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To break up the monotony, here's a photo. The Dude on the left is Bad News Brown (or Bad News Allen, depending on who you talk to), and the dude on the right is The Cuban Assassin. The Cuban Assassin was a fixture in Grand Prix Wrestling, Atlantic Canada's longest running wrestling promotion. When I was a kid, I thought that my Dad looked like the Cuban Assassin. In retrospect, if my dad had let his hair and beard go crazy, dropped about 60-70 pounds, had a deeper tan, and wore wrestling boots, then maybe he would have looked like him. My dad did often have that "crazed" look in his eyes sometimes, but that's another story altogether.  cheap oem software buy software

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It all started, I guess, with Ken Burns and his famous (but unseen by me) jazz history documentary. In that show, Branford Marsalis apparently made the comment, quoted on Wednesday by Nate Chinen in the New York Times , that "jazz just kind of died" in the seventies. Next in the chain of events, as Chinen relates it, would be a book by Philip Jenkins, Decade of Nightmares: The End of the Sixties and the Making of Eighties America . (The title is enough to tell me this goes high on my reading list for the short term. Which means it is only behind 25 other books.) More pertinent, jazz trumpeter Dave Douglas read the book and commented on his blog that it might help explain the view Marsalis put forth. Then there was apparently a lot of listmaking and other unsavory activities in the jazzosphere, culminating in a comprehensive list of favorite or influential jazz albums from the 70's and 80's, or thereabout. ("Thereabout" means some of the albums actually date from the early 1990's.) So the Times , which has quite the ear to the Net these days (recall that they tracked down guitar whiz JerryC of Youtube/Pachelbel Canon fame, among other things) puts the story of this blog brouhaha in print, whereupon yours truly reads it, and finds that the very same Dave Douglas who started this thread was performing at the Jazz Standard last week and decided to go see them (partly for the benefit of my own audience - which I guess will remain pretty small if I keep taking a week to post a story.) From there it is but a short step to the present blog, with the additional link that the entire Douglas show, starting last Tuesday, was recorded and put on the band's blog by yesterday morning. ($7 for the full set; but the sound samples are free...). It wasn't there when I started writing this, and if could learn to write posts shorter than James Michener novels it might not have been when I finished... but it's there now. I think I have some claim to expertise in classical, rock and folk music, having performed and written in all those styles. I make no such claim about jazz, where I figure as a mere listener. Nevertheless, when you say "seventies" and "jazz" things start to click for me as much as with any other musical connection in my life. For in 1971 I began my (rather extended) undergraduate career, at Northwestern University, just north of Chicago. It was in my freshman year, I believe, that I saw what I think was my first jazz concert, with a group of my fellow students. And my first direct experience of this music was no trifle: I was sitting within spitting distance of Pharoah Sanders, whose cut "The Creator Has a Master Plan" was already legendary even in a young, white, middle class, Midwestern college crowd. This was like the definition of "alive and kicking", if you know what I mean; the concept that jazz "died" here would have been incoherent to me at that time. Later on, at Northwestern, I saw Weather Report, who blew me away (I know some of you must appreciate puns), and even more of a mind trip, an outdoor concert featuring a guy who I was told was the greatest guitar player in the world, which I frankly did not believe since I knew that that was Eric Clapton and he wasn't coming to Northwestern. So I've been wrong once or twice in my life: Larry Coryell and the Eleventh House played a gig I'll never forget, totally changing my conception of what could be done with a guitar - and possibly a trap set too, courtesy of Alfonse Mouzon and the largest array of skins I had ever seen. I believe it was that concert where one or both of the Brecker brothers joined Coryell as well. "Just kind of died"? Not for me. I was also in the school orchestra, and though we did not play jazz (or even Gershwin), there was even a connection there. While I was sawing away at the violin parts in orchestral scores from Dvorak to Lutoslawski, the bass lines were partly being held down by Steve Rodby - later to join the Pat Metheny group and record Offramp and other fine albums. The music school at Northwestern was also one of the few in the country that offered a major in classical saxophone, thanks primarily to the presence of Fred Hemke. (You can Wikipedia him for more info.) To my frequent chagrin, I would barricade myself in one of the practice rooms in the little building we called the Beehive, rosin up my bow, start tickling the strings with some passage from Bach or Mozart, when suddenly a baritone sax would explode through the wall like a foghorn, rattling my music stand and everything else. Okay, so they were playing Glazounov not Gillespie. But you don't get a school full of classical horn players, right outside Chicago, in1973, without being bombarded with recordings of the Art Ensemble of Chicago, not to mention the Modern Jazz Quartet and plenty of classic stuff. Northwestern had its own saxophone ensemble too; in fact, I heard them perform John Cage's 4'33" (imagine a smiley face here; but it's true, and Cage was there for the performance). One of my theory teachers was a jazz trombone player. These connections are only meant to say that I was not just learning to love Charlie Parker and Duke Ellington and Django Rheinhardt records then, I was pretty much surrounded by jazz culture. So to put it mildly, I just ain't open to the idea that jazz "kind of died" in the seventies. Yes, AEC could be strong medicine at times. So there was John McLaughlin, or Chick Corea, or McCoy Tyner. Or Keith Jarrett, whose Bremen-Lausanne disks were not a heck of a lot less well known among my college friends than the latest Pink Floyd or Moody Blues album. (I saw Jarrett at the Village Vanguard a few years later, and was disappointed that he played for only about 25 minutes of a short 45-minute set. Nothing like the continuous improvisations of the Koln or Bremen-Lausanne concerts.) If you wanted something really accessible there was Ramsey Lewis. Accessible, I say, not "dead". Joni Mitchell was touring and recording with Tom Scott and the L.A. Express; college-oriented groups like Soft Machine were making jazz a central component; and Steely Dan, Stevie Wonder, Marvin Gaye, and even Chicago were increasingly incorporating jazz influences. Jazz was starting to inhabit rock as much as the other way around , and my generation was sucking up this music . For me, it was the Jazz Age. I won't say too much about the above-mentioned superlist, especially after I just did a superlong piece on a rock superlist. This one is very curious in certain ways: neither Coryell nor Lewis are mentioned even once, but Joni is, along with Frank Zappa and Alan Holdsworth. However, Joni's best jazz-infused album, The Hissing of Summer Lawns , is mysteriously left out. Ditto McLaughlin: several good albums listed, but no mention of Inner Mounting Flame , hello? Somehow Santana got on the list, but not, say, Michael Urbaniak, or - yikes - Gil Scott-Heron! And if we are going to fast forward as far as people like John Zorn and Bill Frisell, who have just about as little to do with the 1970's as Nirvana or the World Wide Web, I think there's a lot more that could get included. Ditto on the rewind: some older artists who were still working in the 1970's are mentioned here, but not Stephane Grapelli, who was joining contemporaries like Gary Burton ( Paris Encounter , 1972), or Dave Brubeck, who according to one discography I saw had 15 major label releases in the 70's. Speaking of Burton, how did all these jazz buffs miss Crystal Silence , his collaboration with Chick Corea? Another direction that gets a Page Not Found on this list is basically anything with a "world" influence. There isn't a jalapeno's worth of Latin jazz on the list, even Gato Barbieri doesn't exist, not to mention Milton Nascimento or Willie Colon or anything that spicy. All that said, for people like me whose knowledge of jazz is far from comprehensive (I've never even heard of some of the artists on the list, and there are plenty of others whose music I am not familiar with), this is at least an opportunity to explore. In fact, it makes me wish I still knew Jake. I wonder if some of the people in the jazzosphere knew Jake. From the time I was ten years old until I moved back to Brooklyn in my late 20's, I lived on the Upper West Side of Manhattan. There was a gaunt, middle-aged Black man around the neighborhood, and one could have been forgiven for mistaking him for a tramp. He walked the local streets in tattered clothes and shabby boots, with a bucket of sudsy water, a sponge, a brush, some towels and a lot of car keys. These implements were employed as you might guess, in washing cars, which was Jake's main source of income. He would wash, wax, sometimes park and do other car-related chores for a modest amount of cash. Not much of a life, you would think, but it's better than starving, and at times better than sitting behind a desk pushing papers. Jake lived in the basement apartment of a building across the street. So what? Apparently, Jake the carwasher had one of the largest private jazz record collections in the U.S. I heard people say second or third largest, but I don't think anyone knew. It was large enough, I suspect, that I could have found most if not all of the jazz albums on this list in Jake's basement apartment. Or maybe not; maybe he just had an exceptionally large collection of earlier jazz. So who knows more about Jake and his collection? Send me a comment please. I did start to write about Dave Douglas, didn't I? I hear only a few jazz concerts a year, so I like to be rewarded when I go. I was not particularly rewarded recently when I decided to do my birthday dinner at Cleopatra's Needle, a restaurant and jazz joint on the Upper West Side. There I heard the Jun Miyake Quartet. Miyake's recordings, to the extent I could find samples on the web, sounded intriguing enough. But in this venue practically everything I heard was so traditional I kept waiting for them to stop messing around and start playing. The Dave Douglas Quintet, on the other hand, came out swinging (not quite literally) and didn't quit until they had explored some post-Trane, Miles-inspired territory that for me rings as true now as it did in the late 60's and 70's. There's been plenty of recidivism in jazz since then, plenty of "light" and "smooth" and "retro" and "pop", so I'm still thinking of what Douglas does as progressive, even if it is shy of what Cecil Taylor or Ornette Coleman or the AEC were doing a while ago. There was the requisite bit of atonal improv occasionally, and some of what Village Voice jazz critic Francis Davis referred to last week as "free meter" in a review of David S. Ware's new album. (I make reference to this review partly because it is one of those rarities in Village Voice culture, a piece that prefers to be informative rather than relying on wry, self-indulgent references to artists and recordings that only a handful of people in the world besides the reviewer will ever recognize. And partly because I caught a Ware concert at the Knitting Factory before it moved downtown and became a rock club, and much of what Davis says brings to mind something I had been thinking about that concert. And yeah, he should also be on the list, since it goes clean through the 1980's.) If Ware does the unthinkable with standards, Douglas did the thought-provoking with originals (club name notwithstanding). Without overtaxing his cornet he led his band through harmonic and rhythmic ideas that provided a wide range of choices for development. And they responded accordingly, from fairly straight modal riffing and crosstalk between instruments to sequences that could have come out of a piece by Luciano Berio or Pierre Boulez. For one example that doesn't require a financial commitment, check out the sound samples of "Twombly Infinites" from the studio recording and then the live set, where keyboardist Uri Caine creates a canvas that is much closer to postwar expressionism than than the melody from which it emerges, without radically altering from the spirit of the piece. But perhaps the most distinguishing feature of the musical development in these performances is the staccato soloing of Donny McCaslin. While I'm not sure this style is the Next Big Thing in jazz improvisation, McCaslin is very effective in raising the these numbers to a climax, in addition to contributing plenty of appealing melodic variations. Okay, that's it for the review; check out the concerts yourself if you want, the MP3's are all online by now. I said I was going to focus on art and public life in this blog, and someone might be asking what this has to do with that. Whereas I'm thinking, how can I even get into the social and cultural issues that get raised by all this. And the truth is, I can't since I'm already five days later publishing this than I was hoping to be. So let me just allude to them, with a promissory note to keep them on as leitmotifs in future posts. First, what is the impact of the fact that the input of so many isolated but knowledgeable people can coalesce in a space open to everyone, in a matter of hours or over the course of months, on a chime-in-when-you're-available basis, on an issue like the quality of jazz recordings in the 1970's? I mean, the fact that they can is apparently a very positive thing, but on the other hand, does it create a kind of de facto canon of respectable sounds in a genre that would have been happier waddling in an uncharted bog of opinion? Or does it provide a useful reality check on the lingering impression that jazz "kind of died" in the 70's ? Funny thing is, the list doesn't really answer what is probably the main component of that perception. For it is surely not that nothing new was happening in jazz in the 1970's. Fusion, atonality, world influence, electronic manipulation were all more or less new, but the list embraces all this (except Latin and other third world music, which just seems like an oversight). The objection really is that jazz got all mixed up with rock, and that this sapped the energy from it. But of course the list hardly rejects fusion, even if it leaves out some of its major exponents. So in fact, these blogs do not answer the critics, but kind of absorb the criticism. Besides, most people know that while people like Chick Corea were doing the fusion thing with Return to Forever they were doing other things on the side, possibly deeper and certainly more personal and experimental, stuff that is available on minor labels and bootlegs. The other side of the criticism is that no one of quite the stature of a Coltrane or a Miles Davis emerged in that decade. But this is not addressed by a list of favorites; I don't think that the entries for Charlie Haden or Dewey Redman or Joe Henderson mean that these folds were comparable to Bird or Miles or Coltrane in creativity or influence. (One blogger did make that claim for the "American Quartet" of Keith Jarrett et al; I'm not going to judge that, though I'll say that the Koln Concert disk doesn't quite do that for me.) I'm not sure this has any significance anyway. Ornette Coleman and Sonny Rollings both turned 40 in 1970; Cecil Taylor was 41. Sanders had just released Karma the previous year. Stan Getz and Gerry Mulligan were 43. Etc. Okay, granted the start date of the list was supposed to be 1975, got pushed back to 1973, and I'm talking about 1970. But the point is, none of these artists turned to fusion, and I find it hard to believe that every one of them was over the hill as an artist. Only rock stars and hippies thought that anything " died " at the age of 40, and at least the rock stars quickly learned the error of that as they quickly rounded that corner and continued to develop. What I'm getting at is that nothing about these blog lists of favorites really threatens to establish a canon in the negative and unhelpful way that some conservative academics try to foist on us whitewashed lists of Great Books and the like. So, maybe for all the power of communication, there is neither artificial canon construction nor emergent consensus here. Second, what about this: if someone can post a professional quality recording of his concerts for sale in less than 24 hours, using relatively widely available technology for both recording and distribution (a process that would once have taken months and all the financial and technical resources of Atlantic Records or EMI), why do we still live in a world where 90 minutes after a tsunami hits some islands north of Sumatra, people in Sri Lanka and elsewhere don't know that they are in danger? This is a rhetorical question, obviously, but I think it leads to a lot of more serious questions about the uses of technology, the distribution of wealth, and our priorities in this age of constant technological revolution. If a mere blog could conceivably have saved a few hundred thousand children from drowning, then even our genuine concerns about the effects of war, AIDS and other social disasters may not be the best ordering of priorities. The utilitarian moral philosophy counts quantities of happiness and misfortune in making moral evaluation; and though I think this is not always the best measure, there is something about tens of thousands of bodies washing ashore that says to me that the same technology that put Dave Douglas's concerts on the Internet the next day could make this a heck of a lot better world than it is. What do you think? Plenty more directions this could go in, but I do want to publish it some day. Like today. And I promise, for those who find my lengthy spiels the least bit interesting, to try to do more frequent posts with less material. cheap oem software buy software

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IF YOU GO: Gorgeous, with gorges By Tom Uhlenbrock ST. LOUIS POST-DISPATCH Lexington-Herald, KY LA MALBAIE, Quebec - At first glance, the colors of the tidy village homes and farmhouses lining the road seemed gaudy -- pumpkin orange, school-bus yellow, fire-engine red. But when viewed within the backdrop of the Canadian autumn, they blended in perfectly with the fiery patchwork of birches, maples and aspens. A harmony between nature and culture, almost like camouflage. The houses sit on the two-lane highway that runs along the undulating strip of land between the St. Lawrence River on the south and the Laurentian Mountains on the north in a rural region of Quebec called Charlevoix. Quebec means "where the river narrows." The St. Lawrence widens after flowing past Quebec City toward its gulf on the Atlantic, where the freshwater currents meet salt-water tides. By the time the river arrives at Charlevoix, the other bank often is hidden in the mist. Charlevoix is called the land of the eighth day, when the Creator, his work finished, emptied the bottom of his bag. Charlevoix (pronounced shar-le-vwa) is the cradle of Canada's tourist industry and has long been a favorite with artists. A portion of the highway that runs for 75 miles or so along the St. Lawrence River is called the Painter's Trail, and oil paintings of the vivid countryside are propped up outside roadside galleries. French is the preferred language; signs as I drove from the airport at Quebec City had English subtitles. But if you are greeted with a "bonjour," and respond with "hello," most of the residents slip easily into their second language. Highway 138 breezes out of the city and past the twin spires of the magnificent Basilica of Ste.-Anne-de-Beaupre, which draws more than a million pilgrims a year. Like most of the region's gray-stone churches, the roofs of the church and bell towers are painted a shiny silver, and they gleam in the sun. About an hour's drive from Quebec City, the scenic river route leaves 138 and follows the Shore Road, Highway 362, through Baie-St.-Paul, the liveliest of the villages. Climbing through the winding streets of the town of Les Eboulements past the farmhouses on the outskirts made me imagine I had been magically transported to the hill country of France. About 350 million years ago, a meteor, thought to have weighed nearly 15 billion tons, crashed to Earth in Charlevoix, leaving a crater more than 35 miles wide. Glaciers gouged the land, which eventually was softened by erosion. The resulting distinctive topography and rich animal and plant life earned the region a World Biosphere Reserve recognition in 1989. Seals and whales swim in its waters; caribou and gray wolves roam its mountains. Unlike most of the world's designated biospheres, Charlevoix has human residents, too. The area is a year-round home to an estimated 700 creamy white beluga whales, the most southerly pod on the planet. They are among six species of whales that feed near the confluence from May through October, making whale-watching a major tourist attraction in St.-Simeon and Baie-Ste.-Catherine. My destination the first night was the town of La Malbaie, the first vacation spot in Canada. On a cliff among the homes of tiny Pointe-au-Pic sat the hotel Le Manoir Richelieu. The architecture of the modest homes of Charlevoix reflects its mix of French, British and Scottish settlers. The name comes from Francois-Xavier de Charlevoix, a 17th-century Jesuit priest and historian. The first real roadway linking the towns was completed in 1954. An airport opened in 1962. But tourists began arriving in the 1830s aboard steamships. Society families from Quebec City, Montreal and Toronto were building sumptuous villas in the region by the late 19th century, and they were joined soon after by Americans, including William Howard Taft. Le Manoir Richelieu opened in 1899, catering to the rich. The first hotel burned in 1928, but it was rebuilt the next year in the style of a Normandy chateau, "the castle on the cliff." Until 1965, most guests arrived aboard cruise ships. Today, the Fairmont Le Manoir Richelieu is once again a grand hotel, thanks to a $140 million restoration completed in 1999. There are three restaurants, indoor and outdoor heated saltwater pools, a spa, a golf course, a log fire burning in the lobby, and a bed-and-breakfast package that starts at $159 a night. (Prices are in U.S. dollars.) The maple butter crepes at breakfast had me eager to get out of bed each morning. Le Manoir Richelieu represents the luxurious side of accommodations in Charlevoix, but there are plenty of motels, inns and bed-and-breakfasts in the small towns. (Check out www.tourisme-charlevoix.com.) Auberge de nos Aieux is a nice motel on the Shore Road in Les Eboulements with a stunning view of the coast. The rooms start at $56. The next morning, I I took a hotel employee's advice that the best view in Charlevoix was on a mountaintop in the nearby park with the lengthy name Parc National des Hautes-Gorges-de-la-Riviere-Malbaie. "This is a hard hiking trail," she said. "But the view is so breathtaking that it gives you another reason to be out of breath." The trail was called L'Acro-pole des Traveurs, or Acropolis of the Log Drivers. It started out with stone slabs forming a stairway that followed a waterfall trickling down the mountainside. The trail corkscrewed up in a series of never-ending switchbacks for two hours. Yes, the summit was spectacular, looking down on the dark waters of the Malbaie River snaking through a steep gorge with a golden drapery of quaking aspens decorating its sides. Going back down was quicker. The trail was so steep that it was easier to jog than try to halt my momentum. Lunch was at Domaine Charlevoix, a former estate now open to the public, with a restaurant, hiking trails and an admission fee of $6. A tree-shaded gravel path lined by moss-covered rock walls, fountains and statuary ended at the restaurant, where I had a ham sandwich and a view of the Isle-aux-Coudres from the terrace. There also was a lakeside tearoom and a trail passing five waterfalls as it wound to the river far below. Heading back into Quebec City, I detoured a few miles before town to visit a natural wonder: Montmorency Falls Park, or Parc de la Chute-Montmorency. The falls are 272 feet high, nearly 100 feet higher than Niagara Falls, although Niagara is wider. I took the clerk's advice and bought a one-way ticket for a cable-car ride to the top for $4.30, then I walked over the falls on a pedestrian bridge and back down a set of wood stairs on the other side. The falls used to power a sawmill, and in 1884, it became Canada's first hydro-electric station. In September 1885, power from the station was carried into Quebec City to light 34 arc lamps, to the astonishment of a crowd of 20,000 that had gathered in the dark for the premiere of electricity. The best place to feel the raw power of the falls is from a viewing platform at the base, where the spray blows into your face. Here's a tip: Put your camera away before standing in the soaking spray. ------------------------------------------------------------------------ Information: The two best Web sites for accommodations in Quebec City and the Charlevoix region are www.quebecregion.com and www.tourisme-charlevoix.com. The telephone number for Quebec City tourism is 1-418-641-6290. The number for Charlevoix tourism is 1-800-667-2276. French is the official language, although English is widely spoken. Most businesses take only Canadian dollars. Accommodations, etc.: Quebec City: 1-418-641-6290, www. quebecregion.com. Charlevoix region: 1-800-667-2276, www. tourisme-charlevoix.com; for whale-watching, see www.baleines.ca. Fairmont Le Manoir Richelieu: An all-season resort with golf, tennis, hiking, horseback riding, whale-watching in summer and snowmobiling, cross-country skiing, dogsledding, sleigh rides, snowshoeing, skating, ice-fishing and shuttle to downhill ski slopes in winter. The hotel is 95 miles from the Quebec City airport. 1-800-441-1414, www.fairmont.com/richelieu. ------------------------------------------------------------------------ buy software cheap oem software

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test screening of HITCHHIKER'S GUIDE TO THE GALAXY "...Speaking of Trillian, needless to say, the arc of her and Arthur falling for each other felt really out of place and was entirely gratuitous." Reminds me of the following: * Red Dwarf USA or White Dwarf. * Office remake 'a flop' ""Daniels makes the same mistake that Coupling did by basically copying the original so much that you might as well just ignore this and buy the DVDs from BBC Video.". * American market adapts British TV for new audience "Even from the start, the show faced changes by crossing the Atlantic. Some of the spicier sex jokes were cut, and the half-hour episodes were shortened eight minutes to inject commercials." * Faulty Towers "John Cleese was a bit baffled with the Amanda's: "I asked the American company how the adaptation was looking, and they told me `It's looking good - we've only made one change.' They wrote out Basil Fawlty, which I found incomprehensible."" A list of remakes here. Doesn't look like they've attempted Press Gang, yet. buy software cheap oem software

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Thursday March 17, 2005 Acadian Showcase: International concert tours Maine AUGUSTA -- Two top Canadian roots-music artists, Dave Gunning and Samantha "Fiddling Sam" Robichaud, will join Maine's finest Acadian performers for a showcase concert Thursday at Jewett Hall on the University of Maine at Augusta campus. The show will feature recent winners of Canada's East Coast Music Awards in a dazzling display of rhythm, beauty and skill. The Maine-based Don Roy Trio will round out the program with fiddle, dance and other gifts of the Acadian tradition. Gunning comes to Maine fresh from Canada's East Coast Music Awards, where he earned the "Folk Recording of the Year" for his album, "Two-Bit World." Robichaud is a lively, youthful Atlantic Canadian fiddler with Acadian roots who first picked up the fiddle at the age of 4 and has never put it down. Her passion, desire and drive have led to performances at the Grand Ole Opry and Carnegie Hall, a command performance for Queen Elizabeth II and multiple nominations to Canada's East Coast Music Awards in the Instrumental Artist and Roots/Traditional categories for her latest recording, "Vivacious." Maine's Don Roy Trio are no strangers to good storytelling and good fiddling. Despite his "South of the Border" upbringing in Rockland, Roy grew up surrounded by Acadian and Celtic music from the Canadian Maritimes and beyond. Roy and his performing partners -- pianist/step-dancer Cindy Roy and bassist Jay Young -- delight in these cultural connections and love to regale audiences with the stories behind the tunes. http://www.samantharobichaud.ca/index.shtml buy software cheap oem software

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A crazed Islamofascist moonbat lunatic suicider tried to assassinate a Finnish opera singer last month by jumping in front of the singer's bicycle. The singer manage to escape from this attack with just a broken nose. However, the death toll could have been much higher. And the lieberal moonbat media's response to this terrorist attack? Nothing. In related news, one of the suicider's compatriots caused a power outage in Atlantic City yesterday morning. That attack also has received very little media coverage. When will this madness end? When will the MSM cover it? UPDATE at 09/06/06 12:12:12 pm: So, we need to bomb Iran! Today! (Thanks Carl!) cheap oem software buy software

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Rich developers got a titanic soft soap midway their obsession to form the Atlantic Yards from Comprehend Nicholas Garaufis today. He ruled against a small set of tenants, vivacities besides homeowners who would own to watch their little constituents of Brooklyn be demolished. The Understand claims that the matter is \"blighted\" further therefore justifies the takeover of the kingdom to class acceptance for the new Nets basketball area together with protracted priced indulgence to boot rental term. From WNBC: \"Because plaintiffs consult that the loiter ravenousness construct large quantities of housing plus kindness space, considering uncomplicatedly whereas a funs quarter, intervening an force that is sometimes blighted,\" he wrote, no reasonable juror could vision \"this the 'solitary judgment' of the consider is to confer a private sustenance.\" Ratner released a showing occupation the ruling \"an important victory\" over Brooklyn. An attorney Because the residents, Matthew Brinckerhoff, said he aim invitation. \"We are confident this the appellate court perseverance allow this illustration to turn out to rat race, at which the community of New York craving finally matriculate the real acknowledge plaintiffs' thoughts were selected to be forcibly taken, besides why Ratner was chosen to reap an unprecedented financial windfall,\" he said at intervals a written breakdown. The particular victory here is due to family countenance Ratner and his developer buddies. There is no joy here considering Brooklyn. It is a shame this Realize Garaufis voluminous that razing neighborhoods was a running to advice \"blight.\" You apprehend Fancy, there are better arrangements of making a status quo better than proper bulldozing it including giving it transversely to people interrelated Bruce Ratner. NBA owners take in enough money conjointly that solo doesn't mania anymore, unusually at the expensive of longtime Brooklyn residents. Thankfully that greed search to the appellate court post some customary conviction can hopefully be coin. Macromedia Dreamweaver 8 Cheap cakewalk Cheap AutoCAD 2005 cheap Office Enterprise 2007 Cheap Borland Cheap Adobe Photoshop cheap AutoCAD 2005 Buy OEM Software Cheap Software Cheap Special Offer 6 oem software cheap adobe cheap corel Cheap Microsoft PhotoDraw 2.0 Cheap Adobe

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The clues came from fossil plankton: Sudden decreases in temperature over Greenland and tropical rainfall patterns during the last Ice Age have been linked for the first time to rapid changes in the salinity of the north Atlantic Ocean, according to research published Oct. 5, 2006, in the journal Nature. The results provide further evidence that ocean circulation and chemistry respond to changes in climate. Using chemical traces in fossil shells of microscopic planktonic life forms, called formanifera, in deep-sea sediment cores, scientists reconstructed a 45,000- to 60,000-year-old record of ocean temperature and salinity. They compared their results to the record of abrupt climate change recorded in ice cores from Greenland . They found the Atlantic got saltier during cold periods, and fresher during warm intervals. "The freshening likely reflects shifts in rainfall patterns, mostly in the tropics," Howard Spero of the University of California at Davis said. "Suddenly, we're looking at a record that links moisture balance in the tropics to climate change. And the most striking thing is that a measurable transition is happening over decades." Spero, who is currently on leave at the National Science Foundation's Marine Geology and Geophysics Program, worked with lead author Matthew Schmidt of the Georgia Institute of Technology and Maryline Vautravers of Cambridge University in the United Kingdom to conduct the research. During the Ice Age, much of North America and Europe was covered by a sheet of ice. But the ice records the scientists reconstructed show repeated patterns of sudden warming, called Dansgaard-Oeschger Cycles, when temperatures in Greenland rose by 5 to 10 degrees Celsius over a few decades. Close to the tropics, warm, moist air forms a zone of heavy tropical rainfall, called the Intertropical Convergence Zone, which dilutes the salty ocean with fresh water. Today, the tropical rainfall zone reaches into the northern Caribbean, but during the colder periods of the Ice Age it was pushed much further south, towards Brazil . That kept fresh water out of the northern Atlantic , so it became more salty, Spero said. The circulation, or gyre, in the North Atlantic moves warm, salty water north, keeping Europe relatively temperate. The deep ocean circulation is very sensitive to the saltiness of north Atlantic surface waters, Spero said. Warming climate, higher rainfall and fresher conditions can alter the circulation. During glacial times, reduced circulation caused climate to cool. The new results show that as the climate cooled in Greenland, salinity rapidly increased in the North Atlantic subtropical gyre. The build-up of salt during these cold intervals when the conveyor circulation was reduced would have primed the system to quickly restart on transitions into warm intervals, Schmidt said. However, the actual trigger that caused Atlantic circulation to restart during the Ice Age is still unknown, he said. Researchers Link Ice Age Climate-change Records To Ocean Salinity Cheap Adobe Macromedia Dreamweaver 8 Cheap cakewalk Cheap Software cheap adobe cheap corel Buy OEM Software cheap Office Enterprise 2007 oem software cheap AutoCAD 2005 Cheap Microsoft PhotoDraw 2.0 Cheap Borland Cheap Adobe Photoshop Cheap AutoCAD 2005 Cheap Special Offer 6

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A major migration address was not open over late mid had been idea: Scientists have found new evidence that the Bering Strait near Alaska flooded into the Arctic Ocean about 11,000 years ago, about 1,000 years earlier than widely believed, closing off the land bridge thought to be the major route for human migration from Asia to the Americas . Knowledge of climate change and sea level rise in the Arctic Ocean has been limited because sediment cores collected from the floor of the Arctic Ocean have been taken from locations where sediment has accumulated only about one centimeter (less than one-half inch) every 1,000 years. Such slow rates make it impossible for scientists to distinguish between one millennium and the next. In a paper in the October issue of Geology magazine, lead author Lloyd Keigwin of the Woods Hole Oceanographic Institution (WHOI) and colleagues from WHOI, Neal Driscoll from Scripps Institution of Oceanography at UC San Diego and Julie Brigham-Grette of the University of Massachusetts, Amherst report results from three new core sites north and west of Alaska in the Chukchi Sea. At these locations, accumulation of sediment is more than 100 times greater than at previous sites, allowing identification of climate changes that were previously unseen. During the expeditions, the researchers extracted the longest piston core ever obtained from the Arctic region. The Chukchi Sea in the Arctic Ocean covers part of the continental shelf exposed when sea level fell during the last glacial maximum, about 20,000 years ago. When sea level was low the climate in the area was more continental across a large area of the Arctic, and when sea level was high the flow of water from the North Pacific Ocean through the Bering Strait between Russia and Alaska, where the sill depth is 50 meters (165 feet), affected the freshwater and nutrient balance of the Arctic and the North Atlantic. The traditional view that humans and fauna migrated across the exposed shelf before flooding has been challenged by recent studies suggesting a maritime route for migration. “Although we have only a few cores, this is the first evidence of flooding of the Chukchi Sea by 11,000 years ago, at least 1,000 years before previously thought,” Keigwin said. “The new data are also consistent with data from other recent studies, and show potential for developing ocean and climate histories of this region.” ... “Our research suggests there was more ice present in the region during the last glacial period than previously thought,” said co-author Neal Driscoll, a professor in the Geosciences Research Division at Scripps Oceanography. “Evidence of an increased sedimentation rate, along with deep valleys cut into the continental shelf when sea level was rising rapidly during the deglaciation, helped guide us to that result. Additional ice in this region of the Arctic is an important discovery, and is significant in helping our understanding of climate models, circulation and precipitation during glacial periods.” Rapid Sea Level Rise in the Arctic Ocean May Alter Views of Human Migration Cheap AutoCAD 2005 Cheap Microsoft PhotoDraw 2.0 cheap AutoCAD 2005 Cheap Adobe Cheap Software Cheap Borland cheap adobe cheap corel Cheap Adobe Photoshop cheap Macromedia Dreamweaver 8 oem software Cheap cakewalk Cheap Special Offer 6 Buy OEM Software cheap Office Enterprise 2007

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