10.26.2007
romeo and juliette
This deserves front stage treatment. A fantastic cover of Dire Straits' Romeo and Juliette by Las Vegas' band The Killers. I caught this on MOJO HDTV but just found it on the 'tube. Here for your listening pleasure ... Romeo and Juliette.
10.17.2007
duane
Please listen
Howard Duane Allman (November 20, 1946 – October 29, 1971) was an American lead guitarist and noted session musician.
Allman was born in Nashville, Tennessee. When he was three years old, his family was living near Norfolk, Virginia. His father, Willis, a United States Army sergeant, was murdered on December 26 in a robbery by a veteran he had befriended that day. Geraldine "Mama A" Allman and the boys moved back to Nashville. In 1957 they moved to Daytona Beach, Florida.
As a teenager in 1960, Allman was motivated to take up the guitar by the example of his younger brother, Gregg, who had obtained a guitar after hearing a neighbor playing country music standards on an acoustic guitar. Gregg later said that after Duane started playing, "he ... passed me up like I was standing still."
Another important event occurred in 1959 when the boys were in Nashville visiting family. They attended a rock 'n' roll show in which blues artist B. B. King performed, and both promptly fell under the spell of the music. Brother Gregg reports that Allman turned to him in the middle of the show and said, "We got to get into this.
The Allman boys started playing publicly in 1961, joining or forming a number of small, local groups. Shortly thereafter Allman quit high school to stay home during the day and focus on his guitar playing. Their band the Escorts eventually became the Allman Joys. After Gregg graduated from Seabreeze High School in 1965, the Allman Joys went on the road, performing throughout the Southeast and eventually being based in Nashville and St. Louis.
The Allman Joys morphed into another not-completely-successful band, The Hour Glass, which moved to Los Angeles in early 1967. There the Hour Glass did manage to produce two albums which left the band unsatisfied. Liberty, their record company, tried to market them as a pop band, completely ignoring the band's desire to play more blues-oriented material. The Hour Glass songs that are on the first and second Duane Allman Anthologies, as well as the Allman Brothers' anthology Dreams are so radically different from the Liberty releases that they might as well be two different bands. Allman's guitar playing, buried in the 1960s albums, takes on the commanding presence that he later displayed with the Allman Brothers.
At this point Allman added electric slide guitar to his repertoire, after hearing Taj Mahal perform the Willie McTell classic "Statesboro Blues", the group featuring Jesse Ed Davis on slide; this was later a signature tune for the Allman Brothers Band. Allman used an empty glass Coricidin medicine bottle, which he wore over his ring finger, as a slide; this was later picked up by other slide guitarists such as Rory Gallagher, Derek Trucks and Gary Rossington of Lynyrd Skynyrd.
The Hour Glass broke up in early 1968, and Duane and Gregg Allman went back to Florida, where they played on demo sessions with the 31st of February, a folk rock outfit whose drummer was Butch Trucks. Gregg returned to California to fulfill Hour Glass obligations, while Duane jammed around Florida for months but didn't get another band going.
Allman's playing on the two Hour Glass albums and an Hour Glass session in early 1968 at FAME Studios in Muscle Shoals, Alabama, had caught the ear of Rick Hall, owner of FAME. In November 1968 Hall hired Allman to play on an album with Wilson Pickett. Allman's work on that album, Hey Jude (1968), got him hired as a full-time session musician at Muscle Shoals and brought him to the attention of a number of other musicians, such as guitar great Eric Clapton, who later said, "I remember hearing Wilson Pickett's 'Hey Jude' and just being astounded by the lead break at the end. ... I had to know who that was immediately - right now."
Allman's performance on "Hey Jude" blew away Atlantic Records producer and executive Jerry Wexler when Hall played it over the phone for him. Wexler immediately bought Allman's recording contract from Hall and wanted to use him on sessions with all sorts of Atlantic R&B artists. While at Muscle Shoals, Allman was featured on releases by a number of artists, including Clarence Carter, King Curtis, Aretha Franklin, Otis Rush, Percy Sledge, Johnny Jenkins, Boz Scaggs, Delaney & Bonnie and jazz flautist Herbie Mann. Shortly after he recorded his lead break in "Hey Jude," he recorded all of the lead guitar in Boz Scaggs' "Loan Me A Dime." His soloing in the song is noted as some of the best he ever laid down on record. For his first Aretha sessions, Allman traveled to New York, where in January 1969 he went as an audience member to the Fillmore East to see Johnny Winter and prophetically told fellow Shoals guitarist Jimmy Johnson that in a year he'd be on that stage; the Allman Brothers Band indeed played the Fillmore that December.
The limits of full-time session playing frustrated Allman. The few months in Muscle Shoals were by no means a waste, however, because besides meeting the great artists and other industry professionals he was working with, Allman had rented a small, secluded cabin on a lake and spent many solitary hours there refining his playing. Perhaps most significantly, at F.A.M.E. Allman got together with R&B and jazz drummer Jaimoe Johanson, who came there to meet Allman at the urging of the late Otis Redding's manager, Phil Walden, who by now was managing Allman and wanted to build a three-piece band around him. Allman and Jaimoe got Chicago-born bassist Berry Oakley to come up from Florida and jam as a trio, but Berry was committed to his rock band with guitarist Dickey Betts, the Second Coming, and returned south.
Getting fed up with Muscle Shoals, in March Allman took Jaimoe with him back to Jacksonville, Florida, where they moved in with Butch Trucks. Soon a jam session of these three plus Betts, Oakley, and Reese Wynans took place and forged what all present recognized as a natural, or even magical, bond. With the addition of brother Gregg, called back from Los Angeles to sing and replace Wynans on keyboards, at the end of March 1969, the Allman Brothers Band was formed. (Wynans became well known over a decade later as organist with Stevie Ray Vaughan & Double Trouble.) After a bit of rehearsing and gigging, the sextet moved up to Macon, Georgia, in April to be near Walden and his Capricorn Sound Studios. While living in Macon, Allman met a woman named Donna, who bore his only child, Galadrielle. Despite their child, the relationship quickly ended.
The Allman Brothers Band went on to become one of the most influential rock groups of the 1970s, described by Rolling Stone's George Kimball in 1971 as "the best damn rock and roll band this country has produced in the past five years".[4] After months of nonstop rehearsing and gigging, including fondly remembered free shows in Macon's Central City Park and Atlanta's Piedmont Park, the band was ready to settle on the band name we know and to record. Their debut album, The Allman Brothers Band, was recorded in New York in September 1969 and released a couple months later. In the midst of intense touring, work began in Macon and Miami (Atlantic South - Criteria Studios), and a little bit in New York, on the ABB's second album, Idlewild South. Produced mostly by Tom Dowd, Idlewild South was released in August 1970 and broke ground for the ABB by quickly hitting the Billboard charts.
A group date in Miami, also that August, gave Allman the chance to participate in Eric Clapton's Layla and Other Assorted Love Songs. Clapton had long wanted to meet Allman; when he heard that the Allman Brothers were due to play in Miami, where he had just started work on Layla with producer Tom Dowd, he insisted on going to see their concert, where he met Allman. After the show the two bands—the Allman Brothers Band and Derek and the Dominos—returned to Criteria, where Allman and Clapton quickly formed a deep rapport during an all-night jam session.[5] At one point, Allman cautiously asked Clapton if he could come by the studio to watch. Clapton refused, telling Allman to bring his guitar because, "you got to play." Allman wound up participating on most of the album's tracks, contributing some of his best-known work. Allman never left the Allman Brothers Band, though, despite being offered a permanent position with Clapton. Allman never toured with Derek and the Dominos, but he did make two appearances with them on December 1, 1970 at the Curtis Hixon Hall and the following day at Onondaga County War Memorial.
In an interview, Duane told listeners how to tell who played what: Eric played the Fender parts and Duane played the Gibson parts. He continued by noting that the Fender had a sparklier sound, while the Gibson produced more of a "full-tilt screech".
The Allman Brothers went on to record At Fillmore East, one of the classic live albums of rock and roll, in March, 1971. Meanwhile, Allman continued contributing session work to other artists' albums whenever he could. According to Skydog: the Duane Allman Story, Allman was in the habit of spontaneously dropping in at recording sessions and contributing to whatever was being taped that day. He received cash payments but no recording credits, making it virtually impossible to compile a complete discography of his works.
Duane Allman was killed in a motorcycle accident only a few months after the summer release and great initial success of At Fillmore East. While in Macon on October 29, during a band break from touring and recording, Allman was riding toward an oncoming truck that was turning well in front of him but then stopped in mid-intersection. He lost control of his Harley while trying to swing left, possibly striking the back of the truck or its crane ball. He flew from his bike, which landed on and skidded with him, crushing internal organs; he died a few hours later, less than one month shy of his 25th birthday.
[edit]
Howard Duane Allman (November 20, 1946 – October 29, 1971) was an American lead guitarist and noted session musician.
Allman was born in Nashville, Tennessee. When he was three years old, his family was living near Norfolk, Virginia. His father, Willis, a United States Army sergeant, was murdered on December 26 in a robbery by a veteran he had befriended that day. Geraldine "Mama A" Allman and the boys moved back to Nashville. In 1957 they moved to Daytona Beach, Florida.
As a teenager in 1960, Allman was motivated to take up the guitar by the example of his younger brother, Gregg, who had obtained a guitar after hearing a neighbor playing country music standards on an acoustic guitar. Gregg later said that after Duane started playing, "he ... passed me up like I was standing still."
Another important event occurred in 1959 when the boys were in Nashville visiting family. They attended a rock 'n' roll show in which blues artist B. B. King performed, and both promptly fell under the spell of the music. Brother Gregg reports that Allman turned to him in the middle of the show and said, "We got to get into this.
The Allman boys started playing publicly in 1961, joining or forming a number of small, local groups. Shortly thereafter Allman quit high school to stay home during the day and focus on his guitar playing. Their band the Escorts eventually became the Allman Joys. After Gregg graduated from Seabreeze High School in 1965, the Allman Joys went on the road, performing throughout the Southeast and eventually being based in Nashville and St. Louis.
The Allman Joys morphed into another not-completely-successful band, The Hour Glass, which moved to Los Angeles in early 1967. There the Hour Glass did manage to produce two albums which left the band unsatisfied. Liberty, their record company, tried to market them as a pop band, completely ignoring the band's desire to play more blues-oriented material. The Hour Glass songs that are on the first and second Duane Allman Anthologies, as well as the Allman Brothers' anthology Dreams are so radically different from the Liberty releases that they might as well be two different bands. Allman's guitar playing, buried in the 1960s albums, takes on the commanding presence that he later displayed with the Allman Brothers.
At this point Allman added electric slide guitar to his repertoire, after hearing Taj Mahal perform the Willie McTell classic "Statesboro Blues", the group featuring Jesse Ed Davis on slide; this was later a signature tune for the Allman Brothers Band. Allman used an empty glass Coricidin medicine bottle, which he wore over his ring finger, as a slide; this was later picked up by other slide guitarists such as Rory Gallagher, Derek Trucks and Gary Rossington of Lynyrd Skynyrd.
The Hour Glass broke up in early 1968, and Duane and Gregg Allman went back to Florida, where they played on demo sessions with the 31st of February, a folk rock outfit whose drummer was Butch Trucks. Gregg returned to California to fulfill Hour Glass obligations, while Duane jammed around Florida for months but didn't get another band going.
Allman's playing on the two Hour Glass albums and an Hour Glass session in early 1968 at FAME Studios in Muscle Shoals, Alabama, had caught the ear of Rick Hall, owner of FAME. In November 1968 Hall hired Allman to play on an album with Wilson Pickett. Allman's work on that album, Hey Jude (1968), got him hired as a full-time session musician at Muscle Shoals and brought him to the attention of a number of other musicians, such as guitar great Eric Clapton, who later said, "I remember hearing Wilson Pickett's 'Hey Jude' and just being astounded by the lead break at the end. ... I had to know who that was immediately - right now."
Allman's performance on "Hey Jude" blew away Atlantic Records producer and executive Jerry Wexler when Hall played it over the phone for him. Wexler immediately bought Allman's recording contract from Hall and wanted to use him on sessions with all sorts of Atlantic R&B artists. While at Muscle Shoals, Allman was featured on releases by a number of artists, including Clarence Carter, King Curtis, Aretha Franklin, Otis Rush, Percy Sledge, Johnny Jenkins, Boz Scaggs, Delaney & Bonnie and jazz flautist Herbie Mann. Shortly after he recorded his lead break in "Hey Jude," he recorded all of the lead guitar in Boz Scaggs' "Loan Me A Dime." His soloing in the song is noted as some of the best he ever laid down on record. For his first Aretha sessions, Allman traveled to New York, where in January 1969 he went as an audience member to the Fillmore East to see Johnny Winter and prophetically told fellow Shoals guitarist Jimmy Johnson that in a year he'd be on that stage; the Allman Brothers Band indeed played the Fillmore that December.
The limits of full-time session playing frustrated Allman. The few months in Muscle Shoals were by no means a waste, however, because besides meeting the great artists and other industry professionals he was working with, Allman had rented a small, secluded cabin on a lake and spent many solitary hours there refining his playing. Perhaps most significantly, at F.A.M.E. Allman got together with R&B and jazz drummer Jaimoe Johanson, who came there to meet Allman at the urging of the late Otis Redding's manager, Phil Walden, who by now was managing Allman and wanted to build a three-piece band around him. Allman and Jaimoe got Chicago-born bassist Berry Oakley to come up from Florida and jam as a trio, but Berry was committed to his rock band with guitarist Dickey Betts, the Second Coming, and returned south.
Getting fed up with Muscle Shoals, in March Allman took Jaimoe with him back to Jacksonville, Florida, where they moved in with Butch Trucks. Soon a jam session of these three plus Betts, Oakley, and Reese Wynans took place and forged what all present recognized as a natural, or even magical, bond. With the addition of brother Gregg, called back from Los Angeles to sing and replace Wynans on keyboards, at the end of March 1969, the Allman Brothers Band was formed. (Wynans became well known over a decade later as organist with Stevie Ray Vaughan & Double Trouble.) After a bit of rehearsing and gigging, the sextet moved up to Macon, Georgia, in April to be near Walden and his Capricorn Sound Studios. While living in Macon, Allman met a woman named Donna, who bore his only child, Galadrielle. Despite their child, the relationship quickly ended.
The Allman Brothers Band went on to become one of the most influential rock groups of the 1970s, described by Rolling Stone's George Kimball in 1971 as "the best damn rock and roll band this country has produced in the past five years".[4] After months of nonstop rehearsing and gigging, including fondly remembered free shows in Macon's Central City Park and Atlanta's Piedmont Park, the band was ready to settle on the band name we know and to record. Their debut album, The Allman Brothers Band, was recorded in New York in September 1969 and released a couple months later. In the midst of intense touring, work began in Macon and Miami (Atlantic South - Criteria Studios), and a little bit in New York, on the ABB's second album, Idlewild South. Produced mostly by Tom Dowd, Idlewild South was released in August 1970 and broke ground for the ABB by quickly hitting the Billboard charts.
A group date in Miami, also that August, gave Allman the chance to participate in Eric Clapton's Layla and Other Assorted Love Songs. Clapton had long wanted to meet Allman; when he heard that the Allman Brothers were due to play in Miami, where he had just started work on Layla with producer Tom Dowd, he insisted on going to see their concert, where he met Allman. After the show the two bands—the Allman Brothers Band and Derek and the Dominos—returned to Criteria, where Allman and Clapton quickly formed a deep rapport during an all-night jam session.[5] At one point, Allman cautiously asked Clapton if he could come by the studio to watch. Clapton refused, telling Allman to bring his guitar because, "you got to play." Allman wound up participating on most of the album's tracks, contributing some of his best-known work. Allman never left the Allman Brothers Band, though, despite being offered a permanent position with Clapton. Allman never toured with Derek and the Dominos, but he did make two appearances with them on December 1, 1970 at the Curtis Hixon Hall and the following day at Onondaga County War Memorial.
In an interview, Duane told listeners how to tell who played what: Eric played the Fender parts and Duane played the Gibson parts. He continued by noting that the Fender had a sparklier sound, while the Gibson produced more of a "full-tilt screech".
The Allman Brothers went on to record At Fillmore East, one of the classic live albums of rock and roll, in March, 1971. Meanwhile, Allman continued contributing session work to other artists' albums whenever he could. According to Skydog: the Duane Allman Story, Allman was in the habit of spontaneously dropping in at recording sessions and contributing to whatever was being taped that day. He received cash payments but no recording credits, making it virtually impossible to compile a complete discography of his works.
Duane Allman was killed in a motorcycle accident only a few months after the summer release and great initial success of At Fillmore East. While in Macon on October 29, during a band break from touring and recording, Allman was riding toward an oncoming truck that was turning well in front of him but then stopped in mid-intersection. He lost control of his Harley while trying to swing left, possibly striking the back of the truck or its crane ball. He flew from his bike, which landed on and skidded with him, crushing internal organs; he died a few hours later, less than one month shy of his 25th birthday.
[edit]
shakin'
I was watching this video online and I noticed a spliced resemblance to my best friends Marty and Todd from Wall, SD.
Marty has Jerry's good looks and charisma. His hair shakes, women want him.
Todd, his technical ability. His fingers touch the right keys at the right time, women want him.
It's cool having friends like Marty (1) and Todd (2).
Peace brothers.
Marty has Jerry's good looks and charisma. His hair shakes, women want him.
Todd, his technical ability. His fingers touch the right keys at the right time, women want him.
It's cool having friends like Marty (1) and Todd (2).
Peace brothers.
10.16.2007
an option
Privacy Act Request
U.S. Customs and Border Protection
Office of Field Operations
Freedom of Information Act/Privacy Act, Room 5.5-C
1300 Pennsylvania Avenue, NW
Washington, D.C. 20229
Dear FOIA Officer,
This letter constitutes a Privacy Act request under the Privacy Act, 5 U.S.C. §552a. I request copies of all information relating to myself contained in the system of records established for the Automated Targeting System (“ATS”). Notice of this system of records (“SORN”) was made in the Federal Register on November 2, 2006 (Volume 71, Number 212, pages 64543-64546). This request letter is accompanied by a completed Request for Records/Privacy Act Release Form.
My request is for all information relating to myself referenced in the Categories of Records in the System section of the SORN. Specifically, I am asking for any PNR information obtained from commercial air carriers, any records relating to any risk assessments, the rules used for determining the assessments, any pointer or reference to the underlying records from other systems that resulted in the assessments, any APIS information, and any secondary inspection records. I am requesting these records as is my right under 5 U.S.C. § 552a(d)(1). (See also OMB Guidelines (40 Fed. Reg. 28948, 28957) as well as a 2004 U.S. Department of Justice overview of the Privacy Act, “a requestor need not state his reason for seeking access to records under the Privacy Act …” )
Should CBP provide less than a complete copy of all records relating to myself contained in this system of records, I request a detailed explanation as to the reasons for denying or not fully complying with my request.
My full name is:
My current address is:
My date of birth is:
My place of birth is:
I promise to pay reasonable fees incurred in the copying of these documents up to the amount of $25. If the estimated fees will be greater than that amount, please contact me before such expenses are incurred.
If you deny all or any part of this request, please cite each specific exemption that forms the basis of your refusal to release the information and notify me of the appeal procedures available under the law.
I have traveled to and/or from the United States by at least one of the following modes of commercial travel: air, rail, marine vessel, and /or bus carrier and/or by making a land border crossing either by foot or by automobile. Should CBP need my travel information to locate the requested records, please contact me and specify the information you require.
Pursuant to 28 USCS §1726, and in compliance with 6 CFR 5.21(d), I declare (certify, verify, or state) under penalty of perjury that the foregoing is true and correct.
Executed on this date:
Signature:
U.S. Customs and Border Protection
Office of Field Operations
Freedom of Information Act/Privacy Act, Room 5.5-C
1300 Pennsylvania Avenue, NW
Washington, D.C. 20229
Dear FOIA Officer,
This letter constitutes a Privacy Act request under the Privacy Act, 5 U.S.C. §552a. I request copies of all information relating to myself contained in the system of records established for the Automated Targeting System (“ATS”). Notice of this system of records (“SORN”) was made in the Federal Register on November 2, 2006 (Volume 71, Number 212, pages 64543-64546). This request letter is accompanied by a completed Request for Records/Privacy Act Release Form.
My request is for all information relating to myself referenced in the Categories of Records in the System section of the SORN. Specifically, I am asking for any PNR information obtained from commercial air carriers, any records relating to any risk assessments, the rules used for determining the assessments, any pointer or reference to the underlying records from other systems that resulted in the assessments, any APIS information, and any secondary inspection records. I am requesting these records as is my right under 5 U.S.C. § 552a(d)(1). (See also OMB Guidelines (40 Fed. Reg. 28948, 28957) as well as a 2004 U.S. Department of Justice overview of the Privacy Act, “a requestor need not state his reason for seeking access to records under the Privacy Act …” )
Should CBP provide less than a complete copy of all records relating to myself contained in this system of records, I request a detailed explanation as to the reasons for denying or not fully complying with my request.
My full name is:
My current address is:
My date of birth is:
My place of birth is:
I promise to pay reasonable fees incurred in the copying of these documents up to the amount of $25. If the estimated fees will be greater than that amount, please contact me before such expenses are incurred.
If you deny all or any part of this request, please cite each specific exemption that forms the basis of your refusal to release the information and notify me of the appeal procedures available under the law.
I have traveled to and/or from the United States by at least one of the following modes of commercial travel: air, rail, marine vessel, and /or bus carrier and/or by making a land border crossing either by foot or by automobile. Should CBP need my travel information to locate the requested records, please contact me and specify the information you require.
Pursuant to 28 USCS §1726, and in compliance with 6 CFR 5.21(d), I declare (certify, verify, or state) under penalty of perjury that the foregoing is true and correct.
Executed on this date:
Signature:
lagoon
At the bottom of this post is a song by Bob Dylan. It's called Moonshiner. I've titled the post "lagoon" because it represents a place we sometimes reach without our permission.
10.11.2007
More Than One Way
There's more than one way to kill a cat, break off a relationship or lose a job. I've accomplished all three and the first was the hardest. Cats don't die easy. Relationships can be ended with a simple argument and a job can be lost due to drinking, fighting or cussing in the workplace.
Let's talk about the cat. Long, long time ago me and Scott Morgan set a simple trap next to a hole in the wall of a badlands plateau. We didn't even bait it. To our surprise when we returned to check the trap, we'd caught a feral cat. We wanted to set it loose, but you couldn't even get near it without risk of massive and life threatening injury. We decided we would "pacify" it with a well placed blow to the head and once unconscious, release it. The dang cat would not cooperate. It would not pass out. So we ended up killing it to get our trap back. Makes me sick to think about it to this day. Next time, I'll bring a gun.
The relationship. I was dating a raven-haired Wall Drug gal from Georgia, but I'd recently been at the Wall Drug pool and met Jeanine. She was tall blond from Fond du Lac Wisconsin and thin with a rack like a ... well, a nice rack. I, like the typical male idiot, decided that the bird in the bush was better than the bird in hand. So, with this in mind, I provoked the raven-haired lass into an argument that I used (cleverly, I thought at the time) to suggest we were incompatible. About two weeks later the blond dumped me for what was in fact, a pencil necked geek from Iowa. Ouch. Karma is real.
Losing a job. I had a manager in Minneapolis who was also a personal friend. We played high intensity racquetball once or twice a week. He had a mean serve that I just couldn't get to so I told him if served it at me again, I was going to aim the return at his head. He tried it again, I caught the edge and as he looked back to check my return, the little blue ball hit him, took off his eye protection leaving a black eye. He didn't fire me. He got a better job, kept giving me a hand when I needed it and I served as his best man at his wedding to a beautiful lady.
Moral of the story. Killing cats is wrong, arguing with chicks is futile and fighting with your boss on the court of competition is the true path to success. Check it.
Let's talk about the cat. Long, long time ago me and Scott Morgan set a simple trap next to a hole in the wall of a badlands plateau. We didn't even bait it. To our surprise when we returned to check the trap, we'd caught a feral cat. We wanted to set it loose, but you couldn't even get near it without risk of massive and life threatening injury. We decided we would "pacify" it with a well placed blow to the head and once unconscious, release it. The dang cat would not cooperate. It would not pass out. So we ended up killing it to get our trap back. Makes me sick to think about it to this day. Next time, I'll bring a gun.
The relationship. I was dating a raven-haired Wall Drug gal from Georgia, but I'd recently been at the Wall Drug pool and met Jeanine. She was tall blond from Fond du Lac Wisconsin and thin with a rack like a ... well, a nice rack. I, like the typical male idiot, decided that the bird in the bush was better than the bird in hand. So, with this in mind, I provoked the raven-haired lass into an argument that I used (cleverly, I thought at the time) to suggest we were incompatible. About two weeks later the blond dumped me for what was in fact, a pencil necked geek from Iowa. Ouch. Karma is real.
Losing a job. I had a manager in Minneapolis who was also a personal friend. We played high intensity racquetball once or twice a week. He had a mean serve that I just couldn't get to so I told him if served it at me again, I was going to aim the return at his head. He tried it again, I caught the edge and as he looked back to check my return, the little blue ball hit him, took off his eye protection leaving a black eye. He didn't fire me. He got a better job, kept giving me a hand when I needed it and I served as his best man at his wedding to a beautiful lady.
Moral of the story. Killing cats is wrong, arguing with chicks is futile and fighting with your boss on the court of competition is the true path to success. Check it.
10.10.2007
black and white
after almost two weeks of back and forth banter between the principal partners in this endeavor and an obviously though thoroughly delayed communique to the troops in the field
we are bringing the site back to currency in an enhanced format
by that we mean an all black and white website
we're not going to pull anything down, the archives are yours to treasure
instead, we're moving forward by going back
enjoy
Elvis Presley - Hound Dog
we are bringing the site back to currency in an enhanced format
by that we mean an all black and white website
we're not going to pull anything down, the archives are yours to treasure
instead, we're moving forward by going back
enjoy
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