alocispepraluger102

andre previn---a touch of elegance---the music of duke ellington

TIM BERNE ON JULIUS HEMPHILL An interview with Tim Berne by Duncan Heining, from AVANT/England +++++++++++++ Julius Hemphill formed the World Saxophone Quartet with David Murray, Hamiet Bluiett and Oliver Lake in 1977 and was its most significant force as a player and writer. It's for this group that he is perhaps best known. He was one of the coterie of players on the seventies' New York loft scene. But where musicians like Murray and Chico Freeman went on to build careers, Julius Hemphill was more often spoken of then heard. Hemphill died in 1995. For saxophonist Tim Berne, he was a mentor and friend. A couple of years ago, Berne reissued Hemphill's lovely Blue Boye on CD. When he was in England on tour with his trio Big Satan, we talked about Hemphill's influence on him and the scene in general. Berne paints a picture of a genuine one-off, a man with an original but restless mind with little time for the business side of the music. Though he never really fulfilled his promise, Hemphill did leave behind a remarkable, if in some ways incomplete, body of work. It was Hemphill's ability to reconcile different aspects of various musical styles that made him special for Berne right from his first contact with his music. :His album Dogon AD bridged all these things I'd been listening to. I was able to reconcile the R&B side of me with the side that listened to Braxton and Roscoe Mitchell. Somehow he managed to do everything in the same package without anything being idiomatic. And he had a really soulful sound that I could relate to from listening to guys like King Curtis and Junior Walker." When Berne moved to New York in 1974, he'd only been playing saxophone for about a year. He took a few lessons with Anthony Braxton, but as Braxton's success grew, he had less time for teaching. He suggested Berne give Hemphill a call. At the time, he hadn't even realized that his idol lived in the city. "I'd seen him before but I didn't know it. I saw a Lester Bowie concert at Studio RivBe and I saw this big guy playing and I thought, 'Wow! Who the hell is that?' I had no idea because I had never seen a picture of him. I saw him again at a Lester Bowie recording. Julius was conducting because it was his tune and there was this big guy in a suit. I thought it was Oliver Nelson (laughs)." The relationship was more like an apprenticeship than a teacher-pupil thing. "We'd have these three hour lessons. Sometimes I'd just play long tones for three hours while he massaged my back and taught me how to relax. Sometimes we'd just sit around and bullshit." Berne would help him promote gigs and work the door. At the time no one was interested in Hemphill, although he as something of a legend amongst fellow musicians. According to Berne, he only did maybe two or three concerts a year. "If you weren't a self-promoter, you weren't going to be anywhere and Julius was the furthest thing from that you could be. He didn't pick up the phone. He had no time to bullshit with people." The experience of working with Hemphill served him well when he came to start his own career as a musician. "I sort of apprenticed the whole business with Julius. I helped him put out Blue Boye. I used to make flyers for his gigs. That's how I learned to do all that. He turned me on to the distribution thing. That's what I do to this day, if I do a gig in New York. I'm sure I wouldn't have started a label, if it hadn't been for him." People like Stanley Crouch and Gary Giddens would write about David Murray or Chico Freeman or Sam Rivers but to Berne's disgust never about Hemphill. "I don't really know why. It just didn't happen for him until the Saxophone Quartet and even then he wasn't really recognized. In the 20 years I knew him, I bet he didn't do five tours with his own band. He just had no time for the business side of music." For someone as far ahead of the game as Hemphill, you wonder what he might have achieved with a manager who knew what he had. His attention to detail was astonishing. He couldn't just play a gig. He had to build a whole new set of music stands or get the band to wear different outfits or use weird lighting. And no two concerts would contain the same material. "He was always thinking how it looked and he'd make the guys wear certain things. He was just way ahead of everybody else in that regard. It really inspired me to find my own way. Not copy him but to get my own ideas." Talking to Berne, you get a sense of Hemphill as a man who got bored when there was no challenge to confront. Maybe he just had too much talent. "He told me that he used to go to jam sessions and purposely not learn the tunes just because it challenged him. He was always contrary. He was just a really independent thinker. Being around someone like that gives you the confidence to have your own ideas." Born in Fort Worth, Texas, and according to Berne a cousin of Ornette Coleman, Hemphill grew up to the sounds of Gospel and R&B, and the blues would never be far away in his music. "He grew up near those juke joints and he heard music coming out of these places all the time. And of course he played with Kool & the Gang in the seventies. He had a band with Cornell Dupree and Richard Tee and he played with Ike and Tina Turner. All the way to the end Julius could evoke blues or jazz without resorting to cliches because he didn't follow any rules. He could write a blues and it didn't sound like anybody else's blues. He could write a gospel tune for six saxophones and it sounded like the real deal. I can't think of anybody else who could do that so convincingly." It's been suggested that Ornette was quite an influence of Hemphill's music but Berne dismisses this. "If they're from Texas and knew Ornette and they're not playing chord changes, then they're going to say he sounds like Ornette. His first influences were really Charlie Parker, Lee Konitz—he had a band that used to play Gerry Mulligan arrangements—and he was totally into Cannonball." I think that's influence as an inspiration. It's actually hard to imagine Hemphill sounding like anyone else. That sense of being your own person and having your own voice was something that Hemphill didn't have to talk about. It was, by Berne's account, simply central to the man and matched by a generosity to those still trying to find their own voice. "There's always these guys telling you you'll never have your own voice. Julius never said anything like that. It was always, 'You wrote some music, let's look at it.' It was never, 'You can't do that.' It was inspirational. It would be so easy to dismiss a 25-year-old guy trying to play the saxophone, but he never doubted that I could do it if I wanted to." The story Berne tells is a touching one. Hemphill comes across as a slightly cranky, crotchety but playful character. Like how he invented this alter ego, Roy Boye, just for fun, and would do these solo things with tape wearing a silver lame suit. Blue Boye came out of that and was like the blues version. It's a wonderful record, quite pastoral in its feel and full of wit and invention. Toward the end of his life, Hemphill's health had deteriorated to the point where he couldn't play. Open-heart surgery was to prove a means of merely prolonging his life a short while. He could still write, and Berne was terrified to be asked to take his place in a couple of projects. The first of these was the recording session that produced Five Card Stud. The second was a piece for a chamber orchestra. "One of the pieces was this alto solo over these shifting chords on the track called 'Lenore' and he asked me to solo on it which just blew my mind. That was the first time I worked with him as the leader and it was pretty scary for me. It was like that and the tribute record (Diminutive Mysteries) were my final exam." Diminutive Mysteries was a labor of love for Berne, but the only way he felt he could to the tribute was if Hemphill wasn't there. When Berne took the tapes up to Hemphill's house, he was nervous as hell. "I was shaking. I had to get stoned, which I don't usually do. I really wanted his approval and I got it in his typically understated way. It was one of the most important things in my life." When Berne tells the story you know that it is still so important to him that Hemphill liked the record. "So, I played him the first tune and he's smiling and really digging it. Just every once in a while a little comment and I'm gaining confidence. So, I think he's heard one cut and liked it. I'll quit while I'm ahead. And he says, 'What else you got?' Then the next cut and he's getting really excited and listening intently for an hour. Then we went out and had dinner and I couldn't have been any happier." Sometimes the trouble with having heroes is that they let you down. Tim Berne is really blessed that his never did this to him, and Hemphill clearly remains an inspiration to him. "When I get too caught up in all the business shit, I try to remember the most important thing is the music and not worry about all that other stuff. He was just a great role model in terms of creativity. In order to grow you have to fail. You have to have a bad concert, or write something that doesn't work, so you can find out why. I realized that that's why you make records. It's not so you can sell them. It's really just so you can develop. He really embodied that. That's why he did it—to express himself." Duncan Heining

i think that generally the ncaa goes after the smu's and the louisiana tech's. how could it possibly step on one of its cash cows?

...i can live with the excesses of any label that gives me getz and dailey, 2 volumes of bill evans paris concerts, and the hemphill big band.

http://www.courier-journal.com/apps/pbcs.d...0355/1011/SCENE Actor will bring jazz great to life 'Monk' to be at U of L Sunday By Andrew Adler aadler@courier-journal.com The Courier-Journal When actor Rome Neal brings Laurence Holder's one-man show "Monk" to the University of Louisville School of Music Sunday night, his performance will focus on one of jazz's most celebrated -- and some would say oddly behaved -- pianists and composers. Thelonious Sphere Monk, who died in 1982 at age 64, had a career marked by such touchstone creations as " 'Round Midnight" and "Straight, No Chaser." Jazz greats from Coleman Hawkins to John Coltrane worked with him. Yet while specialists have long admired Monk, more general audiences have sometimes wondered what to make of him. "Monk was such an interesting personality," School of Music professor Jerry Tolson said. "He went through a period where people ignored him and his music, and then had a resurgence." Tolson met Neal, who has performed "Monk" off-Broadway in New York, last year during a jazz convention. "He's been taking this show to college campuses across the country," Tolson said. Sunday night's performance at U of L is part of the African-American Heritage Institute going on this week at the School of Music. A persistent issue with Monk was whether his onstage behavior worked for or against his music. "In his live performances he would often dance on stage; he'd seemingly talk to himself -- you can hear him in recordings singing his lines to himself." So what was going on? "A lot of people believed he was merely eccentric," Tolson said. "Other people (said) that it was him being so into the music, that was how his relating to the music came out." Monk "would lock himself away and practice for long periods of time. Whether that strikes one as being eccentric, or very into their artistic endeavor, is hard to say." Regardless of those mannerisms, Monk's works have endured. "In the late 1950s, his music was rediscovered as a more avant-garde style of jazz was coming into practice," Tolson said. And "because people have rediscovered his music and understand the complexity that his music represents and the contribution he made, I think he stands in a much higher stature than he may have when he was alive and playing." StoryChat

heady stuff inside, too: http://www.jazzdiscography.com/Labels/musician.htm

Dumb rule, IMO. the ncaa has done a splendid job preserving the sanctity of student athletes and college athletics. bravo!

wow! thanks the hawes comment really hits hard.

the sleeve indeed. i have corrected the misstatement. that was a 'keane' observation.

what blatant irresponsible allegations! "USC looking into potential recruiting violation with McKnight February 9, 2007 LOS ANGELES (AP) -- Southern California is looking into whether it may have violated NCAA recruiting rules while pursuing highly rated recruit Joe McKnight, a university official said. McKnight signed a national letter of intent with USC on Wednesday and made comments during a news conference that seemed to suggest communications involving former Trojan Reggie Bush, who is now with the New Orleans Saints. Former players are forbidden from telephoning prospective recruits, their relatives or guardians. "We're aware of it, and we are looking into it," sports information director Tim Tessalone told The Associated Press late Thursday. The university's action was first reported by the Los Angeles Times on its Web site late Thursday. USC coach Pete Carroll denied any call took place, and McKnight's high school football coach said the recruit misspoke during the news conference. The star running back has been living with his high school coach, J.T. Curtis. "It never happened," Carroll told the Times. During the Wednesday news conference, McKnight said Carroll set up a conference call so he and Curtis could talk to Bush and ease concerns USC might face sanctions. The NCAA and the Pac-10 Conference are investigating whether Bush or his family received "improper benefits" from agents while he was playing for USC. Regarding McKnight, Mike Matthews, associate commissioner of compliance for the Pac- 10, said boosters are not supposed to be involved in the recruiting process but could not comment without knowing specifics. NCAA spokeswoman Crissy Schluep also said she could not comment without knowing more. Curtis told the Times on Thursday that he spoke to Carroll during McKnight's recruitment, but not on a conference call with McKnight or Bush. He also said McKnight told him "Coach Carroll was talking to Reggie on the speakerphone and Joe was able to listen and hear Reggie Bush's side of the story," the newspaper reported. After being informed of Carroll's denial Thursday night, Curtis called McKnight and later said the recruit never heard Bush on a speakerphone. "He said when they came in his house, the discussion was brought up about probation and that's when the conversation came up that they had talked to Reggie, but Joe was not there," Curtis said. "He said, 'I was not on the speakerphone. I never called him and he never called me. I want to make it clear I never spoke to Reggie and he never spoke to me. I just messed it up. I shouldn't have said it that way (at the news conference)."' Curtis said McKnight may have been overwhelmed by the attention and scrutiny that accompanied his announcement. "At the press conference, it seemed like he got 1,000 questions in five minutes," Curtis said. "If you saw what was going on it would be easier to understand."" Updated on Friday, Feb 9, 2007 3:26 am EST

The End of High-Quality Radio Streams? "Perform Act" Sails Seven Seas For Pirates, Realizes It’s Sailing On Land; Continues Like many other unsavory individuals these days, I spend a fair amount of time listening to music via online radio stations. Given the borderline-hilariously limited range of music offered on commercial radio, the chance to listen to high-quality streams of amazing stations throughout the country is an endless treat, from the electric Mecca of WFMU to the sheer Weir-iness of WNUR. Whenever I’m sick of listening to the lone Mariah Carey Christmas album in my iTunes library, I load up one of these stations and the word "Om" forms on my lips, as if by a divine hand. So, of course, internet radio must be dismantled. The "Platform Equality and Remedies for Rights Holders in Music Act," or PERFORM (how do those words add up to PERFORM?!), was introduced to the Senate recently after having been originally introduced last year and thankfully left to die. This legislation would require content protection on internet broadcasts (along with digital and satellite radio) and would put an end to MP3 streaming. Although the Audio Home Recording Act of 1992 gave consumers the right to make both analog and digital recordings of broadcasts, some feel that this is entirely too "fair." Have I mentioned the RIAA is involved? The fear of those that have no idea what’s happening at any given moment is that Long John Silver-types are sailing the airwaves and recording songs that play for subsequent distribution through P2P networks. Somehow, this is meant to be a simpler and more sinister method than one dude buying the CD and converting it to MP3s. If the Perform Act passes, radio stations will be forced to abandon high-quality streaming formats for other alternatives, ones that will be literally oozing with DRM technology. And the only kind of ooze I like to hear about is that which oozes with secrets — secrets that can be uncovered through the teamwork and determination of four hard-workin’, shell-shockin’, crime-fightin’ turtles. Posted by Squeo on 01-29-2007 | LINK | INDUSTRY NEWS | NEWS TIP | http://www.tinymixtapes.com/spip.php?article2702

Seems as if he is headed in the Michael Jackson "look at me I'm a clown" direction. I think the Mick Jagger "look at me I'm still rockin' " direction is more a apt of a clown comparison. Prince, as "eccentric" as he is never has been as ungrounded and maladjusted as Jackson. As long as he keeps making interesting records (which is no means a guarantee - Musicology was a bitch, the followup a yawner), he can do whatever he wants/needs to do live. Different animals (on both sides of the peerformer/audience equation) altogether. Besides, does anybody think that Tina Turner is too old to still be doing her schtick? when in vegas i will certainly look forward to seeing his show at the rio. Fair enough, we differ on our opinions of the guy. I guess we'll see if Prince still pulls it off like Turner and Mick when he passes the age of 60. I'll be first in line for tickets to the first of twenty fairwell tours right around the corner. Without a doubt Prince will be outdoing both Turner and Jagger easily when he turns 60. He is outdoing them both now . What was Jagger doing at 49 ? Not rocking as hard as Prince . also Prince has already done the trio guitar,bass, drum set up with the album The Undertaker. Which he wanted to release as a freebie to a guitar rag and which Warners prevented him . This was the start of the name change and trying to get out of his contract. Prince jams every night of the year....while guy's like the stones make an album, do a world tour then take off for 5 years to sit on their asses. i wouldn't call that being a musician. For christsakes Prince rented a house in LA and built a stage in the living room so he could put on concert's every night .....does Jagger do this ? NO. I saw the Stones in concert twice last year and they Stink ....( except for Charlie Watts) both Woods and Richards couldn't even remember how to start their own songs . Even Jagger would look back at them ..like what the hell ? Saw Prince 3 night's in a row for Musicology tour ...makes the Stones sound like a bad Holiday inn cover band . Prince had John Blackwell on drums , Maceo Parker ......tight as all hell! What the fuck, are you president of the fan club or what? Relax, just voicing my opinion of how I see things. And why the fuck would anyone build a stage in every room of a rented house? If true, it sounds like total stupidity, no wonder Jagger didn't do it. when in vegas i will certainly look forward to attending his rio show, if i can get a ticket.

i feel that, potentially, we all are the music, our lives are art in the purest sense...actually, some of the most creative people i've met are not involved in music. they are simply living what the music is about.---anthony braxton sometimes i can just think about clifford brown and i will start to play better music. i was right there among some great music. it's a lasting thing--i'll have it with me forever.---sonny rollns ballads are the biggest challenge. you can hear every minute of every hour of every year a guy has put in on his horn with a ballad---archie shepp some people talk about me like a revolutionary. that's nonsense---all i did was copy b.b. king---eric clapton the best jazz today...no question...is coming from new york. i cant even walk down the street to get a pizza without seeing someone who is a legend---peter erskine discovering the music of thelonius monk is like discovering stravinsky, bartok, and other great classical composers.---jorge dalto the record business has fast deteriorated into a mere vehicle for providing even cheaper and more accessible produce for consumption by the largest possible market. these standards are better suited for raising poultry.---carla bley men have died for this musician. you cant get any more serious than that.---dizzy gillespie i dont know where jazz is going. maybe it's going to hell. you cant make anything go anywhere. it just happens.(1959)---thelonius monk what is music to you? what would you be without music? music is everything. nature is music(cicadas in the tropical night). the sea is music. the wind is music. the rain drumming on the roof and the storm raging in the sky are music. music is the oldest entity. the scope of music is immense and infinite, it is the 'esperanto' of the world.---duke ellington

bill evans-the paris concert-edition 2 on elektra musician

ziggy next year?

....an increase in advertising revenue. suggestion: reprise 'queen', sponsored by dairy queen, and of course, a similar projected image.

the winchester recording "another opus" liner notes state that his young son accidentally shot lem.

i loved it. some of her small sessions with barry guy are among my favs. a duo date with gerry heminway, rarely mentioned, is most enjoyable, although hemingway is the star of that date. she did a gorgeous loving tribute to trane in the midnineties, titled "for trane", i believe.

Prince's boffo Super Bowl show a bit too 'phallic' for some Feb. 6, 2007 CBS SportsLine.com wire reports NEW YORK -- In the sensitive post-wardrobe malfunction world, some are questioning whether a guitar was just a guitar during Prince's Super Bowl halftime show. Prince's acclaimed performance included a guitar solo during the Purple Rain segment of his medley in which his shadow was projected onto a large, flowing beige sheet. As the 48-year-old rock star let rip, the silhouette cast by his figure and his guitar (shaped like the singer's symbol) had phallic connotations for some. A number of bloggers have decried "Malfunction!" -- including Sam Anderson at New York magazine's Daily Intelligencer. Daily News television critic David Bianculli called it "a rude-looking shadow show" that "looked embarrassingly rude, crude and unfortunately placed." CBS spokesman Dana McClintock said Tuesday that the network has received "very few" complaints on Prince's performance. CBS last aired the Super Bowl in 2004 when Janet Jackson and Justin Timberlake's "wardrobe malfunction" sparked criticism and a subsequent crackdown on broadcast decency from the Federal Communications Commission. But this time, it was the NFL that produced the halftime show (MTV had in 2004). Spokesman Greg Aiello said the league has received no complaints. Prince's odd guitar created some silhouettes that offended a few. (Getty Images) Prince's odd guitar created some silhouettes that offended a few. (Getty Images) "We respect other opinions, but it takes quite a leap of the imagination to make a controversy of his performance," Aiello said. "It's a guitar." The majority of the reaction to Prince's performance has been laudatory, including positive reviews from the Associated Press, the New York Times and USA Today -- all of which noted the lack of controversy in this year's halftime show. AP Entertainment Writer Douglas J. Rowe wrote: "He delivered one of the best Super Bowl halftime shows -- ever." For decades, the electric guitar, by nature, has been considered phallic. From Jimi Hendrix's sensual 6-string swagger to Eddie Van Halen's masturbatory soloing, the guitar has often been thought an extension of a male player's sexuality. Was Prince's pose phallic? "The short answer is, of course it is," says Rolling Stone magazine contributing editor Gavin Edwards, who points out that on Prince's Purple Rain tour in the mid `80s, he performed with a guitar that would ejaculate, squirting water out of its end during the climax of Let's Go Crazy. "All that said, it didn't seem like a sniggering little puppet show," adds Edwards. "I think it was one of those things because a guitar at waist level does look like an enormous phallus." By enlarging his shadow, it's possible Prince intended to accentuate this aspect of his solo, but it's just as likely it was accidental. (You can find videos of the halftime show at YouTube.com.) A message left with Prince's publicist Tuesday wasn't returned. The late-night shows have taken notice. On CBS's The Late Late Show on Sunday night, host Craig Ferguson said of Prince: "He was obviously very happy to be there, wasn't he?" Stephen Colbert reacted with mock outrage on Comedy Central's The Colbert Report Monday night: "They knew that they were dealing with a lustful, pansexual rock 'n' roll deviant," said Colbert, who joked that the sheet hid (not enhanced) Prince's "demonic guitar phallus." In recent years, Prince has scaled down his performances, which were once renown for their gymnastics. His mini-concert at the Colts-Bears game in Miami included parts of Purple Rain, Let's Go Crazy, Baby I'm a Star, Bob Dylan's All Along the Watchtower, the Foo Fighter's Best of You and Creedence Clearwater Revival's Proud Mary. The Minnesota native has attracted controversy before. Tipper Gore launched a campaign to place a warning sticker on his 1984 album Purple Rain because of the lyrics to the song Darling Nikki. Though his musical style has been expansive, he's best known for funky, sexually charged songs like I Wanna Be Your Lover and Get Off. Prince's previously most talked-about performance came at the 1991 MTV Video Music Awards, where he donned yellow, butt-baring pants, (a stunt later spoofed by Howard Stern). Always eccentric, he famously changed his name to The Artist Formerly Known as Prince, then to simply a symbol and finally back to Prince. He also became a Jehovah's Witness in the mid-`90s. But Prince's halftime performance, though celebrated, came in a much different cultural environment, where even the fleeting outline of a man and his guitar could, for some, suggest shaded depravity. "If people want to be hypersensitive, they can be hypersensitive," says Rolling Stone's Edwards. "Those trombones are phallic, too. What are you going to do?" AP NEWS The Associated Press News Service Copyright 2005-2006, The Associated Press, All Rights Reserved

he and ray price kept their voices longer than most. http://www.frankielaine.com/ We are saddened to announce the passing of Frankie Laine, musician, father, husband and friend. He died at 9:15 this morning from cardiovascular disease at age 93 in San Diego, surrounded by his loved ones. Frankie led a long, exuberant life and contributed greatly to many causes near to his heart. He donated his time and talent to many San Diego charities and homeless shelters, as well as the Salvation Army and St. Vincent de Paul Village. He was also an emeritus member of the board of directors for the Mercy Hospital Foundation. Born Francesco Paolo LoVecchio on March 30, 1913, he was one of the most successful American singers of the twentieth century. He charted more than 70 records – 21 of them gold – and achieved worldwide sales of more than 250 million discs. He will be forever remembered for the beautiful music he brought into this world, his wit and sense of humor, along with the love he shared with so many. Frankie is survived by his wife Marcia; brother Phillip LoVecchio of Chicago, Illinois; daughter Pamela Donner and grandsons Joshua and David Donner of Sherman Oaks, California; and daughter and son-in-law Dr. and Mrs. Irwin Steiger of Couer D’Alene, Idaho. We ask that you respect our privacy during this time. We thank you for caring about the life of Frankie Laine, a remarkable human being and musician who has left an indelible mark on the world.

Exercise To Reduce Your Cancer Risks 05 Feb 2007 After having a conversation with Elise Cook, M. D., assistant professor in the Department of Clinical Cancer Prevention at The University of Texas M. D. Anderson Cancer Center, one would never guess that her first career choice had nothing to do with medicine. Before becoming a doctor, Cook spent ten years as a computer scientist. It wasn't until she started talking to her friends who are doctors that she realized a career in medicine was the path she wanted to take. "Although my mother was a nurse, I didn't consider entering the medical field until much later in my career," she said. Since joining the medical field, Cook has developed a passion for educating the community about cancer prevention. According to Cook, engaging in some sort of daily physical exercise can help cut your risks of developing diseases, including cancer, and keep your stress level down. Exercise Reduces Risks Researchers have found that about 30 minutes of exercise three to four times per week may help decrease your risk of several types of cancer, including breast, endometrial, prostate, colorectal and lung cancers. According to the National Cancer Institute, physically active women have a 40 percent reduced risk of developing breast cancer, and physically active men have a 10 to 30 percent reduced risk of developing prostate cancer. "The easiest way to incorporate physical activity into your day is to find an activity that you enjoy doing so that you don't become bored or burned-out," Cook said. People who make exercise part of their everyday routine gain the most health advantages and are most likely to continue. Cook is taking her own advice in this respect as she and her husband are currently taking Gulf Coast swing dance classes together. Cancer Prevention Month As part of National Cancer Prevention Month in February, Cook and other M. D. Anderson experts encourage you to choose healthy lifestyle behaviors, such as physical activity, to reduce your risks of developing cancer. M. D. Anderson also recommends the following: -- Eat lots of fruits, vegetables and whole grains. -- Stay tobacco free. -- Protect yourself from the sun. -- Limit or avoid alcohol consumption. -- Follow recommended screening guidelines. -- Know your family's history of cancer. -- Learn about certain medicines (i.e., tamoxifen, celecoxib) that may prevent cancer. "Make exercise a lifelong habit, but see your doctor first before beginning an exercise program or new physical activities," Cook said. University of Texas M. D. Anderson Cancer Center 1515 Holcombe Blvd., Box 229 Houston, TX 77030 United States http://www.mdanderson.org Article URL: http://www.medicalnewstoday.com/medicalnews.php?newsid=62262

.......and for what she is yet to go through. it is most likely that potential astronauts are subjected to psychological stress tests that 99.9% of us would fail.

looks like the nfl(through cbs) gave up going for younger demographics for moldy oldies.

http://blogs.orlandosentinel.com/features_...e_arrested.html

doing a seg? damn shame.