PAVEL SIDORENKO "RE_VINYL" WALL CLOCKS

When we flipped into daylight savings time a couple of weeks ago, clocks all over the place stayed an hour behind due either to laziness or the inability to reach a clock hung way too high without a ladder^^or calling in a favor from the tall neighbor. If you owned a Pavel Sidorenko "Re_Vinyl" designer wall clock, you might not care what time it is or that you're 60 minutes early for a meeting because you forgot to set it back an hour. These pieces, made from vinyl records, are as much about form as they are about function.

According to his Facebook page, Sidorenko is an Estonian multidisciplinary designer who aims to "create functional and playful products that retain their simplicity while interacting with the space and user ... to not only incorporate pragmatic necessity, but also transmit an emotional quality within the everyday environment."

It's hard not to feel some kind of emotion about these carved clocks: scenes of a skyline in Paris, a six-person rocfc band, a bird on a branch, a whimsical umbrella, a bunny, a cuckoo clock, a pipe-smoking penguin in a fedora. They're cute, smart, clever and in some cases so intricate, that It's easy to forget they're made from the somewhat unforgiving plastic of vinyl records.

And unlike the boring clock that hangs above your cubicle (which - from staring at it - you know as well as you know the back of your own hand), when the battery dies in one of these Sidorenko sweeties, you still have a piece of art - and not a non-working eyesore - to stare at.

- Amy Atkins

[Sidebar]

pavel-sidorenko.com

USING SOCIAL MEDIA TO YOUR ADVANTAGE

With a technology-driven generation on the rise, the international music industry has jumped onboard the social networking bandwagon. Never has it been easier to utilize online tools for self-promotion and communication. If you've got your various pages up and working, we've got some industry insight to help you maximize their potential via the type of content you're sharing with your fans and beyond, If you're an artist or industry professional who is not yet active in the many social networking communities in Cyberspace, quite frankly, it's time to get started. And don't worry - we can help you with that, too...

How Social Media Helps The Music Industry

"Social networking offers a way to communicate with your fans on a daily basis," says BC-based country music artist Jessie Farteli. Farrell is well-known for going above and beyond with regards to her social media skills, and the industry has taken notice. In fact, she was chosen to perform a skit on the very subject with Reba McEntire and Martina McBride at the CCMAs (Canadian Country Music Awards) last year.

"I have someone who advises me on web strategy, who also advises other artists, and I've learned and ultimately gotten so much from it. I get so much positive feedback online and I didn't expect to interact with so many fans on such a wonderful level." she says.

"It's a way to leverage your message." says pop/country artist Dave Carroll from Nova Scotia, who recently released his third "United Breaks Guitars" video He used YouTube to broadcast his trilogy of music videos regarding his Taylor Guitar that was damaged during a flight with United Airlines, which has brought him international recognition through media outlets such as Reader's Digest. CNN. and Rolling Stone. "Social media and [social] networking allow you to do that in ways you never could before. It allows you to thrive as an independent musician."

Putting it more simply, Eric Alper, Director of Media Relations and Label Acquisitions at E1 Music Canada, says: "Social networking is the greatest thing that's happened since sliced bread. It's a way to have a relationship with your fans and other people in the industry and it's very immediate."

Point and case: the band Stereos, from Edmonton, who worked for over five years to get their music to the masses, and finally stuck gold with their appearance on MuchMusic's disBAND. This opportunity allowed Stereos to be heard on a national scale.

"As far as the world is concerned, we broke overnight," says Pat Kordyback, lead singer of Stereos. The TV show finally put them in front of their intended authence. "It was something that we couldn't really do on our own, so it basically just launched us completely and it changed everything overnight," he recalls. "The next day, people recognized us on the streets."

Stereos are now active on Facebook, MySpace. and Twitter, among other social networking communities. Kordyback says every artists should be "as active as possible, especially at first, to engage people. There are a million other bands and you have to give [your fans] what they want. in a sense." if you have fans who are constantly asking you questions to see what you have in store for them, then you should be thankful, and "feed that side of the industry as much as possible."

"If you feel like connecting with fans is a burden, then you probably shouldn't be in a band," says Kordyback. adamant that sacrificing the connection with fans (your customers) through social media is not an option. Even when the guys from Stereos are tired, they would rather be exhausted but still spend a few hours on Facebook and Twitter, replying to messages from fans, than to go back to their old day jobs.

Social networking has provided artists with a great tool for marketing, promoting, and advertising. Facebook Events allows people to sign up and interact with other fans before and after shows; however, it is important not to ask too much of your fans without giving something in return. This is why responding to messages and offering free downloads and contests are so vital - they create an equal, yin-yang relationship with fans.

Derek Bachman, Program Managerand FACTOR Regional Evaluations Coordinator for the Saskatoon office of SaskMusic, also values social media for providing a faster method of communication, a strategic marketing tool, and an easy way for artists to promote themselves internationally, "Essentially, it's an electronic press kit without [the artist] sending me a CD or me going to their website," he says in regards to the plentiful amount of artist information found online through Facebook, MySpace, Twitter, and YouTube alone.

You Can't Have One Without The Other

Obviously, the most popular tool in social media, among fans and artists, is online activity; Facebook, Twitter, and (maybe to a lesser extent now) MySpace all being at the top of the game for creating virtual replicas of one's self online.

"It's a tool in the toolbox," says Bachman, breaking down the three networks and their uses. Facebook, he says, is changing the way bands and artists present themselves through Fan Pages, Groups, and Events. Twitter is the easiest method to send direct updates, such as tour cancellations or changes while on the road.

Justin Bieber has used social networking to inform fans of riots at concerts or gigs that are at maximum capacity to avoid overcrowding, injuries, and disappointed fans. This method is being used by artists worldwide, from private gigs by indie bands to electronic artist deadmauB Tweeting during his performance at the Winter Olympics 2010, warning people not to come to his show because the line was six blocks long and security was not allowing anyone else in.

"Facebook and Twitter are used to communicate and have kind of merged." by allowing Tweets and Facebook status updates to act as one, says Bachman; however, he makes it clear that one won't be replacing the other anytime soon.

MySpace, he goes on, is still a great tool to get a preview of an artist's or band's music, as well as check out their image and brand. "If I hear about a new band, the first thing I do is still go to their MySpace page," he says. "If a promoter is calling me and asking me for suggestions of bands. I send them MySpace links, because it's instant."

How Close Is Too Close?

Farrell devotes a couple of hours a day to replying to Facebook and Twitter messages and keeping her fans, or "web friends" as she calls them, in the know. As a result of her hard work in pleasing her fans, they return the favour by sharing and advertising her music online. "I feel like my fans online are relentlessly loyal. They're such cheerleaders for my music," she says with gratitude.

She admits that being in the country music genre has a lot to do with her devotion to social networking. Country musicians are known for connecting with their fans. Social media allows all Canadian artists to reach across our great nation in a way that requires far fewer Air Miles. Farrell strives to become a virtual version of Garth Brooks through social networking,

"Everyday I think of Garth Brooks, and what he's achieved in person, I try and do online," ensuring that if she's had a request for a fan birthday phone cai! or to send flowers for an anniversary, she makes sure to fulfill it. "Garth Brooks had this opportunity to be everywhere, and I don't get to be with millions of people all the time and do these things in person. I'm trying to adapt to what he does by doing a lot of that stuff online right from my hotel room, or from the bus, or from home."

On the other hand, some non-country artists feel differently about appearing as an approachable, friendly artist online. Alper brings up the issue in artists such as Led Zeppelin, who arguabiy became famous in part due to their mystique, and the fact that they would never do in-depth interviews or share personal information. These artists, he fears, may become a rare species because of a fan base always demanding and prying for more information.

Stereos, a median between the two extremes - Led Zeppelin and Jessie Farrell - face challenges in their online activity. Kordyback admits fans "demand a lot more entitlement," and from Stereos' perspective, social networking goes farther than portraying an online persona. Sometimes, it can go so far as to being invaded for information pertaining to their daily lives. Kordyback says he can't believe how quickly people can find out things about their personal lives before it ends up in gossip magazines via photos shown in their personal friends' profiles on Facebook or unintentional tagged photos of Stereos.

Are You Connecting, Or Just Creating "Noise?"

There is a fine line between connecting with fans and creating what Bachman and Carroll refer to as "noise."

"You have to be smart about it and selective with getting the news out there, otherwise, it could just becomes noise." Carroll says, explaining that if you are constantly filling them with nonsense information, then when you actually have something valuable to say it might be lost in a sea of noise.

While social networking is benef icial for artists, in providing an opportunity for everyone to have their own voice. Carroll explains the Internet is crawling with artists dying to get their music heard. This creates a probiem where fans and industry professionals are forced to cut through the noise and risk your message being lost in the mix Creativity, he advises, is what catches people's attention - not knowing what you ate for lunch.

Aiper believes newer artists do not have a "filter" separating the information fans need to know, versus what they want to know. "Sometimes they're just letting their fans know everything." In other words, the information cannot be forced. As an artist or industry professional, you shouldn't be updating your Facebook status or Tweeting just for the sake of writing something. Give your followers a reason to read it. Lure them in.

"The key for "United Breaks Guitars" was that it was so relatable," says Carroll, who uses a different approach to social networking, primarily and most successfully through YouTube. "Humour is huge. Humour has a good way of drawing people in and making people want to come back and tell their friends."

The information in his trilogy of music videos carries a meaningful message, focus, and purpose. Carroll did not upload a revengeful video diary, hoping people would tune in. Instead, he created quality music videos, with the help of volunteers, with a goal of reaching one million views. His topic at hand is funny, relatable, and has a clear objective. With solid planning, he has become more successful than expected. "It was so relatable that it was a worldwide phenomenon."

Mastering The Art

Achieving and maintaining a positive web presence isn't easy. As with everything else in this business, it takes time, patience, and effort. Avoid building that presence in the same manner you may have run your personal social networking accounts before becoming a recognizable artist or band member.

"I've seen some people who are really good at it, but some aren't. Some create the page and expect it will get all these views and hits," says Bachman, suggesting every artist spend a few hours a day "cross-networking" and building an online persona. "How willing you are to use it is how successful you might be with it." He adds that having the motivation to recruit followers, friends, and fans is the key to social networking.

"I feel strongly that you have to have a relationship with them," says Farrell, relating back to the yin-yang compromise. She says you should "honour" and "respect" your fans, treating them as close friends you would welcome into your cyber home. "Ask them what they think about things and you'll find that they will come back to your shows and they will be loyal."

Be warned, though; social networking cannot and will not replace the physical and existing means of exposure. You still need to pitch to radio, tour, send some mailings, and the whole lot. Social networking isn't meant to replace actual networking - it can only enhance it.

"There's still a lot of things you have to do in coordination with the social media," says Bachman. "It's the combination of everything that helps artists find success."

[Sidebar]

SOCIAL NETWORKING COMMUNITIES AT A GLACE

With Derek Bachman and Eric Alper

MySpace:

* Fast and easy: within five seconds you can view a bio, hear some music, read some reviews, check tour dates, and get connected with other pages (website, Facebook, Twitter, etc.),

* You are not required to "sign up" or "become a friend" to view information.

* Like an electronic resume.

Facebook:

* Now working with iTunes so music purchasing is available.

* Personal profiles can only hold up to 5,000 friends; however, Fan Pages and Events make connecting with fans easy.

* A shorter bridge: more information is shared, such as videos, photos, tagged photos by fans, bios, etc. and responding to posts and inbox messages is easy.

Twitter:

* Offers higher security settings and people can follow and have as many followers as they desire (as long as the numbers fall within an 80 per cent balance ratio)

* It is easy to give out information quickly with the 140-character maximum cut off, which can also update your Facebook statuses.

* Re-Tweeting allows fans to advertise for you, creating a larger social network.

[Sidebar]

DOS & DONTS OF SOCIAL MEDIA

with Eric Alper

DO:

1. Follow people outside of your comfort zone, such as another time zone, province, country, or even genre. "You might find that you're getting a really great response and that might be used for a possible future gig, or at least maybe some airplay down the road."

2. Connect with your fans though personal messages for birthdays or other celebrations, and follow your fans to check out what they're interested in. "I would definitely keep track of who is following you and make sure that you're following them as well," he says.

3. Don't be afraid to get down and personal with your fans. "Be as personal as you possibly can. Don't try to manipulate the system, because there's nothing really to manipulate," he says. "You should treat them with the utmost respect because they could be going to any band possible, but they chose you."

DONT:

1. Send an automatic thank-you notice (aka Spam). "The impression is. 'You don't have to thank me because I already know who you are.' So don't spam me with your welcome message."

2. Involve religion or politics, if at all possible. Even in the case of elections and political or religious music, try to keep everything clean and in moderation. "Sometimes people just want Io hear the music."

3. Remember the 3 Ps. Don't say, write, or post anything you wouldn't share with your Parents, your Principal, or the Pope. "Don't put anything on Twitter that you couldn't say to somebody's face. And if your mother were to read this stuff, would she be disappointed in you? Because it's going to come back and it will bite you, and then you're going to have to do some explaining."

[Author Affiliation]

Ashley Foley is an Editorial Assistant with Canadian Musician.

Sprucing Up an Old System

As we get set for a global fibre shortage, researchers in northern Ontario are looking at the cost-benefit equation of using commercial thinning in dense black spruce stands.

As recently as the turn of the century, commercial thinning (CT) was all the news in Canada's forest sector. Some players, like living in the east, Heideman in southern Ontario, or Millar Western in Alberta were already doing it, but many others were running between workshops and tours from Whitecourt and Moncton to Jonkoping to see what all the fuss was about. And then-nothing. Fibre was cheap, sort of, plentiful, son of, and modern sawmilling technology could make a 2x4 out of a 3-in tree, if markets were right. True believers went on with their CT work, and everyone else got back to business as usual.

Until now that is, as talk of impending global and regional fibre shortages have people talking about CT again. Most recently, Don Roberts of CIBC World Markets, a long-time industry analyst, suggested in a report on New Brunswick's forest sector that growing more trees, and faster, will be the key to cashing in on future strong markets for all things wooden. Similarly, expensive fuel has some thinking that it'd be kinda nice to have some good wood, close to the mill. Finally, any company that can show they are more than a one-hit wonder - clearcutting - will be ahead in the marketplace today.

What about spruce?

In that sense, Doug Reid and the folks at the Ontario MNR's Centre for Northern Forest Ecosystem Research (CNFER) may be ahead of the curve. Since 2006, they have worked with partners at the University of Guelph, Domtar, and FP Innovations (Ferie and Forintek Divisions) to measure the balance of costs and opportunities in thinning black spruce stands. The trials are funded under Ontario's Forestry Futures Trust as part of its Enhanced Forest Productivity Sciences program, all in turn funded through industry stumpage. A comprehensive research trial has been established in the Lake Nipigon Forest near Thunder Bay, where researchers are investigating the commercial viability of CT work in these densely-planted stands, its ability to improve the value of the residual stands, the ecological effects, and the potential impact on local communities and businesses. With tens of thousands of hectares of black spruce established in Ontario from the 70s to the 90s, the goal is to help industry and government decide if CT work is a good option for such stands, and if so, the best way to go about it.

"The stands we are studying were planted in 1960/61 at a density of 3,000 stems/ha on very good sites," explains Doug Reid, boreal silviculture research scientist with the CNFER in Thunder Bay. As such, they promise good volumes by local standards -180m3/haof merchantable fibre at age 47. But there's more.

"The importance of these stands is that they are not alone. The Lake Nipigon stands were used as a model for the OMNR's large spruce planting program that really got underway in the late 70s and continued into the early 90s. They may be a valuable source of wood for forest operations as the trees become large enough for CT, if questions regard' ing the benefits, costs, and effects of CT in black spruce can be answered."

And answered they must be if industry hopes to get the OMNR on board. Right now, Reid says, CT in black spruce plantations is not a recommended treatment like it is for such species as the red pine Eddie Heideman's operations have been thinning further south since the early 90s. It's not that the ministry doesn't like thinning.

"It's largely because the MNR does not have the information required to make a valid decision. Part of the study's objective is to get that information, so that we're not saying no by default. It could be a benefit for mills that are now hauling 500km one way to have potential sources close at hand. And thanks to the time gap between our stands, and the bulk out there (1960 trial stands versus late 70s), this study should be ready in time to help make informed decisions on whether to use CT in these young stands, and how."

Machine trials

The earliest part of the study is already complete, with several machine trials this past winter and early spring. The researchers brought in one of northern Ontario's only seasoned CT contractors, Decicon Harvesting of the Timmins area, to organize the actual work Special rubber-tired gear was also used, thanks to some generous support from CTL manufacturer Ponsse. The Finnish-based supplier is no stranger to CT work, and brought in one of its larger Buffalo Dual harvester-forwarder combo machines. Decicon, which has in fact been doing mostly clearcuts near Chapleau for the past few years, was very keen to work on the trials, according to part-owner and thinning enthusiast Christine St. Pierre. They also had a skilled operator in Mika Rahkola for the trials, a logger who has since moved on to work with Ponsse as a demo operator. For Ponsse's part, supporting the trials was only natural.

"Our machines are involved in thinning operations all over the world, so we were keen to get involved in promoting the method here," says Ponsse North America president Marko Mattila. "We had the Burraio Dual available for the trial, and it works very well in the application, although probably the better option would be our Ergo or Beaver harvester (Ed. Note - The Buffalo Dual is a 14-tonne machine, but Ponsse also makes the Wisent Dual 12- tonne machine that would be better suited to CT work). The timing could have been better, since we ended harvesting further into spring than you might like for this work. But overall, it's important for CTL manufacturers to get involved in this kind of work, and we were happy to help. We were pleased with the triaL"

The feeling was mutual, as Reid notes that both machine and operator performed well in some difficult circumstances. St. Pierre agrees that Ponsse's support was critical, and impressive. The thinning trial involved three sites - Two mechanical and one smaller manual site. The sites were then divided to test several different harvesting intensities:

* Remove 30 to 35% of the basal area (15 ha of moderate thinning)

* Remove 25% of the basal area (8 ha of light thinning)

* Remove 45 to 50% of the basal area (8 ha of heavy thinning)

* Clearcuts on eight 1-ha sites.

The third, smaller site will yield another 6 ha of moderate and light thinnings and 3 ha of clearcuts. The reason for the clearcuts, Reid adds, is to provide industry and government with Plan B.

"CT is expensive work - we couldn't be doing it without funding. So we need to compare the benefits and costs of various CT options with short-rotation clearcut operations to make sure that we have the best overall option for these stands. The areas will be planted with good stock, and managed for short rotation."

Thinning costs will be compared to clearcut costs using Feric's extensive incheaper to just harvest the whole stand at once as far as immediate logging costs go, the final verdict will have to wait five or six years, when researchers return to measure the response in individual stands.

"We'll be comparing the value differential over time, and within a wider business framework. We'll look at other economic factors across the whole forest value chain - cost at the mill gate, as many such stands will be a bt closer to the mill than alternative sites. Value is a tricky issue, as markets change and we can't know all those variables. Right now sawlogs here are not carrying the value bonus they have in the past, and likely will in the future. But we know that piece size will affect harvest costs down the road regardless."

Costs are of course an issue for contractors as well. St. Pierre says that because of a variety of factors outside their control, including the distance from their home base and the haul, "we lost our plaid shirts on this one." It's unfortunate that the smallest partner in the project took the biggest hit, something that researchers and forest companies will have to look at a bt closer if they hope to get contractor co-operation in future trials.

Forintek's Tony Zhang has already compared the value of the log products removed under each prescription, and a similar comparison will be made when researchers return to measure the response. As in any sixategic planning exercise, assumptions will have to be made about factors as varied as the price differential between sawlog and pulp or biomass logs, to the cost of diesel (for transport comparisons). The goal will be to use the best possible info in determine how in best manage the stands.

For the University of Guelph's part, its staff will look at the nutrient cycle of the stands, and will also follow up on work done in the past on these same sites studying the effects of CT interventions on ground vegetation.

As results start rolling in over the next 10 to 15 years, it will be up to landowner (the Crown in this case) and industry alike to decide whether a change in prescription is just what the doctor ordered.

[Sidebar]

The Lake Nipigon Forest site after the Ponsse Buffalo Dual combo machine went through as harvester, and returning as 14tortne forwarder. The stands were planted in 1960/61 at 3,000 stems/ha, and already show 180 my/ha in merchantable timber with stem diameters averaging 14 to 15 cm (DBH) and height to 14 metres.

[Sidebar]

The Ponsse Buffalo Dual, as harvester. The site yielded 80% No. a or better sawlogs, and higher volumes than Decicon expected.

The study results should be ready when the hulk of Ontario's black spruce plantations are ready for CT work.

[Sidebar]

Operator MkaRahkola. "Mkadida really good jab overall, " recalls OMNR researcher Doug Reid. "Especially when you consider we did a lot of work after break up, so we were pushing machine and operator.

Algerian army kills 6 militants

ALGIERS, Algeria (AP) — The army says it has killed six Islamist militants in an operation east of the capital Algiers.

An official said army units encircled the Chouicha forest on Monday near the town of Boumerdes, 38 miles (60 kilometers) east of the capital, and killed Adel Bourai, a top official in a local group.

Five more members of the Akram Brigade were also killed Tuesday in a gun battle deep in the forest as part of the military's mopping up operation in the area.

The official spoke on condition of anonymity because he was not authorized to speak to the press —

For two decades, Algeria has been battling an Islamist insurgency, now allied to al-Qaida, that continues to conduct attacks.

Boumerdes and the nearby Berber enclave of Tizi Ouzou have turned into strongholds for al-Qaida in the region.

he top of taste memories Jell-O wiggles to t

I can't say the earth shook when I heard the news, but it mighthave wobbled a little.

Grand Rapids, Mich., is the Jell-O capital of America.

The city has earned its place as the jewel in Jell-O's crown.

"Grand Rapids consumed 82 percent more Jell-O than the averagemarketing area," said Cliff Sessions, spokesman for General Foods,the Jell-O makers.

"People there ate 25.5 servings per household, as opposed to13.5 servings per U.S. household."

What molds Grand Rapids into a city of mighty Jell-O consumers?

"Traditional family values are strong there," spokesman Sessionssaid. "They sit down to meals prepared with care." Jell-O takestime. You can't nuke it in the microwave and serve it 30 secondslater.

Maybe. But I have my own theory. Grand Rapids also has morechurches than any other place in America. And Jell-O is the officialfood of the church supper. It is the modern manna, made for anyoccasion. Jell-O with celery is a salad. Jell-O with pineapple is adessert. Jell-O with whipped cream and strawberries is for specialoccasions.

The mayor of Grand Rapids, Gerald Helmholdt, took the news withcautious pride.

"It's got to be because we have such happy, jolly people here,"he said. "We like to see that Jell-O shake and jiggle on the plate."

Somehow, I can't see the 600,000-plus people of Grand Rapidssitting around watching their Jell-O wobble. There's more shaking inthe city than that.

But his honor would not speculate further.

"I've got to be careful," he confided. "A few years ago, somesurvey said Grand Rapids was the largest buyer of rat poison. Areporter called me for a comment. I said those weren't rats, theywere chipmunks. I said that tongue-in-cheek, but the neighborhoodsgot after me."

Frankly, Helmholdt has not been doing his bit to keep GrandRapids the Jell-O capital. He admitted, "I very seldom eat it. WhenI do, I prefer cherry or raspberry flavor with lots of whippedcream."

Jell-O wasn't always paired with homey, ho-hum "family values."

In the early 1900s, glamorous actresses such as Ethel Barrymorerevealed their Jell-O recipes. Young Jack Benny pushed it on hisradio show in the '30s by starting shows with a cheery "Jell-O,everybody!"

Maxfield Parrish and Norman Rockwell illustrated Jell-O ads.

Rose O'Neill, the artist who invented the Kewpie doll, also dida Jell-O girl. Her ads were not saccharin free. A 1921 ad shows agroup of sweet, beribboned children being served red Jell-O for abirthday party.

"Dorothy is 5 years old today," the ad begins. "As usual on suchoccasions, mama has made up a big cherry Jell-O dessert and while Nanbrings it in and serves it, cousin Betty and Peg congratulate eachother on their good fortune."

The ad ends, "for little party affairs, and big ones, Jell-O hascome to be regarded as almost indispensable."

But Jell-O was not an instant success. The first stirrings ofinterest in gelatin desserts were in 1845. In that historic year,Peter Cooper invented the prototype of Jell-O.

He made it sound just yummy. He called the stuff a"transparent, concentrated substance containing all the ingredientsfitting it for table use in portable form, and requiring only theaddition of hot water to dissolve it."

In 1895, Pearl B. Wait, who made corn plasters, adapted Cooper'sgelatin dessert. His wife, Mary Davis Wait, gave it a snappy newname, Jell-O. In 1897, the first Jell-O was on the shelf.

It stayed there. The public was not bowled over. Even theofficial Jell-O history admits the new product " . . . didn't set anysales records. A few years later it was sold for $450 to a neighbor,Orator Francis Woodward."

Jell-O flopped for Woodward, too. In fact, he couldn't evensell the formula for $35.

Then, everything jelled. Woodward started an expensiveadvertising campaign. It had " . . . women with wavy curls andfashionable buns" - put your eyebrows down, buns were a hair style atthe turn of the century - " . . . dressed in white aprons andproclaiming `America's Most Famous Dessert.' "

By 1906, the ads were true. Jell-O was America's Most FamousDessert, with sales just under $1 million.

I've always believed that Jell-O enjoyment was sex-linked. Menliked it better than women. Anyway, the men in my family did. Mybrothers always asked for Jell-O for their birthday dinners. Andthey could have had anything they wanted, even steak and ice cream.

But spokesman Cliff Sessions said sex has nothing to do withJell-O.

"Jell-O enjoyment is not sex-linked," he said. "Males andfemales are not always equal, but when it comes to Jell-O they are." MARGARITA MOUSSE

2 tablespoons lime juice

Sugar

2 cups thawed non-dairy whipped topping

1/2 cup sweetened condensed milk

3 tablespoons orange liqueur

1 tablespoon grated lime peel

1 (3-ounce) package lime Jell-O

1 cup boiling water

1/3 cup cold water

Lime twists

Dip rims of 6 to 8 dessert glasses in lime juice, then dip insugar. Let stand to dry.

Combine whipped topping, milk, liqueur and peel, blending well.

Dissolve gelatin in boiling water. Add cold water and chilluntil slightly thickened. Fold in whipped topping mixture and spooninto glasses. Chill until set, about 1 hour. Garnish with limetwists, if desired. Serves 6 to 8. SUNSET YOGURT MOLD

2 (3-ounce) packages or 1 (6-ounce) package orange or lemonJell-O (see note)

2 cups boiling water

1/4 cup cold water

1 (8-ounce) can crushed pineapple in juice

1 cup coarsely grated carrots

1 (8-ounce) container plain or pineapple-orange yogurt (seenote)

Salad greens and carrot curls (optional)

Dissolve gelatin in boiling water. Measure 1 cup and chilluntil slightly thickened.

Add cold water to remaining gelatin, then add pineapple withjuice and carrots. Pour into 5-cup mold. Chill until set but notfirm.

Blend yogurt into reserved gelatin and spoon over gelatin inmold. Chill until firm, at least 4 hours. Unmold. Serve with crispsalad greens and carrot curls, if desired. Serves about 8.

For squares: Prepare gelatin-yogurt mixture and pour into 8-inchsquare pan. Chill until set but not firm. Meanwhile, preparegelatin-pineapple mixture. Chill until slightly thickened and spoonover creamy layer. Chill until firm and cut into squares.

Note: One (3-ounce) package orange Jell-O and 1 (3-ounce) lemonJell-O can be used. If desired, substitute 1 cup sour cream foryogurt. GELATIN POKE CAKE

1 (18.5-ounce) package white cake mix or pudding-included cakemix

1 (3-ounce) package Jell-O, any flavor

1 cup boiling water

1/2 cup cold water

Whipped topping and fruit or marzipan (optional)

Prepare cake batter as directed on package and pour intowell-greased and floured 13-by-9-inch pan. Bake at 350 degrees 30 to35 minutes, or until cake tester inserted in center comes out clean.Cool cake in pan 15 minutes. Pierce with utility fork at 1/2-inchintervals.

Meanwhile, dissolve gelatin in boiling water. Add cold waterand carefully pour over cake. Chill 3 to 4 hours. Garnish withwhipped topping and fruit or marzipan, if desired. Serves about 12.

Note: Alternately, cake can be baked in 10-inch tube pan 45 to50 minutes. Remove from pan and place on waxed paper before addinggelatin. Or use 2 (8- or 9-inch) layer pans and bake 30 to 35minutes. Remove from pans and place in clean pans or on waxed paperbefore adding gelatin. Fill and frost with 3 1/2 cups (8 ounces)non-dairy whipped topping, thawed.

$286B Farm Bill Falls Short in Senate

The Senate blocked a $286 billion farm bill Friday, a blow to farm-state lawmakers who wanted to give their constituents expanded subsidies before next year's elections.

Though politically popular, the bill stalled in a dispute between the parties over unrelated amendments that Republicans wanted to add. Democrats failed to get the 60 votes they needed to cut off debate on the measure. The final vote was 55-42.

The vote could push consideration of the legislation into 2008 or beyond. Senate Agriculture Chairman Tom Harkin, D-Iowa, said Thursday that the bill may fare better after next year's elections, with a new Congress and a new president.

The Bush administration has issued a veto threat against the bill, saying it is too expensive and would pay wealthy farmers too much.

Harkin speculated on the floor Friday that the White House is pressuring Republicans to stop the bill because President Bush doesn't want to veto legislation that is so popular in farm states.

"I certainly hope the situation is not a deliberate, or orchestrated, attempt to stop the farm bill dead in its tracks, but I'm beginning to wonder," Harkin said.

Farm state Democrats headed home for the Thanksgiving recess are preparing to blame Republicans for slowing down the legislation. Some Republicans wanted to offer amendments dealing with the alternative minimum tax, immigration and other nonagricultural issues.

"I need to explain why the farm bill has been obstructed," said South Dakota Sen. Tim Johnson, a Democrat who is up for re-election next year. "That is no harm to me. I'm afraid the Republicans have some explaining to do."

Republicans blamed Senate Majority Leader Harry Reid, D-Nev., for attempting to limit the amendments.

"The Senate will pass a farm bill _ that is certain _ but only after an open and fair debate on the Senate floor," said Senate Minority Leader Mitch McConnell, R-Ky.

Four Republicans voted with Democrats to end debate: South Dakota Sen. John Thune, Iowa Sen. Charles Grassley, Minnesota Sen. Norm Coleman and Oregon Sen. Gordon Smith. Coleman and Smith are up for re-election next year.

The five-year bill would extend the 2002 law that governs farm subsidies and nutrition programs, including food stamps. Most of those programs are operating under a temporary extension now.

The Senate legislation, like a similar bill passed by the House in July, has come under fire from taxpayer and government watchdog groups because it would expand subsidies for some crops and still allow some wealthy farmers to receive government checks.

It would also include $5 billion for farmers who have suffered weather-related disasters, a provision authored by Montana Sen. Max Baucus, a Democrat up for re-election next year.

Supporters of the bill point to an attempt to scale back some subsidy programs, including limits on the amount of money paid to those who don't make a large portion of their income on farming. The bill also increases nutrition benefits for the poor and for rural communities, and adds dollars that protect environmentally sensitive farm land.

As the Senate bill languished, the top Republican on the House Agriculture Committee said Thursday that he would support extending current law until Sept. 30, the end of the current budget year.

"The consequences of the Senate's inaction are already impacting the planning decisions of our farmers and ranchers," said GOP Rep. Bob Goodlatte of Virginia.

But House Agriculture Committee Chairman Collin Peterson, D-Minn., said it is too early to talk about extending the law.

"The budget situation isn't getting any better, and a year from now, we may have less money available to write the farm bill," he said.

The Department of Agriculture agreed.

"There is still time for Congress to pass a new farm bill," Acting Agriculture Secretary Charles Conner said in a statement.

Iverson talking with 76ers about reunion

Recently retired guard Allen Iverson and the Philadelphia 76ers met Monday to discuss his possible return to the team.

Team president Ed Stefanski said in a statement that both parties remain noncommittal about a final decision after a nearly two-hour meeting in Dallas. The 76ers were in town to play the Dallas Mavericks.

Iverson, his agent and his business manager met with Stefanski, 76ers coach Eddie Jordan and two other members of the organization in the first formal meeting between the sides. Stefanski said the team ''will continue to discuss internally whether or not to pursue this course.''

Iverson, who retired last week after playing in only three games this season with the Memphis Grizzlies, is among those the 76ers are considering to replace point guard Lou Williams, who's expected to miss eight weeks after having jaw surgery.

Iverson, a four-time scoring champion and 10-time All-Star, played the first 10-plus seasons of his career with the 76ers before being traded to the Denver Nuggets in December 2006.

- A person with knowledge of the situation said New Jersey Nets general manager Kiki Vandeweghe will coach the team for the rest of the season. The Nets, who are expected to announce the move today, fired coach Lawrence Frank on Sunday, then tied the NBA record with 17 losses to start a season.

NHL

OVECHKIN HURT IN CAPS' WIN

Washington Capitals star Alex Ovechkin left the team's 3-2 road victory against the Carolina Hurricanes with an apparent injury to his right knee midway through the first period.

A spokesman for the Capitals said Ovechkin's injury would be evaluated overnight and that any further information from the team would come this morning.

Ovechkin was injured with 7:55 left in the first period. He appeared to initiate a knee-to-knee collision with Hurricanes defenseman Tim Gleason and was down on the ice for several minutes before being helped off. He was given a five-minute major penalty for kneeing and a game misconduct.

BASEBALL

TBS, CARAY PART WAYS

Former Cubs broadcaster Chip Caray has called his final game for TBS. Network spokesman Jeff Pomeroy said TBS and Caray had decided to part ways.

Caray had called first-round playoff games for TBS for the last three seasons. He also had been part of TBS' regular-season broadcast on Sunday afternoons.

- New York Yankees captain Derek Jeter was named Sports Illustrated's Sportsman of the Year.

COLLEGE BASKETBALL

BATTLE FUELS PENN STATE

Talor Battle scored 28 of his 32 points in the second half, and Penn State (5-2) withstood a furious rally in the last four minutes to earn a 69-66 victory against Virginia (4-3) in the opener of the ACC/Big Ten Challenge in Charlottesville, Va. The Nittany Lions led 55-43 before hanging on.

AUTO RACING

DANICA SIGNS EXTENSION

Danica Patrick signed a three-year contract extension with Andretti Autosport that will keep her with the IndyCar Series team through 2012. The deal isn't expected to affect talks for Patrick to become a part-time driver on the NASCAR Nationwide Series next season.