Rapper J. Cole’s ‘The Sideline Story’ is at No. 1 and he’s been nominated for a new artist Grammy. Quite a change after earlier rejection.<br/><br/>Rapper J. Cole’s ‘The Sideline Story’ is at No. 1 and he’s been nominated for a new artist Grammy. Quite a change after earlier rejection.
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On Sunday I noticed a Facebook post from Eat Up (the amazing cafe at Skydive Chicago) letting everyone know that the Skylounge is open – given that winds and rain were not allowing for much jumping on the last open day of the season – and Bloody Mary’s were being served.
Now, normally people would find this to be a rather benign post, aside from the fact that they can’t jump and it’s slightly disappointing. I on the other hand, found that my mouth immediately began watering at the thought of a good Bloody Mary.
For those who know me, you know I’m not much of a drinker. College, sure, that was just what you did, but as a post-grad adult, I can count the number of times I’ve been legitimately drunk on two hands. Tipsy on a few glasses of wine, sure. But sloppy drunk with a hangover, rarely.
I’m not one for hard liquor. I don’t like the taste of alcohol and unless you’re making something really fruity to mask the taste and in turn is really bad for you, odds are I won’t like it.
But lately, I’ve been on this Bloody Mary kick. When we visited SoCal last year and stayed with my Uncle and Aunt, it was common place to be drinking Bloody Marys at all hours of the day – we even went to a hole in the wall breakfast place specifically for this cocktail. Sure, I had a few then, but it wasn’t a taste I brought back to the Midwest with me.
Until recently.
Maybe it’s because, as I’ve gone through my 20s, my sweet tooth has dissipated and my taste for savory has amplified. Or maybe, it’s just that I didn’t know what I was missing, but now it’s something I crave. Monthly dinner nights out with the girls, I’m always asking the waitress how their Bloody Marys are. Luckily, I usually get the thumbs up and order one, extra spicy. The last few months I’ve had some incredible cocktails that make me want more.
Problem is, I don’t really care about the alcohol. In fact, it’s what keeps me from drinking more of them. Yes, I know it adds to the flavor a bit, but how much difference can it really make? I’m half tempted to make (or rather, have my husband make, since he makes a mean drink) virgin Blood Marys at home just for the taste bud pleasure.
Anyone ever tried that? Thumbs up or down on this one?
Cheers (and blue ones)!
Ashley
Tags : Marys, skydive chicago, taste of alcohol
Enlarge Kwaku Alston
Herbie Hancock.
Kwaku Alston
Herbie Hancock.
“Chan’s Song” (Hancock, Corea)
“Dolphin Dance” (Hancock)
“Limehouse Blues” (P. Braham, D. Furber)
“Still Time” (Hancock)
“Easy to Love” (C. Porter)
“Free Thing ‘Improv’” (McPartland, Hancock)
“It Never Entered My Mind” (Rodgers, Hart)
“That Old Black Magic” (Arlen, Mercer)
On this episode of Piano Jazz, composer and keyboardist Herbie Hancock stops by in a program recorded in 1987. The ever-inventive Hancock sticks with the acoustic piano for this set of solos and duets with host Marian McPartland. Hancock performs a mix of his originals — “Dolphin Dance” and “Still Time” — and standards including “Limehouse Blues,” “It Never Entered My Mind” and “That Old Black Magic.”
Born in Chicago in 1940, Hancock was a child prodigy on the piano. By age 11, he had performed a Mozart piano concerto with the Chicago Symphony Orchestra. He began playing jazz in high school, initially influenced by Oscar Peterson and Bill Evans. In addition to his fascination with music, he also developed an interest in electronics, which led him to study both music and electrical engineering at Grinnell College.
In 1960, when Hancock was 20, trumpeter Donald Byrd discovered the young pianist and asked him to join his group. Byrd also introduced him to Alfred Lion of Blue Note Records, and after two years of session work with the likes of Phil Woods, Freddie Hubbard and Oliver Nelson, Hancock signed with the jazz label as a solo artist. Hancock’s 1963 debut album, Takin’ Off, was an immediate success, with the hit single “Watermelon Man” making a splash on both jazz and R&B radio. That same year, Hancock was invited to join what has come to be called Miles Davis‘ second great quintet. Hancock stayed with the group for five years, appearing on such albums as ESP, Miles Smiles and Nefertiti.
In 1973, Hancock recorded the jazz-funk fusion record Headhunters. It became jazz’s first platinum album. By the middle of the ’70s, Hancock was playing to stadium-sized crowds all over the world, and had no fewer than four albums on the pop charts at once.
In 1983, Hancock began a series of collaborations with producer Bill Laswell. The first, Future Shock, went platinum, on the strength of the single “Rockit,” which won a Grammy for Best R&B Instrumental. Sound System, the follow-up to Future Shock, also received a Grammy in the R&B instrumental category.
In 1996, Hancock recorded 1996′s Grammy-winning The New Standard, an album of rock and R&B hits adapted into straight-ahead jazz tunes. His 1998 album Gershwin’s World brought together such artists as Joni Mitchell, Stevie Wonder, Kathleen Battle, the Orpheus Chamber Orchestra, Wayne Shorter and Chick Corea to celebrate the famous composer. The album won three Grammy Awards in 1999.
In 2005, Hancock released Possibilities, featuring duets with such pop icons as Carlos Santana, Paul Simon, Sting and Christina Aguilera. In 2007, he followed it with River: The Joni Letters, a collection of jazz versions of Joni Mitchell tunes, which earned him three Grammy Awards — including the 2008 Album of the Year.
Originally recorded Jan. 3, 1987. Originally broadcast April 2, 1987.
Have you ever been worried about the accounting method of one’s business? The unanswered concerns like how a Stability Sheet ought to be tallied or how you can place a particular entry and at location and by which guide? Does one often get troubled concerning the reality the account statements aren’t heading the way in which they ought to be heading and also the earnings proven don’t match using the accurate representations? In the event you’re not in a position to adopt the talked about practices in accounting by GAAP then, you can be ticketed or within the even worse of instances you can even get imprisoned for fictitious representation of details. If you’re operating a little company in that situation using a CPA could flip out to become just a little costly. However the make a difference of reality could it be is really worth investing particularly if it is a hedge fund accounting. The entrepreneur, if employed, would usually have a tendency to complete that but he/she will commit a great deal of mistakes in performing the method for you personally. You might not know the accurate violation from the legal guidelines to get a large amount of many years.
Filed Under : misty by 
Sep.24,2011
Kevin Iole joined me on ESPNRadio1100/98.9 FM in Las Vegas on “The MMA Insiders” to discuss the lack of publicity for Saturday’s Strikeforce heavyweight Grand Prix card in Cincinnati. Iole also picks the major fights using the Las Vegas betting odds.
Strikeforce heavyweight GP betting odds:
Josh Barnett (-335) vs. Sergei Kharitonov (+275) – Heavyweight GP semifinal #2
Antonio Silva (-155) vs. Daniel Cormier (+125) – Heavyweight GP semifinal #1
Luke Rockhold (+325) vs. Ronaldo “Jacare” Souza (-400) – Strikeforce middleweight title
Muhammed “King Mo” Lawal (-160) vs. Roger Gracie (+140) – Light heavyweight
Evangelista Santos (+125) vs. Jordan Mein (-145) – Welterweight
Pat Healy (+105) vs. Maximo Blanco (-125) – Lightweight
Rafael Cavalcante (-145) vs. Yoel Romero Palacio (+115) – Light heavyweight
Strikeforce heavyweight GP picks, Vegas-style: Barnett and ‘Big Foot’ try to survive the semis
Tags : Big
I love illusions, where your brain makes weird things happen. Those of you who come here often have seen some doozies, but this one … oooh, this is one of the strangest.
The question is: Which is more powerful, your eyes or your ears? Watch this clip and experience “The McGurk Effect.” Your ears will feel ashamed.
The McGurk Effect is named for a psychologist from Scotland, Harry McGurk, working with John MacDonald. The experiment shows that while our senses seem separate — you wouldn’t think what you see should affect what you hear — it turns out, that’s totally wrong. If our eyes see one thing and our ears hear a different thing, when sight and sound grapple in our brains, the eyes win. Eyes tell ears what to hear. Or so it seems.
Not only that, even if your brain knows this is an illusion, you still can’t hear the truth unless you close your eyes. The illusion is that powerful.
Why Does This Happen?
Does sight always beat sound? Professor Lawrence Rosenblum in the video seems to suggest that experimental results may vary depending on which sense is “more salient.” I’m not sure what that means. Nosing around, I found some experiments where you see lips saying “gah” while the sound is saying “bah” and my brain chooses neither of them, and settles for a middle-of-the-road “dah.” But nowhere could I find an explanation for why my ears keep surrendering to my eyes.
Does anybody know?
Tags : sound
