do it,” says Bernard. “We played ‘Colinda’ on the bandstand, saying this was the Louisiana national anthem. Actually, it’s ‘Jole Blon,’ but anyway, we’d say it. And Bill heard us play it one time. And he said, ‘Man, I want you to record that Cajun song!’ So that’s when Jack Clement started putting arrangements to it. He set it up into that rock and roll-type beat. “COLINDA” CLIMBS DURING CAMP LEJEUNE EXILE “I recorded it the night before I left to go to Parris Island. I had joined the Marine Corps. And I was at the boot camp. I went to combat training at Camp Lejeune in North Carolina, and we were laying in the bunks one night with radios on, all tuned to this one station around Camp Lejeune. And the guy said, ‘I’m gonna play you Rod Bernard’s new record!’ And he played ‘Colinda.’ And it really shocked me because I didn’t even know Bill had released it, or was going to. I hadn’t been in touch with him in months because during boot camp and all that, it’s really tough. You can’t make phone calls, you can’t have TV sets, you can’t have radios, you can’t read newspapers. So I was kind of out of it for 12 weeks. I didn’t know what was going on. “Dick Clark’s people called to get me back on there, because ‘Colinda’ hit this ‘Bubbling Under the Top 100’ without any promotion at all. It just hit big, like of all places like in Boston and in Canada and certain cities in the South. And it hit big enough to where it was No. 102 or No. 103 in the nation with me in boot camp at Parris Island. So Bill tried to get me out of the Marines long enough to just go up there and do it on ‘Bandstand.’ But the Marine Corps people wouldn’t let me out to go do it, so we never did get to promote it.” Jerry Woodard provided the equally driving opposite side, “Who’s Gonna Rock My Baby.” “WE WERE GOING TO TRY TO DEVELOP A NEW SOUND” Clement penned Bernard’s next Hall-Way offering “Fais Do Do” that summer (subtitled “Fay Doe Doe” for the edification of non-Louisianians). “Jack was going to do some more Cajun stuff like that with me,” says Rod. “We were going to try to develop a new sound along the ‘Fais Do Do’ and ‘Colinda’ things.” How the ebullient “New Orleans Jail” made it all the way down from Don Kirshner’s Aldon Music in New York for the flip is anyone’s guess (depending on the pressing, it was either written by Charles Koppelman and Don Rubin or Barry Mann and Cynthia Weil). “I never did really like it that much,” says Rod. “But other people did. They requested it a lot when we were on the bandstand. We played it a lot in nightclubs.” Mercury’s Smash subsidiary distributed Rod’s ‘63 Hall-Way outing “Wedding Bells” (its opposite side, the clever charmer “I Had A Girl,” name-checked several pop stars of the day and was penned by rocker Narvel Felts). The name of Bill’s self-named label had been shortened to Hall by the time Rod turned in a strong rendition of R.S. Hebert’s swampy ballad “Forgive” in 1963. “Somebody in south Texas had recorded it, and it didn’t do anything for them,” he says. “Then Bill Hall heard it and said, ‘That’d be a good song for Rod.’ So they taped it and taught it to me.” Apparently the original was done not long before by Jimmy “Frenchy” Dee and released on the Scope and Taper labels; Mickey Gilley played piano on the obscure single and later cut “Forgive” himself for Stan Lewis’ Shreveport-based Paula Records. Rod revived the Bopper’s ballad “The Clock” the same year with a revival of J.D. Miller’s Cajun classic “Diggy Liggy Lo,” out in ‘61 by Rusty and Doug Kershaw, adorning the other side. “Loneliness,” Bernard’s next Hall offering, retained the swamp-pop vibe, while the New Orleans-sounding rocker “Boss Man’s Son” on the flip was spiced by rolling 88s. Rod wrote half of his last Hall single in 1964, the rollicking “My Mother-In-Law,” which came attached to “I Might As Well.” SIX NIGHTS A WEEK WITH THE SHONDELLS The big news in Bernard’s musical life had taken shape the previous year, when he and two equally high-profile pals formed the first swamp-pop supergroup, the Shondells. “That’s after I got back from the Marine Corps,” he says. “I stayed there for six months, and then I went into the reserves. And when I got back, I went back to work at the radio station, and Skip Stewart was a deejay there too. So we started talking about forming us a band. Warren Storm was a really good friend of ours, so Warren played drums, Skip played bass, I played rhythm guitar, and we got a couple of saxophone players to come with us. “We started playing one night a week at the Southern Club. Then after that, it branched out to every Friday and Saturday somewhere, then every Sunday somewhere else. So eventually it got to where we were playing six nights a week in nightclubs, honky tonks, and lounges all over south Louisiana.” In addition to three 45s for Carol Rachou’s Lafayette-based La Louisianne label, the group waxed a highly collectable LP, “The Shondells at the Saturday Hop.” “ALL THE ENGLAND SONGS WERE COMING OVER HERE” “We were playing around at the La Louisianne studios one day. We were taping some songs, because when I would come on, the show would start and the announcer would say, ‘Now here he is, Rod Bernard!’ And I’d come on and pantomime to a fast song. And we’d go into playing a slow song. And the kids would dance,” he says. “So we decided, ‘Let’s cut an album of just the Shondells!’ So we did, and we each took turns singing a song on it.” Rachou and Bernard went into business together in 1965. “There wasn’t anything going on. So Carol and I got together and said, ‘Let’s start a label!’” says Bernard. “So I got the ‘Ar’ from Rachou and the ‘bee’ from my name. We put it together and made it Arbee.” The logo’s debut offering was the blistering rocker “Recorded In England,” sporting sardonic lyrics (Rod co-wrote it) and younger brother Oscar “Ric” Bernard’s slashing lead guitar. “He played bass guitar and lead guitar on a lot of my records,” says Rod. “This was when the Beatles hit real big and all the England songs were coming over here and taking over and killing everything else. And my boss at KVOL walked in, and he said, ‘Man, if they don’t have “Recorded in England” on the label, it’s not gonna hit!’ And when he said that, I said, ‘Man, that’s the name of a song!’ So I wrote ‘Recorded In England.’ It did pretty well around this area and other areas, but it was never a national hit.” “KING KARL AND I WROTE THAT” Arbee issued two more stinging Bernard rockers in 1966, “Give Me Love Love Love,” which he penned with Billy Babineaux, and then “Gimme Back My Cadillac.” “King Karl and I wrote that,” says Rod of the latter. “He had the basic element down when he sang it to me. I said, ‘Well, let’s finish it.’ So we sat down and we finished the words to it. We have co-writer’s royalty on there, but it was really his idea and I just helped him finish it, because it was far from finished when he played it for me.” Then Bernard surprisingly paid tribute to East Coast doo-wop on “Those Were Our Songs …,” a medley of vocal-group ballads from the previous decade (a revival of the Roy Perkins-penned “Just Another Lie” was the flip). Florence Greenberg’s New York-based Scepter Records picked the ‘66 single up from Arbee for national consumption, replacing the B-side with “Recorded In England.” “That’s pretty good for unknown singers on an unknown label in Lafayette, La., to get a song on Scepter, which was a big company,” Rod says. “All of those that were popular songs when I was in high school. We put it together and we made a song out of it.” “MY JOLIE BLON,” HERE I COME Huey Meaux came back into Rod’s life when the singer jumped to the Crazy Cajun’s Copyright label and cut “Papa Thibodeaux,” which Bernard penned with Eddie Futch. “Either I contacted Huey or Huey contacted me, because he had helped us promote ‘This Should Go On Forever,’” he remembers. “I had played a lot dance jobs for him and shows in Port Arthur and Beaumont. We got together and we went to Houston and did a bunch of things in Houston. But nothing, absolutely nothing happened. We never got any hit records at all. But we tried.” Meaux produced the bubbly R&B-slanted “(Come On Over) Let’s Start A Commotion,” Rod’s Copyright encore, the work of Bob McRee and brothers Cliff and Ed Thomas, who operated the Grits ‘n’ Gravy Studio outside of Jackson, Miss. (Warren Storm also recorded there under Huey’s supervision). McRee and Tim Whitsett brainstormed the flip, “In This Small Town.” Meaux also issued a couple of Bernard 45s on his Tear Drop imprint, “Our Teenage Love,” which co-writer Jerry Raines had cut for Mercury in 1960 (Bernard did a version for Mercury that went unreleased), paired with Tony Montalbano’s intriguingly titled “Doing The Oo-Wa-Woo.” It was followed by “You’re The Reason I’m In Love,” backed with “My Jolie Blon” (Rod finally got around to cutting the ‘Louisiana national anthem’). “NOBODY KNEW WHAT ZYDECO WAS THEN” Bernard gravitated back to Soileau’s Jin Records in 1968 for “Congratulations To You Darling” and then Meaux’s “Cajun Honey.” “Floyd and I have been close friends since 1958. I really admire him, look up to him, treasure his friendship. He was always good to me, and always paid me the money I had coming to me. He was one of the few producers or record-company owners around here that did that,” Rod says. “He always pays all the singers, writers, recording artists. Whatever money that we have coming to us, he always sends us a check every December.” Meaux was temporarily back in a production role for “Cajun Interstate,” Rod’s 1970 single on Shelby Singleton’s SSS International logo (Bernard penned it with Futch). In 1976, Jin released “Boogie in Black & White,” Rod’s groundbreaking 1976 album in partnership with zydeco legend Clifton Chenier. “That was my idea. I wanted to take some rhythm-and-blues songs and put that piano and scrubboard behind it. It’s something that we came out with way too early,” says Bernard. “I think what happened is white people didn’t really like zydeco. Nobody knew what zydeco was then. They didn’t like that kind of music. And the black folks didn’t like it because it was me singing. They would rather buy something with just Clifton on it, which I don’t blame ‘em. Anyway, we recorded that album, and I thought it was a really good album.” RADIO IS “JUST SOMETHING I’VE ALWAYS LOVED” The allure of performing was fading fast for Rod by 1980, so he took a break. “I’d been having a lot of throat trouble, and got married, had kids,” he says. “I didn’t like being gone every night from home, and work all day at the radio station. So I just kind of eased out of it.” He continued to work as an ad salesman at KLFY-TV in Lafayette. “Radio and television and broadcasting, it was always my thing. That’s what I liked best. And that’s what I’ve done all my life,” he says. “I learned how to write, sell, and produce TV commercials. And I still write, sell, and produce radio commercials today. It’s just something I’ve always loved.” Don’t miss this rare chance to see one of swamp pop’s architects perform his classics, including “Recorded In England.” “C.C. really likes it because he gets to really play lead guitar and a lot of it on that song, so I know that’s one we’re going to do,” says Bernard. “That’s going to be our opening song. “I’m going to do ‘Colinda,’” he promises. “I’m going to do ‘This Should Go On Forever,’ of course. And there are one or two others I talked to C.C. about that he’d like for me to do. Maybe ‘New Orleans Jail.’ I’m not sure about that one yet.” We can’t wait! Cajun, New Orleans, Ponderosa Stomp 2015, R&B, Rock 'n Roll, Swamp Pop, Texas, Uncategorized ArbeeArgoBig BopperBobby CharlesC.C. AdcockCarol RachouChessChuck BerryClifton ChenierCookie and the CupcakesDick ClarkDickie LandryExcellofats dominoFloyd SoileauGene TerryGuitar GableHuey MeauxJ.D. MillerJerry Lee LewisJerry RainesJinJivin' GeneJohnnie AllanJohnny PrestonKing KarlLa LouisianneMickey GilleyOpelousasPat BreauxRod BernardRoy PerkinsShondellsSkip StewartSteve RileyTear DropTommy McLainWarren StormZydeco Warren Storm: 7 Decades o’ Musical Gold With the Godfather of Louisiana Swamp and Roll September 9, 2015 Lakeview Kid Leave a comment WRITTEN BY BILL DAHL Musical trends come and go all the time on a national level. But in south Louisiana, swamp pop is eternal. That’s been the happy case since the late 1950s, when a phalanx of young Cajun and Creole singers adopted rhythm and blues as their stylistic bedrock. Their combined legacy wouldn’t be … Continue reading Warren Storm: 7 Decades o’ Musical Gold With the Godfather of Louisiana Swamp and Roll → Blues, Cajun, New Orleans, Ponderosa Stomp 2015, R&B, Rock 'n Roll, Swamp Pop, Uncategorized Bad WeatherBarbara LynnBobby CharlesBoots RandolphC.C. AdcockCarol RachouCharles "Hungry" Williamscosimo matassaCypressDoug Sahmearl palmerElvis PresleyExcellofats dominoFreddy FenderGuitar GableHerb HardestyHuey MeauxJ.D. MillerJivin' GeneJockey EtienneJoe BarryJohn BrovenKatie WebsterLazy LesterLightnin' SlimLil' Band o' goldNascoRod BernardShondellsSir Douglas QuintetSkip StewartSlim HarpoWarren SchexniderWarren StormWillie TeeWillie Trahan Gene Terry: Texas Cajun’s Ragged-But-Right Goldband Rockers Put the “Swamp” in Swamp Pop August 27, 2015 Lakeview Kid 2 Comments WRITTEN BY BILL DAHL Most young singers dream night and day of nailing a major hit record. Not swamp-pop pioneer Gene Terry. Honing his stage presentation with his rocking band, the Down Beats, was his top priority during the late ‘50s. As far as Terry was concerned, his output for Eddie Shuler’s Lake Charles, La.-based … Continue reading Gene Terry: Texas Cajun’s Ragged-But-Right Goldband Rockers Put the “Swamp” in Swamp Pop → Cajun, New Orleans, Ponderosa Stomp 2015, R&B, Rock 'n Roll, Rockabilly, Swamp Pop, Texas, Uncategorized BeaumontBernard JolivetteBig BopperC.C. AdcockCookie and the CupcakesEddie ShulerElvis Presleyfats dominoGene TerryGoldband RecordsGuitar GableHuey “Cookie” ThierryJimmy ClantonJohnnie AllanJohnny PrestonKing KarlLake CharlesLouisiana HayridePhil PhillipsRod BernardShane BernardShelton DunawayT.K. HulinTerry Gene DeRouenTommy McLainWarren Storm Zombies to Invade New Orleans This March 12 At HOB! February 23, 2015 Lakeview Kid Leave a comment In 1815, British invaders were repelled by Andrew Jackson’s ragtag group of lusty Creoles, Baratarian pirates, free men of color, and Kentucky riflemen. Now, 200 years after the Battle of New Orleans, the tide has turned. On March 12, one of the British Invasion’s most trailblazing bands – the Zombies – will be welcomed into … Continue reading Zombies to Invade New Orleans This March 12 At HOB! → Garage, New Orleans, Ponderosa Stomp 2015, Power pop, R&B, Rock 'n Roll, Uncategorized, video "Odessey And Oracle""She's Not There""Time of the Season""True Blood"1960sAl KooperBaroque popBattle of New OrleansBeach BoysBeatlesBritish InvasionBritish popBritish rockC.C. AdcockCajunChris WhiteClairy BrowneColin BlunstoneDoorsElvis PresleyEminemEnglandFoo FightersGarageGeorge HarrisonHouse of BluesHugh GrundyJim RodfordKinksNeko CaseNew OrleansNick CavePaul AtkinsonPaul McCartneyPet SoundsPop musicPsychedeliaRock 'n' rollRock and Roll Hall of FameRod ArgentRoky EricksonRolling StoneSgt. Pepper's Lonely Hearts Club BandSteve RodfordThe ZombiesTom ToomeyZombies Song of the Day: “Seven Letters” by Warren Storm (live version with Lil’ Band o’ Gold + original solo cut) August 17, 2011 Lakeview Kid 1 Comment Today’s Song of the Day is the musical epic that inspired young Cajun-rock revivalists Steve Riley and C.C. Adcock to form the supergroup Lil’ Band o’ Gold in the late 1990s. As regular attendees of swamp-pop elder statesman Warren Storm’s Lafayette lounge performances, the duo was captivated by the singer’s powerhouse interpretation of one song … Continue reading Song of the Day: “Seven Letters” by Warren Storm (live version with Lil’ Band o’ Gold + original solo cut) → New Orleans, R&B, Rock 'n Roll, Song of the Day, Swamp Pop, video Ben E. KingC.C. AdcockCajun musicCajun rockCharles "Hungry" Williamscosimo matassaDavid Eganearl palmerElvis PresleyLil' Band o' goldLouisiana swamp popSteve RileySwamp PopWarren Storm Dave Bartholomew, Leader of the Rock ‘n’ Roll Revolution (and Father of the Ponderosa Stomp Family), by Dr. Ike Remembering the Great Dave Bartholomew Mac’s Wild Years Reggie Young- Legendary Memphis Session Guitarist Gary U.S. Bonds: Down The Mississippi, Down In New Orleans T.K. Hulin: The Bayou State Tearjerker Frankie Miller: True Blue Papa Willie Knows How Darrell McCall: The Nashville Rebel Categories Select Category Audio Baton Rouge Blues Cajun Chicago Detroit Fallen But Never Forgotten Garage gulf coast soul Hereos of Louisiana Music at the Mint Houston Jazz Los Angeles Memphis Mississippi New Orleans New York oral history Philadelphia Ponderosa Stomp 2010 Ponderosa Stomp 2013 Ponderosa Stomp 2015 Ponderosa Stomp 2017 Ponderosa Stomp On The Road Power pop R&B Rock ‘n Roll Rockabilly Scene Report Shreveport Song of the Day Soul Swamp Pop Texas Uncategorized video Zydeco Da Cloud Bobby Charles C.C. 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__label__wiki	0.674654	0.674654	A Professor’s Final Journey in Bassett When David Hall is asked to describe the people likely to be interested in his services he says that people from all walks of life have shown interest in the 1950 Leyland Beaver and the spectrum ranges from Professors through to Scaffolders, although he has had more of the latter and little of the former. However, all was to change when the family of an English Professor saw a picture of the Vintage Lorry at a Funeral Director in Bassett. When David is asked to quote for a funeral his wife undertakes detailed research to establish where David can park the lorry before a funeral and a price is never given until David is satisfied that the right arrangements are in place for him to undertake the job in a professional highly dignified way. The Funeral Director was in a parade of shops, near a busy road junction with double yellow lines in front of it. The rear entrance was on an unmade up road that was used by other shops, making it impossible to park the lorry for the time it may take to wash it, load the flowers and then load the coffin. David’s wife found a church with a small yard some 200 yards from the Funeral Directors and David contacted the Reverend Sarah who spoke with the Church Elders. They confirmed that the church was prepared to help and David took on the funeral. David found out that there were only limited flowers, in fact a Sheath of Lilies was the only Floral Tribute and David was concerned how these flowers would stand up to the hot weather, being exposed to 28 degrees for around 45 minutes. The Florist was equally concerned, however, there was no way to contact the family as the order was sent via the internet. So David and the Florist agreed that she should create a coffin spray which would have the stems pushed into oasis which David could water once the Floral Tribute had been loaded On the morning of the funeral David left Bradford-on-Avon at 0600 hours and was in the yard of the church by 0815 hours having taken the old A3057 road through Stockbridge and Romsey. The first thing David does when he arrives at a destination is to telephone his wife to tell her that he has landed safely as he puts it. However, on this occasion David encountered a problem with his phone as he couldn’t speak to his wife and had to resort to texting which wasn’t easy on an old simple phone. Fingers that were used to turning spanners were not ideal to pressing diminutive keys the number of times required to generate the correct letter. As David struggled manfully to create a text he thought how much technology hasn’t changed over the years when you think about Wireless Operators in U-Boats in WWII using the German Enigma machines in the middle of the Atlantic Ocean to transmit messages to Lorient. Having managed to send the text to his wife, David then evaluated the impact of having no mobile phone, especially when the Funeral Director, David Eason, was due to call to arrange a time to load the coffin. David sat back in the seat and gazed over the giant steering wheel of the Leyland Beaver and thought back to the 1950s the era before mobile phones and in fact a limited number of phone boxes on main roads. At the time the only way to contact help was to use an AA Box to which AA members had a key and these proved invaluable to Drivers in the 1950’s. However, Lorry Drivers had another method of communication. The owner of a haulage fleet who needed to contact one of his drivers would contact a number of Transport Cafes on the route and ask the Café to put out a blackboard with a message for the driver. This thought encouraged David to write a note for David Eason and post it into the Funeral Directors which would open later that morning. David first went to get a paper and some refreshments. A local Café owner made David a toasted teacake with a mug of tea and allowed him to use their toilet. She offered David the opportunity to use her mobile phone if David needed to contact anyone, however, all the numbers he needed were back in the cab. As David walked back from the Café he passed the Funeral Directors but his idea of posting a note to the Funeral Director was thwarted because there was no letter box. David was not deterred, he managed to squeeze a note and one of his business cards through a gap in the door. As David walked towards the Leyland Beaver in the church yard his inability to communicate was the least of his concerns when he saw a lady in a hatchback unloading items and then taking them into the church hall. The lady told David that she had a playgroup that would start at 1000 hours and run until 1200 hours. David suddenly saw the horrendous situation that could unfold with a coffin being transferred from the hearse onto the vintage lorry around 1200 hours in the full view of parents with young children. David explained his problem with the lady and it was obvious that there had been some communication glitch, however, there was nothing anyone could do about it. The first issue that the Leyland Beaver caused was that parents were arriving from 0945 hours with no where for them to park in the yard. David just sat tight in the Leyland Beaver and read his paper, however, he was more concerned about the reaction from the parents around 1200 hours. At 1015 hours, David Eason arrived in a hearse and explained to David that he wasn’t arriving to transfer the coffin, he was on another funeral and he just popped in to check that the Leyland Beaver had arrived safely. This gave David the opportunity to explain the difficulties that the scheduled transfer at 1200 hours would create and David Eason said that he could arrive with the coffin fifteen minutes earlier. At 1145 hours a transit van arrived with the coffin which was swiftly transferred onto the lorry as parents were starting to arrive. David made all his necessary checks of the load, jumped into the cab and within seconds the Leyland Beaver was pulling out of the church yard. There were no pictures taken of the Vintage Lorry in the church as there was no time available and also it is now not appropriate to take any photographs that might include children. The family home was less than 300 yards from the church and David Eason stopped the traffic on the busy A35 road to enable David to reverse into the street and next to the family home. The widow came out to meet David and to his surprise she handed over an A4 envelope that was labelled ‘Information for the Driver’. Normally information for David to write Obituary articles is often sparse and most difficult to come by and getting it on the day of the funeral with voluminous hand written notes and pictures was certainly a first. It was at this point that David realised that he knew the Deceased whose hobby was restoring vehicles including a Morris Breakdown Lorry. This used to partake in the CTP Bournemouth to Bath Road Run and often ran just in front of the Leyland Beaver in the days when David took part. Recently the Deceased had concentrated on the restoration of vintage cars like a 1926 Bean 12 Tourer which he had used in the Daffodil Run and won a prize, a picture from this day was included within the display at the head of the coffin. David Eason had undertaken detailed research of the best way from the house to the crematorium on the east side of Southampton avoiding low bridges, vehicle width restrictions and areas with known high traffic densities. The Leyland Beaver pulled into Wessex Vale Crematorium some 15 minutes early and the huge crowd gathered for the funeral watched intently as the lorry was positioned beneath the porte-cochere. The coffin spray had travelled very well and the lilies looked fresh. The picture of the Deceased was quickly removed from its stand and was placed with the coffin during the service. When David got home he had a cup of tea with his wife and found that his mobile phone was working again. He also told his wife about the events of the day and reminisced about the 1950’s and the AA Boxes. David pulled out his ring of keys which included an AA Box Key from the 1950’s. David remarked that something that was felt invaluable in the 1950’s had no use now apart from being the tool of choice to remove foreign material from the soles of his boots. Posted by David Hall at 11:53 No comments: I had my first ride in a 1950 Leyland Beaver when I was 5, in 1958. It is an honour and a privilege to take a Loved One on their final journey using my Leyland Beaver. When I'm travelling around the UK some amazing things happen and often facts may appear stranger than fiction, as you will see in these articles.	cc/2020-05/en_head_0013.json.gz/line63
__label__wiki	0.737095	0.737095	Home > Topics > THE LAST COUNTY > The Last County - Wicklow County Gaol > The Last County - Wicklow County Gaol Wicklow Gaol pre 1950 Edward Kane County Wicklow Heritage Project The building of Wicklow Gaol commenced in 1702 and was completed within a few years. The earliest reference to Wicklow Gaol appears in the Urban District Council minutes for the town in 1709, where it is recorded that it cost 2s. 6d. to provide candles and straw for a party of French prisoners (1). The earliest recorded prisoner was a Fr. Owen McFee, a seventy-two year old “popish priest”. He was convicted of saying mass in the county contrary to the law and was sentenced to transportation to a British colony in America m 1716 (2). Conditions within gaols at this time can only be imagined as appalling. Gaolers were sometimes paid a wage by a local body and were expected to provide food, lighting, bedding and other human necessities from their own income. Many of these gaolers were themselves unsavoury characters and were open to bribery and corruption. At this time there was little, if any, supervision of the prison system. The gaoler was responsible to no overseeing body. It was quite normal for prisoners to have to pay a ‘garnish’ to the gaoler in order to receive preferential treatment. This could mean anything from obtaining the very basic requirements of food, lighting and bedding to being provided with rooms and even bed chambers. Many gaolers made considerable amounts of money through such activities and also by selling alcohol to the prisoners. For those poor prisoners who were imprisoned as debtors with no money or means to pay the gaoler, life in the gaol was extremely harsh. Prisoners were held together in rooms and it was not until prison legislation in 1763 that the separation of prisoners - males from females, tried from untried and sane from insane - was introduced. Until then all were incarcerated together and crimes were often committed by prisoners on unwitting new inmates. There were instances of clothes and valuables being stolen in order to pay the gaoler for alcohol and indeed prisoners were sometimes murdered for the very clothes on their backs. As men and women were lodged together rape was a common occurrence. It was against this background that prison reform in Ireland began in the latter half of the eighteenth century. Reformers such as the Englishman John Howard and his Irish equivalent, Sir Jeremiah Fitzpatrick M.D., began to see the need to establish standards within the prison system. These standards were to be far-reaching and were to cover all aspects of the prison system, including the gaol structures themselves, the day to day running of the gaol and the method of annual scrutiny of gaols in the form of the Inspector General of Prisons. Sir Jeremiah, in his capacity as a medical man, had seen the urgent need to restructure the whole system by providing better facilities in terms of buildings, hygiene and sanitation. The constant threat of outbreaks of disease could be eradicated and the segregation of prisoners into separate male and female sections would enhance their well being. On visiting Wicklow Gaol in 1785 he viewed it as “a very insecure, bad prison” (3). Sir Jeremiah Fitzpatrick With the Prison Act of 1786 an Inspector General of Prisons was appointed and Sir Jeremiah was given this role, due no doubt to his excellent record in leading the field in prison reform in Ireland. This act established an administrative pyramid with a local inspector at its base, then the Inspector General and finally Parliament before which the Inspector General had to lay an annual report as to the state of gaols in Ireland. Rev. Foster Archer became the second Inspector General of Prisons in 1796. Again annual reports were very irregular and it was not until 1823 that reports appeared on an annual basis up till 1876 when the General Prisons Board took over this role. The Prisons Act of 1822 had reinforced the position of an inspectorate by appointing a second Inspector General of Prisons. In the Inspector General’s report of 1799 it is stated that a prisoner, a William (Billy) Byrne of Ballymanus was enjoying great freedom within the confines of Wicklow Gaol. His fellow inmates were either locked in their cells or were manacled, while Billy Byrne’s cell door remained open all day. Visitors, it was reported, were allowed to visit the rebel leader anytime, day or night. The Inspector General was not pleased with this situation and recommended that the gaoler be dismissed. Following the Rebellion of 1798 the reports of the Inspector General remarked upon the impact on the Gaol of the large number of prisoners held within its walls. It was feared that the very walls would collapse. Building Extensions In the early reports of the Inspector General in the 1820s it is stated that a new building had been erected but that the authorities were unhappy with the quality of workmanship. Apparently it was felt by the governor that low quality materials had been used by the builder. It was recommended that payments should be withheld until matters were rectified. With this new addition, Wicklow County Gaol could now boast six yards, five small day rooms, two work rooms, thirty four cells, two solitary cells, a chapel and infirmary and a marshalsea. However, it soon became obvious that the method of controlling prisoners, the system of silence and separation, was unenforceable due to the confines of the Gaol structure. From as early as 1836 the Inspectors General were advocating that another addition should be built onto the Gaol. By 1840 the Grand Jury had placed £10,000 aside for construction work. It was completed in 1843, bringing the total to seventy seven cells, six day rooms, four yards, a public kitchen, a chapel - “minutely divided for seventy prisoners”, a treadwheel, a hospital and a laundry all within the Gaol complex. The system that emerged in the early part of the nineteenth century was one whereby people were sent to prison to be punished for their crimes and while there would go through a process of rehabilitation. This meant that they attended school (within the prison) on a daily basis; chaplains of all denominations visited regularly to talk to the prisoners and exhort them to virtue; a system of separation was introduced whereby moral contamination of one prisoner by another would be avoided by providing separate cells for each prisoner, as well as individual stalls in the chapel and the treadwheel house. Rehabilitation: Education & Work Probably the most important aspect of the rehabilitation was the concept of the prisoners working within the prison, producing a product which could be sold outside. Money from this could be used to offset the running costs of the Gaol, with a portion returning to the prisoners as profit. It was also considered essential that the Gaol should be self sufficient and be able to maintain the building and clothe the prisoners from within. The prisoners were expected to paint the Gaol and maintain the yards, make the uniforms and shoes and wash and repair their clothes. In order to achieve this the appointment of turnkeys who were also tradesmen was necessary and so the turnkeys working in Wicklow Gaol were a painter, a tailor and a shoemaker by trade, in addition to others who acted as school masters. The matron, along with the assistant, supervised the female prisoners who were engaged in knitting, sewing, mending, weaving, spinning and washing. She also acted as school mistress. At various times the prisoners in Wicklow Gaol made fishing nets which were sold both locally and in Arklow, picked oakum, which was rope used as insulation between boards on a ship, and did stone breaking. The making of fishing nets was abandoned after a short time however, as it was feared that they could be used as a means of escape by throwing them over the walls. By showing the prisoners the error of their ways and giving them the benefit of a trade, their opportunities of obtaining gainful employment on their release either at home or in the event of emigration would be enhanced. In theory the moral rehabilitation of the prisoners would be complete. Female Inmates A matron was appointed to supervise all aspects of the female prisoners’ welfare at all times, with responsibility for their medical wellbeing, prison work, treatment and schooling. As well as eating communally, female prisoners were allowed to work together. Classes were held in a refectory type room. A school master was employed to teach the men and this was carried out in the chapel until the Inspector General objected saying that the chapel should be retained for religious worship only. According to the Inspectors General, prostitutes frequently committed crime for the express purpose of being sentenced to the Gaol and thus being assured of receiving treatment for their social diseases. This was the case in 1845 when seven females, “the worst and most abandoned characters in the town” committed crimes for venereal disease treatment. That same year two children were born in the prison, one being stillborn. Punishments and Torture The treadwheel was the most common form of punishment inflicted on the prisoners. It had been invented by William Cubitt in 1818 purely for punitary purposes, with few exceptions. No benefits, such as water being pumped or the grinding of wheat, accrued to Wicklow Gaol. According to the early Inspectors General reports, a treadwheel had been installed in the early 1820s in Wicklow but because of concern over its legality it was not put into use for several years. Once this situation was defined the authorities put it into full use and male prisoners were required to work the treadwheel for five hours in summer and four hours in winter, with breaks of twenty minutes allowed from time to time. The whipping of boys was another form of punishment meted out to prisoners in Wicklow according to the reports, with the governor responsible for overseeing that all punishments were carried out and administered correctly. The presence of lunatics within the prison created problems for the authorities as it was deemed necessary to have them accompanied, usually by fellow prisoners, at all times. This requirement meant that the penal system of silence and separation was unenforceable, as two prisoners would have to sleep with a lunatic in a cell and wash, dress and feed their charge. The term ‘lunatic’ covered those who were mentally handicapped, epileptic and the insane. Transportation of Prisoners Wicklow Gaol catered for both short and long term prisoners, those who had commited misdemeanours and felonies. In its early years, as was seen in the case of Fr. Owen McFee, offenders against the penal laws were held there and even transported to America. When this colony was lost to the English with the American Declaration of Independence in 1776 another’dumping ground’ for the criminal classes was identified with the opening up of a colony in New South Wales in 1788. Hugh Vesty Byrne Prisoners were transported to this new colony from Wicklow Gaol from the 1790s until the 1850s. Many of those involved in the 1798 Rebellion were transported, such as General Joseph Holt, Michael Dwyer and Hugh Vesty Byrne, though these were transported as free men. Byrne was one of the few men who escaped from the Gaol. Famine Times By the time of the Great Famine the occurrence of food stealing had greatly increased with offences such as stealing potato seed, cabbage, carrots, bread and of course sheep being very common. Depending on the particular circumstances of their offence, people were often transported to Australia.It is likely that some committed petty offences in order to be imprisoned during the years of the Famine, thereby ensuring they had regular meals. Due to improvements in transport and communications, and the construction of Mountjoy Gaol in Dublin in the 1850s, Wicklow Gaol became more of a holding centre. Under the terms of the Prison Act of 1877 Wicklow Gaol was finally demoted from a county gaol to a bridewell. (1) Urban District Council Minutes Book, Borough of Wicklow (1709), courtesy of Wicklow Urban District Council. (2) Burke, Irish Priests in Penal Times, p.299. (3) Report of the Committee appointed to enquire into the present state, situation and management of the Public Prisons, Gaols and Brideweils of this Kingdom. Irish House of Commons Journals, vol.11, 1786. This page was added by David Kinsella on 14/03/2016. THE LAST COUNTY The Last County - The 1798 Rebellion The Last County - The O'Byrne's and the Shiring of Wicklow The Last County - The Penal Laws The Last County - Total Conquest The Last County - Towns, Stately Homes and Some Forgotten People The Last County - Wicklow on the Eve of the Famine 1798 In County Wicklow A collection of articles Click Here To Find Articles About Wicklow Places Wicklow is a member of ICAN, find out more here WICKLOW MINE HERITAGE Articles About Mining In County Wicklow County Wicklow Heritage > http://www.countywicklowheritage.org/	cc/2020-05/en_head_0013.json.gz/line71

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