Brownian Motion

Jay "Hootie" McShann Ian McShane Shane Paladin Pal 'o Mine Jorris Minne

Zenny Henny Penny Zoey & Franny Philip Johnson

Hi! How are you? My name is Ekaterina. I from Russia, city Cheboksary. To me 28 years. I corresponded with the man from the your country before. His name Dave. We had a long correspondence and Dave wanted, that I have arrived to him in that I have seen what life there. We have together submitted the statement on reception of the visa in your country! Dave spoke, that will help my in our meeting. I thought, that have met on the Internet the love. I and Dave made the big plans for the future, but in a flash all has changed. From the moment of submission of the statement for the application of the visa has passed 5 months. For these five months there was for what I least waited. Dave informed, that his former wife has returned to him and lives together with him. Soon they should get married. And now in Dave plans there is no me. I wrote to him some times after that, but Dave have wished me only good luck in the further searches worthy men and have told, that our roads miss. And in March to me there has come the invitation in embassy behind reception of the visa. In the beginning I wanted to throw out the invitation in embassy. To me it was sad, because my dreams were failed, I have nobody to fly in the Your country. But my uncle have dissuaded me from resolute actions and have told, that else there is a chance to find worthy the man and to use the visa to a meeting with him. I well know English and German languiage. I practically have visa in your country. My uncle speaks, that it really solves many problems. Approximately in one week the visa will be ready, and I should go to Moscow behind reception of the visa. I write to you because in my heart there is an empty seat. I do not search rich or poor. I search careful and responsible man which wants to have children and to enjoy in family life. Is this person you? I think, that I ask not much. I have told to you a little about my life. I have told not all about myself, but it will be easier to me to write about myself if you will ask questions which interest you. I have told to you the history, and now with impatience I shall look forward to hearing from you. Write to me and I shall send you more photos in the following letter. I wait you answer. Ekaterina. P.S. you can write me on: ptehka122@gawab.com

Road Kill Rodan Rhodes Scholar

Cuban Bennett Emmett Hardy Robert Emmett

Millard Sheets Patty Paige Erickson, Leif

Roomba Hoover Coolidge

Old Dog Trey Orson Scott Card Babs Deal

Northwood Circle (My old address in Durham) Sponge Bob Square Pants The Ovaltineys

Earl Batty Harmon Killibrew Noah Beery Jr.

Ozone Man Bush Pere Captain Codpiece

Ted Berrigan Berigan Sonny Berman

Barnum & Bailey Tom Thumb Thumbelina

Djeneba Diakhite--wtf? Les Hite Shorty Baker Pee Wee Erwin

Peg Leg Bates Master Bates Onan

Paul Robeson The Emperor Jones King of Prussia

Hadassah Lieberman Elaine Chao Bill Clinton

Paul, I don't doubt that you're the pride of Toledo when it comes to driving, but insurance companies, with lower premiums for women, seem to feel that in general women are safer drivers than men. And safety should be the bottom line in evaluating driving ability.

Poor White Sherwood Anderson Robin Hood

Rhythm Willie Herb Ellis Freddie Green Freddy Guy Just a Guy Joe Blow John Doe

The New York Times Printer Friendly Format Sponsored By September 8, 2006 Op-Ed Contributor Other Fish to Fry By PAUL GREENBERG AFTER years of carving up tuna carcasses in my bathtub, catching cod in the dead of winter and cooking fish and chips for crowds of 50-plus I have come to be known among my friends as the fish guy. Until recently I’ve enjoyed being the fish guy and my ability to correctly answer questions about fish has felt like a game of “Jeopardy” rigged for my benefit. How do you tell a flounder from a fluke? Easy, fluke have prominent teeth, flounder don’t. Should bluefish and striped bass be cooked differently? Definitely: broil the bluefish, bake the bass. But lately being the fish guy has become complicated. With every new warning about a species being overfished into extinction, friends have started asking if they should eat fish at all. The Pew Oceans Commission report “America’s Living Oceans” first alerted the public to the desperate state of the seas in 2003 when it declared them to be “in crisis.” That year a study in the journal Nature reported that up to 90 percent of the stocks of the ocean’s major predators (Atlantic cod and bluefin tuna to name two) have been wiped out. In the next few weeks, Congress will debate what to do about the dire state of the nation’s fisheries when it takes up the reauthorization of the Magnuson-Stevens fisheries management act. Making matters more problematic, numerous recent studies on methyl mercury and PCB’s have connected these pollutants in fish with health problems like birth defects, heart disease and memory loss. It might now seem advisable for a fish guy to hang up his hooks and start pushing flax or any of the other dull foods that contain the legendary Omega-3 fatty acid — a compound found in fish that ameliorates as many ills as the fish-borne contaminants seem to aggravate. But for those of us who feel passionately about the ocean, abstinence is just not an option. Unlike the land animals we confine to pens, fatten on synthetic feed and selectively breed for growth, most fish we eat roam the open ocean, hunt down prey and choose their mates according to their own inexplicable desires. They feed us without any interference on our part. Giving up on fish would mean the end of the last large-scale hunter-gatherer relationship we have with wild food, as well as signal our capitulation in the fight to save the oceans. If we can learn to harvest wild fish sustainably we will have succeeded in something we have failed at on land: finding a balance with a naturally productive ecosystem. In addition, by keeping a food connection with the ocean we will retain a motivation to stop polluting it. The route to a well-managed sea is not as difficult as many environmental problems. And, curiously, many of the modifications that would repair the damage we have done to marine fisheries would also steer us clear of mercury and PCB contamination. With that in mind here are some things to strive toward: First, go vegetarian, in a manner of speaking. Farmed fish have gotten a bad name in recent years — even while our production of them has grown to rival the wild fish harvest, as the Food and Agriculture Organization reported this week. This is mostly because the farmed fish we eat in the West are carnivores. Raising carnivores like salmon requires the capture of wild prey fish that wild fish also consume. By eating farmed carnivores we rob Peter to pay Paul, stealing the food source for wild fish and feeding them to farmed. There are, however, species of vegetarian fish that grow well in captivity like tilapia, carp and catfish. Because these fish generally eat lower on the food chain, they are often lower in PCB’s and methyl mercury. In our ingredient-obsessed food culture, it might seem boring to order such commonplace fare. But I share the opinion of a fishing boat mate who once told me “fish is fish.” Often it’s the freshness and the cooking method that make a fish tasty, not its evolutionary provenance. Second, don’t eat the cheap fish. Once upon a time, we had more fish than we knew what to do with. The United States government practically shoved fish down consumers’ throats after World War II, sponsoring ad campaigns on behalf of the fishing industry and subsidizing institutional purchases of seafood. But decades of this kind of behavior drove us to eat through our fish surpluses and we must now import the majority of our seafood, much of which is supplied by international conglomerates that use unsustainable fishing practices. The modern commercial fishing vessel is most often a trawler — a large ship that pulls weighted nets along the seafloor, destroying all flora and fauna in its path. This practice does not have to continue. A new generation of hook-and-line fishermen is offering an alternative to trawl-caught fish. Line-caught fish cost more, sometimes twice the price of trawl-caught fish. But shouldn’t we be willing to pay more for the chance to eat a truly undomesticated creature? Should we really be paying just a few dollars for a fast-food fish sandwich made from the pureed flesh of a wild animal? Finally, don’t eat the big fish. Dining on a 500-pound bluefin tuna is the seafood equivalent of driving a Hummer. Ten pounds of little fish are required to produce one pound of bluefin and all the pollutants contained in a tuna’s prey “bio-concentrate” in a tuna’s flesh, making it a particularly compromised animal, chemically speaking. And because it takes so many little fish to make a big fish, the sea can sustain only a relatively small amount of large fish. It therefore follows that if we reduce our consumption of the big fish we can reduce our mercury and PCB load and reduce the burden we place on the marine environment. Sardines, mackerel and most fish that are shorter in total length than the diameter of a dinner plate are generally safer to eat. I would like to report that I am now a fully reformed fish guy who adheres to all of the above. I know, however, that I would have a hard time throwing back a 500-pound bluefin and that I might be tempted to choose the swordfish over the tilapia in a high-end eatery. But fighting the American urge to consume whatever we want is a battle worth fighting with ourselves, particularly when it comes to the sea. Considering what’s at stake is the survival of the ecosystem of the world’s oceans, I’d rather eat fewer, smaller and more expensive fish than no fish at all. Paul Greenberg, the author of the novel “Leaving Katya,’’ is writing a book about seafood.

The New York Times Printer Friendly Format Sponsored By September 7, 2006 Burt Goldblatt, 82, Album Cover Designer, Dies By STEVEN HELLER Burt Goldblatt, a prolific designer of moody jazz LP album covers for artists like Herbie Mann, Billie Holiday, Carmen McRae and Charles Mingus, died on Aug. 30 in Boston. He was 82. The cause was congestive heart failure, said his wife, Katherine Holzman Goldblatt. In the early 1950’s, after the introduction of the LP, the most progressive American cover designs were created for jazz albums, and Mr. Goldblatt was among the pioneers in establishing the cool-jazz style. It encompassed black-and-white portraits and studio photographs, inspired by film noir, as well as gritty street scenes, often abstractly overlaid with flat colors, evoking a sense of urban night life. Expressionistic line drawings of performers in action were also in vogue. One of Mr. Goldblatt’s earliest covers, from 1950, was a bootleg album by Holiday for the Jolly Roger label. Like his contemporaries Bob Jones, Reid Miles and David Stone Martin, he alternated between using photography and drawings, always focusing on emblematic details of the trade. A series of distinctive covers shows close-ups of musicians blowing their instruments. He also mastered a wide range of methods, including collage, montage and even X-rays. Mr. Goldblatt’s early covers strove for visual simplicity. He eliminated long lists of song titles, one of the medium’s more obtrusive conventions. When he failed to get the desired result from a photograph, he made drawings of musicians using a scruffy serpentine line style, which was shared by other record cover illustrators at the time. While variations in weight from thick to thin marked the drawings as distinctively his, “it is his original use of unusual perspectives that distinguishes Mr. Goldblatt’s line drawings from others of the same period,” said Angelynn Grant, a design historian who specializes in record albums. Burt Goldblatt was born in 1924 in Dorchester, Mass. He served in the Army in the Pacific during World War II, then studied at the Massachusetts College of Art. After graduation he worked in a printing plant, where he learned the craft, from stripping negatives to plate-making. He taught himself photography. After freelancing as a commercial artist in Boston, he moved to New York. From 1953 to 1955 he worked for CBS Television, designing promotions and credit crawls for Red Skelton, Edward R. Murrow and Jack Benny as well as for the hit shows “Rawhide” and “Bachelor Father.” He also began specializing in album-cover design and created about 200 covers in 1955 alone. Although he worked for Decca and Atlantic, Mr. Goldblatt designed most prodigiously for small labels, including Savoy, Jolly Roger and Bethlehem. He became known for abstracted caricatures and distorted portraits, but his photographic cover designs for Bethlehem helped define the genre by combining evocative photos with restrained yet lyrical typography. Mr. Goldblatt was a denizen of recording studios and nightclubs, where he shot untold numbers of images, some of which he later used for cover designs. “He was accepted by the musicians and, in fact, was friends with many,” Ms. Grant said. The pianist Bud Powell named a tune for Mr. Goldblatt, and Chris Connor scatted lyrics in his honor. Mr. Goldblatt continued designing covers, including some for gospel and pop albums, into the 1960’s, when changes in style brought about by rock ’n’ roll ended that part of his career. He moved on to become a co-author of 17 books, as diverse as “Mobs and the Mafia,” “Starring Fred Astaire” and “Baseball’s Best.” He also compiled books of his jazz photography. In addition to his wife, he is survived by his daughters Heather Blake of Pennsylvania and Leslie DeNunzio of New York City; two grandsons; and his sisters, Selma Cohen of Florida and Barbara Trieber of Boston.

Why We Fight gives some historical perspective on the Military Industrial Complex, which, in case you hadn't noticed, has been heavily influencing the foreign policy of this country for more than half a century, through both democratic and republican administrations.

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