Much of the American West is suffering from extreme drought this year. California is running out of water and wildfires have raged through Washington, Oregon and Idaho. But there is a bright spot out West — or, rather, a green spot. In New Mexico, unusually heavy late-summer rains have transformed the landscape.
It’s a remarkable sight. The high desert is normally the color of baked pie crust; now, it’s emerald.
Kirt Kempter, a geologist who lives in Santa Fe, says this transformation is far from ordinary.
“We now have this green carpet covering all the mesas, the lowlands,” Kempter says. “And we’re just not used to seeing a pistachio-green color in the landscape out here. It’s very, very unusual.”
Kempter takes frequent hikes in the Piedra Lumbre, the valley of shining stone near the town of Abiquiu that captivated the artist Georgia O’Keeffe. In the shade of a pinyon pine, he looks out past 165-million-year-old cliffs of yellow cream and red, onto a positively verdant desert floor.
It’s not just the yellow paperflowers, Indian paintbrush, verbena and snakeweed that have exploded. Other living things are thriving, too, Kempter says.
“The insect population is good. I’ve seen a tremendous surge in the swallow colonies building on the canyon cliffs,” he says. “There’s good food everywhere. Lots of rabbits out — coyotes then are plump and healthy. So it’s just good times in the desert.”
Former president Richard Nixon talks about his 1974 resignation in a series of interviews conducted by former White House aide Frank Gannon in New York City. The Richard Nixon Presidential Library and the privately held Nixon Foundation are co-releasing a trove of videotaped interviews with the former president to mark the 40th anniversary of his resignation following the Watergate scandal. (AP/AP)
At about 5:15 p.m. on June 17, 1971, in the Oval Office, the president ordered a crime: “I want it implemented on a thievery basis. Goddamn it, get in and get those files. Blow the safe and get it.”
The burglary he demanded was not the one that would occur exactly one year later at the Democratic National Committee’s office in the Watergatecomplex. Richard Nixon was ordering a break-in at the Brookings Institution, a think tank, to seize material concerning U.S. diplomacy regarding North Vietnam during the closing weeks of the 1968 presidential campaign.
As they sometimes did regarding his intemperate commands, Nixon’s aides disregarded the one concerning Brookings. But from a White House atmosphere that licensed illegality came enough of it to destroy him.
Forty years have passed since Aug. 9, 1974, when a helicopter whisked Nixon off the White House lawn, and questions remain concerning why he became complicit in criminality. Ken Hughes has a theory.
Elegant, minimal and solid characterize these all-steel trophies by Kiitella, custom made for the Mt Sneffels Marathon/Half Marathon. Silhouettes of runners are held high atop railroad spikes, celebrating the rich mining culture of the area. The race is this Saturday and is a fundraiser for the Mount Sneffels Education Foundation.
LOS ANGELES — On a bright, cool afternoon in July, Jacob Maymudes sat on the deck of the small guesthouse he rents in the Los Feliz neighborhood here, reflecting on the strange journey of his first book, “Another Side of Bob Dylan,” which will be published on Sept. 9 and has already excited interest.
“It was never my intention to write a book about Bob,” he said, summoning up the difficult period in his life when he resisted completing the memoir left unfinished by his father, Victor Maymudes (pronounced may-MOOD-es), a longtime member of Mr. Dylan’s inner circle who had bitterly fallen out with him in 1997 and died four years later, leaving behind 24 hours of taped reminiscences.
Now 34, Jake grew up long after the Dylan legend had been formed, but he comes honestly to his casual “Bob.” He was 7 when he first met Mr. Dylan, at the back lot of Universal Studios. Jake was with his father, who was continually on the road with Mr. Dylan, carrying out an assortment of essential backstage assignments: as tour manager, chauffeur and body man, not to mention chess-playing companion.
They were roles he had been playing, off and on, since the early 1960s, when he was known as Mr. Dylan’s protective sidekick: together with him in London for Mr. Dylan’s first overseas concert; in a Manhattan hotel suite for a marijuana-infused summit with the Beatles; in Malibu, where Mr. Dylan’s first wife, Sara, is said to have poured out her marital troubles to Jake’s mother, Linda Wylie, while the unreleased “Blood on the Tracks” played on the stereo and Mr. Dylan suddenly walked in.
(“He said the songs were so painful, he didn’t know how anybody listened to them,” Ms. Wylie said in a phone interview last week.)
Not quite six years older than Mr. Dylan, Victor, an imposing, dark-haired six-footer, was an established figure on the folk scene — a promoter, manager and club owner in Los Angeles — when he came to New York and met the singer in 1961 or 1962.
The two instantly connected, and as Mr. Dylan’s career took off, Victor moved in and out of his orbit — drifting away to pursue projects of his own, but always circling back to Mr. Dylan.
“He was perceived as the keeper of the secrets,” said David Hajdu, a music historian whose book “Positively 4th Street” describes the early ’60s folk scene. “His reputation was for being enigmatic, closemouthed, trustworthy, impenetrable.”
Victor’s presence at the creation mattered to Mr. Dylan, said Sean Wilentz, the Princeton historian and author of “Bob Dylan in America,” a 2010 best seller. “It’s a sense of loyalty, of kinship,” he said. “You were brothers together. You were scuffling. That’s why Dylan brought him back.”
Brought him back even after an episode involving a teenage girl that led to Victor’s being fired as tour manager in 1995. Another star might have banished him. Instead, Mr. Dylan had Victor scout for and look after his real estate holdings. A quarrel over one property caused the final, acrimonious break in 1997.
Out on the road, Waylon’s crew was known for pulling some pretty elaborate pranks for the big man’s birthday. For a while, a staple of Waylon’s live show was to have Waylon’s wife Jessi Coulter walk out from the side of the stage near the end of a show singing the duet “Suspicious Minds” on a wireless microphone. Well one night in Salem, OR, the crew dressed up tour manager David Trask in one of Jessi’s dresses with a wig, and while Jessi sang on the wireless microphone backstage, the transvestite-looking Trask sashayed out of stage left toward Waylon holding the core of a paper towel roll. “I almost swallowed my guitar pick,” Waylon said later.
But possibly the most memorable Waylon Jennings’ birthday moment came when Waylon kickstarted a vintage 1958 Ariel Cyclone motorcycle inside a hotel room at midnight in 1979.
As a lot of Waylon Jennings fans know, Waylon and Buddy Holly were big friends back in Lubbock, TX in the late 50′s. Waylon played bass for Buddy when Buddy’s Crickets took a hiatus, and Waylon was the one that gave up his seat to The Big Bopper on that fateful night in 1959 when a plane crash took Buddy, The Big Bopper, and Ritchie Valens lives, memorialized as “The Day The Music Died” and put to song in Don McLean’s “American Pie.”
1 1/2 years before in May of 1958, Buddy Holly and his original Crickets flew in to Dallas’s Love Field airport on a connecting flight back to Lubbock after a big tour.
“They loved Marlon Brando in “The Wild One,” and when they got to Dallas…they decided on the spur of the moment to buy motorcycles and drive back home on them.” Waylon recalled. “They took a cab into the city and walked into a Harley-Davidson shop. They had their eyes on a trio of 74-inchers, but the proprietor didn’t think they had any money and treated them like a bunch of bums. “Hell, you boys couldn’t even begin to handle the payments on that.” “Then they went over to Miller’s Motorcycles, which specialized in English bikes. There, Joe B, and J.I. (Allison) bought a Triumph each, a TR6 and Thunderbird, respectively, while Buddy picked out a maroon and black Ariel Cyclone, with a high compression 650cc Huntsmaster engine. They paid cash, bought matching Levi jackets and peaked caps with wings on them, and rode home through a thunderstorm.”
Buddy Holly’s father had kept the motorcycle until 1970, when he sold it to someone in Austin, TX. Then in 1979 for Waylon’s 42nd birthday, the two remaining Crickets Joe B. and J.I. tracked down the 1959 Ariel Cyclone, bought it back, and had it hand delivered to north Texas where Waylon found it sitting there in the middle of his hotel room after walking off stage that night.
“What else could I do? I swung my leg over it, stomped on the kickstarter, and it burst into roaring life. First kick. It was midnight, and it sounded twice as loud bouncing off the walls of that hotel room. I knew Buddy wouldn’t mind.”
Though it closed its doors in 1963, a half-dozen classic recordings made at San Francisco’s Blackhawk nightclub have ensured a secure, lasting renown for the club in jazz lore. Along with other, long-gone clubs such as New York’s Royal Roost, Chicago’s Blue Note, and Philly’s Showboat and Peps’, the Blackhawk enjoys a mythic status as a club where all of the great post-war small groups played; Thelonious Monk, Miles Davis, Cal Tjader, Ahmad Jamal, Billie Holiday… if they played San Francisco, they played at the Blackhawk. Last month a bronze plaque was set into the sidewalk on the corner of Turk and Hyde in the Tenderloin to mark the spot where the Blackhawk once stood. Previously, the intersection’s northeast corner offered no hint of the jazz significance of the site serving only as a parking lot and hang out spot for the homeless and wanderers. Now, thanks to the dedicated work of the Uptown Tenderloin Historic District, the corner has been marked as a pilgrimage site for jazz fans. On my recent visit, it was difficult to image the club or the night Miles and Hank Mobley burned through “Oleo” there fifty years ago–I was too busy deflecting appeals for pocket change and offers of “buds”–but it was nice to associate a physical location in the city with what I have read and heard about the club. While the Tenderloin has experienced gentrification in recent years, it seems unlikely that tourists will serendipitously discover the corner’s new plaque on their own; the site of the old Blackhawk rewards the more deliberate and devoted visitor.
The use of plaques to denote important jazz sites is not new in major U.S. cities. Philadelphia, for one, has markers for the house Billie Holiday lived in and the site of the Showboat club. New York is probably least sentimental about recognizing such landmarks (perhaps the weight of all of those plaques would drag Manhattan below sea level), but, then again, its most historic club still packs ‘em in seven nights a week in the same basement where they have been doing it since the 1930s. It is great news that San Francisco has decided to mark one of its most celebrated jazz sites in an enduring way. The city’s earliest jazz sites were clustered along the Barbary Coast and famous clubs also proliferated in North Beach (The Matador Club, The Jazz Workshop) and Western Addition (The Both/And), but the Blackhawk outranks them all for the roster of artists who worked there and the recordings made within its walls. Like the Village Vanguard, records made at the Blackhawk always mentioned the club’s name prominently: provenance suggests quality. Here are a few of the classics:
Miles Davis: In Person Friday and Saturday Nights at the Blackhawk (Columbia)
Ahmad Jamal: Live at the Blackhawk (Argo)
Thelonious Monk Quartet Plus 2: At the Blackhawk (Riverside)
Shelly Manne: At the Blackhawk (4 volumes, Contemporary)
Cal Tjader: A Night at the Blackhawk (Fantasy)
Mongo Santamaria: Live at the Blackhawk (Fantasy)
The sun is slowly rising over Saturn’s North Pole, exposing an immense six-sided hurricane. The storm, big enough to swallow four Earths, was first spotted by the Voyager missions in the early 1980s.
There’s always something strange going on with Saturn, the solar system’s most photogenic planet – from the famous rings that baffled Galileo 400 years ago to the methane dunes and lakes of its smoggy moon Titan.
In 10 years of cruising Saturn and its vicinity, NASA’s Cassini spacecraft has seen kinks, braids and waves in the rings so high that they cast shadows across the other rings, and the spacecraft’s cameras recently counted 101 geysers of water shooting from a subsurface ocean through cracks in the icy moon Enceladus.
In its latest spins around the ringed planet, Cassini has focused on a lesser known but hardly less mysterious feature of Saturn, an atmospheric phenomenon whose description – the six-sided vortex – is more evocative of Harry Potter or “Star Wars” than your standard weather report.
When the Voyager spacecraft flew past Saturn in 1980 and 1981, they discovered that the planet’s north pole was capped by a gigantic hexagon-shaped storm, the mother of all polar vortexes. It is an immense hurricane four times the size of the Earth bordered by a jet stream blowing 220 miles per hour.
After the Voyagers left, winter and darkness descended on Saturn’s North. The planet takes 30 years to complete one orbit of the Sun. Cassini arrived at Saturn in 2004, just ahead of spring. Cassini scientists are eager to see how the hexagon vortex evolves as Saturnian spring turns to summer. The spacecraft will be passing directly over the north pole with its cameras pointing down later this month.
Scientists on Earth have been pondering what causes the vortex to take such an unnatural-looking shape.
In 2010, Ana Aguiar of Lisbon University and colleagues pointed out that the position of the hexagon on Saturn corresponded to the latitude of a narrow and very speedy jet stream. They suggested that friction with slower-moving atmosphere on either side of the jet stream would create eddies, miniature hurricanes, that would push the jet stream north and south as it went around the planet, resulting in a wave shape.
In laboratory experiments with rotating fluids, they were able to reproduce the six-sided shape, providing reassurance that there is nothing supernatural going on at Saturn.
The Cassini team hopes to learn more about how the storm works by paying particular attention to the corners of the hexagon.
At the same time, they can study Saturn’s aurora, the ring of northern lights caused by energetic particles guided by Saturn’s magnetic field crashing down into the atmosphere. This curtain of electrical fire comes down right on top of the hexagon, as it turns out.
The comet, as photographed by the European Space Agency’s Rosetta spacecraft, is 2.5 miles wide.CreditEuropean Space Agency
After 10 years and a journey of four billion miles, the European Space Agency’s Rosetta spacecraft arrived at its destination on Wednesday for the first extended, close examination of a comet.
A six-minute thruster firing at 5 a.m. Eastern time, the last in a series of 10 over the past few months, slowed Rosetta to the pace of a person walking, about two miles per hour relative to the speed of its target,Comet 67P/Churyumov-Gerasimenko.
“It is like driving a car or a bus on a motorway for 10 years,” said Andrea Accomazzo, the flight director, at a post-rendezvous news conference. “Now we’ve entered downtown. We’re downtown and we have to start orienting ourselves. We don’t know the town yet, so we have to discover it first.”
Over the coming months, Rosetta and its comet, called C-G for short, will plunge together toward the sun.
Robert Altman was, by most accounts, a man who burned a lot of bridges during his long career as a director. That career receives a slick and enjoyable recapping on Wednesday at 8 p.m. when Epix offers“Altman,” a documentary in which Altman, who died in 2006, tells much of his own story via archival interviews.
He was far from the only prickly guy in Hollywood. He tells of an encounter with Jack Warner, who had reluctantly hired him to direct the 1967 film “Countdown,” even though Warner had told Altman to his face that he didn’t like him or his work. Sure enough, Warner was infuriated after watching some of Altman’s dailies, the raw footage from the shooting. A subordinate related Warner’s displeasure this way, Altman recalls, “If you want to hear what he said, he says, ‘That fool’ — meaning me — ‘has actors talking at the same time.’ ”
Altman’s use of multilayer soundtracks went on to become one of his signatures as he built a formidable body of work that included “MASH,” “Nashville,” “The Player” and “Gosford Par
Senator Mark Udall, Democrat of Colorado, last month. He has criticized his Republican rival’s “radical agenda” on abortion.CreditDoug Mills/The New York Times
WASHINGTON — Facing re-election, Gov. Scott Walker, Republican of Wisconsin, no longer talks about stopping same-sex marriage. “It’s those on the left that are pushing” the issue, he says.
Ed Gillespie, the Republican Senate candidate in Virginia, argued that Senator Mark Warner, the Democratic incumbent, was “making up my views” when Mr. Warner accused him of seeking to overturn abortion rights and ban some forms of contraception. In fact, Mr. Gillespie, a former Republican National Committee chairman, said in a recent debate, he wants contraceptives available (behind the counter) at pharmacies without a prescription.
Representative Cory Gardner, a Republican in a tight Senate race in Colorado, proposed the same thing after the Supreme Court’s decision on the Hobby Lobby case exempted some private businesses from covering certain contraceptives in health insurance plans. He was shielding himself from attacks by Senator Mark Udall, a Democrat, who has spent months slamming Mr. Gardner’s “radical agenda” on abortion and family planning.
“Udall is running his entire campaign on social issues,” said Brad Dayspring of the National Republican Senatorial Committee. “All they talk about is birth control, ‘personhood,’ abortion.”
So will many other Democrats this fall. They aim to match President Obama’s feat in 2012, when the incumbent used topics such as same-sex marriage and contraception as weapons to offset his vulnerability on the economy. That they would even try while facing the older, whiter, more conservative midterm electorate shows how thoroughly the politics of social issues have turned upside down.
The tumultuous social changes that began in the 1960s supplied decades of political ammunition for Republicans. Beginning with Richard M. Nixon, they rallied Americans disturbed by noisy protests over civil rights, the sexual revolution and the Vietnam War.
“Acid, amnesty and abortion” was the epithet hurled at the 1972 Democratic presidential candidate, George McGovern. Republicans seized on concerns about welfare, school busing and crime — memorably with a black convict named Willie Horton in 1988 — to cement their grip on white voters. As recently as 2004, Republicans used a proposed constitutional amendment banning same-sex marriage to rally tradition-minded “values voters” behind President George W. Bush’s re-election.
Now the values wedge cuts for Democrats. Demographic change keeps shrinking Nixon’s “Silent Majority.” President Bill Clinton and a Republican Congress overhauled welfare. Fear of crime has receded enough that members of both parties propose more lenient sentencing.
American households have changed significantly. Nearly half of adults are unmarried. Fully 10 percent of opposite-sex married couples are interracial or interethnic. Acceptance of same-sex marriage has expanded with astonishing speed.
Legalization of medical marijuana has moved, in two states, Colorado and Washington, to legalization of recreational marijuana. College students from the Summer of Love are pushing 70, the elders who disapproved of their behavior are largely gone and young adults are wondering what the turmoil was ever about.
Joshu Sasaki, who died on July 27 at the age of 107, was one of the most influential and charismatic Zen masters in America, imparting a mix of paradox, PERSONALITY and transcendental insight to an estimated half million people during a 50-year career.
He earned the high regard of scholars in the field of contemplative studies. The beat poets Gary Snyder and Allen Ginsberg and the Canadian singer, songwriter and poet Leonard Cohen were among his students. And he ordained dozens of Zen monks and nuns, who spread his teaching around the world.
Then, in 2012, in his centenarian years, a tide of sex-abuse allegations emerged to cast his character and his legacy in a harsh light.
On website discussion boards, former students began voicing what turned out to be long-festering complaints about Mr. Sasaki, accusing him of engaging in sexual affairs with female students and Buddhist nuns, of molesting or coercing hundreds of others into having sexual contact with him during one-on-one training sessions at his Rinzai-ji Zen Center in Los Angeles and at his retreat camps.
They said he would tell them that sexual contact with a Zen master, or roshi, like him, would help them attain new levels of “non-attachment,” one of Zen’s central objectives. If they resisted, they said, he used intimidation and threats of expulsion.
An independent panel of Buddhist leaders concluded in 2013 that the allegations were essentially indisputable. The panel report said that students had complained to Mr. Sasaki’s staff about his behavior since the early 1970s, and that those “who chose to speak out were silenced, exiled, ridiculed or otherwise punished.”
A few women went to the law enforcement authorities over the years, and one had reached out to a rape crisis center, but no charges were ever brought against Mr. Sasaki, the panel said.
Mr. Sasaki had retired from teaching a year before the allegations surfaced. Though he kept his title as abbot of the Rinzai-ji Zen Center until 2013, he never publicly responded to the charges. A group of his senior STAFF MEMBERS issued an open letter of apology, admitting that they had known about his behavior and had made only intermittent efforts to address it.
“Our hearts were not firm enough, our minds were not clear enough,” the letter said.
Not all of his adherents concurred in the apology. Some contended that the allegations had been investigated only superficially, or pointed out that no criminal charges had been filed. On websites and online message boards for Zen Buddhists, some argued that even if the allegations were true, Mr. Sasaki would never have acted deceptively or with intent to cause harm.
“The idea that he was a predator is mistaken,” said Harold D. Roth, a professor of religious studies at Brown University and a former student of Mr. Sasaki’s. “Everything he did was in the devoted service of awakening enlightenment in his students.”
Professor Roth, who is director of a contemplative studies initiative at Brown and edited an upcoming first volume of Mr. Sasaki’s collected teachings, said Mr. Sasaki had never been well schooled in Americans’ shifting mores about sexual behavior. Referring to Japan’s last feudal period, from the 17th to the 19th centuries, he called Mr. Sasaki “a man of the Tokugawa era.”
Joshu Sasaki was born into a farming family near Sendai, in northern Japan, on April 1, 1907. He became a Zen Buddhist novice at 14, schooled in the 13th-century disciplinary traditions of Rinzai. After seven years of study in Hokkaido, he was sent to Myoshin-ji, the flagship temple of the Rinzai branch, in Kyoto, where he studied for 20 years. He was abbot of a temple in Nagano in 1962 when Rinzai officials in Kyoto, in response to a request from a group in the United States, dispatched him to teach Zen Buddhism to Americans.
Mr. Sasaki was among many monks who immigrated to the United States after World War II to spread Zen teachings. He was among the very few, though, who hewed to Rinzai, which leads students toward enlightenment with 16-hour days of meditation, abrupt and sometimes shouted interrogations in the koan mysteries (“What is the blown hair sword?”) and occasional whacks on the head with a stick — all in the service of inspiring satori, a life-changing shift (or awakening) of consciousness about themselves and the nature of reality. Samurai warriors used it to help them overcome the fear of death.
Anyone looking for the kind of easygoing Zen popularized by the British philosopher Alan Watts in the late 1950s was likely to decamp from Mr. Sasaki’s study centers and monasteries. But thousands of other flocked to Mr. Sasaki, the beginning of a surge of American interest in Eastern philosophy.
After opening his Zen center in Los Angeles, Mr. Sasaki founded a Zen retreat in 1971 at Mt. Baldy in San Bernardino County, Calif., and another in 1972 in Jemez Springs, N.M. (Mr. Cohen’s long relationship with Mr. Sasaki was chronicled in Armelle Brusq’s documentary “Leonard Cohen: Spring 96,” which was filmed during the third of Mr. Cohen’s five years in residence at the Mt. Baldy retreat.)
Zen monks and nuns trained by Mr. Sasaki have established roughly 30 loosely affiliated centers in the United States and Europe. A couple of them have formally cut ties with him in the wake of the sex-abuse scandal.
Mr. Sasaki’s death, in Los Angeles, was confirmed by a spokesman for the Rinzai-ji Zen Center. He is survived by his wife, Haruyo Sasaki.
It’s a refrain many in the state have grown to loathe this summer – heard outside their favorite grocery store or shopping mall as signature gatherers race toward an August 4 deadline to put four energy-related measures on the November ballot.
With two of those measures backed by environmentalists, and the other two by industry-supported groups, all of the energy talk is leading to confusion among potential voters.
Among the hassled Colorado shoppersis Veronica Canto, a REGISTERED independent from Denver. On one day, she was approached by signature gatherers three separate times while visiting the downtown 16th Street Mall.
“They come up and out of nowhere. You’re like, uh, man,” says Canto, who works in EDUCATION and says she hasn’t had a lot of time to research oil and gas development.
“The only reason I thought about fracking today, for like the two minutes after, maybe, they left, was because they had asked me,” she says.
Gov. John Hickenlooper had hoped to pass legislation that would stave off some of the ballot measures, but those efforts stalled mid-July. And lately, many Coloradans who don’t normally think about energy are being deluged with messages by groups with very different agendas.
Sometimes, voters don’t know what the petition they’re signing actually stands for.
“You have both sides of the fracking issue, and they’re putting out their talking points and they’re spending lots of money, trying to persuade the electorate to their views,” explains Kyle Saunders, a political science professor at Colorado State UNIVERSITY. “And all that conflicting information can really muddy the issue for voters.”
A few blocks away on the 16th Street Mall, signature gatherer Jessica Cerise is at work for the pro-environment group Coloradans for Safe and Clean Energy.
Fired up, Patrick Klimper signs her petitions – backing a measure that would increase setbacks between wells and homes from 500 to 2,000 feet, and a second one aimed at giving communities that ban fracking more legal protections in court.
“All I know is that we need to get rid of fracking, that’s the big thing. I just think it’s not great for the environment,” he says.
So far voters in five Colorado communities have placed restrictions on fracking. But this July, a district court judge struck down one of those measures.
Inside a Denver high-rise office building, signature gatherer Telbe Storbeck talks to workers at the COMMERCIAL REAL ESTATE FIRM Cassidy Turley.
Storbeck explains his measure is supported by an industry-backed GROUP CALLED Protecting Colorado. The measure he’s promoting would prevent communities that ban fracking from accepting state oil and gas tax dollars.
“So it takes away that – so it’s this fairness issue,” he explains.
Most workers gathered in this conference room see their JOBS in real estate linked to the energy industry – including Managing Director Steward Mosko.
“We’re as close to being activists in these types of things as possible. We have to be because it affects our livelihood,” he says.
Mosko signed the first initiative, and a second one that would require future ballot issues to have fiscal impact statements.
But back at the 16th Street Mall, Canto says her interactions with signature gatherers were unhelpful.
“I would say that even reading the information that they had and having them speak to me – they’re both just as confusing as each other,” she says.
Canto says she hasn’t made up her mind yet on the topic. She intends to weigh both sides of the issue, judging how it will affect her life. All she knows now is that she won’t be turning to signature gatherers for help.
and the International Research Institute for Climate and Society
10 July 2014
ENSO Alert System Status: El Niño Watch
Synopsis: The chance of El Niño is about 70% during the Northern Hemisphere summer and is close to 80% during the fall and early winter.
During June 2014, above-average sea surface temperatures (SST) were most prominent in the eastern equatorial Pacific, with weakening evident near the International Date Line (Fig. 1). This weakening was reflected in a decrease to +0.3°C in the Niño-4 index (Fig. 2). The Niño-3.4 index remained around +0.5°C throughout the month, while the easternmost Niño-3 and Niño-1+2 indices are +1.0°C or greater. Subsurface heat content anomalies (averaged between 180º-100ºW) have decreased substantially since late March 2014 and are now near average (Fig. 3). However, above-average subsurface temperatures remain prevalent near the surface (down to 100m depth) in the eastern half of the Pacific (Fig. 4). The upper-level and low-level winds over the tropical Pacific remained near average, except for low-level westerly anomalies over the eastern Pacific. Convection was enhanced near and just west of the Date Line and over portions of Indonesia (Fig. 5). Still, the lack of a clear and consistent atmospheric response to the positive SSTs indicates ENSO-neutral.
Over the last month, no significant change was evident in the model forecasts of ENSO, with the majority of models indicating El Niño onset within June-August and continuing into early 2015 (Fig. 6). The chance of a strong El Niño is not favored in any of the ensemble averages for Niño-3.4. At this time, the forecasters anticipate El Niño will peak at weak-to-moderate strength during the late fall and early winter (3-month values of the Niño-3.4 index between 0.5°C and 1.4°C). The chance of El Niño is about 70% during the Northern Hemisphere summer and is close to 80% during the fall and early winter (click CPC/IRI consensus forecast for the chance of each outcome).
This discussion is a consolidated effort of the National Oceanic and Atmospheric Administration (NOAA), NOAA’s National Weather Service, and their funded institutions. Oceanic and atmospheric conditions are updated weekly on the Climate Prediction Center web site (El Niño/La Niña Current Conditions and Expert Discussions). Forecasts are also updated monthly in the Forecast Forum of CPC’s Climate Diagnostics Bulletin. Additional perspectives and analysis are also available in an ENSO blog. The next ENSO Diagnostics Discussion is scheduled for 7 August 2014. To receive an e-mail notification when the monthly ENSO Diagnostic Discussions are released, please send an e-mail message to: firstname.lastname@example.org.
Velma Middleton is accompanied by Louis Armstrong at the 1955 Newport Jazz Festival.Velma Middleton is accompanied by Louis Armstrong at the 1955 Newport Jazz Festival.Velma Middleton is accompanied by Louis Armstrong at the 1955 Newport Jazz Festival.
This year, the Newport Jazz Festival is celebrating its 60th anniversary. For most of that time, its guiding force has been producer George Wein, who remembers all too well the first event in 1954.
It was pouring rain. Wein was being urged to call it off but refused. The audience stayed, broke out their umbrellas, and the musicians played. The scene was caught by a photographer.
“And that picture went out all over the world,” Wein says, “of people sitting for five hours in the rain, listening to jazz.”
After its soggy debut, it wasn’t long before the festival started making musical history. In 1956 Duke Ellingtonand his orchestra were playing the bandleader’s composition “Diminuendo and Crescendo in Blue” when Ellington turned to saxophonist Paul Gonsalves for a solo.
Gonsalves blew for 27 choruses, turning the sit-down Newport audience into a surging crowd.
“We were sitting there and we saw this thing evolving and we couldn’t believe it,” Gonsalves says. “I was worried it was maybe too exciting because the crowd, for the first time, had left their seats and was coming towards the stage.”
The crowds actually did get too rowdy, and in 1961 the festival was cancelled. It resumed the next year, but audiences started to dwindle. As the decade wore on and musical tastes began to change, George Wein added rock to the lineup for the 1969 festival. Bands like Led Zeppelin drew an overflowing crowed to Newport — which nearly caused another riot.
The rock experiment was a mistake, Wein says. But he did have a KEEN ear for what might sell. In 1959 when the folk boom was taking off, he launched the Newport Folk Festival. Over the years, he watched as taste shifted back and forth between the two events.
“Next thing we knew, the folk festival was surpassing the jazz festival,” he says. “Then whenBob Dylan went electric, the folk festival went down and the jazz festival was coming up again.”
As with all Kiitella custom awards, this special recognition gift is influenced by the hands giving it: Walking Mountains’ educational, interactive exhibits, both indoors and out, are exquisitely executed and aesthetically pleasing. A mountain silhouette (from the WMSC website) forms the top border of this stainless steel accordion book, which opens to display a stamped-pewter “Reach For The Peak” riveted plate, words of praise, the recipients’ names and the organization’s “paw” logo.
Audi Power of Four Race Series in Aspen/Snowmass ~~ Medals by Lisa Issenberg of Kiitella.
These hefty charms will slip over the heads of the fastest bikers and trail runners at the upcoming Audi Power of Four Race Series. Thick jet-cut steel plate, colorful aluminum logo plates attached with tiny rivets, and inherently graceful bike chains make up these inspired awards.