text:
Diese Liste führt die Träger des Verdienstordens des Landes Sachsen-Anhalt auf.

2007
 Klaus Keitel, Landtagspräsident a. D. (verliehen am 31. Januar 2007)
 Paul Raabe, Direktor der Franckeschen Stiftungen (verliehen am 23. Februar 2007)

2008
 Walter Remmers, Minister a. D. (verliehen am 14. Januar 2008)
 Henning Scheich, Direktor des Leibniz-Instituts für Neurobiologie in Magdeburg (verliehen am 14. Januar 2008)
 Georg Graf von Zech-Burkersroda, Dechant des Domkapitels der Stiftung "Vereinigte Domstifter zu Merseburg und Naumburg und des Kollegiatstifts Zeitz" (verliehen am 8. Oktober 2008)
 Anton Milner, Gründer und ehem. Vorstandsvorsitzender des Solarproduzenten Q-Cells (verliehen am 8. Oktober 2008)

2010
 Hans-Dietrich Genscher, Bundesminister a. D. (verliehen am 11. September 2010)
 Ernst Schubert, Kunsthistoriker (verliehen am 11. September 2010)
 Mathias Tullner, Landeshistoriker (verliehen am 11. September 2010)
 Gunter Heise, Geschäftsführer der Rotkäppchen-Mumm Sektkellereien von 1991 bis 2013 (verliehen am 13. Oktober 2010)
 Lothar Petermann, früherer Geschäftsführer der Magdeburger Förderanlagen und Baumaschinen GmbH (FAM) (verliehen am 13. Oktober 2010)
 Rainer Thiele, Geschäftsführer der Kathi Rainer Thiele GmbH (verliehen am 13. Oktober 2010)

2012
 Neo Rauch, Maler und Wegbereiter der "Neuen Leipziger Schule" (verliehen am 1. Juni 2012)
 Heribert Beissel, Leiter des Jugendsinfonieorchesters Sachsen-Anhalt (verliehen am 12. Dezember 2012)
 Hermann Lorenz Gerlinger und Hertha Gerlinger, Würzburg (verliehen am 12. Dezember 2012)

2014
 Edda Moser, Kammersängerin, Initiatorin und künstlerische Leiterin des Festspiels der Deutschen Sprache in Bad Lauchstädt (verliehen am 12. September 2014)
 Friedrich Schorlemmer, Pfarrer i. R., Bürgerrechtler, Lutherstadt Wittenberg (verliehen am 31. Oktober 2014)

2015
 Wolfgang Böhmer, Ministerpräsident a. D. (verliehen am 14. Oktober 2015)
 Siegfried Boy, Weinbaupräsident, Agraringenieur, Laucha (verliehen am 9. November 2015)
 Norbert Eichler, Bürgermeister a. D., Haldensleben (verliehen am 9. November 2015)
 Johannes Ludewig, Wirtschaftswissenschaftler, Alfter (verliehen am 9. November 2015)
 Jürgen Weißbach, Theologe, Gewerkschafter, Halle (verliehen am 9. November 2015)
 Eckhard Naumann, Politiker, Oberbürgermeister a. D., Lutherstadt Wittenberg (verliehen am 7. Dezember 2015)
 Axel Noack, evangelischer Bischof, Magdeburg (verliehen am 7. Dezember 2015)
 Leopold Nowak, katholischer Bischof, Magdeburg (verliehen am 7. Dezember 2015)
 Michael Schönheit, Organist, Merseburg (verliehen am 7. Dezember 2015)

2017
 Petra Wernicke, Politikerin (verliehen am 8. September 2017)

2018
 Benno Parthier, Präsident der Wissenschaftsakademie Leopoldina von 1990 bis 2003 (verliehen am 4. Mai 2018)
 Volker ter Meulen, Präsident der Wissenschaftsakademie Leopoldina von 2003 bis 2010 (verliehen am 4. Mai 2018)
 Curt Becker, Politiker, Oberbürgermeister von Naumburg von 1994 bis 2001, Justizminister von 2002 bis 2006 (verliehen wohl im Juni 2018)
 Klaus Erich Pollmann, Wissenschaftler, Rektor der Otto-von-Guericke-Universität Magdeburg von 1998 bis 2012 (verliehen am 5. Juni 2018)
 Günther Schilling, Wissenschaftler, Rektor der Martin-Luther-Universität Halle-Wittenberg von 1990 bis 1993 (verliehen am 5. Juni 2018)
 Sabine von Oettingen, deutsche Künstlerin, Kostüm- und Bühnenbildnerin und Modedesignerin (verliehen am 17. Juli 2018)
 Michael Kempchen, seit 1990 Intendant des Puppentheaters Magdeburg (verliehen am 17. Juli 2018)
 Reiner Schomburg, deutscher Politiker, von 1993 bis 1994 Kultusminister in Sachsen-Anhalt (verliehen am 17. Juli 2018)
 Brocken-Benno (Benno Wolfgang Schmidt), deutscher Rekordwanderer und Harzbotschafter, 8.500facher Brockenaufstieg (verliehen am 25. Juli 2018)
 Siegfried Pank, deutscher Cellist und Gambist, Initiator des Internationalen Viola da gamba Wettbewerbs (verliehen am 7. Oktober 2018)

2019
 Wolfgang Kupke, Rektor der Evangelischen Hochschule für Kirchenmusik in Halle von 2000 bis 2017 (verliehen am 8. Oktober 2019)
 Anna-Maria Meussling, deutsche Restauratorin (verliehen am 8. Oktober 2019)
 Manfred Tröger, Gründer der Otto-von-Guericke-Gesellschaft, langjähriger Vorstandsvorsitzender der Otto-von-Guericke-Stiftung (verliehen am 8. Oktober 2019)
 Heinrich Apel, deutscher Künstler, Bildhauer und Restaurator (verliehen im Jahre 2019)
 Friede Springer, deutsche Verlegerin (verliehen am 19. Oktober 2019)
 August Oetker, deutscher Unternehmer der Nahrungsmittelindustrie und Reeder (verliehen am 19. Oktober 2019)
 Gerlinde Kuppe, deutsche Politikerin (verliehen am 25. November 2019)
 Krimhild Niestädt, deutsche Politikerin (verliehen am 25. November 2019)
 Frauke Weiß, deutsche Politikerin (verliehen am 25. November 2019)

2020
 Hermann Rappe, Gewerkschafter und langjähriger SPD-Bundestagsabgeordneter (verliehen am 2. März 2020)

2021
 Jörg Hacker, Präsident der Leopoldina (verliehen am 23. September 2021)
 Rainer Robra, Staatsminister und Chef der Staatskanzlei des Landes Sachsen-Anhalt (verliehen am 15. Oktober 2021)
 Jens Bullerjahn, Finanzminister des Landes Sachsen-Anhalt von 2006 bis 2016 (verliehen am 8. Dezember 2021)

2022
 Hildegard Ramdohr, Langjährige Vorsitzende des Fördervereins zur Restaurierung und Erhaltung der historischen Stadtbefestigungsanlage von Aschersleben e.V. und Ehrenbürgerin von Aschersleben (verliehen am 19. August 2022)
 Konrad Breitenborn, von 1990 bis 1994 Landtagsabgeordneter und langjähriger Präsident des Landesheimatbundes (verliehen am 11. November 2022)
 Karl-Heinz Daehre, Landes- und Kommunalpolitiker (verliehen am 11. November 2022)
 Ragna Schirmer, Pianistin (verliehen am 24. November 2022)
 Ansgar Striepens, Musiker, Komponist und Arrangeur (verliehen am 24. November 2022)
 Alexander Kluge, Filmemacher, Fernsehproduzent, Schriftsteller, Drehbuchautor, bildender Künstler, Philosoph und Rechtsanwalt (verliehen am 24. November 2022)
 Manfred Püchel, deutscher Politiker, Innenminister und Justizminister des Landes Sachsen-Anhalt a. D. (verliehen am 21. Dezember 2022)

Sachsen-Anhalt
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text:
Coordinated development could help wind farms be better neighbors
As onshore and offshore wind energy farms have proliferated globally in recent years, new research led by CU Boulder highlights a previously underexplored consequence: a wake effect from upwind wind farms that can reduce the energy production of their downwind neighbors.
The study, undertaken in collaboration with the University of Denver (DU) and the National Renewable Energy Laboratory (NREL), combines legal and economic analysis with atmospheric modeling to demonstrate that wake effects—which occur when groups of turbines reduce wind speed for up to several miles behind them—are measurable and predictable, yet remain largely unaccounted for in current U.S. property law.
The research appears today in the journal Nature Energy.
"The findings highlight the need for coordinated development and awareness of the big picture in order to maximize wind energy generation nationwide," said Julie Lundquist, lead author of the study and an associate professor in CU Boulder's Department of Atmospheric and Oceanic Sciences (ATOC).
Wind energy developers seek out sites with reliable wind resources as well as convenient access to electrical transmission lines, leading to dense turbine deployment in choice areas with little coordination between competitors. Nearly 90 percent of U.S. wind farms are located within 25 miles of another wind farm—and often much closer.
Yet much like a homeowner whose once-unimpeded views are blocked by new construction, the study shows that existing wind farms stand to lose valuable energy production if they suddenly find themselves downwind of a new neighbor and its wind- and energy-reducing wake.
Daniel Kaffine talks about how coordinated development coult help wind farms be better neighbors
Using publicly-available data on monthly energy generation and dominant wind direction, the researchers modeled the wake effect on a pair of West Texas wind farms, using a third as a control. They found that wind speed reductions due to the establishment of the upwind farm reduced generation at the now-downwind farm by 5 percent from 2011-2015, an estimated revenue loss of around $3.7 million.
"Just as upstream water users can knowingly or unknowingly impose additional costs downstream, the same effect is in play here," said Daniel Kaffine, a co-author of the study and a professor in CU Boulder's Department of Economics. "We had a general sense of this interaction before and wanted to explore it further using a mix of social science and atmospheric data."
Kaffine and Lundquist, both fellows in the Renewable and Sustainable Energy Institute (RASEI), noted that Texas made for a good case study because of its current and future stake in wind energy development, as well as historical parallels concerning usage rights for the state's oil and gas resources.
Over a century ago, oil and gas law recognized the "rule of capture," which allows a landowner to capture a neighbor's oil resources by sucking them from an adjacent well. This resulted in poor well-field recoveries and waste, so states intervened to regulate production through well-spacing, pooling and other coordination measures. Similarly, states have developed water law regimes that protect rights for prior users. But current U.S. property law contains no such provisions for wind energy.
"It took oil and gas and water law decades to create these legal regimes,"said K.K. DuVivier, a co-author of the study and a professor at DU's Sturm College of Law. "It appears that wind energy has not yet reached a similar stage of maturity. I hope this research will help raise awareness about the extent of the waking problem and educate those seeking a legal remedy."
Turbine wakes have been observed to extend up to 25 miles, potentially spanning multiple state and county jurisdictions and complicating matters even further.
"In the immediate future, some business incentives might change," Kaffine said. "Energy firms might put more emphasis on securing leases upwind to ensure they have enough of a buffer."
But while legal guidance may lag behind, Lundquist emphasized that the team's sophisticated atmospheric science simulations show the wake effect is a highly predictable atmospheric phenomenon that can be modeled and planned for in light of the new data.
"It's encouraging that the wake effects seen in the economic analysis are captured by the atmospheric simulations," said Jessica Tomaszewski, a graduate student in ATOC who co-authored the new study.
"The strongest wakes occur at night, when the atmosphere is stable and wind speeds and directions meet specific criteria," said Lundquist. "Out of the month of wakes simulated, only 28 hours, or less than 4 percent of the time, had wakes in excess of 20 percent of the downwind farm's capacity, suggesting this episodic issue can be predicted and managed."
"Owners and grid managers can use this information to get ahead of the issue. New research at NREL in manipulating wakes might be helpful," said Tomaszewski. "Ultimately, however, better coordination will be necessary to maximize the public benefits of wind energy."
Taking the wake effect into account will be especially crucial for the large number of offshore wind farms currently in development off the U.S. east coast, Lundquist added.
"Offshore wind farms are important, but they are expensive to build and mistakes will be equally expensive," she said.
"This project explores the links among economic, legal, and social issues and the geophysical processes in wind energy production," said Tom Baerwald, program director for the National Science Foundation's Dynamics of Coupled Natural and Human Systems program, which funded the research. "These findings advance our understanding of these interactions, and provide guidance for successful development of renewal energy for the future."
The researchers hope to expand their efforts to measure wind farm wake effects by incorporating aircraft measurements as well as capturing data on a more frequent timescale from other sites around the country.
The National Science Foundation (NSF) provided additional funding via a Graduate Research Fellowship. NREL and the U.S. Department of Energy's Wind Energy Technologies Office provided additional funding.
nature energy: "Costs and consequences of wind turbine wake effects arising from uncoordinated wind energy development"
Source University of Colorado Boulder | Trent Knoss 2018
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redpajama_set_name: RedPajamaCommonCrawl


text:
Lucky Scars
As I walked out the front door and fumbled for the keys to my car, I heard a low rumbling noise from across the street that penetrated all the Orange County environmental sounds that typically populated my neighborhood. Traffic, cell phones, strollers, and ironic conversations all gave way to something foreign -- something alive. A pack of unkempt kids had recently moved into the neighborhood, and while genetically and hormonally programmed to disrupt the peace of the cul-de-sac, they had managed to stay relatively under the radar.
But something strange was going on. Sun-beaten and heavily stickered cars lined the perimeter of the street; cases of beer floated through the front yard, hoisted on shoulders; and smoke rose from behind the back gate, distorting the midday California sun. Curiosity and the intoxicating smell of meat on the grill sucked me toward the house like a tractor beam. Before I knew it, I was following a greasy-haired and sleeveless vagabond through the front door and twisting the cap off of a sweating High Life. It was Sunday afternoon, and despite my best intentions of running to Whole Foods for some quinoa and returning home to catch up on Frasier reruns, I'd somehow found myself at the most bitchin' backyard party ever conceived.
Before I had the chance to expose myself through awkward small talk and Rush references, the partygoers emptied out of the kitchen through a small sliding glass door and amassed in front of a crowded and very-homemade stage. As I pushed my way through a sea of body odor, denim, and half-eaten burgers, a cacophony of sound began to sort itself out. The "chucka chucka" of a fuzzed-out guitar wove between sporadic snare hits, and a gravely voice repeatedly shouted "check, check" into a mangled microphone. Now, forgetting all about the quinoa, I took up my position on the lawn and decided to surrender myself to the afternoon.
A young, platinum-haired girl sauntered across the rickety stage, grabbed the microphone, and turned the ignition.
"Ladies and gentleman, without further ado, Lucky Fucking Scars!"
The band gyrated in unison and, with little warning, tore into their first song "Bandita," which, to the best of my understanding, sounded like it was about a female assassin. Midway through that first song a longhaired drifter shot an elbow into my ribs.
"Ever heard these guys?" he shouted into my ear.
"No, I was just heading to Whole Fo..." before I could finish, he put a greasy finger to my lips and began to launch into some twisted-ass monologue (which I think I remember accurately).
"I've seen these dudes a few times before, only at house parties -- it's really weird. Nobody knows their real names -- it's almost like they've got this fuzzed-out Voltaire thing going on."
I tried to maneuver away from him to watch the band, but he interpreted my escape attempt as an invitation to continue.
"So anyway, the tall signer goes by the name Johnny Scars -- he's the A.J. McLean of the band -- you know, before A.J. got sober. Sort of a cross between a drunk teddy bear and a bull in a china shop. The lead guitar player, they call him Nik Kill. Nobody knows why. I mean, I don't think he's killed anyone. All I know is that he's from the seedy side of San Jose, and that he dropped out of high school to do this."
"To play backyard parties?" I asked.
"Precisely."
"Okay," I said, becoming more slightly more interested in the Lucky Scars lore, "what about the other three?"
"Well, we've got Craig Rage on drums. He's the mean one. As far as I know, he's uncomfortable in crowds and has offered up no personal information -- only grunts and middle fingers. And second from the left, you've got K.D. Wish -- the shy one. He's an avid outdoorsman and motorcycle enthusiast. I heard he collects both guitars and weapons."
"What kind of weapons?" I asked. Without answering, the strange party narrator moved onto the next band member.
"Last but not least, there is Don Jose Cuervo de los Burros on bass."
"Let me guess," I said, "he just got out of prison for smuggling illegal piranhas across the border?"
"No, he's actually the head counselor at a rock 'n' roll fantasy camp for at-risk teens," he said with an entirely earnest expression.
At this point my mind was saturated with follow up questions, but before I could formulate any words Johnny Scars leapt from the stage, shoved a tambourine into the strange man's hand and pulled him on stage to add a little extra percussion to the already raucous song "Rules and Laws."
The afternoon slowly faded into evening and the band continued to play on. After the final cymbal crash, I stumbled back through the house, sweaty and buzzed, and wondered what had happened to my neatly packaged suburban Sunday. Across the lawn, I spotted my friend from earlier carrying a road case.
"Hey man, thanks for all the info -- I really enjoyed the show," I said, now maneuvering myself slightly too close to his face, "they sounded a bit like Sense Field to me, maybe with a dash of Ignite."
The longhaired man thought about what I said for a minute and quietly responded, "Yeah, I don't hear it." Without any additional commentary, he turned and continued to help the band load gear into their busted, white van. I walked in a slightly zigzagged pattern back to my front door where, once inside, I would collapse on the couch and wake up the next morning wondering if the previous afternoon had even happened at all.
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text:
Le palais présidentiel mauritanien est le siège et le lieu de vie du président mauritanien. Le palais est situé dans la capitale Nouakchott, dans le centre ville. Le palais, construit par une entreprise chinoise est le monument le plus important de la capitale.

Proche de l'ambassade américaine et de la banque centrale mauritanienne, le palais est entouré de vastes jardins artificiels.

Notes et références

Mauritanie
Nouakchott

redpajama_set_name: RedPajamaWikipedia


text:
Jimmie Fadden — dirt 'n' drums
I never had any formal training. I came into music probably like a lot of people do. The band got together and said,
There are very few people I've met who haven't said, "Oh yeah, the Nitty Gritty Dirt Band. I saw them at my high school in 19_. "At that point, I try to recall which musical period the band was in at the time. Was it the '30s swing they were playing in the late '60s, or the country-rock they premiered in L.A. in the early '70s, or the rock they were performing in the late '70s, or the country they've gone into in the '80s? I've known them since 1968, so I've seen them all and know that, whichever style anyone witnessed, it had to have been good because the band members always put their hearts into their concerts. To slay an audience is certainly Jimmie Fadden's modus operandi.
The band came together in 1966 as an outgrowth of people who hung around McCabes music store in Long Beach, California. It was a casual musical atmosphere where people would get together, swap tunes, trade stories, and drink coffee. Fadden had no formal training, but he was a natural at making music. By the time the group was formally together, Fadden's arsenal of instruments included autoharp, mandolin, harmonica, washtub bass, and jug—perfect for the acoustic folk/rock the band was featuring. He also became one of three who traded off playing the drums. In fact, during those early days, critics cited the trading of a multitude of instruments by the members as one of their drawing cards.
As time went on, however, and their musical emphasis shifted, Jimmie's primary instrument in the group became the drums, although he can be heard playing harp on a variety of records, including those by Jackson Browne, Linda Ronstadt, John Denver, Dan Fogelberg, Earl Scruggs, The Ventures, Hoyt Axton, and Michael Murphy. In 1978, though, when original member Jimmy Ibbotson left the band, Fadden was asked to be a frontman along with other original members Jeff Hanna, John McEuen, and newest member Bob Carpenter. The music became more rock oriented, and while Fadden played guitar, harp, and sang some leads, a series of drummers came and went.
The '80s prompted a lot of changes in the Nitty Gritty Dirt Band's life. As they restored the more country roots of their classical 1972 release, Will The Circle Be Unbroken, Ibbotson returned to the fold, and Fadden decided that he wished to return to the drums. Nashville has become Fadden's home away from home when he is not with his family in Florida, or on the road, which is the majority of the time. While Jimmie would like to be home with his wife B'Lise and their daughters Charlotte and Meggan, it's the live performances that he truly thrives on.
The audience is the band's primary focus, and the musicians give them an energetic and varied show. Although country is their mainstay, having had such hits as "Long Hard Road," "Dance Little Jean," "High Horse," and "Modern Day Romance," the band's live show also consists of their pop hits "Mr. Bojangles," "An American Dream," and "Make A Little Magic," such bluegrass standards as "Rocky Top," "Randy Lyn Rag," and "Way Downtown," and even such rock numbers as "Cadillac Ranch."
"Just as long as Johnny got his fiddle and Jimmie got his drums along, then Jeffrey and me and Bobby will be singing all our favorite songs. Catch a fire from the folks in a front row, fan the flames as the beat gets strong. It's great to be a part of something so good that's lasted so long,"—from "Partners, Brothers And Friends," written by Jimmy Ibbotson.
RF: Early on, you guys were doing all kinds of things musically.
JF: Bluegrass, skiffle music, some swing tunes, some jugband versions of big band songs, some contemporary pieces written by the likes of Jackson Browne, Steve Noonan, and Greg Copeland. Nobody was playing drums at that time. Jeff was playing washboard, which amounted to our version of the drums. I was playing the Washtub bass, and we were the rhythm section. We didn't incorporate drums into the band until we started getting a little more legitimate, instrument-wise. We started using trombones, clarinets, and, naturally, we wanted to do some of the swing tunes a little more authentically, which required a bass drum, snare drum, and hi-hat, at least. Drums became more prominent in our music with the advent of Uncle Charlie, which was sort of a benchmark for us, musically. We decided not to play a lot of old, obscure tunes, but to play music that we felt was a contemporary development of our collective styles. We played tunes by writers like Kenny Loggins and Jackson Browne—music we felt best defined our own musical interests.
RF: When drums were first added, you were nominated for the auspicious task of drummer.
JF: Jeff played a little during that time period, and I played a little. If something else was more important, then the other person ended up playing the drums.
RF: So you actually picked up the drums on the job.
JF: I never had any formal training. I came into music probably like a lot of people do. The band got together and said, "Let's play music and have a band." Somebody, somehow, got Jeff Hanna interested in playing. Jeff had a little set in his room, so I used to play around on it, and it sort of came naturally to me. On the early Nitty Gritty Dirt Band albums, I think Jim Gordon or Earl Palmer played the stuff. Jim Gordon is a real good example of one of my early influences. He had just gotten into town when he played on our records, and I'd say, "How do you do this?" He'd show me and I could do it. Now, looking back, I wish I'd had the time to take lessons. I don't recommend doing it the way I did it. Now I'm trying to catch up and find some instruction to learn the basic reading skills, which I feel all players should know.
RF: Who were some of your other influences?
JF:My influences have primarily been people who were feel players, as opposed to those who are technically great. Sometimes they were one and the same. I don't think I'd get any argument about Steve Gadd being able to do both. I've always enjoyed Levon Helm for his soul and his fire, and Jim Keltner for his feel. He could always play things so loose and keep it so together. The stuff he did with Leon Russell always knocked me out. I like the drummer who played with Muddy Waters. He could play a shuffle that was so loose. I also like the drummer with the Amazing Thunderbirds, who has a great loose shuffle. One person who recently influenced me a lot was Harvey Mason on the Headhunter album and on the tune "Headhunter" where he used the 16th-note phrase in the backbeat. That opened a lot of doors for me. It made me realize that your left hand can do a lot of things you wouldn't normally think it could do. I've learned a lot just from hearing that one cut.
A lot of earlier people who inspired me were people in Los Angeles when we were starting to play and record, like Earl Palmer, Hal Blaine, and Jimmy Gordon. Those were the people I got to watch. Watching those guys was my biggest inspiration to start playing. There was Sandy Konikoff, who used to play with Taj Mahal. He said, "Go for tone. Don't let the fires go out." He always wanted a snare that was 10″ deep with gut snares. What a crazy guy! I also like Chuck Blackwell, who played with Taj, too. I like a lot of different people for a lot of different reasons. I love Jeff Porcaro's playing, because he has such great hi-hat things. He's a suave player. He's got a lot of style and it's very uptown. I listen to some jazz now, because I find it's enlightening for me to hear some of the things that are taking place. The things I like are more the groups who are melodic, like the Yellowjackets and Pat Metheny. I like picture music. I don't think I'll ever be able to play like Danny Gottlieb and Rod Morgenstein, but I sure enjoy what they do.
RF: To go back to the early days once again, when Jim Ibbotson came into the group in 1969, he played drums, too.
JF: Yes. Jimmy was, and still is, the only schooled drummer of the three of us, being able to play all 26 rudiments. As I said before, sometimes other things take precedence, and his position in front as bass player, frontman, and lead vocalist was more important than having him as drummer.
RF: Is it difficult working in a band where nearly everyone has played drums?
JF: No. It just makes me want to play better. It makes me want to make them comfortable with my abilities. It's easy sometimes, in that they understand what I'm doing. Then it's difficult sometimes, because they understand so well that they may have an idea that they want me to do, where I might want to do something different. We have to discuss it, and maybe have a few words over it. But I think the communication is far better in that both Jeff and Jimmy understand what it is they want and how to explain themselves.
RF: How do you feel about having been in both background and up-front positions?
JF: I like being in back. I consider myself a driving wheel. I have always felt that the beat was essential. I got that from watching old blues players sitting on stage, stomping their feet. The beat never left.
Even when we didn't have drums, the band was always beat conscious. We've had a number of drummers in this band, and if there was someone back there playing who wasn't beat conscious and energy conscious, then the people up front noticed it. When I was up front, if somebody back there wasn't kicking it in, I noticed it and wanted to be back there doing it. At that point in my life, I realized that, if that's how I felt about it, I ought to be back there doing it.
RF: Do you think the time away from the drums created a freshness towards the instrument?
JF: It's very funny you asked that, because during the time away from playing, I was around a lot of players I really admired who did things I was not quite articulate enough to do. Somehow I seem to have absorbed a lot of those ideas. I came back to the set with them, and they came out.
RF: When you recommitted yourself to drums, how did you go about preparing for that venture?
JF: Practice, practice, practice.
RF: What did that practicing consist of?
JF: I like to practice with records and tapes, which I think is a real nice outlet, in that I can have a rhythm section to play with. It's a lot more fun than playing by myself. I also like to find tapes that have good metronomic time, or use a click track or drum machine of some sort. That way, I get a chance to settle down with time, and I'm not being influenced by another player's time. I find that it's very interesting to see how other people phrase things around the people in their groups.
As for practicing now, I normally just play some straight single-stroke 8ths, or something like that, on the bed, just to get my arms limbered up a little bit. There's no bounce on the bed to speak of, so instead of getting a good rebound and letting the stick carry my hand back up, I have to pick it up. I find that, in picking the stick up as opposed to letting it come up, it makes me work a little harder. I've been working out of the Stick Control book lately, which I highly recommend to anybody who doesn't read music. It was recommended to me by one of my earlier influences, George Grantham, who is back working with Poco and who is one of the early country/rock giants in California. That's been a great help to me. A lot of the style I use in our show has to do with a right-left alternating 8th-note pattern, so I find that Stick Control has been very beneficial to me in that respect. It's all single stroke, in most cases. I do use some double strokes, although I don't use them on stage very often, if at all. Our music is so simple that it just doesn't translate as well as it does in some other forms. I find that it's good for me to practice those things that I don't use, because it gives me a better sense of right-left balance, which is very hard to maintain when you travel. Sometimes when you're in an uncomfortable situation, maybe doing overnights on the bus for five days in a row, your right side might get a little cramped up, or your right arm might feel a little different from your left. Maybe you have pulled a muscle on one side from lifting something. I attempt to get both hands and arms feeling as close together as possible, and to get myself centered. That's just a matter of playing straight strokes and getting them to feel the same.
RF:You mentioned phrasing before.
JF: Every drummer phrases things differently. It comes from what drummers have learned as their musical vocabularies and how they interact with the other players in their groups. Jazz, for instance, is obviously different than country music. Country music is considerably sparser, and it doesn't require the same amount of playing because it is predominantly vocal music. The particular feel that we play most often now reflects some adaptation from early R&B, in that we are playing 2/4 with just a 1 and a 3 with a dotted 8th note on the bass drum. It's very simple, and the bass and the bass drum play almost exclusively together, where one doesn't play without the other very often. A lot of times, I'm just playing 1 and 3 on the bass drum, which gives Jimmy Ibbotson the room to incorporate some different things on the bass.
RF: You've mentioned a couple of times that the music you play is simplistic. I have often thought that playing simply is more difficult than playing elaborately.
JF:I think to some extent it is, because it's really noticeable if the time drags or speeds up if you're playing the same feel over and over. If you break it up with a change in pattern or there are a lot of fills involved or changes in time signature, the time is not as obvious as if you were to play a straight 2/ 4 from front to back without breaking it at all. It drove a lot of people crazy when disco records became so popular, and they were still using straight tracks as opposed to looping them or using drum machines. It's tedious to play from front to back without changing the feel, and keep the time consistent and feeling good. I think Larrie Londin is one of the greats at that. People slight country drummers because they play so simple, and I appreciate your realizing the difficulty. I do like songs where you can move the time around a little bit, just for the sake of excitement. We do a tune called "Ripplin' Waters," which has a long instrumental out section where everybody takes a solo. I actually stop playing the full kit, break it down to bass drum and hi-hat, and play a harmonica solo. We try to increase the intensity a little bit, as well as the tempo.
RF: We touched on this in the Update we did a couple of years back, but you play the drums and harmonica simultaneously.
JF: I've been playing harmonica a lot longer than I've played drums, and I really enjoy playing the instrument. Oddly enough, some of my first playing experiences were with playing harmonica in a rack. The rack is the little wire contraption that holds the harmonica in front of your mouth and goes around your neck, a la Bob Dylan and Neil Young. I found it was very easy for me to play that way. I'm now using a Shure SM-10 microphone, which is a headset mic'. It virtually follows my mouth wherever I move it. I found that it was fairly easy for me to play drums and harmonica, by virtue of the fact that, whenever I play harmonica, I always tap my feet. I used to go out to the garage, sit in a chair, put the old metronome on, and tap my feet—right-left, right-left, right-left. It wasn't all that difficult for me to translate that into playing set and harmonica at the same time.
RF: Are there things you can't do or that are difficult to do while playing both?
JF: Normally, when I'm playing a solo on the harmonica, I'm just playing time on the drums. It might be just playing an 8th-note, two-handed feel on the hi-hat with an accompanying bass drum pattern, or I might just be playing snare drum, hi-hat, and bass drum. I do play some fills, occasionally at the end of a solo, but I'll just be playing one finishing note of the solo on the harmonica. All I'm doing is inhaling and playing the drum fill. It's pretty simple.
RF: What are some of your favorite songs to play live?
JF: I really like playing "Will The Circle Be Unbroken," because I play a sneaky version of a shuffle that nobody catches on to. It comes out of that accented 8th-note brush feel with sticks. I end up going to the ride and accenting on the left hand as opposed to the right hand. It's a lot of fun. I enjoy those types of implied feels. I've always admired players who were able to do that. A lot of the New Orleans players are very good at that. Jim Keltner was a great influence in that respect. He's always had a great innuendo in his playing—likewise, Steve Gadd.
RF: What other tunes do you enjoy playing?
JF: I like playing the whole set to be quite honest with you.
RF: You've been playing "Mr. Bojangles" since 1972. How do you keep something like that fresh?
JF: I'm not sure there's a real pat answer for that. That's a great example that we can draw from, because it has been played so much. The song has a basic life of its own, but it lives vicariously through the audience, which adds another dimension to it. Sometimes we do a shortened version in a medley with "Some Of Shelly's Blues," but we added an instrumental to it, which was never on the record, between Johnny and me where I put the brushes down and pick up the harmonica. To play harp while you're playing 3/4 is very interesting. Playing 4/4 or 2/4 is really easy, because your left foot doesn't have to do double duty with the double back beat there, like with 3/4. Recently, Jimmy stopped playing the bass in the last verse, and I've gone down to just playing the bass drum and hi-hat. I've added a floor tom beat in there to make it sound like a marching drum, like the old, open bass drum sound. There are just little things that happen from night to night that make everything interesting. I can't think of any two nights in a row that are the same. Some nights things are a little quicker. Some nights they're a little slower. Acoustics in the rooms we play have a lot to do with that. If you have a room with a long decay time, you need to play things a little slower. If you play too fast, it can just become a jumbled mess. That's something you learn along the way, and I'm still learning more about it. Some nights are really magical, where the dynamics are so overwhelming that I'm just sitting back there on automatic, enjoying what's going on. I'll be playing along, enjoying "Bojangles" so much that I just think to myself, "We've been playing this song for a long time, but it's still fun and I love hearing it." I can listen to what we're doing, as opposed to being concerned about my role, which is the nice part of it. A lot of times, if you're playing something that is improvisational, where you really have to be thinking and be on the ball, you have to listen so closely to what everybody else is doing, that your ears don't get a chance to take everything else in. You're concerned with the interaction between you and the bass player, and listening to what's going on up front. You don't always get to savor the moment. When you've done something for a long enough time and you have an arrangement in your head, you know what to play, and you can watch the audience and the other members in the band. It sort of flows like the river, and it's amazing.
RF: Were you playing drums during the Jealousy period of time?
JF: I didn't play in the studio on that particular project. I arranged the drum parts, and Rick Schlosser did the studio work on that album. I rehearsed with the band, came up with the arrangements and did the work tapes. Bob Edwards, who was producing the album at the time, had worked with Rick and liked his playing very much. When it comes down to dollars and notes, as it is in the studio so often, it's important to be extremely proficient and get your work done quickly. He knew he could count on Rick to do it, whereas he hadn't worked with me in that capacity. Rick liked my arrangements very much, so he played basically what I gave him.
RF: By the time you took over the drum seat once again, you were dealing primarily with the country tunes, is that correct?
JF: We still do that rock stuff, though, occasionally. We do play "Cadillac Ranch," so we play it all. This band runs the gamut of styles.
RF: Regarding styles, if we go way back, we're talking about . . .
JF: Fred Waring & The Pennsylvanians. We've always liked a variety of music. Everybody in the group has different musical interests, and they all come together, hopefully, to form a cohesive whole. I think the texture of our music might be more interesting than if we all listened to the same thing all the time. I think the chances of influences from one source creating something interesting are pretty slim. That's a common facet of most groups that come together for one reason or another: They all have different interests in music. John enjoys bluegrass and the more country side of things. Jeff and Ibbie like rockabilly and the more vocal-oriented things, such as the Everly Brothers and Buddy Holly. Bobby Carpenter, the keyboard player, has a very wide scope of interests from classical pieces to jazz. In fact, Bobby and I get together and commit jazz crimes occasionally. We have to watch out that the jazz police aren't listening. I enjoy a lot of different things. One of my earlier influences was bluegrass, and then I became very interested in blues. I like music that is very earthy and very emotional.
RF: What about playing considerations when you look back on Fred Waring & The Pennsylvanians?
JF: The greatest thing I got from a lot of the early big band music was the attitude of the music. It swung. If you can't swing it, then hang it up.
RF: So how do you swing a band?
JF: I don't know how to explain it. You just do it. How do you breathe? I don't know. It just happens. You have to feel it, and they have to feel it. You have to give them the chance to be comfortable in what you're doing, so they can work as effortlessly as possible.
RF: What about audiences? Are they different in the pop world than they are in the country world?
JF: I think people are people anywhere you play. I think it's what you play that makes audiences what they are and determines how they react. If you're going to perform poorly, then you can expect an audience to react poorly. You have to go out and give it 100% every night, if not 110%, and it's a mutual thing of give and take. It's you giving to them and them giving to you in return. It's a vicious little circle, and it's a great feeling. I think it's one that anyone who has spent any time on stage lives for. Most of the time, we can forget the hotels, the travel, and the baloney sandwiches as long as that audience is there. We've played large arenas in rock shows and small clubs where it was strictly a group of people who were accustomed to hearing honky-tonk music. We've played in big bars where people dance and auditoriums where people sit down. We've played some of the finest halls in the country, such as Carnegie Hall three times, and some of the finest halls in Japan.
RF: In 1977, you were the first American band chosen to tour Russia. What was it like playing over there?
JF: Russia is another story. It was very interesting, to say the least. The interest on the part of the musicians we encountered there was astounding. I was given questions I didn't know the answers to most of the time, like what kind of sticks Buddy Rich uses. I don't know. These people over there were starved for information, and they loved music.
RF: Didn't you play at conservatories over there?
JF: We went to a union conservatory, where it was strictly union players. In order to be a union player, you have to be accepted into the union, not like what we have here where you can become a member of the union with dollars. In being accepted, you have to be a player or performer of material which is pro-Soviet. There are quite a few underground players in the Soviet Union. They're very interested in all types of music. Jazz is very popular there, as is some of the earlier rock 'n' roll. They're interested in things that might be considered more eclectic than the standard American market, but they don't—or didn't at the time we were there—have a wide variety of records to listen to. What they did have that was worth listening to had to be purchased on the black market, which was an iffy business at best.
RF: Earlier, you mentioned the baloney sandwiches and the hotel rooms, and I was thinking about the 20 years you've spent on the road. How does that affect you in your personal and musical life, and how has that changed through the years?
JF: I think I'm more emotional and more sensitive about music. I don't have the time to get involved in some aspects to the degree that I would like to, what with having a family and a busy touring schedule. I don't get to spend a lot of time practicing.
When you get six hours off to sleep, eat, do an interview, or practice, the chances are you try to eat a little and sleep. I wouldn't give it up, though. I can't see doing anything else with my life. I really enjoy the guys I work with, and I think I would have to, most obviously, in order to continue working with them. It's nice playing with people you understand musically and otherwise. Everybody has his little quirk. Steve Martin had a great line. He said, "This guy was the type of guy it took you five years to get to know, and then he changed." If I had to deal with that problem on a day-to-day basis, I couldn't do it. That doesn't happen with us, because everyone knows what everyone else is like. If somebody is in a bad mood, we can spot it right off, or if somebody is in a good mood, we can spend more time with that person. The one thing that always is the same is that, when we go on stage, we are all 100% professional. I can count on them to give what they feel is expected of them, which is what the audience expects of them, and that is the best that they can do.
RF: How often, on the average, do you get to see your family?
JF: Probably twice a month, for anywhere from four to eight days sometimes. We work an average of three weeks a month, from May until December. Then we record in January and February.
RF: What about the disadvantages of playing with the same people for 20 years?
JF: One of the disadvantages is that, within our group, we work with a particular group idea and genre. We don't have the advantage of picking up and going off into something entirely different if we want to, because there are certain things expected of us by our audience. While I might like to expand my musical vocabulary a little bit and get involved in some jazz, I don't have that opportunity unless I do that on my own time at home. Like I was saying earlier, Bob and I dabble with that in the afternoon, just because he has the ability to play certain things that are beyond me, and it's a real challenge to work at things like that.
RF: It's no secret that some years have been better for the band than others. How does one keep one's morale up during those down years?
JF: I think that's a matter of working with a group. I think we pull together as a group to keep our morale up. It's like any other situation for any player who has a job where, at one point, it does become a job. Then, that person has to work at enjoying something that is a little less enjoyable than it had been in the past. But if you look at it this way, there are a lot of people out of work, and I'm really happy to have a job and to be able to play for the number of people that we've garnered over the years that we've been together. I am understanding of situations where people are a little less than excited about what they might have at the moment—maybe playing at the Holiday Inn for six months. It's a matter of going out and working for what you want. If going through some bad times for a little while is part of it, then that's part of it. We've had a lot of ups and downs. We've never been in the big, big time. We've been on some big stages and done some big shows, but I don't think I could stand a steady diet of that, to tell you the truth. I like a variety of experiences, and I think the guys in the band would agree with me on that.
The one positive aspect of not working so much is that it affords me more time to practice and get involved in some sideline projects, like doing a little writing, producing, and spending some time by myself in the studio, applying some of the things I learned early on in our career with Dino Lappas. He was one of our first engineers in California, and I learned a lot about what to do when you're recording 4-track. We recorded a lot of 4-track stuff, and in doing so, we learned how things are supposed to sound to begin with. There was no, "We'll fix it in the mix." It had to be right. People miked drums differently then, and the ensemble concept was a little freer. If you go back and listen to some of the really old Janis Joplin and Jefferson Airplane records, you can hear that everybody was just sort of doing what they wanted. It all fit, but it's nothing like what you listen to on the radio today, as a tight rhythm section. Time off gives me a chance to expand that part of my musical interests. Everybody in the group, to one degree or another, has spent some time behind the board, and I think it's beneficial for us, as a group, to understand how that works. You can't go into the studio and expect a producer to understand what you want without being able to explain it.
RF: You only played on half of the current album. Which drum tracks did you do?
JF: The other drummer is Eddie Bayers, who is one of the great Nashville studio drummers. I played on "Telluride," "Putt-Putt," "Red Neck Riviera," "Leon MacDuff"—most of the brushwork. That's sort of my forte. I don't know why, but it's something I learned playing behind John on the bluegrass numbers. It's a typical country drum style. I think you discussed this with Larrie Londin, and there was an example along with that interview. It's an accented 8th note with the backbeat being on the right hand, so it's a little backwards for some people to approach. Once you get the hang of it, it's pretty simple. Your fills are all left lead, which is a little goofy sometimes. I use Blasticks, which are relatively new in the last couple of years, because they give me a nice, fat sound. They have a plastic handle or a wooden handle, and you can get a good click on the rim, which almost sounds like someone playing slap bass. If you use the brush drum effect with a standard bass, you get what sounds like the old brush and slap bass effect, which is so common on a lot of the Elvis things that D.J. Fontana played. As you start playing a little harder with the old wire brushes, they have the tendency to either bend, break, or blow up. The new plastic brushes don't do that.
RF: What about your equipment?
JF: I've gone through a lot of different things. I've got an old set of Leedys that are maple, which have a great sound. I bought them in the late '60s, and I still have those. I have a few odd pieces, like my 28″ Ludwig bass drum, which I love. I have an old Ludwig Black Beauty concert snare—which is no longer black, but brass—with the tube tension castings. At one time, it was a 6 1/2″ concert snare with a top snare and a bottom snare, as well. I use it in the studio and like it very much. I have another old 6 1/2″ Ludwig mahogany snare, two Gretsch snare drums, and an old Rogers, which I like very much. I have an affliction that a lot of people have: finding the great snare drum. At the moment, though, I'm playing a Gretsch set that I love very much. I've always loved the drums. I just never had the inclination to go out and buy a big, brand new set. I'd been playing on a lot of old things that I'd played for so long and seemed to be okay. After a while, as all things that are on the road for too long will do, my old drums got a little cranky and hard to deal with. I got my new set in May 1984, and that set consists of an 8 x 10, a l0 x12, a 12×14, and a 14×16, which is kind of current in the country field, as far as tom-tom setup goes. The bass drum is a 24 x 16, and the snare drum is an 8″, 20 lug, which I like a lot. I can't think of another set of drums that I want.
I'm endorsing Zildjian cymbals, and my current setup is, starting from my left, a 14″ or 16″ paper thin, an 18″ medium, which might constitute a crash/ride, and a 20″ K. ride. On top of that is a 10″ splash. On my far right, I have a 16″ K. dark crash on top of an 18″ China, stacked like Ginger Baker used to, with the last post going through the China.
I have a few other little goodies in my setup, such as an old Ludwig copper-plated timbale, which came out of a set that Jeff gave me for Christmas one year. I use that on things like "American Dream," which has a little Latin flavor. I use that behind a set of Gon Bops raquinto and raconga, which are small hand drums. I play those with the Blasticks in a few arrangements, such as on "Ripplin' Waters," although sometimes I play them with sticks.
I read a lot of articles about drummers who are asked to perform a lot of different functions in a band, such as being able to play a lot of percussion, which people hear on the records. Some of my setup has stemmed from that. There are songs where I don't even hit a tom-tom, like on the bluegrass numbers, yet I'm sitting there with four in front of me. I don't particularly use all my drums all the time, but I use a lot of it for coloration in the music. That's my main interest in the way I play. The tom-tom setup is advantageous when I'm playing a lot of the slower material, which opens it up to long melodic fills. We've had some tambourine parts on our records that required playing, so I mounted a Rhythmtech tambourine horizontally over my hi-hat, which I play with a stick. I put it on a cymbal stand top with a multi-clamp on one of my stands, and it works great. I like to try to figure out ways of using the set to a different advantage, use it for different things, and try to apply some ideas to some arrangements to see if they work out. For the most part, they do.
RF: You play with the butt end of the stick.
JF: The reason for that, aside from the fact that it sounds good, is that, in the type of music we do, there are a lot of cross-stick passages. I'll play a whole verse cross-stick and go to the chorus on a B section with an open snare drum. There's no way you can play with matched tips and get a good cross-stick sound. I was trying to figure out why I was playing with the butt all the time, and it was right in front of my face. It's just the nature of the music.
RF: You're also using the RIMS.
JF: Right. I wasn't quite sure what kind of effect it would have on the sound of the drums, but I ordered them because I'm a real nut for things that look like they'll be great. For drummers who want a more live sound in their sets, I would recommend them highly. They've also come up with a set of PTS heads that are mounted on RIMS, and they have a whole little set that folds up. They sound amazingly good.
I've gone back to using Remo white Emperor heads on all my drums—the coated on the snare and the smooth on the tom-toms—with Ambassadors on the bottom. I use very little tape. Occasionally, I have to put a little piece on there to get an overtone out when I don't have time to tune it out. All the drums are double-headed.
The microphone system I'm using now is the Aquarian System, and it works very well for me in that I don't have any microphone stands that might slip during the show, which is always disconcerting. It's very easy to travel with also.
RF: When I met you, we were kids. You've gone through a lot with this band. Certainly, there is some knowledge that you can impart. You must have been naive when you were a kid.
JF: Everyone is. One of the great gifts that you get coming into this world is your naivete. One of the sad things is that you lose it. It's something you never get back.
RF: But from a business standpoint, you must have acquired a wealth of information.
JF: Music is not an easy business. It's a great joy to play, but the business is so difficult to be in that it kind of keeps things even. For anybody who is thinking about getting into it, it's hard work. You have to dedicate yourself to all the aspects of it. You have to be able to take the good with the bad. It's a great life, too. I have two weeks off sometimes, and I see people who are getting up and going to work at the office at 8:00 in the morning and getting home at 6:00, while I'm sitting on my porch reading a magazine. But then again, there are times when all they have to do is drive five miles to work, and I'm flying to Alaska to do a show. You have to love it. If you don't love it, you shouldn't even think about it, because you're going to get things and situations thrown at you that you never even imagined. It can be real tedious. You can get to a show and find out that Air Freight has lost your snare drum. Somebody could drop something in baggage, and you'll have a hole in your bass drum head. You might check out in a blurry situation and leave your stick bag in the hotel room. Any number of silly little things can happen to you, but I think the greatest reward is playing for an audience and having them appreciate what it is you do. In turn, you go on doing it.
A. J. Pero — More Than Meets The Eye
David Calarco — The Upstate Burn
New Edition's Danny Donnelly (A. K. A. Zoro)
Dave Huff: White Heart And Beyond
The Shuffle
by Chip Stern
Mick Fleetwood – The Power Of Fleetwood Mac
On The Cover – Warpaint's Stella Mozgawa
Adam Budofsky
Catching Up With… Dave King


The Consumer Technology Association (CTA) today announced that Smart Cities will be a new area of focus at CES®, as the show launches a dedicated Marketplace (exhibit area) and a full schedule of related conference programming. Owned and produced by CTA, CES 2018 is the world's gathering place for all who thrive on the business of consumer technologies.
"We are thrilled to announce our new Smart Cities Marketplace and conference at CES 2018. Connected and smart technologies are making our cities more efficient, sustainable and responsive through the use of data to enable better processes and decision making," said Gary Shapiro, president and CEO, CTA. "As the launch pad for innovation that changes the world, CES presents a perfect stage for city planners and decision makers to explore these world-changing technologies because of the diversity of technologies and industries in attendance, including mobile, transportation, data and sensors, digital health and more."
CES is already the showcase for leading-edge smart city innovations and the adoption of IoT in self-driving technology, the smart home, virtual reality, drones and wearables. At CES 2017, attendees witnessed the world's leading technology companies display smart city initiatives, including leading automotive manufacturers, consumer good companies and innovative startups in Eureka Park.
CES 2018 will deliver a comprehensive program focused on smart cities, featuring a full conference program with key thought leaders in this space, and a dedicated smart city exhibit area. The Smart Cities Marketplace will include smart city enabling technology such as artificial intelligence systems, sensors, data analytics, transportation, network infrastructures, and other devices and services. The multi-day conference programming will highlight 5G technologies and public/private partnerships, and include experts in utilities, health, safety and other public services.
CTA's The Evolution of Smart Cities and Connected Communities report predicts there will be at least 88 smart cities worldwide by 2025. The report also found that with 70 percent of the world's population forecast to live in cities by 2050, the need for sustainable, livable world cities is essential for a prosperous future. The smart city/community concept promotes a specific vision of modern urban development, and acknowledges the growing importance of information technology in economic competitiveness.
Contact the CES sales team to exhibit as part of the Smart Cities Marketplace. To submit speaker proposals for the Smart Cities conference, apply through the CES 2018 Call for Speakers, opening in mid-June.


text:
Ben Gittleson
Selected articles:
Washington City Paper: How an African kidnapping crisis has terrorized D.C.'s Eritrean immigrants
International Herald Tribune: Syria's Kurds look to Iraqi minority for support
The Atlantic: Inside Sinai's torture camps
Foreign Policy: Keeping the light on
EnergyWire: Tensions rise in northern Iraq as Kurds ferry more oil across border
Al-Monitor: Syrian refugees, children struggle in Jordan
Complete list of clips:
My articles and blog posts for ABC News can be found here. I've written about everything from an American woman who dominated the television show "Arabs Got Talent" to Instagram in North Korea, "zombie bees" in Vermont and heroic cops in New York City.
April 24, 2014 -- Thousands of Eritreans across the globe—including many in the Washington, D.C., area—have been extorted by Bedouin tribesmen in Egypt and Sudan who have kidnapped and tortured their relatives and friends. Click here for my article, and click here for a follow-up blog post I wrote about a documentary chronicling the crisis.
The Forward: Anne Heyman gave orphans a family
Feb. 2, 2014 -- The visionary behind a youth village for Rwandan children orphaned by the country's 1994 genocide passed away; she was 52. Her dream lives on in the Rwandan countryside, where hundreds of teens study and live at the Agahozo-Shalom Youth Village. Click here.
Narratively: The hand-held lions of the Cairo zoo
Dec. 27, 2013 -- Walking out of the lion enclosure at the only zoo in the Egyptian capital of Cairo, it felt like we had just committed murder. Click here.
JTA: To stay afloat, shuls merging across denominational divide
May 9, 2013 -- Across the United States, scores of synagogues have overcome denominational differences to merge formally, share space or otherwise collaborate, often due to financial hardships wrought by shrinking Jewish populations. Click here.
The Daily Beast: Why Obama picked Philip Gordon for NSC post
March 25, 2013 -- President Obama's new National Security Council coordinator does not have much experience with Israeli and Palestinian issues, but observers said the White House will instead benefit from his extensive inside-the-beltway skills. Click here.
March 6, 2013 -- Iraqi Kurdistan sits on billions of barrels of untapped oil reserves and a lot of natural gas, and Kurdish leaders are using their hydrocarbon windfall in a high-stakes battle with the Iraqi government over the region's sovereignty. Click here.
Jan. 31, 2013 -- As war rages across the border in Syria, the semiautonomous Kurdish region of Iraq has emerged as a lead backer of Syrian Kurds , hoping another empowered Kurdish entity like itself will emerge should the Syrian regime fall. Click here.
Al-Monitor: Syrian refugee wave washes over Egypt
Jan. 7, 2013 -- The Syrian refugee crisis has spilled over into countries farther from the fighting, as tens of thousands seek refuge in Egypt and other North African countries. Click here.
GlobalPost: Egypt's constitution vote divides the country
Dec. 23, 2012 -- Egyptians cast ballots in the second and final day of voting on an Islamist-backed draft constitution widely expected to gain passage, deepening already intense polarization between the Muslim Brotherhood and its liberal and secular opponents. Click here.
Dec. 17, 2012 -- Celebrating Hannukah with the last Jews in Egypt. Click here.
Syria Deeply: Syrian refugees try to find a place in Jordan's education system
Dec. 13, 2012 -- Teachers, schools administrators, and aid workers are focusing on the gargantuan task of managing the sheer number of Syrian children who keep flowing across the border to Jordan, night by night. Click here.
The National: Syria's refugees prepare for winter
Dec. 5, 2012 -- After enduring scorching summer heat and dust storms, Syrian refugees living in flimsy tents are now facing single digit winter temperatures, and a funding shortfall could leave many out in the cold. Click here.
Dec. 2, 2012 -- A major influx of refugees in recent weeks — about 500 cross into Jordan each night — has severely strained already overstretched Jordanian infrastructure and has put pressure on the kingdom's finances as it faces some of the most significant protests in its history. Click here.
The National: Discontent lingers over subsidy cuts in Jordan
Nov. 25, 2012 -- While Jordanians' anger over subsidy cuts has sputtered out to smaller, sporadic strikes, sit-ins and marches, analysts said that if the state fails to address Jordanians' concerns, the discontent over prices and jobs is unlikely to lessen. Click here.
The Egypt Independent: Jordan protest numbers dwindle, but discontent persists over subsidy cuts
Nov. 24, 2012 -- A demonstration in the Jordanian capital was a wash on Friday, as rain soaked the city a week after violent protests here called for the toppling of the monarchy. Click here.
Deadspin: Democracy in the Raw - The WWE comes to post-revolutionary Egypt
Nov. 16, 2012 -- The WWE stopped in Cairo for three nights last month, the pro wrestling company's first live foray into Egypt. Click here.
Nov. 14, 2012 -- How Bedouins are kidnapping and ransoming African refugees in Egypt's lawless hinterland. Click here.
EnergyWire: Egypt shifts to gas imports to plug supply-demand gap
Nov. 9, 2012 -- Still smarting from political chaos and economic hardship after last year's uprising, Egypt is increasingly turning to natural gas to plug its supply-demand gap and may even be on the path to becoming a net natural gas importer. Click here (subscription).
The Egypt Independent: Salafis to back Sharia-friendly business
Nov. 8, 2012 -- Egypt's Salafis are branching out into business, bringing their ultraconservative teaching of Islam into the world of modern finance. Click here.
The Egypt Independent: Monufiya water contamination details emerge during academic conference
Oct. 19, 2012 -- Leaked sewage and human error likely caused over 1,500 residents in the village of Sansaft in Monufiya governorate to fall critically ill this summer, according to researchers at Monufiya University. Click here.
The Egypt Independent: Bacteria-based system tackles water pollution in rural Egypt
Oct. 6, 2012 -- After a summer of high-profile cases of tainted water across Egypt, one researcher says he has a cheap, practical solution to contaminated water in the country's rural areas. Click here.
The Egypt Independent: White-taxi drivers demand financial help, decry government program
Oct. 3, 2012 -- Amid a slew of labor protests, drivers of white taxis blocked a main Cairo traffic artery, calling attention to the efficacy of a three year-old government program to replace the capital's aging taxi fleet. Click here.
The Daily Beast: Tension rises, but Israel and Egypt stick to economic pact
Oct. 3, 2012 -- Despite its harsh rhetoric, the new Egyptian government is largely standing by a trade agreement with the Jewish state. Click here.
The Egypt Independent: Anxious times - Stress and stigma take toll on mental health
Sept. 30, 2012 -- Continued exposure to violence, upsetting news, and worsening economic conditions have left many Egyptians feeling stressed, and mental health professionals say the psychological effects of the last 20 months have remained widely unaddressed. Click here.
Tufts Magazine: Egypt sings
Summer 2012 -- A new competition gives the country's women a voice. Click here.
The National: Shafiq gains support in Egypt despite Mubarak link
June 14, 2012 -- Many activists and other Egyptians have little in common with Ahmed Shafiq's ideology - but such is the nature of the new Egypt that they will cast their votes for him in run-off elections. Click here.
The National: Egypt's joy as it casts its vote for democratic future
May 24, 2012 -- Residents of Egypt's second largest city flooded the streets, lining up at polling stations for the first of two days of voting in Egypt's presidential election. Click here.
The National: Egypt election candidates pay lip service to women's rights
May 22, 2012 -- Women activists are worried politicians are merely paying lip service to improving women's rights and, in some cases, may even roll back some of the advances made in recent years. Click here.
The National: Egyptian candidate hopes to unite disparate groups
May 20, 2012 -- At a time when other front-runners in Egypt's election for president are tailoring their messages towards narrower segments of society, self-styled moderate Islamist Abdel Moneim Aboul Fotouh is banking on uniting a wide swath of voters behind his candidacy. Click here.
Tufts Alumni: Alumni Profiles
May 11, 2012 -- As my months living in Egypt have passed by, Egyptians have increasingly questioned whether their uprising was worth it. Click here.
EnergyWire: Regional energy politics unravel with end of Israel-Egypt gas deal
May 10, 2012 -- Egypt's cancellation of its natural gas deal with Israel last month capped a period of increasing strain on the two countries' energy partnership and has threatened to reshape the flow of natural gas in a region vital to U.S. foreign policy. Click here (subscription).
Fikra Forum: Jordan's election law and prospects for reform
May 2, 2012 -- Jordanians hold out little hope a proposed election law would bring true reform to the Hashemite Kingdom. Click here.
The National: Jordan's PM quits amid acrimony over reform efforts
April 28, 2012 -- The Jordanian prime minister's resignation amid a power struggle between the government and the king came as the state's reform efforts were under fire from across the political spectrum. Click here.
The National: Muslim Brotherhood candidate alters Egypt's election race
April 4, 2012 -- A Muslim Brotherhood member's entrance into Egypt's presidential contest has virtually ensured that an Islamist candidate will make it to the final round in June. Click here.
The National: By seeking presidency, Brotherhood challenges generals
April 2, 2012 -- The Muslim Brotherhood's surprise move to run a candidate for Egypt's presidency has heightened the stakes in the Islamist organisation's increasingly public confrontation with the ruling military council. Click here.
The National: Dying cattle costly for Egyptian farmers
April 1, 2012 -- Freshly covered graves mask the carcasses of cattle felled by the foot-and-mouth disease outbreak spreading across Egypt, but farmers' frustration in the Nile Delta over the financial devastation is out in the open. Click here.
ESPN.com's Page 2: VIDEO - Obstacles aside, Egyptian parkour off and running
March 28, 2012 -- Young Cairenes escape the pressures of daily life by taking up parkour, the free-spirited sport with French roots. Click here.
Bending Borders: Tahrir Square one year later - Celebrating what?
Feb. 10, 2012 -- How do you celebrate a revolution that has not yet run its course? Click here.
Salon: Growing pains for Egypt's youthful revolution
Jan. 25, 2012 -- One year after Tahrir Square, young people find new thinking, some freedom, and less money. Click here.
Salon: Divide deepens between Tahrir Square and Egypt
Nov. 28, 2011 -- As voting for a new government starts, Egyptians are sympathetic but wary of unrest. Click here.
Fikra Forum: Egyptian freedom of speech - Same old red lines from a new source
Oct. 24, 2011 -- The Egyptian military's heavy-handed tactics have threatened free speech and blurred red lines. Click here.
The Huffington Post: On a hillside in Rwanda, orphans find semblance of normalcy
July 30, 2009 -- Rwandan orphans yearn for normalcy 15 years after 800,000 people were killed in the African nation. Click here.
The Medford Transcript: A monumental moment in Washington
Jan. 21, 2009 -- Barack Obama takes the oath of office in Washington to become the United States' first African-American president. Click here.
The Tufts Daily
For an archive of the dozens of articles I authored and reported for The Tufts Daily from 2007 to 2011, click here.


I have been making these sock snowmen for years. They are fun and easy and can be simple or you can get as creative as you want. I have made them with my kids classes at school for parent Christmas gifts. Now that was an adventure! My kids and their friends have sat around the kitchen table and made them. I have seen some interesting creations over the years!!
These snowmen are made from baby socks, size 3 months, or however big you want them. You first tea or coffee dye the sock. Depending on how grungy or dark you want the sock depends how dark you make your tea or coffee. Let the sock dry.
Cut the top of the sock off, where the sock would be folded over. Stuff the sock with cotton batting until the body is nice and fat. Tie the top closed with yarn or twine. Then take a piece of yarn and tie around where the neck should be and pull until you have a neck for your snowman.
The hat is made from the piece of the sock that you cut off. Tie some twine around one end to make a hat. Leave the twine long enough to make a hanger. Put the hat on the snowman and hot glue it to his head, just a couple dots will do. Tear a piece of fabric for his scarf and tie around his neck.
His face can be done with a paint pen, permanent marker or even an eyebrow pencil. His nose is just a dot of nail polish, his cheeks are done with a touch of blush and a Q-tip. Hot glue some buttons to his tummy. You now have a simple tree ornament.
You can get more elaborate and stitch the face on with embroidery thread. You can use small bells for the tummy instead of buttons. Use your imagination. You can also make large snowmen with big tube socks. Just put a jar lid in the bottom of the sock, then stuff it and proceed as with the small snowman. The jar lid enables it to stand. You can add arms of wire or twigs from the yard. Hats can be made from old sweaters or tops of old wool socks. Get creative and have fun with these.
Copyright © 2008 by Melinda Thomas. All rights reserved.


Joostenberg has a long history. The farm was established by a Swedish settler in the late 1600's. The oldest homestead on the farm, a classic "Cape Dutch" manor house, dates back to 1756 and has been declared a national monument. Originally, mixed agriculture was practised on the farm, and from the early 1800's until 1947 both wine and brandy were made.
Joostenberg was purchased by the Myburgh family in 1879, and ownership has remained with the family ever since. In 1947 winemaking ceased, and for the following 52 years grapes were sold to the local co-op.
In 1999, brothers Tyrrel and Philip Myburgh, the 5th generation of Myburghs to farm this land, resumed the winemaking tradition. Today Joostenberg is a small, family owned and managed wine farm producing an exclusive range of wine. Of special importance are our Chenin Blanc and Syrah (Shiraz) grape varietals. We place special emphasis on individuality, natural winemaking and environmental accountability through organic farming — full organic status was achieved in 2012.
Joostenberg wines are now sold both locally and abroad.


Going green?Why don't you try this Smoking Nightmare - Skull Tee and express your pure dark will and strength!
Our custom t-shirts are digitally printed using the latest in direct to garment print technology. Inks are infused directly into the fibers of the fabric, giving a smooth finish and super soft feel.
Tip:If you are not sure what size to pick just measure a t-shirt that fits you right, and then compare the measurements with our sizing chart.


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The MLI Approach
About MLI
Mali's Dr. Salif Samake: How he became part Nepali
Caroline Pang
Dr. Salif Samake, director of the planning and statistics unit in Mali's Ministry of Health, is part Nepali. At least that's what he called himself at a recent MLI meeting, and only half in jest. Through an MLI program, Dr. Samake traveled to Kathmandu last year and attended a class with Nepali health officials to learn how to be a better negotiator.
Peer learning is one of MLI's most important principles, if a difficult one to put into practice. Working with five countries – Ethiopia, Mali, Nepal, Senegal, and Sierra Leone – MLI faces diverse challenges. All five countries are focused on different priorities, their health systems are distinctly structured, and they don't share a common language.
Dr. Sadik: MDGs require women to have 'autonomy over their sexual health'
Sarah Lindsay
The 1994 International Conference on Population and Development (ICPD) was a ground breaking conference where 179 countries recognized that the empowerment of women was a major step towards alleviating poverty and stabilizing population growth. The Programme of Action that resulted from the conference was reflected in the Millennium Development Goals (MDGs) in many areas such as gender equality. However there was one glaring omission from the main goals of the MDGs: universal access to reproductive health and family planning.
At the Woodrow Wilson Center's event "Strengthening the Voices of Women Champions for Family Planning and Reproductive Health," Dr. Nafis Sadik called attention to the fact that the MDGs included universal access to reproductive health as one of the sub-targets of MDG 5: Improving Maternal Health, instead of as a goal itself. The exclusion of universal access to reproductive health as an MDG is a grave oversight, Dr. Sadik, special adviser to the UN Secretary-General and special envoy for HIV/AIDS in Asia, told the audience because, "Most goals require women gaining autonomy over their sexual health."
Ministry of Health and Sanitation leads partners in creating biennial work plan
In late July, the WHO country office in Sierra Leone held a consultative meeting with the Ministry of Health and Sanitation as they put together the 2012-2013 biennial work plan. At the session, co-chaired by Deputy Minister of Health and Sanitation Mr. Borbor Sawyer and WHO Representative Dr. Wondimagegnehu Alemu, strong praise was given to the Ministry for its leadership. Without it, Alemu said, "it would have been difficult to implement prioritized programmes." Alemu's complimentary remarks reflect what he told MLI's Leading Global Health blog earlier this year about Sierra Leone's increased country ownership of national health programs and its improved relationship with donors. "The top leadership of the Ministry is strengthening the relationship with health development partners," Alemu said. At the end of July's meeting, participants were ready to make contributions to the biennial work plan that reflect national priorities and greater ownership of the document.
Emphasizing Community Health Care to Combat TB in Mali
TB remains a prominent health threat in Mali despite the availability of free care for the disease. Dr Faran Sissoko, a lung specialist at the Pape Clinic in Bamako states that "Tuberculosis continues to be an important cause of mortality in Mali.
Family planning and health insurance: What the US can learn from Mali
Swetha Manohar
Momentous amendments to the Affordable Care Act were announced last week mandating all health insurance plans to provide women's preventive services at no additional cost, including FDA approved contraceptive methods.
"The Affordable Care Act helps stop health problems before they start," said US Department of Health and Human Services Secretary Kathleen Sebelius. "These historic guidelines are based on science and existing literature and will help ensure women get the preventive health benefits they need."
These new regulations are considered groundbreaking in the United States, however similar regulations have been enacted in the developing world, creating an opportunity for the US to learn from the global South.
A debate in Mali on 'free' health care
Stephanie Weber
At a recent national conference on Free Care Policies organized by the Ministry of Health in Mali, one thing became clear: In the last six years, the Government of Mali has made increasing access to health services, particularly for the poor, a major priority.
The two-day conference, which was co-sponsored by MLI, brought together over 100 policymakers, researchers, and healthcare practitioners from both the central and regional levels of Mali. Presentations featured several studies conducted on Mali's free care initiatives, including the decisions to provide free Caesarean sections in 2005 and to provide free malaria treatment to children under 5 in 2007.
One study in particular, which was supported by HS20/20 – a USAID funded program which intervenes in the areas of financing, governance, operations, and capacity building to strengthen health systems – evaluated the impact of the removal of user fees for Caesareans. The study results indicated that Caesarean rates were increasing and post-Caesarean and neonatal deaths were declining. Yet, according to the study, not all issues had been worked out: women of lower socio-economic status still had problems accessing the service.
MLI works with ministries of health to advance country ownership and leadership. This blog covers issues affecting the ministries and the people they serve.
More about MLI »
Blog Series: Dialogue with Development Partners
Blog Series: In the Driver's Seat
Blog Series: Learning Collaborative Forum
Blog Series: Motivators
Africa Can End Poverty
Africa Governance Initiative
CapacityPlus
Center for Global Health R&D Policy Assessment
Center for Global Development: Global Health Policy
Global Health Hub
The New Security Beat
PAI Blog
RH Reality Check
Transparency and Accountability Program
Aarthi Rao
Allison Gamble Kelley
Cheickna Touré
David de Ferranti
Dr. Aminata Y. Kanu
Dr. Francis Omaswa
Dr. L.R. Pathak
Dr. Samuel A.S. Kargbo
Dr. Sania Nishtar
Ernest Bai Koroma and Mary Robinson
Fred Sai
Gabriele Mallapaty
Gwen Hopkins
Hortenzia Beciu
Jennifer Magalong
John Donnelly and Rahel Gizaw
Jurrien Toonen
Please direct all inquiries to info@ministerial-leadership.org
© 2009 Ministerial Leadership Initiative for Global Health
MLI's Leadership Approach
Aspen Global Health and Development


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Home Sports	Women's hockey makes it 15-for-15
Women's hockey makes it 15-for-15
by Archives April 12, 2006
When Marie-Pier Cantin-Drouin walked up to the podium to claim her second consecutive Fittest Female athlete award it extended the stranglehold that women's hockey has on that award.
Since the department began handing out the awards for the fittest athlete 15 years ago, a women's hockey player has always won the award.
Les Lawton, the head coach of the Stingers women's hockey team for the past 24 years says it all has to do with team conditioning.
"From what I can see, we are the only team that does in season off-field training as a team," Lawton said.
The way that the best athlete is figured out is that each athlete on each team is put through a sport-specific test. The player with the best result is then listed as a nominee.
The results are then standardized and the fittest athlete is then announced at the banquet.
A former winner of the fittest athlete award, in 2001-2002 Lisa-Marie Breton, is now an assistant strength and conditioning coach at Concordia.
She is putting the women's hockey team through a five phase summer training program which has already begun.
She is in good company. Two former Concordia strength and conditioning coaches now find themselves in the NHL. One with the Montreal Canadiens and one with the New York Rangers.
"Once we start working with the players and they get a good partner, working out is very contagious."
"We've had great leadership and great instruction in the past and that has led to these results," Lawton said.
Baseball fans living in a fantasy world
Say what you want but not all the time


People no longer trust advertising, but they do trust other people. Influencer marketing is about using an authentic "voice" that the audience inherently trusts.
Often we see brands partnering with highly visible individuals like celebrities, personalities, journalists, public identities, industry experts, and even brand fans and turning them into "brand advocates". The marriage of a brand with a person of wide influence allows you to connect with consumers more directly, more organically, and more meaningfully at a large scale.
On a practical level, influencer marketing is about selecting the right ambassador with the right audience for your brand and nurturing a relationship that works for both parties.
Coffey & Tea can develop your influencer marketing strategy by targeting the "right" influencers. We assist with strategy implementation and ongoing relationship building to ensure you get the most out of your influencer engagement.
To ensure maximum return on your investment, we also provide comprehensive reporting looking at influencer impact on brand engagement, click-through rates, conversions and sales.


Professional photos of you in your tail(s) – which you can use in your business!
If you're a pro or aspiring pro mer, a tailmaker or other professional in the UK mermaid community, and want to update your portfolio pics, or need images for your website & social media, this is the shoot for you.
As well as portraits of you, I can capture you in action performing, teaching or swimming; making costumes, art, tails or whatever gorgeous mer-related thing it is you do; and the little details which make your business unique.
Most portrait photographers only allow personal use of the images, not for promoting your business or venture. The photos from this shoot come with a full commercial use licence, so you can use them however you wish to promote yourself and your business, both online & in print.
Sessions can take place at my studio in Colchester, on location at some of my favourite local beaches, or anywhere you fancy in the UK subject to travel costs (and outdoor locations obviously subject to our delightful British weather!). Please note I don't do underwater photography – this is aimed at getting you incredible portraits, storytelling images on land and behind the scenes shots which always go down well on social media.
Mermaid business sessions include all high resolution and web resolution edited images from your session delivered via an online gallery, with full commercial licence and print release. Payment plans are available.


Looking for someone to transform your walls? Our artist directory includes professional stencilers, muralists, decorative artists, and faux finishers from across the U.S.
To get started, enter a location in the search box below. If you need advice on selecting a decorative painter, read our article on how to hire a pro.
** Please Note: StencilSearch.com cannot guarantee the quality of work delivered by artists listed here. You should always check work samples and references for any artist you hire. All contracts, verbal or written, are between you and the individual artist. In no way will StencilSearch.com be held accountable or liable for any part of said contracts.


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Name : Nicklas Grossmann
Nicklas Grossmann D
Followed by: : 1
Home Town: Stockholm, SWE
Schedule - January
Tue 18 9:00 PM Panthers vs Flames
Sat 22 10:00 PM Flames vs Oilers
Mon 24 9:00 PM Blues vs Flames
Wed 26 7:00 PM Flames vs Blue Jackets
Thu 27 8:00 PM Flames vs Blues
Sat 29 10:00 PM Canucks vs Flames
NHL NHL Calgary Flames 2016-2017 3 0 0 0 -4 2 0 0 7 1 0 13:01 0
NHL NHL Arizona Coyotes 2015-2016 58 3 4 7 -3 24 0 0 106 21 3 17:47 0.1
NHL NHL Philadelphia Flyers 2014-2015 68 5 9 14 8 32 0 0 132 23 10 17:39 0.2
NHL NHL Philadelphia Flyers 2013-2014 78 1 13 14 -6 55 0 0 189 44 4 19:07 0.2
NHL NHL Philadelphia Flyers 2012-2013 30 1 3 4 -1 21 0 0 81 17 6 18:20 0.1
NHL NHL Dallas Stars (Total) 2011-2012 74 0 11 11 5 36 0 0 164 32 8 18:49 0.1
Dallas Stars 2011-2012 52 0 5 5 0 26 0 0 96 25 4 18:59 0.1
Philadelphia Flyers 2011-2012 22 0 6 6 5 10 0 0 68 7 4 18:25 0.3
NHL NHL Dallas Stars 2010-2011 59 1 9 10 7 35 0 0 161 26 8 18:12 0.2
NHL NHL Dallas Stars 2009-2010 71 0 7 7 -3 32 0 0 150 33 12 19:11 0.1
NHL NHL Dallas Stars 2008-2009 81 2 10 12 -8 51 0 0 178 47 25 17:39 0.1
NHL NHL Dallas Stars 2007-2008 62 0 7 7 10 22 0 0 87 26 8 15:33 0.1
NHL NHL Dallas Stars 2006-2007 8 0 0 0 -1 4 0 0 11 3 2 12:49 0
TOTAL NHL 592 13 73 86 4 314 0 0 1266 273 86 17:58 0.1
NHL NHL Philadelphia Flyers 2013-2014 4 0 0 0 0 2 0 0 4 1 1 16:24 0
NHL NHL Philadelphia Flyers 2011-2012 9 0 1 1 0 8 0 0 22 3 1 18:55 0.1
NHL NHL Dallas Stars 2007-2008 18 1 1 2 3 6 0 0 34 11 7 18:37 0.1
NHL Calgary Flames 2016-2017 3 3 0 0 0 0 0 0:00 1:05 13:01
NHL Arizona Coyotes 2015-2016 58 42 17 71 0 0 0 0:02 2:59 17:47
NHL Philadelphia Flyers 2014-2015 68 43 20 116 0 0 0 0:02 2:09 17:39
NHL Philadelphia Flyers 2013-2014 78 71 51 14 0 0 0 0:04 2:40 19:07
NHL Dallas Stars (Total) 2011-2012 74 56 39 0 0 0 0 0:05 2:13 18:49
Dallas Stars 2011-2012 52 38 25 0 0 0 0 0:05 2:17 18:59
Philadelphia Flyers 2011-2012 22 18 14 0 0 0 0 0:05 2:03 18:25
NHL Dallas Stars 2010-2011 59 38 32 26 0 0 0 0:08 2:20 18:12
NHL Dallas Stars 2009-2010 71 58 23 0 0 0 0 0:07 2:08 19:11
NHL Dallas Stars 2006-2007 8 8 4 0 0 0 0 0:01 0:24 12:49
NHL Philadelphia Flyers 2013-2014 4 1 3 0 0 0 0 0:03 2:26 16:24
NHL Dallas Stars 2007-2008 18 14 3 71 0 0 0 0:10 2:01 18:37
NHL : Game Log
PPTOI
PKTOI
Last 10 Games Total 0 0 0 -4 9 7 8 0:00 2:01 17:39
11/5/2016 LAK vs CGY L 5-0 D 0 0 0 -3 1 0 2 0:00 0:22 13:48
10/25/2016 STL vs CGY W 1-4 D 0 0 0 0 2 0 0 0:00 1:59 13:42
10/12/2016 EDM vs CGY L 7-4 D 0 0 0 -1 0 1 0 0:00 0:54 11:32
3/31/2016 DAL vs ARI L 4-1 D 0 0 0 0 1 0 2 0:02 0:42 19:36
3/28/2016 ARI vs CGY L 2-5 D 0 0 0 -1 1 0 0 0:00 1:33 13:35
3/19/2016 ARI vs TBL L 0-2 D 0 0 0 -1 0 3 0 0:00 4:02 19:53
3/17/2016 ARI vs SJS W 3-1 D 0 0 0 0 1 1 0 0:00 2:12 20:33
3/12/2016 EDM vs ARI W 0-4 D 0 0 0 1 0 2 2 0:00 3:33 23:51
3/11/2016 CGY vs ARI W 1-4 D 0 0 0 2 0 0 0 0:00 2:17 18:55
3/9/2016 VAN vs ARI L 3-2 (OT) D 0 0 0 -1 3 0 2 0:00 2:38 21:05
David Quackenbos (The Hockey Writers)
Flyers Still Face Uphill Battle In The Metro
Ron Hextall has made a handful of fantastic moves so far this summer. Over the past few weeks, the Philadelphia Flyers have been able to shed salary and gain some phenomenal prospects. Here is a brief recap: 1. Drafting Ivan Provorov and Travis Konecny in the first round of the Draft was a steal. By […]
Zac Rinaldo Nicklas Grossmann Philadelphia Flyers National Hockey League
Michael Pityk (The Hockey Writers)
Flyers Hope Gagner Can Revitalize Career in Philadelphia
The Philadelphia Flyers needed to shred some salary and they did just that at the NHL draft. In a bizarre trade with the Arizona Coyotes, the Flyers received the talented, […]
Sam Gagner Chris Pronger Nicklas Grossmann Philadelphia Flyers Arizona Coyotes National Hockey League
Matt Brauckmann (The Hockey Writers)
A Closer Look into Ron Hextall's Draft Weekend Magic
Good times are just around the corner for Philadelphia Flyers fans. If the NHL Draft this weekend was any indication, Ron Hextall has big plans for this team and […]
Sam Gagner Nicklas Grossmann Philadelphia Flyers Arizona Coyotes National Hockey League


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Accomplishments Templates
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Medical countermeasures for emergencies
Response and recovery from natural disasters
The medical response
Combating antibiotic resistant bacteria
Federal agencies better coordinated to address bioterrorist threats
Attacking biothreats
Bringing emergency management to healthcare and public health
Protecting behavioral health in disaster response and recovery
Building health resilience
Building resilience at the regional level
The Hospital Preparedness Program: Building More Resilient Health Care Systems
Getting up-to-date radiation and chemical incident information in first responders' hands
Preparedness in the digital age
Strengthening National Health Security
ASPR TRACIE: Technical Resources, Assistance Center, and Information ExchangeCurrently selected
Helping communities better anticipate medical needs during disasters
Protecting children in disasters
Key Accomplishments: HHS emPOWER Initiative
Key Accomplishments: Regional Emergency Coordinators
PHE Home > Preparedness > Public Health News > Events > Driving a revolution in readiness > ASPR TRACIE: Technical Resources, Assistance Center, and Information Exchange
ASPR TRACIE: Technical Resources, Assistance Center, and Information Exchange
Before a disaster strikes, health and emergency management professionals need the best information possible to make plans that can be used to protect health and save lives. When a disaster strikes, these same experts need quick access to the best information and someone to call when they need help working through a problem. ASPR launched TRACIE. Through TRACIE, health and emergency management professionals can access the best peer-reviewed resources and a cadre of experts they can call on for help.
ASPR TRACIE is a healthcare emergency preparedness information gateway that ensures that all stakeholders— federal, state, local, tribal, and territorial government agencies, nongovernmental organizations, and in the private sector—have access to information and resources to improve preparedness, response, recovery, and mitigation efforts. Each domain provides users with unique, tailored support.
Access to a wealth of resources and a cadre of experts
ASPR TRACIE just finished its first year of operation and has helped healthcare organizations across the country prepare for disasters and emergencies. In the past year, through the Assistance Center domain, ASPR TRACIE has provided more than 850 customized responses to requests for technical assistance (typically received via email). Many of these responses include information gathered, vetted, and disseminated in ASPR's 40 (and growing) comprehensively reviewed Topic Collections. TRACIE also facilitates the near real-time, password-protected, peer-to-peer exchange of information for nearly 2,000 members on a variety of topics.
Information on ever-changing challenges
In the ever-changing world of emergency preparedness and response, we know how important it is to increase awareness of pending and actual threats. To meet this need, ASPR TRACIE develops timely products in concert with vetted subject matter experts (SMEs), such as:
Zika: Resources at Your Fingertips
Tips for Retaining and Caring for Staff after a Disaster
After the Flood: Mold-Specific Resources
Post-Mass Shooting Programs and Resources Overview
We rely heavily on our partners to help us grow and succeed, so we promote partnerships by hosting webinars on a variety of topics. Our Cybersecurity and Healthcare Facilities Roundtable featured subject matter experts from a hospital center that had survived a cyberattack and experts from the federal government and the private sector discussing how important partnerships are to effective cyber hygiene practices. TRACIE webinars geared toward healthcare coalitions (for example Healthcare Involvement in Mass Gatherings and Strategic Development for Building Operational Healthcare Coalitions) emphasize the lessons learned and benefits of working together to maximize community resilience.
Translating research into action
We pride ourselves in helping our stakeholders turn research into action. That's why we worked so hard to prepare for the release of the Centers for Medicare and Medicaid Emergency Preparedness Rule. In addition to the recently published ASPR TRACIE document CMS Emergency Preparedness Rule: Resources at Your Fingertips, we host a variety of rule-related resources on TRACIE's dedicated CMS Resources Page. Not only do these resources help a growing number of healthcare facilities comply with the core elements of the rule, they also help staff create/update plans to guarantee the most effective emergency response possible.
Watch, Listen and Learn
ASPR 10 Year Anniversary
Response in action
This page last reviewed: December 13, 2016