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Dave Douglas: Music, Commerce and Culture Wars
" I don�t see jazz music as an isolated part of American society; I see it as a central part of American society and so the discussions that we�re having come right out of what it means to be American--where we�ve come from and where we�re going. "
When Douglas' RCA contract expired in 2004 he teamed with his old friend Michael Friedman to form a new, independent record label, Greenleaf Music. Since 2005, the label has released five albums. The newest Greenleaf release is Meaning and Mystery, a terrific set from the Dave Douglas Quintet. As Greenleaf continues to explore the possibilities of what a modern record label really is nowadays, the CD is only available online. I sat down with Douglas in Chicago a day before his quintet played two nights at the Green Milland spoke with him again via telephone ("I keep thinking of more I wanted to say, he told me after the final set of the second night of the Green Mill stand) a couple weeks later.
All About Jazz: Let's start by talking business. Then we'll have that out of the way and we can discuss music.
Dave Douglas: It's so appropriate that we're hearing this muzak here in the hotel as we're talking business.
AAJ: I'm just anticipating the joy of hearing this music play as I transcribe the interview.
DD: [Laughing] Well, maybe you can transcribe this flute solo.
AAJ: Yes, it's such good stuff. I used to be so scornful of this musicand it's still horrendo, but now I just feel sorry for the musicians who have to play it. The music business is so difficult.
DD: Well, look at it this way: they have a job. And God bless 'em. If you're playing music, that's what it's all about. It gets used for nefarious purposes after the fact sometimes, but I think that when people talk about the music business, I think sometimes they're not aware how diverse it is, how broad it is, how many different kinds of jobs there areworkaday jobs, creative jobs, all kinds of stuff. In a way, I think that's really wonderful. Not that people aren't aware of how many people are making a living in music, but that there are millions and millions of jobs. I think that's not appreciated sometimes among cognoscenti who want to talk about the finer points of whatever genre they're into.
AAJ: After recording for a variety of labels, most recently RCA/Bluebird, you've chosen to do it yourselfor actually, with your friend Michael Friedmanwith your Greenleaf Music label. You've already released three Dave Douglas studio records and a live set through Greenleaf as well as stuff from Kneebody. This is, I think, an attempt to be an ethical record company, and I know you've got a quick turnover between creation and releaseyour new CD Meaning and Mystery was recorded just two months before its release in April. Tell me the story of the label and what it's allowing you to do.
DD: Well, it's really interesting that you mentioned the "ethical label thing because it's something that I struggled with a lot for a lot of years. I don't think there's any clear-cut meaning as to what that really meansthere are so many sides to the equation of who's investing in who and who's getting what and who gets it back.
I just knew that in starting a label, I wanted to, first of all, be as creatively free as possible to work fastand like you said, to get something from the studio to the street in two months is wonderful. I could never have done that on any other label. The ethical part of that is something that I think you'll find at almost every one of these new artist-led internet-based companies that are sprouting up all over the placelike ArtistShare and all the people with various different relationships to ArtistShare, but also Dave Holland and Branford Marsalis and of course, John Zorn, who started it fifteen years ago.
I think that for artists who decide to take the reins of their own recorded production, the first step is often, "okay, how do we define what a fair deal is? It seems to me that a fair deal is that for the recording, there's an agreement that any profit that's made from these recordings is split between the artist and the company. The artist obviously puts in innumerable hours and years perfecting what they do, and the label puts a ton of work and investment behind this specific recording. So I think that's subtly and egregiously different from the label model, from majors down to independents. Very different.
And I just believe that it can work. I believe that it's good for everybody. We know the classic model of the record companies, and the fact that, starting in the twenties at the dawn of the recorded music age, everybody was getting intensely ripped off, and over the last century, progressively less and less ripped off. And I think this new burst of artists doing it themselves and relying on the internet as the basic motivating force behind the distribution is just another step at freeing all of that up.
I guess I should return to your question a little bit about the story behind starting the label. When I was offered the deal with RCA in 1999, I struggled with that a lotwhether I wanted to sign the 80-page deal with the devil. And I just decided that it was the kind of opportunity that comes along very rarely for creative music, for music that's outside of the normal cookie-cutter, packaged music productions. So I went for it. Actually, the deal was for six different albums and the agreement was that I could make each one be a different sound, a different direction, a different concept. And at the end of those six records, I'd be free to go. As it turned out, RCA added one record in the middle, so I actually made seven records for them.
Then I was at the end of the defined contract period, which is very unusual because usually a major label would have you on some kind of a leash at all times, so you wouldn't be free to just do what you wanted to do. I'm not saying that as a putdown; they do that because they want their marketing and distribution departments to have a free hand to sell your stuff. I think a lot of artists are very quick to say, "oh, the man, and sure, there's a certain truth to that. But at the same time, there are reasons that things happen.
So anyway, at the same time that I finished that contract, Sony was buying or merging with BMG, and in the six years that I was at the label, the name of the label changed five times and the head of the label changed four or five times. There was hardly anyone still there that had been there when I signed. So I just knew a big change was coming and I also knew that to continue, I needed certain conditions met. So I had a very friendly meeting in which I said, "this is what I want, and they said, "well, everybody's getting fired, and it's crazy here and I know we can't give you that. So thank you very much, and friendly handshake, and I left.
And it was kind of a relief. It was this huge burden off my shoulders. And I'm not complaining about all that that did for me in terms of where my music got toa lot of places it wouldn't have gotten to otherwise. But I just knew, leaving that meeting, that I was going to start my own label, It was time. The internet was facilitating lots of things. And I also have been friends with Michael Friedman for 20 years and he was ending a relationship with EMI, who had been distributing his label Premonition. He was ready to start a new venture.
The artist that he had had a lot of success with, Patricia Barber, had decided to leave Premonition and move on over to Blue Note and EMI. So he kind of had this moment of "okay, what's next? So we started talking again, and at first the talks were just hypotheticaltwo guys talking about the industry. "What do you think the future is, and "what's going on, and "are masters worth anything anymore? Then that quickly progressed to "what are you going to do?
You know, I feel like I wouldn't be where I am without all the support I had from independent labels early on in my career. Yet I knew I didn't want to go back to that; I wanted to take the next step and own my masters and take a step into the new way that this business seems to be going. So that was when we decided to start. We released the first couple records as the traditional brick-and-mortar CDs with Koch as our distributor and it was fine, but we just found that the traditional mode of distribution is very constricting.
I don't know, it's a really tough, tough area of the business right now, trying to distribute to big chain stores with this kind of music. Anybody reading this interview will know thatit's tough. It's not the same when you go down to your Tower Records or Virgin Megastore as it used to be ten years ago. There are buy-ins at every level: you buy your spot in the store. The biggest issue for us is just on a very simple level of cash flow: it was impossible. Neither of us is this incredibly independently-wealthy European playboy from St. Moritz, unfortunately. So we're trying to be realistic. We both made an initial investment, and we're trying not to have it be the kind of thing where we just pour in money, money, money.
We want to find a sustaining model to make that work. With traditional distribution, the money comes so much later and there's a lot of deductions and it's just very, very complexI can't even pretend to really understand it myself. But that was when we decided to take a look at this new internet way of doing things, and I think that we're honing in on a model that's self-sustaining at this point with these new releases.
And that's wonderful. I think that, as everyone knows, Maria Schneider getting the Grammy with the first record that was not available in stores [Concert in the Garden (ArtistShare, 2004)]that was a huge step, and very inspiring. And then [Douglas'] Keystone (Greenleaf, 2005) being nominated for a Grammy in that same position was really interesting and exciting for us. So I'll say that I'm thrilled. I love being involved in it every day, because whatever I want to do is what we do, and that's tempered by Mike's wisdom and even-handed rationality [laughing].
If you asked me, "what's your frustration right now, I would say the frustration is that I can't record more people. I went into it wanting to record more widely, and I get all kinds of stuffgreat, mad, crazy music. And I have to say no to so many things. That's the hardest part, and so I'm hoping that once we're on our feet with this model, it'll be a model that we can offer to more artists.
AAJ: Enough business, then. Your new record is Meaning and Mystery. After a couple of other projects, this is your recorded return to the Dave Douglas Quintetsort of your flagship brand. This is the first one from this group since Strange Liberation (RCA/Bluebird, 2004) and the first with just the quintet [Bill Frisell guested on Strange Liberation] since The Infinite (RCA/Bluebird, 2002). Before we talk about the actual tunes on this new record, let's just talk about this band generally. What is it that this band does? I mean, obviously it plays Dave Douglas songs, but what do you see as its specialty, if it has one?
DD: I've put a lot of thought into that, so it's hard to just give you a sound-bite answer. I've put a lot of thought into what the language of playing tunes coming out of jazz really iswhat are the constituent parts and how do you move forward within that? Which is really a challenge. And so what we do is exactly what you said: we play my tunes [laughing]. That's very different from what I do in any other band that I lead. But I think there's something really challenging to me about exploring the boundaries of freedom with limitations. We do that in this band in a way that I think is kind of at the forefront of what people are doing with the language coming out of playing with forms and structures. And melodies, harmonies.
I have to say that when Wayne Shorter started leading a small group again and I heard them, what they were doinghe's always been an inspiration for me, but I think that the way that they were doing it was so, I hate the word "revolutionary, but revolutionary! It was a way of taking the songs and then throwing out your assumptions about the way they're supposed to be played, and who's supposed to play what part, and what's supposed to happen when, and what does the idea of tempo, and key, and texture mean. And they shook it all up and poured it out on the table and it's this beautiful mosaic of all the constituent parts of the musicbut without the glue of all of our assumptions about the way it's supposed to be. That inspired me, and I feel like we're going for something like that. At the same time, of course my tunes are very different than those tunes. Our references are different, I think. I have always felt like I'm not comfortable unless I'm uncomfortable.
AAJ: Good for you.
DD: Well, I just feel that we're not really doing anything if we're not questioning our own assumptions. That may sound very trite and sappy to say that, and okay, that's fine. But at the same time, once you question certain assumptions, then you get underneath that and there's a whole bunch of other things in there. Then you get behind that, and there's a whole bunch of other things. Like the earth is resting on a turtle and then what's under the turtle? Another turtle. Then the women says, "well, what's under that turtle? and the guy says, "you're not going to get me on that one! I know it's turtles all the way down!
So [laughing] I'm interested in peeling away all these layers of things, and I think a lot of times when people talk about that, about being free and about losing our preconceptions about what we're going to play, they're referring very specifically to harmony and melody and rhythm. Which are certainly the three main biggies in writing and playing music. But then, there are so many other things, and so many of them have to do with who we are, and where we grew up, and who we talk to, and what we eat, and what kind of a car we drive or don't drive, and whether we read the newspaper or not. And what kinds of elements of different musics we're willing to countenance in the examination of our own voice.
And I've found maybe that's the toughest one of allto get away from thinking, "well, that over there is not okay. Everything is acceptable in my music except that. I don't want you to get the feeling that I'm sitting here saying this is what everyone has to do; if anything, what I'm trying to say is that the age of huge manifestos is over. We had manifestos in the 20th century and look where it got us! We're mired in a war in the Middle East still, and we still argue about what jazz is.
AAJ: Or what it isn't.
DD: And the argument about what jazz isGod, we should take pleasure in that because there's people dying over there on the other side of the world. And even here. But I'm just talking, for me, about what I've found. I guess in a lot of my projects I feel like I've addressed very specific issues about that, and chosen to be very focused from one album to the next on chewing on a particular piece of what I'm trying to break through to. And in the quintet, I feel like it's much more global and broad. And as I'm saying this to you, I realize that that's probably because my background was playing standards. It's the way I grew upfrom the age of ten, eleven, I was learning tunes. So that's maybe my deepest, strongest suit: having learned forms and how to mess with them and play with them. So, now, to answer your question, that's what we do.
AAJ: Donny McCaslin's the new saxophonist in the band. That's a very obvious change.
DD: People who know this group know that Chris Potter was with the band for the first five years, and Chris is, deservedly so, really busy as a leader. I'm sure you've heard his record and he's been out there on the road, and he still tries to do the tours with Dave Holland. It just got to the point where I was using subs so much of the time that it just didn't make sense anymore. So I think that people who hear this record and who come to hear the band live will realize that Donny is more than an adequate replacement for Chris Potter. He's just one of the most astounding musicians that I've every heard.
AAJ: Besides that change that anyone can look at and say, "oh, look, a new member do you think this band has changed?
DD: Well, yes and no. This tour has been really interesting because we now have a book going back a ways and we now have, I guess, 40 tunes that we can play and they're all different shapes and sizes and different concepts and strategies and approaches. We're able, night to night, to completely change the set. So we do go back and play the songs that I wrote in 2000 when I started the band, but they just sound really different now. So I think that we've changed, but that's more of a reflection of the way that we play and the different experiences we've had.
Every day while we're traveling, [Fender Rhodes player] Uri Caine is writing, finishing this piece, a double concerto for two pianos and orchestra that he's premiering next month. So that brings a certain quality to the stage, not just from him but from everybody, because it's such a wonderful, exciting thing to have happening. [Bassist] James [Genus], as you know, is in the Saturday Night Live band now; he has been for a couple of years. So he plays with these namesthese people where you just can't believe it. And I think that's wonderful. There's been such a broadening of the way he's playing and his languageit's somehow deeper.
And I think that [drummer] Clarence [Penn] is the kind of musician who is always kind of tinkering with something, always learning something, and sometimes I get glimpses of what it is at the sound check. Then I'll try to play something that would trigger that on the gig. If I hear him working on a Brazilian pandeira rhythm, when we get on the gig I'll play something from that vibe and see if I can get him to do it. Of course, like any great musician, sometimes he will and sometimes he won't. But that kind of conversation is, I think, enriched by all the other things that we do.
AAJ: Meaning and Mystery may not have as explicit a concept as Keystone or Mountain Passages, your last two albums, but it is, to some extent, devoted to paying homage to various perhaps unsungor under-sung, if that's a word, musical pioneers and combinations. This would include people like Tim Berne, Anthony Braxton and Kenny Wheeler, Joe Henderson and Woody Shaw. I called it an "enough about Miles template in a review.
DD: [Laughing] I like that, but I thinkyou know, you don't really go around Miles. But I do think that maybe the theme is the language of contemporary jazz. And blowing that out. You know, words, words, wordsthey get used all over the place. To some people, you say "contemporary jazz and that means smooth jazz. To some people it means the forties or the fifties. I try to use the word "contemporary in the sense that it's happening now.
I look around on the scene and I hear what Jason Moran is doing and what Wayne Shorter is doing, and the Bad Plus, Roy Haynes, Anthony Braxton, Butch Morris, Kneebody, Jonathan Finlayson, Cuong Vu, ICP from the Netherlands, William Parker, Henry Grimes, Henry Threadgill. I hate making lists because you always leave someone out and then somebody will say, "oh, I can't believe he left out blah-blah-blah. But it's just this incredibly rich moment in the music and so I feel like, if anything, we're part of that. That's the theme.
AAJ: "Painter's Way is the first song on the record. It was called "Song for Susannah on my prerelease copy, and you do quote "Oh Susannah in your opening trumpet part. This is built around that Americana theme and that descending vamp that threads throughout the piece. James is quite prominent on this one and sounds like a man happy to be alive, and I especially like Donny's counterpart tenor to your trumpet. I find this song to be a very unassuming and beatific way to begin the CD. Any thoughts on this song?
DD: Well, it's a song that I wrote for my wife, whose name is Suzannah. But her middle name is Painter, and she's a photographer and a dancer. Mainly a dancer, but she does a lot of visual things, and it just reminded me of her before I realized that there was the tune "Oh Susannah built into it. I don't know how that happened. I struggled with how to start the record, but this one seemed like the one that was the most about the whole band. It's very much an ensemble piece, and I think it's interesting to try to do stuff with a band like this, with such great soloists, that's not about all about soloists. And I think that it's a very visual kind of tune.
AAJ: "Elk's Club is my current favorite on this record. It's got a theme that's sly and rather lovely at the same time. The song's got some tight stop-time and some tough unison stuff that Donny has no trouble with. Like a lot of your stuff, it's got a structure that produces some fascinating soloing where you can really hear the soloistin this case, Donny, Uri and youveering through the harmonic framework.
DD: I was writing this one in a hut up in Banff National Park [in Alberta, Canada] and while I was working on it, I had this really strange experience. I struggled with that free part in the middle. I wanted it to be this kind of groovy tune that would be, all of a sudden, just derailed, like you'd lost the trail. It just goes into another key, like, whoa! Very destabilizing. Yet I wanted to have it all happen in this very cyclical, subtly-multi-tonic harmonic situation.
And as I was writing it, I wanted to go out of the hut, take a break, so I went outand there were these three elks outside the door of my hut. And they're kind of nasty animals. Cecil Taylor used to go up and work up there and he said running into an elk in the evening was like being in Alphabet City, New York in the seventies. It was calving season and, you know, they warn you when you get there: "don't confront the elks. So the elks clearly didn't want me to leave the hut. They were like, "what are you doing here? So I was trapped for a little while and that's how I finished the tune. It was kind of like they wouldn't let me go until I had finished it.
AAJ: Very aggressive muses.
DD: Yeah. And hence the title. One thing that I think is interesting about the way that we can play now is that you can create these non-metrical, nonmathematical situations and relationships, that have a non-logical, nonlinear reality and interactionbut they don't have to stay there. This is something we learned from what everyone did in the sixties, all that free music. Now we can take it into a context where's it's interacting with all kinds of other things.
AAJ: Let's talk about "Invocation. This one feels like an epitaph for something. Whatever it is, I'm for it.
DD: That's really nice to hear you say that. I wrote it for a series of rallies and benefits against the war in Iraq and then subsequently raising money for MoveOn.org and for the Kerry campaign. It was kind of the invocation piece that we would play at the beginnings of these shows. And despite me writing the tune and playing it at these benefits, the war happened anyway. And W. won again. I used to assume that everybody who was into jazz and creative music was on the progressive side of the political spectrum, and I now know, from having been outspoken for a number of years, that that's not true.
So I don't assume that everyone reading this is going to agree with meand I think that sometimes, within the progressive community, there's just an assumption that everyone is going to agree. And they're not! So I think it's important to make the arguments cogently about what facts are out there on the tableand I'm not going to do that in All About Jazz, because even if I told you, it would probably be excised.
AAJ: It wouldn't be, actually.
DD: It's a conversation that needs to happen. I've had so many people come up to me and say, "oh, just shut up and play! We don't want to hear what you have to say! I'm like, "well, okay, good, but I'm a citizen of the world, and we all areso everyone should be talking about it. People are dying, and I don't see where we get off pretending like everything's okay. That's very upsetting to me.
But, if I may continue on my mini-rant [laughing]after Bush won, or "won for the second time, I had a kind of reassessment, as many people did, of my involvement in movements for social justice and political action. And I felt that in terms of my contribution, what I know how to do is music. And I know how to organize music and concerts and musicians. So that was also what went into getting much more deeply and committedly involved in the Festival For New Trumpet Music. I felt like, for me, that was a political act.
Okay, maybe I can't get Bush out of the White House. But I can give a voice to all of this diverse music that deserves to be heard. I mean, that says volumes about who we are in this country! So that's why I've worked so hard on that festivalbecause I feel that voices are getting left out. History is getting erased. So it becomes even more important to tell the story of the creative music and the new things that are happening, to make them just as vibrant as the story that we read about Chris Botti in JazzTimes, or whatever.
Wow, I got off on a tangent.
AAJ: Well, that tangent has led us rather appropriately to the song "Culture Wars. I sort of overdid this song. I became so enthusiastic about it when I first got the CD that I played it incessantly and forced it on my friends. I do think it's a classic piece. The components of this one are relatively simplethat little phrase that recurs throughout the piece, a consistent grooveand the results are magnificent. I love your opening trumpet section where for several minutes you sort of declare possibilities for the song to come.
DD: It's a very emotional piece for me and it's all about the unfolding. For me, I was trying to write a song where there would be something that seemed static, but had a lot of micro-level change going on through it. So the harmony is very sinuous, yet it seems like nothing's happening. Then before you know it, the thing has shifted into this whole other dimension. And what you get at the end of the dimension is this climax that suddenly stops. Then there's a very simple melody that comes out of the kinds of harmonies that were happening. It's very soft and subtle, and you don't get the full expression of the melody until the end of the piece twelve minutes later.
So to me as a composer it was worth waiting, because I don't think it would have the same impact if you were to just go, "one, two, one-two-three-four and just play the theme right away. It would kind of be like, "right, okay, here's another tune. So it's very much about how the shape of the discussion is sometimes so intertwined with the meaning of what you're saying.
The culture wars, as generally understood, are really hard for me. When I read that we're still arguing about what to teach in science classes, whether evolution should be taught, or see people pontificating about people's lifestyles and what's acceptable and what's not, or taking the gay marriage thing and turning that into an issue to drive people to the polls, or recreating the whole idea of what science is by replacing scientists with ideologues in our national government, I just feel like it's a discussionon so many levels in our societyabout whether we're going to accept who people are or whether we're going to try to enforce these laws about what things should be and shoot down anybody who doesn't stand up to that.
What you find is that so often the people who want to shoot the others downthere's this hypocritical level where they're just as bad themselves. So I always read about Rick Santorum and Pat Robertson and Jerry Falwell and I feel like, "he who has not sinned should cast the first stone. You always find out after the fact that these guys were running up enormous gambling debts in Reno or something. And hey, nothing wrong with gambling debts if that's what you want to do, but don't go wagging your finger at everybody else.
I don't feel that any of this stuff I'm saying is particularly original. But suffice to say that it's really something that gets under my skin and I get very emotional about it. And I think I see a parallel in the discussion we have within so-called jazz music about what it is and what it can be. And that's also kind of upsetting to me at timespushing these hard-core hot-button terms to try to put somebody else down or shut them out.
And I'm not pointing a finger at anybody, because it happens on all sides of this discussion. I mean, there are people who are into so-called free improv that are just as hardcore radical exclusionary as anybody else. And there are smooth jazzers that I meet that think anything but that kind of Muzak-y CD101.9 sound is just not acceptable. And then we've all hopefully been up to the wonderful Lincoln Centerthe new building that they have that I think is just remarkable. I love it and it's fantastic. But there is a certain bias to the history that they are telling about music in America.
So I just feel that, okay, we're always going to argue. Fine. But I think to not see that as part of this larger culture war that's going on in the country is to miss part of what's going on. I don't see jazz music as an isolated part of American society; I see it as a central part of American society and so the discussions that we're having come right out of what it means to be Americanwhere we've come from and where we're going.
[After a pause] I'm so lame. Don't print that last bit.
AAJ: No, no, it's good.
DD: Words are just hard sometimes. I just think it's so easy to misconstrue and music is one of the hardest things to talk about in the world. That's probably unique to musiciansto say music is so hard to talk about. But I'll bet tennis players will tell you that tennis is so hard to talk about.
AAJ: That's because these activities are not about talking. They are about action. It's really just music writers that talk about music, and we're forced to use metaphors: music is like "flowing, dancing waters, that sort of thing.
DD: Did you read that Anthony Braxton quote? I don't remember where it came to me from, and I can't quote it for you, but it's something like, "when I joined the academic world, I realized I would have to shift the focus in my music to the poetic and mystical because I am forced to talk about and explain my music all the time. I didn't want that to be the it of the music. I wanted the focus of my music to be something I didn't understand and couldn't explain. And I love that! I love thatI think it's one of the reasons I picked the album title here. Because music means so much to us and yet the reason that it does is completely a mystery.
AAJ: It is. I hope that I still have the capacity to at least occasionally listen to music and not think, "oh, there's a nice vibes part, or "the drummer made a mistake. Instead, I want to actually experience it physically, the way I did before I was so burdened with opinion or knowledge.
DD: But I also think that with a deepening of that opinion and viewpoint, you might find that even after you've learned all the technical jargon, and who's making a mistake where, you can then still step back and say, "okay, now let me just experience this physically and viscerally. What I find missing sometimes when people talk about music is that there are so many planes on which to check it out, so many perspectives to look at it from. I think you can get as close to it as you want and you can still step away and put it on in the kitchen and go in the living room and then say, "okay, now what is it saying? That's really important.
When I talk about composition up at Banff [where Douglas is director of the Banff International Workshop in Jazz and Creative Music], there's a metaphor that I use. I think when I'm composing like a sculptor sometimes; I'll make something and kind of hold it up in the light and then try to look at it from different sides: what does it look like from here? What about over here, and what if I go up above? Then I try to pick the most unusual way that you can look at somethingso that I really understand, from every dimension, what this piece is, what the elements are that I'm working with and what is the full weight and effect of it.
AAJ: You've just come off a U.S. tour. After quite a few gigs with the quintet, did the shows give you any new insights into the music you've been playing or about the band? Did anything new occur to you about this music?
DD: First of all, let me just say that touring in the States is really important to me. When I first became a bandleader and a touring artist, I would constantly hear, "well, this music is really popular in Europe, and you guys tour in Europe all the time, but nobody in the States knows what you're doing. And that was really frustrating to me because I'm an American artist. I'm American! I love America, and I feel like what I'm playing is American music. So that whole cliché about progressive music only succeeding in Europe was something that really pissed me off.
First of all, I feel it's not true. But second of allsince all stereotypes generally come out of something that has a basis in a perceptionthere's something wrong! So I made a concerted effort to tour in the United States starting, oh, 12 years ago. At a loss, initiallyI lost money. But it was just really important to me to get beyond New Yorkto get to the West Coast, to play in Chicago, to be able to go around the States. Because I think that on the level that music speaks to people, it speaks to them culturally as well, and it was important for me to play this music for American audiences.
I also feel that the response we get in America is somehow more heartening to me. By "heartening, I mean I get the sense people are really getting it in America in a different way than they do in Europe. I do tour in Europe quite a bit, but at this point in my career, I actually tour more in the United States. That's because of all that footwork I did in the last decade trying to make a viable touring model in the U.S. I love playing in Europe, and we get great response, and yet I sometimes get the feeling that people aren't always getting it for the reasons that I'm putting it out.
People there will come up after the show and they'll say [in a Teutonic accent] "ja, this is really like rock-and-roll jazz. And they're loving it, and, hey, great. But I don't really think it's rock-and-roll jazz, or that that even means anything. So I guess my feeling is in the States, even if somebody doesn't know about the music, they get the cultural referenceswhere the music is coming from, whether it's blues or jazz or old American music or even just people expressing themselves as individuals, as who they are and not as a representation of something else.
AAJ: As a band, and not as Jazz with a capital J.
DD: Yeah, maybe. You were at the Green Mill. It was just exciting. A lot of people there are connoisseurs and know a lot about the music, and a lot of them are just there because it's a nice scene. And that's going on all around the country, which is very heartening.
I have to get back to the rest of your question. I think that when you play a book of music night after night, you get more in touch with what you really meant when you wrote the music. And I see in myself this search to get back to the earliest language of the music that I played when I was a really small kid, which is the American songbook. That sounds trite, but I think there's something in writing tunes that have rules and forms and strategies. That comes from that place in me, and I feel a very real, personal connection to that.
AAJ: Let's talk about your previous big project, Keystone, which was both the name of your last album and the name of the band that toured it. This is, of course, your tribute to Fatty Arbucklesort of an attempt to produce a new set of soundtracks to some of his unfairly neglected films.
DD: I wouldn't call a tribute to Fatty Arbuckle. I never said that. It was writing new soundtracks to his filmsand in the process learning about his life. I felt like he was a neglected figure. But I don't feel like I know enough about him, or maybe that my music doesn't have enough to do with him, to actually call it a tribute to Fatty Arbuckle.
AAJ: Point taken. In any case, it's really lovely, interesting music that stands alone. There were, in a sense, two different presentations of this stuffthe individual tunes on the CD like "Just Another Murder or "Mabel Normand and the scores that were performed for the films live that incorporated sections from these tunes into longer live pieces. At a distance of a year or so, do you have any oversights, insights?
DD: Well, you know, the reason that the film scores worked the way they did was that my goal, first and foremost, was not to put handcuffs on the band. Having [saxophonist] Marcus Strickland play a melody is a really deep and specific thing, so when I wrote the themes, for me it was all about leaving enough freedom for Marcus to do his own thing. But the theme had to be strong enough to go along with the moving images as they moved.
And that's a little original for a film score, because I think usually things tend to get very set. The same with [drummer] Gene Lake; I think Gene is one of the preeminent drummers of this day and age, and I wouldn't have wanted to write for him and just ask him to give a rim shot every time there's a knock at the door. So the challenge was, how do you write a music in which everyone can be free to do their own thing from moment to moment and still reflect the sense of the scenes that are flickering by on the screen?
So my approach was to write themes that would be flexible enough to be able to be reinterpreted, to be played a lot of different ways, but that would also work with the scenes as they went along. That's why I felt it was important to record the songs as discrete songs not in relationship to the film, and then to also do a version where we actually played it in real time with the film. I think that was a difficult challenge to set in writing a film scoreto write music that would serve the players just as much as it would serve the film.
AAJ: I put this album on recently and hadn't heard it in a while. I was immediately struck by the eeriness of its overall sound. Everything's very close: a small room in the rain. I suppose Jamie Saft's Wurlitzer and DJ Olive's turntables are a big part of its ambience (it was DJ Sundance and Adam Benjamin when I saw you live). Certainly you made no effort to make any self-consciously "period jazz or comedy music. How did you go about inventing this particular style of music for these films?
DD: Well, that's a very generous and huge question. First of all, I think on the record you have to give credit where it's due to David Torn, who did a lot of editing and mixed the recordand the mixing process was a huge one in this case. So a lot of the shaping of the way the Wurlitzer and the turntables sound with the acoustic instruments has to do with his brilliance as a recording engineer.
Now, you're saying that I invented a style, which is [laughing] really, really nice, and I hope that in each recording project, in each book of compositions that I write, I try to invent a new way of thinking about things, and if that comes up with a new style, hey, fantastic. I would never claim that for myself. But in the case of Keystone, I watched these films with the music soundtracks that were on the VHS tapes that I found the films on. And Fatty Arbuckle, being the overlooked genius that he is, was very obscure and hard to find. The first VHSs that I found were at Kim's Underground in the East Village, and they were kind of in the back far corner underneath the X-rated naughty videos. I'm not sure why. And very poorly labeled. And so I would watch these things, just as part of my researchI didn't know that I was going to be working with these films when I first saw them.
But the music really made it hard for me to watch the films and enjoy them, and the reason for that was that it was music that was made later that was trying to evoke what we think of as silent film ambience. This is music that was mostly made in the seventies and eighties, probably during the second or third revival of watching silent films. And so it was, you know, stride piano and old-school, but a lot of rah-rah Yale 1920s collegey-sounding stuff. And taken on its own, wonderful. But for me, put with those films, it kind of did a disservice to both. It just turned the whole thing into a cliché of what we're supposed to be thinking about when we see old silent movies. It was an artifact of neither.
So very quickly, I started to watch these films with the sound off, and then I could sense the films very, very differently. I started to go and grab records from my collection and just play things along with it, and so many things worked. Some things didn't work, but you'd be surprised. So I said, "well, let me see how far I can go, and I would pick the most opposite thing I could think of to play with these Arbuckle films. And I felt like it made the films stronger. They have so much character as it is that they were strong enough to coexistand if anything, the images got more vivid with the challenge of an unexpected kind of music.
So that was my first inkling that I could write some music to this, because I got this kind of picture of music that, quote-unquote, wouldn't belongrunning parallel to the films. And I felt that it could bring the images back to life on some level to have a 21st-century music soundtrack. Then one of the other things that was a spark for me was reading about Arbuckle's process of making the films, which was kind of revolutionary and exploratory. A lot of the technology was new and they were improvising a lot, and I got the sense that he would come to the lot with these new ideas of how they could use the cameras to capture something in a new way. Like, you know, the scenes of him going up the slide backwards, or dancing on the telegraph wires, or falling through someone's roof. And all these falling-down type gags that he found a new way to capture.
So part of what was new was the technology and his experimenting with the technologyand since I was making this electronic score, I felt like I was experimenting with the technology as well. I had gotten ProTools for my own computer. I was building these beds of sound only with trumpet sounds. In other words, I went in the studio and I recorded an hour of just trumpet, and then chopped it up and put all kinds of effects on itjust wanted to mess around with the bare sonic artifacts that came out of those sounds.
And a lot of the tracks on the record are built out of those first experiments. So I saw a kinship on a technological level with Arbuckle. I guess on a very, very surfacey level, I just felt like the movies were cool and I wanted to write a cool soundtrack for him. And have funa lot of my music is very serious, so I felt like it was time for me to just do something enjoyable. I didn't realize I was wading into the whole American scandal issue [Arbuckle's career was destroyed by a very dubious rape/murder accusation after the death of actress Virginia Rappe] until after I was well underway writing the music.
AAJ: Well, it's not as if the music really comments upon that aspect.
DD: Well, a lot of people say that it does. That there's a dark edge to the music and I wouldn't be able to deny that that dark edge is in there because of all the reading I was doing about his life and what happened to him. It's hard to watch him without having that in mindfor me, anyway.
AAJ: I do think you raised Arbuckle's profile from this. And you may be the only musician this century to go on the road to play along with films.
DD: Well, Frisell went on the road with films, and I toured Mark Dresser's score for The Cabinet of Dr. Caligari back in the nineties. And Philip Johnston writes these wonderful scores foris it Tod Browning? So I came to the thing thinking, "well, all classical composers write a string quartet and all modern jazz composers do a silent film project. So here's mine. I'm being a little facetious, but to put it in context: I didn't feel I was revolutionary on that level.
AAJ: Let's talk about your Blue Latitudes project, which I believe you did very recently with the Birmingham Contemporary Music Group. This was, I think, an hour of music for three improviserspercussionist Susie Ibarra, bassist Mark Dresser, and youand an ensemble of 14 instruments.
DD: And a conductor. We hope to release it later this year on Greenleaf if we can get the rights to the recording. Boy, that was such a huge project. I guess I started thinking about it over two years ago. And yeah, I wrote an hour of music for this great, great ensemble of contemporary instrumentalists. It's 14 players, all soloists: four strings, four winds, four brass, percussion and piano doubling harpsichord. And I think I really wanted to get at this problem of contemporary music and improvisers. So there are all different strategies, all different ways that I tossed paint at the canvas of that problem.
I was pretty happy with the results; a large part of that came about because the conductor, Peter Rundel, was so wonderful. He is the guy who was the violinist in Ensemble Modern for many years and gradually, more and more, became a conductor. Now all he does is conducting. He had a unique ability to understand what I was looking for, and what were the clashes and interesting aspects of the improvisinghow it should all be put together, timing-wise. And of course Susie Ibarra and Mark Dresser are just towering figures as improvisers.
We had to work really hard to find the right thing, the right way to play from moment to moment. But they're so dedicated to doing that anyway that it was a joy; it was wonderful. Blue Latitudes came from a book by Tony Horwitz about the voyages of Captain James Cook in the South Pacific, which is a great read. But I also like the fact that "blue for me refers to the jazz side of things and "latitudes referred for me to this idea that I was trying to find a way to create a latitude for players. There's a little bit of improvising for the ensemble, but mostly it's me, Mark and Susie, who have no written notes.
I found a metaphor in Cook running into these cultures and peoples that he didn't ever know anything aboutand some of them didn't know anything about himand we all know the horrible things that followed those discoveries. But at that time, it was a very Age-of-Enlightenment kind of meeting of cultures. And I think we're still, in this day and age, fighting with this idea of the clash of cultures. So improvising and notation is no different, in a sense, from oral histories and written histories. They're ways of viewing our human history that are very much at odds. So that's how the piece came about, and I'm hoping that the recording will be available sometime later this year.
AAJ: Any other new projects?
DD: I'm working quite a bit, actually, on the Festival of New Trumpet Music, which this year will be on September 15th to October 15th. Roy Campbell and I are going to do a living tribute to Don Cherry in which we both perform a short set with our quartets and then we come together and do a symphony for improvisers. That'll be at Merkin Hall [at New York's Kaufman Center]. A lot of people are thinking about Don Cherry this year because it would have been his 70th birthday.
I'm working on something with John McNeil, the trumpeter, who was my teacher at New England Conservatory, and who introduced me to the Carmine Caruso method that saved my life. So that should be an interesting thing to work on.
I had so much fun working with Fatty Arbuckle that I'm almost 100% sure I'm going to score another set of 1915 Fatty Arbuckle films with Keystone, the same band.
AAJ: I saw that band in Chicago.
DD: Oh, at the Old Town School. That was fun.
AAJ: It made me very happy to see you actually laughing at a film you'd no doubt seen 40 times or so.
DD: It's so funny! I still laugh. Other than that, now that I've finished Blue Latitudes, I'm just beginning to put my mind around the next so-called classical piece. Over the last decade, I've always worked in the background on one of those while everything else is going on. I have this ideaI've been invited by a ballet choreographer named David Justin, who lives in Austin, Texas, to write a piece for his company. I'm talking to you about it, so I guess I've decided to do it. But I'm looking at the next project being a classical piece that I don't play in and writing a sextet for string quartet, clarinet and piano coming out of this Aaron Copland piece that I love, "Sextet.
Just coincidentally, I now live in the same town where Aaron Copland lived. They have his house renovated to the way it was when he was there, and composers go up there and they can write in his workroom. It's interesting. I guess as I get older, I think more of what it means to be Americangetting in touch with the things that I ran away from for so many years. And I think that maybe musically, there's something that's always been a challenge to me about that period when they were trying to say, "okay, this is American classical music and trying to come up with an American language. Copland was very much at the center of that. So that's something I'll probably be working on.
AAJ: What is your least favorite side of what you do?
DD: Sitting in the airport, without a doubt. The travel. It's not romantic like people would like to think. It's just a drag. Another frustration for me, and I don't think I'm alone in this, everybody goes through itis just when you're on tour, getting the sound to be right night after night. There's no finger to point, there's no one to blame; it's just that every room is different. We all show up, we get on stage and then we have to go through whatever we have to go through to figure out how to play the room and get it to sound right in the P.A.that's a big concern for me.
I know a lot of musicians don't worry that much about it, but I know that the room you're in affects how you play. So that takes a lot of work and I think it's a part of making the music that a lot of listeners don't see. They walk into the room and then you come onstage and play, and it's as if nothing else happened between the last gig and you being up there. That's a pretty meaty part of the job of being a bandleader, I thinkgetting the band to sound good in a room.
I think that part of what makes my life difficult is that I do a lot of different things. And I think people have different viewpoints about the value of doing all those different things. But all I can say is that for me, that's what I enjoy. I enjoy being involved in what the cover of a record is going to look like. I enjoy being involved now with the label in actually distributing the music. I enjoy composing quite a bit. I'd say that's the driving force behind everything that I do: composing as a force to create new contexts for myself as a player and as a human being.
And then the trumpet takes up a lot of timepracticing and trying to be a performer. And studying all kinds of music. So I think that's what's the hardest work: trying to keep all of that going with friends and family and keeping the band on the road. I'm not complaining. It's wonderful. I can see that a lot of musicians are going this direction nowadays of doing all kinds of things, and maybe to what we might call the old-school view of a jazz artist, that would be anathema. That would be something not seen as a positive. I can relate to that viewpoint, but I also just think that times have changed and they are changing. Some things die and some things are born and new realities are created. So I just follow through all of that.
Selected Discography
Dave Douglas, Meaning and Mystery (Greenleaf Music, 2006)
Martial Solal/Dave Douglas, Rue de Seine (CAM Jazz, 2006)
Dave Douglas Quintet, Live at the Bimhuis (Greenleaf Music, 2005)
Masada, Sanhedrin (Tzadik, 2005)
Dave Douglas, Keystone (Greenleaf Music, 2005)
Dave Douglas, Mountain Passages (Greenleaf Music, 2005)
Dave Douglas, Strange Liberation (Bluebird/RCA, 2004)
Dave Douglas/Louis Sclavis/Peggy Lee/Dylan van der Schyff, Bow River Falls (Premonition/Koch, 2004)
Dave Douglas, Freak In (Bluebird/RCA, 2003)
Dave Douglas, The Infinite (Bluebird/RCA, 2002)
Patricia Barber, Verse (Premonition/Blue Note, 2002)
Jubilant Sykes, Wait For Me (Sony Classical, 2001)
Misha Mengelberg Quartet, Four in One (Songlines, 2001)
Masada, Live at Tonic 2001 (Tzadik, 2001)
Dave Douglas, Witness (Bluebird/RCA, 2001)
Dave Douglas, El Trilogy (RCA Victor, 2001)
Dave Douglas' Charms of the Night Sky, A Thousand Evenings (RCA Victor, 2000)
Masada, Live in Sevilla 2000 (Tzadik, 2000)
Dave Douglas, Soul on Soul (RCA Victor, 2000)
Dave Douglas, Leap of Faith (Arabesque, 2000)
Mick Rossi, They Have a Word for Everything (Knitting Factory, 1999)
Cibo Matto, Stereotype A (Warner Bros., 1999)
Dave Douglas, Songs for Wandering Souls (Winter & Winter, 1999)
Dave Douglas, Convergence (Soul Note, 1999)
What We Live, Quintet For a Day (New World Records, 1999)
Patricia Barber, Modern Cool (Premonition, 1998)
Dave Douglas, Magic Triangle (Arabesque, 1998)
Masada, Yod (Tzadik, 1998)
Dave Douglas, Charms of the Night Sky (Winter & Winter, 1998)
Dave Douglas, Moving Portrait (DIW, 1998)
Sean Lennon, Into the Sun (Grand Royal, 1998)
John Lindberg Ensemble, Bounce (Black Saint, 1998)
Masada, Tet (Tzadik, 1998)
Dave Douglas, Stargazer (Arabesque, 1997)
Dave Douglas, Sanctuary (Avant, 1997)
Masada, Het (Tzadik, 1997)
Jamie Baum, Sight Unheard (GM Records, 1997)
Tiny Bell Trio, Live in Europe (Arabesque, 1997)
Uri Caine, Urlicht/Primal Light (Winter & Winter, 1997)
Greg Cohen, Way Low (DIW, 1996)
Han Bennink/Dave Douglas, Serpentine (Songlines, 1996)
Masada, Zayin (DIW, 1996)
Dave Douglas, Five (Soul Note, 1996)
New and Used, Consensus (Knitting Factory, 1996)
Cibo Matto, Viva! La Woman (Warner Bros., 1996)
Doctor Nerve, Skin (Cuneiform, 1995)
Mark Dresser, Force Green (Soul Note, 1995)
Uri Caine, Toys (JMT, 1995)
Masada, Vav (DIW, 1995)
Tiny Bell Trio, Constellations (Hat Hut, 1995)
Dave Douglas, In Our Lifetime (New World/CounterCurrents, 1995)
Masada, Dalet (DIW, 1995)
Masada, Beit (DIW, 1995)
Masada, Alef (DIW, 1994)
Mark Dresser, The Cabinet of Dr. Caligari (Knitting Factory, 1994)
Tiny Bell Trio, Tiny Bell Trio (Songlines, 1994)
Mosaic Sextet, Today, This Moment (Konnex, 1994)
Dave Douglas, Parallel Worlds (Soul Note, 1993)
New and Used, Souvenir (Knitting Factory, 1992)
Doctor Nerve, Beta 14 OK (Cuneiform, 1991)
Mark Whitecage, Liquid Time (Acoustics, 1990)
Marc Wagnon, Shadowlines (Sunjump, 1988)
Doctor Nerve, Armed Observation (Cuneiform, 1987)
Second Sight, Flying With the Comet (Sunjump, 1986)
Related Articles:
Dave Douglas & Keystone at SFJAZZ (Concert Review, 2005
Dave Douglas at Old Town School of Folk Music, Chicago (Concert Review, 2005)
Dave Douglas: No Labels, No Compromises (Interview, 2004)
Dave Douglas New Quintet (Concert Review, 2004)
Photo Credits:
Photo #1: Jimmy Katz
Photo #2: Michael Kurgansky
Photo #3: Mephisto
Photo #4: Jimmy Katz


text:
|August 15, 2008 · Volume 7, Issue 16
|A twice monthly e-news memo with information, updates, and results from OSHA about safety and health in America's workplaces.
|NOTICE: This is an OSHA Archive Document, and may no longer represent OSHA Policy. It is presented here as historical content, for research and review purposes only.
In This IssueLatest OSHA Resources Focus on Metal Scrap Recycling and Hazardous Waste Operations
VPP Sites to Gather for 24th Annual National VPPPA Conference
P.J. Dick/Hunt Construction Joint Venture Forms Partnership with Philadelphia Region
National Office Exhibit Travels to Midwest and California
OSHA Prepares for "Swept Up in Safety Week" in Florida
NSC to Host Webinars on Whistleblower Protection, Recordkeeping and Drug Awareness
Illinois Safety and Health Day Aims to Protect Employees
OSHA to Host Forum on Assisting Small Businesses with Regulatory Compliance
Alliance Program Update
Free Safety and Health Evaluations for Your Small Business
More Training Opportunities Highlighted on Events Web Page
"QuickTips" from QuickTakes
Latest OSHA Resources Focus on Metal Scrap Recycling and Hazardous Waste Operations
Employers and employees in the metal scrap recycling industry stand to benefit from a new publication produced by OSHA known as Guidance for the Identification and Control of Safety and Health Hazards in Metal Scrap Recycling. The document offers ways to recognize and manage the hazards associated with exposure to various metals and processing chemicals and with related processes and equipment used in metal scrap recycling operations. OSHA revised its Hazardous Waste Operations and Emergency Response booklet highlighting the requirements for hazardous waste operations and emergency response at uncontrolled hazardous waste sites and treatment, storage and disposal facilities. It also discusses the steps an employer must take to protect the health and safety of employees in these environments.
VPP Sites to Gather for 24th Annual National VPPPA Conference
Safety, health and environmental professionals, hourly employees and managers from worksites across the country will be gathering together for this year's Voluntary Protection Programs Participants' Association (VPPPA) Conference, Aug. 25-28, 2008, in Anaheim, Calif. The conference focuses on OSHA's and the Department of Energy's premier recognition program--Voluntary Protection Programs--which promote best practices in occupational safety and health. Attendees are invited to participate in two full days of workshops, which are listed at www.vpppa.org/Conference/listing.cfm. The VPPPA Expo will feature more than 180 exhibitors, evening receptions and networking sessions. For more information, visit https://secure.vpppa.org/vpppa/forms/annualconf/ on the World Wide Web. Onsite registration will be available.
P.J. Dick/Hunt Construction Joint Venture Forms Partnership with Philadelphia Region
OSHA and the P.J. Dick/Hunt Construction Joint Venture joined forces to form an OSHA Strategic Partnership during the construction of the Pittsburgh Penguin Arena. The new ice hockey/multipurpose arena is scheduled for completion in 2010 and will seat 18,300--2,000 more than the Penguins' current Mellon Arena. Assistant Secretary of Labor for Occupational Safety and Health Edwin G. Foulke, Jr., Philadelphia Regional Administrator John M. Hermanson, and Pittsburgh Area Office Director Robert Szymanski participated in the signing ceremony. The partnership's focus is to reduce injuries by 3 percent annually by implementing effective safety and health management systems by all site contractors.
National Office Exhibit Travels to Midwest and California
OSHA will host an exhibit featuring compliance assistance and informative materials for conference attendees at the Association of Small Business Development Centers Conference, Sept. 2-5 in Chicago, Ill. The agency will also showcase its exhibit at the Academy of Certified Hazardous Materials Managers National Conference and Exposition from Sept. 7-10 in Minneapolis, Minn. The National Safety Council's 2008 Congress and Expo will take place Sept. 19-26 in Anaheim, Calif. This conference is considered the world's largest safety, health and environmental event where attendees can improve their skills and remain updated on the latest trends.
OSHA Prepares for "Swept Up in Safety Week" in Florida
OSHA will kick off a no-notice "Swept Up in Safety Week" campaign this month to curtail construction-related fatalities in northern Florida. OSHA compliance safety and health officers will focus their enforcement efforts on construction sites stretching from Daytona Beach to Pensacola, Fla. Compliance officers will conduct immediate inspections if they observe unsafe working conditions. They will also visit worksites to offer training and encourage employers to continue their good work when observed. It is evident that this program is successful by the 10.4 percent reduction in fatalities at construction sites overseen by federal OSHA in the southeastern United States in fiscal year (FY) 2007 compared to FY 2006.
NSC to Host Webinars on Whistleblower Protection, Recordkeeping and Drug Awareness
The National Safety Council (NSC) will host a Webinar on Aug. 20, 2008, from 10 to 11 a.m. CDT focusing on whistleblower protection. The featured speaker is Nilgun Tolek, director of the Office of Investigative Assistance in OSHA's Directorate of Enforcement Programs. On Aug. 27, NSC will sponsor a Webinar on "Unraveling the Mysteries of Recordables and Reportables" featuring David Amos, senior consultant of NSC. "A Safe Workplace is a Drug-Free Workplace" is the focus of a Sept. 3 Webinar featuring U.S. Department of Labor's Drug Policy Coordinator Elena M. Carr. For more information on future Webinars, visit NSC's Webinar calendar page at http://www.nsc.org/webinar/calendar.aspx.
Illinois Safety and Health Day Aims to Protect Employees
OSHA's Chicago region is co-sponsoring the 20th annual Chicagoland Safety and Health Conference Sept. 15-18 at Northern Illinois University in Naperville, Ill. The conference will feature more than 40 sessions focusing on hazard recognition, fall protection, machine guarding, controlling explosive dust, overhead cranes, and hoists, just to name a few. In concert with this event, OSHA is co-sponsoring the Second Annual SHARP/VPP Conference, Sept. 17-18. This activity is targeted towards companies interested in achieving safety excellence through OSHA's Voluntary Protection Programs (VPP) or Illinois Consultation's Safety and Health Achievement Recognition Program (SHARP).
OSHA to Host Forum on Assisting Small Businesses with Regulatory Compliance
OSHA's Directorate of Cooperative and State Programs (DCSP) will hold its next quarterly small business forum on Sept. 30, 2008, at the U.S. Department of Labor's Frances Perkins Building, in Washington. A panel, consisting of regulatory compliance and economic specialists and a small business representative, will lead the discussion on fostering stronger relationships between small businesses and the regulatory community. "The Business of Small Business Forum Series" is an opportunity for small businesses to share the challenges they face in today's global business climate as they strive to comply with regulatory requirements and still remain competitive in the world economy. The tentative time is 10 a.m. to noon in conference room C-5515. For additional information, contact Russell Jones in DCSP's Office of Small Business Assistance at 202-693-2532 or firstname.lastname@example.com.
OSHA Education Center Safety Courses Available for College Credit
Students who have earned the Texas Engineering Extension Service's (TEEX) OSHA Training Center's Certified Safety and Health Official certificate can transfer up to 18 credits to the San Juan College (SJC) Associate of Applied Science (A.A.S.) in Occupational Safety online degree program, thanks to a cooperative agreement among TEEX, SJC, Texas A&M University-Commerce and the New Mexico Occupational Health and Safety Bureau. All 71 credit hours required for the A.A.S. degree and up to 85 SJC credit hours will transfer to Texas A&M University-Commerce. This means that students only need to earn an additional 36 credits to complete their bachelor of arts and applied science degree. Fall semester classes at SJC begin on Aug. 25. For more information, contact Chuck Glenewinkel at 979-458-7758 or email@example.com.
Alliance Program Update
National Office: OSHA and the Coordinating Committee for Automotive Repair renewed their alliance to continue promoting workplace safety and health in the automotive industry. The agreement targets workplace vehicle safety, abrasive wheel machinery (including associated silica hazards), and ergonomics. Region II: Continuing to reduce and prevent workplace hazards is the focus of an alliance renewed between OSHA's New York region and the Manufacturers Association of Central New York. One key element of the alliance is its mentoring program. Large manufacturing businesses with in-house safety departments mentor smaller businesses.
Free Safety and Health Evaluations for Your Small Business
Visit OSHA's On-site Consultation Program Web page to get valuable information on how this program helps you provide a safer working environment for your employees. The service is provided only at your request and is delivered at no cost. Employers who use the service to develop and operate an exemplary safety and health management system may also qualify to participate in the Safety and Health Achievement Recognition Program (SHARP). For additional information, visit OSHA's Small Business Web page at http://www.osha.gov/dcsp/smallbusiness/index.html, or call 202-693-2220.
More Training Opportunities Highlighted on Events Web Page
OSHA posted more occupational safety- and health-related training information to the events page on its Web site. Look for opportunities in your area.
"QuickTips" from QuickTakes
Each year in American workplaces, powered portable and stationary mechanical saws are responsible for thousands of injuries serious enough to require medical attention. Most of these injuries occur because the saw operator is not adequately trained, or the saw blade is insufficiently protected. Using properly guarded blades and appropriate protective equipment, such as safety goggles, will greatly reduce the risk of safety and health hazards when working with saws. Here are a few recommendations from OSHA:
OSHA's Guide for Protecting Workers from Woodworking Hazards is a resource detailing the proper precautions to take when using mechanical saws. OSHA's Machine Guarding eTool also has a section devoted to mechanical saws to help employees prevent injuries caused by saw blades. Look for more "QuickTips" on a new safety and health topic in your next issue of QuickTakes.Editors: Elaine Fraser & Kimberly Tucker, OSHA Office of Communications, 202-693-1999

subset: commoncrawl


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Not convinced, browse our team's latest technology posts, http://isostech.com/blog.
Isos Technology is looking for a Web UX Developer for one of our clients in Phoenix, AZ on a contract to hire basis.**
If you have experience in the following...apply NOW!
- Node.js
- jQuery
- Develop and apply creative visual solutions for Client's products and services (both existing and new products).
- Contribute to the direction of the corporate and product brand strategy.
- Establish modular visual systems with well-documented guidelines and templates.
- Define color palettes, icon systems, typographic and photographic programs.
- Be the sole force behind creating visionary design solutions from concept to completion.
- Must have experience with Javascript, AJAX and jQuery framework
- MUST HAVE: Client-side scripting, JavaScript / AJAX / DOJO
- Experience in advanced CSS techniques (float layouts, fluid layout, etc.)
- Experience in JSP/JSTL and/or Velocity
- Knowledgeable in best practices of writing unobtrusive Javascript
- Experience with PhotoShop and/or Fireworks a plus
- Cross-browser (X)HTML/CSS
- Dynamic HTML/DOM manipulation
- UI templates and wiring to back-end controllers
- Debugging
- Familiarity with user-centered design and usability practices
- Familiarity with Web accessibility standards
- Understanding of development and programming principles
- Exceptional markup and client-side scripting talents applicable to a wide range of contexts
- Familiarity with the separation of content, presentation, and behavior
- Superb problem solving skills and troubleshooting abilities
- Excellent communication and documentation skills
- Command of industry development and source code control tools
NO SPONSORSHIP and NO Relocation Assistance are available


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View Full-Size Image
|Zen Timepiece
Price per Unit (each):
The Zen Timepiece is an electronic clock, alarm clock, countdown timer, and interval timer in one unit. Its unique gong bowl chime rings to wake you or to signal the end of a length of time. When struck, the gong bowl holds a long sustained ring for several seconds, filling the room. The bowl strikes follow a specific progression according to the illustration at the bottom of this screen (please scroll down). After the first strike, the next strike occurs 3 minutes and 48 seconds later. The following strikes occur at progressively shorter time intervals and, after the 9th strike the bowl is struck every 5 seconds until interrupted by pressing the Nautilus button next to the digital display.
Alarm Clock The alarm clock works just like any digital alarm clock. Simply set the alarm time and the gong bowl will be struck at that time. The bowl will then be struck according to the progression in the diagram until it is interrupted. For heavy sleepers, the gong can easily wake you.
Countdown Timer The countdown timer works much like a digital kitchen timer. Enter in the length of time you would like for a meditation, yoga, or therapy session. Press the Nautilus button and the timer will begin to count down. The first gong will strike when the countdown reaches zero. Again, the bowl strikes will follow the pattern in the illustration until the Nautilus button is pressed.
Interval Timer The countdown timer can be set to a repeat mode. In this mode, the bowl will strike when the countdown reaches zero and then the timer countdown will start again with the amount of time set originally. The bowl will strike each time the countdown reaches zero until the process is interrupted.
Hourly Ring The clock can be set to ring the gong bowl at the top of the hour. The bowl will hold its sustained ring for several seconds, purifying the room and bringing about a period of mindfulness.
The Zen Timepiece is a versatile clock that can serve many uses. The bowl ring is clear and distinct. It is best to place the timer a fair distance from you when meditating or if you are a light sleeper, though, as the ring can be a bit strong when it is too near. The bowl ring is strong enough to fill a large room with several people.
The Zen Timepiece is available in cherry wood, clear maple, and black lacquer. The bowl and faceplate of the black lacquer model is available in the brass finish or nickel (silver) finish.
Listen to the Gong Bowl
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About Us
- Who We Are
- Our Leadership
- Local & State Offices
- Planned Parenthood Global
- The Affordable Care Act
- Birth Control: Plan and Protect Your Future
- Komen Foundation Restores Funding for Breast Cancer Screenings at Planned Parenthood Health Centers
- Let's Talk Month
- Breast Health Initiative
- Executive Team and National Spokespersons
- Press Releases
- In the News
- Fact Sheets & Reports
- PPFA Maggie Awards for Media Excellence
- PPFA Margaret Sanger Award Winners
- Planned Parenthood Gift Policy
- Advisory Boards & Initiatives
- Jobs & Volunteering
- Annual Report
- About This Site
- Contact Us
Planned Parenthood Strongly Opposes the New Abortion Language Offered by Senator Ben Nelson in the Manager's Amendment
Statement by Cecile Richards, president of Planned Parenthood Federation of America, on Proposed Abortion Language in the Senate Manager's Amendment:
"Planned Parenthood strongly opposes the new abortion language offered by Senator Ben Nelson in the manager's amendment. Last week, the Senate rejected harsh restrictions on abortion coverage, and it is a sad day when women's health is traded away for one vote.
"The Nelson language is essentially an abortion rider. It creates an unworkable system whereby individuals are required to write two separate checks each month, one for abortion care and one for everything else. There is no sound policy reason to require women to pay separately for their abortion coverage other than to try to shame them and draw attention to the abortion coverage. Moreover, it is highly unlikely that insurance companies will be willing to follow such an administratively cumbersome system, leaving tens of millions of women without abortion coverage.
"After the passage of the Stupak amendment in the House, we heard loud and clear from women across the country that they will not stand for the undermining of their rights and their access to benefits. This Nelson abortion check provision will no doubt create the same outrage, as women learn that they are being made second-class citizens when it comes to health care coverage.
"As many members of Congress and the president believe, Planned Parenthood does not think that health care reform is the forum to litigate abortion policy. Unfortunately, opponents continue to use abortion as a political wedge at every step of the reform process.
"There is no policy reason for this action, it is simply a political maneuver. We understand that leaders in the Senate and the White House want to move the process forward, but given this provision, we have no choice but to oppose the Senate bill. Planned Parenthood will now work with leaders to fix the abortion coverage language in conference."
Planned Parenthood Federation of America is the nation's leading sexual and reproductive health care advocate and provider. We believe that everyone has the right to choose when or whether to have a child, and that every child should be wanted and loved. Planned Parenthood affiliates operate 850 health centers nationwide, providing medical services and sexuality education for millions of women, men, and teenagers each year. We also work with allies worldwide to ensure that all women and men have the right and the means to meet their sexual and reproductive health care needs.


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First of all, my morning newspapers didn't get delivered. What good is morning coffee without at least one newspaper in hand? Then, while having breakfast, I received two phone calls from friends I hadn't heard from for months. Now I was two hours behind my normal routine.
I dabble in the stock market and check the exchanges every morning. Friday morning the New York Stock Exchange was down 100 points and I was following a stock I wanted to short. A short is when you "sell" the stock at a certain price, hope it goes down in value and buy it back at the lower price. Example: I sell a stock at $100 a share, wait until it goes down to $90 a share, buy it back and make $10 a share on the trade. It's similar to a put-and-call transaction. You can only short a stock after an "uptick." I had been waiting for an uptick on the stock for three days. This was my chance. The stock went up, I shorted it and it continued to go up another full point afterwards. I should have waited towards the end of the day to buy the stock.
As I headed for the car the remote control for my garage door reminded me it wanted a new battery. I finally made it to the car, turned the key and the sound of the engine was nowhere to be heard. I've been having trouble with the key for the last month. Usually, I spray WD-40 around the starter switch, on the key and into the keyhole and the car starts right up. After fiddling with it for 20 minutes, it finally started.
I bought a newspaper at the corner vending machine, lost $2 in the process, picked up a cup of coffee at a drive-thru window of Burger King, set the coffee on the seat next to the $2.50 newspaper and promptly spilled half the cup of java on it. My Friday afternoon wasn't much better. All in all, by the end of the day, I realized it was all due to the superstition of Friday the 13th.
According to Dr. Donald Dossey, a psychotherapist specializing in the treatment of phobias, there could be as many as 21 million Americans under the spell of paraakavedekatriaphobia. Dr. Dossey coined the term identifying those who fear the superstition of Friday the 13th. This year, the infamous day appears on the calendar three times, each exactly 13 weeks apart.
Statistics show many people who fear the superstition stay in bed on Friday the 13th. Some don't go to work, drive their car, travel, do business, eat out or operate machinery, fearing something terrible would happen to them.
The superstition probably is rooted deep in the dark dungeons of Christianity. There were 13 people gathered at the Last Supper before Jesus was betrayed. Christ was crucified on a Friday. Why the day of his death is called "Good Friday" seems peculiar. In Germany, the day is called Karfreitag (mourning Friday). Kar signifies mourning, and Freitag translates to Friday.
On Friday the 13th, 1307, King Phillip IV of France ordered the brutal slaughter and extinction of the Knights Templar. The king was broke and ordered the Catholic Church to surrender its property to France. The warrior monks were mercenaries hired by the Catholic Church to protect the convoy of Christians on their Eastern crusade to convert Islam to the path to Christ. For more than 200 years they accumulated banks, property and wealth in the name of the Catholic Church. Forbidding any transfer of property to the king, Pope Boniface VIII defied the order, leading to a diplomatic battle with the king. Boniface was arrested and with the king's persuasion, and French archbishop Bertrand de Goth was elected pope as Clement V. The new pope was moved to Avignon, conveniently surrounded by French territories and under the threat of the king's sword.
On the next Friday the 13th, I'll probably stay in bed rather than risk developing a terminal case of Friggatriskaidekaphobia
David Farside is a Sparks resident and political activist. He can be contacted at email@example.com.


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1. This writer says college football needs a little gun control.
2. The SEC is getting dragged into a lawsuit between former athletes and the NCAA over video game licensing rights.
3. The ACC has cut a 12-year deal with the Orange Bowl…
4. Good luck keeping up with the new screwy bowl situation… including the "Champions" Bowl… if it doesn't merge with an existing game.)
5. Having a media member inside the playoff selection committee's meeting would answer a lot of questions about transparency. Capital idea.
6. What's the best athletic conference – the Pac-12 or the SEC?
7. Mississippi State is still waiting on the NCAA clearing house on a couple of 2012 signees. (Just like I'm still waiting for the Publishers Clearing House to make me a millionaire.)
8. MSU had first-round picks in the NFL, NBA and MLB drafts… but does that mean the school's program is catching up with the SEC big boys?
9. Most Rebel fans seem to like the game day experience at Vaught-Hemingway Stadium.
10. Texas A&M's SEC dream has been realized…
11. And Kevin Sumlin is ready to compete with the best.
12. Missouri is excited to be exiting the Big 12 and entering the SEC.
13. One Florida signee was denied admission yesterday, but another got the go-ahead from the school's front office.
14. Booted Georgia tailback Isaiah Crowell could get five years in jail over gun charges, but probation is much more likely.
15. You remember Oprah's book club? Well say hello to the "Coach Cal Book Club."
16. Just to reiterate… South Carolina president Harris Pastides says he has no timetable for replacing AD Eric Hyman who left for Texas A&M.
17. Tennessee quarterback Tyler Bray is the SEC's 14th best player according to this paper.
18. Tracy Webster has been promoted to associate head basketball coach in Knoxville.
19. Finally, eight SEC players have earned preseason All-America honors. (Anyone else think handing out "honors" based on what someone thinks will happen is ridiculous?)


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Safety Guidelines
Make safety your most important priority when handling, transporting, storing, and shooting airguns. Make it a routine to follow all the rules of safe gun handling. Always be aware of the airgun, your surroundings, and those people around you.
- point an airgun in a safe direction.
- treat an airgun as if it were loaded.
- wear shooting glasses to protect your eyes.
- keep an airgun unloaded until ready to shoot.
- keep an airgun "on safe" until ready to shoot.
- keep your finger off the trigger and out of the trigger guard until ready to shoot.
- be sure of your target and be sure your target has a safe backstop.
- check to see if the airgun is "on safe" and unloaded when getting it from another person or from storage.
- read and follow all instructions in the owner's manual and know how your airgun works before using it.
- store an airgun in a safe place so that it cannot be used by anyone unauthorized to use it.


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02/15/11 | Posted by Cinematheque | Posted in Cinematheque
Apr 23, 2014
CIA grads win 25% of nation's top retail design honors
Mar 15, 2014 @ MOCA Cleveland in Cleveland, OH
CIA's Traveling Sketchbooks make a last stop at MOCA
Apr 17, 2014
Design major gets zombie's reception at her former school
cia exhibition
Mar 28, 2014
Dinner by Design Art of the Table, and a runway show
about 13 hours ago via Facebook
The game design industry is constantly evolving, and CIAs students are on the edge of the newest technologies and gaming tactics. This weekend, the Great Lakes Science Center will host our students for the Game Design Spring Show, as they present their amazing work. The exhibition reception is tomorrow, Apr. 25, from 1-3pm. Click below for more details.
Apr 16, 2014
Alumnus and superhero comics writer Brian Bendis visits CIA
cia exhibition
Mar 28, 2014
The Accident: Recent Work by Nicky Nodjoumi
Apr 15, 2014
Students win $11,000 in Dealer Tire art competition
cia exhibition
Apr 22, 2014
2014 Spring Illustration + Animation Show
Apr 22, 2014
4/24-27: Bernard Hermann weekend with CITIZEN KANE, MARNIE & more!
Aug 20, 2013
CIA named one of the "Best in the Midwest"
cia exhibition
Apr 22, 2014 @ Museum of Contemporary Art Cleveland in Cleveland, OH
2014 Spring Design Show
02/15/11 | Posted by Cinematheque | Posted in Cinematheque
2/17-20: Double-stop, Two For The Road, Hadewijch & More!
02/15/11 | Posted by Cinematheque | Posted in Cinematheque
Locally-shot 1968 movie DOUBLE-STOP receives first screening in over 40 years Roger and Gerald Sindell's DOUBLE-STOP is a nearly-forgotten 1968 feature film that was shot in Cleveland at the height of the city's racial tensions...
2/3-6: Waste Land, Charade, Chevalier Ceremony & More!
02/01/11 | Posted by Cinematheque | Posted in Cinematheque
Award ceremony and rare French film kick off a "Superbowl of Cinema" weekend! It's a Superbowl of Cinema this weekend at the Cinematheque, and it all starts on Thursday night with an award ceremony and...
Ne Change Rien (change Nothing) Trailer
02/01/11 | Posted by Cinematheque | Posted in Cinematheque
1/28-31: Funny Face, Mao's Last Dancer, Four Lions & More!
01/26/11 | Posted by Cinematheque | Posted in Cinematheque
Fred Astaire and Audrey Hepburn dazzle in colorful, Paris-set musical FUNNY FACE FUNNY FACE is a chic, colorful 1957 musical from the peerless Stanley Donen (ON THE TOWN, SINGIN' IN THE RAIN ), in which...
Pre-College Program
Sharpen your artistic skills at CIA's Pre-College Program this summer.
Nicky Nodjoumi and Dinner by Design exhibitions
CIA welcomes spring with two wildly different shows.
Cores + Connections
Learn more about CIA's proven method for academic and professional excellence.


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Lion Brand® Homespun® Scarf Wedding Favor
Material List
- Lion Brand® Homespun® (Art. #790) shown in #368 Montana Sky 1 ball or color of your choice
- Lion Brand® crochet hook size N-13 (9 mm)
- Lion Brand® large-eyed blunt needle
Project Instructions
About 6 1/2 x 60 in. (16.5 x 152.5 cm)
9 single chain worked through back loop = 4 in. (10 cm). BE SURE TO CHECK YOUR GAUGE.
Chain 121.
Row 1: Single crochet in 2nd chain from hook and in each chain across – 120 single crochet at the end of this row.
Row 2: Chain 1, turn, working in back loops only, single chain in each single chain across.
Rows 3-14: Repeat Row 2. Fasten off.
Weave in ends.


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Luke Whitman of the Fisheries Services' Striped Bass Project participated in this years Cooperative Winter Tagging Cruise on the Atlantic Ocean. the following is a summary of the cruise and Lukes experiences while at sea. If you would like further information about this exciting work please write Luke at firstname.lastname@example.com.
The Cooperative Winter Tagging Cruise began in 1988 to tag striped bass on their wintering grounds off the coast of Virginia and North Carolina. This cruise is part of the coast-wide tagging program used by the Atlantic states to assess the annual fishing mortality of the migrant striped bass population. The Maryland DNR has always been a part of this effort, contributing personnel to serve on the cruise and managing the data collected. National Oceanic and Atmospheric Administration (NOAA) research vessels are used for this cruise, most often the Oregon II from Pascagoula, Mississippi. The cruise leaves out of Morehead City, North Carolina during the last two weeks of January. Fishing begins around Cape Lookout, moving north until good numbers of striped bass are encountered. In past years, the best fishing has been between Kitty Hawk and Corolla, North Carolina. The fishing gear consists of two 65 foot bottom trawls, which are fished for 15 to 20 minutes per haul.
The 2007 cruise took place from January 17 through January 25. Bad weather forced us to leave later than planned and to return early. A total of 369 striped bass were tagged and released, which is much lower than the 19-year average of 2,217 fish. Most of the striped bass were caught in Virginia waters north of Cape Charles. The best catches were close to shore, near Hog Island, Virginia. This is the first time that the cruise has fished this far north and we were unable to find the large schools that have been encountered in previous years. We did catch some rare species including Atlantic sturgeon, thresher sharks, and a large basking shark. As in previous years, we caught large numbers of dogfish, skates, croaker, and weakfish. Sturgeon were also tagged and samples were collected from various species for studies conducted by cooperating scientists. Data is recorded on all species.
Although we didn't tag as many striped bass as hoped, this year taught us a lot about striped bass movements during a warm winter. Recapture information provided by fishermen will tell us about the migrations, growth, and survival of striped bass. Tag returns are also used to estimate fishing mortality along the Atlantic coast, which is important to many aspects of striped bass management. The Maryland DNR has a vested interest in striped bass management and plans continue its involvement in the Cooperative Winter Tagging Cruise for years to come.


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We are here to help! It is our goal to make your shopping experience FUN! Give us a call at 908-258-7228 or email us and we will be glad to assist you. For some background on us, why not learn about our comapny culture or read what our customers have said about us by checking out our reviews and ratings page.Browse our website for a wide selection of Johnny Bench Merchandise.. Not interested in Johnny Bench products, then go here for a full listing of Gifts by Athlete Name. Find thousands of quality items throughout our Sports Memorabilia Supplies Store with tons of new items arriving daily including Marlins Collectibles and Red Sox Collectibles. Shop By Team featuring sports gifts by team. Check out our just released products or shop for
autographed sports memorabilia or sports equipment
Image credits:Mike Piazza - By Jjj222 at en.wikipedia [Public domain], from Wikimedia Commons - LinkJohnny Bench - By Rafael Amado Deras (Major League Baseball Hall of Famer, Johnny Bench.) [CC-BY-2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons - Link


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The Home Electrolysis Roller eliminates unwanted body hair, permanently and painlessly, leaving you smooth and stubble free. Clinically tested, it uses the same galvanic technology professionals use in salons and spas, yet it's as safe and easy to use as an electric razor. Use it for arms, underarms, bikini lines or even on your face. After a few uses (about 2 to 3 weeks), you'll notice unwanted hair does not grow back.
See more details
Item # 200066
The Home Electrolysis Roller removes unwanted facial and body hair using the same galvanic technology used in spas and salons.
• Permanent hair remover using proven galvanic technology
• Use several times (approx. 2-3 weeks) to notice results
• Clinically tested
• Use in the privacy and convenience of home
• Hair removal roller with face and body modes
• Built-in timer
• Safe and painless
• Operates on 2 included AAA batteries
• Includes tweezers, treatment stencil, conductive gel and carry case
PLEASE NOTE: This item is a personal care item and is not returnable.
Length: 9.25
Width: 7
Height: 3.25
Weight: 1.3 Lbs
Our Price: $99.99
View Details
Welcome to The Sharper Image
We'd like to offer you 10% OFF as a thank you for shopping with us.
Enter your promo code at the checkout and see the savings in your shopping cart
Enter your email address below to instantly receive your promo code.
Call Us 1-877-714-7444
The Sharper Image® name and logo are registered trademarks.
Operated by Camelot Venture Group under license.
©The Sharper Image. All Rights Reserved.


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Community News Network
VIDEO: Senator Rand Paul ends filibuster after almost 13 hours
Republican Senator Rand Paul of Kentucky has ended his filibuster after nearly 13 hours. Paul was blocking the Senate confirmation vote of John Brennan, President Obama's pick to head the CIA, due to his concerns about unmanned drones.
- Community News Network
Smartphone kill switches are coming
Smartphones need kill switches. It's a relatively easy solution to the pricey (and irritating) problem of smartphone theft. But who would have thought that the big carriers would team up with Apple, Google, Microsoft, Nokia, Samsung and lots of other manufacturers to voluntarily begin adding the technology by July 2015? The cooperative spirit! It makes so much sense!
Why do wolves howl?
Of all the myths that dog the wolf, none is more widely accepted than the idea that wolves howl at the moon. Images of wolves with their heads upturned, singing at the night sky, are as unquestioned as a goldfish's three-second memory or a dog's color-blindness (both also myths).
Biggest student loan profits come from grad students
This week, the Congressional Budget Office projected that the federal government would earn roughly $127 billion from student lending during the next 10 years.
Pennsylvania won't take action following Ohio ruling on quakes, fracking
Pennsylvania officials plan no action despite new Ohio rules on drilling that affect a seismically active area near the state line.
VIDEO: Boston bomb scare defendant appears in court
The man accused of carrying a backpack containing a rice cooker near the Boston Marathon finish line on the anniversary of the bombings was arraigned Wednesday. He's being held on $100,000 bail.
Consumer spending on health care jumps as Affordable Care Act takes hold
Nancy Beigel has known since September that she would need hernia surgery. She couldn't afford it on her $11,000 yearly income until she became eligible for Medicaid in January through President Barack Obama's signature health care law.
The case for separate beds
The other night I slept on a twin bed in the guest room of the house I share with my husband and our two kids.
It was the best night's sleep I've had in years.
Raw oysters spike U.S. rise in bacterial infections, CDC reports
Raw oysters, so good with hot sauce, increasingly can carry something even more unsettling to the stomach: A bacteria linked to vomiting, diarrhea and pain.
To sleep well, you may need to adjust what you eat and when
Sleep. Oh, to sleep. A good night's sleep is often a struggle for more than half of American adults. And for occasional insomnia, there are good reasons to avoid using medications, whether over-the-counter or prescription.
Doctors to rate cost effectiveness of expensive cancer drugs
The world's largest organization of cancer doctors plans to rate the cost effectiveness of expensive oncology drugs, and will urge physicians to use the ratings to discuss the costs with their patients.
- More Community News Network Headlines
- Smartphone kill switches are coming


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Some information is missing or invalid below.
Sale $31.49
Regular $34.99
Learn more.
Signing day. Catch the swirls and spirals of the all-time greats with this Nebraska Cornhuskers football.
- Embroidered team logo graphic on front and team name on back add official appeal.
- Smooth surface provides ample room for autographs.
- Details:
- Regulation size and weight
- Autograph pen included
- Imported
- Promotional offers available online at Kohls.com may vary from those offered in Kohl's stores.


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Follow RFF News on your cell phone. Text follow rff to 40404 you will receive txt messages with RFF News
0 Members and 1 Guest are viewing this topic.
Everything ():Winner: KamKiller: CrisRunner-Up: LindseyExcept I want Melina to win but I don't think that'll be happening.
I think it's more reasonable to call the show "Howdunnit" not "Whodunnit."The winner didn't pick out the murderer until the very last episode.
What if Lyndsay solved the riddled before Kris then what
Quote from: Leafsfan on August 20, 2013, 04:35:45 PMWhat if Lyndsay solved the riddled before Kris then what Lindsay probably still would have gotten the clue to go to the library.
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Hey guys.
Feel a little bit skanky here! I'm having some troubles with Apple at the moment due to them not paying me for the apps I have sold after my programs expired (my plan is/was to use the money to RENEW my subscription). As I am obviously still developing, it would be great if somebody were able to register my UDID for me..
I would happily give you a bit of money for it although at the moment I'm not able to, keep in contact with me and I'll be able to send you a bit soon though!
This sounds like a beg and I guess it is but eh, sorry .
Edit: I think it's okay for me to post it here? /* ADMIN EDIT DO NOT POST YOUR UDID PUBLICLY!!!!! */


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Lewis Howes: How A Tragic End To His Pro Football Career Led To Making Millions Online
Lewis Howes was a college football player in the USA, who had his career cut short due to a broken wrist injury sustained in a game.
Lewis left the world of football with no income, no knowledge of how to make money or any job prospects. His sister provided a couch for him to sleep on, which he leveraged well … Read the rest of this entry »


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Skip to Content
Home > Patients & Visitors > Health Library > Intraocular Lens Implants for Cataracts and Nearsightedness
View Additional Content In This Section
Intraocular lens implants, which may be used to treat
cataracts, replace the eye's natural lens with a clear
plastic implant. The implant corrects the
nearsightedness caused by the cataract.
People with a monofocal lens implant still need reading glasses, because the
implant does not affect how well you can focus on near objects.
Multifocal lens implants are an option
too. Thick glasses or contact lenses are seldom needed after
cataract surgery.
Retinal detachment is the main risk of
treating cataracts with lens implants. This risk is larger
with higher degrees of nearsightedness.
Replacing the eye's
natural lens with lens implants can also
correct severe
nearsightedness in people who do not have
cataracts. This is called "clear lens extraction."
Lens implants
may also be placed without removing the eye's natural lenses. These implants,
called "phakic intraocular lenses" or "implantable contact lenses," are placed
in front of the natural lens, either in front of or behind the
Intraocular lens implants can
effectively correct moderate to severe nearsightedness.1 Talk to your doctor to see if lens
implants are a safe choice for you.
Implantable Contact Lens in Treatment of Myopia (ITM) Study Group (2003). U.S. Food and Drug Administration clinical trial of the implantable contact lens for moderate to high myopia. Ophthalmology, 110(2): 255–266.
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Last Revised:
June 24, 2011
Healthwise Staff
Medical Review:
Kathleen Romito, MD - Family Medicine & Christopher J. Rudnisky, MD, MPH, FRCSC - Ophthalmology
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