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In my Ubuntu, I can't switch to console through Ctrl+Alt+Fx using my own compiled kernel, and a black screen appears.

I can switch back through Ctrl+Alt+F7. Using the default Ubuntu kernel, I can switch normally. dmesg has no message about this.

How can I fix this?

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Add both kernel versions and your graphic card and driver. Can you see the console during boot? –  Banthar Feb 27 '12 at 12:26
kernel-2.6.34 ,nvidia Gforce 9300GS,and the graphic card driver seems has some problem(resolution is low),so I want to switch to console to install mannually. I Can login X successfully,and during boot console didn't displayed(just ubuntu's purple screen). Even can't get to console through recovery mode! when boot through recovery mode, it get stuck in a ubuntu purple screen with: Loading Linux-2.6.34... Loading initial ramdisk... –  hello.wjx Feb 27 '12 at 14:39
Do you have your own kernel running under the same Ubuntu installation, or do you have your own configuration for the own kernel. –  user unknown Apr 29 '12 at 20:18
@hello.wjx How do you know that dmesg has no message about your tty switching issue? Where have you been searching for? –  Pro Backup Mar 12 '14 at 17:57

2 Answers 2

Have you created and populated your /etc/inittab appropriately? In particular you'll want these:

# Run gettys in standard runlevels
1:2345:respawn:/sbin/getty tty1
2:2345:respawn:/sbin/getty tty2
3:2345:respawn:/sbin/getty tty3
4:2345:respawn:/sbin/getty tty4
5:2345:respawn:/sbin/getty tty5
6:2345:respawn:/sbin/getty tty6
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There is no /etc/inittab by default in ubuntu,I added it following your advice,but it doesn't work, :-( there is no corresponding info in /var/log/messages –  hello.wjx Mar 9 '12 at 2:49
@hello Hmm. IIRC, Ubuntu switched to upstart some time ago, perhaps that's the problem. I'll look into how to configure upstart. –  Kevin Mar 9 '12 at 3:00
it's switched to upstart,but /etc/inittab should still works because /etc/init/rc-sysinit.conf will read that. It should be a kernel specific issue because ubuntu default kernel is ok on my machine.Maybe some module gets wrong? –  hello.wjx Mar 10 '12 at 3:58

In Ubuntu, I find tty-configuration/commands in:

    # tty1 - getty
    # This service maintains a getty on tty1 from the point the system is
    exec /sbin/getty 38400 tty1

    # tty1 - getty
    # This service maintains a getty on tty1 from the point the system is
    exec /sbin/getty -8 38400 tty1

I don't know how they depend on each other and what to do about them, but suspect, that the setup is managed there.

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I find this a highly annoying "feature" on a wide screen monitor that my mostly used apps - terminal and gedit always open directly under the top-left corner of my screen and I have to drag them to my eye position each and every-time.

I have tried installing the CompizConfig Settings Manager and using the feature to position windows centre, but this has had no effect - the force feature here isn't working for me either:

Window Management -> "place windows" -> Fixed Window Placement -> Windows with fixed positions example: gedit 200 200 keep-in-work-area-to-yes

I can use e.g. gnome-terminal --geometry=140x50+50+50 for the terminal but this doesn't work for gedit.

Any ideas?

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2 Answers 2

The Compiz “place windows” feature works for me. It won’t work if you just use gedit, though. Try title=gedit: alt text

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It works for me as expected with Compiz and the Fixed Window Placement -> Windows with fixed positions set to:

Positioned windows: class=Gedit
200 200
keep-in-work-area: no
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The Costs of Home Care

Today, the Guardian published an article about the inequitable costs of home care services throughout England and the shrinking of access to council-paid support for care in the home.

The article refers to a survey and report comprised of a number of Freedom of Information requests. It says

The survey, seen by the Guardian, shows the average charge for an hour of home care has risen by 10% in the past two years – from £12.29 to £13.61.

Also stating

…there are wide disparities in the price people pay for care depending on their location. Home care, for example, is free in Tower Hamlets but costs £21.50 an hour in Brighton and Hove.

The data show that fewer older people – in excess of 7,000 – had their care services fully paid for by a local authority in 2011 a reduction of 11% compared to 2009.

This certainly reflects my experience in practice. There are a number of concerns that result from this report which merely confirms what everyone in the sector knows.

Eligibility criteria are moving upwards.

If we look at the Fair Access to Care Services which are the supposed ‘standardised’ entry point to ‘care provision’ in local authorities – the lower ‘access’ point has moved higher. From moderate needs being ‘covered’ more local authorities are moving to only allowing ‘substantial’ or ‘critical’ needs to be covered. This moves a lot of the preventative work away from local authority provision.

This has a significant impact on the manner which personal budgets are implemented. A lot of the leisure type activities we see as examples are being pushed out in favour of budgets which are strictly intended to meet immediate personal care needs. Options for choice are much more limited in this context, particularly if a person does not have support around them.

More people refusing care on the basis of cost

This is something I’m seeing much more as my own council has increased the costs of care. More people whom I assess as needing care are refusing it or refusing discharge from hospital solely on the issue of cost of care. There may be an assumption that ‘working hard all my life’ means that social care provision will be free in the future but it’s very hard to argue the value of a personal budget at (for example) £10 per hour when the charge will be £10 per hour. It is counter-intuitive and yet by bypassing the local authority ‘processes’ there is potential support that can be lost in terms of assistance in recruitment of staff/tax related issues. We are forcing more ‘cash in hand’ work sourced via Gumtree or notes in the newsagent windows.

Longer term costs as people supported at home less

This also means that people remain at home without the support if they do not wish to pay for it and the potential for much higher costs will come at a later point. Either through preventable or delayable hospital admissions or by admission to residential care sooner than might have otherwise been necessary.  Seems obvious but I see it happening every day. We can’t ‘force’ care on anyone (putting the capacity issue aside for one moment) and if someone is adamant they don’t wish to pay for care which is assessed as being needed, we just sit on our collective hands and wait for things to deteriorate –by which case, it may be too late.

Personal budgets and the ‘personalisation’ agenda.

I’ve mentioned some of the counterintuitive ways that services can cost as much as they are charged for – that’s particularly evident if we are considering a direct payment. There’s another problem with the implementation of the systems of ‘personalisation’ as they exist in reality. We were told initially it was intended to be a shift in ‘power’ from professional to user – which is fantastic – however the reality is often far from that. Assessment forms look similar (and ask similar questions in similar formats) to DLA application forms and focus heavily on physical rather than mental health needs.

The RAS (resource allocation system) pushes these assessments through an accountancy system which is non-transparent and spits out an ‘indicative budget’ based on a number of often unknown factors. So you get more money according to lack of ability to do things which perpetuates a top down model which doesn’t build on strengths of what someone CAN do – rather what they CAN’T do.

This process is convoluted and opaque. However well explained, sometimes people want good services delivered. Choice is only choice when it’s actually offers options. Seems obvious but it isn’t the reality.

Commissioning decisions

I am sad to say when I arrange support via a managed personal budget, I can’t necessarily guarantee quality of care to the user. We use agencies that have won their tenders for the contracts with the council purely on the basis of cost rather than quality. There may be carers rushing in and out on minimum wage without being paid travel time, between 30 min visits in disparate geographical locations. Is it any wonder that people are refusing these kinds of services when we can’t guarantee consistency or quality of support. There are some fantastic care workers. Really, they are gems but it can be hit and miss because the way that costs are being driven down mean the agencies cut costs at every moment. We aren’t delivering value for money.

This shrinking of provisioned support for older adults and people with disabilities will lead to much higher long term care costs both with costs shifting to health care services as people are admitted sooner into hospitals and care costs as residential care becomes an option sooner. In some ways, more importantly, it will and does lead to a reduction in independence and quality of life which is much more important and can’t have a price put on it.

12 Comments to “The Costs of Home Care”

  1. Ermintrude- this is a really thoughtful blog and I suspect your experience will mirror that of many front line social workers. Clearly there needs to be a fair system of assessment and payment that is compatible with good care and support. When people do need support it should be well funded and personalised but how do we keep the requirement for paid support to a minimum without all the crude and uncivilised measures you highlight?

    Should love you to input into the TLAP National Market Development Forum in some way?

    • Hi Bill,
      I’d love to input in any way I can but not sure in what capacity I could. I will email you though!

  2. As always, a really powerful, thoughtful blog Ermintrude. For me, this highlights the tensions at the heart of the “personalisation agenda”. The thinking needs to be longer-term, which is really difficult when there is so much pressure to save money now.

    Are we prepared (able?) to really support people to have quality of life or just provide personal care?

    How can the emphasis shift to preventative approaches and enablement? When it gets to the stage of hospital admission, it can often feel like a one-way ticket for older people, whereas more support in the community would have cost more … IN THE SHORT -TERM.

    I love the idea of a “CAN do”, asset-based approach rather than concentrating on what people CAN’T do. But the theory needs to be followed through the assessment and resource allocation …and review.

    I challenge the “powers that be” / theorists: What would THEY say to an assessor?…

    Would they tell them how they are perhaps having a few more ‘better days’, slowly improving, with the right support, having a few social outings etc? Or would they feel obliged to talk about (exaggerate even?) what they can’t do for fear of losing money and independence?

    I see wonderful organisations like Grapevine in Coventry helping people move on to take a full part in the community but then I worry whether they will have the carpet pulled from under their feet by tighter and tighter eligibility criteria.

    As you say, you can’t put a price on quality of life and independence. But that is exactly what is happening. And it is high. But it will be even higher (including literally – ie measured in money) if short-term thinking prevails.

    • Thanks Gill – I find the process of assessment can be humiliating even when carried out by the most thoughtful practitioner because the information needed concentrates on deficit models. I’m not sure yet how this can be changed but that’s where the real power shift may take place.
      I certainly worry that more empowering and creative work will be pushed by lack of budgets – which is why we are seeing more input in terms of user groups with higher funds attached such as learning disabiltiies – as opposed to work with older adults where the eligibility is pushed.

  3. this just about sums up all that is wrong with today’s home care; very well expressed; only wish I had more time to reflect some of these views in my Today prog interview this morning, but so little time. Thank you for writing this.

  4. Excellent post Ermintrude. The costs focused procurement model resonates with me. Though we supply local gov in another area we have seen evaluation models shift from “30% on cost” to “80% on cost” over the past two years, even though for slightly more money we can make larger savings, sooner.
    This approach is positively dangerous when it comes to care
    Note also that, in Bristol which has residential parking areas and parking meters, care workers home visiting are not given a parking permit, have to hunt for parking, and pay their own fines

    • Exactly. I have seen some excellent agencies we’ve worked with pushed out due to the procurement processes which prioritise cost over quality. I wonder about ‘rewarding’ good care with loss of contracts. It worries me. This is about funding and commissioning.

    • Bloody LibDems led by Barbara Janke, rhymes with, well, I don’t have to spell it out, certainly not to someone who lives here. Another point is that some personal care assistants have been compelled to accept employment as such by the DWP, no matter how suitable or unsuitable they might be. The persom who in a communal laundry used to gossip about her clients was bad enough but the angry, middle-aged man who announced, “This is like watching f*****g paint drying!” and put all his client’s wash through together on a hot wash without separating colours, delicates, etc., and then bundled it all from the tumble drier into a bag with no attempt to fold or even roll any of it, had me so concerned a spoke to a City Council Notmyjob about him. Was he interested? I shall do a virtual load of washing onour washer-drier for the first correct respondent. :(

  5. I agree with this line of yours – it will and does lead to a reduction in independence and quality of life which is much more important and can’t have a price put on it. We would really know what our priority is or what’s more important and finds steps towards achieving it and soon before it’s too late.

  6. Nice article, Thanks to share that information with us.Guardian published an article about the inequitable costs of home care services throughout England and the shrinking of access to council-paid support for care in the home.Keep it up

  7. Its not easy though is it really. If you have an aging population, an economy which is stagnant then funding is goign to get reduced isnt it?

    The only way around it is by being frugal and getting the most out of what you do have. Not ideal I agree.

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Dec 30, 2013
Originally published on December 30, 2013 11:39 am

This interview was originally broadcast on Nov. 05, 2013.

Why would someone write a sentimental ballad about a bathroom? For the same reason someone would write a rousing song about tractors: So the song could be used in what's called an industrial musical.

These musicals were like Broadway shows, but they were written and performed for corporate sales meetings and conventions from the 1950s to the 1980s. The lyrics were all about the products being sold and how to sell them. Some of them were lavish and costly, even though they'd be performed only once.

And as ridiculous as the songs were, they were often written and performed by really talented people: John Kander and Fred Ebb, who wrote the songs for the musical Cabaret, did an industrial. And a few had lyrics by a young Sheldon Harnick, who co-wrote the songs for the Broadway hits Fiddler on the Roof, Fiorello! and She Loves Me.

Harnick and actor-singer John Russell performed in dozens of these musicals, and Steve Young has co-written a book about the genre, called Everything's Coming Up Profits: The Golden Age of Industrial Musicals.

Young is also a writer for The Late Show With David Letterman, where for a while he was the writer in charge of the regular feature "Dave's Record Collection."

Harnick, Russell and Young joined Fresh Air's Terry Gross to talk about the genre's history.

Interview Highlights

On the history of industrial musicals

Young: These are musicals — often full, Broadway-style musicals — that were written for company conventions and sales meetings. They were never for the public to hear; they were only to educate and entertain and motivate the sales force so they would leave the business meeting going out revved up to sell more bathtubs or typewriters or tractors or insurance plans, or what have you. ...

We've never had a full picture of how many shows were done. The souvenir records that I've been collecting are clearly the tiny minority of shows that were done, but I would say hundreds of companies were doing them over a period of decades.

On how each of them got involved or interested in industrial musicals, or "industrials"

Young: I've been a writer for The Letterman Show since the early '90s, and when I got to the show I was asked if I could head up the old "Dave's Record Collection" segment in which, on the show, Dave would hold up strange, unintentionally funny records, we'd hear a little clip, Dave would have a joke, we'd all go home heroes.

I was the one finding the strange records. And in these days, when there were still used record stores in the city, I would come home with William Shatner singing, or Hear How To Touch Type. I also started finding these very odd corporate artifacts that I didn't really understand at first, but I would find myself singing these songs to myself days or weeks later and thinking, "Why is this song about diesel engines so catchy? Why am I still wandering around singing about my insurance man?"

And it was because they were fabulously well done, in many cases. It was a hidden part of the entertainment world, but with huge budgets [and] professionals doing their best work, oftentimes. And I just decided I had to find out about this myself, and I began collecting and going to record shows [and] calling record dealers.

Harnick: I started writing lyrics out of desperation. I was broke and wondering where my next job, my next meal was coming from, although I had had several successful revue songs on Broadway. And then I got a phone call from an advertising agency. They did industrials: They helped write them; they produced them. And they had an in-house writer, and it turned out that they were doing a new industrial, I think it was for the Shell gasoline company, and whoever the executive was did not like what he had read, so they decided to get somebody else. They knew my revue songs, so I got a call to do an industrial, and I had no idea what that was.

Russell: I came to New York to be an actor, and the first industrial I did was for Bell Telephone. And it was choreographed by a lovely man named Frank Wagner, who was my dance teacher. I auditioned and I got the job, and that's what started me. That was in 1970, and over the next 25 years, I did 82 different industrial shows.

On the song "My Bathroom"

Young: This is from a 1969 American Standard convention show in Las Vegas, and it was for the distributors of all of the American Standard bathroom fixtures. Many of the songs on the record are filled with details about the new line of shower stalls and tubs, but this was really more of an anthem, an ode to the business as a whole — why they do what they do.

And it's a remarkable piece of work that I've been humming around the house for 20 years. And everybody who hears it is just floored by it, so I think it has some enduring value well beyond 1969 and the convention.

Harnick: It's a very professional, romantic ballad about a bathroom. ... It's extremely well done.

On the difficulty of writing lyrics for the Ford Tractor Company

Harnick: I remember my heart sank when the company gave me the information that I was supposed to put in the song. I thought, "Oh, good gracious, how am I going to do this and make it a singable song?" But I managed, and I managed particularly because [composer] Jerry Bock was so clever at taking all of these words, and some unmusical words, and finding ways to put them into singable songs.

On the purpose of these musicals

Young: There was the belief for quite a long time, I don't know if there was ever hard data to back it up, but if you bring everyone together for this thrilling theatrical experience — and it often actually was thrilling to the audience — then they'd have a sense of purpose, they would get out there, they would charge ahead and have a renewed energy for selling.

Many of the songs were packed with information about details of the new products, or the marketing strategies that were being presented. So you'd go home, ideally, all fired up, with a new sense of your pride in working for the company and a way forward for what you were going to do as a sales person.

On how audiences received industrial ballads

Young: Some of the composers I've spoken to over the years have told me they've seen audiences full of hardened sales executives and middle managers brought to tears by these beautifully crafted and performed songs that tell them, "What you're doing is important for you, for your family, for the company, for America, for the world." This was stuff that hit them right where they lived.

And yes, it was to promote sales, but it was also to tell them, "We understand what you do out there when you go into the field of battle, and we appreciate it, and you're not forgotten."

Copyright 2013 NPR. To see more, visit


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Way to Go, Texans

The Colts Had Monkeys On Dogback Herding Goats At Halftime

By 12.30.12

While the halftime show of monkeys riding dogs is something we’ve seen before at Mile High Stadium, those monkeys were not tasked with doing anything beyond delighting the crowd just being themselves. The Colts took it to the next level by making those monkeys herd goats into pens. That’s right, monkeys. They’re putting you to work. No more getting by just with your good looks. You’re helper monkeys now.

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Santigold's Video For 'Girls' Contains No Shots Of Lena Dunham Naked, Thankfully

By 01.14.13

Did you, like me, decide to give Girls another chance last night, only to have your eyes assaulted by a naked Lena Dunham grinding on Donald Glover’s Childish Gambino within the first two minutes of the episode — the first of three scenes in which Dunham took her clothes off? Jesus what is it with this girl and forcing her audience to see her naked?! I’m beginning to think she’s a psychopath or something.

Oh, and then how do you have Brian Williams’ hot daughter in a love scene and use cutesy tricks to not show us any of HER naked body? Lena Dunham basically has an HBO show for the sole purpose of trolling us. And for this she is lauded as being “brave.” REAL TALK: Revealing your portly bod repeatedly on cable television is not f*cking brave; running into a burning building to save a life not your own is brave. There’s a huge difference.

ANYWAY, here is the video for Santigold’s “Girls,” which is thankfully devoid of Lena Dunham’s naked body or any of the loathsome characters she created (I don’t think I’ve ever wanted to see a TV character die in a grease fire as much as that annoying Shoshanna character David Mamet’s daughter plays on Girls), despite the fact that it’s on the Girls soundtrack. And yes, I am still PISSED that Girls won the Golden Globe for comedic TV series over Louie, Parks and Rec, Veep and Community. What a crock of utter sh*t. I need a drink.

(Via Stereogum)

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The Latest 'Orphan Black' Trailer Is Taking The Mystery To Terrifying New Heights

By 03.11.14

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Orphan Black was one of the more pleasant surprises out of last year’s television landscape, giving us Tatiana Maslany, an almost limiteless mystery, and a reason to enjoy clones once again (suck it, George Lucas). It was one of the shows that I probably binged watched without knowing and I don’t regret it.

Like most trailers though, nothing too in depth is revealed here. We get to spend a time with the more villainous side of Orphan while getting a reminder that time is short before the season begins. But this is more Orphan Black (alongside these sneak peeks over at BBC America) and that’s not a bad thing.

Oh, we do get a look at Michiel Huisman in his role as “a rugged outdoorsman.” He also landed a role on Game of Thrones this season, so I’d say things are looking up for him. Sadly, I won’t be able to see anyone but Sonny from Treme and I’ll immediately want someone to shoot him in the head or cut him in half with a flaming sword. Whatever comes first, I’m not picky. Just get it done.

(Via BBC America)

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I made this stork in a decorative flower pot that I covered with material and had the stork hold a baby bundle on his beak BigGrin
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That is adorable ! I am making invites for my nieces baby shower and may have to scrap lift this also!!
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Homestyle Recipe Large Breed Chicken Dinner With Garden Vegetables & Brown Rice

BLUE Homestyle Recipes provide rich, wholesome nutrition with healthy, natural ingredients. High quality chicken is the first ingredient and provides essential amino acids. Hearty whole grains like brown rice and barley supply the complex carbohydrates that your dog needs for energy. Whole carrots and sweet potatoes, blueberries and cranberries are just some of the nutrient-rich fruits and veggies you'll find in our Homestyle Recipes, all made without wheat, which is an important difference between BLUE Homestyle Recipes and other canned dog foods. Many other brands use wheat as a thickening agent in their food, but wheat has been known to cause allergies in some dogs.

Crude Protein 10.0% min
Crude Fat 6.0% min
Crude Fiber 1.0% max
Moisture 78.0% max
L-Carnitine* 380 mg/kg min
Glucosamine* 380 mg/kg min
Chondroitin Sulfate* 220 mg/kg min. *Not recognized as an essential nutrient by AAFCO Dog Food Nutrient Profiles.

Chicken, Chicken Broth, Whole Ground Brown Rice, Whole Ground Barley, Oatmeal, Carrots, Peas, Sweet Potatoes, Guar Gum, Flaxseed (natural source of Omega 3 and 6 Fatty Acids), Glucosamine Hydrochloride, Chondroitin Sulfate, Blueberries, Cranberries, Carrageenan, Cassia Gum, Salt, Potassium Chloride, Vitamin A Supplement, Thiamine Mononitrate (Vitamin B1), Riboflavin (Vitamin B2), Niacin (Vitamin B3), d-Calcium Pantothenate (Vitamin B5), Pyridoxine Hydrochloride (Vitamin B6), Biotin (Vitamin B7), Folic Acid (Vitamin B9), Vitamin B12 Supplement, Vitamin D3 Supplement, Vitamin E Supplement, Iron Amino Acid Chelate, Zinc Amino Acid Chelate, Copper Amino Acid Chelate, Manganese Amino Acid Chelate, Sodium Selenite, Calcium Iodate, Choline Chloride.

ITEM # 20722 : 12.5 OZ

Check with your local store to confirm availability.
Product availability and pricing can vary by store. Product prices, formulations and availability are subject to change without notice.

While we make every effort to provide you with accurate and up-to-date information, occasionally one or more items on our web site may be mispriced. In the event of a pricing discrepancy, the in-store price shall prevail and be final.


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Contact Us

Rolling Stones Albums Reissued on Clear Vinyl

Rolling Stones
ABKCO Records

Even though they left the label years ago, ABKCO Records is still an important part of the Rolling Stones‘ history. And the label is joining the band’s 50th anniversary celebration by reissuing three classic Stones albums on clear 180 gram vinyl.

The reissues, which will be available on May 28, are part of the company’s new campaign, ‘The Rolling Stones Clearly Classic,’ which promises songs “meticulously mastered from high-resolution audio files sourced from the original master tapes, assuring optimal sound quality that exceeds both conventional CD audio and digital downloads,” according to a press release.

The three albums — ‘Beggars Banquet,’ ‘Let It Bleed’ and ‘Hot Rocks 1964-1971′ — include some of the band’s most enduring tracks, like ‘Sympathy for the Devil,’ ‘Street Fighting Man,’ ‘Gimme Shelter’ and ‘You Can’t Always Get What You Want.’

The most successful record of the bunch, ‘Hot Rocks 1964-1971,’ features 21 of the band’s biggest hits. It was a huge sales hit when it came out in 1971, spending 243 consecutive weeks on the chart and eventually selling more than 12 million copies.

All three reissues are already available for pre-order on Amazon, where they’re going from $22 to $28.

Next: Top 100 Rolling Stones Songs

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The legal stuff

The creators of the Usability Challenge take no responsibility whatsoever for any direct or indirect consequences as a result of your/anyone's participation in the Usability Challenge or related events. All aspects of your of participation are your responsibility, so take care.

Now, back to our regular programming :)


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Reuse textiles for Thanksgiving decor

Looking for creative ways to decorate the Thanksgiving table and recycle some textiles at the same time.  Here’s some eco-friendly, creative and fun ways to decorate your holiday table.

  1. Update old table linens.  Use stencils and fabric paint in hues of brown, orange and yellow to easily add autumn leaves, cornucopias or other harvest images to a plain tablecloth.
  2. Create napkin rings with strips of autumn-patterned fabric glued over a cardboard tube (toilet paper tubes cut into 1-inch segments for example).
  3. Create beautiful placement mats that you can use year after year from fall-colored fabric scraps (old table linen or sheets) by piecing them together and making quilted mats.
  4. Use leftover ribbons and fabric scraps to make streamers that you can hang from the ceiling. Better yet give this project to your child and watch their imagine take hold and go wild.
  5. Use old straw hats, buttons, felt and fabrics to decorate the scarecrow door decoration.

Stay tuned for more from USAgain!

One thought on “Reuse textiles for Thanksgiving decor

  1. Got an idea as I read about the tablecloths: have each guest sign name and comment to keep for future use!! Also maybe eventually use as a ‘wall hanging’ or something similar! Just a thought!

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Master Blaster: Puck Splits In Two

Junior Player Fires Shot Heard (And Seen) ’Round The Hockey World

Andrew Prochno discovered a unique way to break the ice with a new team following a mid-season trade. He became an Internet sensation by shooting a puck so hard it split in two.

Prochno’s strange feat occurred on Jan. 4 at Sioux City, just three United States Hockey League games after Sioux Falls acquired him from Waterloo. The defenseman’s one-timer from the left point eluded Musketeers goalie Matt Skoff, struck the right post and split in two.

“We were kind of joking around, calling him ‘The Savior,’ because he starts breaking pucks right after we got him,” teammate Daniel Doremus said.

“When it happened, you were so into the game that you don’t realize something like that doesn’t happen very often. It really started to hit us afterwards, when it started showing up on ESPN and Yahoo.”

Slow-motion video of the play explained what no one in the Tyson Events Center that night could. When Prochno’s shot hit the pipe, one half of the puck squirted through the crease while the other headed to the right corner of the rink.

The whistle blew, and whispers of “What just happened?” filled the building.

“What we won’t do to get some publicity,” veteran Stampede coach Kevin Hartzell joked. “That puck split in half so perfectly, you could give me a band saw and I couldn’t do it any better. I’ve seen chunks come out of a puck on cold days or in cold arenas, but I’ve never seen anything quite like that.”

So, quite naturally, the play became an overnight sensation on the Internet. The soft-spoken 5-foot-11, 172-pound defenseman from Shorewood, Minn., achieved rock star status within the hockey world.

The video also surfaced on YouTube, and ESPN’s SportsCenter.

“It was definitely a weird feeling,” said Prochno, who will play at St. Cloud State University following his time in the USHL. “When I initially broke the puck, I thought, ‘This probably happens all the time.’ But I guess it doesn’t.

“I was actually very surprised by how quickly it spread on the Internet. I got a bunch of texts from my buddies telling me, ‘Hey, check this out. You’re on such-and-such Web site.’ I had to check it out, because I had no idea it’d blow up like that.”

One Twin Cities-based television station, Fox 9 News, took the video one step further and asked University of Minnesota physics professor Robert Gehrz to try a MythBusters-inspired experiment on a puck. Gehrz used liquid nitrogen to freeze the puck to 300 degrees below zero (Fahrenheit) and hit it as hard as he could with a hammer. He took a small chunk out of the edge, but the puck did not split.

“Based on this experiment,” Gehrz said, “the freezing temperature of the puck had almost nothing to do with it. It was a flawed puck.”

So, exactly how else would you explain it?

Prochno will be the first to admit the freak play wasn’t some feat of extraordinary strength. During a skills competition at Minnetonka High School last season, he had his shot clocked around 90 mph. Several NHL players exceed 100 mph and haven’t broken
a puck.

“I really don’t know how to explain it,” Prochno said. “I just got a pass from the corner from [Brent] Darnell and took a regular one-timer. Maybe it hit the post just right. I have no idea how it could have happened.”

Prochno said he doesn’t have any specific plans for the puck just yet. But he hopes it triggers a string of more once-in-a-lifetime achievements.

“Our trainer still has it, but I’ll probably give it to my mom,” Prochno said. “She’ll do something really cool with it, like put it in a little plaque or something.

“I’m a big golfer in the summertime. I’m not very good, but I like to go golfing. I’ve never gotten a hole-in-one, but maybe my luck will turn around because of this and I’ll get my first one.”

What hockey skill did you work on most this summer?:


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God of the Universe

1Sing to the LORD a new song;a

sing to the LORD, all the earth.

2Sing to the LORD, bless his name;

proclaim his salvation day after day.

3Tell his glory among the nations;

among all peoples, his marvelous deeds.b

4*For great is the LORD and highly to be praised,

to be feared above all gods.c

5For the gods of the nations are idols,

but the LORD made the heavens.d

6Splendor and power go before him;

power and grandeur are in his holy place.

7Give to the LORD, you families of nations,

give to the LORD glory and might;

8give to the LORD the glory due his name!e

Bring gifts and enter his courts;

9bow down to the LORD, splendid in holiness.

Tremble before him, all the earth;

10fdeclare among the nations: The LORD is king.

The world will surely stand fast, never to be shaken.

He rules the peoples with fairness.

11Let the heavens be glad and the earth rejoice;

let the sea and what fills it resound;g

12let the plains be joyful and all that is in them.

Then let all the trees of the forest rejoice

13before the LORD who comes,

who comes to govern the earth,h

To govern the world with justice

and the peoples with faithfulness.

* [Psalm 96] A hymn inviting all humanity to praise the glories of Israel’s God (Ps 96:13), who is the sole God (Ps 96:46). To the just ruler of all belongs worship (Ps 96:710); even inanimate creation is to offer praise (Ps 96:1113). This Psalm has numerous verbal and thematic contacts with Is 4055, as does Ps 98. Another version of the Psalm is 1 Chr 16:2333.

* [96:4] For references to other gods, see comments on Ps 58 and 82.

a. [96:1] Ps 98:1; Is 42:10.

b. [96:3] Ps 98:4; 105:1.

c. [96:4] Ps 48:2; 95:3; 145:3.

d. [96:5] Ps 97:7; 115:48; Is 40:17; 1 Cor 8:4.

e. [96:8] Ps 29:2.

f. [96:10] Ps 75:4; 93:1.

g. [96:11] Ps 98:7.

h. [96:13] Ps 98:9.

By accepting this message, you will be leaving the website of the United States Conference of Catholic Bishops. This link is provided solely for the user's convenience. By providing this link, the United States Conference of Catholic Bishops assumes no responsibility for, nor does it necessarily endorse, the website, its content, or sponsoring organizations.

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How to Give Your Cat Oral Medication

  • Relax. If your cat senses that you are upset or anxious, it will be, too!  Make sure you have all the medication ready to give (tablets and capsules loose, liquids drawn up in oral syringe or syringe) before you catch the cat. Coating the tablet with butter or some other tasty substance such as tuna or anchovy paste will lubricate the medication and give it a desirable taste. This may make it easier to medicate reluctant cats. It may also be helpful to have another person standing ready in case you need assistance.
  • Place your cat on a slippery, slick surface such as a table or countertop. This will keep it from getting a grip with its claws and running away. Sometimes it may be helpful to wrap your cat in a towel or blanket, so that its feet will be restrained. It is always useful to trim your cat's claws before attempting medication therapy.
  • With one hand, calmly grasp the top of the cat's head. The tips of your thumb and index finger should be positioned at opposite corners of the mouth on the cat's upper lip.
  • Gently tilt the cat's head back so that its chin is facing upward.
  • Holding the pill between the thumb and index finger of the other hand, place downward pressure with your middle finger on the front of the cat's lower jaw. This pressure, together with tilting the cat's head, will caus the cat to open its mouth. If it does not, then use your middle finger to gently pry open the lower jaw.
  • Quickly drop or slide the pill as far back in the mouth or throat as possible. Once the pill is positioned in the back of the mouth, it is unlikely that the cat will spit it out.
  • If you are giving liquid, do not tilt your cat's chin up. Instead, introduce the liquid filled syringe (or eye dropper) just past the lower back teeth and slowly squirt small amounts into the mouth. Pause between amounts to allow the cat to swallow all the liquid.
  • Studies have shown that tablets and capsules do not get stuck between the throat and stomach if a small amount of water (6ml or 1 teaspoonful) is given immediately after giving the medication. This can be done via a medicine dropper or syringe. If your cat is calm and willing, offering it a small saucer with a tablespoonful of milk or tuna juice will make sure that hte medication gets washed down to the stomach. Check with your veterinarian or pharmacist to see what foods and liquids are compatible with the medicaiton you are giving.
  • If you think the cat has not swalled the medication, blowing in its face or gently rubbing its throat may stimulate the cat to swallow.
  • Excessive salivation may be seen in some cats after receiving medications This is not harmful and will subside once the cat relaxes.

Reference:  Veterinary Drug Handbook - Client Information Edition, Gigi Davidson and Donald C. Plumb, 2003

See also:
How to Give Your Cat a Pill in 10 Easy Steps for a humorous view.

Our Main PageCatStuff Main PageHumor IndexGraphics IndexComments?


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Don't overpay. Use the U.S. News Best Price Program to find the best local prices on the CC. Our prices beat the national average 86% of the time. Learn More »

$32,995 - $43,575
Find the best local price: submit

Volkswagen CC Interior

Test drivers say the 2015 Volkswagen CC’s interior has top-notch materials, outstanding build quality and an eye-catching design. Reviewers also appreciate the CC’s supportive and roomy front seats, but they say the car’s sloping roof hurts rear-seat headroom. Many also think the CC’s trunk is too small. The CC’s infotainment system has a smaller screen and fewer features than many competing systems, according to some critics, though others note that at least it’s easy to use.

  • "Soft-touch materials abound, fit and finish is excellent and the overall design is intuitive, flowing and polished." -- Left Lane News
  • "The 2015 Volkswagen CC comes in a few different trim levels, but even the base Sport treats you to rich interior materials and impressive build quality, easily meeting luxury-brand standards." -- Edmunds
  • "Even if the CC is filled to capacity, all passengers will appreciate the high-end cabin tastefully appointed in attractive color palettes -- our favorite is the desert beige/black two-tone, although the all-black interior is quite appealing, too." -- Automobile Magazine (2014)
  • "Padded surfaces abound. Top-quality materials create an attractive, comfortable, well-made cabin." -- Consumer Guide (2013)

The 2015 VW CC seats five and comes standard with leatherette upholstery and front seats that are heated and 12-way power-adjustable. The 2.0T Executive trim features leather upholstery. The V6 Executive 4MOTION trim includes a massaging driver’s seat, ventilated front seats and a power rear-window sunshade. Auto writers agree that the CC’s front seats are supportive and provide generous head- and legroom. They say the rear seats have poor headroom due to the CC’s sloping roof, but some point out the legroom is decent.

  • "In the front seats, legroom and headroom are plentiful, and features like heated and cooled massaging seats, power sunshade and panoramic sunroof give the cabin a feeling of elegance and comfort. However, for taller people, the back seat has less room to offer, as the swooping roofline cuts in on rear-seat headroom." -- Kelley Blue Book
  • "The firm and supportive standard front seats provide the same power adjustments on both sides, a refreshing departure from the common practice of giving the passenger fewer toys. In the back, headroom is limited due to the CC's sleek roof line, but legroom is surprisingly ample." -- Edmunds
  • "The sloping roofline makes the 2014 Volkswagen CC a four-door ‘coupe’ in the vein of the Mercedes-Benz CLS and restricts rear-seat headroom." -- Automobile Magazine (2014)

Interior Features

Standard features in the 2015 Volkswagen CC include a 5-inch touch-screen navigation system, dual-zone automatic climate control, a rearview camera, iPod connectivity, satellite radio, an auxiliary audio input, Bluetooth and an eight-speaker audio system. The 2.0T Executive trim adds a sunroof, push-button start and an upgraded navigation system with a 6.5-inch touch screen. The V6 Executive 4MOTION trim includes a 10-speaker Dynaudio premium audio system and front and rear parking sensors.

Some reviewers complain that the CC’s infotainment system has a smaller screen and fewer features than the systems in rival vehicles. However, other auto writers point out that the infotainment system’s touch-screen display has large buttons and is easy to use. Critics also note that the other controls in the CC’s cabin are user-friendly.

See 2015 Volkswagen CC specs »

  • "… the CC's infotainment setup is pretty basic and lacks the big screens and expansive customization features found on other systems." -- Edmunds
  • "Despite its compact display, the standard multimedia system features an intuitive interface with uncluttered graphics and large buttons for simple operation." -- Kelley Blue Book (2013)
  • "The navigation system feels cheap and outdated even when compared to today's handheld units, and it doesn't allow the user to see 'the big picture' (it cannot be zoomed all the way out)." -- Autoblog (2013)
  • "All the controls are well-placed and have a premium feel to them." -- Car and Driver (2013)

The 2015 Volkswagen CC has 13.2 cubic feet of trunk space, which is about average for the class. However, reviewers say the trunk’s narrow shape and small opening make it difficult to load and unload bulkier items. The CC comes standard with 60/40 split-folding rear seats, and the Executive trims add a hands-free trunk feature, which lets you open the trunk by waving your foot under the bumper.

  • "The CC's trunk measures a rather modest 13.2 cubic feet, and its pinched shape may complicate the loading of larger items." -- Edmunds
  • "While stylish, the CC's swept roofline compromises rear seat headroom while the trunklid's sloped design hinders luggage space." -- Kelley Blue Book (2013)
  • "The trunk's load height is low enough for easy loading, but the opening is small and its hinges intrude into the cargo space." -- Consumer Guide (2013)
Review Last Updated: 4/15/15

Research Prices: 2015 Volkswagen CC

U.S. News Best Price Program

Over 50,000 car shoppers have purchased a car through the U.S. News Best Price Program. Our pricing beat the national average 86% of the time with shoppers receiving average savings of $3,221 off MSRP across vehicles. See what others paid for the Volkswagen CC and get upfront pricing to make sure you don't overpay. Learn More »

$32,995 - $43,575
Find the best local price: submit

Next Steps: Volkswagen CC


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Used Dodge Custom in Phoenix, AZ (85001)

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Academy Unveils Newest Sculpture by Local Artist, Bruce Larsen

Posted by | April 07, 2014 | News & Events | No Comments
Screen Shot 2014-04-07 at 9.16.07 AM

The Academy’s newest sculpture was unveiled by (from left to right) Mr. Robert Campbell III, Esq., Mayor Dane Haygood, Mr. Bruce Larsen, Ms. Nancy Raia and Dr. Thomas P. Rosandich.

Local art and sport enthusiasts gathered at the United States Sports Academy for the unveiling of their most recent sculpture by the 2009 Sport Artist of the Year and local “found object” artist, Bruce Larsen. The newest addition to the Sport Sculpture Park was unveiled to an eager crowd on Thursday afternoon, April 3, 2014, on the Academy’s campus in Daphne, Ala.

The much-anticipated addition, which is comprised of four separate and equally awe-inspiring pieces, is the largest sculpture in the nearly 2,000 piece collection of the American Sport Art Museum and Archives (ASAMA), which is open free to the public Monday through Friday 8:00 a.m. – 5:00 p.m.

The ceremony commenced when Dr. Thomas P. Rosandich, President and CEO of the Academy, unveiled the plaque dedicating the 24-foot sculpture. Then, the first piece of the sculpture, depicting a tricyclist, was unveiled by the artist himself, Bruce Larsen.

The second piece of the sculpture, a 12-foot tall Civil War cyclist, was unveiled by Mr. Robert Campbell III, Esq., the Chairman of the Academy’s Board of Trustees and an attorney in Mobile, Ala.

The third piece, depicting a wheelchair cyclist, was unveiled by Ms. Nancy Raia, the Community Arts Director at the Eastern Shore Art Center and Chairperson of the Academy’s Art Committee.

Lastly, Mr. Dane Haygood, the Mayor of Daphne, unveiled the final piece depicting an Olympic cyclist.

The theme for the sculpture was selected in part by the Academy’s role as a transition point in the upcoming 263-mile Gulf Coast Interstate Relay. The Relay, which includes runners and cyclists, will begin in New Orleans, La., on Friday, April 4, 2014, and will conclude in Pensacola, Fla., on Sunday, April 6, 2014.

The United States Sports Academy is an independent, non-profit, accredited, special mission Sports University created to serve the nation and world with programs in instruction, research, and service. The role of the Academy is to prepare men and women for careers in the profession of sports. For more information about the Academy, call 251-626-3303 or visit

The Academy is an IRS-designated 501(c)(3) charitable organization able to receive tax-deductible charitable contributions. Your donation today is deeply appreciated. Donate Today
U.S. Sports Academy


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Thursday, April 18, 2013

Rumor de Jour: Shipyard/Seadog Brewing

It's rumor time again! Yup, it may be one of the more useless functions of what we do here at Utah Beer, but at least it keeps us in good conversation.

Today's rumor has to do with Shipyard/Seadog Brewing out of Maine. The East Coast breweries have been around since the mid 90s and a "little bird" tells me they may be entering the Utah Market soon.

Not sure what labels we'll see, they will most likely be bottled beers. The breweries tend to specialize in English style ales. I've sampled some of their beers at a couple of beer festivals and they're solid beers, great additions to the market.

Take it for what it's worth, some of these rumors pan-out and some will just annoy the shit out of you, 'til the next one comes along. No! I have no new info on Goose Island. I'm sad too....

Chris Detrick said...

I thought it was a bit odd to see a Shipyard truck in this year's St. Patrick's Day parade.

Mikey said...

Well, Ahoy Matie! Thanks, Chris.

Scot Singpiel said...

The Shipyard IPA is too good! Like you said, they tend to be more English style, which I like. I like a more well balanced and not over hopped IPA.

Thanks for the news.

stevecooks said...

Shipyard has a few beers I love. Their Old Thumper is a long time favorite of mine. (I lived in New England for years.) Their Pumpkinhead is one of the few pumpkin beers I can stomach. I even enjoyed Applehead.

I enjoyed Sea Dog a few times (1990s) at various brewpub locations that are now gone. I have eschewed their beers for a while. The last few beers of theirs I've had have been overly fruity (yuck) beers I've found at Trader Joe's.

I was surprised to see Shipyard's Export Ale in my local supermarket in Northern CA.


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The three-fold mission of WRRI is:

1. To conduct research on water resources and related areas,
2. To assist in the training of students and water resources professionals
3. To provide information exchange in the area of water resources, not only locally and regionally, but on a national and international level.

An advisory board consisting of representatives from local and federal government, private agencies and citizen groups assists WRRI in developing its priority areas. This guidance has resulted in the Institute program historically being responsive to local needs. A major focus of research has been on the use of rain water cistern systems for domestic water supply. WRRI has extensively examined the quantity, quality and management aspects of this source of water which is required by law in the Virgin Islands.

WRRI operates a well-equipped meteorological station, water quality laboratory and geographical information systems laboratory on the St. Thomas campus of UVI. In addition to their research support roles, these facilities are used for demonstrations and to provide exposure and training in water resources areas to students that WRRI regularly employs and the general public.

Cooperative Studies/Conferences
The Water Resources Research Institute considers the input and exchanges that collaboration provide as essential for the successful execution of its mission. Research is conducted jointly with local agencies such as the Department of Planning and Natural Resources and the Virgin Islands Water and Power Authority and with federal agencies such as the U.S. Environmental Protection Agency and the Caribbean District Office of the U.S. Geological Survey.

WRRI collaborates on projects with other units of the University including the Division of Science and Mathematics, the Agricultural Experiment Station, the Eastern Caribbean Center and the Cooperative Extension Service.

As part of its information dissemination and outreach effort WRRI holds conferences and seminars, conducts workshops and gives lectures and tours. Research findings are disseminated through a Technical Report Series and a periodic newsletter.


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St. Luke’s Steel Band Salutes Michael Jackson

Sources: New Haven Independent  – By Brian Slattery| All Things Michael

“Sit back and relax,” said Kenneth Joseph, the musical director of St. Luke’s Steel Band. “Or dance, clap, and sing. Make them smile. They love to smile.”

Joseph was talking about his students from the St. Luke’s Steel Band and Music Haven summer camp students, just before the group launched into “Black or White.”

It was midway through “This Is It,” a concert of all Michael Jackson songs performed by a collaboration between St. Luke’s and Music Haven students to celebrate what has turned out to be the indelible legacy of the King of Pop, but deeper still, the rich, joy-filled sound that drums and strings can make together this past Friday afternoon at St. Luke’s Episcopal Church on Whalley Avenue.

The concert was a testament to the dedication of the students to the music, and of Joseph and fellow instructions Debbie Teason (also steel pan), Colin Benn (strings), and Kareem Victory (percussion) to ensuring that their students succeeded, whether they were playing solo, in small groups, or all together.

Victory led his students in a drum demonstration.

students_conducting_students-550x309 (1)

Students conducted students.

When a cello needed to get to its player in the back of the string section, everyone lent a hand.

The concert picked up steam as St. Luke’s and Music Haven gave M.J.‘s greatest hits — “Billie Jean,” “Beat It” — a good workout. During “Thriller,” Benn took the mike to fill in for Vincent Price’s rap. The mike was quiet at first, but since half the audience knew it by heart anyway, it didn’t matter.

“I’ll do it for you,” said a woman in the audience, and joined in. By the time Benn got to the part about the funk of 40,000 years, at least a dozen voices were chanting along with him.

“I just want to say how exciting it is,” said Teason during a quick break before the finale, “that St. Luke’s Steel Band and Music Haven are taking their collaboration one step further.” She mentioned that many of the students in the steel pan group and many of the string players had started playing each other’s instruments, many for the first time.

Not that you would have noticed, as all the students played with drive, concentration, and real heart.

At the end of the program — a rendition of “We Are The World” — Joseph told the assembled audience that they would be cued to sing. “You won’t be able to help yourselves,” said Teason. And as soon as she turned to the audience, everyone in the church proved her right.

Also see St. Luke’s Motown Forever Tribute to The Temptations, Marvin Gaye, Michael Jackson and more below.

Read more here

The 50 Greatest Pop Songs Of The ’80s

Sources: Metro Weekly – By Chris Gerard | All Things Michael

All of the songs selected appeared in the Top 10 of the Billboard Hot 100 singles chart sometime during the ’80s. Only one song per artist is included.

1. “Billie Jean” – Michael Jackson (1982)

If one song changed an entire decade, it’s Michael Jackson’s “Billie Jean.” One of the greatest recordings in pop history, its foundation is a heavy back beat by drummer Leon Chancler and a sinuous bass-line by the late Louis Johnson. Soaring over it all is Michael Jackson’s innovative vocal delivery. His phrasing — every vocal hiccup, twirl and twinge perfectly placed — makes the song. It’s a viscerally exciting piece of music, tense and dramatic, enigmatic and otherworldly. Who else but the King of Pop could have produced the single greatest pop song of the ’80s? See songs 1- 10 here

14. “Miss You Much” – Janet Jackson (1989)

Following up Control was no doubt a daunting endeavor, but Janet Jackson, Jimmy Jam and Terry Lewis were nothing if not ambitious. They ended up besting it by a mile with Rhythm Nation 1814, a hard-edged collection of pop, dance and R&B that not only grooves but has a positive message. The first single, “Miss You Much,” is a sizzling dance/pop anthem, formed around a heavy backbeat thickened by a funky bass-line, with swirls and bursts of keyboard underlying Jackson’s heavily layered vocals. The manic vocal arrangement during the chorus is particularly genius and Jackson sounds playful, self-assured and upbeat. See songs 11-20 here

Songs 21 – 30

Songs 31- 40

Songs 41- 50

100 Years Of Black Music

Sources: OUPblog – By Miki Onwudinjo | Oxford African American Studies | All Things MIchael

Celebrate the end of Black Music Month with this timeline highlighting over 100 years of music created and produced by influential African-Americans. Kenny Gamble, Ed Wright, and Dyana Williams developed the idea for Black Music Month back in 1979 as a way to annually show appreciate for black music icons. After lobbying, President Jimmy Carter hosted a reception to formally recognize the month. From then on, June became the period to commemorate the greats such as Frankie Lymon, Billie Holiday, and Michael Jackson. The month has grown from small gatherings to large events hosted nationwide. President Obama has since renamed the national observance and has proclaimed it as African-American Music Appreciation Month. Whatever it’s called, the rich legacy of black music will continue to be celebrated every day, all around the world.

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Miki Onwudinjo is a Junior Level Marketing Coordinator at Oxford University Press.

Click here to see timeline

How Michael Jackson Inspired One of the Original YouTube Memes

Sources: Gizmodo – By Adam Clark Estes | All Things Michael

An incredible thing happened on July 17, 2007. A video of several hundred inmates wearing orange jumpsuits and performing an immaculately choreographed dance to Thriller appeared on a small website called YouTube. Two years later, Michael Jackson was dead, and YouTube had changed history.

You might argue that Michael Jackson’s Thriller dance did for YouTube what his originalThriller music video did for MTV.

The video of inmates reenacting the original dance in a Phillippine prison was not only one of the early viral successes of YouTube. It was also one of the first times that a viral video became a meme with dozens of copycats uploading videos of similar performances from all over the world. Early adopters, of course, were college kids. Within a few months, the Thriller dance meme combined with the flash mob theme:

Suddenly, MJ’s jam from the early 80s was cheering people up all over the world, all over again. Michael Jackson died exactly six years ago today, but what’s remarkable is that the meme lives on. Two years after his death came this Thriller dance tribute in LEGO:

The Thriller dance has also become a mainstay at weddings. One could even argue that the Filipino prisoner Thriller dance was inspired by a grainy wedding clip from 2006, but it’s hard to say if prisoners in the Phillippines had access to high speed internet back in those dark ages before widespread wifi. Now, it’s self-evident that the meme is still being reenacted and reinvisioned. As with any meme, you know it’s hit mainstream when it’s being used as marketing materials. Case-in-point: the Thriller dance in a viral video from the Denver International Airport.

What’s inevitably remarkable about this little internet history factoid is the simple fact that it’s pure MJ. It’s a perfect encapsulation about how his music brought people together from all corners of the globe, from all cultures, and from every ethnicity. It’s fun to dance to!

I’d been living in New York City for less than a month when Michael Jackson died. That night, my friends and I wanted to pay our respects the best way that we could. We wanted to boogie. And apparently the entire city had the same plan. Wherever you went—in bars, in clubs, on the streets, in taxicabs—Michael Jackson’s songs were playing, and people were dancing. Everyone was so happy.

So today, on the anniversary of his death, let’s remember how Michael Jackson’s music inspires the best in us. It can make anyone from prisoners to minifigs dance. It can inspire an internet meme. It’s inspired a generation of memes. And for reasons like that, Michael Jackson will remain, in his own way, immortal.

Read more here

The 24 Best Michael Jackson Covers On YouTube

Sources: The Daily Dot – By Jam Kotenko| All Things Michael

Today marks the sixth year the world had to endure without the awesomeness ofMichael Jackson. Arguably the biggest and best pop artist who ever lived, Jackson dedicated more than 40 years of his life to his craft, all that time gifting his fans with awe-inspiring dance moves and a sizable collection of hit songs.

Say what you will about him; Jackson will always be remembered as the King of Pop, and as of this writing, no one has come close to taking the title. To commemorate this talented genius, we’ve rounded up the best Michael Jackson covers performed by some of the musicians he has inspired in some way or another.

1) “ABC” by Cimorelli

Given that this band comprises siblings, just like the Jackson 5, it seems pretty perfect that they chose to do an a cappella cover of a song that features a young Michael Jackson.

2) and 3) “Beat It” by Pomplamoose and One O’Clock Trio

“Beat It” is the bees’ knees. It’s one of Jackson’s coolest and most memorable songs, and one that is pretty hard to duplicate. Which is why we appreciate the originality in Pomplamoose’s rendition of the opus:

Another equally captivating take on the song is by One O’Clock Trio, who gave it a beautiful bossa nova spin.

4) and 5) “Billie Jean” by the Civil Wars and Sungha Jung

Even though the two-man group that once raked in a bunch of awards for being the best duo from 2011 to 2014 is now no more, this live rendition of another popular Jackson track reminds us of their combined talent.

This is one of Jackson’s most covered songs, so of course we’ve got another awesome one for you, this one by guitar wizard Sungha Jung.

See more covers here

Thriller: Celebrate Michael Jackson With His Top 15 Amazing Videos And Live Performances

Sources: – By Stefan Kyriazis

MICHAEL JACKSON lives on in some of the greatest pop videos of all time: We celebrate the anniversary of his death with our Top 15 magical MJ moments.

Six years ago on June 25, 2009, The King of Pop passed away.

Michael Jackson’s death due to acute propofol and benzodiazepine intoxication after suffering cardiac arrest was a shocking end to a glorious talent.

That talent, though, lives on in his remarkable music and seminal music videos.

We celebrate Jackson’s unparalleled life and work with our countdown of some of his finest moments on film. As well as his iconic pop videos, we’ve also found some breathtaking live performances and a fan-made tribute to his top ten classic dance moves.

First up is an incredible 15-minute live performance where the superstar, at the height of his fame, performs a medley of his greatest hits.

1. 1995 MTV Awards

Michael Jackson performs the songs The Way You Make Me Feel, Scream, Black Or White, Billie Jean, Dangerous and You Are Not Alone.

There is a memorable guitar solo from Slash, plus Michael’s sister Janet Jackson and wife Lisa Marie Presley Jackson are seen watching in the audience.

2. Billie Jean

The 1992 video is credited with launching the MTV music channel phenomenon and is still considered one of the best videos of all time.

Even if we thought for years that he was actually singing “The killer’s not my son” instead of “the kid.”

3. Can You Feel It

The first of out two eco-friendly tracks is the 1981 classic by The Jackson Five.

The video is an ambitious display of cutting-edge special effects from the time and the song, written by Michael, foreshadows the heartfelt plea of the next track…

4. Earth Song

This 1995 smash hit was an environment-focused plea to save our planet. The epic video was shot on four continents and won numerous awards.

Earth Song remains Jackson’s top-selling single of all time.

3. Can You Feel It

The first of out two eco-friendly tracks is the 1981 classic by The Jackson Five.

The video is an ambitious display of cutting-edge special effects from the time and the song, written by Michael, foreshadows the heartfelt plea of the next track…

4. Earth Song

This 1995 smash hit was an environment-focused plea to save our planet. The epic video was shot on four continents and won numerous awards.

Earth Song remains Jackson’s top-selling single of all time.

5. Black or White

Jackson didn’t only generate controversy in his personal life.

The video for Black or White was broadcast in 27 countries to an audience of 500 million viewers, the most ever at one time for a music video.

Featuring a cameo from McCaulay Culkin, the video should have been remarkable for the innovative face-morphing technology it used.

Instead, it hit headlines for featuring sexually suggestive scenes and racial graffiti.

6: Don’t Stop ‘Til You Get Enough

This funked-up pop classic from 1979 marks his first solo video.

Compared to the bombast and scale of his later effortd it is remarkably simple but his charm, charisma and effortless dancing already mark him out as a huge star.

The video also showcases his trademark black trousers and loafers with white socks.

A segment where he dances with himself marks him out as the modern-day successor to Gene Kelly.

7. She’s Out Of My Life

A change of pace in another classic from 1979.

Long before Sinead O”Connor braved a tearful close-up in Nothing Compares To You, Jackson bared his soul in an intimate video shot in a single take.

“What you’re seeing on there is one complete take, it was shot multi-camera,” recalls director Bruce Gowers.

“Very emotional he was in that. I was worried that he was actually going to break down and cry – which would have probably been a bit wonderful if we got some tears rolling down the face. That almost happened but not quite.”

8. Blame It On The Boogie

Strictly speaking this 1978 hit is by The Jacksons – Michael with brothers Tito, Jermaine, Marlon and Jackie.

Confusingly written by UK singer Mick Jackson, it was a Top 10 hit in the UK but failed to crack the Top 50 in the US.

9. Say Say Say

What happens when you bring together two of the biggest names of all time?

Well, you get a pleasantly catchy pop song and a brilliantly bonkers video with the pair posing as con artist Vaudeville performers.

Exactly what Linda McCartney was up to is anyone’s guess.

10. Billie Jean Live

This is just one of many incredible live performances of his signature song with all the classic moves, from the leg wiggle to the Moon Walk.

Recorded in 1983 for the Motown 25: Yesterday, Today, Forever gala concert, it is a supreme example of a master at work.

11. Leave Me Alone

This 1989 hit has an irresistibly jaunty hook and playfully colourful video which disguises the very serious tone of the song.

The video took nine months to animate and three days to shoot the live sections and is a powerful anti-media rant.

The director, Jim Blashfield was impressed by Jackson’s willingness to also skewer his own plastic surgery obsession.

“The fact that he would think it would be OK to represent his plastic surgey, with the nose and the scalpel, it was just pretty great.

“I heard through the grapevine Michael’s mother didn’t like that particular image that much,” Blashfield said.

12. Jackson’s Top Ten Dance Moves.

This fan-made tribute counts down all the classic MJ moves.

13. Beat It

Jackson took the turf war between the Jets and Sharks in West Side Story to a modern audience in 1983 with his dance-fuelled showdown.

The track won the Grammy for Record of the Year and helped propel the Thriller album to becoming the best-selling album of all time.

With certified sales of over 42 million, it is unlikely to ever be surpassed.

14. Bad

The video for this 1987 hit was directed by Martion Scorcese, who knows a thing or two about tough guys.,

It also features an early uncredited appearance by future film star Wesley Snipes.

15. Thriller

For fans of a certain age, nothing will ever compare to the excitement this short film caused.

It had its live premiere on national TV in the UK and a generation of teens begged to be allowed to stay up late and watch it, while religious and conservative groups raged at the shocking imagery.

Try not to get chills when Vincent Price starts to intone that iconic intro: “Darkness falls across the land, the midnight hour is close at hand…”

Mind you, when Michael also tells his blushing girlfriend, ” I’m not like other guys,” it’s hard not to raise an eyebrow.

Luckily it’s all soon forgotten in the monster mayhem of the magnificent John Landis video.

Read more here

Watch Miguel Rivera’s Fingerstyle Cover of Michael Jackson’s “Beat It”

Sources: Guitar World | All Things Michael

Here’s a masterful take on Michael Jackson’s “Beat It” from acoustic guitarist Miguel Rivera that was uploaded today, June 22.

We’ll let Rivera explain the background of his percussive/fingerstyle cover:

“I decided to start working [on] this arrangement because it was a great challenge. When you listen to the chorus of the original song, you can hear the main riff (recorded by Steve Lukather) together with the Michael’s vocal melody and, of course, drums, bass and other instruments.”

”My objective was to play all [of these parts] together: the main riff, the vocal melody and the percussion part. I had to find the proper tuning and make good use of the harmonics, but in the end I got it.”

It’s an impressive arrangement right down to the Eddie Van Halen-inspired solo.

Check out the video below, and follow Rivera on Facebook here.

Read more here

Sources: Las Vegas Magazine – Matt Keleman | All Things Michael

Before the curtain first lifted on Cirque du Soleil’s Michael Jackson ONE in June 2013, original cast member and acrobat Aleksandr Wade articulated a sentiment that he seemed to imply was shared by his fellow performers: “You’ll probably hear it a thousand times: I’m the little kid that did ‘Thriller’ in his PJs.” And it’s not just the performers who started out as amateur moonwalkers; the creative team that developedMichael Jackson ONE includes people with a history working with or for Jackson himself, most notably writer-director Jamie King.

But while Jackson was an international celebrity, it was his inner world that interested the creators ofMichael Jackson ONE.

In bringing that inner world alive, ONE’s creators employ a cast representing at least 18 countries—six of the principal characters hail from five different continents. The four “misfits” personifying aspects of Michael Jackson’s character are played by Brazilian Gabriel Amaral (Clumsy), Italy’s Jade Xu (Shy), New Zealander Reimy Jones (Smarty Pants) and France’s Xavier Mortimer (Sneaky).

Ngame, the Moon Goddess who floats above the audience on a crescent-shaped celestial body, is played by Valerie Kimani of Kenya, while Wink, the nimble dancer set free from Michael’s Magic Trunk, is portrayed by U.S.-born Trent Jeray Mendoza.

“Beat It” rocks the house through the theater’s surround sound system as 18 dancers in white fedoras re-create iconic Jackson moves. The misfits (and the audience) are pulled into “The Vortex” as time goes haywire and bungee acrobats bounce with the controlled chaos. Once media mash-up machine Mephisto is established as the antagonist, the King of Pop’s four positive actions—hope, comfort, dream, believe—are subsequently manifested through physical, visual and sonic expression.

This inner universe becomes emotionally affecting as the Moon Goddess appears during “Stranger in Moscow,” with Jackson’s chill-inducing “how does it feel” hook taking the show in a melancholy direction. That mood continues when the misfits release Wink—the physical embodiment of a magical song—to a medley of “I’ll Be There,” “Human Nature” and “Never Can Say Goodbye.” There are more poignant moments ahead, such as sequences tailored to “Smile” and “I Just Can’t Stop Loving You.”

But there’s no shortage of excitement either. Shy’s turn fighting off Mephisto with a martial arts staff and wushu expertise during “Jam” spins the stage into action after Wink’s emergence. Add in gravity-defying acrobatics on slacklines and trampolines, stunning sound design, fantastical combinations of choreography and special effects—from the LED-laden “Billie Jean” warriors to an ingenious sequence using silhouettes—and an inspirational sequence by one-legged dancer Jean Sok of France (to “Can You Feel It”), and you have one thriller of a Vegas experience. The King of Pop may be gone, but the magic that made kids around the world dance in their pajamas lives on.

Mandalay Bay 4:30 & 7 p.m. Sun. 7 & 9:30 p.m. Mon.-Tues. & Fri.-Sat., $69-$180 plus tax and fee. 800.745.3000

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The Value Line Entertainment Industry is comprised of a set of diversified companies. They are mainly television network and station owners, and are typically involved in programming and production of content, including feature films. It is a constantly evolving group, with prospects in certain subsectors being much better than in others. Revenue trends in certain core segments, including broadcast television and radio, tend to vary with consumers' and advertisers' preferences towards new forms of media. Several conglomerates control a large proportion of the industry, somewhat limiting competitive pressures.

Environmental Factors

The trend in advertising spending is an important factor affecting this group. Indeed, a large proportion of this industry's top line is derived from ad expenditures, on both the national and regional levels. Strong demand in the upfront (advance) market occurs during an economic upturn, indicating bright prospects. Auto manufacturers are the largest advertisers, while retailers and financial services companies also play a large role. However, when these firms slash spending, it hampers the earnings of entertainment companies heavily reliant on advertising. Meanwhile, a television station owner's ad income tends to fluctuate in tandem with viewership ratings. In addition, ad pricing can be affected by various metrics. Examples would be the level of airtime inventory, occurrences of local and general elections, and the Olympics. Finally, other forms of revenue may consist of affiliate fees from cable television providers, the sale of syndication program rights, film box office receipts, as well as sales of physical media (such as DVDs) and downloadable content.

A flourishing economy will help broadcasters by way of higher corporate ad demand and more personal spending. During a slow economy, corporations are likely to cut their advertising spending. However, entertainment companies can often mitigate the effect through initiatives such as higher affiliate fees, which work to support the top line. Reviewing a company's earnings history should be indicative of how well it has navigated economic slumps.

Technological advances also play a role in the industry. Products, such as namely digital media and high-definition (HD) content, have widened consumer choice, which tends to spur competition. On point, subscriber acquisition costs, consisting of  programming, production, distribution and marketing expenses, are likely to increase.

Asset Mixes

When evaluating a media firm, consideration should be given to the businesses in which it operates and the proportion of revenues accorded to each endeavor. For instance, cable television and outdoor advertising (billboards) may be seen as having better prospects than radio. Companies with larger, more diverse holdings are often capable of realizing revenue and cost synergies that mitigate some risk. In addition, operating margin improvement is usually driven by cross-platform tie-ins of popular brands through various outlets, such as consumer products (namely toys) that market popular films.

Buyouts and divestitures are common among industry participants seeking to achieve the ideal structure. Popular areas for purchases can include, but are not limited to, video gaming, digital, and online properties. The deals may not be immediately beneficial to the bottom line, though, because of increased R&D and content development expenses. In the meantime, divestiture of traditional radio properties is a common thread in the industry. Finally, regulations, including those pertaining to restrictions on the ownership of multiple television stations in one market, impact the composition of the industry and foster competition.

Investments in Growth

Consumer preferences often change, and successful media companies periodically review their portfolios, while taking action to improve their product mix. The creation of quality content is becoming increasingly important, as is international expansion. Large conglomerates with strong balance sheets, access to cheap capital, and strong distribution capabilities are best positioned for overseas ventures. Smaller companies, operating in one or two subsectors, may be ill-equipped to invest in operations that will boost their profit growth potential. Meanwhile, the growth of emerging markets is a positive for the industry. Indeed, many companies have taken a foothold in these markets, and continued expansion in this regard is likely.

A healthy financial position is vital in determining the ability of a media firm to make the right investments. A moderate amount of leverage is seen as being favorable, since borrowings are often required for investments in small acquisitions or new projects. Restraints on available credit might hinder a firm's ability to enter new sectors. Cash flow is an important metric, and should be evaluated to determine if a firm can easily fund its expansion initiatives, as well as pay down debt and repurchase shares.

The Entertainment Industry can change rapidly. Thus, the ability to identify desirable content, foresee trends, capitilize on expansion opportunities requires a good deal of managerial skill. A focus on growth markets, such as online content, generally adds to a company's long-term appeal. By the same token, investors should be wary of those with large holdings in declining sectors. Additional investment attributes include a healthy return on capital and solid cash flows. And, from time to time, some companies may be viewed as attractive in light of near-term catalysts, such as well-received movies. Finally, some entertainment equities, primarily those of broadcast television station owners, often offer attractive dividend yields. Large-cap stocks with high marks for Price Stability can also be found in this industry.


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Yet another J-horror title is recycled for Western consumption in "One Missed Call," a remake of the 2003 Nipponese spooker that remains one of gonzo helmer Takashi Miike's more conventionally commercial efforts.

Yet another J-horror title is recycled for Western consumption in “One Missed Call,” a remake of the 2003 Nipponese spooker that remains one of gonzo helmer Takashi Miike’s more conventionally commercial efforts. English-language debut for director Eric Valette (whose French feature “Malefique” stirred excitement at fantasy fests, also in 2003) reps an improvement in some respects, not least in running nearly a half-hour shorter. This decent if derivative scare machine benefited from a weekend launch with little genre competition to notch up $13.5 million domestically and should see solid returns in most territories, to be followed by good ancillary trade.

The odd death of a young woman and her cat in a Japanese-garden-style pool appears to trigger a series of freakish, abrupt demises among her good-looking students in an unspecified U.S. college town. (Pic was shot in various Georgia locations.) These fatalities are linked by social or professional ties, with each victim’s cell-phone address book providing a next-in-line supply of designated deaths.

Eerily, they all receive a cell-phone message from the previous victim — the sound of his or her own last, violently terminated moments.

The two nerve-wracking days between call and curtains are filled with disturbing hallucinations of the “I see dead people” variety. Turning off phones, removing their batteries, throwing them away or even smashing them to bits doesn’t seem to reduce mortal peril for those already given a voicemail death sentence.

This certainly makes campus life less pleasant for the circle of friends surrounding Beth (Shannyn Sossamon), who has the ill fortune to witness the variously grotesque deaths of her pals. She is clearly next, but has a hard time convincing skeptical authorities (including a cop played by comedian Margaret Cho in a rare if nondescript dramatic role), though she does gain an ally in Det. Jack Andrews (Edward Burns), whose own sister also just died a mysterious death.

Andrew Klavan’s screenplay maintains the prior version’s (and presumably the source novel’s) basic premise and some specific situations, but reps a fairly free adaptation. Both he and Valette tighten up the original pic’s somewhat convoluted, uneven progress, while also paying a price in escalated last-act silliness. The Miike film’s midpoint highlight — in which a character’s doom is exploited by a reality TV show — is reprised to far lesser effect here.

On the plus side, Valette demonstrates considerable assurance maintaining suspense (even if it’s often of the anticipating-the-next-false-scare variety) in a presumably for-hire Hollywood-entree job. Production values are polished and atmospheric.

Sossamon (“A Knight’s Tale,” “Wristcutters: A Love Story”) stays too emotionally neutral compared to the earlier victims, who make vividly panicked impressions; Burns is adequate.

“One Missed Call’s” impact is curtailed by its cliched, overly familiar presentation of child abuse as a dark narrative secret, CGI-assisted ghouls and PG-13 “gotcha!” moments.

Where its rating is concerned, pic really demonstrates MPAA values at work: It has tons of nightmarish imagery, violence and tension, but since there’s no blatant gore (excluding decomposed bodies) and no overt sexuality, it’s deemed suitable for irresponsible family viewing.

One Missed Call

A Warner Bros. Pictures (in U.S.) release of an Alcon Entertainment (U.S.)/Kadokawa Pictures (Japan) presentation, in association with Equity Pictures Medienfonds (Germany), of an Intermedia Films (U.K.) production. Produced by Broderick Johnson, Andrew A. Kosove, Scott Kroopf, Jennie Lew Tugend, Lauren C. Weissman. Executive producers, Timothy M. Bourne, Martin Schuermann, Josef Lautenschlager, Andreas Thiesmeyer, Shinya Egawa. Co-producers, Steven P. Wegner, Elizabeth Kushman, Alison Haskovec, Manfred Heid, Gerd Koechlin. Directed by Eric Valette. Screenplay, Andrew Klavan, based on the novel "Chakushin ari" by Yasushi Akimoto and the 2003 motion picture "Chakushin ari" directed by Takashi Miike/screenplay by Miwako Daira.

Camera (Technicolor prints), Glen MacPherson; editor, Steven Mirkovich; music, Reinhold Heil, Johnny Klimek; music supervisor, Deva Anderson; production designer, Laurence Bennett; art director, Christina Wilson; set decorator, Frank Galline; costume designer, Sandra Hernandez; sound (Dolby Digital/DTS/SDDS), Whit Norris; sound designer, Dorian Cheah; supervising sound editors, Kami Asgar, Sean McCormack; supervising re-recording mixers, Tateum Kohut, Beau Borders, Deb Adair; visual effects supervisors, Randy Goux, Patti Gannon; visual effects and animation, Zoic Studios; special makeup effects, Mike Elizalde's Spectral Motion; assistant director, Michelle Ziegler; casting, Nancy Nayor Battino, Kelly Martin Wagner. Reviewed at Sony Metreon, San Francisco, Jan. 3, 2008. MPAA Rating: PG-13. Running time: 86 MIN.

Beth Raymond - Shannyn Sossamon Jack Andrews - Edward Burns Taylor Anthony - Ana Claudia Talancon Ted Summers - Ray Wise Leann Cole - Azura Skye Brian Sousa - Johnny Lewis Ray Purvis - Jason Beghe Mickey Lee - Margaret Cho Shelley Baum - Meagan Good Marie Layton - Rhoda Griffis

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