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Effective Date: Nov. 29, 2010
Our privacy policy, as detailed below, answers questions you may have about access, security and control of personally identifiable information. It also describes how such information will be used, and whether it will be provided to third parties.
Balboa Press believes that your personally identifiable information – including your name, mailing address, telephone number, e-mail address and credit card data – belongs to you. While we collect this type of information when you provide it to us, we do not rent or sell it to third parties. We use it to process orders and to provide a more personalized shopping experience.
The United States Federal Trade Commission has created a Web site, OnGuard Online, which provides general tips about navigating the Internet. The Web site is filled with information about how to use the Internet wisely, how to avoid fraud and deception online, and how to keep personal information private. We encourage you to review this Web site.
When users visit our Web site, the following two types of information may be collected:
The first type of information is known as "personally identifiable information." In order to serve your needs and to provide improved products and services, we may from time to time request personal and private information, such as your name or company, address, contact information, education, interests, payment information when you place orders, survey information and/or other information. You may choose to provide as much information as you like unless the information is required for us to process your order. Many areas of our site are accessible without providing any personally identifiable information. Personally identifiable information excludes any information you may choose to submit publicly, such as reviews, critiques, editorials, testimonials, manuscripts, documentaries, forum or blog discussions.
You may choose to place orders or to set up an account to obtain additional information or to order products and/or services. If you place an order or set up such an account, certain private information will be needed, such as your name or company, address, contact information and payment arrangements. We will maintain a history of orders and payments via your account for normal accounting and business purposes. Balboa Press does not rent or sell personally identifiable information about you with other people or non-affiliated companies, period!
If you choose not to provide personally identifiable information to this Web site, alternate ordering and payment arrangements can be made by providing the necessary information via telephone, fax or mail, or via another standard method of communication.
We may use your e-mail address to occasionally notify you about important functionality changes to the Web site, new services and special offers we think you'll find valuable. You may opt-out of receiving these emails at any time, by contacting us at: email@example.com
We may disclose account information when we believe, in good faith that such disclosure is reasonably necessary to (1) comply with law, (2) enforce or apply the terms of any of our user agreements, or (3) protect the rights, property, or safety of Balboa Press, our users or others.
We may disclose account information when we believe, in good faith, that such disclosure is reasonably necessary to:
The second type of information is known as "non-personally identifiable information" and is collected upon each visit to our Web site. Our server automatically recognizes visitors' domain names and Internet Protocol addresses (where possible). We also collect information and statistics about how visitors use the site. This information, which is collected and maintained in an anonymous, non-personal and composite form, allows us to improve the content of our Web site and facilitate market research.
On occasion, we may provide non-personally identifiable information about our users, sales, traffic patterns and related site information to reputable third-party vendors to help us understand this information better. However, these statistics will not include any personally identifiable information. Other than improving our Web site and providing our visitors with the best experience possible, we make no other use of this information.
We use encryption technology to keep your personally identifiable information safe. All of your ordering information – including your name, mailing address, telephone number, e-mail address and credit card data – is encrypted using a secure server for maximum security.
Credit card transactions are handled by a third-party financial institution called Verisign, the world's recognized leader in e-commerce payment solutions. They receive the credit card data only to verify the credit card numbers and process transactions.
Furthermore, your credit card and billing information cannot be read as it travels to our ordering system. To ensure that your information is even more secure, once we receive your credit card information, we store only the last five digits on a server that is not accessible from the Internet.
When you visit a Web site, information may be stored in a file known as a "cookie." This file is stored on your computer and is used for future reference. If you revisit a Web site, the cookie allows that Web site to identify you as a returning guest and tailor your shopping experience to you.
We use cookies in two places. The first is when a user places an order. We use cookies to fill in their name and e-mail address in the form where appropriate (this is known as "auto-fill.") The second is when a customer uses the User Registration page. Again, we use cookies for auto-filling the form.
Most Web browsers will allow you to erase cookies from your computer hard drive, block acceptance of cookies, or receive a warning before a cookie is stored. Please refer to your Web browser's help file to learn more about these functions.
The information contained in our cookies is only used by Balboa Press. Your Web browser will not pass a cookie to a site other than the one that created it.
Balboa Press is committed to maintaining the privacy of your personally identifiable information, and will treat the privacy of your information with the same or greater security protections as we provide for our own private information. Balboa Press Web sites have industry-standard security measures in place to prevent the loss, misuse, and alteration of the information under our control. While there is no such thing as "perfect security" on the Internet, we take reasonable steps to ensure the safety of all information.
Only employees who need the information to perform a specific job are granted access to personally identifiable information. Furthermore, all employees are kept up to date on our security and privacy practices.
Balboa Press retains personally identifiable information for as long as necessary to use it for the purposes for which it was collected or to comply with legal requirements, such as statutory retention periods. We will delete or make anonymous any personally identifiable information that is no longer required.
By using this Web site, products and services, you consent to the terms of this policy. We reserve the right, at our discretion, to change, modify, add or remove portions of this policy at any time. If our privacy policy changes, we will post those changes on this page so that you are always aware of access, security, control of personal information, how information will be used, and whether it will be provided to third parties. Please check this policy regularly for changes. Your continued use of the Web site, products or services following the effective date of any changes constitutes your consent to the updated policy.
Author Solutions Inc. strives to maintain the highest standards of ethical conduct in its marketing activities and is committed to complying with all federal and state legislation.
No employee or agent of Author Solutions, LLC shall engage in telemarketing practices that violate the terms of the Telephone Consumer Protection Act of 1991, the FTC Telephone Sales Rule, or state regulations.
If you do not want to receive sales calls from any imprint of Author Solutions, LLC you may request to have your name placed on our Do Not Call List. We will process your request and remove your name from our active list within 30 days.
You can make this request by phone, email, or mail as follows:
When submitting a request, be sure to include all the relevant information that you want added to our Do Not Contact List, i.e., full name, address, and telephone number(s). Subsequent sign-ups or inquiries may lead to new record creations; these actions by you may lead to inadvertent contact. If that is the case, please do not hesitate to contact us to reiterate the Do Not Call requests. If your information changes, please notify us of your new name, address, and telephone number(s) so that you will remain on the Do Not Call List.
If you would like us to remove you from our Do Not Call List so that you may receive our telephone solicitations, notify us by contacting Customer Service.
Please note that the Author Solutions, LLC Do Not Call List restricts marketing contacts from specific imprints, so you may continue to receive calls from other imprints where you may have signed up separately. If you would like to add your number to the Global Do Not Call List, you may do so by relaying this request to the Customer Service Representative or via e-mail through email@example.com
Being on the Author Solutions Do Not Call List restricts telephone solicitations only. We may still contact you about service-related issues, surveys, billing, and other topics.
We welcome your questions and comments about privacy and/or our use of your personally identifiable information. You can also contact us for access or corrections to your personally identifiable information that we have collected. Please e-mail us at:firstname.lastname@example.com


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Forever Car Care Products offers Forever Black Bumper and Trim Reconditioner, an easy-to-apply product that replaces the original color and protects the trim material. With a silicone-free formula, the reconditioner restores bumpers, rub strips, door handles, hoses, moldings, water barriers and most other items made of black plastic, rubber and vinyl.
Forever Black Bumper and Trim Reconditioner
Forever Black Bumper and Trim Reconditioner
Product From Forever Car Care Products
Expand for more details on this Product
- Product From Philips Automotive Lighting North America
The Philips Windshield Treatment Kit, is designed to improve driver visibility in hazardous conditions such as rain, snow and dirt, allowing drivers to see more clearly and travel more safely. The Windshield Treatment Kit uses a hydrophobic technology, which is designed to coat the windshield glass and help eliminate items that may obstruct the driver's field of vision. This treatment lasts for up to six months after application, and is car wash resistant. The application process is fast and easy and the kit includes everything needed to properly treat the windshield as well as the other windows in the vehicle. No additional tools are required.
- Product From K-Seal by Solv-Tec Inc.
Solv-Tec's K-Seal HD makes permanent repairs to cooling systems on trucks/tractors, industrial, AG, RV and larger capacity engines. K-Seal will stop most leaks in the block, head, radiator, heater matrix, freeze plugs and the head gasket. One 16 oz bottle treats cooling systems up to 50 quarts.
Bar's Leaks Cooling System Repair, No. 1150Product From Bar's Products
Bar's Leaks Cooling System Repair, No. 1150, not only stops engine coolant leaks and antifreeze loss, but also protects against overheating and future breakdowns. Its two formulas come packaged in a unique dual-cavity bottle, providing one easy-to-use, low-cost solution. One side of the bottle includes a blend of carbon fiber sealer, leak-sealing liquid and stop leak treatment to stop and prevent coolant loss. The other side adds long-term protection in the form of water pump lubricant, corrosion inhibitors and heat transfer agents. Cooling System Repair also includes
K&W Fiberlock head gasket & block repairProduct From CRC Industries
CRC Industries' K&W Fiberlock head gasket & block repair comes as a pour-and-go product that permanently repairs cracks in head gaskets, engine blocks, freeze plugs, cylinder heads and radiators. Designed to be a permanent pour-in repair additive, this product provides a permanent seal without any flushing. Engineered with sodium silicate reinforced with military-strength proprietary fibers, the sealant forms an interlocking web-like weave over the crack or breach, creating a permanent, multi-layer repair. Comes with a "double your money back" guarantee.
Stop Leak concentrates, Nos. 1010, 1420, 1630Product From Bar's Products
Bar's Leaks Engine Oil Stop Leak Concentrate, No. 1010; Transmission Stop Leak Concentrate, No. 1420; and Power Steering Stop Leak Concentrate, No. 1630, come in 11 oz bottles. Bar's Leaks' Engine Oil Stop Leak Concentrate can seal leaks caused by normal engine wear and age. Transmission Stop Leak Concentrate can stop leaks caused by normal transmission wear and age. Power Steering Stop Leak Concentrate stops leaks caused by normal power steering system wear and age, according to the manufacturer. Concentrates can be used with all domestic, import and heavy duty fluids, including petroleum, mineral oil synthetics and ATF.
- Product From Alvin Products
Alvin Products' Rubber In A Can penetrates into cracks and holes to create a leak-proof seal for repairing RVs, trucks, boats and more. This flexible black rubberized liquid spray paint can be sprayed anywhere a watertight, leak-proof seal is required, stays flexible, and will not crack, chip or peel. Suitable for use on virtually any rigid surface, this flexible rubber coating flows into openings and is paintable. The product withstands temperatures from -20 degrees F to 300 degrees F and can be applied to wet and dry surfaces.
Concentrated rear main seal repair No. 1040Product From Bar's Products
Bar's Leaks' concentrated rear main seal repair, No. 1040, provides the same unique blend of polymers, lubricity agents, anti-oxidants and conditioners as the original Rear Main Seal Repair in a much smaller bottle: 16.9 oz. vs. 32 oz. According to the company the product restores seal size, flexibility and elasticity. The product also works better than a conventional stop leak on all other oil leaks, including those at the timing cover seal, O-rings and other seals and gaskets.
- Product From Permatex, Inc.
Permatex PermaShield Gasket Dressing and Flange Sealant provides fluid resistance and also withstands extreme temperature changes without hardening. It's non-setting, non-hardening gel formulation stays tacky, allowing for easy parts removal and repositioning without the need for reapplication. It seals surface imperfections between metal parts with an operating temperature range of -60 degrees F to 500 degrees F (-50 degrees C to 260 degrees C). Resistant to common engine fluids including oil, gasoline, ethanol, water and anti-freeze. It prevents contamination from moisture and dust, and withstands heavy vibrations for use with high-performance applications.
Stop Oil Leaks Additive and SealantProduct From AGS Company
AGS Company's Stop Oil Leaks is a special blend of ingredients that helps to restore the original sealing ability of brittle engine seals. As most engine oil leaks are caused by dried out seals; adding Stop Oil Leaks can rejuvenate a leaking engine. Stop Oil Leaks only targets the seals and does not thicken or cause possible adverse affects to the actual oil. Just add Stop Oil Leaks once to oil and stop oil leakage for good.
Permapoxy General Purpose EpoxyProduct From Permatex, Inc.
Permatex Permapoxy General Purpose Epoxy is a Self-Mixing Syringe that features an innovative one-step operation to eliminate guesswork and provide a pinpoint, mess-free application. The PermaPoxy syringe comes with a special mixing head that blends the proper amount of resin and hardener as it is being dispensed and allows the customer to apply it directly where it is needed. No additional handling or clean up is required. This 5-minute epoxy can be used to bond ceramics, glass, metal, chrome, hard plastic and rubber. Comes in a carded 14 ml syringe with two static mixers.

subset: commoncrawl


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I don´t drink the beer he peddles. I don´t ride the bike he promotes. I don´t buy or use a lot of the items, products, foundations or other Lance sold. And will the organizations that profited from his promotions give their profits back because his image is now impure? Bottom line, for all Lance has done, it matters little in my life. But all that Obambi and his fascist/socialist buddies in the Dem party have costed me and my children and grandchildren their future.
I couldn´t agree with Poster #1 more. Our current president obama and his band of Thugs have done more to try to destroy the idea of America than Lance Armstrong has done for bicycling and sports in general.Maybe if the writer of this article, Michael Specter, could have as much a sense of outrage over Obama´s destructive ways (or more!), there would be some real journalism in the mainstream media again.As it is, too little, too late, MSM. You had your chance, and you blew it; be outraged about that maybe?
Perhaps he feels that by confessing to Oprah, he´s hit rock bottom and can begin his penance and redemption.
This is a twofer. I care not a whit what the New Yorker says about anything and I double down on that when the subject is Lance Armstrong.
The world and the USA are slipping into a major depression and the press and justice department spend their time on a bicycle rider that took PEDs. Of course he took them, along with every other rider that competes the TDF in the top 10 every year.
Lance has a great resume´ enhancer just in case he wants to run for Prez or Senate or House. As a dem of course. He lied. He cheated. Sounds like a plus to me.
Armstrong & 0bama seem to have a lot in common. Now, if only 0bama would fess up, he too would return to 0prah´s show. s/
Lance is a liar. Not just a liar, but a liar that lied everyday as he looked others in the eye and spouted his lies, over and over. Where I come from, that kind of liar is a pathological liar. He lived to lie, and lived to cheat.What this has to do with 0, or with any other politician, the lying, is but coincidental. Still, I am always amazed at the childishness of those who, whenever one of their heroes turns out to be a worthless crud, bring up 0, some other dem, all dems or anyone else they hate, as though that will take the focus off THEIR fallen saint. Please grow up.
Lance Armstrong´s problem is not that he lied. HIs problem is his last name. Were he but Lance Clinton, he would still have his wins, his medal, and be admired as a national hero
Well said, #8. The transgressions of others are off the point. This subject is Lance Armstrong and his sins are many.
He sued others for calling him a cheater...and won!
With the advent of the Sundance Film Festival this week, I realized that the annual waves of Hollyweird A-listers has been getting more and more homogeneous every year. They are all trained by the same studio handlers and PR types to say the same things the same way and not offend anyone, other than the occasional church-going conservative. Same for comedians. Same goes for politicians these days. Same hand gestures, same focus-group-tested phrases, etc. . . The one place where individuality still reins seems to be sports. There still seems room to have quirky and quixotic individuals who stand out from the crowd and have unique and interesting back stories. Say what you want about Armstrong (because I couldn´t care less about him), but he is an authentically unique public individual.


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Editor: Mark ASTLEY
Email: mark.astley(at)wrbm.com
Tel: +33 430 630 066
Please use this form if you would like to contact us.
Fruit ingredients shows super European growth
Food manufacturers have pampered to health-conscious Europeans with a raft of new fruit-based product launches in 2013,...
Sluggish growth predicted for global packaged foods markets
A slowdown in global packaged food markets is expected over the next five years as supply in...
BELFRIT leads Europe in botanicals harmonisation as Italy affirms 1000-strong list
Italy has legally adopted a harmonised list of about 1000 approved botanicals for use in food supplements,...
Food Vision 2014: Bridge knowledge gaps, overcome change and work sustainably
What is the future of food? Simple communication of complex advances will be crucial, as well as...
Further horsemeat tests ordered
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Soft Structured Carriers
" I don't have enough good things to say about this carrier, and I'm very sad that they're not being sold right now. My first experience with it was wearing a tester for hours at a conference with a heavy child on my back. Almost every other carrier I owned was causing shoulder pain, but the sculpted, shaped shoulder straps made shoulder pain nonexistent with this. Not only that, I'm a..." --jenrose
Sutemi Pack Baby Carrier
" I don't see this one mentioned a lot on the boards. I received it from a friend and it is hands-down my favorite carrier. I have had ring slings, wraps, etc. but this one is definitely my go-to. I have a large 5 month old (almost 20 lbs.) and it's the only carrier that doesn't leave my shoulders sore at the end of the day. I've used it as a front carry only so far, but it also has an option..." --Kuba'sMama
Lillebaby EveryWear Style Carrier
The líllébaby EveryWear Style Carrier is a versatile child carrier, featuring multiple sitting positions and all-in-one carrying (outward facing/inward facing, hip or back) from newborn to toddler. The contoured seat offers ergonomic sitting positions and promotes healthy spine development. Wearers of the hip and back carriers are fully supported by the Gentle...


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Compact Machine Solutions
Easy to use laser based systems for compact machines—skid steers, small dozers, backhoes and mini excavators.
Machine control for your drilling and piling operations. Drill all day. All night. And under any conditions.
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A family of affordable, flexible and reliable machine control products for excavators and soil compactors.
The most complete line of machine control systems for scrapers, excavators, dozers, graders, compactors, trimmers and more.


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With Instructables you can share what you make with the world and tap into an ever-growing community of creative experts.
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If you have created or purchased a small MP3 amplifier and need a sweet enclosure for it, a repurposed tin might be just the thing. Follow this instr...
A perfect tin may have come with cookies or kerosene in it. You may find one on eBay or in an antique shop. I got mine in the local thrift shop.
Once a speaker is selected that will fit in the tin, create a template of the speaker to transfer onto the tin. Trace around the speaker and then cut...
Measure and mark the tin as needed to locate the template, then tape the template in place. Use a marker to trace the cut location on the tin
Use a drill to place a hole at each corner. Next use a large kitchen knife in one of the holes to drive down and cut the tin. Use the knife in this ...
Use a file to clean up the burrs left over from the cutting. This will remove loose material, but the edge will remain razor sharp. Line the speaker...
Get some clear tubing such as is used on oxygen masks. Cut just enough to go around the hole. Mark a straight line on the tubing and then slit it op...
Locate some mesh wire that is suitable for a speaker grille. Cut out a piece that overlaps the hole on all sides then bend all loose ends 90 degrees ...
Carefully place the mesh into the pre drilled holes, start at one end and work around. Whenever an area is seated nicely, bend the wires over on the ...
Once the desires fasteners are collected, mount the speaker. One trick to get it done more easily is to tape the nuts onto the speaker. There is no ...
Loosely stuff batting in behind the speaker to dampen the sound waves inside the box. This will have a significant impact on sound quality.
Almost any good idea will suffice, I cut the top off a square medicine bottle that can hold two 9 volts (one spare). I used double back tape to affix...
Once the amp is wired to the speaker and plugged into the power source, plug in the MP3 player and close the lid. The result should sound great!! I h...
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You're leaving Wedding Paper Divas to see the Deal of the Day at our parent site, Tiny Prints.
You won't be able to dismiss this by usual means (escape or click button), but you can close it programatically based on user choices or actions.
"I ordered these for my wedding invitations, and I am very happy with the result! The Ecru paper is very high quality and durable, and the thermography is so beautiful! I did my research by ordering a few samples first to figure out what paper and font I wanted, and I ended up with the perfect invitations!"
"These arrived last night and I'm simply thrilled with the result.They are for my upcoming winter wedding at a ski resort in British Columbia. I went with rounded edges and paid to have the glossed finished! Perfect!"
"This invitation is absolutely amazing! The quality is perfect. I could not have asked for a more perfect invite to set the tone for our formal wedding! And the custom charcoal color came out to match perfectly!"
"I ordered these in the gray (as shown). They were absolutely stunning! We were planning a classy event that was not casual but not super formal. These were the perfect invitation to capture the simple elegance we were going for. Our family and friends raved about them! Plus the thermography always adds a little something extra as opposed to flat ink on a page. (The ink is raised on the page - very sophisticated). They order was shipped quickly and the design team was wonderful to work with. When I edited the invitation, it looked perfect but then when I went to finalize it the text tightened up and the text didn't fill out the page (horizontally) as much. I mentioned this to the design team and they agreed and fixed it immediately. LOVE LOVE LOVE these. You can't go wrong."
"I love the unique shape of this invitation and once I received it, I fell more in love with it. It is simple yet modern. Customer Service worked with me on rearranging print items and it turned out perfect. Thanks"


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Don't take chances with inferior deer attractants. With a hunting scent for all seasons of the hunt, your success starts with Code Blue. From standing estrous and tarsal glands, to whitetail buck and doe urine, each bottle of Code Blue deer scent is taken from a single whitetail deer for "true-to-life" effectiveness. Meticulously prepared, every bottle is certified as the "genuine article" by an independent organization and marked with the deer's registration number.
Made to the highest standards, Code Blue's line of synthetic deer scents use advanced "DNA" technology to create a perfect partnership between nature and science. The result is a strong, super-realistic deer attractant that gives you more scent for your money.
Stay one step ahead of the game. Use Code Blue whitetail deer, buck and doe scents as part of your hunting strategy, and increase your chances of bringing whitetail deer in close for an optimum shot. One bottle of this potent deer attractant goes a long way.
The Code Blue Temptation scent warmer gives you a leg up on the competition by electronically heating deer scent to a deer's actual body temperature. This makes your scent the hottest, freshest, most realistic scent trail in the woods. It also convinces your trophy buck that a deer or doe is right here, right now.
Trick a dominant buck into protecting his territory with Code Blue Whitetail Buck Urine. The buck urine deer scent will lead whitetail bucks to investigate the "buck" who is invading their territory. Each bottle of deer scent is the urine of a single whitetail buck, so you can be sure it will stand up to the test and lure big bucks.
Lure deer throughout the hunting season with Code Blue Whitetail Doe Urine. Deer urine is a great deer scent choice because it is versatile and can be used all season long. Each bottle of this deer urine is collected from a single whitetail doe, making it a genuine product that will set you up for success. Pour the deer urine around your stand, or use a scent drag or scent wick to entice deer's sensitive noses.
Get the attention of the big bucks with this doe estrous deer scent. Each bottle of Whitetail Doe Estrous is collected from a single doe in heat, making it the purest deer scent on the market. Pour this estrous doe urine around your hunting stand, or use a deer scent drag to create a trail that bucks will eagerly follow.
Whitetail Buck Gel is a versatile deer urine scent that you can use during all phases of deer hunting season. Experienced hunters know that buck urine can be used in almost every situation, whether you're hanging scent wicks or freshening a scrape. This weather-resistant gel formula uses the deer urine from a single buck, is long lasting and won't freeze.
The Code Red line of deer scents from Code Blue offers fresh, high-quality deer scents at reasonable prices. Drive dominant bucks crazy with our Code Red buck scent. It will convince your trophy buck that another male has encroached upon his territory. This will incite him to assert his dominance by scraping, giving you time to take him down.
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Made from the freshest and highest-quality blended doe urine and all-natural ingredients, Code Red Doe Urine is a deer scent that's sure to attract the big bucks during deer hunting season. Never diluted with flavorings or byproducts, Code Red Doe Urine stays potent for success in attracting does and bucks to your hunting stand during deer hunting season.


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Box Office Hours
12 noon – 5 p.m., Monday – Friday
Because our box office is staffed by currently enrolled UM students, our box office is closed for most school holidays and for the long Winter break between semesters. During the summer we have a small staff to process season subscription renewals and new sales. Before visiting us, first telephone 305-284-3355 to make sure one of our staff members is here to serve you.
You can purchase tickets on line. Click here.
Why Subscribe?
- Get the best seats before individual tickets go on sale to the general public!
- You'll always have a seat…even when we're "sold out"!
- See all five plays in the season package and pay less than if you bought them individually.
- Exclusive free ticket exchange privilege when you can't attend your regular performance! Only subscribers have this exclusive ticket exchange privilege!
- Free lost ticket replacement! Just call or come by the box office.
- Free subscriber e-newsletter…find about more about each production to increase your enjoyment! Only subscribers receive our email newsletter.
- Your chance to see the future stars of the theatre and entertainment industries today!
- Become a member of South Florida's most satisfied, discriminating, and budget-conscious theatre audiences!
Jerry Herman Ring Theatre Seating Configurations
All shows this season will be in the proscenium arrangement.
Our Proscenium Configuration is a traditional theatrical arrangement There are only 11 rows and each seat has a complete and unobstructed view of the stage. Row A is strictly reserved for patrons in wheelchairs, those with hearing and vision disabilities, and anyone who cannot climb stairs. Please contact our Box Office at 305-284-3355 for assistance with your special seating needs.
As the first theatre in the United States to offer flexible seating, the Jerry Herman Ring Theatre is capable of adjusting the seating and staging to fit the needs of each individual production. While this adds to the excitement of the performance, it means that the seats have the possibility of being located in a new place each time you attend one of our performances.
Directions to the Jerry Herman Ring Theatre
1312 Miller Drive, Coral Gables
Driving from the North via I-95
- Drive South on I-95 until it merges with US-1
- Travel South approximately 4-5 miles until you get to the traffic light at Red Road (SW 57th Ave.–Sunset Place and Wendy's on your left).
- Turn RIGHT onto Red Road.
- Head North approx. 1 mile on Red Road to the traffic light at Miller Drive (SW 56th St).
- Turn RIGHT onto Miller Drive.
- Drive 2 blocks on Miller Drive to a traffic circle and enter the campus straight ahead.
Driving from the North or South via the Palmetto Expressway (I-826)
- Take the Palmetto (I-826) to the Miller Drive Eastbound (SW 56th St.) exit.
- Drive East approximately 3 miles on Miller Drive to a traffic circle and enter the campus straight ahead.
Driving from the South via US-1
- Travel North until you get to the traffic light at Red Road (SW 57th Ave.--Sunset Place/Wendy's on your right).
- Turn LEFT onto Red Road.
- Drive North approximately 1 mile on Red Road to the traffic light at Miller Drive (SW 56th St.).
- Turn RIGHT onto Miller Drive.
- Drive 2 blocks on Miller Drive to a traffic light and a traffic circle and enter the campus straight ahead.


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Great city!
This is a great alternative to busy Dublin! It is a lot less busy, but there is still a ton to do and a great night life! People are very welcoming, and there is a very rich history of the town. It is easy to navigate and easy to get to (a 10 euro bus from Dublin via Aircoach).
Insider Tip:Become friends with the locals, i.e. people working at your hostel, because they know the best spots to go for a great Belfast nightlife experience!


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Sweet caramelized pears are the highlight of this comforting, custardy, raisin-studded bread pudding. When turned out of its baking dish, the flanlike pudding sits in a pool of intense caramel syrup, making it worthy of any holiday table. Serve warm or chilled.
Recipe: Caramelized Pear Bread Pudding
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I have used this to widen frets that were too narrow. it cuts cleanly and quickly, it is obviously well-made and I really like it. I haven't used it with the manual slotting box, but I have to think it would be quick work to slot a fretboard with that setup.
Arrived really quickly, half an hour later I had cut 19 slots (in purpleheart) - normally this takes all afternoon and a lot of cursing. Tried it on an offcut of ebony - good clean slot in a few strokes. Wish I'd bought one of these in the first place. A little tip; leave the paper covering on the depth gauge, then, when you have the depth set draw pencil arrows at the nut and bolt positions. It's then very easy to set the depth next time. If you use more than one depth of fretwire you can have marks for each one.
Most useful tool in my studio - I'm using it for much more than just fret sawing.
this saw is great
I got this saw last month and finally got the chance to use it. It's amazing. Cut through ebony like it was pine, with no catching or chattering, and the slots were perfect. One of the best building investments you can make.
I have been using this fret saw for a very long time now and it is still as sharp as the day it arrived. Very comfortable handle and cuts through hardwoods as though it was like a hot knife through Butter!
Very much worth the price.
Very nice and sharp, well built and of good quality.
After years of fretting with a micro-saw, this feels big and chunky in the hand. It is perfect, however, for use with a mitre box - homemade or the amazing StewMac version. Cuts really nicely and is gaspingly impressive to look at. No going back.
The best saw I ever used!!
I used this fret saw on my first cigar box guitar build. Very happy with the results. Love the Stewie Mac website for all the archives and free info. Thanks for all your help.
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a type of nasty soup
finish up your kianna!
by Amizzle--ee October 13, 2007
112 267
Rude . Beautiful . Great . Biigg Butt .
You Know That Girl Kianna ? She Has A Big Buttt !!!!
by SweetCheeks110110 June 27, 2011
207 96
A Kianna is a beautiful, quirky, powerful person. A unique name and a unique personality, her eyes are a colour of beauty and she makes friends wherever she goes and knows how to make people laugh and smile. A Kianna will also strive to reach their full potential with everything they do.
She is so funny , she has to be a Kianna .
by bloggingfordays January 11, 2014
30 6
a girl who will be your best friend until you need her. She always contradicts her opinions on people. For instance if she she say she doesn't like a person she will be hanging out with them within a week. She is always looking for the next best thing, whether in boys or friends. She likes to fight. Never the girl who will throw you a party, Just will show up and act like its for her. Her problems are always worse than yours.
1: my boyfriend just broke up with me and i lost my job.
2: today at work i spilled coffee on me when my coworker tripped me...bitch
1: Kianna-
2:and the stain wont come out
2: today at work i spilled coffee on me when my coworker tripped me...bitch
1: Kianna-
2:and the stain wont come out
by justmealways12345 September 17, 2011
72 155


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In February, Guide to Nebraska Alex Matzke traveled to Washington, DC, with a group of Nebraskans protesting against the Keystone XL pipeline. Here are Alex's words:
I was completely overwhelmed by the number of people. Does that sound like a terribly midwestern thing to say? But it's true. I've been in Times Square during high traffic, but never in a mob moving together. At times dancing with total strangers because Reverend Yearwood asked you to jump away the cold between speakers.
Most of the Nebraska delegation bussed out arriving the night before the rally. We met in the basement of a local pub for stretching of legs and instructions from organizers at Bold Nebraska. That night we also had an opportunity to hear from speakers who would only be a blip on giant screen at the rally. Congregating in the morning our numbers were quickly diluted as the crowd moved around the White House.
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A Non standard observing site would not meet the above criteria.
Last updated: 28 March 2014


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Let's take a crack at the discussion prompt that Laura Robb poses on pg. 33.
Consider your current approach to teaching writing. Think about how you might increase your students' engagement in writing at school, based on the survey's findings.
Currently, I use Writer's Notebook as a way for students to journal each day. I give them a poem with various images for them to connect with in their writing. I tell them to try to connect the poem to some aspect of their lives, past or present, and then write. They can write in any form they choose, they just have to write for the allotted time (about 5 minutes). My hope is that they will remember moments in their lives that can turn into stories and poems later on. Most students love this and even like to share what they wrote. Allowing student choice while showing them different examples of good writing seems to be successful.
Laura Robb suggests a similar approach on page 11 and also mentions blogging which is my goal for the 8th graders this school year. Like the book suggests, students love to write about themselves, especially if they can do so on the computer. Since I'm new to blogging, I want to work out the kinks before doing it with all three grade levels, but I imagine it will go over well.
Hi Jill.
Let me know if you need any help setting up blogs with your students. I am a HUGE fan of blogging. In fact, I presented a session at IRA in 2011 about blogging with 1st and 2nd graders at West Point Independent School as described below. I hope you find this to be a valuable resource as you move your ideas forward in relation to blogging with your students.
See the following article on Reading Today Online by the International Reading Association.
Globetrotting by Blogs: No Passport Required!
How do you motivate your students to become excited about writing? Do you wonder how to help them think more critically about literature, global issues, or multiple perspectives? Are you looking for an easy way to engage students in 21st century learning? If any of these questions have crossed your mind, introduce your students to a cultural exchange with blogs.
Article includes video highlights from session at the International Reading Association 2011 Annual Conference featuring L.A. Henry and L. Zawilinski.
I was surprised that only 24.1% of all students surveyed reported that they blogged outside of school. I also found it interesting that the number was much higher among the 7th grade students (over 30%) and then dropped off significantly. I think that blogging could be a powerful way to make writing a social and idea-building activity. Just like we teach are students in socratic circles to build and elaborate on each other's ideas to arrive at a deeper and more refined understanding, so too, can blogging encourage this dialogue.
I love the idea the book gives about setting up a class blog. That way, students can practice reading and responding to eachother's ideas in a safe, controlled environment. What site were you thinking of using, Jill? Edmodo? Moodle?
Let me know if we can collaborate!
I am using kidblog because I've heard it is super safe and was suggested to me by a colleague. Since this is my first time blogging in class, I want to get my feet wet before branching out to other sites. The kids all posted their first responses today, and it went pretty well. I like that I get to see all of their responses before they are actually posted to the site. Some friends were talking about liking Edmondo and said they liked it. We used moodle at North, right?
I also use a reading/writing journal to teach writing and reading response. The students read a variety of texts and respond in their journals through reflection and original composition. I like to take excerpts and photos and have students respond to them in their journals. Also we go back a do grammar and other writing lessons through what the students have written. Certainly makes working with grammar and puncutation meaningful and practial.
Yes, with the student's permission, I use journal entries to do grammar and punctuation lessons. It makes it much more meaningful to them, and they get more excited about it.
I have always noticed the gender differences in writing that the survey mentions. My girls tend to write much more in free time or at home and bring it in to show me, while the boys have to be coaxed to write in most cases. I try to make writing more engaging for boys by choosing topics that are of interest to them, or letting them choose their own topics for informational writing. For instance, a couple of weeks ago was Shark Week. We did a unit on sharks, and students chose a shark species that interested them, researched it, and wrote an informational piece about it. The boys seemed motivated by this more than the girls, not surprisingly! I think by tuning into what boys like and what they want to read, it's easier to get a feel for what they will enjoy writing about.
Last year I had one student that was particularly gifted at story-telling and drama. Even though he needed a scribe, he dictated an entire play script to me, and I typed it for him, and the class performed the play. The content really reflected his cultural milieu, and the play was well-received by the class we performed it for. I think it's important to focus on student strengths and capitalize on them.
One of the overarching ideas I kept returning to in the first chapter was that students actually do a lot of writing-when they choose how and what they're going to write. Coupled with the seemingly endless numbers of texts that state middle school students thrive when they have a choice in their education and curriculum, I think that students will obviously be more invested in a writing activity when they have some choice with it. As people above have already said, this is great for the journals and writer's notebooks, in which students can pick their own topics and write about what they want.
I actually came across a RAFT (Role/Audience/Format/Topic) writing activity in a textbook (Subjects Matter by Daniels and Zemelman) in another class that students can do after reading. Together with the teacher, the students compile a list of potential roles, audiences, the format of the writing piece, and a topic. The students then do a writing assignment based on the roles. For example, a student's "role" could be Albert Einstein writing a formal letter to President Truman on nuclear bombs. Not only is this good for developing writing and reading skills in all content areas, I think students would be more interesting because not a simple write-up on nuclear bombs or Albert Einstein. Also, this activity can be expanded into a final paper that students can take pride in because they had a choice in it, and there is a lot of room for their creativity in it.
Finally, I would say that students need to write everyday (or at least almost everyday). If we want students to become good writers, they need to at least get used to writing regularly and often, and in variety of ways. I know this is a difficulty in many classrooms and I've seen firsthand how easy it is for other things to be prioritized before writing, but I will definitely spend a lot of time considering how I can squeeze in some form of writing every day.
As the library media specialist, I think blogging about books will be one of the best ways to connect with my students and their writing. I'll have to think about how to advertise it, so that all students are aware of the blog. Students can write books reviews and submit them electronically to me for approval to be added to our electronic card catalog as well; when a student searches for a book, they can read what other students think about that book. I have lots more to share, but they are strategies I have used that work in the classroom. Right now I need ideas that work in the library media center
I believe one way to increase my student's engagement in writing is to generate interest in the writing topics. This chapter mentions that "choice brings relevance to middle school writing instruction" (Robb 26). I think relevance is important for students and could increase their engagement and effort on writing assignments. I also think that making writing part of a routine is important for students. If students expect to write every single class period then they will be expecting it and not groan when you have them write. Implementing different writing strategies into the classroom could increase engagement in writing. I could try different writing strategies and see which ones appeal to students and get the best response. Switching it up and doing different strategies could keep students interested instead of doing the same writing activities every day.
My "content" according to my class description deals with reading standards. However, I have students wriite something everyday, even if it is only a few students. My favorite ways to incorporate writiting is through daily bell ringers and exit slips. I ask them to ponder something we have read or some concept we are dealing with and then write about it in some way.
Since emails, texts, stories, and blogging were students' top choices, we need to take time to plan for this type of writing in our classes. If students want choices, what is wrong with giving them choices? Middle schoolers are trying to discovery who they are, and I think if given the chance, writing can help them unearth some interesting findings about themselves. I like Laura Robb's last line on page 33, "…you will need to examine your writing curriculum and include reading, writing, and talking experiences that give students, new, compelling reasons to write—reasons for them to connect who they are and what interests them with what you are asking of them." If we would all do this, we would be heading in the right direction.
I believe that students will write more when they have a chance to pick and choose their own topic. It is important for students to feel like they have a voice. Students are constantly being told what to write and I feel that giving them several writing prompts or even a quick write will help ease the tension and help them focus on writing. I believe that it is extremely important that students write on a daily basis and I think that students having a choice will really help them want to write.
I agree completely, Elizabeth. Giving students the freedom to choose a genre or topic of writing helps engage them in writing itself. In response to Robb's prompt, I believe that incorporating modes of writing such as blogging into the middle school classroom gives students a chance to practice using technology in order to express themselves. Middle school students tend to get excited when given the opportunity to use technology anyway therefore I think introducing them to blogging would be a smooth transition. In addition, I think it would be great for students to write blogs and articles that would be published on a class wiki or class webpage for experience.
Student engagement occurs when voice and choice are allowed to shine. I too feel that craft lessons get short changed in the attempt to "prepare" students for mandated testing. With the adoption of the the new core standards, however, I do feel a sense of hope that teaching and learning will ebb back to less piece driven work and more on the purpose and audience. Consequently, students can choose their mode of communication to be more authentic in expressing themselves.
So much thought was put into developing the survey. Like Laura Robb, it has been a long time since I have had tests/mesurements and statistics. The way LR modeled her relearning process was very interesting to me.
Using reading and talking to fuel writing is a technique I would feel very comfortable with. Middle schoolers sometimes need a little push in the class setting, Responding to something they have read, listened to, and talked about with their classmates and teacher is a non-threatening way to begin.
A passage on page 25 spoke to me. LR wrote "You see, struggling writers can also be students who don't read enough to build a mental model of good writing or students who have a limited knowledge of how narrative and nonfiction texts work. We can motivate and engage them with reading by giving them choice and showing them how to choose books they can read and enjoy." I have noticed that my students who enjoy reading have an easier time writing. I look forward to helping reluctant readers find books they can read and enjoy with the hope that their writing will improve as a result.
Looking at the survery results, students are writing the most through text and emails. They live in such a technological world, that in order to engage them, I need to use that technology. I know that when I have my students write a piece that is going to go through the writing process, they see handwriting the first draft as a pain and pointless. As teachers, I think we have to start embracing the technology even if we are not entirely comfortable with it ourselves.
Also, I found the comments that struggling writers made to be sad. What Robb said about them losing confidence to write is so true. Giving those students chances to feel successful and to be proud of their work is so important.
I have definitly found that students write more and put more thought into something that they choose to write about. I would love to blog or do something really fun with writing, but unfortunately, our school only has one computer lab for K-12. So therefore it is very hard to schedule computer time. Also, with our town being a small, economically challenged community, our students may not have access to computers at home. So it is hard for me to require something like this to be done outside of school. I am hoping that our new school will allow me to become more 21st century oriented. There are two full labs and one is located in our wing of the school.
One thing that I do find is that my struggling readers do not write well. I find it sad that most of the time they do have wonderful stories to tell but cannot get it down on paper. So one of the things that I do is I sit with them during RTI time or when the other students are writing and I help them to write down what it is that they so desperately want to get down on paper. This allows my students to feel successful and to be proud of what they write.
As a district literacy resource person, last week I was invited into a 7th grade class to help engage a group of 15 reluctant writers in narrative writing. Fortunately, they respected my "grandmotherly" presence, and after doing a read aloud of Cynthia Rylant's "When I Was Young In The Mountains," with pauses for them to jot down notes personal connections, a wide variety of writing topics were initiated. Feeling somewhat confident that they at least had something to write about, everyone drafted narratives of sequenced events - except one. This young man wrote "I like to fish." After assuring him that I'd like to learn more about his fishing and wasn't concerned about how he wrote it, he gave me lots and lots of details about fishing and fixing things. I knew that my response could either make him or break him so I wrote him this note: "I appreciate the honesty of your piece – you shared a lot about yourself and I can tell you have some strong qualities, like an appreciation for the outdoors and for fixing things. Since you said you like to do a lot of stuff other people won't do, I am wondering if you could write a narrative about choosing what you want to do rather than "going with the flow" and doing what everyone else is doing. This might mean thinking about those things that you don't like to do that are popular with young men your age. What do you think? Alternatively, I can envision a conversation between you and someone who has never gone fishing before. Has there ever been a time when one of your friends or relatives asked you if he or she could go fishing with you? I can imagine that you would need to tell that person about baits to use and about how to catch snapping turtles. Does that sound appealing? I look forward to reading more of your writing."
So why am I spilling all this out? I know teacher response to a writer is extremely important but I wonder sometimes if we go overboard. In this case, apparently, my response was ineffective. This young man lost his paper and made it clear he wasn't about to write another one
As I thought about this question I kept coming back to the box quote directly above the prompt. I loved the idea Fitzgerald's quote (p. 33) speaks to- writers having something to say. This seems like such a simple idea and students demonstrate it all the time with their modes of written communication. I think for my classroom it's going to be all about trying to help students figure out what they have to say by building on what they already know they have to say.
LIke some others here, my students may not have the home resources for a blog to be successful.
I have gone to Laying The Foundation training the last 3 years and that has really helped me help my students with their writing. It's a 4 day training over the summer and if you have a training session near you, I highly recommend you get your school to look at it. I love their visual posters. For example, there is one that is a picture full of nouns (trees, hearts, ghosts, etc). Students write down as many nouns as they can find. Then they look again and use adjectives to describe the nouns in the picture (broken heart, scary ghost..). Now they have created a bellringer sheet that we can use for days. I give them a different activity and they choose from their list. Eventually the list disappears and the work becomes completely theirs.
That sounds like a great training. I'm going to check it out. Thanks for sharing.
I have my students write in a writing journal 3-4 times a week, usually with a prompt and sometimes the prompt has to do with the book we are reading.
I am fortunate enough to be in a school where I can schedule into a computer lab or sign up for a mobile MAC Book lab. Our school also uses a program called My Big Campus which has a Facebook look and is similar to Blackboard. I have my own blog there and all my students are connected to me and to their current classmates. I can post things for them to respond to and I am going to see if they have the opportunity to set up their own blog as well.
I also had a quick training on Google Docs and how to use them with groups of students writing/editing the same Doc.
After reading the beginning of the book I see that it's time for me to schedule us into the lab and begin writing some electronically.
The big take home message for me is to encourage authentic inquiry in the classroom within the framework of standards based instruction. As the survey confirms, students are much more interested and engaged in writing, when they have some ownership over the topic. I want to do a better job of helping my students discover meaningful and that they are genuinely interested in learning about.
In my attempt to do this, I began by asking them to respond in list form to the following question, "What do you google?" Through a fishbowl discussion, they concluded that they google answers to questions that interest them or that come from something they read, hear, and watch. When they are googling to find these answers, they don't think of it as "research", they think of it as fun. From this discussion, we entered into a carousel activity that allowed them to brainsorm all of the topics about which they are already interested. My hope is to develop one of these topics during writing workshop.
As a teacher that is much more comfortable in the reading/literature realm, I have been struggling to find ways to teach writing in a meaningful way to my sixth grade students. I use a reader's/writer's notebook with students that remains in the classroom. My students have always been asked to use strategies that "good readers use" to write comments, ask questions, make predictions, make connections and draw pictures about what they have read, etc... Sometimes the writing is directly in the journal; other times it is on a post-it note that we can stick into the journal, but we have always written about our reading.
Last year, I attended a Bluegrass Writing Workshop based on the book, Mechanically Inclined: Building Grammar, Usage, Style into Writer's Workshop (which led to the discovery to the companion book: Everyday Editing: Inviting Student's to Develop Skill and Craft in Writer's Workshop) by Jeff Anderson which is a series of lessons based around the process of writing, but I still do not feel that I found the perfect way to engage students in writing at school.
As I have been reading and thinking about ways to increase student engagement at school, I have had several aha! moments this year. First, my students have loved "Free Write" days – or days when they have student choice for their topic. In the past, I would have assigned a topic for everyone to write about on a certain day of the week, but this year, I have presented the activity as a "Free Write" day. A few of the students will sit with very little on the page, but most students write and/or draw for the entire segment of the lesson. I have been adding time - 8 minutes to 10 minutes to 15 minutes - to the sessions when we write as a way to build stamina for our engaged time with writing.
The ability to select a topic has lead to a second revelation to me. On days when I provide time for SSR (Silent Sustained Reading) or DEAR (Drop Everything and Read), I am now having students ask if they can "free write in the journal". That question has forced me to realize that sometimes providing options within the use of the class time needs to include the option of either reading OR writing. But ultimately, I am reaching the conclusion that the best way to approach the task of teaching reading and writing in one 45 minute session is to embed the two tasks together into the unit plans from the beginning – which is a whole new way of thinking for me…
I am also experimenting with the website, Edmodo.com, which is an "educational Facebook" where the site is secure (parents can obtain a parental passcode), and I can control anything that is posted or displayed on the wall. I am finding that several of my students are accessing the website from home on a daily basis. They are sending me questions and comments from school, on nights and weekends. So I am thinking about ways that I can incorporate the use of the ability to ask questions, post powerpoints from lessons, add hyperlinks to websites, and create surveys, polls and quizzes in such a way that the students can engage in writing through the use of technology – both at school and from home. My ultimate goal is to be able to post the survey questions into the Edmodo quiz section, so that students can respond to me without their answers being public. However, this is simply an idea that I am mulling over for the time being.
While this just touches the tip of the iceberg in ways that I have brainstormed how I can engage student's writing from school, I need to realize that change needs to be slow and well thought out before I introduce it to my classroom. Hopefully, the ability to read the remainder of the book will provide much more guidance and suggestions on how this can be done in a practical manner in a "real classroom".


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Live Reviews
Copenhagen Jazz Festival 2009
Various Venues
Copenhagen, Denmark
July 3-12, 2009
In a survey conducted recently by the renowned Monocle Magazine (volume 03, issue 25), Copenhagen was selected as the second best city in the world due to its safety, atmosphere, welfare, infrastructure andone could be tempted to addits jazz festival.
Over the years, Copenhagen Jazz Festival has established itself as an international event, which brings together a plethora of people of all nationalities gathered to play for and with each other. It has often been said that music is a transnational language and this is, indeed, a point that is valid here.
Attending the festival, one is likely to experience a wealth of genres more or less associated with jazz and an abundance of challenging collaborations, but the great tradition is also kept alive. Thus, in Copenhagen one is able to encounter every possible style associated with jazz from early Dixieland and ragtime to swing, bebop and avant-garde while, at the same time, bearing witness to the deconstruction of generic conventions.
Actually, it could be said that one of the defining characteristics of the post-modern jazz artist is that he/she is able to maintain a sort of double consciousness where jazz tradition is both referenced and transgressed. In Denmark, this is especially true of the new generation of musicians associated with labels such as ILK, Barefoot Records and the group of artists centered around the distribution company, Pladekisten. Among them, guitarist Jakob Bro, pianists Soren Kjaergaard and Jacob Anderskov and drummers Stefan Pasborg and Kresten Osgood have all done their fair share to break down the boundaries between past and present, avant-garde and popular culture and they all played a significant role in this year's festival which, according to tradition, was spread out all over the city.
A Musical Roadmap of the City
With about 900 concerts hosted by 100 venues, the festival offers immense possibilities to even the most demanding listener. The famous Danish philosopher, Søren Kierkegaard, who was born in Copenhagen, comes to mind with his dictum that the most important thing in life is to make a choice. What matters most is not whether the choice is right or wrongone is bound to find outbut rather the importance of taking the plunge, making an active decision as to the many choices in life. The same thing goes with this year's festival program. With several gigs taking place at the same time, and often overlapping, it's impossible to hear everything. One strategy for listening is to walk around the city. That way, one is able to move, not only geographically, but also stylistically through the diverse musical landscape that is the Copenhagen Jazz Festival.
At the harbor area, there's a lot of the more traditionally minded groups. The venue, Nyhavns Ankeret (The Anchor) along with Restaurant Dix-Neuf, located more centrally in the city, makes the exploration of the older styles of jazz a joyful journey. Names such as The Spirit of New Orleans, Kim Menzer Jazz & Blues Band, Orion Brass Band and Ole Sterndorff's Ragtimeband speak for themselves. Here, one encounters a relaxed, humorous atmosphere with plenty of room for dancing, smiling and funny anecdotes.
The venue Nyhavns Ankeret (The Anchor) located around the harbor area. The reason for the venue's name is self-explanatory. Here caught on one of the rare rainy days during the festival.
Moving into the heart of the city, one finds a lot of the most significant open venues such as the areas around Gråbrødre Torv, Vandkunsten and Frue Plads, which hosted music within the realm of straight and progressive mainstream. Some of the discoveries to be found here were the tenor saxophonist Jan Harbeck, bassist Steve Swallow in collaboration with The Bohuslän Big Band, pianist Peter Rosendal and guitarist Mikkel Ploug.
Tenor saxophonist Jan Harbeck is an example of the tradition in Danish jazz of exploring the Great American Songbook and with his album In The Still of The Night (Stunt, 2008), he received widespread critical acclaim. For his concert at Vandkunsten he brought the quartet that also plays on the album: pianist Henrik Gunde, bassist Eske Nørrelykke and the ever-present drummer Kresten Osgood. It was a tightly knit constellation that clearly enjoyed playing with each other and the joy spread out to the audience as well. Highlights included "PoincianaSong of the Tree" and a thoughtful version of John Lewis' "Django" with Harbeck digging deep into the melody and overall that was the characteristics of the concert: the ability to make the old material shine like it was played for the first time.
Harbeck is a former big band player and the festival offered rich opportunities to explore big band music. It is a music that is often perceived as one of the more archaic forms associated with jazz, bringing up nostalgic associations of ballrooms and bootlegging. This, of course, is not true as countless visionary bandleaders from Count Basie and Duke Ellington to Gerry Mulligan, Gerald Wilson, Oliver Nelson and Quincy Jones have proven.
At its best, big band music offers a unique possibility of exploring texture and polyphony and some of the big bands that were present at the festival proved that the form is far from being outworn artistically. The span ranged from traditionally minded ensembles like Erling Kroner New Music Orchestra and Klüvers Big Band to the more experimental sounds of New Jungle Orchestra, Tip Toe Big Big Band, The Orchestra and Geir Lysne Ensemble. However, the big band that combined past and present in the most convincing way was Steve Swallow & Bohuslän Big Band. They played an enchanting concert at Vor Frue with a program made up entirely of Swallow's compositions.
To hear Swallow as an arranger and conductor of his own songs is an event not to be missed. By now he has established his name not only as superior bassist but also as composer of extraordinary standard and a tune such as "Eiderdown" has become a modern standard. As composer as well as arranger, Swallow works eminently with the textures of the music. Like Gerry Mulligan, he shuns the heavy sound of the big band in favor of a more complex and light approach. In his music, there's room for referencing the classic swing of Count Basie in the appropriately named "Ballroom," but there's also the decidedly modern, polyphonic chaos of "Playing in Traffic," which resembles a traffic jam set into music with horns honking away.
Several times, Swallow mentioned his gratefulness at working with the Swedish big band, and it was easy to understand why when hearing the tight yet bouncing rhythms and melodies that floated from the orchestra, who understood how to realize the music, paying attention to the tiniest detail. That also included doing a trick of showmanship, which has become something of a staple at this particular venue, located as it is near a church with bells often chiming in. For the musicians, it has become a particular challenge to integrate the sounds of bells into the music, and this was done elegantly by Swallow and his orchestra, who used the timing of the bells to stunning effect in the lyrical meditation "Seventeen Chords."
There was a sense of tight yet relaxed choreography with Swallow often stepping back to assume the role of a quiet conductor, gently leading his band into a swirling ocean of sound. There were also times when he stepped up as soloist, as in the beautiful ballad "Away," and, naturally, this caused a huge round of applause from the audience. However, the real star of the afternoon was the music itself, perfectly realized by the leader and his orchestra.
Steve Swallow and The Bohuslän Big Band.
Peter Rosendal and Mikkel Ploug are much younger than Swallow, but have already shown considerable talent as composers and leaders of their own groups. Both played numerous gigs at the festival, but their concerts at the open venues were among their best performances.
For his concert at Gråbrødre Torv, Peter Rosendal had expanded his usual trio of Janus Templeton (drums) and Greg Earle (bass) with ace guitarist Jacob Fischer and saxophonist Hans Ulrik, adding more nuances to his self-penned compositions.
Along with Lars Winther and Magnus Hjorth, who also played at the festival, Peter Rosendal belongs to the cream of the crop of new Nordic pianists that works within the realm of progressive mainstream. The concert showed him as an inventive lyrical pianist, who also adds a healthy dose of humor to his compositions, as is evident in the silly naming of tunes like "Peter og Ulven" ("Peter and the Wolf"). Rosendal and his expanded trio came across as both playful and serious.
Peter Rosendal and his expanded trio playing at Gräbrødre Torv.
Humor is a thing that is somewhat absent in the music of guitarist Mikkel Ploug, but it isn't something that is missed as his tunes still carry a melodic freshness that frees them from meandering. Ploug has collaborated intensely with one of the most talked about saxophonists of the moment, Mark Turner, but it is his current constellation with bassist Jeppe Skovbakke, drummer Kevin Brow and New York-based bass clarinetist Joachim Badenhorst that has become his most successful musical venture.
At Vandkunsten, Ploug was premiering all new material and the songs augur well for his next album. Among the highlights were the Spanish-tinged "Villa" and "The Loop," making fine use, as the title suggests, of patterns of repetition. As time has passed, Ploug's melodic gift has become clearer and this was evident in the new material. Badenhorst plays wonderfully with the same detached warmth and cool nonchalance of a young Lee Konitz. The rhythm section is one of the best that the Danish scene has to offer right now, with the upcoming Brow, whose melodic gift on the kit is outstanding, and the groovy bassist Skovbakke. It will be exhilarating to follow this quartet in the future.
Mikkel Ploug playing at Vandkunsten. From left to right: Ploug, Badenhorst, Brow, Skovbakke.
A Danish Diva
One of the most fascinating things about the Copenhagen Jazz Festival is that an open venue not only signifies cobblestone and cosy cafés but also large green areas with live music. At Kongens Have (The King's Garden) and Det Kongelige Danske Haveselskab (The Royal Danish Garden Society), one had the possibility to get acquainted with many of the new talents such as emerging pianist August Rosenbaum as well as the established names like Danish tenor giant Jesper Thilo.
With Sinne Eegs concert at Det Kongelige Danske Haveselskab, connoisseurs of vocal jazz were given a special treat. The later years have witnessed a veritable boom in the rise of talented female Danish jazz singers. Names such as Sidsel Storm, Katrine Madsen, Malene Mortensen and Cæcillie Norby, who has released a string of albums on Blue Note, testify to the strength of Danish vocal jazz, but right now there seems to be a singer that towers above the rest: Sinne Eeg.
Vocal supreme. Sinne Eeg at Det Kongelige Danske Haveselskab with bassist Mads Vinding.
Eeg's breakthrough came with the masterpiece, Waiting For Dawn (Calibrated, 2007), where she brought together an A-list of Scandinavian jazz musicians to interpret a program consisting mainly of her own compositions. It was this quartet of Swedish pianist Lars Jansson, Danish bass-giant Mads Vinding and young drum-star Morten Lund, who visited the venue. Naturally, the program thrived on their collaboration on that particular album, bringing in such heartbreakers as the title track with a masterful vocal performance ranging from a sensual whisper to a soaring cry. There was also a good deal of relaxed swing in numbers like "Let's Stay Awake" and "Sudden Change of Weather." The mood of the band was jovial, with especially Jansson being a prankster, making imitated percussion-sounds with a bottle of water. The concert proved that it's possible to combine tight interplay, humor, seriousness and showmanship.
Nights at The Black Diamond
Whereas the open venues were able to provide a relaxed, informal atmosphere, there was a much more serious air around the concerts held at the Royal Libraryalso known as "Den Sorte Diamant" (The Black Diamond). The concerts shared a similar Nordic sound and all the acts had or could have recorded for the German label ECM.
The Royal Library or "The Black Diamond" as it is also called due to its color and shape.
Pianist, Enrico Pieranunzi played with his Danish trio and especially drummer Jonas Johanssen adds a wildness and rhythmic punch that is different compared to the more ethereal elegance of Joey Baron, one of Pieranunzi's preferred drummers. The program was varied with both original compositions and standards, up-tempo and lyrical moments and the trio played convincingly. It would be thrilling to hear this constellation, which also sports the fine bassist Jesper Lundgaard, on record.
Norwegian bassist Arild Andersen has already recorded with his new trio, who released the acclaimed Live at Belleville (ECM, 2008) and it was the repertoire from this album that formed the core of his concert with a spirited interpretation of "The Independence Suite." Added to the trio of Andersen, saxophonist Tommy Smith and drummer Paolo Vinaccia was the excellent Danish pianist Carsten Dahl, who recorded with Andersen on the highly recommended albums Sign (Stunt, 2002) and Moon Water (Stunt, 2004). The quartet played intuitively together with just a few mishaps and the music struck a perfect balance between the wild passion of Smith and Venaccia and the more cool impressionism of Andersen and Dahl.
Percussionist wizard Marilyn Mazur and her Celestial Circle of John Taylor (piano), Anders Jormin (bass) and Josefine Cronholm (vocal) completed the trilogy of concerts held at Det Kongelige Bibliotek. Taylor is perhaps one of the most underrated pianists of our time and his complex harmonies graced the hypnotic chant of Cronholm and the strange sounds generated from Mazur's many instruments. An almost otherworldly sphere of sound arose that perfectly matched the name of the project with the music moving in celestial circles.
Avant-garde Locations
If the concerts at The Black Diamond gave an impression of jazz as high art mostly suited to quiet concert halls, the concerts held at the venues Jazzkælderen (The Jazz Cellar), LitteraturHaus, Råhuset, Borups Højskole and M/S Staubnitz showed jazz in all its wildly eclectic, youthful splendor.
Bassist Thommy Anderson performing at Jazzkælderen.
Jazzkælderen hosted one of the most interesting new labels in Danish jazz: Barefoot Records. Like its more famous big brother, ILK, it is a collective of young Scandinavian musicians, who make music across generic boundaries. Some of the mainstays of the label are bassist Adam Pultz Melbye and drummer Haakon Berre, who have just released a mind-blowing album with free jazz legend Peter Brotzmann entitled A Tale of Three Cities (Barefoot Records, 2009). The concerts at the venue showcased a variety of the label's many talented musicians in different constellations, including pianist Morten Pedersen, bassist Thommy Anderson and saxophonist Maria Faust. It must be said that some of the music, with its frequent mixture of abstract electronics and free excursions, isn't easy listeningit wasn't a coincidence that at one point, a child started crying, and another one shielded his ears, but, nevertheless, most of the time the acts managed to get the approval of an audience, who was open to musical challenges.
The Venue M/S Staubnitz as seen from the outside.
During the festival, M/S Staubnitz was both literally and figuratively a flagship for the new Danish avant-garde. Performing at the old ship was a Who's Who of the Danish underground. Everyone from Kresten Osgood to members of the experimental label collective yoyooyoy was present. Yoyooyoy is also a label whose impossible name alone seems to suggest that they don't care much about the commercial distribution of artand rightly so.
The concert, with some of the most prominent members of the collective, saxophonist Johannes Lunds and trombonist Marie Bertel, who work together under the moniker Gud Er Kvinde (God Is A Woman), assaulted the senses with an extreme wall of sound. The noise of the brass instruments occasionally became further enhanced by a row of guitar and bass pedals, creating a massive carpet of noise and feedback, throwing the audience into a state between fascination, joy and terror. Mix the wails of Peter Brötzmann and Albert Ayler into a giant bowl of industrial noise reminiscent of Sonic Youth at their most extreme and an idea begins to emerge of the sound of this radical duo, but the music is best sampled at the label yoyooyoy's website.
Blowing everything to pieces. Johannes Lunds and Marie Bertel of Gud Er Kvinde.
Inevitably a project like Gud Er Kvinde will divide the waters. Fortunately, a lot of the bands present at the M/S Staubnitz, in spite of their experimental nature, were more accessible. Thus, one could encounter, among many other things, the consistently beautiful music of guitarist Jakob Bro's trio with drummer Jacob Høyer and bassist Anders Christensen, jazzy post-rock from Grammofunch and the atmospheric electro-jazz of Emil de Waal and Spejderrobot. The main attraction, however, was a marathon concert with multitalented drummer Kresten Osgood's project Hvad Er Klokken? who made their concert into a veritable feast. Encompassing everything from free jazz and rock to the funky soul-jazz of Stanley Turrentine, the band invited the audience on stage to participate in the concert. One of the climaxes of the concert was a totally spaced out version of the Danish national anthem and this, in a way, underscored the nature of the music of Osgood and his friendsit's both accessible and experimental, bodily and intellectual, national and transnational, playful and seriousin short, impossible to pinpoint.
It could be easy to forget the other avant-garde venues with so many exciting things taking place at M/S Staubnitz, but especially LitteraturHaus, where the Danish experimental guitarist Mark Solborg premiered new material with the trumpeter, Herb Robertson, and Råhuset provided good alternatives for the curious mind.
Drummer Stefan Pasborg played a smoking concert with his Odessa 5 orchestra at the old meatpacking district where Råhuset is located. In front of a packed venue with many young people attending, he explored original material and reworked the music of Igor Stravinsky and Charles Mingus. It was a wildly eclectic and yet coherent concert experience.
The absolute revelation, though, in terms of drummers, was the solo concert by the living free jazz legend Andrew Cyrille, who started his concert at Råhuset by playing on everything at hand: the floor, the stairs and an old piano, before he entered the room where his drum set was placed. Starting out by saying that drummers normally are perceived as noisemakers when they are, in fact, melody-makers, Cyrille proved his point by playing a continually engaging concert where he referenced the whole jazz tradition from early blues to Art Blakey. All the time making the rhythms sing, he created a freedom and beauty that planted itself into the audience where many of the young Danish jazz musicians, such as pianists Simon Toldam and Søren Kjærgaard, were present.
Andrew Cyrille at Råhuset.
The Art of Solo Piano
As usual Søren Kjærgaard was extremely busy during the festival, playing in everything from the mainstream ensemble of saxophonist Niels Lyhne to the free-form post-rock improvisations of the group White trash. However, there was a chance to see Kjærgaard alone as he played a solo concert at Københavns Hovedbibliotek (Copenhagen's Library). It was a gig that emphasized his knowledge of jazz tradition, bringing in the repertoire of Duke Ellington with the classic "Mood Indigo" suddenly arising out of the blue, but the concert also showed Kjærgaard's use of humor as one unlucky member of the audience coughed. Kjærgaard cleverly used the sound of the cough as a jumping off point for an improvisation where the sound was layered electronically and echoed in the playing. Thus, there was both room for beauty and humor at Kjærgaard's solo recitation.
The same could be said about Chick Corea's solo concert at the impressive Det Kongelige Teater (The Royal Theatre). While still undeniably a virtuoso on the keyboard, Corea's versions of songs by Thelonious Monk, Bud Powell and Bill Evans came across as a bit uninspired in terms of improvisational zest. Still, there's no doubt that Corea can make the piano sing, and he laid the audience down and even arranged for everyone to participate as choir in a classical piece. A smile was undeniably put on everyone's face, and a great feeling of togetherness arose, which gave the concert its own beauty. It was a beauty, which wasn't about reaching into the higher emotional or intellectual realms, but rather about enjoying the basic process of making music. That way it really was, as Corea said, a peak into his practice room. Not the atelier of the struggling artist finishing his masterpiece, but the unspoiled joy of a painter still enjoying the different shades of color on the canvas.
The strength of Corea was that he reached out, very verbally, towards the audience. At LitteraturHaus, Jacob Anderskov did the exact opposite: in order to speak, he turned inside to create the music, letting the notes do all the communication. It was a recitation of great beauty and concentration that underlined why Anderskov is the most interesting pianist in the country right now. His musical knowledge comes out unforced and quite naturally. He has an intuitive feeling for the ebb and flow, crescendo and diminuendo of his instrument, mastering both percussive tactility and light melodies that seem to flow out of the air. Never was there a time where the music lost momentum, and when Anderskov said that he thought that it was time to stop, a feeling of closure was achieved outside the conventional formalities of sets and encores.
Old Masters Revisited
Jacob Anderskov is just at the beginning of his career but this year's festival witnessed what might be one of the last performances of a living legend: Yusef Lateef. Lateef performed with the quartet of drummer Kresten Osgood, trumpeter Kasper Tranberg and percussionist Adam Rudolph. Together they recently recorded a self-titled album under the name of The Universal Quartet, released on the Danish label Blackout Music, and it was material from this album that was performed live at Tivolis Koncertsal (The Tivoli Concert hall).
Lateef has always been a musician that has broken down boundaries between East and West, avant-garde and popular culture. His music is carried by a deep spiritual understanding of life that gives his music an unshakable depth. While it was clear to see and hear that he is coming towards the end of his life's journey, he still plays with the soul and conviction of a true artist. The meeting between the old master and the young talented generation of Danish musicians, Osgood and Tranberg, underlined the ability of music to communicate beyond age and nationality. The music was simply about reaching into the human condition.
The concert was played as one continuous suite where the polyphonic use of instruments, combined with recurrent melodic motives, gave the expression of a meditative music in motion. Percussionist Adam Rudolph particularly added a variety of musical colors, using a frame drum, flutes and congas. Lateef also played on a variety of instruments, giving the music a rich texture. However, the most pregnant instrument was still the saxophone, but his soulful chant and poignant piano also gave the music a strong spiritual vibe. As a whole, the concert became a work of art comparable to Pharoah Sanders' Karma (Impulse! 1969). Balancing on the edge between life and death, form and chaos, it was a beautiful, life-affirming experience.
While the concert with Yusef Leteef was a testimony to the artistic strength of a living legend, the concert with trumpeter Palle Mikkelborg revisiting his homage to Miles Davis on the album Aura (Columbia, 1985), had all the spirit of Davis about it because it wasn't a nostalgic view at an old piece, but the revitalization of a work of art. Aura has achieved iconic status in Denmark but it is still one of the most unappreciated works in the canon of Miles Davis. If anything, the concert underlined that it is about time that the album gets its proper due as an important part of not only Mikkelborg's but also Davis' oeuvre.
The concert followed the structure of the album which is a suite with an intro and a division into nine colors: "White," "Yellow," "Orange," "Red," "Green," "Blue," "Electric Red," "Indigo" and "Violet." In terms of style, the music is all over the map. From abstract meditations to neo-classical work with woodwinds, heated funk and world-music, Aura is a work that seems to catch the chameleon-like nature of Davis' artistic personality. More than that, with its eclectic use of genres, it also became a portrait of the jazz scene in Denmark as it is now and a microcosm of the jazz festival. This was emphasized by the fact that the concert brought together all kinds of people, old and young, but, more importantly, there was a meeting between different generations of musicians. Established Danish musicians like Marilyn Mazur, pianist Thomas Clausen and Mikkelborg himself played with the young and talented Blood Sweat Drum 'n' Bass Big Band.
Whether it's Mikkelborg re-interpreting his classic work, Jakob Bro playing old standards with his trio or Kresten Osgood destroying the boundaries between avant-garde and popular culture, it is all about keeping the music fresh and getting a new perspective on the evolving history of jazz.
The name of this year's festival poster, created by the artist Tal R, is named "Jazz Is Not Born Yet" and, in a way, it pretty much sums up the post-modern patchwork nature of this year's festival. It wasn't about propagating a restricted image of jazz, but questioning the idea of what the music is. Is it improvised? Composed? Blues-based? Electronic? Acoustic? Vocal? Instrumental?
Like Samuel Johnson being asked by Boswell what poetry is, it becomes hard to define exactly what jazz is. To quote the famous pair:
Boswell: Then, Sir, what is poetry?
Johnson: Why, Sir, it is much easier to say what it is not. We all know what light is; but it is not easy to tell what it is.
Coming to the end of the festival, one is, indeed, still struggling to define what jazz is, but what matters in the end is that at this year's Copenhagen Jazz Festival, the light of jazz still shone as bright as ever.
Photo Credit
Jakob Baekgaard
Kristoffer Juel Poulsen