понедельник, 12 марта 2012 г.

Eto'o scores twice to rally Barcelona to draw

Samuel Eto'o scored twice _ including a late equalizer _ as Spanish league leader Barcelona came from two goals down to draw 2-2 at Real Betis on Saturday and stretch its unbeaten run to 22 league games.

Betis was two goals up within 25 minutes through Juan "Melli" Andreu and Mark Gonzalez before Eto'o scored off the rebound from his saved penalty in the 45th for his 100th league goal for Barcelona.

The Cameroon striker's shot in the 84th needed a slight deflection to get past Betis goalkeeper Ricardo Soares, who looked set to hand Barcelona its first loss since opening day by making several fine saves toward the end of the game, including a point-blank volley by Gerard Pique in the 82nd.

"A point against Barcelona is a point," Betis coach Paco Chaparro said.

Barcelona saw a 10-game winning streak snapped, however, as it moved to 60 points after Eto'o took his league-leading goal tally to 23.

"We came to win and it wasn't to be, but I've got nothing to be upset about because the team played and created a number of chances,"Barcelona coach Pep Guardiola said. "Specially in the second half when they just didn't fall."

Real Madrid can get to within 10 points of its archrival when it travels to Sporting Gijon on Sunday, where it will look to extend its seven-game winning streak without Netherlands midfielders Arjen Robben, Wesley Sneijder and Rafael Van der Vaart.

A Raul Albiol own-goal allowed Malaga to draw 1-1 at Valencia in a match of Champions League hopefuls.

Spain defender Albiol deflected Eliseu Pereira's low cross into his own goal in the 59th only six minutes after David Villa scored his 18th of the season to put Valencia ahead.

Valencia was even with third-place Sevilla, which plays Espanyol on Sunday, with 38 points, Villarreal has 37 and Malaga has 36 _ one better than Atletico Madrid and Deportivo La Coruna, which drew 0-0 against Osasuna.

In Sunday's other games, it's: Atletico Madrid vs. Getafe; Racing Santander vs. Villarreal; Almeria vs. Valladolid; Athletic Bilbao vs. Recreativo Huelva; Numancia vs. Mallorca.

At Seville, Barcelona could have been ahead in the sixth but Eto'o failed to control the ball while alone in front of goal, with Xavi Hernandez eventually firing a hard shot wide.

Betis' defense was troubled from the 10th when center back Juanito Gutierrez was forced off through injury, and he would later be joined by William Lima.

But Betis struck first in the 18th, Melli heading Achille Emana's in-swinging corner kick beyond goalkeeper Victor Valdes.

Seven minutes later, Gonzalez controlled Sergio Garcia's cross along the left to send a left-footed volley under Valdes and inside the post.

The momentum continued Betis' way after Gonzales' goal with Emana swiveling to volley over in the 38th.

But a questionable penalty call by referee Alfonso Perez Burrull began Barcelona's fightback.

Perez Burrull whistled Branko Ilic for a foul after he brushed against Andres Iniesta as the Barcelona winger moved along the left of the area.

Eto'o pounced on the rebound after his initial penalty was saved to slot past Ricardo.

Gonzalez thought he'd scored a second in the 50th but the Chile winger was ruled offside.

Barcelona coach Pep Guardiola brought Lionel Messi and Thierry Henry on in the 57th as Barcelona pressed, with Ricardo getting a finger to Iniesta's low drive in the 72nd.

Ricardo Oliveira was played clear through in the 73rd without a defender in sight but the Betis striker rushed his shot and Valdes saved.

At the Mestalla, Villa received from David Silva at the left edge of the area before curling over goalkeeper Inaki Goitia into the far side of goal to trail only Eto'o in goals this season.

Both goalkeepers made big stops throughout, although the crossbar saved Villa's audacious chip from outside the area just before halftime.

Goitia saved Joaquin Sanchez's low-rising shot in the 11th before Cesar Sanchez denied Pereira on a counterattack.

Brazilian back Thiago Carleto made his Valencia debut in the 15th after replacing Emiliano Moretti, who withdrew with a knee injury.

Cesar stopped Albert Luque's high volley in the 25th before the Malaga striker sent a crossgoal header just wide.

Valencia's Hedwiges Maduro cleared off the line in the 38th before Cesar rushed out to deny Eliseu in the 45th.

Goitia stopped Manuel Fernandes' dangerous free kick in the 82nd.

NY man arrested buying drugs with slaughtered pig

It was a simpler sort of drug trade.

Syracuse police say a 45-year-old man offered a slaughtered pig as partial payment for a bag of crack cocaine.

They say two men were spotted making the deal on a street corner just before 8 p.m. Thursday.

Angelo Colon of Fulton was arrested on a misdemeanor drug possession charge and 42-year-old Omar Veliz faces a felony drug sale charge.

Police say Colon paid half a pig and $10 for a $50 bag of crack. Veliz told police the pig was for a celebration for a relative being released from jail.

While officers were arresting the suspects, someone took the pig.

Police don't know if the men have lawyers.

Swatch clocks record sales of $7.5 billion in 2011

GENEVA (AP) — Swatch Group, the world's biggest watch manufacturer, on Tuesday announced record sales last year of 7.14 billion Swiss francs ($7.5 billion), citing strong demand for its timepieces and jewelry, particularly in emerging countries such as China.

The Swiss watchmaker warned that it would face a "major challenge" in 2012 improving on already high sales, which jumped almost 11 percent last year from 6.44 billion francs in 2010.

Sales would have been even higher but for what Swatch described as the "catastrophic" strength of the Swiss currency, which reduced sales figures by 696 million francs. Most of its products are sold abroad in dollars and euros and therefore affected by exchange rate fluctuation.

The company has successfully broadened its portfolio in recent years and gained a strong foothold in Asia, despite competition from local companies and counterfeiters.

Swatch is also trying to free itself from a long-standing requirement by Swiss competition authorities to sell components such as gears, springs and wheels to its smaller competitors.

Last year, it succeeded in getting permission from the Swiss Competition Commission to reduce its supply of these so-called mechanical movements to rivals by 15 percent compared with 2010. The company is hoping for a further reduction next year and eventually a complete lifting of the supply requirement.

"The market now has several suppliers who could produce these movements," said spokeswoman Beatrice Howald. "We don't want to be forced to deliver to everyone."

Swatch shares were up 3.3 percent at 375.80 francs ($395.72) on the Zurich exchange late Tuesday.

Tobias Levkovich, Research Analyst, Citigroup

(This is not a legal transcript. Bloomberg LP cannot guarantee its accuracy.)

TOBIAS LEVKOVICH, RESEARCH ANALYST OF CITIGROUP, TALKS ABOUT MARKETS ON BLOOMBERG TV

AUGUST 20, 2010

SPEAKERS: TOBIAS LEVKOVICH, RESEARCH ANALYST, CITIGROUP

TOM KEENE, HOST, 'BLOOMBERG SURVEILLANCE'

KEN PREWITT, HOST, 'BLOOMBERG SURVEILLANCE'

08:07

TOM KEENE, HOST, 'BLOOMBERG SURVEILLANCE': With us, Tobias Levkovich.

Let me get right to it, Tobias. We need math in August. OK? We are 2.48 standard deviations below the mean.

I mean, if you've got these fancy charts here, and you look at how much we've come down, are you saying buy here, as others, including Dennis Gartman, go to cash?

TOBIAS LEVKOVICH, RESEARCH ANALYST, CITIGROUP: What we're saying is on a relative basis, equities look a lot more attractive than bonds do at this point. And I want to buy on weakness. So when the markets pull back, I want to take advantage. I don't want to chase the market given some of the uncertainties in place today. But on a valuation factor, the equity market is factoring already a lot of bad news in the earnings environment.

KEENE: Yes.

KEN PREWITT, HOST, 'BLOOMBERG SURVEILLANCE': So the equity market is wrong?

LEVKOVICH: Not necessarily wrong, but the extent to which the investment community has gotten fearful. And just almost - think about it. Over the past week or two, we've heard about things like death crosses and the technical indicators are the Hindenburg Omen and things like that, and it just gives you a sense of the -

KEENE: Help me here.

Folks, it's a jargon-free planet.

What is a Hindenburg whatever you called it?

LEVKOVICH: Well, I didn't - I haven't created the Hindenburg Omen, but it was a technical -

KEENE: Is this like a Clemente thing?

LEVKOVICH: No. It was a technical indicator created by a mathematician looking at the percentage number of highs in the market and lows in the market. And when they cross over a certain percentage, it causes a Hindenburg moment.

KEENE: It causes the New York Mets to win.

LEVKOVICH: I'm the wrong guy to talk baseball with. But the context here is that only one out of four times does this Hindenburg Omen mean anything in terms of sending a bad signal, yet it was all the rage after an article in "The Wall Street Journal" recently. So it gives you an idea of how these kinds of articles are affecting the mindset in the investors.

PREWITT: Yes. Well, you know, Tom just read some of the numbers. You know, the two-year treasury at .47, the 10-year barely above 2.5. McDonald's goes to Hong Kong and sells three-year bonds at three percent.

I mean, do we reach a point here where people say, come on, I've got to have some return?

LEVKOVICH: Well, you would say the junk bond market is so strong because of that in terms of the yield opportunity. The MLP markets are strong, the REIT market has been strong, anywhere we can get a better yield.

The dividend area is a little bit more complex given the expiration issues of the Bush tax cuts and what's going to happen with that in the future. We don't know the answer. We don't know the answer in general dividends, but in things like REITs and MLPs, that's not an issue.

PREWITT: Right.

LEVKOVICH: So, you know, in the sense that investors do want yield, but they're also fearful of what's going on, so they've been running to bonds. What I'm concerned about in the bond market is not bonds are a bad investment. The extremities of the money flows is what worries me.

So, for example, back in 2000, or late '99, we saw massive amounts of money going into the equity market at just the wrong time. And I feel the same way when I look at all the money going into bonds.

KEENE: I mean, this is a huge debate, Jeremy Siegel of "The Wall Street Journal" versus Paul Krugman right now.

Is there a bond bubble, Tobias?

LEVKOVICH: I don't like the word "bubble."

KEENE: I don't either.

LEVKOVICH: I think bubble is something you define as something you don't personally own. So you kind of categorize it as a bubble because it justifies or rationalizes your view.

I do think that there is an uneven distribution in the way money is flowing into different assets. And right now it's all out of equities and all into bonds. And again, 10 years ago it was the reverse, and we kind of know what happened in the past 10 years in stocks.

KEENE: Are dividends a yield equivalent?

LEVKOVICH: You know, European strategists do a lot of work on this, and the dividend yields in Europe crossed the treasuries, or the equivalent government bonds in Europe in terms of the yields, over a year ago. It hasn't really done much to change the mindset, so I'm not sure it's the fact that you have these crossovers that cause everyone to wake up and smell the coffee beans.

PREWITT: Well, you know, when you look - I mean, there's a reason it's called fixed income. Right?

LEVKOVICH: Yes.

PREWITT: Dividends can - I mean, they can go down, but dividends can also go up.

LEVKOVICH: Well, the truth is our greatest concern in the fixed-income market is if you believe - and you almost have to take extremes. If you believe we're going to get stimulus working globally and we're going to get economic growth, then there will be some inflation down the road, and obviously bonds are risky.

On the other side, if we don't have that, and we potentially go down the deflation route, you're going to have some real big risks in terms of the imbalance between federal revenues and federal expenditures. In other words, deficits will continue to balloon.

And we can say, well, it was Japan, and they went through this. But Japan doesn't source 40 percent of their funding from outside of their own country. We do.

PREWITT: You mentioned the Bush tax cuts, which is all part of the uncertainty argument. We don't know what's going happen. They expire at the end of the year unless Congress does something.

So does that mean everything's going to be on hold until the end of the year?

LEVKOVICH: I'm not sure if it's on hold until the end of the year, but it's certainly going to be watched very carefully as to where we're heading in November.

PREWITT: Oh.

LEVKOVICH: So my sense is in October, we're going to get a much better feel for what the midterm elections outcomes look like. And while I've heard talk around, well, they'll do something in the lame duck session, that will have to be a pretty significant set of compromises, because I don't think - potentially, if the Democrats were to lose a fair amount of seats, that could be a big problem to try to do something in the lame duck.

So I - you know, they're going to be viewed at circumventing the will of the people, and I don't think you want to take that route.

PREWITT: Excuse me, Tom.

If the tax cuts do expire, would that possibly be a plus in the sense that it's not uncertain anymore?

LEVKOVICH: Well, I think anything that removes uncertainty is a positive, but think in these terms. Right now, Citigroup's forecast for GDP next year in the U.S. is about 2.4 percent. If all the tax cuts expire, you can take at least another point out of that GDP number. And if you're in the 1 to 1.5 percent range next year, that's not going to feel good for markets.

KEENE: And with the second quarter markdown that we're looking at here off of inventories and trade balance and such, how do you trail on earnings forecasts from these new normal GDP statistics?

LEVKOVICH: Well, number one, I probably take a little bit of an issue with the term "new normal." One of the things that we've watched really carefully - and this has been talked about for over year - we talk about call it the old normal. You're going to go to what I call conscientious consumption instead of conspicuous consumption.

KEENE: I like that. Very good. I can't spell it, but it's good.

LEVKOVICH: Well, it's not frugality - or frivolity to frugality, as one of my dear friends David Rosenberg suggests. But it's more about people thinking before they buy for a moment, because - I know it's a horrible statistic, everybody hates hearing it - the top 20 percent of American income earners account for 50 percent of discretionary spending, and they own 90 percent of stocks.

So, if stocks go up, they feel wealthier. If the stocks go down, they feel leas wealthy and don't spend. And that's been consistent for years and years and years, and I don't think that's going to change.

KEENE: No.

LEVKOVICH: So I'm not necessarily in the new normal. I just think that people will be a little bit more thoughtful.

KEENE: We're going to come back and have a thoughtful - what did you say, conscientious?

LEVKOVICH: Conscientious.

KEENE: A conscientious discussion with Tobias Levkovich of Citigroup in our next half hour.

8:14

(BREAK)

8:37

KEENE: We continue with Tobias Levkovich, Strategist, CitiGroup. What do you overweight now? I notice here energy you are overweight. A lot of the strategists we talk to are looking at demand and they are little fragile here on oil - $73.42. Why the enthusiasm?

LEVKOVICH: Well, one of the things we - we are very different when we look at our work for the various industry leaders. We look at five factors typically - valuation, earnings revision trends. We look at sentiment factors. We look at fundamental drivers for stock prices.

And this is probably where we really start to move differently from a lot of analysts. I want to know how the market treats information, not how I would like it to be treated. So we actually back test about 330 different economic series to see which one have been the best predictors for individual industry groups. We look at about ten or 15 uniquely correlated to each of industry group and in energy, for instance, it is signaling stocks should go up. The valuation criteria, again, how do markets treat information.

So I think the way you almost positioned the question was a lot of the analysts say the price of oil here, the stocks are going to have some difficulty. We actually say that is interesting if your forecast is right, but if your forecast ends up being inaccurate, then your forecast for the stocks will be inaccurate. I would rather see how markets treat information.

PREWITT: Well, then what do you do with an oil company, Tobias? You look at proven reserves.

LEVKOVICH: Yes.

PREWITT: Divide - figure out how many barrels per share and go from there?

LEVKOVICH: Well, we actually don't get down to the specific only level. We leave that for the energy analysts themselves to do it. As a strategist, I am looking at the broader industry -

PREWITT: Right.

LEVKOVICH: groups. So I - when I look at the energy industry, I am looking at integrated oils, I am looking at refiners, I am looking at oil production companies, I am looking at oil field equipment services companies. So right now the integrateds actually look some of the best on our data.

PREWITT: Oh, they do?

LEVKOVICH: Yes, but it is not trying to say company X has these reserves. It will cost them this much to extract. For one thing, those forecasts also have been proven inaccurate. You find out the reserves are improperly calculated or technological advantages come and you change your extraction class, so that is why when I want to do it that way.

PREWITT: Yes, but I was thinking of a great quote from years and years ago, -

LEVKOVICH: Yes.

PREWITT: - when the oil M&A activity was heating up and it was the cheapest oil in the world was on the floor of the New York Stock Exchange.

KEENE: Tobias, you've got a 30 percent under valuation on S&P 500 on one of your metrics. And then you've got the famous Levkovich panic euphoria model, which is like it is grim now. I mean it is straw hats in winter. How do you pull the trigger on buying that straw hat in January?

LEVKOVICH: I think the issue for us is really looking at - or let me step back. The primary fear in the market in our minds is that we are going to blow our budget deficits apart.

And we will potentially - and I say potentially, I do not think we are going there, - but we could look like Greece. In other words, we are not dealing with a 2.5 percent ten-year bond yield, we are dealing with a 10.5 percent bond yield. And at that point, you are in really, really big trouble.

So I think that is the great fear. And the deficit reduction signals, if you want to call it that, are one, the mid-term elections in November; two, for the President's bipartisan deficit reduction committee or fiscal responsibility committee's report in December; and then the Bush tax expiration in January. So we have some very clear signals here as to where we are heading, and we think those are going to be a very important catalyst for the market.

We will probably start to discount if you like the mid-term election outcomes early in October. In other words, right now it is still two and a half months or so until the election. If it is two and a half weeks, the markets will probably start to filter that information and start pricing it into place.

PREWITT: $3 trillion in corporate bank accounts these days. We are in the middle of a big flurry of merger and activity here. This is - August is shaping up to be the busiest month this year. Does that continue?

LEVKOVICH: I think to some degree. I think we ought to be careful of that $3 trillion number. It includes banks and a lot of those assets tend to be our money that we have deposited in there.

PREWITT: Oh, yes.

LEVKOVICH: So you have to take financials out, but you are still talking in the $1.7 trillion numbers, which are staggering amounts of money in any way you calculate it.

What we have been hearing - and I heard one of the comments from the M&A head at Sylvan Cromble (ph) that you just had on the radio, - that we are clearly seeing the lawyers at the M&A firms seeing preliminary work picking up, but it is nowhere near the surge of activity we were looking at in '06 and '07 when -

KEENE: Right.

LEVKOVICH: - funding costs were easy and we were talking about literally no limitations to the amount of money you could do a deal with and we have Covenant Light and all that kind of stuff. Today the Covenants, for example, on high yield issuance is pretty tight.

KEENE: All right, -

PREWITT: Well, Tobias, we had been talking about all this cash building up and CEOs afraid to do anything with it. Are we going to look back at the Intel deal for McAfee and the BHP Billiton for Potash - are we going to look back at this and say, yes, that was the beginning of more confidence on the part of corporations?

LEVKOVICH: We could have argued this six months ago on -

PREWITT: Yes, true.

LEVKOVICH: - some other transactions that were announced or at least potentially coming to fruition. I think again we are going to have a steady improvement as opposed to just a spike. And I think people are overly interpreting every piece of information.

KEENE: Well, within that, and within cash on balance sheets, is there a new level of cash given the uncertainty out there?

LEVKOVICH: Well, there are two aspects. One is we just went through this horrific liquidity crisis where companies were terrified about where they were going to get money from and I guess they would get money from. So they are sitting on a higher pile of liquidity just a - the memory is lingering on and it is too short term. We have not distanced ourselves enough from March of '09.

On the other side of that, you also have the notion that they are worried about putting some of that money to work because of uncertainty related to regulatory and legislative agendas. And again, I think the mid- term elections may help clear some of that air.

KEENE: Where would you not be right now? I mean I know you are underweight in media, but is there one sector that is particularly difficult?

LEVKOVICH: Retailing is one that looks a little difficult, not because we have a real great concern about the consumer, but the valuation criteria and earnings revisions were way high. Ninety percent of all estimates were to the upside, now they are rolling over.

So it is not necessarily saying, hey, it's going to have a bad Christmas or holiday season, it is more about just the expectations got too far. In the instance - the one area I would still worry about in technology a great deal, is in semi-conductors.

KEENE: And I am glad you're here because I've got an announcement here. Tobias Levkovich, thank you. Being a strategist is a tough business.

8:44

***END OF TRANSCRIPT***

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Penn State has hired New England offensive coordinator Bill O'Brien as head football coach

STATE COLLEGE, Pa. (AP) — Penn State has hired New England offensive coordinator Bill O'Brien as head football coach.

среда, 7 марта 2012 г.

An 'avenue of sculpture'

ARTROPOLIS

What: Art Chicago, NEXT, International Antiques Fair

Hours: 11 a.m.-7 p.m. Friday-Saturday; 11 a.m.-6 p.m. May 2; 11 a.m.-4 p.m. May 3

Where: Merchandise Mart, between Wells and Orleans

Admission: $20; $25 for a multi-day pass

Information: (312) 527-3701; www.artropolischicago.com

Chicago is known for its wealth of public art scattered throughout the city. So the massive Art Chicago 2010 wouldn't be complete without some of the same.

Spread throughout the first floor of the Merchandise Mart and along Orleans Street art fans will find an interesting array of large sculptures by artists from Chicago and other locations around the world.

"This is our fourth Art Chicago in the Merchandise Mart," said the show's director Tony Karman. "Each year, we try to activate the inside and outside with artwork."

Art Chicago, the international fair of contemporary and modern art, is the largest event of its kind in the Midwest. It's the centerpiece of Artropolis, a citywide celebration of art, antiques and culture. Two companion shows -- NEXT, an exhibition featuring work by emerging artists, and the International Antiques Fair -- also will be housed in the Merchandise Mart starting Friday and running through May 3.

Included in Art Chicago are on-site exhibits, including "New Insight," featuring rising stars from art programs around the country; "Partisan," works that explore social and political issues; and "Perspective Texas," a showcase of work by leading artists from Texas. As opposed to these shows, which have an admission fee, the sculpture is a public art display open to anyone passing by.

Scattered throughout the Mart will be 15 large-scale works by Rodney Graham, Kiki Smith, Dzine, Tony Tasset and Dietrich Klinge, among others. These will be installed during the coming week.

"Countercurrents," the sculpture display already installed along Orleans, just north of the river, features work by members of Chicago Sculpture International, an organization dedicated to the advancement of the artform, especially in a natural landscape.

"The show is a very eclectic mix of material and concepts," exhibit curator Mimi Peterson said. "The pieces are large in scale and strong in material, which links each to the urban landscape."

Peterson says the organization's goal is to get the public thinking about art. Thus public art is a form of education.

The hope is that it will draw the viewer inside to Art Chicago where CSI has a booth displaying smaller sculptures.

"This work inside is quite different," Peterson said. "It's more on a human scale. It's a more emotional interpretation of the material and the philosophy of the artist."

Here's a look at four Chicago artists and the work they chose for the public art display.

"Blob Monster" by Tony Tasset

"Blob Monster" spent the winter in Tony Tasset's Oak Park backyard, blocking his garage. Now it will be stationed at the main entrance of the Merchandise Mart, adding a manic splash of color to the massive building.

The fun, colorful piece, standing 15 feet high, was quite the conversation piece among his neighbors, especially the children, who loved it.

"There are some funny pictures of it sitting in the snow," Tasset said, laughing.

Made with a rigid urethane foam that expands when poured and turns hard in a matter of minutes, its a simple, universal sort of image.

"I see the colorful drips as a cartoony version of a Jackson Pollack painting," Tasset, 49, said. "It's not quite a 'Scooby-Doo' monster, not quite a ghost. I think it speaks to a large audience."

Tasset attended the School of the Art Institute and now is associate director of the school of art and design at the University of Illinois Chicago. He's a multimedia artist who also works in video, bronze, photography and film.

Tasset's next public art project will be literally eye-catching. It's a giant eyeball planned for tiny Pritzker Park on State Street adjacent to the Harold Washington Library Center, where the piece will be displayed July-October.

"The Majestics" by Dzine

It's pretty obvious that Dzine's "The Majestics" is inspired by the custom cult world of low-riders, where stunning tricked-out cars are the centerpiece.

His dazzling tricked-out bike, to be displayed in the Merchandise Mart's first-floor lobby, is completely ridable and comes with an audio soundtrack -- a meditative heartbeat.

"The audio represents the idea of living and breathing this culture," Dzine said. "It's really borderline obsessive. Kind of religious."

The piece, incorporating Swarovski crystals, silver leaf, mirror, paint and fabric, is named after a well-known West Coast low-rider club.

Dzine (aka Carlos Rolon) likes the fact that this type of work takes him outside the context of the art world.

"Working and engaging with people who don't care about the art world but are making these unbelievable pieces of art is amazing and inspiring," he said.

Another side of his inspiration, came from Puerto Rican bicycle clubs and the spillover into Chicago.

"I would see these old Latin guys in Humboldt Park on these crazy cool bikes," Dzine said. "They were really tricked out."

Dzine, 39, who is of Puerto Rican descent, is self-taught and started out as a graffiti artist. Also a painter, he creates stunning psychedelic images bursting with vibrant colors.

But it's work like "The Majestics," that he says allows him a platform to take his work further into new vistas.

"There is definitely work that I create that is meant to be hung on a white wall," Dzine said. "But there's also pieces like this meant to work in a very public manner. It's something anyone can understand, from curators to the delivery people. It crosses boundaries and aesthetics."

"Finish" by Terry Karpowicz

Chicago artist Terry Karpowicz knows a lot about sculpture as public art. He was one of the founders of Pier Walk, which at its height brought 178 sculptures from around the country and the world to Navy Pier in the late '90s for an extended stay.

His elegant piece, titled "Finish," is on display on Orleans as part of Chicago Sculpture International's public art happening "Countercurrents."

"We've turned Orleans into an avenue of sculpture," Karpowicz, 61, said. "It's the perfect blank canvas for some public art."

"Finish" is a figurative image of an athlete leaning for the finish line. Made of industrial steel and sealed with a gold finish, he says it speaks to "ideas about achievement, preciousness and greed."

Karpowicz feels that the demise of Pier Walk left a void in the community which the membership of Chicago Sculpture International is filling.

"Public art is about large-scale sculpture," he said. "And that's what CSI is all about. The majority of our membership works large when we have the opportunity. "

"Scrape" by Dusty Folwarczny

Dusty Folwarczny grew up in Winfield, Mo., just outside St. Louis, where her father owned a pipe and steel company. After years spent wandering the yard, all that steel worked its way into her subconscious.

Today, Folwarczny works with the scraps from her father's company to create large sculptures that turn a pile of steel into a work of art.

"I didn't want to sell pipe," Folwarczny said, laughing. "So it's my way of being part of the family business."

"Scrape," a steel sculpture of what looks like balancing rings is part of the Orleans Street public art exhibit. Folwarczny says she wanted to make this piece "inviting and easy to engage with."

"I saw this work when we installed it," she said. "Passersby sort of wanted to sit in it. To get up in it."

Folwarczny, who now lives in Lincoln Park, dabbled in art in high school but was torn between the "healing arts and visual arts" in college. She started out in pre-med but a drama class spent building stage sets led her to sculpture. She looks at a scrap pile of steel "as a puzzle to be solved."

"I love working with steel and its raw textured surface and the beautiful oranges in the rust," Folwarczny, 30, said. "And I love the idea of public art's power to change people's view of the world."

"Scrape" is her first entry into Art Chicago, and she has her eyes on the prize.

"It's a great feeling to see my art on a downtown street, she said. "It's my goal to someday have a piece on permanent display."

Color Photo: Richard A. Chapman, Sun-Times / Chicago artist Terry Karpowicz says Orleans Street is the perfect blank canvas for a public art show. His sculpture, "Finish," illustrates his "ideas about achievement, preciousness and greed." Color Photo: Three of the sculptures featured in Art Chicago 2010 are: "Scrape" by Dusty Folwarczn,... Color Photo: ... "The Majestics" by Dzine,... Color Photo: ... "Blob Monster" by Tony Tasset.

SHOOTING SUSPECT GIVES UP

00-00-0000
Accompanied by his mother and brother, shooting suspect Sonenalinh Kounduangta surrendered to police Saturday evening. The 16-year-old Vancouver boy is accused of shooting two college students after being turned away from a party July 13. Wahed Magee, 21, remains in serious condition. Ryan Quinlan, 22, is in fair condition. Both are being treated at Legacy Emanual Hospital in Portland and are students at Washington State University in Pullman. Vancouver Police Sgt. John Chapman of the gang robbery unit said publicity in the case probably prevented friends and family from keeping Kounduangta in hiding. At a press conference Wednesday, police announced a warrant for his arrest on suspicion of first-degree assault. He said Kounduangta's mother arrived Friday in this area from her home in Alaska. The family said they happened to see Kounduangta walking along the street and then accompanied him to the Vancouver Police Department's central precinct on Stapleton Road about 5:45 p.m. "They said they saw him walking around, which I find very hard to believe," Chapman said, but he added that what's important is that he is in custody. The family waited at the station for officers to arrive. "I talked to him; he's calm," Chapman said. Chapman began interviewing Kounduangta on Saturday night, hoping to find out more about what happened the night of the shooting. Police say Kounduangta is a member of a local gang and that he was with a large group of people who tried to crash a party in the 1300 block of Northwest 52nd Street. When the crashers were told to leave, they began vandalizing cars, kicking and walking on them, and tearing off one car's spoiler. People at the party confronted them, and that's when police say Kounduangta opened fire. $00:0200300822: $199:A0200300822 $01:Copyright 2002 The Columbian Publishing Co. $02:$?The Columbian $20:July 21, 2002, Sunday $30:Front Page; Pg. a1 $60:LOMAX SAVED THE SOUNDS OF AMERICA: LITTLE-KNOWN MUSIC PATHFINDER DIES AT 87 $90:TED ANTHONY, Associated Press writer $120: He was an adventurer with boundless energy, scouring mountains and back roads for authentic American voices and carrying them home to the city, where performers with names like Guthrie and Seeger and Dylan listened and changed forever the way the country listened to music. Unless you're in the record business or the folklore business, odds are you never heard of Alan Lomax. But it would be nearly impossible to find, anywhere, an American untouched by his decades of seeking out and popularizing the music of the masses. Lomax, who died Friday at 87, believed the American folk tradition was something to be preserved, passed on to the future in an age when technology and faster-paced lives were threatening to swallow it up. And so he did, by the thousands, one song at a time. Delta blues, Appalachian ballads, New Orleans jazz, English bawdy songs Lomax was hungry for them all. Wherever they were sung, he and his bulky equipment were there, long before interstate highways and air travel made remote places accessible. At first, he worked with his father, John Avery Lomax, a patriarch of folk-music collecting. Then he worked for the Library of Congress, nearly doubling its folk-music archive. He hosted radio shows, issued records, compiled folk songs into books and credited the men and women who had provided his bounty. Lomax hit the road with his father in 1933, when he was 18. They traversed the south, stopping at prison farms, sawmills, general stores, anywhere people might be willing to share their very personal music with strangers no easy task for an outsider, especially one from back east. In these remote villages and settlements and patch towns, the Lomaxes found people still singing the songs their parents taught them, songs whose lives stretched back to the 19th, 18th, 17th centuries and even across the sea back to England or Ireland or, in the case of the blues, West Africa. By 1937, Lomax was embarking on his own trips. He set out for a wild, mountainous expanse of eastern Kentucky that few outsiders ever visited. In the car was his Presto reproducer, a needle-driven recorder that captured songs on heavy, fragile acetate disks. He was 22. It was a bumpy trip. Battery cells went dead. He ran out of blanks. One county had received power just before he arrived; others lacked electricity entirely. One man attempted to stab Lomax, convinced the song collector was making moves on his wife. But the excursion was fruitful, producing 228 new songs like "Rising Sun Blues," which would become popular within a few years as "House of the Rising Sun." Even the not-so-memorable songs were viewed by Lomax with affection. "I have made so far 32 records, some of them quite marvelous, some of them mediocre, but all necessary," he wired Washington from Harlan, Ky., in September 1937. A ubiquitous part of the New York City folk scene of the early 1940s, Lomax passed the songs he had collected to the musicians who would later become cornerstones of the Folk Revival. Among those who adopted Lomax finds: Lead Belly, whom Lomax's father had "discovered" in a Louisiana prison, Woody Guthrie and Pete Seeger. It was a heady time to be a folk musician. Politics leftist, populist politics had given many a sense of purpose. Performers needed material that echoed of the masses, and Lomax was thrilled to provide it. "He purposely tried his best to infect us with these songs," Pete Seeger recalled later. "One of the reasons we had a folk revival in this country was that Alan Lomax could recognize those qualities in a song that could make someone 1,000 miles from Kentucky want to sing them," Matt Barton, head of the Lomax Archives in New York City, said in a 2000 interview. Not everyone appreciated Lomax. His abrasiveness alienated some of his contemporaries. His politics disgusted others and, in the early 1950s, contributed to his seven-year trip to England. Others criticized him as they had his father for compiling "composites" of folk songs taking versions from several people and blending them into one. What Alan Lomax did was, in a way, inherently contradictory. He was terrified that recorded sound would eradicate the folk-singing tradition. Who needed to sing when you could play a record? And yet Lomax used the very instrument he feared to accomplish his goals. And in large part because of him, that music managed to be preserved even as it changed. Today, any American can visit the Library of Congress and hear the voices of miners and railroad men and grandmothers and itinerant balladeers who sang long ago into machines long gone. Yesterday's America, today's ears. Lomax put it this way in 1940: "The essence of what makes America lies not in the headlined heroes but in the everyday folks who live and die unknown, yet leave their dreams as legacies." Alan Lomax, who used technology to give voice to the voiceless, is silent now. But the voices he preserved? In the records of yesterday and the music of today, we are hearing them still.

MARGARET ELLIS, Columbian staff writer


SHOOTING SUSPECT GIVES UP00-00-0000
Accompanied by his mother and brother, shooting suspect Sonenalinh Kounduangta surrendered to police Saturday evening. The 16-year-old Vancouver boy is accused of shooting two college students after being turned away from a party July 13. Wahed Magee, 21, remains in serious condition. Ryan Quinlan, 22, is in fair condition. Both are being treated at Legacy Emanual Hospital in Portland and are students at Washington State University in Pullman. Vancouver Police Sgt. John Chapman of the gang robbery unit said publicity in the case probably prevented friends and family from keeping Kounduangta in hiding. At a press conference Wednesday, police announced a warrant for his arrest on suspicion of first-degree assault. He said Kounduangta's mother arrived Friday in this area from her home in Alaska. The family said they happened to see Kounduangta walking along the street and then accompanied him to the Vancouver Police Department's central precinct on Stapleton Road about 5:45 p.m. "They said they saw him walking around, which I find very hard to believe," Chapman said, but he added that what's important is that he is in custody. The family waited at the station for officers to arrive. "I talked to him; he's calm," Chapman said. Chapman began interviewing Kounduangta on Saturday night, hoping to find out more about what happened the night of the shooting. Police say Kounduangta is a member of a local gang and that he was with a large group of people who tried to crash a party in the 1300 block of Northwest 52nd Street. When the crashers were told to leave, they began vandalizing cars, kicking and walking on them, and tearing off one car's spoiler. People at the party confronted them, and that's when police say Kounduangta opened fire. $00:0200300822: $199:A0200300822 $01:Copyright 2002 The Columbian Publishing Co. $02:$?The Columbian $20:July 21, 2002, Sunday $30:Front Page; Pg. a1 $60:LOMAX SAVED THE SOUNDS OF AMERICA: LITTLE-KNOWN MUSIC PATHFINDER DIES AT 87 $90:TED ANTHONY, Associated Press writer $120: He was an adventurer with boundless energy, scouring mountains and back roads for authentic American voices and carrying them home to the city, where performers with names like Guthrie and Seeger and Dylan listened and changed forever the way the country listened to music. Unless you're in the record business or the folklore business, odds are you never heard of Alan Lomax. But it would be nearly impossible to find, anywhere, an American untouched by his decades of seeking out and popularizing the music of the masses. Lomax, who died Friday at 87, believed the American folk tradition was something to be preserved, passed on to the future in an age when technology and faster-paced lives were threatening to swallow it up. And so he did, by the thousands, one song at a time. Delta blues, Appalachian ballads, New Orleans jazz, English bawdy songs Lomax was hungry for them all. Wherever they were sung, he and his bulky equipment were there, long before interstate highways and air travel made remote places accessible. At first, he worked with his father, John Avery Lomax, a patriarch of folk-music collecting. Then he worked for the Library of Congress, nearly doubling its folk-music archive. He hosted radio shows, issued records, compiled folk songs into books and credited the men and women who had provided his bounty. Lomax hit the road with his father in 1933, when he was 18. They traversed the south, stopping at prison farms, sawmills, general stores, anywhere people might be willing to share their very personal music with strangers no easy task for an outsider, especially one from back east. In these remote villages and settlements and patch towns, the Lomaxes found people still singing the songs their parents taught them, songs whose lives stretched back to the 19th, 18th, 17th centuries and even across the sea back to England or Ireland or, in the case of the blues, West Africa. By 1937, Lomax was embarking on his own trips. He set out for a wild, mountainous expanse of eastern Kentucky that few outsiders ever visited. In the car was his Presto reproducer, a needle-driven recorder that captured songs on heavy, fragile acetate disks. He was 22. It was a bumpy trip. Battery cells went dead. He ran out of blanks. One county had received power just before he arrived; others lacked electricity entirely. One man attempted to stab Lomax, convinced the song collector was making moves on his wife. But the excursion was fruitful, producing 228 new songs like "Rising Sun Blues," which would become popular within a few years as "House of the Rising Sun." Even the not-so-memorable songs were viewed by Lomax with affection. "I have made so far 32 records, some of them quite marvelous, some of them mediocre, but all necessary," he wired Washington from Harlan, Ky., in September 1937. A ubiquitous part of the New York City folk scene of the early 1940s, Lomax passed the songs he had collected to the musicians who would later become cornerstones of the Folk Revival. Among those who adopted Lomax finds: Lead Belly, whom Lomax's father had "discovered" in a Louisiana prison, Woody Guthrie and Pete Seeger. It was a heady time to be a folk musician. Politics leftist, populist politics had given many a sense of purpose. Performers needed material that echoed of the masses, and Lomax was thrilled to provide it. "He purposely tried his best to infect us with these songs," Pete Seeger recalled later. "One of the reasons we had a folk revival in this country was that Alan Lomax could recognize those qualities in a song that could make someone 1,000 miles from Kentucky want to sing them," Matt Barton, head of the Lomax Archives in New York City, said in a 2000 interview. Not everyone appreciated Lomax. His abrasiveness alienated some of his contemporaries. His politics disgusted others and, in the early 1950s, contributed to his seven-year trip to England. Others criticized him as they had his father for compiling "composites" of folk songs taking versions from several people and blending them into one. What Alan Lomax did was, in a way, inherently contradictory. He was terrified that recorded sound would eradicate the folk-singing tradition. Who needed to sing when you could play a record? And yet Lomax used the very instrument he feared to accomplish his goals. And in large part because of him, that music managed to be preserved even as it changed. Today, any American can visit the Library of Congress and hear the voices of miners and railroad men and grandmothers and itinerant balladeers who sang long ago into machines long gone. Yesterday's America, today's ears. Lomax put it this way in 1940: "The essence of what makes America lies not in the headlined heroes but in the everyday folks who live and die unknown, yet leave their dreams as legacies." Alan Lomax, who used technology to give voice to the voiceless, is silent now. But the voices he preserved? In the records of yesterday and the music of today, we are hearing them still.

MARGARET ELLIS, Columbian staff writer


SHOOTING SUSPECT GIVES UP00-00-0000
Accompanied by his mother and brother, shooting suspect Sonenalinh Kounduangta surrendered to police Saturday evening. The 16-year-old Vancouver boy is accused of shooting two college students after being turned away from a party July 13. Wahed Magee, 21, remains in serious condition. Ryan Quinlan, 22, is in fair condition. Both are being treated at Legacy Emanual Hospital in Portland and are students at Washington State University in Pullman. Vancouver Police Sgt. John Chapman of the gang robbery unit said publicity in the case probably prevented friends and family from keeping Kounduangta in hiding. At a press conference Wednesday, police announced a warrant for his arrest on suspicion of first-degree assault. He said Kounduangta's mother arrived Friday in this area from her home in Alaska. The family said they happened to see Kounduangta walking along the street and then accompanied him to the Vancouver Police Department's central precinct on Stapleton Road about 5:45 p.m. "They said they saw him walking around, which I find very hard to believe," Chapman said, but he added that what's important is that he is in custody. The family waited at the station for officers to arrive. "I talked to him; he's calm," Chapman said. Chapman began interviewing Kounduangta on Saturday night, hoping to find out more about what happened the night of the shooting. Police say Kounduangta is a member of a local gang and that he was with a large group of people who tried to crash a party in the 1300 block of Northwest 52nd Street. When the crashers were told to leave, they began vandalizing cars, kicking and walking on them, and tearing off one car's spoiler. People at the party confronted them, and that's when police say Kounduangta opened fire. $00:0200300822: $199:A0200300822 $01:Copyright 2002 The Columbian Publishing Co. $02:$?The Columbian $20:July 21, 2002, Sunday $30:Front Page; Pg. a1 $60:LOMAX SAVED THE SOUNDS OF AMERICA: LITTLE-KNOWN MUSIC PATHFINDER DIES AT 87 $90:TED ANTHONY, Associated Press writer $120: He was an adventurer with boundless energy, scouring mountains and back roads for authentic American voices and carrying them home to the city, where performers with names like Guthrie and Seeger and Dylan listened and changed forever the way the country listened to music. Unless you're in the record business or the folklore business, odds are you never heard of Alan Lomax. But it would be nearly impossible to find, anywhere, an American untouched by his decades of seeking out and popularizing the music of the masses. Lomax, who died Friday at 87, believed the American folk tradition was something to be preserved, passed on to the future in an age when technology and faster-paced lives were threatening to swallow it up. And so he did, by the thousands, one song at a time. Delta blues, Appalachian ballads, New Orleans jazz, English bawdy songs Lomax was hungry for them all. Wherever they were sung, he and his bulky equipment were there, long before interstate highways and air travel made remote places accessible. At first, he worked with his father, John Avery Lomax, a patriarch of folk-music collecting. Then he worked for the Library of Congress, nearly doubling its folk-music archive. He hosted radio shows, issued records, compiled folk songs into books and credited the men and women who had provided his bounty. Lomax hit the road with his father in 1933, when he was 18. They traversed the south, stopping at prison farms, sawmills, general stores, anywhere people might be willing to share their very personal music with strangers no easy task for an outsider, especially one from back east. In these remote villages and settlements and patch towns, the Lomaxes found people still singing the songs their parents taught them, songs whose lives stretched back to the 19th, 18th, 17th centuries and even across the sea back to England or Ireland or, in the case of the blues, West Africa. By 1937, Lomax was embarking on his own trips. He set out for a wild, mountainous expanse of eastern Kentucky that few outsiders ever visited. In the car was his Presto reproducer, a needle-driven recorder that captured songs on heavy, fragile acetate disks. He was 22. It was a bumpy trip. Battery cells went dead. He ran out of blanks. One county had received power just before he arrived; others lacked electricity entirely. One man attempted to stab Lomax, convinced the song collector was making moves on his wife. But the excursion was fruitful, producing 228 new songs like "Rising Sun Blues," which would become popular within a few years as "House of the Rising Sun." Even the not-so-memorable songs were viewed by Lomax with affection. "I have made so far 32 records, some of them quite marvelous, some of them mediocre, but all necessary," he wired Washington from Harlan, Ky., in September 1937. A ubiquitous part of the New York City folk scene of the early 1940s, Lomax passed the songs he had collected to the musicians who would later become cornerstones of the Folk Revival. Among those who adopted Lomax finds: Lead Belly, whom Lomax's father had "discovered" in a Louisiana prison, Woody Guthrie and Pete Seeger. It was a heady time to be a folk musician. Politics leftist, populist politics had given many a sense of purpose. Performers needed material that echoed of the masses, and Lomax was thrilled to provide it. "He purposely tried his best to infect us with these songs," Pete Seeger recalled later. "One of the reasons we had a folk revival in this country was that Alan Lomax could recognize those qualities in a song that could make someone 1,000 miles from Kentucky want to sing them," Matt Barton, head of the Lomax Archives in New York City, said in a 2000 interview. Not everyone appreciated Lomax. His abrasiveness alienated some of his contemporaries. His politics disgusted others and, in the early 1950s, contributed to his seven-year trip to England. Others criticized him as they had his father for compiling "composites" of folk songs taking versions from several people and blending them into one. What Alan Lomax did was, in a way, inherently contradictory. He was terrified that recorded sound would eradicate the folk-singing tradition. Who needed to sing when you could play a record? And yet Lomax used the very instrument he feared to accomplish his goals. And in large part because of him, that music managed to be preserved even as it changed. Today, any American can visit the Library of Congress and hear the voices of miners and railroad men and grandmothers and itinerant balladeers who sang long ago into machines long gone. Yesterday's America, today's ears. Lomax put it this way in 1940: "The essence of what makes America lies not in the headlined heroes but in the everyday folks who live and die unknown, yet leave their dreams as legacies." Alan Lomax, who used technology to give voice to the voiceless, is silent now. But the voices he preserved? In the records of yesterday and the music of today, we are hearing them still.

MARGARET ELLIS, Columbian staff writer