Breaching America: The Latin connection	Breaching America: The Latin connection Web Posted: 05/21/2007 02:41 PM CDT http://www.mysanantonio.com/news/metro/stories/MYSA052107.01A.SIA_PART_II_th e_bridge.34a4987.html Todd Bensman San Antonio Express-News Second part GUATEMALA CITY - Banking low and hard, the Cubana Airlines jet punched below the heavy cloud cover on its final descent into La Aurora International Airport, revealing to passengers a strange jumble of urban sprawl and jutting black volcanoes. Aamr Bahnan Boles was exhausted and drowsy from three days of international air travel and layovers, but adrenaline mixed with dread jolted him awake. He looked out the window at the alien landscape below. Boles was 24. The farthest he had traveled from his home near Mosul in Iraq was to Damascus, Syria, a couple hundred miles away, where he'd taken refuge in early 2004 along with hundreds of thousands of other Iraqis fleeing the war. He was acutely aware of how alone he was. He could speak barely a lick of Spanish. Soon Boles would find out whether he would be thrown into some dank Guatemalan detention cell and then deported to Syria or remain free to pursue the bright dream that had driven him this far: escaping the war and starting a new life in America. Boles has plenty of company in the human pipeline that traverses the seas, spans continents and winds its way to the U.S. boundary. Boles and other so-called "special-interest aliens" from Iraq and 42 other countries where terrorist groups operate are automatically deemed security risks when they steal across the border. Though most are economic migrants, the prospect that their ranks might include a terrorist infiltrator preoccupies American authorities whose job it is to distinguish between the two and prevent another attack. Boles' journey to America followed a roundabout route designed to take him through countries adversarial or indifferent to concerns about U.S. national security. His travels - which would consume almost one year of his life, land him in jail and literally test his Christian faith - began in earnest when he paid a man in Damascus $750 to secure a Guatemala tourist visa, supposedly from a consulate office in Amman, Jordan. Boles took a stranger's word that it was legitimate. Would Guatemalan customs officials accept an Iraqi passport and a Guatemala tourist visa without question? Because of so much uncertainty, America was still more dream than destination for Boles on the summer day he boarded a plane at the Damascus airport. The Syrian capital's main airport, with its Damascene-patterned exterior of interlocking eight-point stars, is dingy and small - an unlikely place, it might seem, for high hopes or dream destinations in the west. It has only 14 gates, aging interior pillars of chipped dirty tile and floors with filthy grout work. Veiled women pull luggage on wheels, and robed men swoosh toward late flights. From here, Syrian Airlines flies to Moscow twice a week. On a June day in 2005, Boles boarded a plane to Moscow. Then, after a short connection, he made the 13-hour flight to Havana, another common steppingstone on the road to America. There he spent a fitful night in a cheap hotel before catching a connecting flight the next day to Guatemala City. Officials along the way waved him through without interest. But now Boles' heart pounded as he disembarked and took his place in the "foreigners" line at customs in Guatemala City. An officer in a light-blue uniform with epaulets on both shoulders sat behind a glass-encased station, two disinterested unarmed officers standing on either side. Jet fumes permeated the utilitarian building, hardly made more cheerful by the discolored, framed tourist posters of volcanoes and smiling Mayan villagers. When it was Boles' turn, the humorless officer flipped through his Iraqi passport with its Arabic lettering, every page blank except for stamps from Syria and Cuba. The customs official added his stamp and waved Boles through. Relief washed over Boles. He was on the same continent as America. If all went well, he told himself, he'd soon be eating and drinking with relatives in Sterling Heights, Mich. He didn't have much of a plan, though, and only about $2,000 left of the $5,000 stake his father had given him. He changed some of it to Guatemalan quetzals. Carrying his suitcase, he let a cabdriver fish him out of the crowd and used the only Spanish he knew. "Zona Una, por favor. Zona Una," Boles told the cabdriver. " Hotel, por favor. Hotel." Boles had been told in Damascus that Zone 1, Guatemala City's central market district, was where he would find hundreds of Arab merchants who speak Arabic. Maybe they could help him find a smuggler. He may not have known it at the time, but Boles would soon learn he had come to exactly the right country for that. More than geography Guatemala is a pivotal stop along the serpentine routes where American law enforcement has tried to intercept special-interest immigrants. Immigrants from all parts of the world find it a virtually unpoliced superhighway, where local Arabs and corrupt border officials help people like Boles move under the radar, camouflaged in the multitudes. The U.S. State Department singles out Guatemala as one of the world's busiest transshipment nations for undocumented immigrants of every nationality, mostly South and Central Americans. Special-interest immigrants from the Middle East, Africa and South Asia blend in easily among them, moving inexorably north. One reason is simple geography. South of Guatemala are the South American and Central American countries where many special-interest immigrants first arrive and prepare for the final push north. To the north of Guatemala is Mexico and America's southern border. So virtually everyone on the way to the U.S. by land is eventually funneled through Guatemala. But, like other Latin American countries, Guatemala offers more than just geography. Assistant U.S. Attorney Laura Ingersoll has prosecuted several major smugglers who have brought hundreds of Middle Eastern clients across U.S. borders. She said Guatemala offers "relative ease of entry, a hospitable Arab immigrant community that provides safe temporary haven, and it has operating within it individuals who are tied into illegal-immigrant smuggling business." U.S. homeland security agencies are well aware of Guatemala's key location and have quietly sought to cripple the flow with undercover enforcement operations. But the impact on the tenacious industry, allowed to flourish by a lax central government, is questionable. U.S.-led enforcement operations in the country began targeting smuggling rings here in the 1990s, mainly networks that trafficked in women and children, all victims of sexual exploitation, when that was a priority. After 9-11, U.S. immigration agents in Guatemala shifted gears. In undercover operations targeting smugglers of people from Islamic countries, they have quietly logged the captures of dozens of Iraqis, Jordanians and others, according to federal officials familiar with the operations. But these apprehensions appear to have been episodic at best. The smuggling industry is vast, entrenched, flexible and politically connected. Records from the resulting U.S. prosecutions of smugglers show they have moved hundreds, if not thousands, of special-interest immigrants over routes that snake in and out of Guatemala - by land, air and sea. The routes are served by a nationwide infrastructure of safe houses, private residences, hotels, bus fleets and ship owners, according to investigation records. Nearly everyone along the way earns a cut, not the least local police and immigration officers with every motivation to keep the traffic - and money - flowing. Gustavo Barreno, who served from 1997 through 2005 as a federal prosecutor in charge of enforcing his country's human trafficking laws, called smuggling "the No. 1 cash industry for government officials in Guatemala." "The business is gigantic. You have no idea," he said. "Everyone is involved - everyone. And for Arabs to come into Guatemala it's really easy - really easy." Barreno described the details of a long-standing joint operation between his small office of prosecutors and American authorities. The operations involved the use of American satellites, Coast Guard cutters, the U.S. Navy and the intelligence services of various South American governments, according to several American law enforcement sources. Not long after 9-11, Barreno remembers, an alert arrived in his office from U.S. authorities to be on the lookout for "people with Arabic features." A stream of "wanted" posters featuring suspected terrorists began appearing after that. Barreno's men did find Middle Eastern and Muslim immigrants heading for the U.S. "When one was discovered, I would detain them," Barreno said. "They were always turned over to the Americans." It's not known what the American authorities did with such detainees. Ironically, controversy over a group of Jordanians would lead to the joint program being shut down, Barreno said, which illustrates one reason American efforts in Guatemala remain an uphill slog. One day in early 2005, U.S. and Ecuadorean intelligence officers alerted Barreno to the expected arrival in Guatemala of two wanted Jordanians. After the safe houses were uncovered and the Jordanians arrested, the investigation turned up links between senior government officials and the smuggling ring, he said. Constant interference in the case eventually led to Barreno's ouster and cancellation of the American program, he said. His story about his departure could not be independently verified. And it's unclear what operations the U.S. is conducting in Guatemala now. Senior Immigration and Customs Enforcement officials in Washington, D.C., did not respond to queries for this report. But today, Barreno said, ICE is no longer infiltrating smuggling operations in Guatemala, and the money and the immigrants are flowing like never before. Agents on the take The U.S. government apparently hasn't given up. Santos Cuc Morales, Guatemala's national director of migration, told a story that helps illustrate another reason Guatemala's human trafficking business seems impervious to U.S. desires. In February, Morales said, American Embassy officials approached him and asked whether his immigration officers could stop Iraqis "because of terrorism and the situation in Iraq." The Americans provided intelligence, including lists of stolen passport numbers, and they offered training and money to Morales' immigration agents. But Morales said he couldn't help the Americans with their war on terror. Most of his 450 agents stationed along the nation's borders and at airports and seaports are on the take from smuggling organizations, he said. The majority of his own officers simply won't respond to his orders. Furthermore, powerful government bureaucrats Morales wouldn't name but who wield influence over his department don't want the smuggling stopped because they have stakes in the business. With a shrug, Guatemala's top immigration enforcement official said he wishes he could help the Americans avert another terrorist attack. "I hope that doesn't happen. It would be terrible, but it could happen because of the corruption here," Morales said. "It's the reality of things." The overarching problem is just how entrenched and dynamic the smuggling industry here is. Smugglers have grown wealthy from the proceeds, living openly in luxurious mansions in impoverished rural towns. When smugglers who specialize in Middle Eastern clients have been arrested, their shoes were quickly filled. Networks of smugglers who operate to the north and south of Guatemala cooperate with one another inside the country, handing off clients and cash like relay racers pass batons. And they can be creative. Before he was arrested on a U.S. indictment in 2004, Iranian national Maher Wazzen Jarad ran one of the largest South America-based smuggling operations and used Guatemala as a bridge to the U.S. One route Jarad offered Iraqis and other Middle Easterners was by sea. Ships in Ecuador would carry Jarad's clients north to points off the Pacific coast of Guatemala. Then, speedboats run by a local network would race out from Guatemalan beaches and pick up Jarad's clients for the land journey into Mexico. A third network in Mexico would guide them over the Texas border. One of many Ecuadorean ships halted by American authorities in Jarad's 2003 operation was the Esperanza. Of 137 paying passengers found aboard, 26 were Iraqis headed for America. Government officials say other smugglers now handle Jarad's business. The ocean route from South America is still busy. "Like water, it will find the nooks and crannies in your roof and make its way into your house," said Ingersoll, the prosecutor who helped imprison Jarad. But not everyone can afford the services of a smuggler. People of limited means, like Boles, for instance, must bide their time in Guatemala, save some money and shop carefully for what they can afford. For them, an inexpensive kind of help is available, from Arab communities in Latin America. No questions asked. Lining up a smuggler When Boles walked out of his hotel, the frenetic central marketplace of Zone 1 assaulted him. Throngs of shoppers plied the hundreds of tiny shops crammed in side by side like mismatched dominoes along broken traffic-clogged avenues. The atmosphere was tropical, not what he was used to in his arid native land. Overcrowded red "chicken buses," ubiquitous in this country, roared by at decibels that made him flinch, spewing black clouds that bathed pedestrians and street hawkers shouting deals in Spanish. Boles had a vague notion of what he was looking for. Within an hour, he noticed he had happened into a section of the marketplace that projected a foreign cultural flavor. Some of the shops sported names such as "Rio Jordan," "The Egyptian" and "Haifa." He went into one. The shopkeeper spoke Arabic. Within a couple of days, Boles had a job, in a shop called Los Amigos, selling cheap electronics. His boss was a descendant of Palestinian Arab settlers named Hussein. They belonged to a community of some 3,000 Arabic-speaking Guatemalans of Jordanian, Palestinian and Syrian descent that had settled since the 1930s. Many work as merchants in Zone 1. There are enough Muslims among them to be served by two mosques in Guatemala City. The merchants and their Arab employees do not particularly stand out as different at first glance. Reflections of their cultural heritage, though, become evident in back offices and behind cash registers. Here, the sweet scent of tobacco smoke from traditional shisha water pipes permeates the air. Art works with Arabic lettering hang on office walls, and prayer rugs are stored. Boles would settle in for much longer than he had anticipated. He had no choice. After Boles asked around, the rest of the trip to the U.S. - a 900-mile trek over two borders - looked daunting. There were warnings of vicious machine-gun-toting gangs of bandits who preyed on the steady columns of immigrants. The bodies of their victims were turning up on both sides. Corrupt police and troops were said to be not much better. They would jail you or have you deported unless you paid them off. Boles didn't dare cross into Mexico alone. He would need a smuggler who knew the lay of the land. Not long after his arrival, his new friends put him in touch with a number of such people. None was willing to guide him to the U.S. for less than $5,000. He would end up living in Guatemala City for the next eight months, five months past the expiration of his tourist visa. But no official would ever bother him about it. Staying worked in Boles' favor. He'd be able to preserve and add to his remaining $2,000 and find the right smuggling connection. He'd also learn some Spanish. His life was austere. He lived in a small rundown apartment in Zone 7, a few miles from his job, which he could reach by riding the chicken buses. To keep expenses down, he subsisted on common street food, which was cheap, if alien, to him: tortillas with chicken or beef, and lots of black beans. He worked at Los Amigos every day, picking up a few words of Spanish here and there. Over time, he learned some rudimentary sentences and pleasantries. As he did in Damascus, Boles largely kept his own counsel in Guatemala City. Boles, a Chaldean Christian, which is a persecuted minority in Iraq, had no particular desire to attend church. It wouldn't have done much good anyway; he wouldn't have understood the Spanish-language services. He made acquaintances among the mostly Muslim Arabs in Zone 1 who spoke his language. Without that connection, he would have had a rough time making it. It turns out that many immigrants like Boles find aid in Arab communities all over Latin America, some of which have spawned smuggling operations. Guatemala City was no different. But real friendship wasn't in the cards. The cultural divide between Arab Christians and Muslims extends a long way. On Jan. 2, 2006, Boles turned 25 - far from home, friends and family. He had a month left in Guatemala. Other aspiring immigrants On a recent day inside a Zone 1 shop, amid cheap knockoff purses and watches, a young Syrian Christian man stood vigil over the merchandise, a gold cross hanging from his neck. He didn't speak Spanish, having just arrived from Damascus weeks earlier. Ibrahim Dahang explained through a local interpreter that it had been no problem for him to fly on a Guatemala visitor's visa obtained in Jordan to Paris and then into Guatemala City, where he picked up a job in Zone 1 from a fellow Syrian. He said he left Syria because of the poor economy. "I would indeed love to go to America," he said, to join relatives in Detroit. Dahang abruptly added, however, that he would never try to cross into America illegally. He refused to let his photo be taken and ended the interview. A block and a half away, 42-year-old Imad Aorill worked in an electronics shop owned by a Jordanian man. Aorill had just arrived from Baghdad with his wife and two children, Iraqi Christians who fled Islamic extremist death threats. In Amman, Jordan, he paid a man $200 to get his family visas to Guatemala. Then with financial help from a cousin in Chicago, the family flew the same route Boles took - from Damascus to Moscow, then Cuba and finally Guatemala City. Aorill said his "ultimate dream" is to get his family to America, but he said he could not afford the $40,000 smuggling fee estimates he's been getting for having young children. Until he figures things out, he'll stay. Amar Radi, secretary of the Arab Community of Guatemala, acknowledged the steady traffic of Middle Easterners. "Many Arabs come here and work a while, get the money and then go to the U.S.," Radi said. But he points out that no terrorist who is part of a well-heeled organization would do it this way. People with money, presumably including terrorists well-funded by organizations back home, leave Guatemala as soon as possible. Still, rich and poor alike must travel the same routes over the Mexican border. A buffet of routes By January 2006, Boles was ready to leave the country. Through friends of friends he found a Guatemalan native assembling a load of Salvadorans and Nicaraguans for a run to the U.S. He agreed to cut Boles a special deal. For a mere $250, Boles could tag along with the group as far as the Mexican border, a four- or five-hour drive away. Then he'd be on his own in Mexico. Early one morning, Boles joined the half-dozen or so other migrants in the courtyard of a house on the outskirts of Guatemala City. They piled into two cars and headed for the border. The boundary between Guatemala and Mexico is part undifferentiated land with few markers and part the Rio Suchiate, which empties west into the Pacific. This border - and the smuggling channels that traverse it - are a significant concern, according to newly released U.S. State Department Country Report that assesses counterterrorism efforts in Mexico during 2006. "The southern border, in particular, could be vulnerable to the movement of terrorists," the report states. One of the most popular places to cross into Mexico is the Suchiate, where the uninspected movement of people and goods between the two countries is openly tolerated. Under an international bridge between the Mexican town of Ciudad Hidalgo and the Guatemalan town of Tecun Uman, traffic moves back and forth on flotillas made of giant tire inner tubes, their pilots grunting as they push their loads around using long poles. Boles would not cross here with his group. But other Middle Easterners have, including a dozen California-bound Iraqis in 2003. According to ICE documents, all 12 had obtained fraudulent Greek passports in Turkey with the help of a smuggler they each paid up to $8,000, including $1,300 for the bogus passports. Then they made their way by train or bus to Madrid, Spain, where they caught flights to Colombia. From Colombia, the Turkish smuggler helped them use their fake passports to catch flights to Guatemala City, where the larger group split into smaller ones for a land run to Mexico. They crossed at Tecun Uman. A typical dual-tube raft can carry 12 people and hundreds of pounds of trade goods. The camaristas, or boatmen, say they don't ask questions or pay much attention to whom they ferry across. But camarista Teofilo Lopez said he can't help but notice some of them if it's obvious they're from a faraway country, like the "bearded Arab wearing like a blue sheet" a few days earlier who spoke not a word. "Here we don't ask questions. We just take their money and bring them over." The only visible authority was a few Mexican army officers posted on their side of the river, wearing full battle garb and carrying automatic weapons. They said they didn't pay much attention, either. Officer M. Monzon, cradling his weapon in his arms, said his only orders are to look for "explosives and detonators." For hours one recent day none of the soldiers bothered to search any of the boat traffic. On the Guatemala side of the river in Tecun Uman, Father P. Ademar Barillis directs a Catholic church-based facility with a mission to help immigrants make it safely to America. Casa del Migrante sits just 200 yards from the river. Barillis said most of the people he helps are Central Americans but also "Africans and Middle Easterners." He scoffed when asked whether U.S. homeland security officials should worry that those he helps might be terrorists posing as immigrants. "It's ridiculous. It's a ludicrous idea," he said. "Terrorists would surely find easier ways to get into the U.S. The whole issue of walls being built on the border and terror threats is a political issue, not a real issue." There are other, lesser known, water routes from Guatemala to Mexico. At the westernmost point where Guatemala and Mexico meet is a vast watery veld of beach and river known as the Hook, where the Rio Suchiate spreads out into the Pacific. Here speedboats loaded with migrant passengers zip around from Guatemalan shores and land almost every night, locals around the beaches confirm. Until the state of Chiapas deployed a 92-member border police force to the area in December, the smugglers would deliver their passengers in broad daylight. Now the boats run at night. Police and immigration officers elsewhere along the Guatemala side of the border are not exactly motivated to shut down the traffic and worry about terrorism. They're collecting cash tolls from busloads of the migrants. Boles and his Central American compatriots would cross near the Guatemala town of La Mesilla, known as a current favorite among smugglers - and predatory police. Two bus drivers told of what happens daily to their loads of Salvadorans and Nicaraguans as they approach La Mesilla. Ronaldo Gomez, sitting in the driver's seat of his bus, explained that Guatemalan state police pulled his bus over a few miles from La Mesilla one day recently and ordered all the foreigners to hand over 100 quetzals each, the equivalent of about $7. Then they were allowed to continue on their bus trip to the Mexican border. "It happens every day, every single day," Gomez said. "If you're able to pay your way, or talk your way, you can cross the border." Like most Mexico-bound immigrants, Boles was driven along a dirt road that split from the main highway to town, beyond the sight of customs officers manning the port of entry. They walked across the border. A waiting car picked up the group and drove back around to the main highway on the Mexican side of the border and headed into Ciudad Cuauhtemoc. At the bus station, Boles bought a ticket to Tapachula and got on with mostly Central Americans. Not once during the 9,000 miles of travel - from Damascus to Moscow to Havana to Guatemala - had Boles encountered America's post-9-11 fear of terrorist infiltrators. That was about to change. In Mexico, U.S. counterterrorism authorities have found a much more willing partner. Within hours of boarding the bus, Boles would feel for the first time the heat of America's obsession with security. _____ tbensman@... (F)AIR USE NOTICE: All original content and/or articles and graphics in this message are copyrighted, unless specifically noted otherwise. All rights to these copyrighted items are reserved. Articles and graphics have been placed within for educational and discussion purposes only, in compliance with "Fair Use" criteria established in Section 107 of the Copyright Act of 1976. The principle of "Fair Use" was established as law by Section 107 of The Copyright Act of 1976. "Fair Use" legally eliminates the need to obtain permission or pay royalties for the use of previously copyrighted materials if the purposes of display include "criticism, comment, news reporting, teaching, scholarship, and research." Section 107 establishes four criteria for determining whether the use of a work in any particular case qualifies as a "fair use". 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RE: Famous Filipino Americans	Son of Julio Iglesias The same writing team that wrote singer Cher's "Believe" wrote his hit "Bailamos." Considers himself a songwriter first, and singer second. Son of Filipina beauty Isabel Preysler Younger brother of Julio Iglesias Jr. Number #1 Spanish album: Quizas (Latin Billboard Charts) Has two half twin sisters, Cristina and Victoria. Sisters: Chabeli, Tamara and Ana. Brothers: Julio Jose and Michael Alexander. Appeared on the cover of the Spanish edition of 'Rolling Stone', December 15th, 2002. Number #3 Spanish Song: "Papa Que La Vida" (Latin Billboard Charts). Number #1 song "Papa Que La Vida" on Latin Billboard Music Charts. Has had 16 number #1 songs. Is the first Latin artist to have the most #1 singles on Latin Billboard Charts history. Had a mole on his right cheek removed. [April 2003] His song "Quizas" ("Maybe") is about his dad, Julio Iglesias. Quizas received a Latin Grammy nomimation for Best Male Pop Vocal Album (2003) "Be With You" received a Grammy nomination for Best Dance Recording (2001) Decided to part with his trademark mole after a doctor told him it could become cancerous. Won The Latin Grammy For "Best Male Pop Vocal Album" [September 3rd, 2003] His new single, "Addicted", is from his [new] 4th English album titled "7" Enrique's album is due out November 25th, 2003. Born in Madrid, Spain, but grew up in Miami, Florida. His song "Addicted" debuted on Casey Kasem's AT40 on November 16th, 2003 at #38 Song "Addicted" is #37 on Casey Kasem's AT40 [November 23rd, 2003] His song "Addicted" only went up to #26 on Casey Kasem's American Top 40 Was Ryan Seacrest's first musical guest on his new show "On-Air with Ryan Seacrest" on 12 January 2004. Co-wrote Clay Aiken's song "The Way" He is half Spaniard and half Filipino. Has two half brothers, Miguel Alejandro (1997), Rodrigo (1999), and half twin sisters, Victoria and Cristina (2001). Sister, Chabeli Iglesias, is a Spanish singer-actress. In Spanish his song "Bailamos" means "we dance" and "Para Que La Vida" means "why there's life" . Was the executive producer on his albums, Escape, Quizas, and Seven. His favorite food is Sushi, but he says he's also a big fan of fast food restaurants like McDonalds, Burger King and Taco Bell. Wrote all the songs on his Escape, Quizas and Seven albums. When he was about 9 years old, his grandfather was kidnapped but later found safe and well. Appeared on "On-air with Ryan Seacrest" on 19 May 2004. He was interviewed by a fan of the show named "Super Enrique Fan." He was interviewed before his performance at the Wango Tango Concert held 15 May 2004. He sang "Addicted," "Hero" and "Bailamos." At the Wango Tango Concert held 15 May 2004. He sang "Addicted," "Hero" and "Bailamos." August 2004; chosen as a renowned songwriter to sit on the executive committee to choose the Maxell Song of the Year. 15 September 2004: In the 7th Annual In Style Magazine's "What's Hot Now" Poll, he almost beat out Clay Aiken for the title of Sexiest Singer. Including both his English and Spanish albums, Enrique named his album "Seven" because it was his 7th album all together. November 2004; Enrique will be on the board of advisory in the project "International Year of Microcredit." The project offers small loans to business people in impoverished countries. December 2004: His song "Not In Love" was voted #3 Best Dance Track/Song by Billboard Magazine for the year 2004.
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Swing & Latin Dance party Sat. March 29th	Attention Gwinnett & Atlanta Dancing with the Stars Fans!! Dancing4fun  s Latin Rhythm & Swing Dinner & Dance Party When: Saturday, March 29, 2008 6:45    8pm Beginner Salsa & Bachata 8pm    11:30 pm; We will be playing a mixture of East Coast swing, cha cha, Salsa, Merengue, Bachata, West Coast Swing, Hustle, Rumba. Requests are always welcome. Food will be served @ 8:15 ** we serve more than just finger food, consisting of Vegetarian dishes, desserts consisting of Multicultural dishes, as colorful as the music, pleasing to the eye, as well as the taste buds** For full details about this event please go to: (menu, etc) http://www.dancing4fun.com/danceevents.html Where: Lucky Shoals Park Community Center 4651 Britt Road Norcross, GA 30071 770.723.9516 (lucky shoals) 770.855.4396 (sean-christopher's Cel phone) Costs: $15.00/person (food, drinks, lessons, dancing all included) Food is more than just finger food, consisting of Vegetarian dishes, desserts & consisting of Multicultural dishes, as colorful as the music, pleasing to the eye, as well as the taste buds ** Dinner & Dance Party Free for Swing & Latin Workshop attendees Description: - Celebrating Dancing4fun  s 8th year Anniversary teaching swing, latin & ballroom dancing in the Gwinnett & Atlanta. - in addition to the 1 hr & 15 min salsa & bachata lesson, we will have mini dance lessons throughout the night in a separate room while dancing continues on the main dance floor. - Singles & couples are welcome from gwinnett, & Metro Atlanta area!! - Great way to meet Fun people who enjoys dancing!! - Awaiting.. availability of the Alan Knieter Band for the March 29th event. - Note : if Alan Knieter band is not available cover charge will be $12/person For the Latest information & to RSVP for this event. Please RSVP so that we will have enough food for everyone http://ballroomdance.meetup.com/137/calendar/7195518/ For Questions or more info visit our website or call: Sean-christopher 770.855.4396 www.dancing4fun.com PS. Don  t forget about our Swing & latin workshop earlier that day. Dinner & dance party is free to workshop attendees http://www.dancing4fun.com/danceworkshop.html _________________ I live in Buford Ga and teach Swing, Latin & Ballroom dancing for Gwinnett Parks & Recreation & the Metro Atlanta area. check out my website for services we provide. www.dancing4fun.com
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RE: Interviewing bands!	BAROSALSA partners with Hector Cuevas & The Boston Latin Band Legendary charanga & salsa singer Ronnie Bar   now brings his original com<myspace><myspace>position</myspace></my space>s and arrangements to hs own band BAROSALSA. Ronnie who is an extremely talented song writer and arranger along with being one of the most recorded behind the scenes background singer and percussionist announces his partnership with Hector Cuevas & The Boston Latin Band. Ronnie, one of the founders of Africando, was the driving force gathering together the <myspace><myspace>top</myspace></myspace> Latin NY studio musicians to record all but the latest Africando album and has had one or more of his com<myspace><myspace>position</myspace></my space>s on each of the Africando releases. He composed and sang Trovador, Colombia Mi Corazon, El Que Te Ama Siempre, Carpentero, and Guarachea Mi Chula. He is also featured on albums of Orquesta Broadway, Cubanoson, Sonsublime, Charanga 76, Charanga America, Robert Palmer, Johnny Almendra y Los Jovenes del Barrio and many more. Ronnie will be playing his own original com<myspace><myspace>position</myspace></my space>s and arrangements accompanied by The Boston Latin Band. The Boston Latin Band plays authentic salsa, latin jazz, merengue, boleros and danzon for elegant nightclubs, weddings, parties, bar mitzvahs and schools, festivals, resorts and cruises. Hector, owner and percussionist, customizes each musical and educational event to meet the needs of the client. Hector Cuevas grew up in a music-loving family in the Dominican Republic, listening to CUBAN music and getting his percussion start at age 15 with the band of Johnny Ventura. He has played in with the likes of senior Tito Puentes, Eddie Palmieri, Hanzel and Raul, Johnny Pacheco, Eddie Guagua Rivera and many more. "El Nino", Jesus Alejandro Perez, musical genius, was musical producer of CUBARENGUE, the band's first CD made in Montreal. Homenaje a Sammy Sosa is a single for the upcoming CD.and tributo a Jonny Pacheco and MERENGULINA with JOSEITO MATEO EL REY DE EL MERENGUE. HOMENAJE A SAMMY SOSA y Tributo a Johnny Pacheco are singles for an upcoming CD with JOSEITO MATEO, called MERENGULINA Ronnie and Hector both believe that many aspects of salsa have been lost in its commercialization and this is one of the major reasons for joining forces. Ronnie and Hector are going to bring back the three major aesthetics that are the lifeblood of Afro-Latin music: afrocentrism, improvisation, and storytelling. Together this partnership will produce some of the best and innovative Latin Salsa and Merengue for your dancing and listening pleasure. Ronnie is also performing now with the following bands as a lead singer and is available to perform for your functions with any of the these great Salsa and Charanga bands. Yerason Cubanoson Orquesta Broadway Tipica Novel Charanga All-Stars Alfredo de la Fe Please contact Hector Cuevas H.C. Records @ (617) 256-5954 E-mail Cuevas932@aol.com or Carole Singh @ (413) 657-9045 E-mail clsingh2004@aol.com www.myspace.com/thebostonlatinband
Cielo : May 2008 News + DJ dates	Cielo  s brand new 5 year anniversary compilation   Cinco  , mixed by residents Nicolas Matar and Willie Graff will now be released on Tommy Boy on July 8th. As you  d expect it  s a sleek, sexy, soul-soothing mix featuring tracks by Carl Craig, Ultra Nate, Arnold Jarvis, Swayzak, Kenny Bobien, K-Scope and many more across 2 cds. At the end of the month, please join us for an exclusive   Cinco   album release party on Saturday, May 31st. Since opening in 2003 Cielo has quickly become one of the most highly regarded clubs on the planet    and with more awards to its name in that time then any other nightclub including recently being voted   Best Club   of 2008 and   Best Party   2008 at the Club World Awards. Roots resident Louie Vega underscores our achievements when he says:   Cielo is the blueprint for the quintessential club of today. It captures New York City nightlife at its finest. Perfect sound, decor, atmosphere and a great crowd have made it a magical venue!" Right then, down to business and the May calendar shows exactly why Cielo is a multi-award winner with another cutting edge selection of visionary guest DJs to compliment our equally lauded residents. Dance.Here.Now. our recent award winner in the Best Party category at the Club World Awards, sets the tempo nicely on the 1st with the arrival of the shining Mark Knight. The man behind the highly consistent Toolroom Records label has had a fantastic couple of years building his reputation as one of the UK  s brightest new breed of DJs mixing big-room funky house with electro-etched grooves.   I  m trying to push a fusion sound of techno-meets-house-meets-minimal, incorporating sounds and production techniques from each sub-genre to create something new,   says the man who obviously likes to defy pigeonholing. Chateaux Flight, from Versatile Records in France, joins Willie Graff for his Play Time night on Friday the 2nd. The Parisian house duo of Gilbert Cohen and Nicolas Chaix (aka Gilb'r and I:Cube) are leading purveyors of the Gallic groove placing as much emphasis on diversity as on quality with their respective releases and DJ sets. A dreamy night of orchestrated electronica and beat-driven new wave is promised from the crazy Frenchmen. Having launched his new and exclusive NYC residency last month, Junior Vasquez  s Freedom party marches on in May with two sizzling hot nights of aural pleasure promised. Mark the 4th and 18th in your diary now for more Philadelphia Freedom from the legend that is Junior Vasquez. If you  re looking for sun-kissed grooves, and white island charm then Kiko Navarro  s appearance on the 10th at Paradizo is an absolute must. For over a decade the Spanish DJ/producer has been creating eclectic and sensuous sounds that meld euphoric soulful house with organic Balearic grooves, supple electronic textures and percussive Afro-Latin rhythms leading to residencies at Pacha Ibiza, Pacha Mallorca and Neighbourhood for Buzzin   Fly London. Fresh from being voted the #1 remixer of all time by DJ magazine, Carl Craig shows exactly why he  s referred to as a master of all trades and a jack of none! His quarterly residency Demon Days, returns on May 15th and plays hosts to the Detroit native that many say is in a category all of his own. With a 20-year career spanning techno  s most timeless album masterpiece (1995  s   Landcruising  ), countless classic singles, a string of acclaimed remixes and even an unwitting role in the formative alchemy of drum & bass, this will be Craig  s last U.S. DJ date until September! Benji Candelario is a New York institution - his signature soulful house sound is the embodiment of his Manhattan upbringing during the culturally vibrant   70s and   80s, capturing the essence of the era and distinguishing him as a quintessential DJ, producer, remixer, and musician. Benji plays Paradizo on the 17th. After last month  s 5th year anniversary celebrations Francois K  s Deep Space nights continues with the positive vibes in May with Mala of Digital Mystikz and Theo Parrish joining them on the 19th. South London  s Digital Mystikz are forerunners in the burgeoning dubstep scene, while DC  s Theo Parrish equally eclectic and uncompromising DJ sound should more then compliment proceedings. Roots on the 21st finds Louie Vega and Kevin Hedge sharing deck duties with the legendary Tony Humphries. For an incredible four decades the Brooklyn-born DJ has helped in no small way to help shape the dance genre, and was a pivotal player and major influential in the house music movement in the   80s. His larger-then-life persona is still as key today as it was in those hedonistic and formative years. Dance.Here.Now. promoter Benny Soto celebrates his birthday on the 22nd (and will also no doubt be raising a glass to further cheer collecting an award in the   Best Party   category at the Club World Awards) with the legendary Danny Tenaglia. On the heels of a fresh new single,   The Space Dance   and performing at the legendary Coachella Festival on the same bill as Pink Floyd  s Roger Waters and Prince, Danny will be doing what he does best    getting back to business on the dancefloor. Happy birthday Benny! The month rounds off with a visit from Italy  s leading multifaceted techno DJ / producer Marco Carola with Willie Graff at the Made Event on the 30th. Marco  s deep and seductive bleed of house, tribal and minimal techno has also seen him translate his live style onto vinyl recording for several key labels including Richie Hawtin's Plus 8 imprint. As we mentioned at the start of the newsletter,   Cinco   our upcoming Tommy Boy Cielo compilation, is out shortly, and we  ll be celebrating on the 31st with an album launch party hosted by the resident DJs and mixmasters of the album, Nicolas Matar and Willie Graff. The night promises your chance to sample key tracks from the album that also includes new music and remixes from the likes of Charles Webster, Nick Holder, Alix Alvarez, DJ Pippi, Justin Martin and Manoo & Francois A. Cielo May 2008 Events Thursday, May 1 DANCE.HERE.NOW: Mark Knight(10pm-4am, $20 Advance Tickets) Friday, May 2 Playtime: Chateau Flight and Willie Graff (11pm-4am, $10 Advance Tickets, $20 Cover Charge) Saturday, May 3 Vibal: Tedd Patterson: (11pm-4am, $20 Cover Charge) Sunday, May 4 Freedom: Junior Vasquez: (10pm-4am, Free with RSVP before 12AM: junior@cieloclub.com , $20 After) Monday, May 5 Deep Space: Francois. K wih Maneesh the Twister & Kush Arora (10pm-4am, $12 Cover Charge) Wednesday, May 7 Roots: Kevin Hedge & Louie Vega (11pm-4am, $15 Cover Charge) Thursday, May 8 Dance. Here. Now.: Jonathan Peters (10pm-4am, $20 Advance Tickets) Friday, May 9 Made Event: Matthew Dekay and Willie Graff (10pm-4am, $15 Advance Tickets) Saturday, May 10 Paradizo: Kiko Navarro & Willie Graff (11pm-4am, $20 Cover Charge) Monday, May 12 Deep Space: Francois. K w/ Infinity(10pm-4am, $12 Cover Charge) Wednesday, May 14 Roots: Vega Release Party II: Kevin Hedge & Louie Vega Feat: House Of Rhumba & Johnny Dangerous (11pm-4am, $15 Cover Charge) Thursday, May 15 Demon Days: Carl Craig (10pm-4am, $15 Advance Tickets Available Soon, $20 at the Door) Friday, May 16 Playtime: Jojo Flores ( 11pm-4am, $10 before 1am, $20 afterward) Saturday, May 17 Paradizo: Benji Candelario (11pm-4am, $20 Cover Charge) Sunday, May 18 Freedom: Junior Vasquez (10pm-4am, Free with RSVP before 12AM: junior@cieloclub.com , $20 After) Monday, May 19 Deep Space: Mala of Digital Mystikz and Theo Parrish (10pm-4am, $12 Cover Charge) Wednesday, May 21 Roots: Kevin Hedge & Louie Vega with Tony Humphries (11pm-4am, $15 Cover Charge) Thursday, May 22 Dance Here. Now.: Danny Tenaglia: (10pm-4am, $30 Advance Tickets) Friday, May 23 Made Event: Par Grindvik, Adultnapper, Alexi Delano (10pm-4am, Advance Tickets available soon) Saturday, May 24 Paradizo: Willie Graff (11pm-4am, $20 Cover Charge) Sunday, May 25 Made Event: Josh Gabriel (10pm-4am, $15 Advance Tickets on Ticketweb.com) Monday, May 26 Deep Space: Francois. K (10pm-4am, $12 Cover Charge) Wednesday, May 28 Roots Flashback Party w/ Louie Vega and special guests(11pm-4am, $15 Cover Charge) Thursday, May 29 DANCE. HERE.NOW.: Oscar G. (10pm-4am, $20 Advance Tickets) Friday, May 30 Made Event: Marco Carola with Willie Graff (10pm-4am, Advance Tickets available soon on ticketweb.com) Saturday, May 31 Paradizo: Cinco Album Release Party with Nicolas Matar & Willie Graff (11pm-4am, $20 Cover Charge) ABOUT CIELO Located at 18 Little West 12th Street, in the heart of New York City  s trendy Meat Packing District, is open nightly from 10:00pm-4:00am. Cielo is a beautifully designed 350-capacity club featuring a world-class, state-of-the-art digital Funktion One soundsystem. Since its opening in 2003, Cielo has become an internationally renowned dance music nightclub brand and has upheld its edict of world-class music, professional service and all-inclusive atmosphere. Over the last 5 years, Cielo has continued to triumph and collect accolades including; Club World Awards 2008 winner for Best Club (Winner 2005 & 2006) and Best Party - Dance.Here.Now.; Top 50 Nightclubs in the World- DJ Magazine 2006 & 2007; Best Nightclub- Village Voice 2006; Best Deep House Club- New York Magazine 2006; Best Resident DJ Francois K- Club World Awards 2006 & 2005; Best Venue USA- URB Magazine 2005; Best Interior Design- Club World Awards 2004; Best Club- Dancestar Awards USA 2004. For more info, please go to www.cieloclub.com . Cielo 18 Little West 12th St. New York City 10014 www.cieloclub.com
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RE: Billboard Chart formulas	On the same topic http://www.billboard.com/bbcom/about_us/bbmethodology.jsp How does Billboard chart the hits? Let us count the ways. SALES Data for Billboard's sales charts -- which include all of our album charts -- are compiled by Nielsen SoundScan from a universe of merchants that represents more than 90% of the U.S. music retail market. The sample includes not only music stores and the music departments at electronics and department stores, but also direct-to-consumer transactions and Internet sales (both physical albums via Internet, and ones bought via digital downloads). A limited array of verifiable sales from concert venues is also tabulated. All sales charts use the entire Nielsen SoundScan panel, with the exception of the R&B/Hip-Hop charts which uses a panel of core stores that specialize in the genre. The Nielsen SoundScan system utilizes that same point-of-sale that music merchants use to track their inventory, so you can think of itemized receipt from your last trip to the music store as a ballot cast for our charts. AIRPLAY Billboard's radio charts are compiled using information tracked by from Nielsen Broadcast Data Systems (BDS), which electronically monitors radio stations in more than 120 markets across the United States. The BDS system looks for an audio fingerprint -- a characteristic that differentiates a song from all of the other ones that it tracks -- using the same technology that was once used to track submarines. Some airplay charts -- such as Modern Rock or Adult Top 40 -- are based only on the number of times that stations in a format played each song. Others -- including Hot Country Songs or Hot Latin Songs -- are based on audience. The audience charts cross-reference BDS data with listener information compiled by the Arbitron ratings system to determine the approximate number of audience impressions made for plays in each daypart. Thus, a song that plays at 4:00 a.m. does not count as much as one played at 4:00 p.m., and a station with a large audience will influence the chart more than either a station in a smaller market or one with a specialized format that attracts less audience. With very few exceptions, stations tracked for Billboard by BDS are commercial stations. MIXING DATA Most of the charts in Billboard are either sales charts or radio charts. The only exceptions in which we try to mingle sales numbers with radio data are three of our signature charts: The Billboard Hot 100, Hot R&B/Hip-Hop Songs and the recently launched Billboard Pop 100. We use both pools of data because while the consumer's decision to purchase is a significant vote of popularity, singles have a job that extends beyond being a sales vehicle: to capture radio play and, hopefully, stimulate album sales. Beyond that, in today's competitive market, radio programmers do not make music decisions lightly, but rather use extensive research to play songs their audiences want to hear. These three hybrid charts each use formulas to mix Nielsen SoundScan sales with BDS audience. The Hot 100 and the Pop 100 each utilize the a la carte sale of downloaded tracks with sales of the few retail-available singles that are still shipped to stores. The former chart also factors in audience from all popular formats monitored by BDS -- from top 40 and hip-hop to country, Latin and rock -- while the Pop 100 confines its radio panel to mainstream top 40 stations. The Hot R&B/Hip-Hop Songs chart meshes audience data from R&B and hip-hop stations with sales from the core R&B/hip-hop panel. OTHER CHARTS There are a few Billboard charts that are made up of data from different sources. Here's how our other charts are compiled: Billboard's Hot Ringtones and Hot RingMasters charts use sales data from Nielsen Mobile's RingScan service, which compiles sales information from the majority of ringtone retailers in the U.S. market. The Hot Ringtones chart ranks sales of polyphonic and monophonic ringtones with the Hot RingMasters chart featuring master recording-based sales. The Hot Dance/Club Play chart is compiled reports from a nationwide panel of club DJs, detailing the tracks that elicit the most audience response. Most of Billboard's DVD/Video charts use information provided by Nielsen VideoScan, which tracks sales from video outlets as Nielsen SoundScan does for music outlets. One DVD/Video chart, Top Music Video utilizes data collected by Nielsen SoundScan. THE CHART WEEK Generally, charts reflect sales and airplay between Monday and Sunday of any given week. However, the mixed data charts (The Billboard Hot 100, Pop 100 and Hot R&B/Hip-Hop Songs) use an airplay cycle of Wednesday through Tuesday. Charts are available Thursday on Billboard.com and Billboard.biz and reflect the date of the Billboard issue in which they appear. In the case of online-only charts, it is the same issue date as all other charts reflecting data from the same seven-day period. The printed magazine first reaches newsstands on Friday. Each issue is dated based on
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RE: > 06 Topps Sterling Case Break, Thank you shortporch.com !!!	That was last nite and then this was todays pulls. Had to expect a big let down after box one. But I'm pleased to get a Cal Ripken Box a special number card of Ripken 4 piece card 01/10 and the Mystery pack found a Hall of Fame cut autograph of Ray Dandridge. He was before my time so here's some interesting info on Hooks. Thanks, Mike Ray Dandridge Nickname(s): Hooks Born: 1913 3B-2B-SS Negro Leagues 1933-49 Detroit Stars, Newark Dodgers, Newark Eagles, New York Cubans * Hall Of Fame in 1987 Ray Dandridge was a masterful third baseman, a stylist who could make all the plays. He was smooth and relaxed, with soft hands, a strong arm, and the versatility to excel at any infield position. "People would pay their way in to the game just to see him field," claimed Monte Irvin. Roy Campanella said, "I never saw anyone better as a fielder." Hoyt Wilhelm, who played against Dandridge in Cuba and with him in Minneapolis (American Association), asserted, "No matter how the ball was hit, he always made the throw so that he just did get the man at first." Others observed that a train could go through Dandridge's bowlegs, but that a baseball never did. Dandridge started his pro career with the 1933 Detroit Stars and moved to the Negro National League's Newark Eagles, for whom he starred throughout the remainder of the 1930s. A spray hitter with good bat control, he seldom struck out, and skillfully executed the hit-and-run. In 1935, he hit .368. Looking for more money in 1939, he opted to play in Latin America. He went to Mexico in 1940, and spent most of the decade there. When he came back for a year in Newark in 1944, he batted .370, leading the NNL in hits, runs, and total bases. In 1945 he set a Mexican League record for hitting safely in the most consecutive games and managed his team to a pennant. In nine Mexican League seasons, he compiled a .343 average. Following the 1948 season, he returned to the States as player-manager of the New York Cubans. During his time in the NNL, Dandridge registered a lifetime .355 average, and played in three East-West all-star games, hitting .545. He played winter ball in Mexico, Venezuela, Puerto Rico, and Cuba; in 11 seasons of Cuban Winter League action, he batted .282. Soon after Jackie Robinson signed with the Brooklyn Dodgers, Bill Veeck contacted Dandridge about playing with the Cleveland Indians, but Dandridge refused to leave Mexico without a bonus. Later, in 1949, at age thirty-five, he was signed by the New York Giants and assigned to their Triple-A farm club at Minneapolis. He batted .363 his first year there, and won the league's MVP award in 1950, when he led Minneapolis to the league championship. Despite his achievements, the Giants would not promote him to the parent club. While at Minneapolis, Dandridge provided advice and assistance to a young Willie Mays, who never forgot the help or the man. Returning to Cooperstown for Dandridge's induction into the Hall of Fame (he was elected by the Committee on Baseball Veterans in 1987), Mays stated, "Ray Dandridge helped me tremendously when I came through Minneapolis. Sometimes you just can't overlook those things. Ray was a part of me when I was coming along."    July 26, 1987: Catfish Hunter, Billy Williams, and Ray Dandridge are inducted into the baseball Hall of Fame in Cooperstown, New York. Here's a link to the Ripken Singles from box 2: http://img.photobucket.com/albums/v9...terling232.jpg
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RE: Cadenza 26 - Los Updates	Los Updates? Los Updates is the latest project from Chilean musical mastermind Jorge Gonz  lez together with Loreto Otero. Jorge Gonz  lez  not to be confused with the Swedish crooner Jos   Gonz  lez  is one of the country  s best-known musical ambassadors. His group Los Prisioneros defined the sound of Chilean rock in the   80s and   90s, standing in opposition to Pinochet  s military dictatorship, selling out stadiums across the Americas and laying the groundwork for today  s Rock en Espa  ol movement. In the   90s, as electronic-music culture took root in Chile, Gonz  lez teamed up with Martin Schopf (aka Dandy Jack) to create Gonzalo Martinez, a wideranging experiment in Latin-tinged electro-pop. Aided and abetted by the usual suspects in Latin America  s eccentric expat electronica scene - Argenis Brito, Atom Heart, Tobias Freund aka Pink Elln, Gonzalo Martinez released two albums and a handful of singles in 1998 and 1999. Now based in Mexico City and working alongside the beguiling Loreto Otero, Gonz  lez launches the next phase of his musical career with Los Updates, a project that connects the dots between mindbending minimal house and unabashed pop. Perhaps appropriately for an artist who has rewritten the rules at every step of the way, Los Updates aren  t taking the most conventional route to release their music. They  ve prepped some 12-inch singles  Los Updates First If You Please    The Remixes    featuring original cuts backed by remixes from Ricardo Villalobos, Dandy Jack, Luciano, Tobias and other Los Updates companions. This fall, a special CD release will follow, gathering all Los Updates   originals along. The first installment of the series may feel like d  j   vu: that  s because Ricardo Villalobos already included his mix of Los Updates     4 Wheel Drive   on his acclaimed Fabric 36 mix CD in 2007.
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RE: Mayan Civilization	The mystery of Maya's jungle heart As Mel Gibson's spectacular Mayan fantasy Apocalypto comes to the big screen, Francesca Syz journeys into the forests of Guatemala and Honduras to uncover the truth behind the collapse of a fascinating civilisation Published: December, 31 2006 Francesca Syz Guatemala provides a concentrated version of the whole of Central America. Photograph: AP/Rodrigo Adb Lord knows how howler monkeys got their name, because they certainly don't howl. They actually make a spine-chilling, deep-throated, prehistoric roaring noise, which reverberates spookily through the undergrowth. The first time I hear them I'm walking into Yaxha, a spectacular Mayan ceremonial site hidden deep in the jungle in a remote corner of Guatemala's vast northern department of El Peten. I look skywards in slow-motion horror, quite ready to drop everything and peg it, before realising the noise is coming from a handful of smallish monkeys, possibly with colds, perched in the treetops. 'Scary, huh?' says my very young, cheeky and knowledgeable guide, Luis. We continue on our way, stopping occasionally for Luis to point out a tarantula on a rock or a giant hovering turquoise butterfly, or to pluck a seed from a bush, break it open and present me with its fleshy innards, saying: 'Try this - it's good.' Suddenly we step through a final curtain of vines into a clearing and there, about three feet away, is a partly exposed ancient pyramid on which at least 20 people are working. My heart leaps. Forget glass display cabinets at the British Museum; we've reached the bountiful source, and things are being uncovered right in front of our eyes. Guatemala had been on my 'to visit' list for years. I don't know anyone who has returned disappointed, not even the most jaded of travelling friends. Sandwiched between Belize and Mexico to the north and El Salvador and Honduras to the south, it provides a stunningly beautiful, wild, concentrated version of the whole of Central America: multiple indigenous cultures, verdant highlands, jungle-smothered lowlands, active volcanoes, emerald-green lakes - and of course, its ancient ruins and the enigma surrounding them. Why did so many sophisticated Mayan cities die out around 900AD? I have long fancied myself as a bit of an archaeology enthusiast but never done anything about it. These days, I find I'm very enthusiastic about the idea that there are still extraordinary treasures buried beneath the earth, but less so about the prospect of actually jumping into a muddy ditch with a trowel to find them. The solution presents itself in a one-week guided trip to visit Guatemala's most important ruins, bedding down along the way in rustic but blissfully comfortable little inns and hotels. The real incentive for getting on with it is that, according to Mayan prophecy, the world will come to an end in 2012, which isn't very far away. According to archaeologist Dr Richard Hansen - currently excavating El Mirador, an ancient city in Guatemala's 600,000-acre Mirador Basin, said to be the grandest Mayan settlement ever discovered - that prophecy is pretty much spot-on, ecologically speaking. World Wildlife Fund figures show that the Maya Biosphere Reserve, which covers an area of 21,000 sq km and incorporates the Mirador Basin, has lost 70 per cent of its forest in the last 10 years. 'It's a race against time,' says Hansen, whose vision is to save the Mirador Basin by turning the area into a tourist attraction run by the local community. 'If the Mirador Basin doesn't get Unesco heritage protection and logging is allowed to continue, the forest will disappear in front of our eyes and the precious ruins within it will be destroyed.' Hansen, who says El Mirador is about 1,000 years older than any other Mayan city found, and much, much bigger, believes passionately - and says he has scientific evidence to show - that the reason for the collapse of these ancient Mayan cities was primarily deforestation and over-use of soil, due to both a speedily growing population and an excessive, competitive opulence between rival cities. These problems were exacerbated by other factors including drought, repeated earthquakes and war. Hansen is also great friends with Mel Gibson, whose new movie Apocalypto , which opens in British cinemas from this Friday, was greatly inspired by visits to the Mirador Basin. The film opens with a quote: 'A great civilisation is not conquered from without until it destroys itself from within.' It attempts to draw parallels between the collapse of the ancient Mayan world with the chaos of the present day - to warn the world of impending ecological and moral disaster while entertaining us with violent, high-octane action. Exactly when and where the film is meant to be taking place is slightly mysterious. The set is modelled on ruins like those of Tikal (which is also in El Peten), but this kind of city only existed during the Classic Period (roughly 300-900AD) in Guatemala. The arrival of the Spanish conquistadors at the end drags the film squarely into the 16th century - a time when such a city no longer existed. Visitors needn't worry too much about this, of course: Mexico, Guatemala, Belize and Honduras share numerous ruined Mayan cities, some developed for tourist day-trippers, others still overgrown, deep in the jungle. My own Mayan exploration starts in the pretty-but-touristy little town of Antigua, just a 45-minute drive from Guatemala City's airport. Flattened by earthquakes several times over the centuries, it is now a grid of cobbled streets bordered by brightly coloured colonial houses, interspersed with ridiculously photogenic ruins. Driving through the town square, we get stuck behind a huge, solemn procession being led down the street by a wonderfully mournful brass band. My driver, Ricardo, parks and I jump out. About 100 men in dark suits are swaying under the weight of a huge wooden platform topped by an effigy of Christ in a glass coffin. 'Do you know why there are so many men carrying Jesus?' asks Ricardo, shaking his head. 'Because it weighs about 10 tonnes?' I ask, missing the point entirely. 'Because they all want to be forgiven for something.' Finally, we make it to Casa Encantada, a beautifully furnished place with tiny rooms but exquisitely comfortable beds, in which I fall asleep instantly. The next morning I scoff fresh fruit and delicious coffee on a higgledy-piggledy roof terrace with views of three volcanoes. We begin the first leg of our journey: to the ancient village of Copan in Honduras, in the south western lowlands, famed for its proliferation of Mayan art. On the way we pass through the rugged department of Zacapa ('land of the cowboys'), where wizened men stand at the side of the road clutching machetes and smoking. Even in the poorest villages, the colours of the buildings are eye-poppingly bright - blues, greens and oranges - and this is even more true of the graveyards. It is just a week after the Day of the Dead, when entire families spend the day at their loved one's gravesides decorating them with multi- coloured scarves and briefing the departed on events above ground. Eventually we hit the border with Honduras; Copan is just 19km further. My base is the gorgeously simple Hacienda San Lucas, situated across the river from the ruins and the main village, up a comically long and bumpy track. The historic family-ranch-turned-eco-lodge is run by the eccentric but charming Flavia, who inherited the house and spent two years turning it into a unique little retreat. 'Welcome to my menopausal dream!' she tells me, throwing her arms around me. A little boy leads me up to a cabin further up the hillside with a wraparound terrace and a hammock. My room is candlelit and smells of fresh cedar; the sound of the forest wafts in through an open back window. Later I return to the main house for a candlelit feast of homemade tortillas, washed down with excellent South American white wine. I wake at dawn to find Flavia's labrador, Luco, sitting on my doorstep. Together we wander down to the foot of the garden to survey the valley below. Shrouded in mist, it has an other-worldly quality about it that only increases as I make out the ruins in the jungle on the other side of the river. After a delicious breakfast of black-bean stew on the shady dining-room terrace, Ricardo appears and we head over to the ruins. I'm at least halfway down a grassy hol low, so thickly shrouded by the jungle canopy that it feels like dusk, before I realise I'm following an ancient causeway flanked on either side by huge buildings that have turned, over the centuries, into great green knolls. The thought that there are treasures within each one is unspeakably exciting. Of the artefacts already uncovered, Copan's finest is a vast stairwell decorated with hieroglyphics that outline its complicated history. At the height of its success, between 700 and 800AD, Copan had 25,000 inhabitants. Urban sprawl forced agriculture on to poorer soil, straining production and causing widespread deforestation. Food had to be imported. Skeletal remains from the city's final years have shown malnutrition caused by poor soil and infectious diseases from abroad. It seems that Hansen is on to something. 'It was a sign of social prowess to have really thick floors,' explains Hansen. 'A bit like people driving Hummers around London today. These were built from lime-based cement and to convert the limestone to lime, it had to be heated to around 900 degrees. Just to get a fire that hot meant cutting down hundreds of trees.' We're met by local guide, Fito, who gives me a crash course in ancient Mayan town planning. The layout of these ancient cities is entirely related to symbols of creation. The Maya believed mountains were sacred as they were closer to heaven. The eastern lowlands didn't have real mountains, so they built the temple complexes very high to compensate. The pyramid temples represent the first 'mountains' to emerge out of the 'waters' of the large plazas. The tiny sanctuaries at the top of the pyramids were seen as portals to the abodes of the gods who lived within. Only the elite could enter these sanctuaries; everyone else would stand in the plaza below. That night I have dinner with archaeologist David Sedat at his home in the village. Sedat has spent 15 years excavating at Copan and lives and breathes the site. We sit on his back porch sipping blissfully cold Salva Vida ('Life Saver' - the local beer) while he tells me stories of ancient kings with extraordinary names as if he's talking about old relatives. 'It's fascinating to compare what the Mayans said about themselves in the hieroglyphs with what we actually found at Copan,' Sedat tells me. 'With today's advanced understanding of them, it has become like reading a novel. 'There were a whole series of personalities and every one left his mark. Smoke Jaguar (628-695AD) was one of the greatest leaders of all and he built the city into a major military and commercial power. Green Quetzal Macaw, who lived until 820AD, took hallucinogenic drugs via an enema. We know he was a warrior with a high pain threshold because there is evidence that his bones were shattered many times.' The next day we head back to Guatemala City to catch a flight to Flores, home to the Tikal ruins. I base myself at Francis Ford Coppola's 10-room jungle retreat, La Lancha - a haven of beautifully decorated casitas (little houses) clinging to a steep, jungle-covered hillside sweeping down to Lake Peten-Itza. It is the most rustic of Coppola's Central American resorts (he owns three), but its great reputation for food and service and its off-the-beaten-track location attract the wealthy honeymoon set. There's an infinity pool carved into the rock face, but both mornings I clamber down a steep stairwell to the gloriously peaceful lake. On the first morning I swim; on the second, I follow a great white heron along the shoreline in a canoe. And so to Tikal, the most prosperous city of the Classic Period and a shrine for Mayans to this day. Its vast causeways and extraordinary, towering pyramids are almost dizzying. I stagger to the top of its highest structure, 65-metre-high 'Temple Four', to survey the ocean of green below: mahogany, cedar, fig, sapodilla and rampant bougainvillaea richly entangled. By the middle of the sixth century AD, Tikal had a population of over 100,000 people spread over 30 sq km and the same problems of overcrowding and - guess what - deforestation. I wander among the clusters of buildings just outside the Grand Plaza, and stop at one of them: a collection of 45 residential and administrative buildings where the royal family and their closest associates lived. It is possible to sense its human scale; just for a moment, I'm transported back to a vast, noisy, overcrowded metropolis tottering under its own weight and size. And, suddenly, the collapse of the Mayan civilisation doesn't seem like a mystery at all. More Mayan marvels Away from it all - Calakmul Perhaps because it's 300km from anywhere, Calakmul in Mexico is all but unknown to tourists, yet some archaeologists suggest it is the biggest of all the Mayan sites, with 10,000 buildings, many unexplored. Tree roots still curl around the pyramid stones, jaguars prowl and howler monkeys call from the trees. Journey Latin America (020 8747 8315) has an 11-day 'Discover the hidden Maya world' trip, taking in Calakmul and other lesser-known sites, from   1,886 including flights. For day trippers - Chichen Itza This major Mayan city, which dates from 600AD, is within easy striking distance of Cancun, Mexico's biggest beach resort, and makes a great historical day trip away from the seaside and margaritas. Kuoni Travel (01306 747008) offers a seven-night all-inclusive trip to Dreams Tulum Resort and Spa on the coast, with a day trip to Chichen Itza from   1,042pp including flights and transfers. Jungle adventure - Yaxchilan Much of Yaxchilan is unexcavated, obscured by a thousand years of vegetation - there's a real feel that you are one of the first to discover it. To get there you must take an hour-long boat trip from Frontera Corozal, close to the Guatemalan border. Yaxchilan is included on Journey Latin America's 13-night 'Unspoilt South' itinerary, from   1,440 (details as before) For beach lovers - Tulum While most Mayan ruins peek through the dense jungle, Tulum, 130km south of Cancun, is poised on 15m-high cliffs above the turquoise Caribbean. Swim out and get a view of the ruins from the beach. Original Travel (020 7978 7333) offers four nights in the Maroma, a boutique hotel close to Tulum, from   745pp excluding flight. For animal magic - Lamanai Travel by motor launch deep into Belize's jungle and stay in a thatched cottage at the Lamanai Outpost Lodge on the edge of a lagoon. Close by are the ruins of Lamanai, with almost 700 structures over 950 acres and none of the crowds you find at other Mayan sites. What you will find is wildlife: toucans, jaguars and caymans. Journey Latin America can arrange three-night trips, starting and ending in Belize City, from around   416. Essentials Francesca Syz travelled to Central America with Exsus Travel (020 7292 5060), which offers a seven-night trip to Guatemala and Honduras that includes two nights in Antigua, two nights in the village and ruins at Copan and three nights at the spectacular Mayan city of Tikal. Prices start at   1,450 per person, including all flights and transfers.
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04/24/07 - Joell Ortiz: Back to the Future	Joell Ortiz: Back to the Future By DeVaughn Douglas Last year, Busta Rhymes decided it was time to return to his   New York S**t   while Nas asked   Where Are They Now?   The Fugees and A Tribe Called Quest reconvened as Raekwon chipped away at his Only Built 4 Cuban Linx sequel. The   90s New York Hip-Hop sound is dearly missed, but as Papoose and Tru Life have revealed the contemporary direction of their albums, few new artists or labels are willing to trade hard knock hit making for reasonable doubts concerning sales. Enter Joell Ortiz    perhaps the best of both worlds. As the New York delegate of the Aftermath roster, Ortiz   future might be air-tight. But as brethren like Bishop Lamont and G.A.U.G.E. are forced to wait, Koch Records releases The Brick, an album before the album. What  s more is the independent project permits Joell to go right to the sources of   90s New York greatness    Showbiz, Domingo and DJ Premier. Quality control and eyebrows ought to be simultaneously raised as cries for Hip-Hop help are answered. Beyond just boom-bap, Joell promises to tell stories in his songs. In this discussion with AllHipHop, the artist who JD seemingly passed over admits to more than feeling himself. With his precise vision, and reliance on word of mouth,   brick   may no longer mean missed shot, and become the strong building-block foundation for going back to the future. AllHipHop.com: Before we go too far into the future, can we look at some things from the past? It is rumored that there was a problem with a deal with Jermaine Dupri. Joell Ortiz: Really, I don  t like talking about the situation because it  s done  But I  ll tell you what it was really about. It was a simple [situation]. He sponsored the EA Sports battle. The winner was supposed to get a slot on the NBA Live   05 soundtrack and a deal with Arista Records. I won and got the slot with the Live soundtrack crackin   and he was supposed to follow up with the deal    he didn  t. It was that simple and that was pretty much it. AllHipHop.com: How did you hook up with Aftermath and Dr. Dre? Joell Ortiz: What  s up with Dre? Oh, He  s got this new Latin artist from Brooklyn that he  s really excited about...[Laughs] Nah, for real, I got the CD to one of his people out in L.A. and I got a call the next day saying that Dre really liked my stuff. I was just like,   Alright, that  s what  s up,   but then [Dre  s people] were like,   No, you don  t understand, he loves the stuff and wants to fly you out A.S.A.P.   Two days later, we  re on a plane, and then we  re with the Aftermath staff just kicking it. The next day, I  m in the studio with Dre and he tells me   Yo man, I like the record.   I  m like,   Yo man, I like the beats!   We start laughing, one thing leads to another, and he tells me,   I really flew you out to make sure you wasn  t a knucklehead. You know, I  ve taken a lot of losses in this rap music already and I really don  t want to take anymore losses.   AllHipHop.com: That happened pretty quickly. Joell Ortiz: I was sitting there after we left the studio in the hotel room and it finally soaked in. Oh s**t. I  m on Aftermath. Ten years of grinding for a ten minute meeting. AllHipHop.com: The last notable people to have a story like that  .rapping for a decade, being called by Aftermath, short meeting with Dre, and getting signed to the label, were Eminem and 50 Cent. Joell Ortiz: Yeah, that  s some good company. I think I  m in a perfect position because Dre doesn  t try to change what you have already done. He let 50 Cent come over there and do his record. He let Eminem come and do his record. [Dre] just puts you on a broader stage. Me bringing that New York gutter sound back out, that head nod music, that conscious but not preachy music  .he  s gonna help me get that to a broader stage. That  s all I needed because I have a great team already, and when you combine that team with the Aftermath machine we  re gonna have a ball. AllHipHop.com: Why do you feel that   New York gutter sound   has disappeared? Joell Ortiz: What  s happening is  I really feel like the DJs need to do some soul searching - a lot of them. I keep hearing people say,   We  ve got to bring New York back,   but they don  t play New York s**t. I  m not knocking the South, because we all come from the same place. If you come from the gutter and rise up, then I  m proud of you because you could have taken another route. I  m not knocking anybody  s hustle. But if you  re going to preach,   bring New York back   then play some New York songs. New York has been shying away from what  s working which is dope beats and lyricism. The records that I do will not be records that are directed at the club. The records that you hear of me in the club will be records that DJs put in their bag because they love them. I  m not talking about bottles and models and trying to make you wobble and drop, because it  s just not my thing. It might be someone else  s thing, but it  s not mine. That  s why I work with [DJ] Premier. That  s why I work with Showbiz. That  s why I work with The Alchemist. I miss that feeling, and I  m going to try my best to bring it back. AllHipHop.com: Do you feel like artists get signed to labels and then just lose the drive? Joell Ortiz: I work because I love to do it. I could have done a bunch of things, but this is my passion. I was All City on my high school basketball team; I made good grades, 1400 on my S.A.T  s   I could have done a lot of stuff. When I wake up in the morning, I look forward to the work. This is the grind that I chose, and for people to care about that grind is flattering. AllHipHop.com: Do you feel there is a disconnect between conscious rappers and the music buying public? Joell Ortiz: Umm, it  s not that  it  s just that you have to know how to talk to people. You can  t walk up on a block where a dude is hustling and say,   Yo man, what are you doing? You  re killing your own, man. You  re buggin. Don  t you see what  s happening?   Nah, you can  t do that. You got to go up to that dude and say,   What  s good man.   He may speak back to you  he may not. You continue,   I see what you  re doing and let me just tell you one thing: I  m not here to preach to you, but I did it. I  ve seen the results and they  re not good. I don  t know you and you probably don  t know me but I just figured it was my job to let you know.   Regardless of whether he is feeling you or not, he will at least respect you. You can  t yell at people when you try to teach them. You can  t preach to them either. You have to speak by example. That  s what I do with my music. There are a million rappers out there who say that the hustled. [I can say] that [i] sold drugs to a pregnant woman and I regret it. Who says they bought a video game from a dope head and knew it was his son  s? I  m going to paint a picture and make sure even the small details get in because sometimes the small things have the biggest meaning. AllHipHop.com: You  re obviously influenced by the early   90s, but is there anyone out right now that inspires you? Someone that makes you want to stop and rewind the tape? Joell Ortiz: I mean, no one is exciting people nowadays. I mean  remember when you first heard Canibus on the Lost Boyz joint [  Beasts From The East  ] and you went,   What the f**k just happened? Hold on, hold on, who the f**k is homeboy and what did he just say?   And then you had to bring it back  you just had to. Dudes don  t make you rewind s**t anymore. I miss my man asking   Are you gonna listen to it again?   Where is that s**t at? I miss that because I  m not excited. I  m only excited about me and that  s a shame. And I  m not tooting my own horn, I  m keeping it real. AllHipHop.com: What do you think of the comparisons that fans make between you and Big Pun? Joell Ortiz: I  m flattered. That  s the best word. We  re talking about a legend and someone that I look up to. I  m Spanish, he was Spanish. I  m heavyset, he was heavyset. He had a legendary flow, and people consider my flow legendary. He represented a lot more than just rap because he represented a culture of Latinos. That  s what I  m trying to do with my music now. I mean, when I look out at the crowd from the stage and see fans, I see hope. I mean, there  s still an invisible wall up for Latinos in Hip-Hop. I still get that feeling of people thinking,   Dude is nice  for a Puerto Rican kid.   I  m here to abolish that statement. AllHipHop.com: To what do you attribute that invisible wall that keeps Latin rappers from gaining ground in Hip-Hop? Joell Ortiz: I really don  t know. I don  t know who to blame for that. It  s just a predominantly Black art form, so that  s just taken as the norm. I can  t say who to fault for it because I wasn  t there in the beginning, but I do think that I have a voice that can help to change it for future Latin rappers. AllHipHop.com: Do you feel the Reggaeton movement helped or hurt Latin artists in Hip-Hop? Joell Ortiz: It was a double-edged sword. It helped, but it also categorized us as a people. It took a lot of Latino brothers out of the hood and put them in the forefront, but it also made people think we had our own music. No, we don  t have our own music. What stops a non-Latin person from doing Reggaeton? Nothing. If anyone can do Hip-Hop then it works both ways. I  m Puerto Rican, but I came up from a project in Brooklyn that was all Black. I  m Puerto Rican but I  m still in that mix. You can  t take that from me. Dudes hear me rap and don  t even know that I  m Spanish. So c  mon, you can  t say that they have their own music, but at the same time, I  m proud that my culture came up in the world. Hip-Hop is not Black, Reggaeton is not Brown...it  s music. AllHipHop.com: There was a time when Eminem was always introduced as   the White rapper.   Now he has come to a point where people barely make a notice of it. Joell Ortiz: Oh yeah, he  s up there. Plus the fact that he was White helped him too. Don  t get me wrong, he  s nice. But so many people paid attention because he was White and gave him a little edge. Dudes were like,   Did you hear him on the [Jay-Z]   Renegade   joint? He got Jay. Don  t front on him because he  s White. He got Jay-Z.   So the skills helped as well as the fact that he was White. AllHipHop.com: Big L, early Nas, and early Jay-Z were critically acclaimed but that didn  t reflect in their album sales at the time. Do you worry about album sales when you  re trying to bring that type of music back to the forefront? Joell Ortiz: Marketing sells these albums. A lot of these underground albums are way better than the major releases. They have skill, lyricism, and cohesiveness to them. The albums just need to be pushed. A lot of these major albums are just as many singles that can be put together on a record. I  m just going to do what I do and let it take its course. I  m going to let the fans decide what happens with this record because word of mouth is a motherf**ker. Source-allhiphop
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News: hezbollah using Latin people to get into the US for terrorism!!	Hezbollah builds a Western base From inside South America   s Tri-border area, Iran-linked militia targets U.S. By Pablo Gato and Robert Windrem NBC News Updated: 9:29 a.m. ET May 9, 2007 CIUDAD DEL ESTE, Paraguay - The Iranian-backed Hezbollah militia has taken root in South America, fostering a well-financed force of Islamist radicals boiling with hatred for the United States and ready to die to prove it, according to militia members, U.S. officials and police agencies across the continent. From its Western base in a remote region divided by the borders of Paraguay, Brazil and Argentina known as the Tri-border, or the Triple Frontier, Hezbollah has mined the frustrations of many Muslims among about 25,000 Arab residents whose families immigrated mainly from Lebanon in two waves, after the 1948 Arab-Israeli war and after the 1985 Lebanese civil war. An investigation by Telemundo and NBC News has uncovered details of an extensive smuggling network run by Hezbollah, a Shiite Muslim group founded in Lebanon in 1982 that the United States has labeled an international terrorist organization. The operation funnels large sums of money to militia leaders in the Middle East and finances training camps, propaganda operations and bomb attacks in South America, according to U.S. and South American officials. U.S. officials fear that poorly patrolled borders and rampant corruption in the Tri-border region could make it easy for Hezbollah terrorists to infiltrate the southern U.S. border. From the largely lawless region, it is easy for potential terrorists, without detection, to book passage to the United States through Brazil and then Mexico simply by posing as tourists. They are men like Mustafa Khalil Meri, a young Arab Muslim whom Telemundo interviewed in Ciudad del Este, Paraguay   s second-largest city and the center of the Tri-border region. There is nothing particularly distinctive about him, but beneath the everyday T-shirt he wears beats the heart of a devoted Hezbollah militiaman.    If he attacks Iran, in two minutes Bush is dead,    Meri said.    We are Muslims. I am Hezbollah. We are Muslims, and we will defend our countries at any time they are attacked.    Straight shot to the U.S. U.S. and South American officials warn that Meri   s is more than a rhetorical threat. It is surprisingly easy to move across borders in the Triple Frontier, where motorbikes are permitted to cross without documents. A smuggler can bike from Paraguay into Brazil and return without ever being asked for a passport, and it is not much harder for cars and trucks. The implications of such lawlessness could be dire, U.S. and Paraguayan officials said. Rep. Silvestre Reyes, D-Texas, chairman of the House Intelligence Committee, said Hezbollah militiamen would raise no suspicions because they have Latin American passports, speak Spanish and look like Hispanic tourists. The CIA singles out the Mexican border as an especially inviting target for Hezbollah operatives.    Many alien smuggling networks that facilitate the movement of non-Mexicans have established links to Muslim communities in Mexico,    its Counter Terrorism Center said in a 2004 threat paper.    Non-Mexicans often are more difficult to intercept because they typically pay high-end smugglers a large sum of money to efficiently assist them across the border, rather than haphazardly traverse it on their own.    http://www.msnbc.msn.com/id/17874369/ IS IT TIME TO SEAL THE BORDER AND ENFORCE IMMIGRATION LAWS IN THE USA OR SHOULD WE JUST GIVE THE BUSH AMNESTY FOR ILLEGAL ALIENS, LIKE THESE POSSIBLE HEZBOLLAH OPERATIVES? HOW MANY PEOPLE THINK THE NEXT WAVE OF TERRORIST ATTACKS WILL COME FROM ALIENS WHO ENTERED THE USA ILLEGALLY THROUGH THE MEXICAN BORDER??? OPINIONS, PLEASE!
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Hezbollah Establishes Presence In South America	U.S. and South American officials warn that Meri  s is more than a rhetorical threat. It is surprisingly easy to move across borders in the Triple Frontier, where motorbikes are permitted to cross without documents. A smuggler can bike from Paraguay into Brazil and return without ever being asked for a passport, and it is not much harder for cars and trucks. The implications of such lawlessness could be dire, U.S. and Paraguayan officials said. Rep. Silvestre Reyes, D-Texas, chairman of the House Intelligence Committee, said Hezbollah militiamen would raise no suspicions because they have Latin American passports, speak Spanish and look like Hispanic tourists. The CIA singles out the Mexican border as an especially inviting target for Hezbollah operatives.   Many alien smuggling networks that facilitate the movement of non-Mexicans have established links to Muslim communities in Mexico,   its Counter Terrorism Center said in a 2004 threat paper.   Non-Mexicans often are more difficult to intercept because they typically pay high-end smugglers a large sum of money to efficiently assist them across the border, rather than haphazardly traverse it on their own.   Deadly legacy of a lawless frontier Since the terrorist attacks of Sept. 11, 2001, the Tri-border has become a top-level, if little-publicized, concern for Washington, particularly as tension mounts with Iran, Hezbollah  s main sponsor. Paraguayan government officials told Telemundo that CIA operatives and agents of Israel  s Mossad security force were known to be in the region seeking to neutralize what they believe could be an imminent threat. But long before that, U.S. law enforcement and intelligence agencies regarded the region as a   free zone for significant criminal activity, including people who are organized to commit acts of terrorism,   Louis Freeh, then the director of the FBI, said in 1998. Edward Luttwak, a counterterrorism expert with the Pentagon  s National Security Study Group, described the Tri-border as the most important base for Hezbollah outside Lebanon itself, home to   a community of dangerous fanatics that send their money for financial support to Hezbollah.     People kill with that, and they have planned terrorist attacks from there,   said Luttwak, who has been a terrorism consultant to the CIA and the National Security Council.   The northern region of Argentina, the eastern region of Paraguay and even Brazil are large terrains, and they have an organized training and recruitment camp for terrorists.     Our experience is that if you see one roach, there are a lot more,   said Frank Urbancic, principal deputy director of the State Department  s counterterrorism office, who has spent most of his career in the Middle East. A mother lode of money Operating out of the Tri-border, Hezbollah is accused of killing more than 100 people in attacks in nearby Buenos Aires, Argentina, during the early 1990s in operations personally masterminded by Hezbollah  s military commander, Imad Mugniyah. Mugniyah is on the most-wanted terrorist lists of both the FBI and the European Union, and he is believed to work frequently out of Ciudad del Este. For President Bush and the U.S.-led   war on terror,   the flourishing of Hezbollah in the Western Hemisphere demonstrates the worrying worldwide reach of Islamist radicalism. In the Tri-border, Hezbollah and other radical anti-U.S. groups have found a lucrative base from which to finance many of their operations. Smuggling has long been the lifeblood of the Tri-border, accounting for $2 billion to $3 billion in the region, according to congressional officials. Several U.S. agencies said that Arab merchants were involved in smuggling cigarettes and livestock to avoid taxes, as well as cocaine and marijuana through the border with Brazil on their way to Europe. Some of the proceeds are sent to Hezbollah, they said. Many Arabs in the Tri-border openly acknowledge that they send money to Hezbollah to help their families, and the man in charge of the local mosque in Ciudad del Este, who asked not to be identified by name, declared that Shiite Muslim mosques had   an obligation to finance it.   But the U.S. government maintains that the money ends up stained with blood when it goes through Hezbollah, which is blamed for the bombings of the U.S. Embassy and the Marine barracks in Beirut, Lebanon, in the 1980s, as well as the kidnappings of Americans, two of whom were tortured and killed. Patrick M. O  Brien, the assistant secretary of the Treasury in charge of fighting terrorist financing, acknowledged flatly that   we are worried.     Hezbollah has penetrated the area, and part of that smuggling money is used to finance terrorist attacks,   he said. CONTINUED: In Paraguay, looking the other way The biggest obstacle in the U.S. campaign to counter Hezbollah close to home is Paraguay, whose   judicial system remains severely hampered by a lack of strong anti-money laundering and counter-terrorism legislation,   the State Department said in a   Patterns of Global Terrorism   report. Since 2004, a draft bill to strengthen money laundering laws has been stalled in the Paraguayan legislature, and the government of President Nicanor Duarte has introduced no draft legislation of its own. Hampering reform efforts is an endemic reluctance in Paraguay to acknowledge the problem. Interior Minister Rogelio Benitez Vargas, who supervises the national police, claimed that Hezbollah-linked smuggling was a relic of the 1980s. Today, he said, the Triple Frontier is a safe and regulated   commercial paradise.   But authorities from the U.S. State and Treasury departments to Interpol to the front-line Paraguayan police agencies all paint a different picture. Eduardo Arce, secretary of the Paraguayan Union of Journalists, said the government was widely considered to be under the control of drug traffickers and smugglers. Without interference, thousands of people cross the River Parana every day from Paraguay to Brazil over the Bridge of Friendship loaded with products on which they pay no taxes. As police look the other way, he said, some smugglers cross the border 10 to 20 times a day. Earlier this year, Telemundo cameras were present as smugglers in Ciudad del Este loaded trucks headed for Brazil. They could have been laden with drugs or weapons, but no authorities ever checked. Direct link to Iran alleged Jos   Adasco knows better than most why Hezbollah has the region in a grip of fear. In 1992 and 1994, terrorists believed to be linked to Hezbollah carried out two attacks against Jewish targets in Buenos Aires, the Argentine capital. In the first, a car bomb exploded at the Israeli Embassy, killing 29 people. Two years later, a suicide bomber attacked the Argentine Israelite Mutual Association, a Jewish community center, killing 85 more. Adasco, who represents the Jewish association, has never been able to forget that day and the friends he lost.   Really, to see the knocked-down building, [to hear] the screams, the cries, people running    it was total chaos. Chaos, chaos. It is inexpressible,   he said. An investigation by Interpol and the FBI found not only Hezbollah  s involvement, but Iran  s, as well. The Argentine prosecutor  s office said the Iranian president at the time, Ali Akbar Hashemi Rafsanjani, ordered the attack to retaliate against Argentina for suspending nuclear cooperation with Iran. A warrant for Rafsanjani  s arrest remains outstanding, and the prosecutor  s office continues its investigation 13 years later. Hezbollah tells its story Alberto Nisman, the Argentine district attorney leading the investigation, said the connection between the Hezbollah attack and the Tri-border is unquestionable. Among other things, he said, the suicide bomber passed through the area to receive instructions. In the intervening years, Hezbollah has spread throughout Latin America. On their Web page, local Hezbollah militants in Venezuela call their fight against the United States a   holy war   and post photographs of would-be suicide terrorists with masks and bombs. There are also Web sites for Hezbollah in Chile, El Salvador, Argentina and most other Latin American countries.   The Paraguayan justice [ministry] and the national police have found propaganda materials for Hezbollah   across the hemisphere, said Augusto Anibal Lima of Paraguay  s Tri-border Police. And it is not only propaganda. In October, homemade bombs were left in front of the U.S. Embassy in Caracas, Venezuela, which is next to a school. Police arrested a student carrying Hezbollah propaganda in Spanish. One of the pamphlets showed a picture of children and said,   Combat is our highest expression of love and the only way to offer a healthy and uncorrupted world.   Caracas police were able to detonate the bombs safely. Police Commissioner Wilfredo Borras said they appeared to be   explosive devices made to make noise and publicity      very different from what would be used if the United States attacked Iran.   In [the] United States, there are many Arabs    in Canada, too,   said Meri, the Hezbollah member who spoke with Telemundo.   If one bomb [strikes] Iran, one bomb, [Bush] will see the world burning.   ... If an order arrives, all the Arabs that are here, in other parts in the world, all will go to take bombs, bombs for everybody if he bombs Iran.   Pablo Gato is a correspondent for Telemundo. Robert Windrem is an investigative producer for NBC News.
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Latin American talent pool decreasing for women	http://sports.espn.go.com/sports/ten...ory?id=2987851 Latin American talent pool decreasing for women By Gustavo Goitia ESPNdeportes.com BUENOS AIRES -- They are women in trouble. A different story from their male colleagues, Latin American players in the WTA do not enjoy the best of times. Once led by the extraordinary Gabriela Sabatini, later joined in the tour by other stars, now they are going through a present full of doubts. They are far away from the elite, as can be seen easily in every statistical department: Standings, titles, rankings, access to finals and big trophies. What is going on with women's tennis from this part of the world? A growing problem is that as time goes by there are fewer women in the WTA and the talent level is ages away from what it used to be. It's been almost 11 years since Sabatini retired, and the Argentine player left a footprint which is impossible to erase but also very difficult to follow. Just as it happens in the men's tour, Argentina is still the largest provider of raw material, but still, the number has decreased. That results in lack of talent and it starts a chain reaction: With fewer elite players, there is no one to look up to and so the sport attracts even less potential stars. Economic differences with developed countries also are playing their part, especially in the transition phase from amateurism to professionalism. South American youth players suffer because there are very few tournaments in their own countries that could act as springboards to send them straight into the main tour. And traveling to compete abroad is something not everyone can afford. There are very few sponsors willing to pour money into programs, so that makes it hard to organize certain competitions and/or help the girls with the economic costs of the trips to Europe and United States to play with the best. And as the talent pool decreases, there is less and less sponsor interest in opening their wallets. They'll be missed The picture was different a few years ago, when South American players were shining. Sabatini was clearly the best: She was No. 3 in the world, was only a step away from the top, won a Grand Slam, the U.S. Open in 1990, made it to other two major finals, took two Masters and captured a total of 27 titles. It's been three years since a Latin American player reached the semifinals in a Grand Slam tournament. In 2004, Colombian Fabiola Zuluaga made it that far in the Australian Open and then Argentine Paola Suarez repeated the feat in Roland Garros. It seems like it was decades ago. With Zuluaga retired and Suarez ready to follow suit, there is no flag bearer for Latin American women's tennis. When Sabatini played, there were other Latin American players in the top 30, but she overshadowed them. Since she retired, the new players have the responsibility to reach success on their own. That is why, even though there was another drought until Zuluaga and Suarez took a step forward, it wasn't as bad as what it is nowadays. The Colombian was once 16th in the world, after that memorable performance in Melbourne. Suarez even made it to the top 10 (No. 9) in singles and was the best doubles player during three years. The Argentine player was able to reach at least the quarterfinals in the four Grand Slams. She beat players such as Serena Williams, Maria Sharapova and Amelie Mauresmo. In a way, those accomplishments reminded us of Gaby. Even though she didn't have Sabatini's talent, Suarez cemented the post-Sabatini era. The times, they are changing Today there is not even one Latin American player in the top 50 ranking. Argentine Gisela Dulko is in 51st place, followed by Milagros Sequera (No. 53) from Venezuela. And then there's another big gap, with Colombian Catalina Castano (No. 113) and Argentine players Jorgelina Cravero (No. 116) and Maria Emilia Salerni (No. 117) coming next. Looking at the ATP rankings, there is an abysmal difference in quality and quantity: There, Latin Americans have a top 10, five among the first 25 and there are 16 in the top 100. This season, Sequera really improved and challenged for first place amongst South American players. Between April and May, there were two titles: Dulko won her only official title in Budapest. Sequera replied with a win in Fez, Morocco. Before those triumphs, the last tournament won by a female Latin American player was three years ago. It happened in Canberra, Australia in January 2004, when Suarez celebrated on a fast surface. And the last one to reach a final had been Castano, in the Hungary Open in July 2005. Dulko ended that streak last February. She lost the Pattaya final in Thailand. Meanwhile, men have won six titles and have played seven other finals this season, including Australia, Miami and Rome. The same differences appear in country competitions: Argentina was a finalist in the Davis Cup in 2006 and Chile is also part of the elite, but in the Fed Cup, the bestplaced team is Argentina, who barely returned to World Class Group II. Dulko, 22, remains the biggest bet. Even though she improved quite a lot this year, she still has her ups and downs. She is so far the only one able to get to the second week of a Grand Slam, when she made it to the quarterfinals at Roland Garros in 2006. Sequera, about to turn 27, and Castano, 28, could still climb several positions in the rankings, but because of their age, it is hard to imagine they can turn their careers around. Not a very encouraging scenario. Gustavo Goitia is the tennis writer for ESPNdeportes.com.
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RE: The woxy.lala.com Message Board Albums of the Year - 2006	#38 - Pronounced 'gill e Motts.' Guillemots - Through The Windowpane: 642 pts/18 votes 2 #1's. Allmusic.com said: With their EP From the Cliffs, the Guillemots introduced themselves as daring, energetic, inventive performers for whom traditional pop notions of harmony and rhythm could be discarded, or at least tweaked, if a better opportunity presented itself. And despite all the warning signs of pretension and inaccessibility, the Guillemots were able to create in From the Cliffs something that was very listenable and fun. Of course, there were problems, but they were problems of over-ambition and -eagerness, and they seemed easy enough to remedy without disrupting the band's rather intricate overall sound. So it comes as somewhat of a surprise that their debut full-length, Through the Windowpane, is a little empty in comparison. Instead of following the lead of the standout EP tracks "Trains to Brazil" and "Made-Up Lovesong #43" (both of which were singles and both of which are among the best cuts on the album), most of the other songs on Through the Windowpane take a slower, more melancholic, and sparser approach, presenting an almost sonically disconcertingly juxtaposition. "If the World Ends," "Redwings," "Little Bear," and "Blue Would Still Be Blue" are all very quiet, relying more on the strength of leader Fyfe Dangerfield's voice -- which is often mixed at a very low level -- instead of any kind of instrumental arrangement, and in doing so the albums ignores the strength of the band as a whole and ends up as something fairly ordinary sounding, while letting predictable chords and phrases dictate the tone instead of the band's musical ingenuity. The fact that many of these songs are well over three or even four minutes doesn't help the fact that they seem to drag on without ever doing anything, or going anywhere, or showing us anything we haven't seen before. Because the Guillemots are certainly capable of giving us what we haven't got. They're interested in, even obsessed with, the idea of physical space (particularly through the imagery of a windowpane, which is alluded to numerous times throughout the album) and of making space where there is confinement, but it is these slower, emptier songs that are the most claustrophobic, the most constrained, and the most forced. However, and perhaps this just attests to the talents of the musicians and the arranging skills of Dangerfield, their faster, more complex pieces -- including and even exemplified by the 12-minute cinematic opus "S  o Paulo," which moves from Morricone to Brubeck to symphonic swells to a Latin groove -- give the feeling of expanse and freedom. Nothing is tied down, everything can move freely and where ever it wants, yet each comes together as part of a very well-constructed whole. It's adventurous but it's still accessible, and contrasts sharply with the near stifling silence of the other pieces. But there's still a kind of inconsistency in the development of Through the Windowpane, an inconsistency that can't quite work itself out in sweeping strings and vaguely dissonant chords, and unfortunately, this diminishes the power of what the album really could be. Check It Out! http://www.guillemots.com Did You Know? In 2006 Guillemots performed a cover version of The Streets' song "Never Went to Church" which served as the song's B-side upon its release as a single. Who Voted It #1: Seattle93, smitten.kitten
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RE: LATIN GRAMMY PREDICTIONS - 2008	LATIN GRAMMY PREDICTIONS - 2008 It's time to start with predictions for the 2008 Latin Grammy Awards Last year the awards were seen by 12 million people only in the United States , not counting the 100 countries where it was seen around the world So, I invite those who know about Latin music to participate in the discussion. LATIN GRAMMY 2008 DATE: The ninth annual show will air live on the Univision network on Nov. 13. CITY: Houston (Toyota Center) ELIGIBILITY: Albums and singles,in Spanish or Portuguese, released between July 1, 2007 and June 30, 2008 ________________________________________________ For those who wish to learn more about the records of Latin artists, especially indie artists, I invite you to read the blog - CLUB FONOGRAMA - that I write with carlinhosbrown. There, you will find coverage of the Latin Grammys, too. www.clubfonograma.blogspot.com www.clubfonograma.blogspot.com
RE: Bands / Artists OPEN	BAROSALSA partners with Hector Cuevas & The Boston Latin band Legendary charanga singer Ronnie Bar   now brings his original com<myspace><myspace>position</myspace></my space>s and arrangements to hs own band BAROSALSA. Ronnie who is an extremely talented song writer and arranger along with being one of the most recorded behind the scenes background singer and percussionist anounces his partnership with Hector Cuevas & The Boston Latin Band. Ronnie, one of the founders of Africando, was the driving force gathering together the <myspace><myspace>top</myspace></myspace> Latin NY studio musicians to record all but the latest Africando album and has had one or more of his com<myspace><myspace>position</myspace></my space>s on each of the Africando releases. He composed and sang Trovador, Colombia Mi Corazon, El Que Te Ama Siempre, Carpentero, and Guarachea Mi Chula. He is also featured on albums of Orquesta Broadway, Cubanoson, Sonsublime, Charanga 76, Charanga America, Robert Palmer, Johnny Almendra y Los Jovenes del Barrio and many more. Ronnie will be playing his own original com<myspace><myspace>position</myspace></my space>s and arrangements accompanied by The Boston Latin Band. The Boston Latin Band plays authentic salsa, latin jazz, merengue, boleros and danzon for elegant nightclubs, weddings, parties, bar mitzvahs and schools, festivals, resorts and cruises. Hector, owner and percussionist, customizes each musical and educational event to meet the needs of the client. Hector Cuevas grew up in a music-loving family in the Dominican Republic, listening to CUBAN music and getting his percussion start at age 15 with the band of Johnny Ventura. He has played in with the likes of senior Tito Puentes, Eddie Palmieri, Hanzel and Raul, Johnny Pacheco, Eddie Guagua Rivera and many more. "El Nino", Jesus Alejandro Perez, musical genius, was musical producer of CUBARENGUE, the band's first CD made in Montreal. Homenaje a Sammy Sosa is a single for the upcoming CD.and tributo a Jonny Pacheco and MERENGULINA with JOSEITO MATEO EL REY DE EL MERENGUE. HOMENAJE A SAMMY SOSA y Tributo a Johnny Pacheco are singles for an upcoming CD with JOSEITO MATEO, called MERENGULINA Ronnie and Hector both believe that many aspects of salsa have been lost in its commercialization and this is one of the major reasons for joining forces. Ronnie and Hector are going to bring back the three major aesthetics that are the lifeblood of Afro-Latin music: afrocentrism, improvisation, and storytelling. Together this partnership will produce some of the best and inovative Latin Salsa and Merengue for your dancing and listening pleasure. Ronnie is also performing now with the following bands as a lead singer and is available to perform for your functions with any of the these great Salsa and Charanga bands. Yerason Cubanoson Orquesta Broadway Tipica Novel Charanga All-Stars Alfredo de la Fe Please contact Hector Cuevas H.C. Records @ (617) 256-5954 E-mail Cuevas932@aol.com or Carole Singh @ (413) 657-9045 E-mail clsingh2004@aol.com
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2006 eBay Shocker Log - Surround "High Ticket" Items > 2/12/2006	2006 Edition! last update: 1/21/2007 Remember that this is done "by hand". If I miss something, it means just that. There is no "hidden agenda". Please reply to this thread with a link to the item I missed and I'll add it! :-jon ORIGINAL SHOCKER LOG BLURB: From time to time, Quad stuff goes for more than normal on eBay. I always find this interesting. Some of it is rare, other stuff may not be. Rather than posting individually everytime something qualifies, I am creating this post to store them all. If you see something that qualifies, respond to this thread with the link and I will incorporate it! Let's see what we get for a list! SOFTWARE - LPs & Tapes selling for over $100 on eba y sales since January 28, 2004 Click the link on the sell price to go to the eBay auction page (NOTE: The clickable links will only work for 3 months after an action closes) --------------------------------------------------- over $1000 (US) CD-4: ELVIS ALOHA (TUNA PROMO) - $2,900.00 CD-4: ELVIS ALOHA (TUNA PROMO) - $1,603.03 RM: PINK FLOYD DARK SIDE OF THE MOON (JAPAN-PROMO) - $1025.00 RM: PINK FLOYD DARK SIDE OF THE MOON (JAPAN-PROMO) - $1025.00 $500-$999 (US) CD-4: JACKSON 5 GREATEST HITS - $900.00 Q8: PINK FLOYD DSOTM (UK) - $676.00 Q8: PINK FLOYD DSOTM (UK) - $617.77 Q8: PINK FLOYD DSOTM (UK) - $525.00 Q4: BLACK SABBATH PARANOID - $500.00 $400-$499 (US) Q8: PINK FLOYD DSOTM (UK) - $475.00 Q4: BLACK SABBATH PARANOID - $464.01 CD-4: ELVIS ALOHA (TUNA PROMO) - $461.00 Q4: ALLMAN BROTHERS AT FILLMORE - $455.00 Q8: KRAFTWERK AUTOBAHN - $431.51 SQ: PINK FLOYD WYWH (UK) - $420.60 Q8: CHICAGO III - $406.01 $300-$399 (US) Q8: PINK FLOYD DSOTM (UK) - $390.27 Q4: JEFFERSON STARSHIP RED OCTOPUS - $356.99 RM: PINK FLOYD DARK SIDE OF THE MOON (JAPAN) - $355.10 CD-4: MARVIN GAYE WHAT'S GOING ON (JAPAN) - $354.88 Q4: AKAI DEMO REEL - $336.99 CD-4: SOUND OF MUSIC (OST-JAPAN) - $335.00 CD-4: GODFATHER (OST-JAPAN) - $335.00 CD-4: MARVIN GAYE LET'S GET IT ON - $331.99 NEW!! Q4: AKAI DEMO REEL - $329.99 CD-4: SUPREMES GREATEST HITS (JAPAN) - $319.85 Q4: ALLMAN BROS EAT A PEACH - $316.51 CD-4: CCR GOLD (JAPAN) - $306.90 Q8: O'JAYS - MESSAGE IN THE MUSIC - $306.51 Q8: CREEDENCE CLEARWATER REVIVAL GOLD - $306.30 CD-4: ENGELBERT HUMPERDINK MY LOVE (JAPAN) - $305.00 Q4: DOOBIE BROTHERS TOULOUSE ST - $305.00 Q4: DOORS BEST OF - $305.00 Q4: SOUND OF MUSIC (OST) - $304.99 Q4: GLADYS KNIGHT AND THE PIPS GREATEST HITS - $304.99 Q8: PINK FLOYD ATOM HEART MOTHER (UK) - $304.00 Q8: PINK FLOYD DARK SIDE OF THE MOON (UK)(GREEN) - $303.00 Q4: SOUND OF MUSIC (OST) - $300.00 $200-$299 (US) CD-4: FRANK SINATRA MY WAY (Japan) - $290.99 Q4: ALLMAN BROTHERS EAT A PEACH - $280.00 CD-4: ELVIS ALOHA FROM HAWAII PROMO - $280.00 Q4: BACHMAN-TURNER OVERDRIVE NOT FRAGILE - $271.61 Q4: MOODY BLUES CHILDRENS CHILDREN - $271.00 CD-4: ELVIS PRESLEY LIVE ON STAGE IN MEMPHIS - $271.00 Q4: MOODY BLUES SEVENTH SOJOURN - $270.00 Q4: YOUNGBLOODS GET TOGETHER - $266.21 Q4: DEEP PURPLE MACHINE HEAD - $264.99 Q4: ALLMAN BROTHERS EAT A PEACH - $262.57 RM: JOHN LENNON IMAGINE (JAPAN) - $261.68 CD-4: TEMPTATIONS ALL DIRECTIONS (JAPAN) - $261.56 Q4: ZZ TOP TREZ HOMBRES - $261.51 Q4: HAYWARD-LODGE BLUE JAYS - $257.50 Q4: MOODY BLUES EGBDF - $256.99 Q4: MOTHERS OVERNIGHT SENSATION - $252.49 Q4: MOODY BLUES A QUESTION OF BALANCE - $251.83 RM: PINK FLOYD DARK SIDE OF THE MOON (JAPAN) - $250.00 CD-4: SUPREMES/TEMPTATIONS TCB (JAPAN) - $248.27 Q8: CHICAGO VII - $245.94 CD-4: VAN McCOY LOVE IS THE ANSWER (JAPAN) - $243.58 Q4: MOODY BLUES SEVENTH SOJOURN - $241.53 CD-4: ELVIS PRESLEY TODAY (JAPAN) - $237.50 CD-4: ALLMAN BROS EAT A PEACH (JAPAN) - 234.11 CD-4: LOUIS ARMSTRONG COUNTRY/WESTERN (JAPAN) - $229.50 SQ: ELO LP (Brazil) - $229.00 Q4: JAMES TAYLOR ONE MAN DOG - $228.00 Q4: JETHRO TULL AQUALUNG - $227.65 DY4: BEACH BOYS SURFS UP - $227.51 Q4: MOODY BLUES EGBDF - $224.50 RM: PINK FLOYD DARK SIDE OF THE MOON - $224.50 Q8: CREEDENCE CLEARWATER REVIVAL GOLD - $224.50 Q4: JEFFERSON AIRPLANE VOLUNTEERS - $224.49 Q4: DOOBIE BROTHERS VICES/HABITS - $224.00 Q4: ELVIS PRESLEY ALOHA FROM HAWAII - $222.50 Q4: MOODY BLUES SEVENTH SOJOURN - $221.50 Q4: MOODY BLUES EGBDF - $220.07 RM: PINK FLOYD ATOM HEART MOTHER (JAPAN) - $219.00 SQ: PINK FLOYD WISH YOU WERE HERE (UK) - $214.50 CD-4: OST SOUND OF MUSIC (JAPAN) - $214.11 Q4: DEEP PURPLE STORMBRINGER - $213.60 CD-4: CREEDENCE CLEARWATER REVIVAL GOLD - $213.50 Q4: JAMES TAYLOR GORILLA - $212.50 RM: JOHN LENNON IMAGINE (JAPAN) - $209.18 CD-4: MCCOY TYNER ENLIGHTENMENT V1 (JAPAN) - $207.76 CD-4: TEMPTATIONS IN JAPAN (JAPAN) - $207.75 Q4: 101 STRINGS LATIN HOLIDAY - $207.28 Q4: DOOBIE BROTHERS TOULOUSE ST - $206.00 Q4: DOORS BEST OF - $205.50 RM: VENTURES ON STAGE '73 (JAPAN) - $204.50 Q8: BILLY PAUL 360 DEGREES OF - $204.46 CD-4: BLACK SABBATH PARANOID - $204.28 CD-4: CREEDENCE GOLD - $204.00 Q4: MOODY BLUES QUESTION OF BALANCE - $204.00 CD-4/UD-4/SQ/QS: QUADRAFILE (UK) - $203.50 Q4: MOODY BLUES CHILDRENS CHILDREN - $202.50 CD-4: SUPREMES & TEMPTATIONS TCB (JAPAN) - $202.50 CD-4: GUESS WHO SHARE THE LAND (JAPAN) - $202.50 CD-4: DENIS LOPEZ - CINNAMON ROCK (JAPAN) - $202.50 Q4: MOODY BLUES DAYS OF FUTURE PASSED - $202.50 Q4: BREAD BEST OF - $202.50 CD-4: KAPPA MAKI HOT BUTTER (JAPAN) - $202.49 SQ: CHICAGO V - $201.50 QS: THE WHO TALES FROM (BOOTLEG) - $201.50 RM: VENTURES ON STAGE '74 (JAPAN) - $201.50 RM: PAUL MAURIAT (BOX 10LP TAIWAN) - $200.00 SQ: REO SPEEDWAGON THIS TIME WE MEAN IT - $200.00 RM: PINK FLOYD ATOM HEART MOTHER (JAPAN) - $200.00 $150-$199 (US) CD-4: DIANA ROSS & MARVIN GAYE (JAPAN) - $199.99 SQ: PINK FLOYD WIAH YOU WERE HERE (UK) - $199.19 Q4: ALLMAN BROTHERS AT FILLMORE EAST - $197.50 CD-4: HARRY BELAFONTE AT CARNEGIE HALL (JAPAN) - $192.50 Q4: MOTHERS OVERNITE SENSATION - $192.19 Q4: TED HEATH SALUTES THE DUKE - $ 191.50 CD-4: MICHEL CLEMENT (JAPAN) - $198.06 CD-4: CREEDENCE CLEARWATER REVIVAL GOLD (JAPAN) - $189.86 Q4: ALLMAN BROS EAT A PEACH - $188.88 Q8: AEROSMITH GET YOUR WINGS - $187.50 Q8: AEROSMITH GET YOUR WINGS - $187.50 Q4: TOM JONES BODY & SOUL OF - $187.50 RM: PINK FLOYD DARK SIDE OF THE MOON (JAPAN) - $186.76 Q4: DOORS BEST OF - $182.17 Q4: AMERICA HEARTS - $181.82 QS: PINK FLOYD ATOM HEART MOTHER (JAPAN) - $180.25 CD-4/UD-4/SQ/QS: QUADRAFILE (UK) - $179.49 CD-4: CARPENTERS THE SINGLES (JAPAN) - $179.06 CD-4: ELVIS PRESLEY TODAY - $179.01 CD-4: ELVIS ALOHA (AUTOGRAPHED) - $178.56 SQ: PINK FLOYD DSOTM PINK VINYL (AUST) - $178.08 Q4: ELVIS ALOHA IN HAWAII - $177.50 CD-4: CAROLE KING TAPESTRY (JAPAN) - $177.50 CD-4: MICHAEL NESMITH 1st NAT'L BAND - $177.50 Q8: KRAFTWERK AUTOBAHN - $175.00 CD-4/UD-4/SQ/QS: QUADRAFILE (UK) - $174.00 SQ: CBS LABS TEST LP - $172.50 Q4: DEEP PURPLE MACHINE HEAD - $172.49 Q4: ZZ TOP TES HOMBRES - $170.48 Q4: DOOBIE BROTHERS CAPT AND ME - $169.49 CD-4: JACKSON 5 GREATEST HITS - $168.85 Q4: TOMITA THE PLANETS - $168.50 RM: PINK FLOYD ATOM HEART MOTHER - $168.50 NEW!! SQ: ELO LP (Brazil) - $168.00 Q8: CHICAGO VII - $167.50 CD-4: WORLD POPS ORCH (JAPAN) - $167.50 Q4: MOTHERS OVERNIGHT SENSATION - $165.89 CD-4/UD-4/SQ/QS: QUADRAFILE (UK) - $165.14 Q4: GEORGE BENSON BODY TALK - $164.01 CD-4: ELVIS ALOHA FROM HAWAII (JAPAN) - $164.00 Q4: MOODY BLUES DAYS OF FUTURE PASSED - $164.00 Q4: ALLMAN BROTHERS AT FILLMORE - $162.50 CD-4: ALLMAN BROTHERS AT FILLMORE - $161.50 Q8: TOMMY JAMES & SHONDELLS - $159.01 SQ: CHICAGO TANSIT AUTHORITY - $158.50 SQ: CHICAGO (II) - $158.50 SQ: LEONARD COHEN SONGS OF LOVE AND HATE (TP) - $158.30 SQ: PINK FLOYD DARK SIDE OF THE MOON (UK) - $158.24 Q4: AMERICA HEARTS - $158.00 Q4: GUESS WHO BEST OF - $157.50 CD-4: JACKSON 5 IN JAPAN (JAPAN) - $157.50 CD-4: MOODY BLUES SEVENTH SOJOURN (JAPAN) - $157.50 SQ: PINK FLOYD ATOM HEART MOTHER - $156.92 Q8: BLUE OYSTER CULT SECRET TREATIES - $156.27 Q8: WILD CHERRY ELECTRIFIED FUNK - $154.49 CD-4: FULVIO SALAMANCHA CHIQUE (JAPAN) - $154.49 Q4: BLACK SABBATH PARANOID - $154.49 SQ: CHICAGO VII - $154.49 Q8: CREEDENCE CLEARWATER REVIVAL GOLD - $154.00 Q4: JETHRO TULL WAR CHILD - $152.50 Q4: MOODY BLUES CHILDRENS CHILDREN - $152.50 Q4: DOORS BEST OF - $152.50 Q4: HAYWARD/LODGE BLUEJAYS - $152.50 Q8: TOMMY JAMES AND SHONDELLS BEST - $152.49 Q4: DOOBIE BROTHERS CAPTAIN AND ME - $152.49 CD4: CAPTAIN AND TENNILLE BEST OF - $152.29 SQ: JOHN LENNON IMAGINE (UK) - $152.20 CD-4: GLENN MILLER STING OF PEARLS v1&2 (JAPAN) - $152.50 RM: DARK SIDE OF THE MOON (JAPAN) - $151.04 Q4: DOOBIE BROTHERS TOULOUSE ST - $150.50 Q4: MOODY BLUES DAYS OF FUTURE PASSED - $150.27 NEW!! SQ: PINK FLOYD DSOTM (PINK VINYL AUSTRALIA) - $150.00 SQ: PINK FLOYD WISH YOU WERE HERE (UK) - $150.00 RM: PINK FLOYD ATOM HEART MOTHER (JAPAN) - $150.00 SQ: CBS TEST LABS LP - $150.00 SQ: SONY SQ 4 CHANNEL SAMPLER (JAPAN) - $150.00 SQ: SONY SQ SAMPLER (JAPAN) - $150.00 $125-$149 (US) STEREO(SQ): KANSAS MISLABELED LP - $149.99 Q4: DEEP PURPLE MACHINE HEAD - $149.99 Q4: WORST OF JEFFERSON AIRPLANE - $148.50 CD-4: CREEDENCE CLEARWATER REVIVAL GOLD - $148.00 SQ: PINK FLOYD WISH YOU WERE HERE (UK) - $ 146.89 UD-4: MIKE OLDFIELD TUBULAR BELLS (TAIWAN) - $145.02 Q4: CARLY SIMON HOTCAKES - $145.00 Q4: FARNK SINATRA GREATEST HITS V2 - $144.50 CD-4: KAPPA MAKI POPCORN (JAPAN) - $144.31 SQ: POPOL VUH YOGA (ITALY) - $143.50 SQ: MESSAGE FROM BOOKS & DREAMS (GERMANY) - $143.50 CD-4: ELVIS PRESLEY ON STAGE 1970 - $141.95 SQ: PINK FLOYD WISH YOU WERE HERE (UK) - $140.83 Q8: BLACK SABBATH PARANOID - $140.50 Q8: BILLY JOEL PIANO MAN - $140.28 Q4: DEEP PURPLE MACHINE HEAD - $137.92 SQ: PINK FLOYD WISH YOU WERE HERE (UK) - $137.50 CD-4: OST JAWS (JAPAN) - $137.50 CD-4: STYLISTICS YOU ARE BEAUTIFUL (JAPAN) - $137.50 CD-4: BACHMAN TURNER OVERDRIVE II (JAPAN) - $137.50 CD-4: QUINCY JONES YOU'VE GOT IT BAD GIRL (JAPAN) - $137.50 CD-4: ELVIS PRESLEY FROM ELVIS IN MEMPHIS (JAPAN) - $137.50 CD-4: BILLY VAUGHN IN TOKYO 1972 (JAPAN) - $137.50 CD-4: STYLISTICS ROUND 2 (JAPAN) - $137.50 Q4: GORDON LIGHTFOOT SUNDOWN - $137.50 CD-4: JOSE FELICIANO 10 to 23 (JAPAN) - $137.50 CD-4: ALLMAN BROTHERS EAT A PEACH - $136.50 CD-4: ALLMAN BROTHERS LIVE AT FILLMORE EAST - $136.50 Q4: JETHRO TULL WAR CHILD - $136.27 Q8: MARVIN GAYE LIVE - $135.83 Q8: PAUL SIMON STILL CRAZY AFTER ALL THESE YEARS - $135.00 RM: PINK FLOYD ATOM HEART MOTHER (JAPAN)(PROMO) - $135.00 CD-4: GUESS WHO SHARE THE LAND - $134.50 CD-4: CLEBANOFF STINGS MALAGUENA (JAPAN) $134.49 CD-4: PAUL MAURIAT (JAPAN) - $134.31 Q8: TED NUGNET FREE FOR ALL - $134.27 Q4: BTO NOT FRAGILE - $132.80 Q4: MOODY BLUES DAYS OF FUTURE PASSED - $132.75 Q4: MOTHERS OVERNIGHT SENSATION - $132.51 Q4: MOODY BLUES DAYS OF FUTURE PASSED - $132.50 Q4: ZZ TOP - TES HOMBRES - $132.50 SQ: PINK FLOYD DARK SIDE OF THE MOON - $133.49 SQ: ELO LP (Brazil) - $132.50 Q4: MOODY BLUES DAYS OF FUTURE PASSED - $132.50 RM: CHARLES AZNAVOUR (JAPAN) - $132.49 CD-4/UD-4/SQ/QS: QUADRAFILE (UK) - $132.02 CD-4: SAM TAYLOR (JAPAN) - $131.50 - Q8: PINK FLOYD DARK SIDE OF THE MOON - $130.50 Q8: ART GARFUNKLE BREAKAWAY - $130.27 CD-4/UD-4/SQ/QS: QUADRAFILE (UK) - $129.78 Q8: VARIOUS ARTISTS TOMMY (ODE) - $129.53 RM: PINK FLOYD ATOM HEART MOTHER (PROMO-JAPAN) - $129.50 CD-4: FRANK ZAPPA APOSTROPHE - $129.50 CD-4: ELVIS ALOHA FROM HAWAII (PROMO) - $129.25 NEW!! Q4: (OBC) HAIR - $129.01 Q4: SEALS & CROFTS UNBORN CHILD - $129.01 Q4: SEALS & CROFTS SUMMER BREEZE - $129.01 Q4: HERBIE MANN HOLD ON I'M COMIN' - $129.01 RM: PINK FLOYD ATOM HEART MOTHER (JAPAN) - $129.00 CD-4: ELVIS LIVE ONSTAGE IN MEMPHIS - $128.81 CD-4/UD-4/SQ/QS: QUADRAFILE (UK) - $128.51 Q8: CHICAGO TRANSIT AUTHORITY - $128.50 Q8: CHICAGO (II) - $128.50 Q8: ART GARFUNKEL BREAKAWAY - $128.50 CD-4: STYLISTICS ROCKIN ROLL BABY (JAPAN) - $128.49 CD-4: CREEDENCE CLEARWATER REVIVAL GOLD - $128.49 Q4: ZZ TOP TRES HOMBRES - $128.17 CD-4: TEMPTAIONS (S/T)(JAPAN) - $128.05 Q4: DOORS BEST OF - $127.50 Q4: DAVID CLAYTON-THOMAS - $127.50 Q4: ELVIS ALOHA IN HAWAII - $127.50 SQ: BUFFY SAINT-MARIE MOONSHOT (JAPAN) - $127.50 SQ: PINK FLOYD WISH YOU WERE HERE (AUS) - $127.32 Q8: TOMMY (ODE) - $127.10 CD-4: LOUIS ARMSTRONG COUNTRY & WESTERN - $126.95 Q4: MOODY BLUES QUESTION OF BALANCE - $126.50 Q4: JETHRO TULL AQUALUNG - $126.00 Q4: ALLMAN BROTHERS LIVE AT FILLMORE - $125.50 Q4: FRIENDS OF DISTINCTION GREATEST HITS - $125.50 Q8: CHICAGO III - $125.50 Q8: PINK FLOYD WISH YOU WERE HERE - $125.19 Q4: WILLIE DIXON CATALYST - $125.00 SQ: CHICAGO TRANSIT AUTHORITY - $125.00 SQ: ELO LP (Brazil) - $125.00 $100-$124 (US) SQ: PINK FLOYD DSOTM (PINK VINYL-AUS) - $124.65 SQ: ELO LP (Brazil) - $124.50 Q8: AEROMSMITH TOYS IN THE ATTIC - $124.50 CD-4: FRIENDS OF DISTINCTION GRAZIN (JAPAN) - $124.49 CD-4: ELVIS PRESLEY THAT'S THE WAY IT IS (JAPAN) - $124.49 CD-4: TANGO ALL STARS RE FA SI (JAPAN) - $124.49 CD-4: HADVA & DAVID LOOKING BACK (JAPAN) - $124.41 CD-4: FRIENDS OF DISTINCTION GRAZIN (JAPAN) - $124.11 CD-4: ELVIS PRESLEY TODAY - $123.94 Q4: MOODY BLUES CHILDRENS CHILDRENS CHILDREN - $123.79 Q4: JETHRO TULL AQUALUNG - $123.52 Q4: ZZ TOP TRES HOMBRES - $123.49 Q4: SPELLBOUND - $122.50 SQ: BOB DYLAN DESIRE - $122.50 Q4: RANDY NEWMAN GOOD OLD BOYS - $122.49 Q4: ARETHA FRANKLIN GREATEST HITS - $121.49 SQ: PINK FLOYD WISH YOU WERE HERE (UK) - $121.29 SQ: ELO LP (Brazil) - $120.50 Q8: CCR GOLD - $120.29 Q4: DOORS BEST OF - $120.27 SQ: PINK FLOYD WISH YOU WERE HERE - $120.00 CD-4: TAKESHI ONODERA LATIN DRUM (JAPAN) - $120.00 Q4: MOODY BLES SEVENTH SOJOURN - $120.00 SQ: OCR COMPANY - $120.00 Q4: NILSSON SCHMILSSON - $119.83 Q4: JAMES TAYLOR ONE MAN DOG - $119.50 Q4: NILSSON NILSSON SCHMILSSON - $119.00 SQ: PINK FLOYD DARK SIDE OF THE MOON (AUS)(PINK) - $119.99 RM: PINK FLOYD ATOM HEART MOTHER (JAPAN) - $118.50 CD-4: JACKSON 5 LIVE IN JAPAN - $118.43 CD-4/UD-4/SQ/QS: QUADRAFILE (UK) - $118.11 Q4: JETHRO TULL AQUALUNG - $117.50 Q4: DEODATO 2 - $117.50 CD-4: ELVIS AT MADISON SQUARE GARDEN (JAPAN) - $117.50 Q8: EMERSON LAKE PALMER WELCOME BACK - $117.35 RM: PINK FLOYD ATON HEART MOTHER (JAPAN) - $115.75 Q4: JEFFERSON STARSHIP RED OCTOPUS - $115.50 SQ: PINK FLOYD WISH YOU WERE HERE (UK) - $115.50 Q4: JEFFERSON STARSHIP DRAGON FLY - $114.50 QS BOOT: THE WHO TALES FROM - $114.49 CD-4: CAROLE KING TAPESTRY - $114.49 SQ: SANTANA LOTUS 3LP (JAPAN) - $113.51 Q4: ELVIS ALOHA IN HAWAII - $113.50 SQ: MESSAGE BROOKS & DREAMS (GERMAN) - $113.50 RM: PINK FLOYD ATOM HEART MOTHER (JAPAN) - $113.50 Q4: DEEP PURPLE MACHINE HEAD - $113.50 Q4: JETHRO TULL WAR CHILD - $113.50 CD-4: HOT BUTTER POPCORN (JAPAN) - $113.50 Q4: SEALS AND CROFTS I'LL PLAY FOR YOUR - $113.50 SQ: PINK FLOYD WISH YOU WERE HERE - $113.49 Q4: MOODY BLUES THRESHOLD OF A DREAM - $112.50 Q4: MOODY BLUES THRESHOLD OF A DREAM - $112.50 Q4: MOODY BLUES DAYS OF FUTURE PASSED - $112.50 Q4: ELVIS PRESLEY ON STAGE 1970 (JAPAN) - $112.50 Q8: ART GARFUNKEL BREAKAWAY - $ 112.50 RM: VENTURES ON STAGE '71 (JAPAN) - $112.50 Q8: SANTANA (S/T) - $112.50 Q8: CHICAGO II - $112.50 Q4: TOMITA FIREBIRD - $111.50 CD-4: HOT TUNA LIVE (JAPAN) - $111.50 Q4: MOODY BLUES DOFP - $110.00 Q4: PROJECT 3 TEST RECORD - $110.50 SQ: JOHN LENNON IMAGINE (UK) - $110.39 Q8: SANTANA BARBOLETTA - $110.38 Q8: PAUL SIMON THER GOES RHYMIN' SIMON - $110.36 Q4: BTO NOT FRAGILE - $110.27 Q4: JETHRO TULL AQUALUNG - $110.27 SQ: JOHN LENNON IMAGINE- $109.33 SQ: POPOL VUH PERLENKANGE (ITALY) - $ 109.11 SQ: CBS LABS TEST RECORD - $109.10 Q8: CARPENTERS THE SINGLES 1969-1973 - $109.01 Q4: GORDON LIGHTFOOT SUNDOWN - $109.00 Q4: AL GREEN GREATEST HITS - $108.92 Q4: JEFFERSON AIRPLANE VOLUNTEERS - $108.50 CD-4: CREEDENCE CLEARWATER REVIVAL GOLD - $108.50 CD-4: JVC TECHNICAL REFERENCE SERIES (JAPAN) - $107.84 QS BOOT: THE WHO TALES FROM - $107.51 Q4: ELVIS ALOHA IN HAWAII - $107.50 CD-4: PASSPORT HAND MADE (JAPAN) - $107.50 CD-4: SYLVIE VARTAN LIVE 1973 (JAPAN) - $107.50 CD-4: ELVIS PRESLEY RECORDED LIVE ON STAGE (JAPAN) - $107.50 RM: B.B.KING - BEST OF (JAPAN) - $106.56 CD-4: QUINCY JONES YOU"VE GOT IT BAD GIRL (JAPAN) - $105.50 SQ: PINK FLOYD ATOM HEART MOTHER (UK) - $105.21 Q8: CHICAGO (2nd Album) - $105.06 RM: PINK FLOYD ATOM HEART MOTHER (JAPAN) - $105.00 Q8: VARIOUS ARTISTS TOMMY - $105.00 SQ: PINK FLOYD ATOM HEART MOTHER (UK) - $105.00 Q4: MOODY BLUES SEVENTH SOJOURN - $104.50 Q4: MOODY BLUES SEVENTH SOJOURN - $104.50 SQ: THE WHO TALES FROM (BOOT) - $104.50 Q8: DAN FOGELBERG CAPTURED ANGEL - $ 104.50 CD-4: CREEDENCE GOLD - $104.49 Q4: WILLIAM FISHER ORCHESTRA - $104.49 Q8: CECIL HOLMES BLACK MOTION PICTURE EXPERIENCE - $104.49 CD-4: DIANA ROSS LIVE AT CEASARS (JAPAN) - $104.41 CD-4: DIANA ROSS & MARVIN GAYE (JAPAN) - $104.41 Q4: MOODY BLUES DAYS OF FUTURE PASSED - $104.18 Q4: SPELLBOUND - $104.17 Q8: BLUE OYSTER CULT TYRANNY - $104.01 CD-4: TOMITA DAPHNE & CHLOE (JAPAN) - $104.00 Q4: MOODY BLUES QUESTION OF BALANCE - $104.00 Q4: RANDY NEWMAN GOOD OLD BOYS - $104.00 Q8: MOUNTAIN FLOWERS OF EVIL - $104.00 SQ: PINK FLOYD ATOM HEART MOTHER (UK) - $103.79 Q8: PURE PRARIE LEAGUE TWO LANE HIGHWAY - $103.79 Q8: CHARLIE McCOY NASHVILLE HIT MAN - $103.55 Q8: GRENADIER GUARDS SOUSA MARCHES - $103.55 Q8: ARCHIES SUGAR SUGAR - $103.55 Q8: ARCHIES SUGAR SUGAR - $103.55 Q8: PINK FLOYD DSOTM (UK) - $103.55 Q4: ARETHA FRANKLIN GREATEST HITS - $103.51 SQ: SHAFRAN-SCHUBERT (EMI-UK) - $103.50 Q4: NILSSON SCHMILSSON - $103.50 Q4: HUGO MONTENEGRO LOVE LICKS - $103.50 CD-4: ERIC CLAPTON 461 OCEAN BLVD - $103.49 Q8: CHICAGO TRASNSIT AUTH - $ 103.51 Q4: JEFFERSON AIRPLANE WORST OF - $103.51 CD-4: SUPREMES LIVE IN JAPAN 1973 (JAPAN) - $103.50 Q4: JETHRO TULL AQUALUNG - $103.50 SQ: PINK FLOYD WISH YOU WERE HERE (UK) - $103.50 DY: THE FLAME (S/T) - $103.00 CD-4: ELVIS TODAY - $102.51 CD-4: ELVIS LIVE ON STAGE IN MEMPHIS - $102.51 Q4: OST RETURN OF THE PINK PANTHER - $102.50 Q8: CARPENTERS - A SONG FOR YOU - $102.50 Q4: ELVIS ALOHA IN HAWAII - $102.50 Q4: NILSSON SCHMILSSON - $102.50 Q4: SEALS AND CROFTS DIAMOND GIRL - $102.50 Q4: ALICE COOPER MUSCLE OF LOVE - $102.50 Q8: PINK FLOYD DARK SIDE OF THE MOON - $102.50 Q4: GORDON LIGHTFOOT COLD ON THE SHOULDER - $102.50 Q4: RANDY NEWMAN SAIL AWAY - $102.50 CD-4: ELVIS PRESLEY PROMISED LAND (JAPAN) - $102.50 CD-4: FRANK ZAPPA APOSTROPHE - $102.50 SQ: SANTANA WELCOME - $102.50 Q4: SPINNERS SPINNERS - $101.89 Q4: MOODY BLUES QUESTION OF BALANCE - $101.39 Q4: ELVIS ALOHA IN HAWAII - $101.51 Q8: PINK FLOYD WISH YOU WERE HERE - $101.01 Q4: GORDON LIGHTFOOT COLD ON THE SHOULDER - $101.03 Q4: JETHRO TULL WAR CHILD - $101.01 Q8: PINK FLOYD DARK SIDE OF THE MOON - $101.00 Q4: MOODY BLUES A QUESTION OF BALANCE - $101.00 Q4: SEALS & CROFTS I'LL PLAY FOR YOU - $100.99 CD-4: ELVIS LIVE ON STAGE IN MEMPHIS - $100.99 QS: SANSUI DEMO (JAPAN) - $100.99 Q4: JERRY REED LORD MR. FORD - $100.99 Q8: EMERSON LAKE AND PALMER (3 Tapes) - $100.99 Q4: FRIENDS OF DISTINCTION GREATEST HITS - $100.99 CD-4: LA REINE DE SABA (JAPAN) - $100.99 Q8: AL GREEN EXPLORES YOUR MIND - $100.99 CD-4: GUESS WHO SHARE THE LAND - $100.99 CD-4: NINI ROSSI EXORCIST (JAPAN) - $100.99 UD-4: MIKE OLDFIELD TUBULAR BELLS (TAIWAN) - $100.99 CD-4: SWINGLE SISTERS (JAPAN) - $100.99 Q8: DEREK SMITH & VENUS DON'T LET GO - $100.55 Q4: BREAD BABY I'M A WANT YOU - $100.40 SQ: CHICAGO II - $100.00 CD-4: CAPTAIN & TENILLE LOVE WILL KEEP US TOGETHER - $100.00 Q4: JETHRO TULL AQUALUNG - $100.00 Q4: URBIE GREEN 21 TROMBONES - $100.00 SQ: CHICAGO X - $100.00 SQ: PINK FLOYD DARK SIDE OF THE MOON (UK) - $100.00 SQ: ENOCH LIGHT DISCO DISQUE - $100 .00 RM: BEAVER & KRAUSE GANDHARVA (JAPAN) - $100.00 Q8: STEVE MILLER FLY LIKE AN EAGLE - $100.00 Q8: TOMMY JAMES & SHONDELLS BEST OF - $100.00 SQ: PINK FLOYD DSOTM (PINK VINYL - AUST) - $100.00 QS BOOT: THE WHO TALES OF THE WHO - $100.00 Q8: PINK FLOYD WISH YOU WERE HERE - $100.00 ------------------------------------------- SELECR QUADRAPHONIC HARDWARE SANSUI QSD-4 VINTAGE FOUR CHANNEL DECODER - $1,326 SANSUI QSE-4 VINTAGE FOUR CHANNEL ENCODER - $1,152 JVC CD4-50 - $1850.84 JVC CD5-50 - $1,532.23 Sansui QRX-7500 - $1500.00 DENON UD-4 DEMODULATOR -   850.00 CBS Technology Labs SQL-400 - $1525.00 SANSUI QRX-999 RECEIVER - $880.00 SONY SQ Decoder and Encoder - $1199.00 TATE DECODER - $1285.00 MARANTZ 6300 TURNTABLE w/STANTON 780-4DQ CART - $710.00 SONY TC248D QUAD 8 DECK - $400.00
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RE: This Weekend @ Meridian >Fu Manchu>One Tribe Nation>Bret Michaels	Forward to a Friend! 1503 Chartres, Houston, Texas 77003 713.225.1717 www.MeridianHouston.com Check out our MySpace page at www.MySpace.com/MeridianHouston Thu. Mar. 27 Advance: $13 Day of Show: $15Doors: 8:00 PM Fu Manchu Hard Rock/Alternative Mertal: Southern California's Fu Manchu began crafting heavy, psychedelic-tinged rock in 1990 with their debut single, "Kept Between Trees." Throughout the early '90s the group honed their sound on similarly intense singles, and released their debut album, No One Rides for Free, in 1994 on Bong Load Records. Daredevil, also on Bong Load, followed in 1995. The group switched to Mammoth Records for their 1996 album In Search Of...; the next year, founding members Scott Hill (vocals, guitars) and Brad Davis (bass, vocals) added lead guitarist Bob Balch and former Kyuss drummer Brant Bjork to their lineup, and they released their second album for Mammoth, The Action Is Go. During this time the group gained a reputation as a powerful live act, supporting like-minded groups like the Melvins, Kyuss, White Zombie, Monster Magnet, and Clutch in the States, and Corrosion of Conformity, the Hellacopters, and Marilyn Manson in Europe. 1998 saw the release of Return to Earth, which collected their early singles, and the Eatin' Dust EP, which was released by Frank Kozik's Man's Ruin label. Fu Manchu released their fifth full-length album, King of the Road, in early 2000, following it up with a lengthy tour of the United States. They took time off to work on new material, emerging in the spring of 2001 with California Crossing. As their live show neared perfection, they took an opportunity to showcase their stoner rock stage skill with 2003's Go for It...Live! The following year they released two new studio discs, Start the Machine and (Godzilla's) Eatin' Dust. And in 2007 the band returned with an angrier but typically heavy album titled We Must Obey, a sarcastic rebuttal directed toward anyone with the gall to try and push them around. With Special Guests Burning Brides Max Cady Fri. Mar. 28 Advance: $15 Day of Show: $20Doors: 7:00 PM upClose Live Presents One Tribe Nation Featuring Santana's Lead Vocalist ANDY VARGAS And MICHAEL SANDERS With an ALL STAR BAND including: Chuck Prada: Percussion( Ricky Martin, Black Eyed Peas, Michael Jackson) Dave Filice: Bass(Rembrants, Bret Michaels) Dave Schulz: Keys(English Beat, Goo Goo Dolls) Joshua Eagan: Drums(Pink, Steve Lukather) Come hear the hits from Santana and all the other star studded projects.Taking a page from the book of early '70s super groups, One Tribe Nation is an eclectic mix of world-class musicians inspired by culture, diversity, and the concept of a single world community. Based in Los Angeles, the group was brought together by the vision of guitarist Michael Sanders. His father, the late Will Sanders, was a pianist/singer who played and sang with The Inkspots, Cab Calloway, Mercer Ellington and Count Basie throughout the fifties and sixties. Michael   s musical lineage is highly evident in the intricate yet melodic songs on Servants Of A Lesser God. There is no question to his guitar playing ability, but it doesn   t stop there. Take "One Trick Pony" - a high-energy track that combines melodic leads, soulful groove and explosive Latin rhythms. "Amigos Del Diablo" delves even further into the world community feel, highlighting Michael's talents as a multicultural songwriter. For those seeking tribute to the '70s sound, look no further than "Esoterica" - a song that demonstrates Michael's ability to bridge classic musical influences with his own signature sound. Joining the Nation for this release are all-star greats like Luis Conte (Eric Clapton, Madonna, Santana), Andy Vargas of Santana, Jimmy Roberts (Rod Stewart, Rick Braun) and long time Rolling Stones backup singer Bernard Fowler, as well as touring members and session players for such artists as Pink, Black Eyed Peas, Ricky Martin, Frank Gambale, The Goo Goo Dolls and the Rembrants. Sat. Mar. 29 Advance: $32 Day of Show: $38Doors: 7:00 PM Bret Michaels The Rock Of Love #2 Tour A Pedro Presents/JMG Music Production With Special Guests Midnight Circus Rock: His mark on the music scene makes him an important part of rock history. Legendary albums such as "Look What the Cat Dragged In," "Open Up and Say Ahh!" and "Flesh and Blood" will always be fan favorites, but his solo albums and touring proves Michaels is still an important part of the music scene today. Simply put, he is the ultimate front man. He has the ability to incorporate a charismatic stage presence with a high energy performing style. In addition, he exhibits great showmanship, interacting with the fans and treating them all like friends and family. He gives the fans what they crave ... pure rock'n'roll attitude! His solo concerts feature some cuts from his last two solo albums" Songs of Life    and the    Freedom of Sound   , along with all of his hits from Poison which include "Nothin' but a Good Time"," Talk Dirty to Me", "Unskinny Bop", "Every Rose Has Its Thorn", and "Something to Believe In". Bret Michaels, Poison front man and primary singer/songwriter, and a life long juvenile diabetic, has survived 20 years in the entertainment business. He has sold over 22 million records and had fifteen top 40 singles. After nineteen years and twelve albums, he continues to sell out arenas and amphitheaters worldwide. Michaels has produced and written for numerous artists, including "Love's A Hard Game To Play" for Stevie Nicks's platinum album "Timespace: The Best Of Stevie Nicks." Michaels also formed a film production company with Charlie Sheen in which he wrote, directed and starred in several of the films. Michaels has had numerous television show appearances, including "Yes Dear" and "Martial Law" on CBS, "The Chris Isaak Show" on Showtime, and has co-hosted the syndicated entertainment news show "Access Hollywood" with Pat O   Brien and Shaun Robinson. He has appeared on VH-1   s "Rock Bodies" with Beyonce Knowles, made Spin Magazine's "Top 100 Greatest Moments in Rock," has appeared on the cover of Playgirl Magazine and has had his ten-acre Malibu Ranch featured on MTV's "Cribs." For More Info: http://www.meridianhouston.com
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RAZA's Dominican-Haitian Invasion at Cielo :: 2/29	Raza celebrates the island of Quisqueya    Ayiti (Hispaniola), better known as the Dominican Republic and The Republic of Haiti. From the onset of Raza  s first event, their signature sound has fused all types of Latin rhythms with an emphasis on roots and the undeniable African influence on Latino culture. The evening begins with an exclusive, intimate dance class and rare performance from Grupo Kalunga and will keep you dancing into the night with exclusive DJ sets from Jepht   Guillaume and David Medina. Grupo Kalunga is a musical dance ensemble whose aim is to preserve aspects of African tradition and identity existing in Quisqueya    Ayiti. Expect their performance to be unlike anything you  ve ever seen before. The name Kalunga highlights the Congolese cultural aspects retained in Dominican/Haitian culture and throughout the African Diaspora of the Western Hemisphere, such as Cuba, Puerto Rico, etc. Kalunga is a Goddess of the Congolese people known also as the Muntu-Bantu or Bakongo. She is the universal cosmos, the great bang from which all life comes. Kalunga also represents a time when Congolese culture was dominated by a matriarchal system where women played a prominent role in society. The term Neg Maron translates into Black Maroons, those who fought against slavery, many of whom were Congolese descendants. They use this term to symbolize their struggle to maintain freedom and develop African identity on the island of Hispaniola and beyond. Born in Haiti, and uprooted to Brooklyn, Producer/Artist/Musician/DJ Jepht   Guillaume  s music transforms Vodun spirituality and African ancestry into something universally understood. A sought-after bassist and multi-instrumentalist who has played with a wide range of major artists, from Billy Preston to Sting, his self-produced debut album   Voyage of Dreams   was released to universal praise in 1998, following the international success of several 12" singles for Spiritual Life Music. As his solo career continued to thrive, you could also find him working with the likes of Destiny's Child, Mary J. Blige, Toni Braxton, Refugee All-Stars Band, Slick Rick, Glen Scott, 98 degrees and many others. Bringing the same grace and precision to the DJ booth as he does to the recording studio, he is world renowned for his rich sets where he mixes Soulful Dance grooves with traditional Afro-Cuban, Afro-Haitian and Brazilian rhythms. Artist/DJ David Medina, the son of Dominican parents, was raised in Brooklyn and has been spinning Cuban, Brazilian, African, Tropical and World Music in New York City since 1995. His passion for Cuban music has led him to be among the foremost expert DJ  s in the music of the island. He has spun at private parties, lounges and clubs as far as Australia and Brazil opening for renowned bands such as Los Van Van, Oscar de Leon, Los Fakires, Andy Monta  ez, Hector Casanova, Nelson Gonzalez, Jimmy Bosch and Alfredo de la Fe to name a few. He also continues to be a favorite at Lincoln Center  s Midsummer Night Swing concert series. Medina completed a BFA degree in three-dimensional studies with a concentration in glass and has had considerable success showing his work in museums and galleries such as; The Brooklyn Museum, Heller Gallery, The Museum of Modern Art in Santo Domingo, The Museum Of Contemporary Art in Caracas, Venezuela and The Caribbean Cultural Center in NYC. Together, this culturally enriched dance movement led by Joann Jimenez (of Dominican decent), Benny Soto and Carmen Valentin is sure to once again rock Cielo  s thunderous soundsystem in a Afro-Latin style that is truly their own. You don  t want to miss it. For more information, please visit: www.almanyc.com/http://www.myspace.com/grupokalunga www.myspace.com/jephteguillaume www.tetkale.com/ www.djmedina.com/ www.djmedina.com/ Friday, February 29, 2008 6 - 11pm $5 before 7pm + FREE Dominican-Haitian Dance Class $10 with flyer or RSVP to muzikbutrfly@earthlink.net $15 at the door Cielo 18 Little West 12th Street Between Washington & 9th Avenue, NYC A,C,E,1,2,3;L to 14th Street Cielo
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Hezbollah Builds A Western Base (BUILD THE FENCE NOW)	Hezbollah builds a Western base From inside South America  s Tri-border area, Iran-linked militia targets U.S. MSNBC video ON LINK BELOW 'We are Muslims. I am Hezbollah.' Mustafa Khalil Meri, a Hezbollah militiaman in Paraguay, says the militant Islamist group would take violent revenge inside the United States if it were to attack Iran. NBC News Updated: 2 hours, 35 minutes ago CIUDAD DEL ESTE, Paraguay - The Iranian-backed Hezbollah militia has taken root in South America, fostering a well-financed force of Islamist radicals boiling with hatred for the United States and ready to die to prove it, according to militia members, U.S. officials and police agencies across the continent. From its Western base in a remote region divided by the borders of Paraguay, Brazil and Argentina known as the Tri-border, or the Triple Frontier, Hezbollah has mined the frustrations of many Muslims among about 25,000 Arab residents whose families immigrated mainly from Lebanon in two waves, after the 1948 Arab-Israeli war and after the 1985 Lebanese civil war. An investigation by Telemundo and NBC News has uncovered details of an extensive smuggling network run by Hezbollah, a Shiite Muslim group founded in Lebanon in 1982 that the United States has labeled an international terrorist organization. The operation funnels large sums of money to militia leaders in the Middle East and finances training camps, propaganda operations and bomb attacks in South America, according to U.S. and South American officials.Story continues below     ------------------------------------------------------------------------------- -------------------------------------------------------------------------------- U.S. officials fear that poorly patrolled borders and rampant corruption in the Tri-border region could make it easy for Hezbollah terrorists to infiltrate the southern U.S. border. From the largely lawless region, it is easy for potential terrorists, without detection, to book passage to the United States through Brazil and then Mexico simply by posing as tourists. They are men like Mustafa Khalil Meri, a young Arab Muslim whom Telemundo interviewed in Ciudad del Este, Paraguay  s second-largest city and the center of the Tri-border region. There is nothing particularly distinctive about him, but beneath the everyday T-shirt he wears beats the heart of a devoted Hezbollah militiaman.   If he attacks Iran, in two minutes Bush is dead,   Meri said.   We are Muslims. I am Hezbollah. We are Muslims, and we will defend our countries at any time they are attacked.   Click for related content Newsweek: Iran  s foray into Latin America Al-Qaida said to recruit in Latin America Straight shot to the U.S. U.S. and South American officials warn that Meri  s is more than a rhetorical threat. It is surprisingly easy to move across borders in the Triple Frontier, where motorbikes are permitted to cross without documents. A smuggler can bike from Paraguay into Brazil and return without ever being asked for a passport, and it is not much harder for cars and trucks. The implications of such lawlessness could be dire, U.S. and Paraguayan officials said. Rep. Silvestre Reyes, D-Texas, chairman of the House Intelligence Committee, said Hezbollah militiamen would raise no suspicions because they have Latin American passports, speak Spanish and look like Hispanic tourists. The CIA singles out the Mexican border as an especially inviting target for Hezbollah operatives.   Many alien smuggling networks that facilitate the movement of non-Mexicans have established links to Muslim communities in Mexico,   its Counter Terrorism Center said in a 2004 threat paper.   Non-Mexicans often are more difficult to intercept because they typically pay high-end smugglers a large sum of money to efficiently assist them across the border, rather than haphazardly traverse it on their own.   Deadly legacy of a lawless frontier Since the terrorist attacks of Sept. 11, 2001, the Tri-border has become a top-level, if little-publicized, concern for Washington, particularly as tension mounts with Iran, Hezbollah  s main sponsor. Paraguayan government officials told Telemundo that CIA operatives and agents of Israel  s Mossad security force were known to be in the region seeking to neutralize what they believe could be an imminent threat. But long before that, U.S. law enforcement and intelligence agencies regarded the region as a   free zone for significant criminal activity, including people who are organized to commit acts of terrorism,   Louis Freeh, then the director of the FBI, said in 1998. Edward Luttwak, a counterterrorism expert with the Pentagon  s National Security Study Group, described the Tri-border as the most important base for Hezbollah outside Lebanon itself, home to   a community of dangerous fanatics that send their money for financial support to Hezbollah.     People kill with that, and they have planned terrorist attacks from there,   said Luttwak, who has been a terrorism consultant to the CIA and the National Security Council.   The northern region of Argentina, the eastern region of Paraguay and even Brazil are large terrains, and they have an organized training and recruitment camp for terrorists.     Our experience is that if you see one roach, there are a lot more,   said Frank Urbancic, principal deputy director of the State Department  s counterterrorism office, who has spent most of his career in the Middle East. A mother lode of money Operating out of the Tri-border, Hezbollah is accused of killing more than 100 people in attacks in nearby Buenos Aires, Argentina, during the early 1990s in operations personally masterminded by Hezbollah  s military commander, Imad Mugniyah. Mugniyah is on the most-wanted terrorist lists of both the FBI and the European Union, and he is believed to work frequently out of Ciudad del Este. For President Bush and the U.S.-led   war on terror,   the flourishing of Hezbollah in the Western Hemisphere demonstrates the worrying worldwide reach of Islamist radicalism. In the Tri-border, Hezbollah and other radical anti-U.S. groups have found a lucrative base from which to finance many of their operations. Smuggling has long been the lifeblood of the Tri-border, accounting for $2 billion to $3 billion in the region, according to congressional officials. Several U.S. agencies said that Arab merchants were involved in smuggling cigarettes and livestock to avoid taxes, as well as cocaine and marijuana through the border with Brazil on their way to Europe. Some of the proceeds are sent to Hezbollah, they said. Many Arabs in the Tri-border openly acknowledge that they send money to Hezbollah to help their families, and the man in charge of the local mosque in Ciudad del Este, who asked not to be identified by name, declared that Shiite Muslim mosques had   an obligation to finance it.   But the U.S. government maintains that the money ends up stained with blood when it goes through Hezbollah, which is blamed for the bombings of the U.S. Embassy and the Marine barracks in Beirut, Lebanon, in the 1980s, as well as the kidnappings of Americans, two of whom were tortured and killed. Patrick M. O  Brien, the assistant secretary of the Treasury in charge of fighting terrorist financing, acknowledged flatly that   we are worried.     Hezbollah has penetrated the area, and part of that smuggling money is used to finance terrorist attacks,   he said. CONTINUED: In Paraguay, looking the other way -------------------------------------------------------------------------------- 1 | 2 | Next > Hezbollah builds a Western base -------------------------------------------------------------------------------- < Prev | 1 | 2 En espanol Amenaza terrorista Parte Una: Pablo Gato de la cadena Telemundo envia un reportaje desde un campamento de Hezbollah en la zona Triple Frontera. -------------------------------------------------------------------------------- In Paraguay, looking the other way The biggest obstacle in the U.S. campaign to counter Hezbollah close to home is Paraguay, whose   judicial system remains severely hampered by a lack of strong anti-money laundering and counter-terrorism legislation,   the State Department said in a   Patterns of Global Terrorism   report. Since 2004, a draft bill to strengthen money laundering laws has been stalled in the Paraguayan legislature, and the government of President Nicanor Duarte has introduced no draft legislation of its own. Hampering reform efforts is an endemic reluctance in Paraguay to acknowledge the problem. Story continues below     -------------------------------------------------------------------------------- Interior Minister Rogelio Benitez Vargas, who supervises the national police, claimed that Hezbollah-linked smuggling was a relic of the 1980s. Today, he said, the Triple Frontier is a safe and regulated   commercial paradise.   But authorities from the U.S. State and Treasury departments to Interpol to the front-line Paraguayan police agencies all paint a different picture. Eduardo Arce, secretary of the Paraguayan Union of Journalists, said the government was widely considered to be under the control of drug traffickers and smugglers. Without interference, thousands of people cross the River Parana every day from Paraguay to Brazil over the Bridge of Friendship loaded with products on which they pay no taxes. As police look the other way, he said, some smugglers cross the border 10 to 20 times a day. Earlier this year, Telemundo cameras were present as smugglers in Ciudad del Este loaded trucks headed for Brazil. They could have been laden with drugs or weapons, but no authorities ever checked. Jos   Adasco knows better than most why Hezbollah has the region in a grip of fear.[b]Direct link to Iran alleged In 1992 and 1994, terrorists believed to be linked to Hezbollah carried out two attacks against Jewish targets in Buenos Aires, the Argentine capital. In the first, a car bomb exploded at the Israeli Embassy, killing 29 people. Two years later, a suicide bomber attacked the Argentine Israelite Mutual Association, a Jewish community center, killing 85 more. Adasco, who represents the Jewish association, has never been able to forget that day and the friends he lost.   Really, to see the knocked-down building, [to hear] the screams, the cries, people running    it was total chaos. Chaos, chaos. It is inexpressible,   he said. An investigation by Interpol and the FBI found not only Hezbollah  s involvement, but Iran  s, as well. The Argentine prosecutor  s office said the Iranian president at the time, Ali Akbar Hashemi Rafsanjani, ordered the attack to retaliate against Argentina for suspending nuclear cooperation with Iran. A warrant for Rafsanjani  s arrest remains outstanding, and the prosecutor  s office continues its investigation 13 years later. Hezbollah tells its story Alberto Nisman, the Argentine district attorney leading the investigation, said the connection between the Hezbollah attack and the Tri-border is unquestionable. Among other things, he said, the suicide bomber passed through the area to receive instructions. In the intervening years, Hezbollah has spread throughout Latin America. On their Web page, local Hezbollah militants in Venezuela call their fight against the United States a   holy war   and post photographs of would-be suicide terrorists with masks and bombs. There are also Web sites for Hezbollah in Chile, El Salvador, Argentina and most other Latin American countries.   The Paraguayan justice [ministry] and the national police have found propaganda materials for Hezbollah   across the hemisphere, said Augusto Anibal Lima of Paraguay  s Tri-border Police. And it is not only propaganda. In October, homemade bombs were left in front of the U.S. Embassy in Caracas, Venezuela, which is next to a school. Police arrested a student carrying Hezbollah propaganda in Spanish. One of the pamphlets showed a picture of children and said,   Combat is our highest expression of love and the only way to offer a healthy and uncorrupted world.   Caracas police were able to detonate the bombs safely. Police Commissioner Wilfredo Borras said they appeared to be   explosive devices made to make noise and publicity      very different from what would be used if the United States attacked Iran.   In [the] United States, there are many Arabs    in Canada, too,   said Meri, the Hezbollah member who spoke with Telemundo.   If one bomb [strikes] Iran, one bomb, [Bush] will see the world burning.  ... If an order arrives, all the Arabs that are here, in other parts in the world, all will go to take bombs, bombs for everybody if he bombs Iran.  Pablo Gato is a correspondent for Telemundo. Robert Windrem is an investigative producer for NBC News. http://www.msnbc.msn.com/id/17874369/
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Flirt Fling :: Singles Party	Get ready to rock the red carpet! Summary: Flirting In The City celebrates its one year anniversary with a VIP, red-carpet bash    Flirt Fling. Guests will be able to pose like a celebrity for the paparazzi on the Red Carpet. Singles will practice their schmoozing skills in the singles mixer   Celebrity Match   and be entered for door prize giveaways value at over $500 from Bake Free Tan, Supreme Health and Fitness plus many more. First 50 guests will receive a free shot of Absolut Vodka. DJ Fab U Lust will be spinning hip-hop, reggaetone and pop. Come mysteriously alone or rock it like a star with an entourage of friends. Event: Flirt Fling Date: Friday, October 20, 2006 Time: 7-10 p.m. Venue: Palace Latin Club, 1401 University Ave., Madison, WI 53715 Ages: 21+ Tickets: May be purchased online at www.flirtinginthecity.com or by calling 608-658-2066. $15 at the door, $10 in advance, $5 group of 4 or more. Special offers at www.myspace.com/flirtinginthecity
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Re: CUBAN SALSA STAR DEFECTS TO THE USA	As a former music agent and promoter who has worked with other Cuban salsa defectors such as Manolin,Carlos Manuel and a little known in Cuba singer Ley Alejandro, I'd suggest for Delgado to go back to Cuba. Perhaps in the early 70's to late mid 90's these talented artist may have found success in the US,but salsa has been on a rapid decline in the states for over a decade now,very few artist such as Marc Anthony and Gilberto Santarosa have found international fame and appeal to the extent where their careers have been more then just fruitful. As of late,many salsa based radio stations through out the US have become more dependant on the sound of Reggaeton in order to draw listeners. Most stations hardly even play new salsa tunes,and with good reason,not many salsa artist are recording new material and even worse,a huge majority of once popular and successful artist such as Eddie Santiago dont even have a decent home (record label) with the proper financing to help push/promote a salsa artist,even if once extremely popular. Salsa stations today have basically been spinning more of the classic salsa tunes while filling in the gaps with reggaeton and even classic Disco. In 1999 I served on a panel where it's main discussion was about salsa artists and salsa based radio stations futures,during a time where,again, Marc Anthony was the top salsa recording artist who set record breaking sales marks worldwide, industry leaders in the conference (all whom were ready to jump at the Latin explosion to make a buck) gathered a few panelist (including myself) to discuss if investing heavily in promoting salsa artists,would be a financial gain or bust. Out of the 9 panelists all but one agreed it would be a great financial move to move forward promoting salsa artists or Latin pop artists,I of course was the sole panelist against it. Many labels moved forward and spent an unusual amount of funds trying to basically jam salsa artists down fans throats,no need to mention their plan backfired,and milions were lost. At present time,there is a great urgency for salsa and salsa singers/groups to once again be the main sound played through out Latin radio stations in the US,that's if new solid material,new appealing artists and even salsa Icons,record new ear catching tunes,if not salsa will be all but lost within the next 5 years,and will be followed by many salsa based stations closing down,but most likely,changing their format,as reggaeton is nothing more then a fly by night trend already seeing a decline. Delgado better be ready to handle little success in the US and I hope he can repackage himself in a way that he may spark the interest of salsa fans once again,but I doubt it. Also,no other musical genre has been affected as much as salsa because of the ability for fans to easily download the latest salsa tunes without spending a dime,it was tough enough to sell 30,000 units before downloading tunes was even around,today selling 30,000 units with downloading so popular, would make you a God! If not,he will end up like the others,Manolin,Manuel and Alejandro,lost and nowhere in sight! Contrary to what fans may think,being a salsa artist in the US doesnt bring in the big bucks,and much less if you arent delivering solid hit songs, back to back while getting strong radio support. I leave you with this so you may get a good idea where I'm coming from. Even before Celia Cruz passed away,a club or promoter could book Celia Cruz for as little as $10,000 a booking/show. That is chicken scrap money for such an internationally known artist such as Celia, but those are the facts. Now,out of those $10,000 her manager would recieve no less then 10%,her road agent another 5-10% (lets say 5 ) right there Celia is left with $8500,and then her band also has to get paid. As a person who got Celia many booking, I can tell you,at the end of the show,Celia may take anywhere from $3,500-$4,500,because as the booking agent who got her a gig I'd also would get 10% off the top,another $1,000. Now,thats not what she'd get all the time,in the US she'd make $10K-$15k,over seas in countries like Japan,Celia could get as much as $50,000 a show,but those didnt come every week. But even making $50K Celia would have to dish out 10% to her manager,5% road manager and 10% to her booking agent,those pay outs alone total $15,000,again,her band has to get paid,and even more when traveling over seas. Then there's taxes! Keep in mind thats Celia Cruz,who busted her ass for decades in the US recording,acting and performing on a non stop basis! Delgado better bring more to the table then just salsa,it would be wise to appeal to the adult Latino crowd and follow such singers as Luis Miguel,Julio Iglesias in his days,who have made a fortune recording ballads! But I'm not sure if he can transform himself in such a manner? Just look at the top 25 Billboard Latin chart,and you'll see what I'm talking about! Billboard.com - Charts - Singles - Hot Latin Songs Sorry if my response is long,I just wanted to put it all in a nutshell so you can get a clearer picture,rather then posting all this info in mutiple responses.
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RE: "What A Real Star Sounds Like" [Canada.com Tour Review]	Quote: Originally Posted by GeNieEntrapPed it doesn't read as a professional article. sounds like a fan. Mel, a source was provided in the thread title. Go to www.canada.com She on the front page, the Editor's Pick Direct link: http://www.canada.com/cityguides/van...9-0ba034717e9a Some facts on the Legend's tour: Quote: Check out Christina Aguilera's figures that follow below: 1 Carousel horse 1 Grand piano 1 Latin Grammy Award 3 Grammy Awards 4 No. 1 singles on the Billboard Hot 100 4 Cases of MAC cosmetics on tour. 5 Shoe and boot changes by Christina during each concert 8 Hours to set up the production 9 Buses to transport artist, band and crew 10 Costume changes by Christina during a show 10 Outfits/jewelry on tour designed by Roberto Cavalli 12 Trucks used to transport stage and tour materials 16 Countries where the Back to Basics album reached No. 1 20 Band members and dancers 20 Cases of water consumed on tour per day 25 Wardrobe cases for Christina, her band and dancers 26 Bandages/heat wraps for Christina and dancers 41 North American cities to visit on tour 55 Total touring crew members 60 Articles of clothing dry-cleaned before each show 70 Additional local crew members recruited in each city 200 Road cases of instruments for the band 360 Meals per show for the touring crew and local staff 600 Number of moving lights used on stage 820 Pounds of confetti used on tour 2,000 Miles of electrical cable used in the show 2,500 Number of cases used for lights, sound equipment, wardrobe and backline equipment 25m Number of Christina albums sold worldwide 200 BILLION Radio listeners of Christina Aguilera songs according to Nielsen BDS    CanWest News Service 2007
RE: New latin pop king	07-17-07 06:20 PM - Post#362226 Got a copy of this cd called Progresivo the other day--I was expecting the usual latin pop...turns out this cd is a little different. It's by this guy named Magnate and the music is makes is a unique combination of latin pop and reggaeton--definitely worth checking out if you like pop/latin/reggaeton. You can listen to the singles on his myspace at: www.myspace.com/magnate2007 _maria umgd Email Post Report Topic
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Re: Why Baudrillard hates postmodernism (1)	On 28 jan, 18:04, "James Whitehead" <somewh...@overtherainbow.com> wrote: > "sirblob" <sirbl...@hotmail.com> wrote in messagenews:1169996967.867410.65020@j27g2000cwj.go oglegroups.com... > > [...] > > > > > how cute. whitehead, this comments lashes back on you like a > > > > boomerang. the reason tate modern's gone the theme park way is because > > > > it no longer recieves money from the national lottery. so its a case > > > > of postmodernism being too difficult and boring to understand for the > > > > masses, not the other way around. the tate's purely going back to > > > > modernity's rules of commerce (and their climax in postmodernity's > > > > hyperreality) > >..I never mentioned the national lottery - which part funded its building.. > > > the Tate is funded from Government- > > > no, that's precisely the point you see. the reason why tate's becoming > > a theme park is because it's no longer funded by taxes but has to go > > back into competition and capitalism's principles.This doesnt follow the figures - trading generated 22,118,000 in 2005-2006 > in 20,023,000 2002 - 20,277,000 in 2001 - and the proportion made from > trade doesnt seem to have changed since the Tate Modern opened. It is > still funded by taxation from government - the National Lottery was not Tax > revenue... > > As for becoming a theme park it was from day 1 "the Tate Modern rejected any > conventional art-historical categories and hung an entire collection by > theme. It was gratuitously stupid, deliberately trying to do something > 'approachable', that ordinary people would understand." > > The recent re-hang has attempted (if anything) a move back to art historical > categories...though its still popular.. however its attendence figures have > dropped from the opening by about 1.2 million - but it still gets a good 4 > mill...(3.9) > http://www.time.com/time/nation/arti...562918,00.html ''Welcome to the art world's most conspicuous success story. A decade ago, the building was decaying and empty, a massive eyesore just across the Thames from St. Paul's Cathedral. After a $200 million overhaul, including a redesign by architects Herzog & de Meuron, Tate Modern is now one of the city's must-see destinations, attracting more than twice the 1.8 million annual visitors originally predicted. Last July, the museum announced a $400 million expansion plan that it hopes will increase its size by 60% by 2012.'' ''Fueling the boom is a new savvy for the marketing and brand-building techniques long employed by big business. For example, Tate Modern and its sister museums (which also include London's Tate Britain - a repository of historic and contemporary British art - as well as outposts in Liverpool in England's northwest and St. Ives in the southwest) recently marketed a line of wall paints through B&Q home- improvement stores. "For a long time, the opinion toward marketing and commercialism from curators was quite negative," says Paal Mork, head of communications at the Norsk Folkemuseum in Oslo. That attitude, he says, is now ancient history.'' ''Some curators may still wish that great art didn't require a hard sell, but a money crunch has done much to soften that attitude. Cash from governments and foundations is dwindling, and that forces museums to bring in more free-spending visitors to survive. The original Tate Gallery - now Tate Britain - got approximately 90% of its revenues from government funding 20 years ago. Now the group gets 40%. It's a similar picture elsewhere in Europe. Corporate sponsorship has filled some of the shortfall, but in return for their donations, companies expect to see crowds. According to Johanna Waterous, a director of McKinsey & Company's London office, which has worked with Tate Modern since its conception, the new museum had not only to be a showplace of great works, but "it was an imperative to make it a commercial success." That it has been, without question. But how are Tate and other museums staying competitive in this new era? Below, five rules.'' anyway, read that article and learn to understand what you're talking about before doing so. > > > > The Department for Culture Media and > > > Sport to the tune of 29 million if i understand the accounts properly- > > > which i doubt. And thus gets its mission statement from New Labour. And > > > postmodernist art too difficult - dont think so - > > > course it is. that's why it's being left behind. cinemas, magazines > > and tvs are all traditional consumerist narrative crap, keeping with > > postmodernity. anyway, your point is flat-out wrong. you thought it > > was postmodernism that was the tate modern, but no, that's the tate > > modern going back to postmodernity, from where libtard conservatives > > say it should never have left.I've no idea what you mean above- but i await your interlectual defence of > post-modern ...ART > > "Matthew Collings chooses several issues about art to discuss: Shock, > beauty, emptiness of meaning, ..." you learnt your definition of postmodernism and postmodernity from a magazine. reductionism is just the tip of your cute iceberg. you can't distinguish between the two, for starters, so how would you know i was defending postmodernism if i did so? why don't you tell me what you think postmodernism is and defend traditional mass culture, and i'll see what i can do for you from there? for all i know, you might want me to explain lynch's mullholland drive to you. > > > > > > > > > but remain open to being > > > shown otherwise.... the popularity of contempory art is seen not just@ > the > > > tate but anywhere an urban redevelopment takes place a modern galleryis > > > de-rigour - as are waterside apartments - from the Baltic, Lowry, > Walsall > > > ... > > > oh we all know that. the gay community love warhol's pics of marilyn > > and it's all just decoration. we've already been through how hayek's > > postmodern political economics absorb foucault's postmodernist musings > > and heidegger's counterculture blends in nice and cozy in ikea. at > > this rate, even the rotterdam film festival will wind up looking like > > the BAFTAs. > > > > Singles Night > > > > A night of fun, laughter, music and romance and lots more > > > > . Gorgeous glass of bubbly > > > . Sumptuous buffet > > > . Bar > > > . Mystery Love trail > > > . Prize draw > > > . DJ > > > . Live classical music > > > . Icebreaker game > > > . Latin Salsa taster > > > what's that? a libtard convention?no its an event - > > Singles Night > > A night of fun, laughter, music and romance and lots more > > . Gorgeous glass of bubbly > . Sumptuous buffet > . Bar > . Mystery Love trail > . Prize draw > . DJ > . Live classical music > . Icebreaker game > . Latin Salsa taster > > Wednesday 14 February 2007, 6pm - 10pm > Tickets   12 per person > Over 18s only > > To book tickets phone 01922 654400 to call The New Art Gallery Walsall. > >
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Re: Joell Ortiz: Back To The Future	Part 2 AllHipHop.com: Why do you feel that   New York gutter sound   has disappeared? Joell Ortiz: What  s happening is  I really feel like the DJs need to do some soul searching - a lot of them. I keep hearing people say,   We  ve got to bring New York back,   but they don  t play New York s**t. I  m not knocking the South, because we all come from the same place. If you come from the gutter and rise up, then I  m proud of you because you could have taken another route. I  m not knocking anybody  s hustle. But if you  re going to preach,   bring New York back   then play some New York songs. New York has been shying away from what  s working which is dope beats and lyricism. The records that I do will not be records that are directed at the club. The records that you hear of me in the club will be records that DJs put in their bag because they love them. I  m not talking about bottles and models and trying to make you wobble and drop, because it  s just not my thing. It might be someone else  s thing, but it  s not mine. That  s why I work with [DJ] Premier. That  s why I work with Showbiz. That  s why I work with The Alchemist. I miss that feeling, and I  m going to try my best to bring it back. AllHipHop.com: Do you feel like artists get signed to labels and then just lose the drive? Joell Ortiz: I work because I love to do it. I could have done a bunch of things, but this is my passion. I was All City on my high school basketball team; I made good grades, 1400 on my S.A.T  s   I could have done a lot of stuff. When I wake up in the morning, I look forward to the work. This is the grind that I chose, and for people to care about that grind is flattering. AllHipHop.com: Do you feel there is a disconnect between conscious rappers and the music buying public? Joell Ortiz: Umm, it  s not that  it  s just that you have to know how to talk to people. You can  t walk up on a block where a dude is hustling and say,   Yo man, what are you doing? You  re killing your own, man. You  re buggin. Don  t you see what  s happening?   Nah, you can  t do that. You got to go up to that dude and say,   What  s good man.   He may speak back to you  he may not. You continue,   I see what you  re doing and let me just tell you one thing: I  m not here to preach to you, but I did it. I  ve seen the results and they  re not good. I don  t know you and you probably don  t know me but I just figured it was my job to let you know.   Regardless of whether he is feeling you or not, he will at least respect you. You can  t yell at people when you try to teach them. You can  t preach to them either. You have to speak by example. That  s what I do with my music. There are a million rappers out there who say that the hustled. [I can say] that [i] sold drugs to a pregnant woman and I regret it. Who says they bought a video game from a dope head and knew it was his son  s? I  m going to paint a picture and make sure even the small details get in because sometimes the small things have the biggest meaning. AllHipHop.com: You  re obviously influenced by the early   90s, but is there anyone out right now that inspires you? Someone that makes you want to stop and rewind the tape? Joell Ortiz: I mean, no one is exciting people nowadays. I mean  remember when you first heard Canibus on the Lost Boyz joint [  Beasts From The East  ] and you went,   What the f**k just happened? Hold on, hold on, who the f**k is homeboy and what did he just say?   And then you had to bring it back  you just had to. Dudes don  t make you rewind s**t anymore. I miss my man asking   Are you gonna listen to it again?   Where is that s**t at? I miss that because I  m not excited. I  m only excited about me and that  s a shame. And I  m not tooting my own horn, I  m keeping it real. AllHipHop.com: What do you think of the comparisons that fans make between you and Big Pun? Joell Ortiz: I  m flattered. That  s the best word. We  re talking about a legend and someone that I look up to. I  m Spanish, he was Spanish. I  m heavyset, he was heavyset. He had a legendary flow, and people consider my flow legendary. He represented a lot more than just rap because he represented a culture of Latinos. That  s what I  m trying to do with my music now. I mean, when I look out at the crowd from the stage and see fans, I see hope. I mean, there  s still an invisible wall up for Latinos in Hip-Hop. I still get that feeling of people thinking,   Dude is nice  for a Puerto Rican kid.   I  m here to abolish that statement. AllHipHop.com: To what do you attribute that invisible wall that keeps Latin rappers from gaining ground in Hip-Hop? Joell Ortiz: I really don  t know. I don  t know who to blame for that. It  s just a predominantly Black art form, so that  s just taken as the norm. I can  t say who to fault for it because I wasn  t there in the beginning, but I do think that I have a voice that can help to change it for future Latin rappers. AllHipHop.com: Do you feel the Reggaeton movement helped or hurt Latin artists in Hip-Hop? Joell Ortiz: It was a double-edged sword. It helped, but it also categorized us as a people. It took a lot of Latino brothers out of the hood and put them in the forefront, but it also made people think we had our own music. No, we don  t have our own music. What stops a non-Latin person from doing Reggaeton? Nothing. If anyone can do Hip-Hop then it works both ways. I  m Puerto Rican, but I came up from a project in Brooklyn that was all Black. I  m Puerto Rican but I  m still in that mix. You can  t take that from me. Dudes hear me rap and don  t even know that I  m Spanish. So c  mon, you can  t say that they have their own music, but at the same time, I  m proud that my culture came up in the world. Hip-Hop is not Black, Reggaeton is not Brown...it  s music. AllHipHop.com: There was a time when Eminem was always introduced as   the White rapper.   Now he has come to a point where people barely make a notice of it. Joell Ortiz: Oh yeah, he  s up there. Plus the fact that he was White helped him too. Don  t get me wrong, he  s nice. But so many people paid attention because he was White and gave him a little edge. Dudes were like,   Did you hear him on the [Jay-Z]   Renegade   joint? He got Jay. Don  t front on him because he  s White. He got Jay-Z.   So the skills helped as well as the fact that he was White. AllHipHop.com: Big L, early Nas, and early Jay-Z were critically acclaimed but that didn  t reflect in their album sales at the time. Do you worry about album sales when you  re trying to bring that type of music back to the forefront? Joell Ortiz: Marketing sells these albums. A lot of these underground albums are way better than the major releases. They have skill, lyricism, and cohesiveness to them. The albums just need to be pushed. A lot of these major albums are just as many singles that can be put together on a record. I  m just going to do what I do and let it take its course. I  m going to let the fans decide what happens with this record because word of mouth is a motherf**ker.
Hilary at the VMA Latin America "RUMOR" - Today, 09:30 AM Translated by me Hilary is coming to MTV VMA...	...by me Hilary is coming to MTV VMA Latin America Hilary Duff will sing in...recent album Dignity, that also has the popular singles: Stranger and Play With Fire. "There is...however hasnt been confirmed by MTV Latin America , but its thought that it will be confirmed in... Source: (in spanish) http://www.ocvive.com/entretenimient..._latinos.shtml I hope this is true!...
Re: Hilary at the VMA Latin America "RUMOR" - Today, 07:14 PM see they counted PWF as one of her...	see they counted PWF as one of her singles!!!
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RE: Non-Muppet MP3 Trade Page	I have the following to offer on this PC. I have more punk, goth, metal & dance/techno on my work PC. I have more cd's in cases, not on any PC, so just ask I may have it. I also have a bunch of old punk on tapes from back in the day. if someone knows how I can get them digitized, that'd be great! 12 Rounds ~ 'My Big Heo' [kinda like Kitty/Portishead, metal] 30 Seconds To Mars ~ 'A Beatiful Lie' Annie Lennox ~ 'Bare' Annie Lennox ~ 'Medusa' Antimatter ~ 'Saviour' [Cradle Of Filth's, lead singer's side project] Bauhaus ~ 'Press The Eject And Give Me The Tape' Bedrock ~ 'Foundations' disc 1 & 2 [eletronica] Billie Holiday ~ 'The Billie Holiday Collection, Disc 1' Billie Holiday ~ 'The Billie Holiday Collection, Disc 2' Bj  rk ~ 'Vaspertine' Bj  rk ~ 'Med  lla' Bj  rk ~ 'Post' Black Halos, The ~ 'The Black Halos' [punk] The Carpenters ~ 'Singles 1969-1981' Christian Death ~ 'Death Mix' [goth. 18+, for subjectmatter] Cirque Du Soleil ~ 'Zumanity' [18+, for naughtyness] Coal Chamber ~ 'Coal Chamber' [metal] Cocteau Twins ~ 'Garlands' Cocteau Twins ~ 'Starts And Topsoil: A Collection 1982-1990' Concrete Blonde ~ "Bloodletting' [punk] The Cranberries ~ 'To The Faithful Departed' Daniel Bedingfield ~ 'Gotta Get Thru This' [dance] Dead Can Dance ~ 'Aion' Death Cult ~ 'Ghost Dance' [punk/metal] Deee-Lite ~ 'Infinity Within' Deep Forest ~ 'Deep Forest' Depeche Mode ~ 'Music For The Masses [Bonus Tracks] DJ John Digweed ~ 'Stark Raving Mad' disc 1 & 2 [electronica] DJ Johnny Vicious & DJ Tall Paul ~ 'Ministry Of Sound: Club Nation America' disc 1 & 2 [DANCE!~!~!] DJ Keoki ~ 'Keokiclash' DJ Keoki ~ 'The Great Soundclash Swindle' disc 1 & 2 DJ Moda ~ 'Nockturnel Mix Sessions: DJ Moda' DJ Sammy ~ 'Heaven' DJ Spooky ~ 'Celestial Mechanix: The Blue Series Master Mix' Electric Skychurch ~ 'Sonic Diary' Enrique Iglesias ~ 'Enrique Iglesias' [latin] Genitorturers ~ 'Sin City' [electronica, metal] Gipsy Kings ~ 'Compas' [latin] Gitane Demone ~ 'Demonix' Gitane Demone ~ 'Facets Of Blue' Gorgoroth ~ 'Perntagram' [metal] Gorillaz ~ 'Deamon Days' Gravity Kills ~ 'Superstarved' [industrial] Hocico ~ 'Disidencia Inquebrantable' [latin, industrial, 18+ for subjectmatter in latin] Jane Birkin ~ 'Arabesque' [French lounge] Jarboe ~ 'Thirteen Masks [Bonus Tracks]' Jem ~ 'Finally Woken' [techno] Joy Division ~ 'Les Bains Douches, 18 December 1979' [PUNK!] Kedneythieves ~ 'Trickster' [metal, kinda like Kitty] KMFDM ~ 'Symbols' [industrial] KMFDM ~ 'XTORT' [industrial] La Ley ~ 'Libertad' [latin rock] Leftfield ~ 'Rhythm & Stealth' [electronica, drum & bass] London After Midnight ~ Oddities' Loreena McKennett ~ 'The Mask And Mirror' Madonna ~ 'Ray Of Light' Madonna ~ 'Something To Remember' Misfits ~ 'Walk Among Us' [punk] Moby ~ 'Moby' [electronica] New Broadway Cast Recording ~ 'Kiss Of The Spider Woman' [musical] Nosferatu ~ 'The Prophecy' The Notwist ~ '12' [german rock in english-ish] Ofra Haza ~ 'Shaday' [Israeli/Yeminite/English] Patsy Cline ~ '12 Greatest Hits' Peggy Lee ~ 'The Best Of Miss Peggy Lee' Praga Khan ~ 'Freakazoidz' [electronica/rave] Praga Khan ~ 'Mixed Up' [electronica/rave] Praga Khan ~ 'Sampler' [electronica/rave] Prince ~ '1999' Rammstein ~ 'Mutter' [metal] Rasputina ~ 'Transylvanian Regurgitations' [metal] Rocket From The Crypt ~ 'Scream, Dracula, Scream!' [rock] Rosetta Stone ~ 'Adrenaline' Rosetta Stone ~ 'Foundation Stones' Rosetta Stone ~ 'Hiding In Waiting' Sarah McLachlan ~ 'Fumbling Towards Ecstacy' Sean Paul ~ 'The Trinity' Selena ~ 'Dreaming Of You' [latin/english] Shakira ~ 'Grandes Exitos' [latin/spanish] Shakira ~ 'Laundry Service' [latin/english] Siouxsie And The Banshees ~ 'Superstition' [punk/rock] Sisters Of Mercy ~ 'Some Firls Wander By Mistake' [punk] The Smashing Pumpkins ~ 'Mellon Collie And The Infinite Sadness' disc 1 & 2 Soundtrack ~ '8 Mile' [various artists] Soundtrack ~ 'The Long Kiss Goodnight' [various artists] Soundtrack ~ 'The Lost Boys' [various artists] Soundtrack ~ 'The Punisher' [various artists] Sponge ~ 'New Pop Sunday' Sugarcubes ~ 'The Great Crossover Potential' [Bjork's first band] Suicide Girls ~ 'Bleack Heart Retrospective' [various artists] Suzanne Vega ~ 'Retrospective: The Best Of Suzanne Vega' Swans ~ 'Celebrity Lifestyle/Motherfather' [like soundtrack of bad dream] Swans ~ 'Soundtracks For The Blind' disc 2 [rock/like above statement] Switchblade Symphony ~ 'Sinister Nostalgia' Switchblade Symphony ~ 'The Three Calamities' Tool ~ 'Opiate [EP]' Tori Amos ~ 'From The Choirgirl Hotel' Tori Amos ~ 'Little Earthquakes' Tori Amos ~ 'Strange Little Girls' Tori Amos ~ 'Tales Of A Librarian: A Collection Of Tori Amos' Underworld ~ '1992-2002' disc 1 & 2 [electronica/rave/techno] for track listings, email me lael.uriah@gmail.com or sinner@badtzmaru.com
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Breaching of America - Sen. Cornyn's reference-Part I	I have listed the summary and complete investigative report that Sen. Cornyn talked about on the Senate floor today during his discussion of the Border Security appropriations bill. This investigative report is an eye opener, to say the least, and well worth reading. July 09, 2007 Breaching America: Todd Bensman's findings http://www.powerlineblog.com/archives/018175.php Todd Bensman is the San Antonio Express-News reporter who conducted his own investigation into American border security over the course of a four-part series for the paper. Published this past May, the four installments of the series are accessible here ( http://www.mysanantonio.com/news/metro/stories/MYSA052007.01A.SIA_Main_PartOne.359e190.html ), here ( http://www.mysanantonio.com/news/metro/stories/MYSA052107.01A.SIA_PART_II_the_bridge.34a4987.html ), here ( http://www.mysanantonio.com/news/metro/stories/MYSA052207.01A.SIA_PART_III_mexico.35903c9.html ), and here ( http://www.mysanantonio.com/news/metro/stories/MYSA052307.1A.SIA.PartIV.3bafbdd.html ). Bensman discovered the existence of a pipeline of illegals from "Countries of Special Interest" -- mostly in the Middle East, almost all Muslim -- that runs through Latin American into the United States. It is a remarkable series. Yet apart from our friend Hugh Hewitt, who immediately highlighted the series on his site and invited Bensman on his show to discuss it, the silence has been deafening. Why? You can answer that question as well as I can. Tomorrow Bensman will be the keynote speaker presenting his findings at a conference of some 120 Assistant United States Attorneys whose jurisdiction covers the Texas/Mexico border. Bensman has kindly summarized his findings for us: -- More than 5,700 illegal migrants from 43 Islamic countries, including State Sponsors of Terror, have been caught while traveling over the Canadian and Mexican borders along well-established underground smuggling routes since 9-11, a traffic that continues daily. People caught coming from these countries in the Middle East, South Asia and North Africa are labeled by our federal law enforcement agencies as "Special Interest Aliens." -- I have estimated that between 20,000 and 60,000 have gotten through without getting caught since 9/11. Most are probably economic or politically persecuted migrants but all of those who evaded border patrol also did not undergo terror watch list screening and are walking around the country anonymous. This evasion constitutes the primary national security vulnerability of our unguarded borders. -- These migrants, though relatively small in total numbers, are high risk because they hail from countries where American troops are actively battling Islamic insurgents such as Iraq, Afghanistan, Pakistan, Somalia, and the Philippines. They come from nations where radical Islamic organizations have bombed U.S. interests or murdered Americans, such as Kenya, Tanzania, and Lebanon. And they come from State Sponsors of Terrorism such as Syria, Iran and Sudan. And lastly, they come from Saudi Arabia. -- Unguarded U.S. borders are most certainly in terrorist playbooks as a means of entering the country. Since the late 1990s, at least a dozen confirmed terrorists have sneaked over U.S. borders, including operatives from Hezbollah, Hamas, the Tamil Tigers and one Al Qaida terrorist once No. 27 on the FBI's Most Wanted Terrorist list. -- The general flow of routes across the world almost always head toward South America and Central America first because it puts them within easy striking distance of the Mexican border. Corrupt customs and government officials, as well as Arab settler populations in those countries help keep this this traffic moving northward, providing safe haven, jobs and smuggling connections. -- Latin American consulates based in the Middle East are selling tourist visas outright for bribes or simply issuing them to local travelers in places like Damascus, Beirut and Amman Jordan without regard to U.S. security interests. -- Large numbers eventually pass through Guatemala, which issues visas regularly from its foreign consulate offices in places like Jordan and Egypt, making illegal border crossings through Texas possible. -- Since 9/11, Mexico has fielded a surprisingly robust effort to interdict Special Interest Migrants. Mexican intelligence officers interrogate and often deport special interest aliens in partnership with American FBI and CIA agents. Often, the Mexicans allow American agents inside their detention facilities. But severe shortages of manpower and interpreters result in the release of many onto the streets of Mexico -- without thorough threat assessements -- to continue on toward the U.S. border. -- On the U.S. side of the border, the FBI is supposed to interrogate and conduct a threat assessment and interrogations on every captured special interest alien. But the process is severely flawed and open to error. Often, the FBI signs off on captured SIAs (allowing them access to the political asylum process) without conclusively knowing whether they are or are not terrorists.        Furthermore, border patrol agents are simply using a process called "expedited removal" to kick SIAs back into Mexico, where they will certainly try to cross again, with no investigation or FBI referral whatsoever. The Complete Investigative Report Breaching America: War refugees or threats? Web Posted: 05/20/2007 12:51 AM CDT Todd Bensman San Antonio Express-News First part of a four-part series DAMASCUS, Syria        Al Nawateer restaurant is a place where dreams are bartered and secrets are kept. Dining areas partitioned by thickets of crawling vines and knee-high concrete fountains offer privacy from informants and agents of the Mukhabarat secret police. The Mukhabarat try to monitor the hundreds of thousands of Iraq war refugees in this ancient city, where clandestine human smuggling rings have sprung up to help refugees move on        often to the United States. But the refugees who frequent Al Nawateer, gathering around Table 75 or sitting alone in a corner, are undaunted, willing to risk everything to meet a smuggler. They come to be solicited by someone who, for the right price, will help them obtain visas from the sometimes bribery-greased consulates of nations adversarial or indifferent to American security concerns. The deals cut at places like Al Nawateer could affect you. Americans from San Antonio to Detroit might find themselves living among immigrants from Islamic countries who have come to America with darker pursuits than escaping war or starting a new life. U.S.-bound illicit travel from Islamic countries, which started long before 9-11 and includes some reputed terrorists, has gained momentum and worried counterterrorism officials as smugglers exploit 2 million Iraq war refugees. The irony is that the war America started to make itself safer has forced more people regarded as security threats toward its borders. A stark reminder of U.S. vulnerability at home came this month when six foreign-born Muslims, three of whom had entered the country illegally, were arrested and accused of plotting to attack the Army's Fort Dix in New Jersey. What might have happened there is sure to stoke the debate in Congress, which this week will take up border security and immigration reform. But the Iraqi refugee problem provides a twist on the question of what assurances America owes itself in uncertain times: What do we owe Iraqis thrown into chaos by the war? Politically, immigration can be a faceless issue. But beyond the rhetoric, the lives of real people hang in the balance. A relatively small but politically significant number are from Islamic countries, raising the specter, some officials say, of terrorists at the gate. For those few, the long journey to America starts at places like Al Nawateer. The restaurant's reputation as a meeting place is what drew Aamr Bahnan Boles. Night after night, Boles, a lanky 24-year-old, sat alone eating grilled chicken and tabouli in shadows cast by Al Nawateer's profusion of hanging lanterns. Boles always came packing the $5,000 stake his father had given him when he fled Iraq. Boles was ordering his meal after another backbreaking day working a steam iron at one of the area's many basement-level garment shops when he noticed a Syrian man loitering near his table. The Syrian appeared to be listening intently. He was of average build and wearing a collared shirt. Boles guessed he was about 35 years old. When the waiter walked away, the Syrian approached Boles, leaned over the cheap plastic table and spoke softly. He introduced himself as Abu Nabil, a common street nickname revealing nothing. "I noticed your accent," the Syrian said politely. "Are you from Iraq?" Boles nodded. "I could help you if you want to leave," the Syrian said. "Just tell me when and where. I can get you wherever you want to go." For an instant, Boles hesitated. Was the Syrian a Mukhabarat agent plotting to take his money and send him back to Iraq? Was he a con artist who would deliver nothing in return for a man's money? "I want to go to the USA," Boles blurted. "It can be done," said the Syrian. But it wouldn't be cheap, he warned. The cost might be as high as $10,000. Hedging against a con, Boles said he didn't have that kind of money. The Syrian told him there was a bargain-basement way of getting to America. For $750, he could get Boles a visitor's visa from the government of Guatemala in neighboring Jordan. "After that you're on your own," the Syrian said. "But it's easy. You fly to Moscow, then Cuba and from there to Guatemala." The implication was obvious. The Syrian would help Boles get within striking distance of the U.S. border. The rest was up to him. Boles knew it wouldn't be easy or quick. Not until a year later, in fact, in the darkness just before dawn on April 29, 2006, would he finally swim across the Rio Grande on an inner tube and clamber up the Texas riverbank 40 miles west of Brownsville. But Boles was undaunted. He cut a deal with the Syrian, setting in motion a journey into the vortex of a little-known American strategy in the war on terror: stopping people like him from stealing over the border. River of immigrants Near the tiny Texas community of Los Indios, the Rio Grande is deep, placid and seemingly of little consequence. But its northern bank is rigged with motion sensors that U.S. Border Patrol agents monitor closely, swarming whenever the sensors are tripped. Here and all along the river, an abstract concept becomes real. America's border with Mexico isn't simply a political issue or security concern. It is a living body of water, surprisingly narrow, with one nation abutting its greenish-brown waters from the north and another from the south. Since 9-11, the U.S. government has made guarding the 1,952-mile Mexican border a top priority. One million undocumented immigrants are caught each year trying to cross the southern and northern U.S. borders. Because all but a tiny fraction of those arrested crossing the southern border are Mexican or Central American, issues of border security get framed accordingly and cast in the image of America's neighbors to the south. Right or wrong, in this country the public face of illegal immigration has Latino features. But there are others coming across the Rio Grande, and many are in Boles' image. People from 43 so-called "countries of interest" in the Middle East, South Asia and North Africa are sneaking into the United States, many by way of Texas, forming a human pipeline that exists largely outside the public consciousness but that has worried counterterrorism authorities since 9-11. These immigrants are known as "special-interest aliens." When caught, they can be subjected to FBI interrogation, detention holds that can last for months and, in rare instances, federal prison terms. The perceived danger is that they can evade being screened through terror-watch lists. The 43 countries of interest are singled out because terrorist groups operate there. Special-interest immigrants are coming all the time, from countries where U.S. military personnel are battling radical Islamist movements, such as Iraq, Afghanistan, Somalia and the Philippines. They come from countries where organized Islamic extremists have bombed U.S. interests, such as Kenya, Tanzania and Lebanon. They come from U.S.-designated state sponsors of terror, such as Iran, Syria and Sudan. And they come from Saudi Arabia, the nation that spawned most of the 9-11 hijackers. Iraq war refugees, trapped in neighboring countries with no way out, are finding their way into the pipeline. Zigzagging wildly across the globe on their own or more often with well-paid smugglers, their disparate routes determined by the availability of bogus travel documents and relative laxity of customs-enforcement practices, special-interest immigrants often converge in Latin America. And, there, a northward flow begins. Breaching America: The Latin connection Web Posted: 05/21/2007 02:41 PM CDT Todd Bensman San Antonio Express-News Second part of a four-part series GUATEMALA CITY        Banking low and hard, the Cubana Airlines jet punched below the heavy cloud cover on its final descent into La Aurora International Airport, revealing to passengers a strange jumble of urban sprawl and jutting black volcanoes. Aamr Bahnan Boles was exhausted and drowsy from three days of international air travel and layovers, but adrenaline mixed with dread jolted him awake. He looked out the window at the alien landscape below. Boles was 24. The farthest he had traveled from his home near Mosul in Iraq was to Damascus, Syria, a couple hundred miles away, where he'd taken refuge in early 2004 along with hundreds of thousands of other Iraqis fleeing the war. He was acutely aware of how alone he was. He could speak barely a lick of Spanish. Soon Boles would find out whether he would be thrown into some dank Guatemalan detention cell and then deported to Syria or remain free to pursue the bright dream that had driven him this far: escaping the war and starting a new life in America. Boles has plenty of company in the human pipeline that traverses the seas, spans continents and winds its way to the U.S. boundary. Boles and other so-called "special-interest aliens" from Iraq and 42 other countries where terrorist groups operate are automatically deemed security risks when they steal across the border. Though most are economic migrants, the prospect that their ranks might include a terrorist infiltrator preoccupies American authorities whose job it is to distinguish between the two and prevent another attack. Boles' journey to America followed a roundabout route designed to take him through countries adversarial or indifferent to concerns about U.S. national security. His travels        which would consume almost one year of his life, land him in jail and literally test his Christian faith        began in earnest when he paid a man in Damascus $750 to secure a Guatemala tourist visa, supposedly from a consulate office in Amman, Jordan. Boles took a stranger's word that it was legitimate. Would Guatemalan customs officials accept an Iraqi passport and a Guatemala tourist visa without question? Because of so much uncertainty, America was still more dream than destination for Boles on the summer day he boarded a plane at the Damascus airport. The Syrian capital's main airport, with its Damascene-patterned exterior of interlocking eight-point stars, is dingy and small        an unlikely place, it might seem, for high hopes or dream destinations in the west. It has only 14 gates, aging interior pillars of chipped dirty tile and floors with filthy grout work. Veiled women pull luggage on wheels, and robed men swoosh toward late flights. From here, Syrian Airlines flies to Moscow twice a week. On a June day in 2005, Boles boarded a plane to Moscow. Then, after a short connection, he made the 13-hour flight to Havana, another common steppingstone on the road to America. There he spent a fitful night in a cheap hotel before catching a connecting flight the next day to Guatemala City. Officials along the way waved him through without interest. But now Boles' heart pounded as he disembarked and took his place in the "foreigners" line at customs in Guatemala City. An officer in a light-blue uniform with epaulets on both shoulders sat behind a glass-encased station, two disinterested unarmed officers standing on either side. Jet fumes permeated the utilitarian building, hardly made more cheerful by the discolored, framed tourist posters of volcanoes and smiling Mayan villagers. When it was Boles' turn, the humorless officer flipped through his Iraqi passport with its Arabic lettering, every page blank except for stamps from Syria and Cuba. The customs official added his stamp and waved Boles through. Relief washed over Boles. He was on the same continent as America. If all went well, he told himself, he'd soon be eating and drinking with relatives in Sterling Heights, Mich. He didn't have much of a plan, though, and only about $2,000 left of the $5,000 stake his father had given him. He changed some of it to Guatemalan quetzals. Carrying his suitcase, he let a cabdriver fish him out of the crowd and used the only Spanish he knew. "Zona Una, por favor. Zona Una," Boles told the cabdriver. " Hotel, por favor. Hotel." Boles had been told in Damascus that Zone 1, Guatemala City's central market district, was where he would find hundreds of Arab merchants who speak Arabic. Maybe they could help him find a smuggler. He may not have known it at the time, but Boles would soon learn he had come to exactly the right country for that. More than geography Guatemala is a pivotal stop along the serpentine routes where American law enforcement has tried to intercept special-interest immigrants. Immigrants from all parts of the world find it a virtually unpoliced superhighway, where local Arabs and corrupt border officials help people like Boles move under the radar, camouflaged in the multitudes. The U.S. State Department singles out Guatemala as one of the world's busiest transshipment nations for undocumented immigrants of every nationality, mostly South and Central Americans. Special-interest immigrants from the Middle East, Africa and South Asia blend in easily among them, moving inexorably north. One reason is simple geography. South of Guatemala are the South American and Central American countries where many special-interest immigrants first arrive and prepare for the final push north. To the north of Guatemala is Mexico and America's southern border. So virtually everyone on the way to the U.S. by land is eventually funneled through Guatemala. But, like other Latin American countries, Guatemala offers more than just geography. Assistant U.S. Attorney Laura Ingersoll has prosecuted several major smugglers who have brought hundreds of Middle Eastern clients across U.S. borders. She said Guatemala offers "relative ease of entry, a hospitable Arab immigrant community that provides safe temporary haven, and it has operating within it individuals who are tied into illegal-immigrant smuggling business." U.S. homeland security agencies are well aware of Guatemala's key location and have quietly sought to cripple the flow with undercover enforcement operations. But the impact on the tenacious industry, allowed to flourish by a lax central government, is questionable. U.S.-led enforcement operations in the country began targeting smuggling rings here in the 1990s, mainly networks that trafficked in women and children, all victims of sexual exploitation, when that was a priority. After 9-11, U.S. immigration agents in Guatemala shifted gears. In undercover operations targeting smugglers of people from Islamic countries, they have quietly logged the captures of dozens of Iraqis, Jordanians and others, according to federal officials familiar with the operations. But these apprehensions appear to have been episodic at best. The smuggling industry is vast, entrenched, flexible and politically connected. Records from the resulting U.S. prosecutions of smugglers show they have moved hundreds, if not thousands, of special-interest immigrants over routes that snake in and out of Guatemala        by land, air and sea. The routes are served by a nationwide infrastructure of safe houses, private residences, hotels, bus fleets and ship owners, according to investigation records. Nearly everyone along the way earns a cut, not the least local police and immigration officers with every motivation to keep the traffic        and money        flowing. Gustavo Barreno, who served from 1997 through 2005 as a federal prosecutor in charge of enforcing his country's human trafficking laws, called smuggling "the No. 1 cash industry for government officials in Guatemala." "The business is gigantic. You have no idea," he said. "Everyone is involved        everyone. And for Arabs to come into Guatemala it's really easy        really easy." Barreno described the details of a long-standing joint operation between his small office of prosecutors and American authorities. The operations involved the use of American satellites, Coast Guard cutters, the U.S. Navy and the intelligence services of various South American governments, according to several American law enforcement sources. Not long after 9-11, Barreno remembers, an alert arrived in his office from U.S. authorities to be on the lookout for "people with Arabic features." A stream of "wanted" posters featuring suspected terrorists began appearing after that. Barreno's men did find Middle Eastern and Muslim immigrants heading for the U.S. "When one was discovered, I would detain them," Barreno said. "They were always turned over to the Americans." It's not known what the American authorities did with such detainees. Ironically, controversy over a group of Jordanians would lead to the joint program being shut down, Barreno said, which illustrates one reason American efforts in Guatemala remain an uphill slog. One day in early 2005, U.S. and Ecuadorean intelligence officers alerted Barreno to the expected arrival in Guatemala of two wanted Jordanians. After the safe houses were uncovered and the Jordanians arrested, the investigation turned up links between senior government officials and the smuggling ring, he said. Constant interference in the case eventually led to Barreno's ouster and cancellation of the American program, he said. His story about his departure could not be independently verified. And it's unclear what operations the U.S. is conducting in Guatemala now. Senior Immigration and Customs Enforcement officials in Washington, D.C., did not respond to queries for this report. But today, Barreno said, ICE is no longer infiltrating smuggling operations in Guatemala, and the money and the immigrants are flowing like never before. Agents on the take The U.S. government apparently hasn't given up. Santos Cuc Morales, Guatemala's national director of migration, told a story that helps illustrate another reason Guatemala's human trafficking business seems impervious to U.S. desires. In February, Morales said, American Embassy officials approached him and asked whether his immigration officers could stop Iraqis "because of terrorism and the situation in Iraq." The Americans provided intelligence, including lists of stolen passport numbers, and they offered training and money to Morales' immigration agents. But Morales said he couldn't help the Americans with their war on terror. Most of his 450 agents stationed along the nation's borders and at airports and seaports are on the take from smuggling organizations, he said. The majority of his own officers simply won't respond to his orders. Furthermore, powerful government bureaucrats Morales wouldn't name but who wield influence over his department don't want the smuggling stopped because they have stakes in the business. With a shrug, Guatemala's top immigration enforcement official said he wishes he could help the Americans avert another terrorist attack. "I hope that doesn't happen. It would be terrible, but it could happen because of the corruption here," Morales said. "It's the reality of things." The overarching problem is just how entrenched and dynamic the smuggling industry here is. Smugglers have grown wealthy from the proceeds, living openly in luxurious mansions in impoverished rural towns. When smugglers who specialize in Middle Eastern clients have been arrested, their shoes were quickly filled. Networks of smugglers who operate to the north and south of Guatemala cooperate with one another inside the country, handing off clients and cash like relay racers pass batons. And they can be creative. Before he was arrested on a U.S. indictment in 2004, Iranian national Maher Wazzen Jarad ran one of the largest South America-based smuggling operations and used Guatemala as a bridge to the U.S. One route Jarad offered Iraqis and other Middle Easterners was by sea. Ships in Ecuador would carry Jarad's clients north to points off the Pacific coast of Guatemala. Then, speedboats run by a local network would race out from Guatemalan beaches and pick up Jarad's clients for the land journey into Mexico. A third network in Mexico would guide them over the Texas border. One of many Ecuadorean ships halted by American authorities in Jarad's 2003 operation was the Esperanza. Of 137 paying passengers found aboard, 26 were Iraqis headed for America. Government officials say other smugglers now handle Jarad's business. The ocean route from South America is still busy. "Like water, it will find the nooks and crannies in your roof and make its way into your house," said Ingersoll, the prosecutor who helped imprison Jarad. But not everyone can afford the services of a smuggler. People of limited means, like Boles, for instance, must bide their time in Guatemala, save some money and shop carefully for what they can afford. For them, an inexpensive kind of help is available, from Arab communities in Latin America. No questions asked. Lining up a smuggler When Boles walked out of his hotel, the frenetic central marketplace of Zone 1 assaulted him. Throngs of shoppers plied the hundreds of tiny shops crammed in side by side like mismatched dominoes along broken traffic-clogged avenues. The atmosphere was tropical, not what he was used to in his arid native land. Overcrowded red "chicken buses," ubiquitous in this country, roared by at decibels that made him flinch, spewing black clouds that bathed pedestrians and street hawkers shouting deals in Spanish. Boles had a vague notion of what he was looking for. Within an hour, he noticed he had happened into a section of the marketplace that projected a foreign cultural flavor. Some of the shops sported names such as "Rio Jordan," "The Egyptian" and "Haifa." He went into one. The shopkeeper spoke Arabic. Within a couple of days, Boles had a job, in a shop called Los Amigos, selling cheap electronics. His boss was a descendant of Palestinian Arab settlers named Hussein. They belonged to a community of some 3,000 Arabic-speaking Guatemalans of Jordanian, Palestinian and Syrian descent that had settled since the 1930s. Many work as merchants in Zone 1. There are enough Muslims among them to be served by two mosques in Guatemala City. The merchants and their Arab employees do not particularly stand out as different at first glance. Reflections of their cultural heritage, though, become evident in back offices and behind cash registers. Here, the sweet scent of tobacco smoke from traditional shisha water pipes permeates the air. Art works with Arabic lettering hang on office walls, and prayer rugs are stored. Boles would settle in for much longer than he had anticipated. He had no choice. After Boles asked around, the rest of the trip to the U.S.        a 900-mile trek over two borders        looked daunting. There were warnings of vicious machine-gun-toting gangs of bandits who preyed on the steady columns of immigrants. The bodies of their victims were turning up on both sides. Corrupt police and troops were said to be not much better. They would jail you or have you deported unless you paid them off. Boles didn't dare cross into Mexico alone. He would need a smuggler who knew the lay of the land. Not long after his arrival, his new friends put him in touch with a number of such people. None was willing to guide him to the U.S. for less than $5,000. He would end up living in Guatemala City for the next eight months, five months past the expiration of his tourist visa. But no official would ever bother him about it. Staying worked in Boles' favor. He'd be able to preserve and add to his remaining $2,000 and find the right smuggling connection. He'd also learn some Spanish. His life was austere. He lived in a small rundown apartment in Zone 7, a few miles from his job, which he could reach by riding the chicken buses. To keep expenses down, he subsisted on common street food, which was cheap, if alien, to him: tortillas with chicken or beef, and lots of black beans. He worked at Los Amigos every day, picking up a few words of Spanish here and there. Over time, he learned some rudimentary sentences and pleasantries. As he did in Damascus, Boles largely kept his own counsel in Guatemala City. Boles, a Chaldean Christian, which is a persecuted minority in Iraq, had no particular desire to attend church. It wouldn't have done much good anyway; he wouldn't have understood the Spanish-language services. He made acquaintances among the mostly Muslim Arabs in Zone 1 who spoke his language. Without that connection, he would have had a rough time making it. It turns out that many immigrants like Boles find aid in Arab communities all over Latin America, some of which have spawned smuggling operations. Guatemala City was no different. But real friendship wasn't in the cards. The cultural divide between Arab Christians and Muslims extends a long way. On Jan. 2, 2006, Boles turned 25        far from home, friends and family. He had a month left in Guatemala. Other aspiring immigrants On a recent day inside a Zone 1 shop, amid cheap knockoff purses and watches, a young Syrian Christian man stood vigil over the merchandise, a gold cross hanging from his neck. He didn't speak Spanish, having just arrived from Damascus weeks earlier. Ibrahim Dahang explained through a local interpreter that it had been no problem for him to fly on a Guatemala visitor's visa obtained in Jordan to Paris and then into Guatemala City, where he picked up a job in Zone 1 from a fellow Syrian. He said he left Syria because of the poor economy. "I would indeed love to go to America," he said, to join relatives in Detroit. Dahang abruptly added, however, that he would never try to cross into America illegally. He refused to let his photo be taken and ended the interview. A block and a half away, 42-year-old Imad Aorill worked in an electronics shop owned by a Jordanian man. Aorill had just arrived from Baghdad with his wife and two children, Iraqi Christians who fled Islamic extremist death threats. In Amman, Jordan, he paid a man $200 to get his family visas to Guatemala. Then with financial help from a cousin in Chicago, the family flew the same route Boles took        from Damascus to Moscow, then Cuba and finally Guatemala City. Aorill said his "ultimate dream" is to get his family to America, but he said he could not afford the $40,000 smuggling fee estimates he's been getting for having young children. Until he figures things out, he'll stay. Amar Radi, secretary of the Arab Community of Guatemala, acknowledged the steady traffic of Middle Easterners. "Many Arabs come here and work a while, get the money and then go to the U.S.," Radi said. But he points out that no terrorist who is part of a well-heeled organization would do it this way. People with money, presumably including terrorists well-funded by organizations back home, leave Guatemala as soon as possible. Still, rich and poor alike must travel the same routes over the Mexican border. A buffet of routes By January 2006, Boles was ready to leave the country. Through friends of friends he found a Guatemalan native assembling a load of Salvadorans and Nicaraguans for a run to the U.S. He agreed to cut Boles a special deal. For a mere $250, Boles could tag along with the group as far as the Mexican border, a four- or five-hour drive away. Then he'd be on his own in Mexico. Early one morning, Boles joined the half-dozen or so other migrants in the courtyard of a house on the outskirts of Guatemala City. They piled into two cars and headed for the border. The boundary between Guatemala and Mexico is part undifferentiated land with few markers and part the Rio Suchiate, which empties west into the Pacific. This border        and the smuggling channels that traverse it        are a significant concern, according to newly released U.S. State Department Country Report that assesses counterterrorism efforts in Mexico during 2006. "The southern border, in particular, could be vulnerable to the movement of terrorists," the report states. One of the most popular places to cross into Mexico is the Suchiate, where the uninspected movement of people and goods between the two countries is openly tolerated. Under an international bridge between the Mexican town of Ciudad Hidalgo and the Guatemalan town of Tecun Uman, traffic moves back and forth on flotillas made of giant tire inner tubes, their pilots grunting as they push their loads around using long poles. Boles would not cross here with his group. But other Middle Easterners have, including a dozen California-bound Iraqis in 2003. According to ICE documents, all 12 had obtained fraudulent Greek passports in Turkey with the help of a smuggler they each paid up to $8,000, including $1,300 for the bogus passports. Then they made their way by train or bus to Madrid, Spain, where they caught flights to Colombia. From Colombia, the Turkish smuggler helped them use their fake passports to catch flights to Guatemala City, where the larger group split into smaller ones for a land run to Mexico. They crossed at Tecun Uman. A typical dual-tube raft can carry 12 people and hundreds of pounds of trade goods. The camaristas, or boatmen, say they don't ask questions or pay much attention to whom they ferry across. But camarista Teofilo Lopez said he can't help but notice some of them if it's obvious they're from a faraway country, like the "bearded Arab wearing like a blue sheet" a few days earlier who spoke not a word. "Here we don't ask questions. We just take their money and bring them over." The only visible authority was a few Mexican army officers posted on their side of the river, wearing full battle garb and carrying automatic weapons. They said they didn't pay much attention, either. Officer M. Monzon, cradling his weapon in his arms, said his only orders are to look for "explosives and detonators." For hours one recent day none of the soldiers bothered to search any of the boat traffic. On the Guatemala side of the river in Tecun Uman, Father P. Ademar Barillis directs a Catholic church-based facility with a mission to help immigrants make it safely to America. Casa del Migrante sits just 200 yards from the river. Barillis said most of the people he helps are Central Americans but also "Africans and Middle Easterners." He scoffed when asked whether U.S. homeland security officials should worry that those he helps might be terrorists posing as immigrants. "It's ridiculous. It's a ludicrous idea," he said. "Terrorists would surely find easier ways to get into the U.S. The whole issue of walls being built on the border and terror threats is a political issue, not a real issue." There are other, lesser known, water routes from Guatemala to Mexico. At the westernmost point where Guatemala and Mexico meet is a vast watery veld of beach and river known as the Hook, where the Rio Suchiate spreads out into the Pacific. Here speedboats loaded with migrant passengers zip around from Guatemalan shores and land almost every night, locals around the beaches confirm. Until the state of Chiapas deployed a 92-member border police force to the area in December, the smugglers would deliver their passengers in broad daylight. Now the boats run at night. Police and immigration officers elsewhere along the Guatemala side of the border are not exactly motivated to shut down the traffic and worry about terrorism. They're collecting cash tolls from busloads of the migrants. Boles and his Central American compatriots would cross near the Guatemala town of La Mesilla, known as a current favorite among smugglers        and predatory police. Two bus drivers told of what happens daily to their loads of Salvadorans and Nicaraguans as they approach La Mesilla. Ronaldo Gomez, sitting in the driver's seat of his bus, explained that Guatemalan state police pulled his bus over a few miles from La Mesilla one day recently and ordered all the foreigners to hand over 100 quetzals each, the equivalent of about $7. Then they were allowed to continue on their bus trip to the Mexican border. "It happens every day, every single day," Gomez said. "If you're able to pay your way, or talk your way, you can cross the border." Like most Mexico-bound immigrants, Boles was driven along a dirt road that split from the main highway to town, beyond the sight of customs officers manning the port of entry. They walked across the border. A waiting car picked up the group and drove back around to the main highway on the Mexican side of the border and headed into Ciudad Cuauhtemoc. At the bus station, Boles bought a ticket to Tapachula and got on with mostly Central Americans. Not once during the 9,000 miles of travel        from Damascus to Moscow to Havana to Guatemala        had Boles encountered America's post-9-11 fear of terrorist infiltrators. That was about to change. In Mexico, U.S. counterterrorism authorities have found a much more willing partner. Within hours of boarding the bus, Boles would feel for the first time the heat of America's obsession with security. News Researcher Julie Domel contributed to this report. How this series was reported To document the hidden world of special-interest aliens, San Antonio Express-News reporter Todd Bensman and photographer Jerry Lara traveled to Damascus, Syria; Amman, Jordan; throughout Guatemala; the southern border state of Chiapas, Mexico; Brownsville and elsewhere along the Texas border; and Michigan. Bensman documented routes used by smugglers to move immigrants from Islamic countries, including a popular one from Syria to Texas traveled by Iraqi refugee Aamr Bahnan Boles. The Express-News hired Arabic language interpreters in Syria, Jordan and Texas, where Boles was first interviewed extensively. Bensman obtained materials from overseas smuggling investigations and hundreds of daily intelligence summaries reflecting Texas border crossings. He interviewed U.S. and Mexican law enforcement officials in both countries, and examined U.S. court records from a dozen federal smuggling prosecutions. Some dialogue and scenes described in this series were reconstructed based on interviews with Boles and, when possible, others who were present. Continued --- see part II
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RE: 06 Topps Streling Case Break, Thank you shortporch.com !!!	Maybe an ugly card to some, but I have a $4000 offer for it. Had to expect a big let down after box one. But I'm pleased to get a Cal Ripken Box a special number card of Ripken 4 piece card 01/10 and the Mystery pack found a Hall of Fame cut autograph of Ray Dandridge. He was before my time so here's some interesting info on Hooks. Thanks, Mike Ray Dandridge Nickname(s): Hooks Born: 1913 3B-2B-SS Negro Leagues 1933-49 Detroit Stars, Newark Dodgers, Newark Eagles, New York Cubans * Hall Of Fame in 1987 Ray Dandridge was a masterful third baseman, a stylist who could make all the plays. He was smooth and relaxed, with soft hands, a strong arm, and the versatility to excel at any infield position. "People would pay their way in to the game just to see him field," claimed Monte Irvin. Roy Campanella said, "I never saw anyone better as a fielder." Hoyt Wilhelm, who played against Dandridge in Cuba and with him in Minneapolis (American Association), asserted, "No matter how the ball was hit, he always made the throw so that he just did get the man at first." Others observed that a train could go through Dandridge's bowlegs, but that a baseball never did. Dandridge started his pro career with the 1933 Detroit Stars and moved to the Negro National League's Newark Eagles, for whom he starred throughout the remainder of the 1930s. A spray hitter with good bat control, he seldom struck out, and skillfully executed the hit-and-run. In 1935, he hit .368. Looking for more money in 1939, he opted to play in Latin America. He went to Mexico in 1940, and spent most of the decade there. When he came back for a year in Newark in 1944, he batted .370, leading the NNL in hits, runs, and total bases. In 1945 he set a Mexican League record for hitting safely in the most consecutive games and managed his team to a pennant. In nine Mexican League seasons, he compiled a .343 average. Following the 1948 season, he returned to the States as player-manager of the New York Cubans. During his time in the NNL, Dandridge registered a lifetime .355 average, and played in three East-West all-star games, hitting .545. He played winter ball in Mexico, Venezuela, Puerto Rico, and Cuba; in 11 seasons of Cuban Winter League action, he batted .282. Soon after Jackie Robinson signed with the Brooklyn Dodgers, Bill Veeck contacted Dandridge about playing with the Cleveland Indians, but Dandridge refused to leave Mexico without a bonus. Later, in 1949, at age thirty-five, he was signed by the New York Giants and assigned to their Triple-A farm club at Minneapolis. He batted .363 his first year there, and won the league's MVP award in 1950, when he led Minneapolis to the league championship. Despite his achievements, the Giants would not promote him to the parent club. While at Minneapolis, Dandridge provided advice and assistance to a young Willie Mays, who never forgot the help or the man. Returning to Cooperstown for Dandridge's induction into the Hall of Fame (he was elected by the Committee on Baseball Veterans in 1987), Mays stated, "Ray Dandridge helped me tremendously when I came through Minneapolis. Sometimes you just can't overlook those things. Ray was a part of me when I was coming along."    July 26, 1987: Catfish Hunter, Billy Williams, and Ray Dandridge are inducted into the baseball Hall of Fame in Cooperstown, New York. Here's a link to the Ripken Singles from box 2: http://img.photobucket.com/albums/v97/mIKEFROMCHESTER/Topps/sterling232.jpg ------------------------- The Proud Owner of THE CARDBOARD VILLAGE Edited: Friday November 17, 2006 at 4:35 PM by Mikefromchester
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Joell Ortiz Interview	Joell Ortiz: Back to the Future By DeVaughn Douglas xml Last year, Busta Rhymes decided it was time to return to his   New York S**t   while Nas asked   Where Are They Now?   The Fugees and A Tribe Called Quest reconvened as Raekwon chipped away at his Only Built 4 Cuban Linx sequel. The   90s New York Hip-Hop sound is dearly missed, but as Papoose and Tru Life have revealed the contemporary direction of their albums, few new artists or labels are willing to trade hard knock hit making for reasonable doubts concerning sales. Enter Joell Ortiz    perhaps the best of both worlds. As the New York delegate of the Aftermath roster, Ortiz   future might be air-tight. But as brethren like Bishop Lamont and G.A.U.G.E. are forced to wait, Koch Records releases The Brick, an album before the album. What  s more is the independent project permits Joell to go right to the sources of   90s New York greatness    Showbiz, Domingo and DJ Premier. Quality control and eyebrows ought to be simultaneously raised as cries for Hip-Hop help are answered. Beyond just boom-bap, Joell promises to tell stories in his songs. In this discussion with AllHipHop, the artist who JD seemingly passed over admits to more than feeling himself. With his precise vision, and reliance on word of mouth,   brick   may no longer mean missed shot, and become the strong building-block foundation for going back to the future. AllHipHop.com: Before we go too far into the future, can we look at some things from the past? It is rumored that there was a problem with a deal with Jermaine Dupri. Joell Ortiz: Really, I don  t like talking about the situation because it  s done  But I  ll tell you what it was really about. It was a simple [situation]. He sponsored the EA Sports battle. The winner was supposed to get a slot on the NBA Live   05 soundtrack and a deal with Arista Records. I won and got the slot with the Live soundtrack crackin   and he was supposed to follow up with the deal    he didn  t. It was that simple and that was pretty much it. AllHipHop.com: How did you hook up with Aftermath and Dr. Dre? Joell Ortiz: What  s up with Dre? Oh, He  s got this new Latin artist from Brooklyn that he  s really excited about...[Laughs] Nah, for real, I got the CD to one of his people out in L.A. and I got a call the next day saying that Dre really liked my stuff. I was just like,   Alright, that  s what  s up,   but then [Dre  s people] were like,   No, you don  t understand, he loves the stuff and wants to fly you out A.S.A.P.   Two days later, we  re on a plane, and then we  re with the Aftermath staff just kicking it. The next day, I  m in the studio with Dre and he tells me   Yo man, I like the record.   I  m like,   Yo man, I like the beats!   We start laughing, one thing leads to another, and he tells me,   I really flew you out to make sure you wasn  t a knucklehead. You know, I  ve taken a lot of losses in this rap music already and I really don  t want to take anymore losses.   AllHipHop.com: That happened pretty quickly. Joell Ortiz: I was sitting there after we left the studio in the hotel room and it finally soaked in. Oh s**t. I  m on Aftermath. Ten years of grinding for a ten minute meeting. AllHipHop.com: The last notable people to have a story like that  .rapping for a decade, being called by Aftermath, short meeting with Dre, and getting signed to the label, were Eminem and 50 Cent. Joell Ortiz: Yeah, that  s some good company. I think I  m in a perfect position because Dre doesn  t try to change what you have already done. He let 50 Cent come over there and do his record. He let Eminem come and do his record. [Dre] just puts you on a broader stage. Me bringing that New York gutter sound back out, that head nod music, that conscious but not preachy music  .he  s gonna help me get that to a broader stage. That  s all I needed because I have a great team already, and when you combine that team with the Aftermath machine we  re gonna have a ball. AllHipHop.com: Why do you feel that   New York gutter sound   has disappeared? Joell Ortiz: What  s happening is  I really feel like the DJs need to do some soul searching - a lot of them. I keep hearing people say,   We  ve got to bring New York back,   but they don  t play New York s**t. I  m not knocking the South, because we all come from the same place. If you come from the gutter and rise up, then I  m proud of you because you could have taken another route. I  m not knocking anybody  s hustle. But if you  re going to preach,   bring New York back   then play some New York songs. New York has been shying away from what  s working which is dope beats and lyricism. The records that I do will not be records that are directed at the club. The records that you hear of me in the club will be records that DJs put in their bag because they love them. I  m not talking about bottles and models and trying to make you wobble and drop, because it  s just not my thing. It might be someone else  s thing, but it  s not mine. That  s why I work with [DJ] Premier. That  s why I work with Showbiz. That  s why I work with The Alchemist. I miss that feeling, and I  m going to try my best to bring it back. AllHipHop.com: Do you feel like artists get signed to labels and then just lose the drive? Joell Ortiz: I work because I love to do it. I could have done a bunch of things, but this is my passion. I was All City on my high school basketball team; I made good grades, 1400 on my S.A.T  s   I could have done a lot of stuff. When I wake up in the morning, I look forward to the work. This is the grind that I chose, and for people to care about that grind is flattering. AllHipHop.com: Do you feel there is a disconnect between conscious rappers and the music buying public? Joell Ortiz: Umm, it  s not that  it  s just that you have to know how to talk to people. You can  t walk up on a block where a dude is hustling and say,   Yo man, what are you doing? You  re killing your own, man. You  re buggin. Don  t you see what  s happening?   Nah, you can  t do that. You got to go up to that dude and say,   What  s good man.   He may speak back to you  he may not. You continue,   I see what you  re doing and let me just tell you one thing: I  m not here to preach to you, but I did it. I  ve seen the results and they  re not good. I don  t know you and you probably don  t know me but I just figured it was my job to let you know.   Regardless of whether he is feeling you or not, he will at least respect you. You can  t yell at people when you try to teach them. You can  t preach to them either. You have to speak by example. That  s what I do with my music. There are a million rappers out there who say that the hustled. [I can say] that [i] sold drugs to a pregnant woman and I regret it. Who says they bought a video game from a dope head and knew it was his son  s? I  m going to paint a picture and make sure even the small details get in because sometimes the small things have the biggest meaning. AllHipHop.com: You  re obviously influenced by the early   90s, but is there anyone out right now that inspires you? Someone that makes you want to stop and rewind the tape? Joell Ortiz: I mean, no one is exciting people nowadays. I mean  remember when you first heard Canibus on the Lost Boyz joint [  Beasts From The East  ] and you went,   What the f**k just happened? Hold on, hold on, who the f**k is homeboy and what did he just say?   And then you had to bring it back  you just had to. Dudes don  t make you rewind s**t anymore. I miss my man asking   Are you gonna listen to it again?   Where is that s**t at? I miss that because I  m not excited. I  m only excited about me and that  s a shame. And I  m not tooting my own horn, I  m keeping it real. AllHipHop.com: What do you think of the comparisons that fans make between you and Big Pun? Joell Ortiz: I  m flattered. That  s the best word. We  re talking about a legend and someone that I look up to. I  m Spanish, he was Spanish. I  m heavyset, he was heavyset. He had a legendary flow, and people consider my flow legendary. He represented a lot more than just rap because he represented a culture of Latinos. That  s what I  m trying to do with my music now. I mean, when I look out at the crowd from the stage and see fans, I see hope. I mean, there  s still an invisible wall up for Latinos in Hip-Hop. I still get that feeling of people thinking,   Dude is nice  for a Puerto Rican kid.   I  m here to abolish that statement. AllHipHop.com: To what do you attribute that invisible wall that keeps Latin rappers from gaining ground in Hip-Hop? Joell Ortiz: I really don  t know. I don  t know who to blame for that. It  s just a predominantly Black art form, so that  s just taken as the norm. I can  t say who to fault for it because I wasn  t there in the beginning, but I do think that I have a voice that can help to change it for future Latin rappers. AllHipHop.com: Do you feel the Reggaeton movement helped or hurt Latin artists in Hip-Hop? Joell Ortiz: It was a double-edged sword. It helped, but it also categorized us as a people. It took a lot of Latino brothers out of the hood and put them in the forefront, but it also made people think we had our own music. No, we don  t have our own music. What stops a non-Latin person from doing Reggaeton? Nothing. If anyone can do Hip-Hop then it works both ways. I  m Puerto Rican, but I came up from a project in Brooklyn that was all Black. I  m Puerto Rican but I  m still in that mix. You can  t take that from me. Dudes hear me rap and don  t even know that I  m Spanish. So c  mon, you can  t say that they have their own music, but at the same time, I  m proud that my culture came up in the world. Hip-Hop is not Black, Reggaeton is not Brown...it  s music. AllHipHop.com: There was a time when Eminem was always introduced as   the White rapper.   Now he has come to a point where people barely make a notice of it. Joell Ortiz: Oh yeah, he  s up there. Plus the fact that he was White helped him too. Don  t get me wrong, he  s nice. But so many people paid attention because he was White and gave him a little edge. Dudes were like,   Did you hear him on the [Jay-Z]   Renegade   joint? He got Jay. Don  t front on him because he  s White. He got Jay-Z.   So the skills helped as well as the fact that he was White. AllHipHop.com: Big L, early Nas, and early Jay-Z were critically acclaimed but that didn  t reflect in their album sales at the time. Do you worry about album sales when you  re trying to bring that type of music back to the forefront? Joell Ortiz: Marketing sells these albums. A lot of these underground albums are way better than the major releases. They have skill, lyricism, and cohesiveness to them. The albums just need to be pushed. A lot of these major albums are just as many singles that can be put together on a record. I  m just going to do what I do and let it take its course. I  m going to let the fans decide what happens with this record because word of mouth is a motherf**ker. courtesy of ahh.com
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RE: WA2K Radio is now on the air	Herb Alpert From Wikipedia, the free encyclopedia Birth name Herbert Alpert Also known as Herb Alpert, Dore Alpert Born March 31, 1935 (1935-03-31) (age 73) Origin Los Angeles, California, U.S. Genre(s) Jazz, Latin, Funk, Pop, R&B Occupation(s) Trumpeter, Composer, Songwriter, Singer, Record Producer, Painter, Sculptor Instrument(s) Trumpet, Voice Years active 1957  present Label(s) A&M Records Associated acts The Tijuana Brass Baja Marimba Band Website www.herbalpert.com Herbert "Herb" Alpert (born March 31, 1935) is an American musician most associated with the group variously known as Herb Alpert & The Tijuana Brass or as Herb Alpert's Tijuana Brass or just TJB for short. He is also famous for being a recording industry executive    he is the "A" of A&M Records (a recording label he and business partner Jerry Moss founded and eventually sold). Alpert's musical accomplishments include five number one hits, twenty-eight albums on the Billboard charts, eight Grammy Awards, fourteen Platinum albums and fifteen Gold albums.[1] As of 1996, Alpert had sold 72 million albums worldwide.[2].[3] Early life and career Born in Los Angeles, California, Alpert began trumpet lessons at about the age of eight and played at dances as a teenager. Acquiring an early wire recorder in high school, he experimented with recording on this crude equipment. After graduating from Fairfax High School in 1952, he joined the U.S. Army and frequently performed at military ceremonies. After his service in the Army, Alpert tried his hand at acting, but eventually settled on pursuing a career in music. While attending the University of Southern California in the 1950s, he was a member of the USC Trojan Marching Band for two years. He graduated with a BM in 1954. In 1957, Alpert teamed up with Lou Adler, another burgeoning lyricist, as a songwriter for Keen Records. A number of songs written or co-written by Alpert during the following two years became top twenty hits, including "Baby Talk" by Jan and Dean, "Wonderful World" by Sam Cooke, and "Alley-Oop" by Dante and The Evergreens. [4] In 1960, Alpert began his recording career as a vocalist at RCA Records under the name of Dore Alpert, where he recorded early vocals. "Tell It To The Birds" was recorded as the first release on the Alpert & Moss label, Carnival Records. When Herb & Jerry found that there was prior usage of the Carnival name, their label became A&M Records. The Tijuana Brass years Alpert set up a small recording studio in his garage and had been overdubbing a tune called "Twinkle Star", written by Sol Lake, who would eventually write many of the Brass' original tunes. During a visit to Tijuana, Mexico, Alpert happened to hear a mariachi band while attending a bullfight. Following the experience, Alpert recalled that he was "inspired to find a way to musically express what [he] felt while watching the wild responses of the crowd, and hearing the brass musicians introducing each new event with rousing fanfare."[5] Alpert adapted the trumpet style to the tune, mixed in crowd cheers and other noises to create ambiance, and renamed the song, "The Lonely Bull". He paid out of his own pocket to press the record as a single, and it spread through radio DJs until it caught on and became a Top Ten hit in 1963. He followed up quickly with his debut album, The Lonely Bull by "Herb Alpert & the Tijuana Brass". The initial version of the Tijuana Brass consisted of studio musicians. The title cut reached #6 on the Billboard Pop Singles Chart. This was also A&M's first album (the original number was 101), but was recorded at Conway Records. By the end of 1964, due to a growing demand for live appearances by the Tijuana Brass, Alpert auditioned and hired a team of crack session men. No one in Alpert's band was actually Hispanic (Alpert himself is Jewish). Alpert used to tell his audiences that his group consisted of "Three pastramis, two bagels, and an American cheese": John Pisano (electric guitar); Lou Pagani (piano); Nick Ceroli (drums); Pat Senatore (bass guitar); Tonni Kalash (trumpet); Herb Alpert (trumpet and vocal); Bob Edmondson (trombone). The band debuted in 1965 and quickly became one of the highest-paid acts then performing, having put together a complete revue that included choreographed moves and comic routines written by Bill ("Jose Jimenez") Dana. The Tijuana Brass's success helped spawn other Latin acts, notably Julius Wechter (long-time friend of Alpert's and the marimba player for the Brass) and the Baja Marimba Band, and the profits allowed A&M to begin building a repertoire of artists like Chris Montez and The Sandpipers. Wechter would also contribute a number of the Brass' original songs, usually at least one per album, along with those of other Alpert friends, Sol Lake and Ervan "Bud" Coleman. In addition, the Tijuana Brass's style was adopted by American bands as well, most notably Chicago and Earth, Wind & Fire. Both bands would score major hits in the 1970s and early 1980s. An album or two would be released each year throughout the 1960s. Alpert's band was also featured in several TV specials, each one usually centered on visual interpretations of the songs from their latest album - essentially an early version of the kinds of music videos later made famous by MTV. Alpert's style achieved enormous popularity with the national exposure The Clark Gum Company gave to one of his recordings in 1964, a Sol Lake number titled "The Mexican Shuffle" (which was retitled "The Teaberry Shuffle" for the television ads). In 1965, Alpert released two albums, Whipped Cream (and Other Delights) and Going Places. Whipped Cream sold over 6 million copies in the United States. The album cover is considered a classic. It featured model Dolores Erickson wearing only what appeared to be whipped cream. In reality, Erickson was wearing a white blanket over which were scattered artfully-placed daubs of shaving cream--real whipped cream would have melted under the heat of the studio lights (although the cream on her head is real whipped cream). In concerts, when about to play the song, Alpert would tell the audience, "Sorry, we can't play the cover for you." The art was parodied by several groups including one-time A&M band Soul Asylum[1] and by comedian Pat Cooper for his album Spaghetti Sauce and Other Delights.The singles included the title cut, "Lollipops and Roses", and "A Taste of Honey." The latter won a Grammy Award for Record of the Year. Going Places produced four more singles: "Tijuana Taxi", "Spanish Flea", "Third Man Theme", and "Zorba the Greek". "Whipped Cream" became the theme song for the popular American television show "The Dating Game." The Brass also covered the Bert Kaempfert tune "The Happy Trumpet" retitling it "Magic Trumpet". Alpert's rendition contained a bar that coincided with a Schlitz beer tune, "When you're out of Schlitz, you're out of beer". ("The Maltese Melody" was another Alpert cover of a Kaempfert original). Another commercial use was a tune called "El Garbanzo", which was featured in some Sunoco ads ("They're movin', they're movin', people in the know, they're movin' to Sunoco"). In 1967, the TJB did the title cut to the first movie version of Casino Royale. Many of the tracks from Whipped Cream and Going Places received a great deal of airplay, and still do at times; for example, they are frequently used as incidental music in The Dating Game on the Game Show Network, notably the tracks Whipped Cream, Spanish Flea and Lollipops and Roses. Despite the popularity of his singles, Alpert's albums outsold and outperformed them on the charts. Alpert and the Tijuana Brass won six Grammy awards. Fifteen of their albums won gold discs, and fourteen won platinum discs. In 1966, his music outsold The Beatles by two to one - over 13 million Alpert recordings were sold. That same year, the Guinness Book of World Records recognized that Alpert set a new record by placing five albums simultaneously on the Billboard Pop Album Chart, an accomplishment that has never been repeated. In April of that year, four of those albums were in the Top 10 simultaneously. The dearth of in-depth, unauthorized biographical/historical material on Alpert is somewhat curious given that so much has been written about the only three recording artists who outsold him in the 1960s - Elvis Presley, Frank Sinatra, and the Beatles. This is perhaps explained by the apparent lack of any outrageous, dramatic, or tragic elements in his life. There were, however, hundreds of articles written about Alpert by mainstream general and music newspapers and magazines. Alpert's only number one single during this period (and the first #1 hit for his A&M label) was a solo effort[2]: "This Guy's in Love with You" (written by Burt Bacharach and Hal David), featuring a rare vocal. Alpert sang this to his first wife in a 1968 CBS Television special titled Beat of the Brass. The sequence was taped on the beach in Malibu. The song was not intended to be released, but after it was used in the television special, thousands of telephone calls to CBS asking about it, convinced label owner Alpert to release it as a single, two days after the show aired.[3]. Alpert's vocal skills were limited, but this song also had limited technical demands and it worked for him. The single debuted in May 1968, topped the national chart for four weeks and ranked high among the year's biggest hits. Initially dismissed by the critical cognoscenti and "hip" music-lovers as strictly a housewife's favorite, Alpert's unusually expressive recording of "This Guy's in Love with You" is now regarded as one of the monumental ballads in pop. In 1996 at London's Royal Festival Hall, Noel Gallagher (of British rock band Oasis) performed the song with Burt Bacharach. Life after the Brass Alpert disbanded the Tijuana Brass in 1969, but released another album by the group in 1971. In 1973, with some of the original Tijuana Brass members and some new members, he formed a group called the T.J.B. This new version of the Brass released two albums in 1974 and 1975 and toured. Alpert reconvened a third version of the Brass in 1984 after being invited to perform for the Olympic Games athletes at the Los Angeles Summer Games. The invitation led to the Bullish album and tour. In the 1970s, '80s, and '90s, Alpert enjoyed a successful solo career. He had his biggest instrumental hit, "Rise" (from the album of the same name), which went number one in October of 1979 and won a Grammy Award, and was later sampled in the 1997 rap song "Hypnotize" by the late rapper Notorious B.I.G. It also made Alpert the only solo artist ever to hit #1 on the Billboard charts with both vocal and instrumental pieces. In 1987, he branched out successfully to the R&B world with hit album Keep Your Eye On Me, teaming up with producers Jimmy Jam and Terry Lewis on "Diamonds" and "Making Love In the Rain" featuring vocals by Janet Jackson and Lisa Keith. The song "Route 101" peaked at number 37 in Billboard in August 1982. From 1962 through 1992 Alpert signed artists to A&M Records and produced records. He discovered the West Coast band We Five. Among the notable artists he worked with personally are Chris Montez, The Carpenters, Sergio Mendes and Brasil '66, Bill Medley, Lani Hall (Alpert's second and current wife), and Janet Jackson (featured vocalist on his 1987 hit single "Diamonds"). These working relationships have allowed Alpert to become one of only a handful of artists to place singles in the Top 10 in at least three different decades ('60s, '70s, and '80s). Alpert and A&M Records partner Jerry Moss received a Grammy Trustees Award in 1997 for their lifetime achievements in the recording industry as executives and the Grammy Lifetime Achievement Award in 2007. For his contribution to the recording industry, Herb Alpert has a star on the Hollywood Walk of Fame at 6929 Hollywood Blvd. Moss also has a star on the Walk of Fame. Alpert and Moss were also inducted into the Rock and Roll Hall of Fame on March 13, 2006 as non-performer lifetime achievers for their work at A&M. Today Alpert continues to play his trumpet and devotes time to his second career as an abstract expressionist painter and sculptor with shows around the United States, as a Broadway theatre producer. His production of Tony Kushner's Angels in America won a Tony award. In the 1980s he created The Herb Alpert Foundation and the Alpert Awards in the Arts[4] with The California Institute of the Arts (CalArts). The Foundation supports youth and arts education as well as environmental issues and helps fund the PBS series "Bill Moyers on Faith and Reason." He has provided funding for the culture jamming activists known as the Yesmen.[6] Although he has not released an album of new material since 1999's "Herb Alpert and Colors", he is actively overseeing the reissue of his music library. In 2000, Alpert acquired the rights to his music from Universal Music (current owners of A&M Records), in a legal settlement and began remastering his albums for CD reissue. In 2005, Shout! Factory began distributing digitally remastered versions of Alpert's A&M output, including a new album, Lost Treasures, consisting of unreleased material from Alpert's Tijuana Brass years. In the spring of 2006, a remixed version of the Whipped Cream album, entitled Whipped Cream and Other Delights: Re-Whipped was released and climbed to #5 on the Billboard Contemporary Jazz chart. He continues to be a guest artist for friends like Gato Barbieri, Rita Coolidge, Jim Brickman, Brian Culbertson and David Lanz. His songs have been in various TV shows such as Saturday Night Live. Alpert was also credited with an acting role in the Beastie Boys music video, "Ch-Check It Out," although he did not appear. Apart from the reissues, the Christmas Album continues to be available every year during the holiday season. He recently donated $30,000,000 to UCLA, founding the Herb Alpert School of Music. Herb Alpert and his Music in Modern Culture The song "Tijuana Taxi" is played in an episode of The Simpsons where Bart assumes that the family misses him when he is forced to be 200 feet away from Lisa, but inside the house, Marge, Homer, Lisa, and even Maggie, are "celebrating" by playing "Tijuana Taxi". At the very end of the episode, where everything is back to the way it was, the family, minus Bart again, plays this song again outside in the backyard, while Bart chases an animal around. The song also features in another episode when Mr. Burns gives testimony in a civil trial. "Spanish Flea" is played in another episode of The Simpsons to which Homer sings along in his car while waiting for Bart to emerge from a Spinal Tap concert, oblivious to the riot police outside entering the arena en masse. This song has appeared in 4 other times in 4 other episodes of the show. Some of "Spanish Flea" is played in American Pie 2 in a scene at the band camp by a senior member of the camp on a trumpet. In the King of Queens, Carrie's father Arthur dances to the song "Tijuana Taxi" as the record Carrie replaced (she had broken her father's Herb Alpert "South of the Border" record 15 years ago) plays on the record player. He dances at the very end of the episode. Alpert's biggest hit of his post-TJB career, "Rise", is used as the main hook for the The Notorious B.I.G. single "Hypnotize". English Association Football League One team Leyton Orient (from East London) run out at the start of each match to the strains of "Tijuana Taxi." This is a tradition dating back to the late 1960s of unknown/uncertain origin. The song 'Beanbag' is best remembered in the UK as the theme music to the long running British physical game show It's A Knockout. The Cover & Title of Soul Asylum's 1989 album Clam Dip & Other Delights is a parody of Herb Alpert & The Tijuana Brass's Whipped Cream & Other Delights. The track, Tijuana Taxi, can also be heard on an episode of 'Just Shoot Me', as Dennis commits a number of mischievous deeds. Herb makes a cameo appearance in the Jeff Beck music video Ambitious. In the movie Matchstick Men (film), the Nicholas Cage character is playing the song "The Lonely Bull." "Casino Royale Theme" is featured on Saturday Night Live during the guest appearance of Peyton Manning. The punk rock band NOFX covers one of his songs "What Now My Love" on their 2007 live album They've Actually Gotten Worse Live!.
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RE: Investors Hub - The Lotto Pick Project (LOTTO) Post #271704	STVI.ob (.70) SNAP Interactive, Inc. to Launch ''Are You Interested'' & ''Flirt With Me'' Applications on MySpace Tuesday, April 15 2008 - 8:45 STVI $0.70 $0 (%0) NEW YORK, NY -- (MARKET WIRE) -- 04/15/08 -- SNAP Interactive, Inc. (OTCBB: STVI), a leading provider of dating applications for social networking websites, today announced that it has launched 'Are You Interested' ( http://myspace.com/ayiapp) and 'Flirt With Me' ( http://myspace.com/346629600) on MySpace, the world's most popular social network. 'Are You Interested' & 'Flirt With Me' are fun dating applications designed to make it simple and entertaining for users to meet and date on MySpace. Empowered by MySpace's newly announced Developer Platform ( http://developer.myspace.com) , SNAP Interactive was able to easily build, test, and ultimately deploy 'Are You Interested' & 'Flirt With Me.' 'Are You Interested,' a well established brand, allows members to view pictures and indicate whether or not they are interested in each other. 'Flirt With Me' is a fun dating application that allows users to exchange flirts with each other and also integrates a "Flirt With Me" profile box onto profiles to allow anyone who visits a MySpace page the ability to send funny flirt messages. Both applications offer an ease of use and simplicity that our members enjoy. As a result, SNAP has been able to attract an expanding user base and hopes to continue to gain traction with its applications throughout 2008. MySpace first introduced their Developer Platform site on February 5, 2008 beginning a one month application development period allowing companies including SNAP Interactive, time to build and test their applications in a secure environment before going live to the MySpace community. On March 13, 2008, MySpace launched the public beta of the Application Gallery ( http://apps.myspace.com) , enabling broader testing of approved applications by allowing public installation. MySpace members can now discover and add new applications from a variety of categories, including 'Are You Interested' and 'Flirt With Me,' to both their home and profile pages. "Bringing 'Are You Interested' and 'Flirt With Me' to MySpace users will make it simple and fun for singles to meet and flirt with each other," said Clifford Lerner, CEO, SNAP Interactive. "Leveraging our experience and success in building fun, practical, and effective dating applications will enhance the overall experience for singles on MySpace. We are extremely excited to build on such a dynamic and exciting platform like the MySpace Developer Platform and help singles connect via our applications." As with all MySpace Developer Platform applications, 'Are You Interested' and 'Flirt With Me' will be able to safely access publicly available profile information including a user's friend list, interests, photos & albums, video, as well as status & mood. 'Are You Interested' and 'Flirt With Me' will have real estate in five places within MySpace including: -- A MySpace application profile (users can "friend" the apps) -- Access to embed applications on the user homepage (inward facing -- for you to see) -- Access to embed applications on profiles (outward facing widget -- for friends to see) -- An application gallery listing -- A canvas page "My Space is pleased to welcome SNAP Interactive Inc., the creator of 'Are You Interested' and 'Flirt With Me' to its Developer Platform," said Kyle Brinkman, vice president and general manager, MySpace Developer Platform. "We're confident that the introduction of these unique and engaging applications will enhance and enrich the user experience and we're excited to watch as the MySpace Developer Platform continues to evolve." For more information about the MySpace Developer Platform, please visit http://developer.myspace.com . About SNAP Interactive Holdings Incorporated in Delaware and headquartered in New York, SNAP Interactive, Inc. is a leading provider of online dating applications for social networking websites. SNAP has developed several applications built on Facebook   Platform & MySpace Developer Platform which have in excess of 11 million installations. Our applications are called 'Are You Interested,' 'Meet New People,' and 'Flirt With Me.' We also own an online dating website called IamFreeTonight.com. IamFreeTonight.com is a 100% free online dating service for singles and offers all personals and standard online dating features for singles in addition to its unique Wingman and Date Now concepts to meet singles. For more information visit http://www.snap-interactive.com Facebook   is a registered trademark of Facebook Inc. About MySpace MySpace, a unit of Fox Interactive Media Inc., is the premier lifestyle portal for connecting with friends, discovering popular culture, and making a positive impact on the world. By integrating web profiles, blogs, instant messaging, e-mail, music streaming, music videos, photo galleries, classified listings, events, groups, college communities, and member forums, MySpace has created a connected community. As the first ranked web domain in terms of page views (*), MySpace is the most widely-used and highly regarded site of its kind and is committed to providing the highest quality member experience. MySpace will continue to innovate with new features that allow its members to express their creativity and share their lives, both online and off. MySpace's international network includes localized community sites in the United States, France, Germany, Australia, Ireland, Spain, Italy, Mexico, Switzerland, Austria, Canada, Netherlands, New Zealand, Japan, Sweden, Latin America, Denmark, Norway, Finland, Brazil and the United Kingdom. Fox Interactive Media is a division of News Corp. (NYSE: NWS) (NYSE: NWS.A) (ASX: NWS) (ASX: NWSLV). (*) Among the top 2000 domains comScore Media Metrix, December 2007. For more information on comScore Networks, please go to http://www.comscore.com . Add to Digg Bookmark with del.icio.us Add to Newsvine Contacts: SNAP Interactive Clifford Lerner (516) 942-2030 Email Contact Sparkpr for MySpace Lauryn Nicasio (415) 321-1896 Email Contact
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Just missed his birthday Nat King Cole [	Just missed his birthday Nat King Cole Biography by William Ruhlmann For a mild-mannered man whose music was always easy on the ear, Nat King Cole managed to be a figure of considerable controversy during his 30 years as a professional musician. From the late '40s to the mid-'60s, he was a massively successful pop singer who ranked with such contemporaries as Frank Sinatra, Perry Como, and Dean Martin. He shared with those peers a career that encompassed hit records, international touring, radio and television shows, and appearances in films. But unlike them, he had not emerged from a background as a band singer in the swing era. Instead, he had spent a decade as a celebrated jazz pianist, leading his own small group. Oddly, that was one source of controversy. For some reason, there seem to be more jazz critics than fans of traditional pop among music journalists, and Cole's transition from jazz to pop during a period when jazz itself was becoming less popular was seen by them as a betrayal. At the same time, as a prominent African-American entertainer during an era of tumultuous change in social relations among the races in the U.S., he sometimes found himself out of favor with different warring sides. His efforts at integration, which included suing hotels that refused to admit him and moving into a previously all-white neighborhood in Los Angeles, earned the enmity of racists; once, he was even physically attacked on-stage in Alabama. But civil rights activists sometimes criticized him for not doing enough for the cause. Such controversies do not obscure his real talent as a performer, however. The dismay of jazz fans at his abandonment of jazz must be measured against his accomplishments as a jazz musician. An heir of Earl Hines, whom he studied closely as a child in Chicago, Cole was an influence on such followers as Oscar Peterson. And his trio, emerging in the dying days of the swing era, helped lead the way in small-band jazz. The rage felt by jazz fans as he moved primarily to pop singing is not unlike the anger folk music fans felt when Bob Dylan turned to rock in the mid-'60s; in both cases, it was all the more acute because fans felt one of their leaders, not just another musician, was going over to the enemy. Less well remembered, however, are Cole's accomplishments during and after the transition. His rich, husky voice and careful enunciation, and the warmth, intimacy, and good humor of his approach to singing, allowed him to succeed with both ballads and novelties such that he scored over 100 pop chart singles and more than two dozen chart albums over a period of 20 years, enough to rank him behind only Sinatra as the most successful pop singer of his generation. Nat King Cole was born Nathaniel Adams Coles on Montgomery, AL, on March 17, 1919. (In his early years of music-making, he dispensed with the "s" at the end of his name.) As a black child born to a poor family in the American South at that time, he did not have a birth certificate. His March 17 birthday was recalled because it was also St. Patrick's Day. He listed conflicting years of birth on legal documents during his life; most sources give the year as 1917. But biographer Daniel Mark Epstein, for his 1999 book Nat King Cole, consulted the 1920 census to determine that the Coles household had a male infant at that time and confirm the birth year as 1919. Cole's father was a butcher who aspired to the Baptist ministry, and when Cole was four the family moved to Chicago, where his father eventually succeeded in becoming a preacher. Like his older brother Eddie, who became a bass player, Cole showed an early interest in music. He was taught piano by his mother as a child and later took lessons. Also like his brother, he turned professional early; by his teens, he was leading a band, called either the Royal Dukes or the Rogues of Rhythm, and he dropped out of high school at 15 to go into music full-time. The following year, Eddie, who had been touring with Noble Sissle's band, returned to Chicago and the brothers organized their own sextet. On July 28, 1936, as Eddie Cole's Swingsters, they recorded two singles for Decca Records, Nat King Cole's recording debut. That fall, they were hired to perform in a revival of the all-black Broadway musical revue Shuffle Along. Unlike his brother, Cole remained with the show when it went on tour, in part because his girlfriend, dancer Nadine Robinson, stayed with it as well. The two married in Michigan on January 27, 1937, even though Cole was only 17 years old. The tour made its way around the country, finally closing in Los Angeles in May. Cole and his wife remained there, living at first with her aunt, while Cole sought employment as a musician. He briefly led a big band, then played solo piano in clubs. While performing at the Caf   Century during the summer of 1937, Cole was approached by the manager of the Swanee Inn, who invited him to put together a small band to play in the club. With guitarist Oscar Moore and bassist Wesley Prince, the act debuted that fall, drawing upon the children's nursery rhyme ("Old King Cole was a merry old soul...") for the name the King Cole Swingsters, later simply the King Cole Trio. The group gradually built up a following, with Cole emerging as a singer as well as a pianist. By September 1938, they had begun making radio transcriptions, originally not intended for commercial release, though they have since been issued. In 1939 and 1940, they made occasional recordings for small labels while expanding their live performing to include appearances across the country and radio work. In late 1940 they were contracted by Decca. Their 1941 recording of Cole's composition "That Ain't Right" hit number one on Billboard magazine's Harlem Hit Parade (i.e., R&B) chart on January 30, 1943, Cole's first successful record. By that time, Prince had left the group to work for the war effort, replaced by Johnny Miller. The King Cole Trio's contract with Decca expired before "That Ain't Right" became a hit. Their next single, "All for You," was recorded for the tiny Excelsior label in October 1942. After its initial release, it was purchased by Capitol Records and reissued. On November 20, 1943, it became the group's second number one hit on the Harlem Hit Parade. It also crossed over to the pop chart. With that, Capitol signed Cole directly. The trio's first Capitol session produced both the Cole composition "Straighten Up and Fly Right," which topped the black chart for the first of ten weeks on April 29, 1944, spent six weeks at the top of the folk (i.e., country) chart, and reached the Top Ten of the pop chart, and "Gee Baby, Ain't I Good to You," which topped the black chart on October 21 and also crossed over to the pop chart. The trio placed another four titles in the black chart during 1944, and Capitol released its debut album, The King Cole Trio (catalog number BD-8) that fall. The collection of four 78 rpm discs contained eight tracks, only three of them featuring Cole vocals. When Billboard instituted its first album chart on March 24, 1945, The King Cole Trio was ranked at number one, a position it held for 12 weeks. At the same time, big-band swing music was declining in popularity, and many jazz fans were beginning to turn to the emerging style of bebop, a development that, whatever its artistic significance, spelled the end of jazz as a broadly popular style of music. The King Cole Trio -- and particularly the singer/pianist then known as "King Cole" -- on the other hand, was going in exactly the opposite direction, as its success on records and at clubs and theaters around the country led to appearances in films and on radio. After numerous guest-star stints on Bing Crosby's Kraft Music Hall radio series, the trio, along with pianist Eddy Duchin, was hired to host the show's summer replacement program for 13 weeks beginning May 16, 1946. During that run, on August 17, The King Cole Trio, Vol. 2 (Capitol BD-29), another set of four 78s, hit number one. Over the next five days, the trio recorded two songs that would add to their pop success. Mel Torm   and Robert Wells' "The Christmas Song (Merry Christmas to You)" (better known by its opening line, "Chestnuts roasting on an open fire"), recorded August 19, was Cole's first disc to feature strings. "(I Love You) For Sentimental Reasons," though it only featured the trio, demonstrated that Cole was more than capable of handling a straight romantic ballad, not just the uptempo novelties with which he and the group had succeeded up until this point. "(I Love You) For Sentimental Reasons" became Cole's first number one pop single on December 28, 1946; "The Christmas Song (Merry Christmas to You)" peaked at number three, going on to become a holiday perennial and million seller. While these hits were developing, the trio went from its summer replacement berth to its own network radio series, King Cole Trio Time, a 15-minute Saturday afternoon program that debuted on October 19, 1946, and ran until April 1948. The group's recording schedule during the first half of 1947 was relatively light, but the pace picked up considerably starting in August, in anticipation of the musicians' strike called for January 1, 1948. On August 22, 1947, with an orchestral backing, Cole recorded "Nature Boy," an unusual philosophical ballad. Released March 29, 1948, and credited to "King Cole," it hit number one for the first of eight weeks on May 8, becoming a gold record. Oscar Moore, the trio's original guitarist, left the group in October 1947 after ten years and was replaced by Irving Ashby. In March 1948, Cole divorced his wife and married singer Marie Ellington. Among the couple's children was Natalie Cole, who became a singer. Bass player Johnny Miller quit the trio in August 1948 and was replaced by Joe Comfort. In February 1949, Cole added percussionist Jack Costanzo to the group, which thereafter was billed as "Nat 'King' Cole & the Trio." As of the spring of 1950, Cole's recordings were being credited simply to "Nat 'King' Cole." On July 8 of that year, his recording of the wistful movie theme "Mona Lisa," featuring a string chart arranged by Nelson Riddle, became Cole's third number one pop hit and gold record. That September, he traveled to Europe for his first international tour, beginning a pattern that would find him giving concerts almost continually in a combination of top nightclubs in major cities and concert halls around the U.S., with occasional trips to Europe, the Far East, and Latin America and extended stays at Las Vegas casinos. In these appearances, he stood for most of the show, only occasional sitting down to play a number or two at the piano. Ashby and Comfort left in 1951, and an announcement was made that the trio was officially dissolved, but that simply meant that Cole henceforth would be billed as a solo act. In practice, he continued to carry a guitarist, John Collins, and a bassist, Charles Harris, along with Costanzo (until he left in 1953 and was replaced by drummer Lee Young), while often augmenting them with an orchestra. Cole scored his fourth number one pop hit and gold record with "Too Young," which topped the charts on June 23, 1951. His recording of "Unforgettable" peaked at only number 12 on February 2, 1952, but it went on to become one of his better remembered recordings; in 1991, a version of the song by Natalie Cole with the Nat King Cole recording dubbed onto it became a gold record and won the Grammy Award for Record of the Year. With his 1952 LP Penthouse Serenade, Cole showed that he was not yet ready to dispense with his jazz chops entirely. The disc was an instrumental collection that spent one week at number ten in the album chart in October. Meanwhile, he was also looking for new challenges, taking on small acting roles in the films The Blue Gardenia and Small Town Girl and the television drama Song for a Banjo in 1953. His 1953 album Nat King Cole Sings for Two in Love, arranged and conducted by Nelson Riddle, was a Top Ten hit in early 1954 that predated similar "concept" albums by Frank Sinatra. Although Cole did not score a number one hit in 1953 ("Pretend" peaked at number two), his seven chart entries were enough to rank him among the ten most successful singles artists of the year. His five chart singles in 1954, among them the gold-selling Top Ten hit "Answer Me, My Love," allowed him to repeat this ranking the following year, and he did the same thing in 1955 with another eight chart entries, including the Top Ten hits "Darling Je Vous Aime Beaucoup," "A Blossom Fell," and "If I May." Nine more chart entries allowed him to stay among the most successful singles artists in 1956, even though none of them reached the Top Ten, and he maintained his rank for the fifth straight year in 1957, reaching the Top Ten (and the top of the R&B chart) with "Send for Me." Though he managed one more Top Ten hit, "Looking Back," in 1958, the rise of rock & roll diminished his success on the singles chart. Meanwhile, he returned to a jazz approach on his 1957 LP After Midnight, which paired his backup group with jazz musicians Harry "Sweets" Edison, Stuff Smith, Willie Smith, and Juan Tizol. It was a modest commercial success, quickly followed by the ballad album Love Is the Thing, arranged and conducted by Gordon Jenkins, which hit number one for the first of eight weeks on May 27, 1957, and eventually was certified platinum. Meanwhile, in the fall of 1956, Cole became the first African-American host of a network television series when The Nat "King" Cole Show debuted as a 15-minute weekly program on November 5. The show was expanded to a half-hour in July 1957 and ran until December of that year, though it never attracted a national sponsor that might have made it an ongoing success. Cole attributed advertisers' reticence to racism. He returned to his acting career during 1957, appearing in Istanbul and China Gate, and got his most substantial role in 1958 playing blues musician W.C. Handy in a film biography, St. Louis Blues. His last acting role came in Night of the Quarter Moon in 1959. In 1960, he turned his attention to the theater, putting together a musical revue intended for Broadway. The songs were by Dotty Wayne and Ray Rasch, and the album Cole made of them, Wild Is Love, became his first Top Ten LP in three years. The corresponding stage show, I'm With You, was not as successful, opening what was intended to be a pre-Broadway tour in Denver on October 17, 1960, but closing in Detroit on November 26. Cole, however, salvaged the concept of the show for a stage production he called Sights and Sounds: The Merry World of Nat King Cole, featuring a group of dancers and singers, with which he toured regularly from 1961 to 1964. Cole returned to the Top Ten of the singles chart for the first time in four years with the country-tinged "Ramblin' Rose" in 1962; his album of the same name also reached the Top Ten and eventually was certified platinum. "Those Lazy-Hazy-Crazy Days of Summer" became his last Top Ten hit in the summer of 1963. In December 1964, he was diagnosed with lung cancer. Two months later, he died of it at the age of 45. After his death, Cole continued to appeal to the two almost mutually exclusive audiences that had appreciated him during his life. Jazz fans continued to treasure his recordings of the 1930s and 1940s and to dismiss the non-jazz recordings he had made later. (In 1994, German discographer Klaus Teubig compiled Straighten Up and Fly Right: A Chronology and Discography of Nat "King" Cole, which pointedly cut off in the early '50s.) Pop fans clamored for reissues of Cole's 1950s and '60s music, awarding gold record status to compilations that Capitol continued to assemble, without much worrying about the singer's talent as a piano player. (And, as his recordings fell into the public domain in Europe, where there is a 50-year copyright limit, a spate of low-quality reissues assumed flood levels.) But the ongoing debate was only testament to Cole's ongoing attraction for music lovers, which, in the decades following his untimely end, showed no signs of abating. http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:4dd2vw9va9uk~T1
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MEL B's PARTNER: Maksim Chmerkovskiy: ACHIEVEMENTS: <li>2005 Yankee Classic Professional Latin Champion </li> <li>2004 Manhattan Dancesport Professional Latin Champion </li> <li>2003 Ohio Star Ball Latin Champion </li> <li>Ranked 2nd in the US </li> CELEBRITY PARTNER: Melanie Brown STATS: Style: Latin Nationality: Russian Based in: New Jersey Status: Not Currently Competing BACKGROUND: During Season 2, Maks and his partner actress Tia Carrere finished in 6th place. In Season 3, Maks partnered singer Willa Ford into 7th place. Maks made it to the finals in Season 4 with Boxing Champion Laila Alifinishing in 3rd place. Maksim was introduced to the world of ballroom dancing at an early age when his parents brought him to a local ballroom dance school in Odessa, Ukraine. He quickly excelled in ballroom dance and the school became his home away from home. As a teenager, Maks had a horrible skiing accident that nearly ripped his leg off and left him hospitalized for months. After many surgeries and the insertion of a 12-inch metal rod, doctors were skeptical that Maks would ever walk without a limp, let alone dance. After completing months of physical therapy, he was back on his own two feet walking, running, and dancing. Soon after, Maks established himself as the top dancer in Ukraine. In 1994 the entire Chmerkovskiy family moved to Brooklyn, NY in order to start a new life and to give Maks and his brother a better atmosphere to grow and succeed in. The vision of the American Dream and his passion for ballroom dancing gave Maks the strength to fight through all of the obstacles that faced him and his family. He worked countless hours on his dancing and soon after emerged as one of the best dancers in the world. Maks started the Rising Stars Dance Academy, which is the premier youth ballroom dance school in the United States. He is currently a board member for the non-profit organization DanceTeamUSA, which works hard to promote DanceSport amongst the youth of America. Maks also has a production company, "Maksim Chmerkovskiy Productions," which organizes performances all over the world. Helio Castroneves: PROFESSION: IndyCar Series driver; two-time Indianapolis 500 winner PARTNER: Julianne Hough BACKGROUND: The two-time Indianapolis 500 champion began the celebratory tradition of climbing the racetrack fence in 2001, racing for Team Penske. A native of Brazil, Castroneves is partner and owner of the NasrCastroneves racing team, which competes in the Brazilian Stock Car V8 Championship. He has amassed twelve wins and forty-nine top five finishes during his IndyCar career. HELIO'S PARTNER: Julianne Hough: ACHIEVEMENTS: <li>International Latin Youth Champion</li> <li>Junior Blackpool World Latin Champion</li> <li>United States National Latin Youth Champion</li> CELEBRITY PARTNER: Helio Castroneves STATS: Style: Latin Nationality: American Based in: Salt Lake City Status: Not Currently Competing BACKGROUND: Julianne's first season on Dancing with the Stars was quite successful. Her and partner Olympic Gold Medalist Apolo Anton Ohno were the season 4 champions! Julianne grew up with her ten siblings in Utah. A born entertainer, Julianne has always loved singing, dancing and acting and at the age of 10 she left her home and family to move to the other side of the world to live and train with her coaches in London. While living there, Julianne partnered Mark Ballas (the son of her world renowned coaches Corky and Shirley Ballas). It was with Mark that Julianne won all of her titles. Julianne is the youngest (and only) American dancer to have become both International Latin Youth Champion and Junior Blackpool World Latin Champion. After graduating high school Julianne moved to Los Angeles to pursue her dreams of acting, dancing and singing. She landed a role as a dancer on ABC's game show Show Me The Money, and shortly after joined the Dancing with the Stars tour as a company dancer. When DWTS dancer Kym Johnson injured her arm, Julianne stepped in as her replacement and Cha Cha cha'ed across America with Season 1 DWTS competitor Joey MacIntyre. She was also Assistant Choreographer on Gwen Stefani's Wind It Up video. Julianne is currently recording her debut country album and her single, "Will You Dance With Me" made it to #8 on the itunes country charts. Or Marie Osmond: PROFESSION: Actress and singer PARTNER: Jonathan Roberts BACKGROUND: Osmond won the hearts of fans as co-host of the popular variety program, The Donny & Marie Show. She has since starred in several made for television movies, co-hosted Ripley's Believe It or Not, achieved success as a recording artist, performed on Broadway, made the New York Times bestselling authors list, and established herself as an entrepreneur with her highly successful Marie Osmond Collectible Doll line. She is also the co-founder and co-host of the Children's Miracle Network. MARIE'S PARTNER: Jonathan Roberts: ACHIEVEMENTS: <li>2004 USA Rising Star Latin Champion</li> <li>2003 Blackpool Rising Star Latin</li> <li>1997 USA Rising Star American Ballroom</li> <li>2 times undefeated USA pro-am 10 dance champions</li> <li>3 times undefeated USA pro-am Latin champions</li> <li>2 times USA pro-am American Ballroom champions.</li> CELEBRITY PARTNER: Marie Osmond STATS: Style: Latin Nationality: American Based in: San Jose, California Status: Not Currently Competing BACKGROUND: During Season 1, Jonathan partnered supermodel Rachel Hunter into 4th place. Season 2, Jonathan and his partner journalist Giselle Fernandez, finished in 8th place. He partnered charity campaigner Heather Mills into 7th place during Season 4. Jonathan started dancing 11 years ago, at the age of 20. He is one of the few competitors representing America who was actually born in the United States. Coming from a big sports background in high school (namely basketball), it was as much of as shock to Jonathan as it was to his family and friends when he discovered a passion for ballroom dancing. Jonathan went to see the Al Pacino movie Scent of a Woman and there was something about the famous tango scene that struck a chord. He took advantage of the free ballroom lesson offered on his movie ticket stub, and the rest is history. With his first partner, Jonathan won the 1997 USA Rising Star American Ballroom before deciding to focus on the Latin style. Jonathan Roberts has been dancing with his current partner (and wife) Anna Trebunskaya for six years. Although only having danced together for a relatively short time, they have achieved many high placements in competitions around the world. Who do YOU think will win?? Who do YOU hope will win?? And out of all the stars kicked off or still on who do you think should have been in the finals and won??? DISH PEOPLE!!!!! I wish Sabrina was sill on. I thought she was great. Out of the people that are in the top three I want either Marie ot Helio to win. I am not that crazy bout Mel. Sorry. But yeah. NOW YOUR TURN!!!!!! P.S you wanna know more about you favorite dancer and there patner go to http://abc.go.com/primetime/dancingwiththestars/index?pn=bio&#03 5;t=star There you will find all you wann2 know.
Article: Latin American Women's Tennis On Decline	Latin American talent pool decreasing for women By Gustavo Goitia ESPNdeportes.com ( Archive ) Updated: August 24, 2007, 9:34 AM ET Comment Email Print BUENOS AIRES -- They are women in trouble. A different story from their male colleagues, Latin American players in the WTA do not enjoy the best of times. Once led by the extraordinary Gabriela Sabatini, later joined in the tour by other stars, now they are going through a present full of doubts. They are far away from the elite, as can be seen easily in every statistical department: Standings, titles, rankings, access to finals and big trophies. What is going on with women's tennis from this part of the world? A growing problem is that as time goes by there are fewer women in the WTA and the talent level is ages away from what it used to be. It's been almost 11 years since Sabatini retired, and the Argentine player left a footprint which is impossible to erase but also very difficult to follow. Just as it happens in the men's tour, Argentina is still the largest provider of raw material, but still, the number has decreased. That results in lack of talent and it starts a chain reaction: With fewer elite players, there is no one to look up to and so the sport attracts even less potential stars. Economic differences with developed countries also are playing their part, especially in the transition phase from amateurism to professionalism. South American youth players suffer because there are very few tournaments in their own countries that could act as springboards to send them straight into the main tour. And traveling to compete abroad is something not everyone can afford. Adrian Dennis/Getty Images Argentina's Gisela Dulko has just one career title -- which came this year -- since turning pro in 2001. There are very few sponsors willing to pour money into programs, so that makes it hard to organize certain competitions and/or help the girls with the economic costs of the trips to Europe and United States to play with the best. And as the talent pool decreases, there is less and less sponsor interest in opening their wallets. They'll be missed The picture was different a few years ago, when South American players were shining. Sabatini was clearly the best: She was No. 3 in the world, was only a step away from the top, won a Grand Slam, the U.S. Open in 1990, made it to other two major finals, took two Masters and captured a total of 27 titles. It's been three years since a Latin American player reached the semifinals in a Grand Slam tournament. In 2004, Colombian Fabiola Zuluaga made it that far in the Australian Open and then Argentine Paola Suarez repeated the feat in Roland Garros. It seems like it was decades ago. With Zuluaga retired and Suarez ready to follow suit, there is no flag bearer for Latin American women's tennis. When Sabatini played, there were other Latin American players in the top 30, but she overshadowed them. Since she retired, the new players have the responsibility to reach success on their own. That is why, even though there was another drought until Zuluaga and Suarez took a step forward, it wasn't as bad as what it is nowadays. The Colombian was once 16th in the world, after that memorable performance in Melbourne. Suarez even made it to the top 10 (No. 9) in singles and was the best doubles player during three years. The Argentine player was able to reach at least the quarterfinals in the four Grand Slams. She beat players such as Serena Williams, Maria Sharapova and Amelie Mauresmo. In a way, those accomplishments reminded us of Gaby. Even though she didn't have Sabatini's talent, Suarez cemented the post-Sabatini era. The times, they are changing Today there is not even one Latin American player in the top 50 ranking. Argentine Gisela Dulko is in 51st place, followed by Milagros Sequera (No. 53) from Venezuela. And then there's another big gap, with Colombian Catalina Castano (No. 113) and Argentine players Jorgelina Cravero (No. 116) and Maria Emilia Salerni (No. 117) coming next. Looking at the ATP rankings, there is an abysmal difference in quality and quantity: There, Latin Americans have a top 10, five among the first 25 and there are 16 in the top 100. This season, Sequera really improved and challenged for first place amongst South American players. Between April and May, there were two titles: Dulko won her only official title in Budapest. Sequera replied with a win in Fez, Morocco. Before those triumphs, the last tournament won by a female Latin American player was three years ago. It happened in Canberra, Australia in January 2004, when Suarez celebrated on a fast surface. And the last one to reach a final had been Castano, in the Hungary Open in July 2005. Dulko ended that streak last February. She lost the Pattaya final in Thailand. Meanwhile, men have won six titles and have played seven other finals this season, including Australia, Miami and Rome. The same differences appear in country competitions: Argentina was a finalist in the Davis Cup in 2006 and Chile is also part of the elite, but in the Fed Cup, the bestplaced team is Argentina, who barely returned to World Class Group II. Dulko, 22, remains the biggest bet. Even though she improved quite a lot this year, she still has her ups and downs. She is so far the only one able to get to the second week of a Grand Slam, when she made it to the quarterfinals at Roland Garros in 2006. Sequera, about to turn 27, and Castano, 28, could still climb several positions in the rankings, but because of their age, it is hard to imagine they can turn their careers around. Not a very encouraging scenario. Gustavo Goitia is the tennis writer for ESPNdeportes.com.
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[chart]www.ocregister.com/newsimages/entertainment	ON A NEW STAGE: Actress and singer Sabrina Bryan of the Disney Chanel's Cheetah Girls poses with Mark Ballas, her partner on the upcoming season of "Dancing With the Stars." * When: 8 p.m. Sept. 24 for the six female stars, 8 p.m. Sept. 25 for the men, and the results will be announced at 8 p.m. Sept. 26. Friday, September 21, 2007 Cheetah Girl from O.C. steps out on 'Dancing With the Stars' Sabrina Bryan, who grew up in Yorba Linda and lives in Anaheim Hills, is one of 12 celebrities competing on the ABC reality show. By PETER LARSEN The Orange County Register Sabrina Bryan is a stealth superstar Millions of kids adore her as one of the Cheetah Girls, the pop trio with hit Disney Channel movies, singles all over Radio Disney and concert tours that fill sports arenas. But if you've never aimed your remote at the Disney Channel, well, all the celebrity enjoyed by Bryan     a lifelong resident of Orange County     is off your radar. Now, though, all that's about to change. On Sept. 24, Bryan makes her debut on ABC's hit series "Dancing With The Stars," a show that averages almost 20 million viewers for each of its two weekly episodes. It's a spotlight with enough wattage to change the course any star's career, a point that's perfectly clear to Bryan as she chats about the show before rehearsing the cha-cha at a Los Angeles dance studio last week. "If people don't have a kid, or know someone who has a kid, then they don't know who I am," she says matter-of-factly while waiting for the arrival of her partner, professional dancer Mark Ballas. "The thing about 'Dancing With The Stars' that's such an amazing opportunity is that it has the ability to widen my audience." And when that happens, Bryan should thank her stars that she listened to her mother. MOTHER KNOWS BEST "My mom doesn't watch a ton of television, but this is definitely The Show," Bryan says, explaining how her chance-of-a-lifetime came to be. "My dad knows he can have her out working as late as he wants on any other night"     parents Kathy and Fred Hinojos are real estate agents from Yorba Linda     "but on Monday and Tuesday she's home at 8 p.m. and he's on his own," Bryan says. So when the most-recent season of "Dancing    " was in casting, Kathy Hinojos asked Bryan's manager if it might be something she could do once the Cheetah Girls national concert tour ended. Calls were made, pitches proposed but in the end, the producers said turned her down, not wanting someone with as much performing experience on the show. "And I was like, 'Joey Fatone (from 'N Sync) is on the show, what's up with that?' " Bryan says with a laugh. That season ended in May with Olympic skater Anton Apolo Ono and professional partner Julianne Hough the winners, and not long after, the show producers called back and said they were taking a second look at Bryan for the next season. Near the end of July, her agent called her with the news that she'd made the show, one of 12 celebrities such as singer Wayne Newton, actress Jane Seymour and Indy car driver Helio Castroneves. Bryan immediately phoned her mom. "I was on my way to the beach, all by myself when she called," Hinojos says. "And I just screamed, I was so happy for her." READY, SET, DANCE! For most of August, as Bryan kept her secret     the cast was unveiled on Aug. 29     she worked to prepare for the show. The producers asked her to submit a list of songs she might want to dance to and sent her to meet with costume designers and hair stylists to begin work on her look. She worked out to build the stamina need for dance-filled weeks and tried to swear off favorite foods     "Pizza and all the good stuff," she laughs     for protein shakes and fresh fruits and vegetables. "I did have cake for my birthday"     she turned 23 on Sept. 16     "but I've been pretty good," Bryan says. Dance classes or lessons were forbidden by the producers, but they did send her DVDs of past seasons, which she blazed through in a marathon viewing session. Finally, toward the end of the month, she met Ballas, the professional dancer paired with her for the show, and immediately went to work. "He actually brought me pink roses, which are my favorites, and I thought it was so sweet," Bryan says of the introduction orchestrated for the show's cameras. "I just looked at him and he looked at me, and we both got so embarrassed, because they'd had him do this spin move and then give me the roses. "I thought, 'You and I are going to get along,' because I can tell neither of us take things too seriously.'" PRACTICE MAKES PERFECT That last statement     about not taking things too seriously     actually applies to everything but work. For once she and Ballas started working daily at dance studio above a dry cleaner and a Chinese restaurant near the Beverly Center, they've spent up to six hours a day getting her up to ballroom and Latin dance speed. "I think that's a misconception people that a lot of viewers have, that I'm a dancer already so it will be easy for me," Bryan says. In truth, she explains, the Cheetah Girls choreography is mostly hip-hop dance     your moves are solo, your body low, your legs turn in. In the dances performed on the show     everything from the waltz and foxtrot to salsa and mambo are used     the dancers perform as couples holding each other, your body held higher, your leg usually turned out. "The Latin dances are a little more natural for me to do, but the ballroom dances, they're a little more like ballet, which I was never really that good at     getting that elegant style down and dancing like a lady," Bryan says. In a way, Bryan says her work is harder because she has to unlearn the dance moves that she knows from the Cheetah Girls. "It would be like getting a bike, but a different kind of bike, and you're just not used to riding it that way," she says. Ballas, whose parents are both professional dancers, he patiently worked with her, showing her the moves and steps for all the different dances, gently correcting each misstep and trying not to complain much when she lands on his toes. It's apparently the same for many of the stars. As Castroneves, a two-time winner of the Indianapolis 500, arrives for his rehearsal, he stops to show Bryan his latest injury     a very sore nose, the result of accidentally putting it in the way of his dance partner's elbow. "Julianne (Hough) hit me in the nose yesterday     I may have to start wearing my helmet," Castroneves jokes. "I know!" Bryan replies. "I've hit Mark a lot, too!" TRUE TO HERSELF The song Bryan and Ballas dance to tonight is still a secret, but it is one that was on her wish list. It's also one that made her a little nervous, too, she says. "I was really excited when I found out what the song was, but also a little surprised because it was a little sexy," Bryan says. "I thought, 'I can't do this! My fans will think I've gone over the top and I'm no longer the wholesome Cheetah Girl' ." The same concern     staying true to that tween-appropriate image     has also guided her costume choices. Necklines that plunge on some contestants are altered a little higher for Bryan and cheetah accents     perhaps a small rhinestone cheetah print tattoo     are worked into the wardrobe, too, she says. It's important to her not just because of her ongoing ties to Disney     the new Cheetah Girls CD, "T.C.G." comes out Tuesday, and "The Cheetah Girls 3" will be shot in India early next year. It's important because that's really who she is. She lives in Anaheim Hills because that's home, close to Yorba Linda where she grew up. Her roommates there are Delta Gamma sorority sisters from Chapman University, where she plans to finish her degree when time permits. When she can, she volunteers with the Esperanza High School song team where she once was on the squad. And if she wins "Dancing With The Stars"     which she hopes and believes she can     it will be in part, Bryan says, because of the support of all those people: Cheetah fans, sorority sisters, family and friends. "They're so excited," she says when asked about the buzz in the Cheetah Girls fan world. "They call in and say, 'I'm going to vote for you and I'm going to get everyone in my school to vote for you!' " Her mom and dad are doing much the same     telling fellow real-estate agents in Orange County to be sure to vote for Sabrina, taking posters of her to shops and businesses around Yorba Linda to help get out the votes. What they're not doing, to her mother's ongoing chagrin, is watching Sabrina rehearse     for this show, unlike everything else she's done in the past, she wanted them to be surprised when they see her dance on stage tonight. "Can you believe that? says Kathy Hinojos, groaning and laughing all at once. "I can't believe that she won't let me in there!" Thinking about tonight and seeing her daughter on stage at "Dancing   " Hinojos starts to choke up. "I'll be so happy for her either way it goes," she says. "But in my heart, I believe she can pull this off. She's a determined little girl, and whatever it takes to pull herself up to the level of those professionals, she can do it. "This is her desire and her dream and she's just making it come true."
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RE: From EDM NEXUS - DIABLO 2006 feat Danny the Wildchild	I cant believe no one posted this on here, this event is gonna be the shit, big ass rave @ an actual ghosttown with alcohol!!! Saturday October 28th 2006 Phoenix, Arizona Outside World Entertainment Present You "DIABLO" Welcome to Outside Worlds next event! DIABLO ! Halloween weekend!! Our last solo event was PHILTER 2006 Which was a blast! and we'd like to continue to bring you the same beautiful vibes! So come out and enjoy the halloween spirit!! & wear your favorite costume! Enjoy a night of rockin beats! Get down and feel real good as we encourage you to enjoy a spectrum of the electronic dance culture of House, Trance, Drum and bass, Hardcore, Breaks, Psytance, Hip Hop & Techno This is celebration about positive open minded people coming together to experience great music and share the energy that exisits within us all! Join us for another peacful revolution!So bring your friends and your dancing shoes!! AREA 1 Trance/House/Harddance 4 STRINGS! Rotterdam, Netherlands- First AZ Appearance!! Behind the name 4 Strings hides 2 musicians, Carlo Resoort and Jan de Vos. The two have known each other since 1986. In 1990 they became interested in dance music and from that moment on, they started producing their own music. All their spare time was spent in the studio. Throughout the next couple of years not only did their skills expand but also the amount of equipment in their studio. With the new tools and experience that they had, they could finally discover in which direction they wanted to go with their musical careers: Carlo decided to stay in the studio while Jan found his passion in mixing and started his DJ-ing career. Jan met up with Piet Bervoets (Carlos, ROOS and Rank 1). Piet taught him the basics of mixing. After a couple of months, Jan joined a drive-in-show, where he played all kinds of music. His skills were improving rapidly, and it was during this time period he noticed that his main interest was in dance music. After winning a first place prize in a DJ contest, he was offered his very own residency. Carlo Resoort started with dance music in 1994, and soon after that he had his first release. After a couple of releases he had his first major breakthrough: "Carlos - the silmarilla", produced together with Piet Bervoets of Rank 1. Two years later he had another hit with "Turn it around". Around this same time, a new record company was born, "Spinnin Records". Shortly thereafter Carlo signed his first record deal and 4 Strings was born. "Daytime" was the first track of 4 Strings, supported by Paul van Dyk, Judge Jules and Ti  sto. The follow up was "Into the night", which got even more support. After a vocal edit called "Take me away" it became a huge hit around the globe, even now the track can be heard worldwide. "Diving" and "Let it rain" were the follow ups, and soon the first album was released. After remixing Summer Sun they started to work on their second album Turn it around. The album was named after the new single which is a remake from Carlos former project Alena. Carlo also started another project under his own name, with productions like Remover, O class, "Musica, Ayers Rock and Rise. In 2005, 4 Strings released another hit Sunrise, this track was the theme of the number one dance music festival in Poland also called Sunrise. DJ 4 Strings is not just your average DJ, he is an entertainer. He is part of the new generation of DJs today. Crowds are amazed by his refreshing and unique style of playing music. DJ 4 Strings is always prepared with unpredictable and quality tracks that both excite existing fans and bring new people to the scene. There is so much good music out there and 4 Strings do not want to limit themselves to one style. 4 Strings is also in the top 10 for Holland on The DJ List. 4 Strings touring diary is incredibly hectic for 2006, with regular stops at major venues in the world. Such as touring the USA, Australia, Mexico, Poland, Asia and Holland just to name a few. 2006 is sure to be a massive year with the release of their brand new track Hurricane and also playing at the leading trance party of Holland Trance Energy in February. Summer 2006 will also see the first ever unique 4 Strings Live Tour worldwide. Following the release of their new album this year. Stay tuned and be amazed by this fast growing act in 2006! Supporting Locals: INERTIA (DREAMMUSIC) CITRIK (Outside World) MICHAEL (DTS/100%Natural Groove) NTH (DTS/100%Natural Groove) STEVE EDWARDS (BIOHAZARD N VYNILTECH) GARY (FLOCK) AREA 2 Breaks/Dnb/Downtempo AQUASKY (UK) ***FIRST ARIZONA APPEARANCE*** Image Size Reduced: 80% of original size [ 800 x 600 ] Aquasky are from Bournemouth, UK. They started their career in 1995 when they were signed to Moving Shadow Records for a 3 record deal on the back of their massively successful 'Dezires/Images' single which was remixed by DJ Krust. But before then they individually had success under their individual projects. Dave Wallace was known for his early jungle tunes as Rave Doctor/Fugative on Underdog Recordings. Kieron Bailey for his Artinis/New Vision work also on drum and bass label Underdog and Brent Newitt for his hip hop releases as Jaziac Sunflowers on Bob Jones' Black on Black label. In 1996 Aquasky signed to Polydor/Polygram where they recorded the Orange Dust LP. This contained the singles 'Raw Skillz (Featuring Big Kwam and the first ever Scratch Perverts adventure onto vinyl) and the drum and bass track Opaque which made an appearance in the UK national charts. Also on the LP was the hip hop track 'Rough' featuring Big Shug from the Gangstarr Foundation Whilst signed to Polydor the trio also released on Reinforced Records (Concrete Boom EP) and R&S (Dave Wallace under his own name with the 'Future Realities' single and Kieron and Brent worked as Skin Divers where 2 singles were released) and Dave put out the Soul Motive EP on Nuphonic Records. In 1999 Aquasky returned to their drum and bass birthplace Moving Shadow where they recorded 2 LP's 'Bodyshock' and 'Aftershock'. Bodyshock contained drum and bass tracks such as 'Sonix' and 'Battlestar' and a funky breakbeat number titled 'Blue Thunder' that was made world famous when it was featured on the first Tony Hawk game. The Aftershock album was the first time that Aquasky ventured into breakbeat back in 2000. This was a remix LP containing mixes by London Electricity, Adam Freeland (his first ever venture onto vinyl) and Aquasky themselves. A series of 12"s also came out on Moving Shadow during the years 1999-2002. These included tracks such as 'The Stalker', 'Bulletproof' (which was remixed by Higher Sense out of the RAM crew), 'Spectre', 'Subdivison' and 'Nightvision'. Whilst these singles were being released, Aquasky started a new project and new name. Tenth and Parker was in essense a live jazz/house/latin band and an LP was released called 'Twenty:Twelve' on the renowned Mr. Bongo label. This vocal project contained many famous names including Mark Murphy (US Jazz singer who has recorded on Muse, Atlantic, Prestige and Riverside to name a few) Snowboy ( Percussionist who spearheaded the whole Acid Jazz movement and is world famous for his group The Latin Section and for his work with Lisa Stansfield) and the band also contained the bassist from Fairground Attraction and Blur's horn section. 3 singles came from this outing including 'Kool Down' which was featured on a Norman Jay compilation for Nuphonic. This later was remixed by King Britt. In 2001 Aquasky started their alias Aquasky Vs. Masterblaster. This was after a meeting with Vini Medley of Botchit and Scarper Records and their first breakbeat 12" surfaced on his label titled 'Sureshot' later that year. This was followed up by the mighty force of the '777' EP which turned out to be the biggest selling single for the label and is credited as the original Bassline Breaks tune which has influenced a whole generation of new artists. In 2002 they were asked to record an LP, their 5th. Titled 'Beat the System' this was a benchmark album which announced that Aquasky had arrived and that they were here to shake things up. Bringing the dance ethos of drum and bass into breakbeat, Aquasky created a new genre of the scene. A sound and vibe that was made to make a dancefloor shake. With influences taken from their drum and bass/hardcore background this was an orginal concept that many copied and many were inspired by. In 2002 Moving Shadow decided to remix some of their extensive 12 year back catalogue and Aquasky Vs. Masterblaster were asked to pick 2 tracks that they were influenced by. 'Lord of the Null Lines' by Hyper on Experience and 'Renegade Snares' by Omni Trio were chosen and remixed to now legendary proportions. These sold so well that the label decided to start a sister label titled Shadow Cryptic to support the breakbeat scene. The obvious step was to ask Aquasky to record another album. So in 2003 their 6th LP 'Stayfresh' was made. This time the emphasis was to make a new, fresher album with broader influences. Stayfresh has already been checked as the most important breakbeat LP so far with it  s wide range of influences and dj friendlyness. New ideas were presented and the guys turned the scene on its head making them now one of the hottest producers in the world of Breakbeat and voted within the Top 5 Breakbeat Producers on the planet (Breakspoll 2004). There are also a host of remixes that Aquasky have played apart in including Master Ace, The Freestylers, DJ Deekline, 4 Hero, Sneaker Pimps, Art of Noise and A Guy called Gerald. Aquasky are also all accomplished DJ's and have travelled the world many times exciting clubs and festivals with their broad approach to fresh music (ranked 12th best breaks/d&b DJ on www.thetop100djs.com and 17th on www.thedjlist.com... When slimmed down to just uk breakbeat producers they are ranked 3rd on top100djs.com and 6th on djlist.com) This has assisted them in establishing their own label Passenger which has gained great importance within the breaks scene. With the help of the guys A&R skills along with some of the scenes best up coming talent and also more seasoned producers Passenger has made a huge impact on the scene and helped to distinguish its own unique sound. The label is also trying to push the vocal side of breakbeat, whether that be ragga, rap or singing. Releases so far have come from The Breakfastaz, Chris Carter, The Freestylers, Backdraft, Baitercell and Schumacher, Infekto, Autobots, Darqwan and Kool Keith. Due to the success of Passenger and its busy release schedule, it became necessary to set up a sister label   777   which runs on the same principles as Passenger but tries to also cover as many genres of the scene as possible with artists like The Ragga Twins, Transformerman, Aquasky, The Breakfastaz, MC Jakes and Baobinga. Also there is a brand new CD mixed by Aquasky entitled   Breakbeat Bass   which is the debut CD release for Passenger and will assist moving the labels sound into a wider market. 2005 is all about moving Aquasky into a live band and a new LP is presently being written with a strong rock influence. As well as this album Aquasky have also spent the best part of this year so far recording a collaboration LP with Meat Katie, Drummatic Twins, Spyda, Kool Keith, Ragga Twins, UK Apache, Spee (Dreadzone), Phil Hartnoll (Orbital), The Breakfastaz, FreQ Nasty, Backdraft, ElHornet (Pendulum), Tayo, DJ Icey, Autobots and Diane Charlemagne (Moby,Goldie). DANNY THE WILDCHILD Danny the Wildchild aka Daniel Garcia was born on the South side of Chicago in 1977. The brother of a once aspiring DJ, he keenly watched and quickly learned the tricks of the trade. Danny began djing at age nine soon surpassing his brother's abilities and eventually inherited his equipment and records. At twelve, Danny entered a Chicago area contest for young DJ's and won. He took home that fifty-dollar prize and was called "The Wildchild" from that day forward. Although Danny's roots were as a Hip-Hop DJ, he was eventually introduced into the Chicago Rave scene and to the world of drum-n-bass. He enjoyed this new form of music, but also loved hip-hop and began to creatively blend the two genres creating a unique sound of his own. As Danny's turntable talents grew, he began to incorporate scratching and DMC style battle tricks into his Drum-n-Bass sets. His precise mixing skills and unique style and sound gave him the opportunity to bring Drum-n-Bass into the DMC and Hip-Hop scenes. Danny's recognition has earned him a collection of praises from domestic and international magazines such as Mixer, Thousand Words, Faqt, and Lotus to name just a few. Danny was also featured as one of the people making waves in the scene in Urb's Next 100 Artists to Watch Issue. Today Danny has become one of the most valued U.S. Drum-n-Bass DJ's. His unique blends of jungle and Hip-Hop beats and amazing scratching and beat juggling have proved to be show stopping. His talents have brought him to perform in venues worldwide and opening up for such acts as Eminem, Method Man, The Jungle Brothers, De La Soul, Moby, Goldie, MixMaster Mike and The Pharcyde. Danny also toured extensively throughout Europe with DJ Q-bert in 2002 (see djqbert.com). Although most weekends he is on the road, he still has time to host the 12midnight slot on Chicago's Alternative Radio station Q101FM and is gotten back in the studio. In March, the Wildchild released a follow-up to his 1999 12" release on Bad Boy Bill's Canvas label. His first effort at mix CD culminated in the release of "Danny The Wildchild: Booked" (March 2001). The Wildchild's was the first in a series of "Booked" CD's from Chicago's Strictly Hype Recordings. This was followed by the successful release of his latest CD in 2002 on Surge Recordings entitled "Fully Sorted". Supporting Locals: DFT (Swell, Imperial, Liquid Sky, Microterrorizum, Drumz, PM Dark) LOUDER (DJLOUDER.COM) EXCELL (602P) PAC D (IBB) AREA 3 - Misc. Genre Hardcore/HHC/Techno/Hardhouse/Speed Garage/DNB/Hardstyle and More! CIK (AZ HARDCOREJUNKIES.COM/PSYCHOTIK RECORDS/META-4 RECORDS HOLLAND) FREQUENCY (ORGANIZED CONFUSION) RIZE ( BEST OF TIMES) MATTHEW HARRIS (MAFIATIC PRODUCTIONS/SWELL DJ's) BDC (ECA Ent./Uptown Underground-AZ/NYC) BIG DADDY RHINOX (Surreal/DRDmanagement) SIMMY (IMF) NICK SYNERGY (OvermindWorks.com) Area 4 **JUST ADDED** In the 21+ Area Down Tempo/funk/acid breaks Electric Martini (melotronix + dr. fresh) Poche Johan F The 411 Events starts at 9pm and goes all night! Sound by Soundwave, Dirt Assasinz & Flock Lighting by LIT Mind Melting Visuals Syntax Free Give aways all night long!! Food Village - Providing Hotdogs, Energy Drinks, Water, Pop, Hot cocoa & More Bar with ID/21+ Area Fully Legal Permitted Venue Outdoor/Indoor Held At The Goldfield Ghosttown 4650 N. Mammoth Mine Road Goldfield, AZ 85219 The Venue is located 25 Minutes East Of Tempe Off the 60 For Exact Directions, please call infoline day of For more info, timeslots and more please visit diablo2006.com or azinfoline.com 20.00 Presale - Ends Friday 10/27/06 at Midnight 25.00 Day Of 30.00 After Midnight Rain or Shine 24 Hour Info Line : 602-357-1072 Pre-sale tickets available at Phoenix London West    1461 N Scottsdale Rd    (480) 829-8080 Or online diablo2006.com (just print your reciept and will have list with your name on it) Suggestions: *Carpool *Respect yourself and others *Party responsibly *Know your limit *Bring warm clothing Do's * Photo Cameras allowed * Positve Vibes * Dance your asses off Dont's * No Backpacks * No Weapons * No Bad vibes * No Drugs * No Markers Fully staffed security will be there for your protection Interested in promoting? having a booth? Contributing art/dance? Contact us audioistik@hotmail.com We encourage you to visit http://azinfoline.com http://deserttrance.com http://drumcore.com : <----- LOL http://mindblownsound.com http://azhardcorejunkies.com http://completedj.com http://arizonabpm.com http://ibbdjcamp.com http://www.premiereartistsgroup.com http://swellrecords.com http://djrhinox.com http://www.steveedwards.us View full size image TIMESLOTS Area 1 Trance/House/Harddance 9-10 Gary 10-11 Steve Edwards 11-12 Michael 12-100 Inertia 100-230 4 STRINGS 230-330 Nth 330-? Citrik (Special Closing Set) Area 2 Breaks/Dnb/Downtempo Dnb/Breaks 9-10 Pac D 10-11 Excell 11-1200 Louder 1200-130 AQUASKY 130-300 DANNY THE WILDCHILD 300-400 DFT Area 3 Hardcore/HHC/Techno/Hardhouse/Speed Garage/DNB/Hardstyle/Psytrance and More! 9-10 Simmy 10-11 Brandon De Carlo 11-12 Rhinox 12-1 Cik & Nexone 1-2 Rize 2-3 Frequency & Gonzo 3-4 Matthew Harrris 4-5 Nick Synergy Area 4 **JUST ADDED** In the 21+ Area Down Tempo/funk/acid breaks Electric Martini (melotronix + dr. fresh) Poche Johan F HEY GUYS!JUST ADDED HALLOWEEN COSTUME CONTEST THERE WILL BE A PHOTOGRAPHER TAKING PICS ALL NIGHT THE PHOTOGRAPHER IS GOING TO SUBMIT THE PICS TO THE JUDGES AFTER THE EVENT THEY WILL PIC THE TOP 10 WE WILL POST THE TOP TEN COSTUMES HERE ON THE BOARDS, ON OCTOBER 31ST YOU WILL GET TO VOTE THE TOP 3 VOTES..WIN A MYSTERY GIFT
RE: Famous Filipino Americans	Son of Julio Iglesias The same writing team that wrote singer Cher's "Believe" wrote his hit "Bailamos." Considers himself a songwriter first, and singer second. Son of Filipina beauty Isabel Preysler Younger brother of Julio Iglesias Jr. Number #1 Spanish album: Quizas (Latin Billboard Charts) Has two half twin sisters, Cristina and Victoria. Sisters: Chabeli, Tamara and Ana. Brothers: Julio Jose and Michael Alexander. Appeared on the cover of the Spanish edition of 'Rolling Stone', December 15th, 2002. Number #3 Spanish Song: "Papa Que La Vida" (Latin Billboard Charts). Number #1 song "Papa Que La Vida" on Latin Billboard Music Charts. Has had 16 number #1 songs. Is the first Latin artist to have the most #1 singles on Latin Billboard Charts history. Had a mole on his right cheek removed. [April 2003] His song "Quizas" ("Maybe") is about his dad, Julio Iglesias. Quizas received a Latin Grammy nomimation for Best Male Pop Vocal Album (2003) "Be With You" received a Grammy nomination for Best Dance Recording (2001) Decided to part with his trademark mole after a doctor told him it could become cancerous. Won The Latin Grammy For "Best Male Pop Vocal Album" [September 3rd, 2003] His new single, "Addicted", is from his [new] 4th English album titled "7" Enrique's album is due out November 25th, 2003. Born in Madrid, Spain, but grew up in Miami, Florida. His song "Addicted" debuted on Casey Kasem's AT40 on November 16th, 2003 at #38 Song "Addicted" is #37 on Casey Kasem's AT40 [November 23rd, 2003] His song "Addicted" only went up to #26 on Casey Kasem's American Top 40 Was Ryan Seacrest's first musical guest on his new show "On-Air with Ryan Seacrest" on 12 January 2004. Co-wrote Clay Aiken's song "The Way" He is half Spaniard and half Filipino. Has two half brothers, Miguel Alejandro (1997), Rodrigo (1999), and half twin sisters, Victoria and Cristina (2001). Sister, Chabeli Iglesias, is a Spanish singer-actress. In Spanish his song "Bailamos" means "we dance" and "Para Que La Vida" means "why there's life" . Was the executive producer on his albums, Escape, Quizas, and Seven. His favorite food is Sushi, but he says he's also a big fan of fast food restaurants like McDonalds, Burger King and Taco Bell. Wrote all the songs on his Escape, Quizas and Seven albums. When he was about 9 years old, his grandfather was kidnapped but later found safe and well. Appeared on "On-air with Ryan Seacrest" on 19 May 2004. He was interviewed by a fan of the show named "Super Enrique Fan." He was interviewed before his performance at the Wango Tango Concert held 15 May 2004. He sang "Addicted," "Hero" and "Bailamos." At the Wango Tango Concert held 15 May 2004. He sang "Addicted," "Hero" and "Bailamos." August 2004; chosen as a renowned songwriter to sit on the executive committee to choose the Maxell Song of the Year. 15 September 2004: In the 7th Annual In Style Magazine's "What's Hot Now" Poll, he almost beat out Clay Aiken for the title of Sexiest Singer. Including both his English and Spanish albums, Enrique named his album "Seven" because it was his 7th album all together. November 2004; Enrique will be on the board of advisory in the project "International Year of Microcredit." The project offers small loans to business people in impoverished countries. December 2004: His song "Not In Love" was voted #3 Best Dance Track/Song by Billboard Magazine for the year 2004.
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Cielo : May 2008 News + DJ dates	Cielo  s brand new 5 year anniversary compilation   Cinco  , mixed by residents Nicolas Matar and Willie Graff will now be released on Tommy Boy on July 8th. As you  d expect it  s a sleek, sexy, soul-soothing mix featuring tracks by Carl Craig, Ultra Nate, Arnold Jarvis, Swayzak, Kenny Bobien, K-Scope and many more across 2 cds. At the end of the month, please join us for an exclusive   Cinco   album release party on Saturday, May 31st. Since opening in 2003 Cielo has quickly become one of the most highly regarded clubs on the planet    and with more awards to its name in that time then any other nightclub including recently being voted   Best Club   of 2008 and   Best Party   2008 at the Club World Awards. Roots resident Louie Vega underscores our achievements when he says:   Cielo is the blueprint for the quintessential club of today. It captures New York City nightlife at its finest. Perfect sound, decor, atmosphere and a great crowd have made it a magical venue!" Right then, down to business and the May calendar shows exactly why Cielo is a multi-award winner with another cutting edge selection of visionary guest DJs to compliment our equally lauded residents. Dance.Here.Now. our recent award winner in the Best Party category at the Club World Awards, sets the tempo nicely on the 1st with the arrival of the shining Mark Knight. The man behind the highly consistent Toolroom Records label has had a fantastic couple of years building his reputation as one of the UK  s brightest new breed of DJs mixing big-room funky house with electro-etched grooves.   I  m trying to push a fusion sound of techno-meets-house-meets-minimal, incorporating sounds and production techniques from each sub-genre to create something new,   says the man who obviously likes to defy pigeonholing. Chateaux Flight, from Versatile Records in France, joins Willie Graff for his Play Time night on Friday the 2nd. The Parisian house duo of Gilbert Cohen and Nicolas Chaix (aka Gilb'r and I:Cube) are leading purveyors of the Gallic groove placing as much emphasis on diversity as on quality with their respective releases and DJ sets. A dreamy night of orchestrated electronica and beat-driven new wave is promised from the crazy Frenchmen. Having launched his new and exclusive NYC residency last month, Junior Vasquez  s Freedom party marches on in May with two sizzling hot nights of aural pleasure promised. Mark the 4th and 18th in your diary now for more Philadelphia Freedom from the legend that is Junior Vasquez. If you  re looking for sun-kissed grooves, and white island charm then Kiko Navarro  s appearance on the 10th at Paradizo is an absolute must. For over a decade the Spanish DJ/producer has been creating eclectic and sensuous sounds that meld euphoric soulful house with organic Balearic grooves, supple electronic textures and percussive Afro-Latin rhythms leading to residencies at Pacha Ibiza, Pacha Mallorca and Neighbourhood for Buzzin   Fly London. Fresh from being voted the #1 remixer of all time by DJ magazine, Carl Craig shows exactly why he  s referred to as a master of all trades and a jack of none! His quarterly residency Demon Days, returns on May 15th and plays hosts to the Detroit native that many say is in a category all of his own. With a 20-year career spanning techno  s most timeless album masterpiece (1995  s   Landcruising  ), countless classic singles, a string of acclaimed remixes and even an unwitting role in the formative alchemy of drum & bass, this will be Craig  s last U.S. DJ date until September! Benji Candelario is a New York institution - his signature soulful house sound is the embodiment of his Manhattan upbringing during the culturally vibrant   70s and   80s, capturing the essence of the era and distinguishing him as a quintessential DJ, producer, remixer, and musician. Benji plays Paradizo on the 17th. After last month  s 5th year anniversary celebrations Francois K  s Deep Space nights continues with the positive vibes in May with Mala of Digital Mystikz and Theo Parrish joining them on the 19th. South London  s Digital Mystikz are forerunners in the burgeoning dubstep scene, while DC  s Theo Parrish equally eclectic and uncompromising DJ sound should more then compliment proceedings. Roots on the 21st finds Louie Vega and Kevin Hedge sharing deck duties with the legendary Tony Humphries. For an incredible four decades the Brooklyn-born DJ has helped in no small way to help shape the dance genre, and was a pivotal player and major influential in the house music movement in the   80s. His larger-then-life persona is still as key today as it was in those hedonistic and formative years. Dance.Here.Now. promoter Benny Soto celebrates his birthday on the 22nd (and will also no doubt be raising a glass to further cheer collecting an award in the   Best Party   category at the Club World Awards) with the legendary Danny Tenaglia. On the heels of a fresh new single,   The Space Dance   and performing at the legendary Coachella Festival on the same bill as Pink Floyd  s Roger Waters and Prince, Danny will be doing what he does best    getting back to business on the dancefloor. Happy birthday Benny! The month rounds off with a visit from Italy  s leading multifaceted techno DJ / producer Marco Carola with Willie Graff at the Made Event on the 30th. Marco  s deep and seductive bleed of house, tribal and minimal techno has also seen him translate his live style onto vinyl recording for several key labels including Richie Hawtin's Plus 8 imprint. As we mentioned at the start of the newsletter,   Cinco   our upcoming Tommy Boy Cielo compilation, is out shortly, and we  ll be celebrating on the 31st with an album launch party hosted by the resident DJs and mixmasters of the album, Nicolas Matar and Willie Graff. The night promises your chance to sample key tracks from the album that also includes new music and remixes from the likes of Charles Webster, Nick Holder, Alix Alvarez, DJ Pippi, Justin Martin and Manoo & Francois A. Cielo May 2008 Events Thursday, May 1 DANCE.HERE.NOW: Mark Knight(10pm-4am, $20 Advance Tickets) Friday, May 2 Playtime: Chateau Flight and Willie Graff (11pm-4am, $10 Advance Tickets, $20 Cover Charge) Saturday, May 3 Vibal: Tedd Patterson: (11pm-4am, $20 Cover Charge) Sunday, May 4 Freedom: Junior Vasquez: (10pm-4am, Free with RSVP before 12AM: junior@cieloclub.com , $20 After) Monday, May 5 Deep Space: Francois. K wih Maneesh the Twister & Kush Arora (10pm-4am, $12 Cover Charge) Wednesday, May 7 Roots: Kevin Hedge & Louie Vega (11pm-4am, $15 Cover Charge) Thursday, May 8 Dance. Here. Now.: Jonathan Peters (10pm-4am, $20 Advance Tickets) Friday, May 9 Made Event: Matthew Dekay and Willie Graff (10pm-4am, $15 Advance Tickets) Saturday, May 10 Paradizo: Kiko Navarro & Willie Graff (11pm-4am, $20 Cover Charge) Monday, May 12 Deep Space: Francois. K w/ Infinity(10pm-4am, $12 Cover Charge) Wednesday, May 14 Roots: Vega Release Party II: Kevin Hedge & Louie Vega Feat: House Of Rhumba & Johnny Dangerous (11pm-4am, $15 Cover Charge) Thursday, May 15 Demon Days: Carl Craig (10pm-4am, $15 Advance Tickets Available Soon, $20 at the Door) Friday, May 16 Playtime: Jojo Flores ( 11pm-4am, $10 before 1am, $20 afterward) Saturday, May 17 Paradizo: Benji Candelario (11pm-4am, $20 Cover Charge) Sunday, May 18 Freedom: Junior Vasquez (10pm-4am, Free with RSVP before 12AM: junior@cieloclub.com , $20 After) Monday, May 19 Deep Space: Mala of Digital Mystikz and Theo Parrish (10pm-4am, $12 Cover Charge) Wednesday, May 21 Roots: Kevin Hedge & Louie Vega with Tony Humphries (11pm-4am, $15 Cover Charge) Thursday, May 22 Dance Here. Now.: Danny Tenaglia: (10pm-4am, $30 Advance Tickets) Friday, May 23 Made Event: Par Grindvik, Adultnapper, Alexi Delano (10pm-4am, Advance Tickets available soon) Saturday, May 24 Paradizo: Willie Graff (11pm-4am, $20 Cover Charge) Sunday, May 25 Made Event: Josh Gabriel (10pm-4am, $15 Advance Tickets on Ticketweb.com) Monday, May 26 Deep Space: Francois. K (10pm-4am, $12 Cover Charge) Wednesday, May 28 Roots Flashback Party w/ Louie Vega and special guests(11pm-4am, $15 Cover Charge) Thursday, May 29 DANCE. HERE.NOW.: Oscar G. (10pm-4am, $20 Advance Tickets) Friday, May 30 Made Event: Marco Carola with Willie Graff (10pm-4am, Advance Tickets available soon on ticketweb.com) Saturday, May 31 Paradizo: Cinco Album Release Party with Nicolas Matar & Willie Graff (11pm-4am, $20 Cover Charge) ABOUT CIELO Located at 18 Little West 12th Street, in the heart of New York City  s trendy Meat Packing District, is open nightly from 10:00pm-4:00am. Cielo is a beautifully designed 350-capacity club featuring a world-class, state-of-the-art digital Funktion One soundsystem. Since its opening in 2003, Cielo has become an internationally renowned dance music nightclub brand and has upheld its edict of world-class music, professional service and all-inclusive atmosphere. Over the last 5 years, Cielo has continued to triumph and collect accolades including; Club World Awards 2008 winner for Best Club (Winner 2005 & 2006) and Best Party - Dance.Here.Now.; Top 50 Nightclubs in the World- DJ Magazine 2006 & 2007; Best Nightclub- Village Voice 2006; Best Deep House Club- New York Magazine 2006; Best Resident DJ Francois K- Club World Awards 2006 & 2005; Best Venue USA- URB Magazine 2005; Best Interior Design- Club World Awards 2004; Best Club- Dancestar Awards USA 2004. For more info, please go to www.cieloclub.com . Cielo 18 Little West 12th St. New York City 10014 www.cieloclub.com
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