text:
I read your piece, Greg, and I liked it. I think you did an excellent job explaining how you balanced and assimilated the historical information you were learning about the Atlantic slave trade and America's racial history with your love of jazz and the non-black musicians who encouraged and influenced your development as a player and fan of the music. Handling this sort of tension and working through its various permutations and appearances requires a lot of vision, determination, talent and awareness of self.
I was left wondering, however, why you didn't choose to use the exchange between your music teacher and his black friend and fellow musician as a jumping off point for exploring how whites and blacks, even white and black musicians, might view and reckon with all of this shared history. When your music teacher playfully expresses to his friend his hope that he, the friend, is not going to go off on all that black stuff again your teacher manages to reveal the yawning gap between how whites and blacks view this history. And, especially, how it has played out in the world of jazz.
For many African Americans these anecdotes and reports about past injustices etc. invoke an atmosphere in which the past, to borrow an old Southern saying popularized by William Faulkner, isn't dead, it isn't even past. Life, as someone once observed, is bounded by pain and sorrow. It is also enclosed, to a degree, by our own personal memories of travail and grief and the stories, yarns, fables and myths handed down to us of the hardships and sufferings endured by family members, friends, acquaintances and even historical figures. These narratives play a defining role in shaping our perceptions and expectations about who we are, what we may become and the world we inhabit. African Americans live, perhaps more so than any other racial or ethnic group in this country save Native Americans, in a present that is indelibly tinted and molded by the union of personal and group history. The history of jazz, as you well know, is indelibly linked and shaped by this history, too.
Darryl, thanks for your comments. Since this is a monthly column, fortunately I'll have the space and time to discuss the shared history as well as the "yawning gap" in the perspectives of so-called whites and blacks about that history.
I say "so-called" because I'd like to lessen the usage of the very terms that reinforce race. That's why in the piece I parenthetically write that using the term "white" in reference to my teacher, Paul Desmond, Zoot Sims and Phil Woods says nothing about their ethnic and cultural heritage.
When I say "black American," I use it as a signifier of a cultural and ethnic heritage, not as a racial term. To me, "culture" is what's crucial, as the space of "we" and "us" that's the basis of that shared history, though the race meme obviously is in the "meaning" part of what we conceive of as culture. But race has been, and still is, so damaging that I'd like us to transcend it, while learning its lessons.
I'd also say, in response to your third para, that life is certainly bounded by pain and sorrow. Yet, as you well know, it's also bounded by love, ecstasy, joy, small and large victories, and resilience. I acknowledge the injustice and the suffering, yet I believe we also need to balance those realities with narratives that accentuate those positive elements above.
I intend to provide some of those narratives, coming from a black American viewpoint as well as American and global. That way, we can make sure to keep on swingin'!
Thanks for your response but life is not bounded by "love, ecstasy, joy, small and large victories, and resilience." As much we hope for and attempt to hold onto to these qualities their influence on our lives is much more indeterminate than pain, sorrow, loss and regret. We are born into a world older than us and not of our making and we will inevitably pass out of this world no matter how much we profess our desire and interest in life.
I don't think it is possible to transcend race. I think it is entirely possible to set it aside and refuse to grant it the status of being the final or overarching standard for judging others and their work and art. Morris Edwards' complaints were not about or directed toward his fellow musicians sitting there with him sipping drinks etc. But to ask or expect him to cast his history and experiences aside seems odd to me. He came to the bandstand or the bar and brought himself.
Congratulations, Greg. Great piece! You've touched on a very heavy subject and at the same time marked some of the keystones that helped unlock for you, so to speak, the worlds within. Certainly not allow yourself to be blocked in. That's one of the values of a series like this. You offers insights and invite others to do the same. Gordon Parks comes to mind. "I suffered evils," he said, "but without allowing them to rob me of the freedom to expand." That's it. For him, rescuing his humanity from the ills of racism was through photography, for you it's jazz.
The way you framed the article though leads me to ask you something that may seem at first ironic. How much jazz do you think there'd be in this world -- without racism? (I'd say "zero.") When you look at it after all the fruit of jazz was watered by racism from its very start wasn't it? Racism is an integral part of its development.
I'm not at all suggesting this in a limiting or reductionist way. It is however undeniable that "racism" (we may differ on definition) was dominant throughout as jazz came to be. I would argue as a way of tempering creative tension this art form was propelled forward in large measure by it.
I enjoyed reading this installment and look forward to the next. You're off to a fine series.
Thanks! Your point about the irony of race/racism contributing to the development of jazz is very well taken. It is certainly ironic in the same way as the fact that black American culture, as a distinct formation, wouldn't have happened with the enslavement of Africans.
But what it points is human resiliency and creativity of Africans and their descendants in spite of one of the atrocities of modern human history. And it points to the blues, which is full of irony, paradox, and a willful counter-statement of "the blues as such" via the mocking and laughing horns, the virtousic velocity of heroic soloists, the stomping the blues on the dance floor, the ritual manifestations of a cultural complex that views the glass as half full.
Whether it was via the sacred beliefs and gospel music, or the need to believe in our ultimate freedom, our attitudes, for most of our history as a people, has NOT been downtrodden. Even now, as recent studies show, young black folks in the U.S. are more optimistic than older generations.
Look at the folk manifestations--Brer Rabbit, for instance, who called the briar patch his home. Most people know that character as Bugs Bunny, and even he maintained the wit, the sly cleverness, and the improvisational verve of the original.
I'd re-frame your statement saying that "the fruit of jazz was watered by racism" by saying that the challenge of racism was certainly the social, structural and institutional framework in which jazz developed, but would also point to the cultural realm that developed--with its values, practices, technologies, meanings, and artifacts--often in opposition to the social framework. And that at the personal level, those values allowed for the creation of an art form that accentuated personal excellence and finding one's voice, group collaboration in service of swingin', and the desire to connect to an audience of viewers, listeners and dancers.
The personal excellence and values of jazz musicians and their cultural context are, to me, as important as the social and structural frameworks they find themselves operating within. Feel me, Royal?
The flavor of some of my statement above was inspired by some of your points in your second comment, so I won't repeat myself.
But I will say this: the concept of race, in its current conception, has a historical trajectory. It hasn't been around forever. So it's not necessary that it stay around for the remainder of human history. But, riffing on American philosopher Ken Wilber, I'd say that the development of a higher understanding of ourselves as Americans and even as human beings in this time and place, makes it necessary that we move beyond--transcend--the limitations of race, while including the lessons we need to learn from it.
When we're teens, our understanding is at a certain level. As we get older, our experience and awareness should expand beyond the teen level. You don't become a completely different person, just wiser, one hopes. You move beyond the teen level, but keep the necessary learning from that stage. Transcend and include, in a spiraling, fractal manner of development.
And perhaps your life isn't bounded by the qualities of love, joy, ecstasy, laughter, resilience, but mine is. Does that mean that I don't have sorrow, pain, agonize over loss and death. Of course not. We are speaking of the HUMAN CONDITION, aren't we?
But the question becomes, what can we do to live life to the fullest, and swing for as many bars as we've got, even though we know we're fated to die and return to dust? And history shows us that the very best writing and artistic creations stand the test of time, beyond our lifetimes as individuals. That's the long-term value of the literary and aesthetic enterprise--to try, paraphrasing Andre Malraux, to achieve secular immortality.
As for Morris Edwards, he and I spoke privately many times about our social condition and about injustice. But we also admired the genius of the culture and the persons who best exemplified it on their instruments or their compositional or arranging pen. The point of that anecdote isn't to frame Morris as some victim whose legitimate hurts weren't given a hearing. The fact that he and Caesar were able to laugh about it and remain friends and musical mates speaks loudest for me. There's a time and a place; Caesar didn't want to go there, he wanted to have a good time, not get his buzz killed.
But who knows: since I was a teen, who kept my mouth shut around elders in order to listen and learn, perhaps I wasn't present on other occasions where he and Caesar did in fact speak about injustice. But I can tell you this for sure: Caesar himself didn't harbor racist sentiments. I'm glad he felt free enough to express himself and not be cowed by what we now call political correctness. And if Morris wanted to press the point, he was man enough to do so. But, in that instance that I witnessed, he didn't.
They just kept swingin', together, and I respect them for that.
Excellent article Greg. I never experienced racism when playing with black musicians. All that mattered was could you play and hold your own and if there was something I didn't know, they taught me. I have wonderful memories and new memories working with great musicians no matter what their color is.
Hi Dom,
Yes: "can you play?" has long been the operative question among jazz musicians. I interviewed Bill Charlap two weeks ago for a NY Daily News feature on his jazz trio. He said he's never encountered racism from black musicians either. That's cool.
Thanks for commenting.
Hi Greg,
Congratulations! Wonderful article and I can't wait for the next installment. And, of course, thank you for the plug about my upcoming documentary, "Mary Lou Williams: The Lady Who Swings the Band." I found your article to be one of your most personal and moving that I have read. And being a part of the "Diaspora," I understand completely your point-of-view on how jazz has saved you from becoming a racist. I hope you will explore that theme more closely in your following articles, not just from your POV but the inverse as well--how has jazz served to bring people from other cultures to an understanding and appreciation of African American culture, which is the originator of this great art form.
Thanks Carol, my good friend.
One of my objectives is to look at Race and Jazz from many angles and dimensions, so I'll most certainly have stories of folks outside of African American culture who were not only drawn to it, but also transformed by it--both here in the U.S. and globally.
Notice that you focus on culture, not race. But there's such a confusion about the distinctions between race and culture, that I think I'll need to cross that bridge of understanding in the next essay or two.
Can't wait to see the Mary Lou documentary come to completion!
@Greg -
"There is no pain so great as the memory of joy in present grief." -
@ Darryl -
"One joy shatters a hundred griefs"
Chinese proverb
"The sun does not shine for a few trees and flowers, but for the wide world's joy."
Henry Ward Beecher
"Illusory joy is often worth more than genuine sorrow."
Rene Descarte
"The blues is an impulse to keep the painful details and episodes of a brutal experience alive in one's aching consciousness, to finger its jagged grain, and to transcend it, not by the consolation of philosophy but by squeezing from it a near-tragic, near-comic lyricism"
Ralph Ellison, from "Richard Wright's Blues"
"Thus, despite the bland assertions of sociologists, 'high visibility' actually rendered one un-visible--whether at high noon in Macy's window or illuminated by flaming torches and flashbulbs while undergoing the ritual sacrifice that was dedicated to the ideal of of white supremacy. After such knowledge, and given the persistence of racial violence and the unavailability of legal protection, I asked myself, what else was there to sustain our will to persevere but laughter? And could it be that there was a subtle triumph hidden in such laughter that I had missed, but one which still was more affirmative than raw anger? A secret, hard-earned wisdom that might, perhaps, offer a more effective strategy through which a floundering Afro-American novelist could convey his vision?"
Ralph Ellison, from "Introduction to Invisible Man"
"I started with the primary assumption that men with black skins, having retained their humanity before all of the conscious efforts made to dehumanize them, especially following the Reconstruction, are unquestionably human. Thus they have the obligation of freeing themselves--whoever their allies might be--by depending upon the validity of their own experience for an accurate picture of the reality which they seek to change, and for a gauge of the values they would see manifest. Crucial to this view is the belief that their resistance to provocation, their coolness under pressure, their sense of timing and their tenacious hold on the ideal of their ultimate freedom are indispensable values in the struggle, and are at least as characteristic of American Negroes as the hatred, fear and vindictiveness which [Richard] Wright chose to emphasize."
Ralph Ellison, from "The World and the Jug"
Greg, this article is of real significance for several reasons. Firstly and perhaps most importantly, you show that music exists at a depth more fundamental than division--which is why it is arguably our most potent tool as we endeavor to heal, beyond history, culture, politics, ethnicity. How else will we move into the future?!
As well, you give a rare perspective--showing how WHITE artists have influenced YOU, an African American man. Many of us white musicians have been pulled closer to African American culture by the great gift of black music, which has healed US. You're sharing the complimentary view as you bring to life the pantheon of musical geniuses, white and black, whom you love. Wonderful job!
Hey Greg - it was interesting to read your essay. Just like you were inspired by a lot of white musicians, I, as a youngster in Denmark, was inspired by a lot of black people...the usual suspects, Miles, Coltrane etc. But also by Jaco, Metheny, Scofield, Stan Getz etc. Like I mentioned to you Afro-Americans are kinda considered cultural heroes in Denmark, and the main reason for that is probably jazz even more so than their actual suffering as slaves. I, too, saw Roots when it was first aired...and dug Kunta Kinte, Chicken George and all the rest of them. I think that's where I first learned about Mandingo's. A lot of Africans were/are perpetrators of slavery, it couldn't have existed without partners on the ground. So in the final analysis I believe that Duke's words about music - that there's only 2 kinds, good and bad, also applies to people to some degree. It goes beyond race is what I am saying.
Greg: This artitcle is beyond brilliant, and should serve as the entrance to any class on jazz or racism. You capture America, jazz, racism, world history and the human experience. Your article is a motif of mentor and mentee, uncle and nephew, and teacher and pupil.
Racism is an evil condition that can rip our hearts out, asi it almost ripped mine out, bringing me to the edge of hatred and negativity. It can propel black boys and men from around the globe to tumble into a sea of dispair, degradation, and downright personal and professional turbulence. However, men and women like Wes Montgomery, Louis Armstrong, Bill Evans, Chet Baker, Bob James, Ella Fitzgerald, and ordinary men like Mr. DiMauro and Mr. Woods have given me and others great hope and great triumph. This thing called jazz is a spiritual, unifying and redemptive force. It can turn hate into love!
Jazz by its very nature brings colors, hues and the world together. If we keep listening to it, we will be all right.
Thanks so much for your spirit and wonderful article.
There are some typos in my comment to you above. The second sentence of the first para should read: "It is certainly ironic in the same way as the fact that black American culture, as a distinct formation, wouldn't have happened without the enslavement of Africans."
The first sentence of the second para should read: "But what it points to is the human resiliency and creativity of Africans and their descendants . . ."
I also have another thought about your riff on irony. You mention the irony of racism being an ironic pre-condition to the actual creation of jazz; I mention the irony of slavery being a (horrific) pre-condition to jazz.
On further reflection, there's another aspect of irony I'd like to mention. In the essay, its the aesthetic dimension that influences my moral/ethical dimension. Kierkegaard, the European father of existentialism, in Postscript, contends that there are three spheres of human existence closely related to human freedom: the aesthetic, the ethical, and the religious.
Between these spheres are what he called "boundary zones"; between the aesthetic and the ethical lies irony, according to Kierkegaard.
I find that an intriguing connection worth further pursuit. Knowing you, Royal, you'll dig deep into the depths. I sure plan to. Thanks again.
Hi Jessica,
Thanks for sharing your insights above. I hoped my story would be compelling, in part, because it does turn upside down how we musical influence in jazz is often depicted. Since jazz was created and mostly innovated by black Americans (with tributary influences from Africa, Europe and Cuba) springing from that specific cultural dynamic, the influence usually is "black on white," we might say.
Considering the history of this country, that's a rare narrative, indeed, though reading Ralph Ellison and Albert Murray, among others, shows how deep that trajectory has actually been.
Yet since culture isn't closed, and rather is an open, expressive medium of exchange, the influences are never one way. By the late '70s, when the music, as Stevie Wonder once wrote, "made me weak, and knocked me off my feet," there were so many people from all over the world making their mark on jazz.
Since Phil Woods was and is one of the all-time virtuosos of alto saxophone, as a beginner I gravitated to his artistry and was inspired by his prowess. That's just the reality of what happened to me. Frankly, at the time, his "whiteness" per se meant nothing. It was only in college when dealing with some dark nights of the soul, that I reflected on who I was about to put into a racial box of "white people"--to whom I began to feel derision and distrust were warranted--that his racial status became important.
Another irony, I guess.
But Jessica, I'm glad you reached out because I so respect the work you do, the "piano duets" with the elderly, with developmentally slow people, and with just regular folks too, where they sit down and improvise with you, tapping into creative depths that heal. Keep on keepin' on: you're doing God's work.
Hi Anders,
I agree: it goes way beyond race. You're also right about Africans (specifically rulers) being complicit in the transatlantic slave trade. Back in 1996, the Village Voice published a cover story by me called "The Black Studies War." I spoke to dozens of scholars during the research and interview phase.
They confirmed, beyond any shadow of a doubt, that African collaboration was the case. As does excellent works of history such as The Slave Trade by Hugh Thomas (no relation).
I have one disagreement with your good/bad music analogy via Duke, however. The behavior of people can be bad (and some people may in fact be rotten to the core), but I hold out hope that people can evolve and become better.
Thanks again for weighing in.
Eric: I'm moved by your eloquent statement. You get to the very heart of the matter: "This thing called jazz is a spiritual, unifying and redemptive force. It can turn hate into love!"
Yes, yes, yes! As my dear late friend, Michael James, nephew of Duke Ellington, used to say: "Confirmation, Affirmation!"
I affirm, confirm, and co-sign your sentiments and vision, Eric. Keep swingin''!
Wonderful article. Very few issues will get my hackles up like this one. Change some details in this article, and it almost read like you were writing about me.
There is just so much I have to say on this issue and none of it would as clearly worded as you put it.
Thanks. How race and jazz intersect is a microcosm of how race functions in the larger culture and society. But the music so clearly points the way to resolutions to the challenge of race, that I'm willing to risk going through Brer Rabbit's briar patch, as think and thorny as it might be, to come out with more clarity, understanding, and healing.
Notice that above I say "challenge" as opposed to "problem," and "resolutions" rather than "solutions." This is the way I framed it in the essay above also. As I'm sure you know, Barry, in Western music the harmonic resolution is when dissonance becomes consonant.
Race is a dissonant subject. My intention is to bring some consonance via this column. Perhaps this is a fool's errand, but I'm hoping that the jazz gods will guide this odyssey so we can find our way back home.
Hello Greg, my name is Michel born in Morocco in 1943. When I was 15 years i meet Mrs Wilbur de Paris in Casablanca and I fall in love with Dixieland music. I always find to ear this music but it is really difficult. At least I find the San Diego Dixieland festival and go to San Diego. Music was OK, but I was very disillusioned because I cannot see any Black musician and no one in the public. I am Jewish and cannot understand this, do you have an explantion, I am afraid that USA is still racist. Thank you for your answer and excuse my English.
@ Barry: I meant to write "thick and thorny" in the last line of the first para of my response.
Dear Michel,
Racism most certainly still exists in the USA, and elsewhere across the globe. But I'm not sure if racism, per se, had much to do with the lack of black folks in the audience or on stage.
Dixieland music, a New Orleans-style from early in jazz history, isn't one that many black Americans, whether musicians or listeners, gravitate to very much. Some perceive it as outdated, others may identify the term "dixie" with a period in history associated with the Jim Crow era. Such associations cause some to be repelled from the Dixieland style.
Some musicians called the early style of jazz from New Orleans "traditional jazz" as opposed to the "modern" style that became known as bebop. Dixieland music migrated to Chicago in the 20s and 30s, and there was a revival in the 1940s (some say in opposition to bebop).
But I'm glad that you gravitated to this early style of jazz; perhaps some of the styles that developed later in jazz history might be worth checking out if you think of them as what Albert Murray called "extensions, elaborations, and refinements" of the earlier styles.
Thanks for taking the time to share your thoughts.
Hi Greg, You're going to be speaking to that elephant in the room most people would rather ignore, & it will be interesting to stay abreast with the conversation. I have been playing for over 30 years, and have played with men & women from a wide-range of races & nationalities, whether in the islands of Hawaii, or the clubs of Atlanta, Oakland, LA, or wherever. I personally thrive & relish having both the music & the musicians be a kind of "musical gumbo", as I find the music stays fresh, & each player's personal flavour makes it that much tastier.....
I was quite idealistic at the beginning of my musical life, being inspired by devouring interviews of so many great musicians in DownBeat Mag, & believing I'd find all, or most, players having the same authenticity, depth of spirit, & devotion to the freedom of expression Jazz offers. However, as I got out into the world, I found that wasn't quite the case. And I was especially puzzled that many musicians still retained a "segregationist" mindset, if not overtly, it was there nevertheless. When I lived in LA, and gigged regularly at a popular club, I began to see, and many of the brothers that worked with me told me, that there were definitely various "circles" of players, & race was a factor in defining them. I also found that to be true in Atlanta, where in the 80s I found myself unknowingly hiring many black players to play their very first gigs on the "northside" of town.
And yes, there was even some of that going on in Hawaii, which is a very diverse place, & music scene, but still, that "racial thing" is still a factor. Now, I grew up on the southside of Chicago, and so I was not a sheltered kid, believing all the world was flowers & love, but I did expect musicians, especially those who love, & play the music born of black America, would be the last ones to have any racial prejudices...
Finally, I don't believe that just because someone greatly respects someone's artistry or skill, whether it's music or sports or acting, etc., that it necessarily removes someone's mindset towards that person's race. I've come across plenty of racists, or just prejudiced people, who have no problem being big fans of black singers, players, athletes, etc, or even people they interact with in their daily lives, as they simply believe "those are the exceptions". Or people who "love" having them around, as long as their number remains small, or they don't want to move in next door.... I don't want to sound like I'm a pessimist, I'm not, but I have seen a lot, from many varied perspectives, & am also very aware of the complexity of this issue, one that, IMHO, has done more to keep our nation from being all that we can be, than pretty much any other factor... As Dr. KIng said, "If physical death is the price that I must pay to free my white brothers and sisters from a permanent death of the spirit, then nothing can be more redemptive." . . . - Martin Luther King, Jr.
I just spent 2 hours writing a post and when I hit post reply, I got a message that I couldn't post so soon after my last post. This was my first post. And I feel like I just wasted the last 2 hours. So much for the internet. I'm going back to writing music.
David, just for future ref, if that happens, hit the back key on your browser, wait 5 mins and hit submit again, you should not have lost the post.
Sorry, but this is required to help prevent spambots from posting all over the place.
David, Sorry to hear that. It's always safe practice to compose a lengthy post in a text editor like MS Word before pasting it into the comments box.
Great Article. Definitely identify. Music and tennis saved me. Music is universal and Jazz transcends borders and time. Tennis is an international sport. Arthur was of course my favorite but the other players I followed were from all over the world. I'd read about and follow them in Tennis magazine. Looking at the globe to find their country, reading encyclopedia to find out about their country. This gave me a sense of (and interest in) the larger world beyond White & Black.
There was no jazz to speak of in the South, in fact the attitude towards jazz was quite odd? Didn't stop me though I knew I liked what I had heard so far. At 16 Grover came to B'ham. Couldn't find anyone to go so I went alone. A year later Grover returned and this time a friend (fellow tennis player and sax in the high school band) wanted to go. We joked that he'd be the only White face in the crowd and to his surprise he was one of many. A few months later a different teammate and another high school classmate were going to see G.
Benson-(we thought this was Jazz)-told them I'd love to go, the picked me up and off we went. Here we were 18, 17 & 16- 3 White kids and one Black from small town in Alabama trying to discover Jazz. After high school tennis brought me to Southern Cal. I live close to a village with a great music store and if you asked they'd open an album and play it. I spent hours in that store and every bit of my little college boy money on albums-Earl Klugh, David Sandborn, Bob James, H & R Laws, etc. Later on I'd transition to Duke, Mingus, Miles, etc. The odd thing is there were no Black adults around me as a teenager who had any appreciation or collection who could transfer this to me AND to this day there seems to be very little interest.
It's not like Jazz is as readily available (in SF Bay) as NYC, we just don't have. But I will be anything that when I go see Mingus Big band, I'll be able to count the Black faces on one hand. I just don't get it. My only guess is that our music was so good from the 60's until mid 80's that it put Jazz on the shelf?
Hey Greg, thanks for re-sending me your article. I'm reminded of the glory days of IAJE when, in order to see fireworks in January, you'd go to a panel on jazz journalism and racism! Your article makes me think of my own experience with jazz. In my case, other than the jazz framers, I really had no idea that African Americans "still" played jazz until I lived in NYC!! Until I entered that scene in the mid-1990's, there were more women of various ethnicities in jazz ensembles than African Americans (and still, not a whole lot). In high school and college (Wellesley and Wesleyan U), I was one of a very few African Americans in the jazz classes and ensembles. So what a surprise to find that I wasn't alone, when I'd met folks in what I consider to be a NYC "Jazz Renaissance," including the Lincoln Center jazz folks & Betty Carter alumni. I was also happy to discover organizations that promoted jazzwomen, like International Women in Jazz and the Lady Jazz project, where I'd interacted with musicians like Miriam Sullivan, Nedra Wheeler, and many others. It's exciting to see the true diversity represented in the movement: Helen Sung, Vijay Iyer, Mahesh Balasooriya, etc. Thanks for sharing your thoughtful, personal experiences and I look forward to reading your articles.
Dear Greg,
I applaud your courage, valor and eloquence on this subject of Jazz and Racism that is the thesis of my book A HISTORY OF AFRICAN AMERICAN JAZZ AND BLUES. I've been engrossed in this subject since 1993, when I interviewed Quincy Jones for my master thesis, "The Cultural Politics of Commercial Jazz", the third and final essay in my book available at www.lulu.com for purchase and download.
I agree with your ideas on transcendence. I agree with your idea that jazz unites people of all ethnicities. However, I would like to see what would be the result, if you substitute "European" for "white" and "African" for "black", as these terms more clearly describe people of differing cultures.
The problem I see is that you are not addressing the real problem, which, in my mind is cultural politics that translate into economics in the real world. Is jazz just another product planted and harvested by Africans in America, much like cotton and beans by a sharecropper to be marketed by the owners of the means of production and promotion: record companies, PR companies, advertising companies, jazz magazine publishers and critics?
When I learned that the City of Montreux, Switzerland, with a population of 150,000 made its entire annual income from a 2-week jazz festival, I had an epiphany. The only musician that you've named in your dissertation that reached millionaire status from the performance of jazz music is Benny Carter. Perhaps, Quincy Jones reached that status but it was more from scoring film music and that may also be the vehicle that Benny reaped such high economic harvests from, as well.
But your everyday man (or woman, and the rub lies there) rarely made or makes a decent annual income from their cultural production. It is pleasant for us to discuss the uniting force of the music but, when you align it with the economics of jazz, it leaves a lot to be desired.
In Soul on Soul: The Life and Music of Marylou Williams by Dr. Tammy Kernodle, the economic disparity suffered by Williams, who opened a thrift store to raise money to help save musicians addicted to drugs, is exceptionally evident. Likewise, Frank Kofsky speaks to the inconsistencies in economic gains by African Americans from jazz production in his book Black Nationalism and The Revolution in Music.
As a singer that lived and toured in Europe for nearly eight years and China for five months, I recognize that female instrumentalists rarely reap the financial benefits from their music, particularly, women of African descent who compose and perform jazz music. This is what led me to found Women in Jazz South Florida, Inc., a 501©(3) non-profit that promotes women musicians, globally.
There's a handful of women that do benefit financially from jazz performance – Regina Carter, Geri Allen, and most recently, Esperanza Spaulding. Female geniuses like Dorothy Donegan, Alice Coltrane and Melba Liston are all but unknown in circles outside of jazz. Their legacy remains a secret to most music lovers. But a youngster like Diana Krall holds the status of royalty in jazz, mainly because of good marketing, which leads to my point. The packaging, promoting and commercialization of jazz left multitudes of well-deserving jazz musicians of African descent and of the feminine gender out in the cold, along with the African American community that could rarely afford expensive concert and festival tickets.
My questions to you are:
1. Are the economic implications of jazz production reflective of fairness when it comes to who is making the money in jazz?
2. Does your essay open a discussion of Jazz and Sexism?
Joan Cartwright
Women in Jazz South Florida, Inc.
Greg -thanks for your deep thoughts, and others as well. When I was studying jazz back in the late 1980s with Emily Remler, I remember an early morning lesson when she spoke to me about how hard it was to be a woman in the male dominated world of jazz. That listeners would approach her (and other women's) playing from a different angle, listening for mistakes, instead of how they would listen to men play. Though she was touring with Larry Coryell and recording and playing with other superb male musicians on a regular basis, she felt most listeners had a far more critical ear toward her playing-- as a woman.
Only a handful of female musicians like Mary Lou Williams, Joanne Brackeen, Gerri Allen, and Jane Ira Bloom have been able to join Emily in the ranks of the male dominated field of Jazz. I would submit that the prejudices of sex in jazz may be even deeper felt and experienced than the disturbing racism that continues as an undercurrent across America and the rest of the world.
Jamie, I wonder if she felt that same thing outside of the US, such as in Europe or Asia, or if this was peculiar to this country. It's easy to see how behind we are when it comes to electing a female head of state. Even some very traditional, patriarchal nations, Pakistan, India, Israel, Germany, etc., have had one or more women leading their nations, & while we've come close, it's still thought of as a "man's job".....
Dear Joan and Jamie,
Gender and sexism in jazz are important to discuss, no doubt. As are economic, social, and even class issues. If I didn't discuss those too, along with race, no full or at least rounded picture could be presented. In a similar manner as rounded characters are important in dramatic narrative, I'd like a rounded story that reflects full dimensions of feeling and form, from the first person, to the second and third person, grammatically speaking.
I'm sure if I don't show "all that"--a vernacular phrase au courant in the 90s--somebody will let me know. And that's cool. This is just the first essay of 12. Eleven more to go.
I'd also say that there could and should be columns that others could spearhead, on Jazz and any number of topics. I've chosen my central subject not in denial of the others, but to shed, hopefully, some light on how the music can help up face and work through some issues involving race and culture, shining a light--we'd like to think--on important themes that riff on identity and identification, as they intersect with cultural, social, moral, political, economic, spiritual, sexual, and other lines of development.
Speaking of journeys to the light, I've written on Geri Allen on this site, and I'm fortunate to know the filmmaker developing a documentary on Mary Lou Williams, who, as Duke would say, is beyond category. I'm well aware of how male-dominated the field of jazz is, and conscious of how forms of masculinity play out in the representations of jazz artists. As a member of the study group at Columbia U., I also became acutely aware of a feminist/womanist critiques within the jazz discourse.
I'll draw upon some of that work over the course of this column, so please stay tuned.
Rather, "a feminist/womanist critique."
Dear Charles,
As I feel about all who have commented above, I appreciate you taking the time to share your thoughts and experience.
Re: your statement, "Finally, I don't believe that just because someone greatly respects someone's artistry or skill, whether it's music or sports or acting, etc., that it necessarily removes someone's mindset towards that person's race. I've come across plenty of racists, or just prejudiced people, who have no problem being big fans of black singers, players, athletes, etc, or even people they interact with in their daily lives, as they simply believe "those are the exceptions". Or people who "love" having them around, as long as their number remains small, or they don't want to move in next door...."
I know what you mean.
Remember Spike Lee's Do the Right Thing? The John Turturro character, who worked in the pizza shop, was fond of the word "nigger." So when Spike's character asked him if he thought Michael Jordan was a nigger, he was bewildered. He had to wrestle with--if only momentarily--the stereotypes he had about "niggers" and his admiration of Michael Jordan. The result?
Michael Jordan wasn't a nigger to him. So he could love the performance and on-the-court achievements of Michael Jordan, a dark-skinned black American, but still harbor racists sentiments and beliefs and express them verbally. He didn't have enough class to keep that shit to himself.
So, no doubt, there are musicians that harbor all sorts of biases, based on any number of identity, ethnic or cultural markers, but, one hopes, when they play together with folks of a different whatever, that should dissolve in the enterprise and art of creating music.
As Christopher Smalls, the author of Music of the Common Tongue and Music-Society-Education, has asserted, the music created by black Americans in particular (and not just jazz) has often created a ritual environment akin to a utopia. The interaction among the musicians and the audience, brought together by sounds and grooves that touch all from body to soul, creates this ideal environment, if only momentarily.
Those moments of fraternity, swing, rapprochement, and self-expression within a group context of shared goals and values, all point to ways we can strive for the same off the bandstand and in our everyday lives.
Dear Greg,
I appreciate your getting right to the sexism clause of my statement. I look forward to more reaction here about that. However, you didn't address the economics of jazz that I referred to and I would like your thoughts on that issue, as well.
Dear Joan,
You asked: Are the economic implications of jazz production reflective of fairness when it comes to who is making the money in jazz?
Hell no, Joan, it's not. This is true for most jazz musicians, regardless of race or gender. And considering the small portion of the music industry market--itself dissolving due to digital downloads--that is jazz, not many make a lot of money anyway.
Take the situation in NY, where club owners refuse to put money into the pension funds of jazz musicians. That's a travesty that should be a criminal offense, in my estimation.
Musicians who have hits and/or become celebrities can make real dough. Most jazz musicians are neither.
Jazz has been called a "national treasure" in Congress, yet the idea that jazz musicians, who carry forth the tradition of this national treasure, should be subsidized by the government, to soften the blow of a capitalist marketplace, is not even on the table. That's a travesty too.
These days, jazz musicians have to wear many hats to survive. One of those hats is that of entrepreneur. Another is instructor/teacher. I think all jazz musicians should incorporate the idea of a "master mind group," from the classic self-help book, "Think and Grow Rich." Build a team around yourself that includes not just other musicians, but PR, social media, accounting, legal, etc. But that's on the individual level.
The larger issue if the techno-economic base, which ironically is slowly tipping back to the artist from the record companies. Now artists can reach their audience without the intermediary taking all of the profit, and giving musicians pennies on the dollar. But the artists must become savvy, know how the game is played today, and swing with it.
Hope that answers your question, Joan.
Best regards,
Intelligent communication here. Love it. Now look what has happened though since Nicholas Payton has jumped in and hijacked this topic and used it to become a fight against racism altogether instead of a deeper focus on rich and caring talk between humans for a better future as ONE.
Now we have anger and fights brewing instead of intelligent discussion anytime someone asks him to explain his vulgar posts directed to his jazz loving audience that already loves the black culture and music that used to bind races.
One moment, you will be redirected shortly.


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this is mean! but my god its funny!
this is mean! but my god its funny!
Karl,that is mean as I guess its some horrible story behind vaccinations...good tune though.
I'm at work so I cant watch this with the sound on, what the hell happened to her?
im sorry if offends anyone but apparently, if your read articles about it, it was all a lie for a bit of fame.
she had a flu vaccination and had a bad reaction to it, she now cant walk forward without going into some crazy fit, but she can walk and run backwards! how crazy is that. combined with the music though and its just gold.

subset: commoncrawl


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A Light Training DayRyan | Thursday, February 18th, 2010 Leave a Comment
For all the discipline I showed yesterday, pounding out a running test and lifting amidst an industry conference, today was closer to reality.
The event proceedings started at 9 a.m., which didn't leave much time to swim and spin on the stationary bike beforehand. OK, it could have had I been in the pool by 6:45 a.m. But, considering I was going to have a quiet night's sleep in a dark hotel room, after a late night of drinks with friends and colleagues, that wasn't going to happen.
Though I managed to get out of bed by 6:20 a.m. I didn't rally to hit the gym until 7:15. I decided to postpone my swim T-pace test since the hotel pool is 20 yards and has no clock. (No, I still haven't programmed my Garmin, so the waterproof watch thing is off the table for now!)
Instead, I did spin intervals on the stationary bike for 45 minutes. Worked up a sweat, burned 300 calories, called it a day.
I feel pretty guilty. I could have found a way to manage the swim if I really wanted to. But, I'll make up the swim test this weekend so it's no big deal.
Instead, I've enjoyed an informative day of seminars about game design theory, social games design, production methodologies and even a discussion about how the brain works when it comes to states of awareness. Very cool stuff.
Tomorrow is my off day. The second this week. Though today felt like a third off-day. Heck, I'm not complaining. I've got nine months left of training. I'll take an easy week when I can get one.
278 days and counting.
PS: One really cool note. Last night at an industry party, a former co-worker found me and said he reads the blog. He added that it's inspired him to run again. It meant so much to me to hear that kind of feedback!
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- The 3,100 Yard Stare To give you an idea of how I felt at the end of my bike/swim workout today,...


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During the past several months, officials at Lakewood City Hall have been head-down, working to finish next year's budget.
And last week, Mayor Michael Summers presented the 2013 budget to Lakewood City Council.
Not unlike last year, the news wasn't fantastic, but the budget is "structurally balanced."
The projected $33.3 million of revenue in 2013 is nearly $2.75 million less than the $36.05 in 2012 — meaning that the city will be working with revenues "comparable to the 2002 levels."
Summers has said there are a few reasons for that.
One of them is a 50 percent cut to the Local Government Fund. In addition, the state eliminated the estate tax.
A 4-percent reduction of the property tax — because of dropping home values — hasn't helped either.
Included in the 184-page document are cost-cutting measures that highlight energy and fuel consumption, expanding recycling and using technology to improve effectiveness.
But notably absent are additional layoffs.
Summers recently told Lakewood Patch that the city is focused on "staying lean."
However, he added that no additional layoffs are expected in 2013. Instead, the city will continue to look for ways to restructure — using attrition — when an employee retires.
"We've already made our deepest cuts," he said, referring to last year's budget.
The city has also recently begun negotiations with several of the city's five unions.
Council is expected to officially review the document at Monday's meeting.
One tool the City's introduced and began implementing this year is what Summers calls "LEAN Lakewood," a process challenging current methods in an attempt to lower costs and streamline processes and workflows.
"Local government has to begin a whole new way of thinking," Summers said in the news release. Delivering services with substantially less resources is very challenging. But we are confident we can continue to provide the level of service that our residents have come to expect.
"Our focus will remain on lowering costs and making the best use of our revenue sources as we respond to these significant cuts from the state. Additionally, we are challenged to create a capacity to invest in Lakewood's future."
The entire budget document is available online.


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New England Patriots
Aqib Talib - #31 - CB
|6' 1"/ 205 lbs.
|Richardson, TX
|Years played
|2008, 1st round, 20th pick by Buccaneers
Ravens, Lions in trouble despite big wins
The Ravens and Lions earned big wins but left some big questions unanswered; two key Cowboys slip up; and are the Patriots still clutch?
AFC East Spin cycle: Four-way tie at top
The AFC East has turned into one of the most intriguing divisions thanks to a wild Sunday in Week Six, as each team is now 3-3.
Wilson rallies Seahawks in upset over Patriots
The Seahawks rallied for 14 points in the final 7:31 to stun the Patriots 24-23 Sunday.
Report: Patriots' Hernandez likely to play
Patriots TE Aaron Hernandez looks likely to play Sunday at Seattle, Greg Bedard of The Boston Globe reported Saturday.
The Pro Game: Ridley, Sabol, Lombardi and Pink
Tom Danyluk gives us his thoughts on the New England running game, on footballers in pink, plus a pair of stories from the ancient days.
Faulk retires after 13 years with Patriots
It was tough for Kevin Faulk to leave football. Any hopes he had of staying, though, faded when the Patriots' running game made major strides.
Key matchup: Patriots wide receivers vs. Seahawks cornerbacks
Dan Arkush focuses on the Patriots' wide receivers vs. the Seahawks' cornerbacks in the New England-Seattle battle at CenturyLink Field.
AFC East Spin cycle: Week Five
The Patriots and Dolphins both looked strong in wins, while the Bills are reeling after a historic loss to the 49ers, and the Jets couldn't get past the Texans.
Former Patriots RB Faulk to announce retirement
RB Kevin Faulk will announce his retirement from the NFL in a ceremony at Gillette Stadium on Tuesday.
Brady tops Manning behind Ridley's big game
Tom Brady won his latest showdown with Peyton Manning with the help of a career-high 151 yards rushing from Stevan Ridley.
Key matchup: Broncos pass rushers vs. Patriots O-line
In what could be a shootout between Tom Brady's Patriots and Peyton Manning's Broncos, a key for Denver will be the pass rush.
Improved Wendell helping solidify Pats' O-line
Patriots C Ryan Wendell was third-string player at the position in the summer, and he is now starting and showing vast improvement.
Redskins QB Griffin, Patriots DE Jones named Rookies of the Month
The NFL named Redskins QB Robert Griffin III and Patriots DE Chandler Jones the Rookies of the Month for September.
Patriots re-sign LB Carpenter
The Patriots re-signed LB Bobby Carpenter on Wednesday and released DL Terrell McClain.
Brady-Manning rematch highlights action
Here are the top 15 story lines as we take an early look at the Week Five games, led by Tom Brady being paid a visit by Peyton Manning.
The New England Patriots have released receiver Brandon Lloyd and re-signed defensive backs Aqib Talib, Kyle Arrington and Adrian Wilson.||||||| Talib was acquired by New England in a trade with Tampa Bay on Nov. 1 for a 2013 fourth-round draft pick. He started in five of six games for New England after the trade and had 19 tackles and an interception that he returned 59 yards for a touchdown.
Talib has left Monday night's game against the Houston Texans with a hip injury.||||||| The Patriots say Talib is questionable to return.
Talib says he just wants to get up to speed for his first game with the New England Patriots. The cornerback obtained from the Tampa Bay Buccaneers to help the Patriots shaky secondary is eligible to play Sunday against the Indianapolis Colts after completing a four-game suspension for violating the NFL policy on performance-enhancing substances.||||||| Talib said on Thursday he did his best to stay in shape and is just trying to learn the system. When asked if he has been mischaracterized for off-field problems, he said that what happened in the past is in the past. He was first suspended for the 2010 season opener for violating the league's personal-conduct policy following his altercation with a St. Petersburg cab driver during training camp in August 2009.
According to the Buccaneers' website, the Buccaneers sent CB Aqib Talib to New England along with an extra seventh-round pick and got a 2013 fourth-round pick back.||||||| Talib, who was in his fifth season in Tampa Bay, was due to become an unrestricted free agent in 2013.
Talib will miss the upcoming game against Buffalo (3-5) on Sunday while serving the final game of a four-game suspension he received for violating the league's policy on performance-enhancing substances.||||||| He said at the time of the suspension that he took an Adderall pill without a prescription "around the beginning of training camp."


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Bareback Joy Riders takes us to the seething underworld/transport scene of Prague, where boys will be boys, and twinks abound! Threesomes and group sex are just tasters of this new Punkz production. Rammed full of the hottest, smoothest and horniest young studs around, Bareback Joy Riders gives us an idea of what it's like to call a cab in Prague. Mark is probably the fittest driver ever, and he enjoys ramming his throbbing hard cock into tight holes until he's ready to shoot all over them, all one hundred per cent bareback! More than a hundred minutes of 12 cum-loving lads, kissing, sucking and fucking one another!


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Suffolk County police reported the following arrests.
Kings Park
Louis Lansa, 52, of Kings Park was charged with possession of a forged instrument on June 8 in Smithtown. Police said Lansa was in possession of a forged instrument in that he attempted to fill a forged prescription.
Luis Guevara, 27, of Kings Park was charged with 2nd degree menacing on June 8. Police said Guevara was in a dispute at a bar on Indian Head Road in Kings Park and had a knife, causing fear from the two victims.
Shane Pfluger, 21, of Kings Park was charged on June 5 with third degree assault. Police said that Pfluger assaulted another person in Northport.
Stephen Gazer, 32, of Kings Park was charged with petit larceny on June 4. Police said Gazer took drinks and candy from the Stop and Shop in Northport.
Three Village
Suffolk County police have arrested a man they say was driving while ability impaired by drugs with two prior arrests within the last 10 years. Thomas Connolly, 41, of East Setauket, was arrested May 29 at 9 p.m. in Sound Beach. Police stopped him after he allegedly failed to maintain his lane of travel while driving eastbound on Lower Rocky Point Road. Connolly is charged with second-degree DWAI drugs, with two prior arrests. Police also charged him with seventh-degree criminal possession of a controlled substance, saying Connolly illegally had the drug Suboxone, an opioid drug used to treat opiate addiction. Police later found a hypodermic needle in his possession and charged him with possession of a hypodermic instrument. Connolly is set to appear in court June 20.
Peter Furno, 51, of Holbrook, was charged with driving while intoxicated on June 5. Police said Furno was driving a 2002 Chevy Suburban on Old Willets Path in Hauppauge at 3:42 a.m. when police charged him with DWI.
Neeko Marchand, 19, of Hauppauge, was charged with assault on June 5. Police said Marchand bit a male victim on the stomach and ear causing substantial pain. Police said the incident occurred in Smithtown on May 27.
Port Jefferson
Jose Sanchezreyes, 23, of Port Jefferson Station, was arrested in Port Jefferson Station on June 4 and charged with DWI. Sanchezreyes is also charged with of leaving the scene of an accident with injuries involved. Police say that he crashed into a brick wall at 25A and Maple Avenue while driving a 1994 Nissan Sentra. He then allegedly fled the scene. The crash injured two passengers.
Michael Plantamura, 34, of Port Jefferson, was arrested in Port Jefferson Station on June 7 and charged with petty larceny. Plantamura allegedly stole assorted items from the Walmart on Nesconset Highway in East Setauket.
Dimitrios Kostas, 32, of Mount Sinai, was arrested in Mount Sinai on June 5 at about 11:10 p.m. and charged with menacing. Kostas allegedly threatened someone with a baseball bat.
Miller Place-Rocky Point
Rachel Morgan, 25, of Shoreham, was arrested June 8 in Ridge and charged with illegal operation of a motor vehicle while impaired by drugs and unlawful possession of marijuana. Morgan was stopped for excessive front window tints when the officer smelled a heavy odor of marijuana coming from the inside of the vehicle. Police said that she appeared to be under the influence of drugs.
Kenneth Neu, 47, of Mt. Sinai, was arrested June 7 and charged with seventh-degree criminal possession of a controlled substance. Neu was allegedly in possession of crack cocaine and prescription meds.
William Sarubbi, 25, of Rocky Point, was arrested June 2 in Shirley and charged with seventh-degree criminal possession of a controlled substance. Sarubbi was arrested on Grand Avenue in Shirley for illegal possession of heroin and a hypodermic needle, Police said.
Peter Vescovo, 36, of Shoreham, was arrested June 1 in Brookhaven and charged with fourth degree computer tampering. Vescovo was arrested at the Seventh Precinct station for allegedly altering computer data by deleting email and address book records from three separate computers not belonging to him.


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Insecurity Perhaps you know a person who has acted severely to the loss of a relationship, almost to the point where you thought it was irrational. You might know someone who gets very depressed or feels betrayed at the slightest criticism. Maybe you react this way. Most intense reactions that are associated with an irrational response to loss, rejection, or criticism are the result of insecurity. The influence that insecurity can have on ones mental well being is so strong that, if it is not identified or addressed sooner or later it can cause a person great pain, sabotage ones potential for success, and very likely destroy their future relationships. To fully understand the severity of this issue, one must first realize what it is, where it comes from, and how it affects a person. Insecurity s Continue...
Insecurity and Fear of rebellion
Insecurity in The Sun Also Rises
A Peace of Mind That Shows to Well
Insecurity is a human trait that refers to a profound sense of self-doubt or a deep feeling of uncertainty about ones place in the world. Likewise, the results of insecurity on a person can take many forms and cause damage to their mental self-image and affect the way they handle situations in their life. It plays a major role in how people view the world and the way they respond to it. tems from how a person behaves in response to certain negative situations or actions in their personal or social environment. Instead of approaching life with willingness and excitement, the insecure person tends to approach it in a defensive, self-conscious, anxious sort of way. Physical abuse is another factor to be analyzed when finding the root of insecurity. Or maybe for some it is the countless number of times they have been rejected or had their heart broken. Each individual will react to situations differently, thus resulting in different levels of insecurity. People are born sensitive, but they are not born insecure. Insecurity generally robs people of their zest for life. Very few people can say that they have never experienced symptoms of insecurity. Simply put, insecurity is a common trait that is a direct result of the multitude of everyday occurrences and has a powerful influence on ones mental well being . Most people have some degree of sensitivity, and the majority of them have experienced loss, separation, abuse, or rejection in their lives. An insecure person often lives in constant fear of rejection and is in need of continual reassurance not only in their intimate relationships, but their professional relationships as well. All of these and more can be the cause of insecurity.
The Elderly Population in the US
Aggressive Behavior By Domestic Animals


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The Annual Giving program was established to raise annual contributions for The University of Maryland Francis King Carey School of Law from graduates and friends. The Annual Giving program includes gifts to restricted funds and unrestricted gifts to the UM Carey Law Fund. Annual gifts support such areas as:
Members of the Maryland Law School Club are philanthropic leaders committed to sustaining the law school's ability to educate future leaders and shape law and policy. Donors who give $1,000 or more during the fiscal year (July 1–June 30) become members of the Maryland Law School Club and we are proud to include more than 200 graduates and friends as members in the club.
The Graduates Of the Last Decade (GOLD) Club at UM Carey Law is committed to keeping our most recent graduates in touch with their alma mater and with fellow alumni. Through special events and outreach, this group of Maryland Law graduates learns about ways to remain active members of the law school community. The GOLD Club allows members to receive all the benefits of the Maryland Law School Club but with a smaller minimum gift. GOLD Club membership is tiered based on graduation date. Please refer to the list below for the giving levels.
Among the UM Carey Law's most loyal donors, the Consecutive Giving Society recognizes alumni and friends who have supported the law school for five or more consecutive fiscal years (July 1 – June 30). Because of this unwavering generosity, UM Carey Law has been able to provide support for student scholarships, fellowships, and faculty development.
Gifts to the University of Maryland Francis King Carey School of Law may be doubled or even tripled through matching gift programs made available by more than 1,000 corporations and law firms across the country. Your employer or your spouse's employer may help you qualify for one of the giving clubs listed above. Amplify your gift to UM Carey Law by enclosing your employer's matching gift form.
For more information on matching gifts, visit www.matchinggifts.com/umaryland or ask your human resources department
For more information about making a gift to the UM Carey Law Fund, Giving Societies or general information please contact:
Zavin R. Smith
Director of Annual Giving
Office of Development & Alumni Relations
University of Maryland Francis King Carey School of Law
500 W. Baltimore Street
(410) 706-0258


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Humpday Hall of Shame: Forgetting the horrors of T. Don Hutto, Obama plots massive increase in immigrant family detention
July 9, 2014 by Bob Libal
President Barack Obama will be in Texas this week for a fundraising event in Austin. He will also be meeting with Texas Governor Rick Perry to discuss the government's response to an increase in the number of Central American children and families coming to the Texas-Mexico border to seek asylum.
While many communities in Texas have responded by opening their arms to provide shelter to unaccompanied children, the Obama administration has requested an additional $3.7 billion in money that would mostly be spent on border enforcement, detention, and deportation. This comes despite the fact that federal spending on immigration enforcement already surpasses all other federal law enforcement activities combined.
Included in the supplemental spending request is $897 million to detain and deport refugee families. Reports have emerged from D.C. that the administration may be considering more than 6,000 new family detention beds, up from only 80 beds currently detaining families. The administration has already begun sending asylum-seeking refugee families to be housed at a Federal Law Enforcement Training Center in Artisia, New Mexico.
Apparently, the administration has forgotten the shameful history of family detention in the United States that spans from the Japanese internment to the T. Don Hutto detention center in Taylor, Texas. Families were detained at Hutto - a privately operated prison located just outside Austin - from 2006 to 2009. During that time reports quickly emerged that children as young as eight months old wore prison uniforms, lived in locked prison cells with open-toilets, were subjected to highly restricted movement, and threatened with alarming disciplinary tactics, including threats of separation from their parents if they cried too much or played too loudly. Medical treatment was inadequate and children as young as one lost weight. The facility was sued by the ACLU and University of Texas Immigration Law Clinic.Read more about Humpday Hall of Shame: Forgetting the horrors of T. Don Hutto, Obama plots massive increase in immigrant family detention


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About this Blog:
A daily digest of IT blogs. Richi Jennings curates the best bloggy bits, finest forums, and weirdest websites… so you don't have to. Catch the key commentary from around the Web every morning.
Oracle has filed a lawsuit against Google, charging that its Android phone software infringes Oracle patents and copyrights related to Java. ... When Google developed Android, it included a Java compatible technology called Dalvik. ... [It] was developed as a "clean room" version of Java. ... Oracle says Dalvik is a competitor to Java and infringes several of its patents ... and its Java copyright.
Dalvik is one option for writing Android applications; developers can also use HTML 5 and the C language.
During the integration meetings between Sun and Oracle where we were being grilled about the patent situation ... we could see the Oracle lawyer's eyes sparkle.
They only picked one of my patents (RE38,104) to sue over.
By GPLing Java, Sun ... gave the patent rights to run the software. ... [But] the rights are only available as long as you are using the GPL version of Java. Any patent grants are not available if you use a third-party licensed version.
[This] explains the Exodus of famous Java people from Sun shortly after the acquisition. The wheels of the lawsuit started spinning the moment the sale was done.
Oracle's complaint against Google ... [has] the full force of the Java specification beartrap, where you only get protection from this stuff and a licence to the specification if you ... pass the test suite (TCK). Which you have to buy.
If you still think software patents are a spur to innovation, you're not paying attention.
This is a shame, and exactly the kind of anti-innovation Silicon Valley behavior that isn't needed. ... It is a classic case of a proprietary software player running roughshod over free, open principles.
This suit will result in truckloads of bad PR for Oracle. ... How many tolls is Oracle likely to want to collect now that it got its crown jewel from Sun?
Java and all its associated technologies are very valuable. Sun was never able to squeeze much money out of Java's IP (intellectual property). Sun preferred to make its money by building programs around Java.
Keep in mind that Oracle is headed by Larry Ellison, the dog-fighting pit-bull of technology CEOs. He'll take on any company at any time if he feels there's a chance that he can win. And Larry doesn't lose very often, as those of us who follow Oracle know so well.
We must look at the world through the lens that all guns are pointed at Google ... any means to temper its interests and blunt its potential influence are in play and will be used. ... Oracle has caused a huge and immediate customer, carrier and handset channel storm for Google. Talk about FUD! ... The uncertainty means a ticking bomb for the entire Android community.
Oracle doesnt need the money. Oracle will want quite something else in order for the legal Java cloud over Android to go away ... a piece of the action.
|Richi Jennings is an independent analyst/consultant, specializing in blogging, email, and security. A cross-functional IT geek since 1985, you can follow him as @richi on Twitter, pretend to be richij's friend on Facebook, or just use good old email: firstname.lastname@example.com.


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My recent comments
- I would buy this so fast if it was just the logo and didnt have the ...
- I would not vote for a crazy guy who shot himself, but cool shirt
- It looks cool. But I had enough of the joker.
- This is amazing
- Batsmurf said: Star Wars side art! yes! that must be a shirt lol It...
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- great
- I want to buy this so bad. Someone let me borrow 9 bucks!
- Hey what's up? I love TeeFury! BEST SITE EVER!


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On Sunday, area residents weren't the only ones out to enjoy a day at a local beach. This family of swans was found hanging out in the water and on the beach at Shore Road in East Setauket.
Have you snapped pretty photographs around town? Log in to Patch and add it to our neighborhood gallery of pictures and video clips, or email them to editor Christine Sampson.


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---The resignation of West Virginia football coach Bill Stewart is "imminent," a university source told ESPN.com's Ivan Maisel on Friday.
Earlier Friday, ESPN's Joe Schad reported that WVU leaders were pondering whether terminating the coach-in-waiting scenario it created this year with offensive coordinator Dana Holgorsen would be in the best interests of the program. Holgorsen is scheduled to succeed Stewart after the coming season.
---Rodney McKissic
taggedBig East | Coaching rumors | College football | National


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When Rock 'n' Roll music emerged in Western Civilization in 1955, some thought it was just another youthful fad that would come and go. Oh, but the critics were wrong, including our parents who wished it would just dance right out of the room.
Sorry Mom and Dad, when Elvis Presley glided across the stage with legs, hips and about everything else shaking, the thought of remaining square just wouldn't do. We became Greasers, Mods, Rockers, Hippies and Punks, and determined that the general definition of being cool would depend a lot, from this time forward, on the music you embraced.
With 55 years of Rock 'n' Roll and all its related genres to consider, I would like to offer a series of reviews pointing you to some of the great records (or CDs) you should own. And if the titles or bands are not familiar, blame it on consultant-driven radio and search these out. I think you will enjoy some or most of these offerings. Look in the weeks ahead for articles from fellow staff members at The Times as they review a variety of records for your consideration.
Here goes:
The Kinks are the Village Green Preservation Society is a masterpiece of song writing, musical blending and mood. But in 1968, this once adored band had fallen on hard times. This record was intended to move them back to the top of the charts alongside the Beatles and the Rolling Stones.
Music critics widely embraced Village Green, but the public was lost in the final years of the drug-infused, war-torn mess of the late 1960s. The Kinks would make a successful comeback a few years later, and when that time arrived music fans would discover the lost treasure of November 1968.
Ray Davies, the chief songwriter and lead singer of The Kinks, had moved past the glam of the British Invasion that brought us the Beatles, and he was not clouded by the haze arising out of San Francisco's hippie scene. Village Green was at times down-to-earth, introspection of working-class and middle-class values and concerns. It was thoughtful, melancholy, funny and energetic. It was just about everything you would expect from a great record, or even a great book.
The record — on the surface — is very much British in its thought and lyrics, but many of those subjects are portrayed in a manner that anyone could absorb. Lyrically, this record is a fascinating masterpiece of snapshots into everyday life. Key tracks include Picture Book, People Take Pictures of Each Other, Do You Remember Walter? and Animal Farm.
Musically, the record is a departure from the hard, fuzzy overtones that defined the rising anger at the end of the '60s.
Village Green has earned broad appeal. Your parents would like it, but most of the sales of this record today are young people discovering a defining moment in popular music.


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Grid List
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Duration: 1 day
Time: 10am - 6pm
(Price and time may vary outside USA)
Related Courses
- Lion 101: Mac OS X Support Essentials v10.7
- Lion 201: Mac OS X Server Essentials v10.7
- Lion 101+201: Apple Certified Technical Coordinator v10.7 Bootcamp
- OS X 301: Mac OS X Directory Services v10.7
- OS X 302: Mac OS X Deployment v10.7
- OS X 303: Mac OS X Security and Mobility v10.7
Lion 100: Introduction to Mac OS X v10.7
Note: This custom-designed class is created and owned by Future Media Concepts. It is not sponsored or authorized by Apple Inc.
Course Description
Introduction to Mac OS X is a one-day preliminary course for those new to Mac OS X who need to prepare for the Mac OS X Support Essentials course, or other technical Mac OS X training courses. This course focuses on getting to know the foundations of Mac OS X, with topics ranging from efficient window and application management to system customization. You'll also learn how to configure user accounts and manage files.
Who should attend?
This class is designed for those new to the Mac OS X platform who need to obtain the skills to support other Mac OS X users. This could include entry level IT personnel in businesses that use Mac OS X systems for general productivity or creative design, service technicians who support Mac OS X customers, and technical coordinators or power users who manage networks of Mac OS X systems for their organization - such as teachers and technology specialists who manage a classroom network or computer labs.
Practical working knowledge of computers
Course OutlineNote: The curricula below comprise activities typically covered in a class at this skill level. The instructor may, at his/her discretion, adjust the lesson plan to meet the needs of the class.
Morning Session:
Get to know the Mac OS X user interface. Learn Mac OS X basics; how to customize system-wide preferences and user preferences; how to use the Mac OS X help system; and how common applications integrate with each other. Learn to manage multiple applications and multiple windows within applications.Afternoon Session:
Learn about Dashboard and Automator. Learn the basic principles of file sharing, and working with multiple users.


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Cyber Monday should serve as a reminder to small and large retailers as thousands of transactions take place, personal and financial information trades hands, and business owners are left to care for that information.
Let's make Cyber Tuesday a day to review procedures for keeping customers' data secure.
"Unfortunately, some business owners have the notion, 'A data loss won't happen to me, so I don't have to worry bout it,' " says Neal Custer, owner of Custer Agency, a digital forensics and information security company in Boise. "But it only takes once to convince them they should have been proactive."
According to the Federal Communications Commission, theft of digital information has become the most commonly reported fraud, more common than physical theft. Even if you don't have the resources to hire a full-time security expert, every business has the responsibility to create a culture of cybersafety to enhance business and consumer relations.
"If it does happen to you it is much more expensive to correct," Custer says. "If you do something more preventative, you'll be better off."
BBB asks businesses to consider this:
1. Data Encryption - Assume cyberthieves will hack into your business system. Thieves can expertly determine your system's weaknesses. Protect information, computers and networks with firewall software that is updated and tested on a regular basis. Having the latest security software, Web browser and operating system can be the best defense against viruses, malware and other online threats.
2. Insider Threats - Internal employees can be a major cause of data breach. All personnel working for your company should have a background check performed. Lost or stolen technology, including laptops, hard drives or smartphones with confidential information, leads the list of small-business breaches. Employee mistakes also are a common cause. Train employees in security principles, including developing strong passwords and changing them every three months.
3. Have a Contingency Plan - When a data breach does occur, have a response plan in place. Make a list of contacts to notify first, including credit monitoring companies, lawyers and communication agents. The plan should identify who has access to certain information, how data is stored and how it is backed up. Early response can help control potential damage.
4. Insurance Coverage - Cybercrime presents a real risk. Contact a third-party insurance agent to create a plan to protect against cyberthreats.
5. Have Backups in Place - Regularly back up data on all computers at least weekly. Store information off-site or in the cloud. Critical data includes human resources files, accounts payable and other financial files.
6. Keep Security Information Private - Don't share information about your company's cybersecurity. Criminals can and will use any public information about a security system to get around it. Also, avoid promising consumers their information is absolutely safe with the company.
The Federal Communications Commission provides small businesses with a free step-by-step planning guide that helps companies create a cybersecurity plan to help protect against threats.
firstname.lastname@example.com, 947-2115


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This Week in Blue Raider FB: Holcomb sets record
Holcomb sets school record completion percentage in 1994October 30, 2013 · @MTAthletics
Kelly Holcomb set a school-record in completion percentage against Jacksonville State in 1994. (MT Athletic Communications)
October 29, 1994 - Kelly Holcomb sets impressive record
Sports are known for great records. The 1972 Miami Dolphins have their 17-0 record, Roger Maris breaking Babe Ruth's home run record of 60 with his 61st on the final day of the season and Bill Walton shooting 21-of-22 from the floor in the 1973 NCAA Title game against Memphis State.
Middle Tennessee also has a Walton-esque streak. In 1994, Blue Raider quarterback Kelly Holcomb went a school-record 21-of-23 passing against Jacksonville State on October 29. The performance led Middle Tennessee to a 45-37 victory over the Gamecocks to keep the drive for five playoff appearances in six years alive.
The Blue Raiders entered the game with a 5-2 record and ranked 19th in the NCAA Division 1-AA national poll. They were hot, coming in on a three-game winning streak in which they defeated their opponents by an average score of 46-9. Kelly Holcomb was in the midst of one of the greatest seasons, and careers, in Blue Raider history.
Holcomb's name is all over the Blue Raider record book. It graces the pages 25 different times, and he ranks in the top five in 14 different categories. These include first in career yards per pass and third in career passing attempts, career passing completions and career passing yards.
Entering the game, the only losses the Blue Raiders had suffered were to two top 10-ranked teams, James Madison and Eastern Kentucky. Both loses were also by a total of three points. However, with the Colonels looking to wrap up the Ohio Valley Conference title, and automatic bid to the playoffs, Middle Tennessee would nearly have to win-out to make the post-season.
The Gamecocks were 4-3 coming in, transitioning to Division 1-AA, and beat 1-A member Northeast Louisiana (now ULM) the week before. They also had an explosive offense, averaging 240 yards on the ground per game entering the contest.
Jacksonville State's offense presented issues for the Middle Tennessee defense. They scored 37 points and racked up 538 total yards, 304 of them on the ground. But Holcomb and the Blue Raider offense stood up to the challenge. They were outgained by the Gamecocks, as Middle Tennessee gained 527 yards of total offense, but they took advantage of 14 Jacksonville State penalties to prevail in the seesaw game.
Middle Tennessee gave up the first score, but roared to 21 unanswered points in the second quarter, leading 21-7 and looking to have control going into halftime. But Gamecock running back Eric Powell scored a 40-yard touchdown run to cut the lead to 21-14 at the break.
After a turnover gave Jacksonville State the opportunity to tie the game at 21, the Blue Raiders marched 75 yards to retake the lead. The big play of the drive was a 50-yard completion from Holcomb to Robbie Roberts, moving the ball to the Gamecock 20 yard-line.
Jacksonville State cut the lead to 28-24 with a field goal on their next possession. Then the Blue Raiders came back with a field goal of their own, but another Gamecock touchdown tied the score at 31-31. Two more Blue Raider touchdowns gave them some breathing room at 45-31, before the final touchdown by the Gamecocks made the final score 45-37.
Holcomb's 21-23 passing on the day set the school record for completion percentage in a game at 91.3 percent. This is a mark that still stands today. His great Middle Tennessee career spawned a 13-year NFL career during which he played for five different teams. The Lincoln County, Tenn., native was also elected to the Blue Raider Hall of Fame in 2008 and the Tennessee Sports Hall of Fame in 2013.
Follow the Blue Raiders on Twitter @MTAthletics for continued updates.
More Football NewsAug 1, 2014: Burke joins Walters on Blue Raider Network
Jul 31, 2014: Stockstill to open nine practices to public
Jul 30, 2014: Blue Raiders hold preseason press conference
Jul 28, 2014: MT, Duke to play home-and-home in football
Jul 23, 2014: Blue Raiders participate in C-USA Media Day
Jul 17, 2014: Raiders to have 11 games televised in 2014


text: grass fire 080511 By Mike Hendren August 5, 2011 2:31 PM Share on Facebook Share on Twitter Category: Share on Facebook Share on Twitter More Leave a comment Send to a friend! Print this page Pin it! Reddit This! Share on Tumblr! More From NewsTalk 1290 Help Wichita Falls Kids With Project Back To School's School Supply Drive Governor Rick Perry To Send National Guard To Secure Border Watch Spirit Medium Maureen Hancock Communicate With the Dead [VIDEO] Beck's 'We Will Not Conform' At Cinemark Theater Best of the Web


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Swinburne's Centre for Astrophysics and Supercomputing will be hosting a series of 3D Astro Tours over the winter break.
Sessions will feature two 3D movies made by the Swinburne Astronomy Productions team, "Bigger Than Big" and "Extreme Places".
The seminars will be held in AR 104 at the Hawthorn campus on Wednesday 30 June and Wednesday 7 July at 2.00pm and Thursday 8 July at 7.00pm.
Ticket's cost $10 and seats are limited. To book a seat contact email@example.com or call ext 5569.


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The year was 1838 and Thaddeus Amat, a young Basque inspired with St. Vincent's urgings of instruction for both the poor and priests, eagerly debarked in New Orleans to begin a teaching career up river at the Assumption Seminary near Donaldsonville, Louisiana. A son of prominence, the novice had been an outstanding student mastering French and Italian, besides his native Spanish and Catalan. Now in America he would add Latin, Greek, Hebrew and English.A talent for administration overshadowed his teaching abilities and by the time he was only thirty-nine Father Thad had risen to Superior at St. Charles Seminary in Philadelphia. To his dismay the priest teacher would not be a regular patron of the Theological Library that he had then established on Race Street. It would take an 1853 order from the Holy Father himself to compel Amat to assume the Bishopric of the Diocese of Monterey in the wild new state of American California.
From his earliest days in California Bishop Amat envisioned a seminary of Vincentians in Los Angeles, yet operations in Mexico City delayed his mission. Twelve years later in 1865 the Saint Vincent Select College for Boys finally opened temporarily in donated rooms at the Lugo family adobe and began to gather books. The red brick Georgian collegiate hall designed by Father Miguel Rubi, became the first two-story building in Los Angeles. Four years later a visiting Archduke Ludwig Salvador noted the college with the "small chapel and library."
By 1881 Saint Vincent's College Library supported a curriculum for 76 students of English and classical literature, mathematics, Greek, Latin, modern language and a separate commercial department.
Class photo, St. Vincent's Select College for Boys, circa 1875.
Even with new space following an 1883 renovation, forces of real-estate speculation eventually pushed the campus southwest in 1887 to a new site at Washington Street and Grand Avenue. Designed and constructed by J.V. McNeil Construction, the modern campus boasted a furnished library. By 1894 the collection included rhetoric and sciences for the degrees of bachelor of arts, sciences and civil engineering. The library now counted as a supporter the new bishop, Dr. Thomas Conaty, the well-known national orator and former Rector of The Catholic University of America. He donated his personal book collection to the library.Rhetorical composition led the curricula of the day and the small college produced a number of graduates that added to the California voice on the national scene including a close contemporary of philosopher John Dewey, Columbia educator Dr. David Snedden ('90), composer Ferde Grofe ( Grand Canyon Suite ) and Krazy Kat cartoonist George Herriman. Argued as one of the earlier LA noir detective novelists, S.S. Van Dyne began his education at St. Vincent's in 1902 enrolled as William Huntington Wright.In 1905, five years after yet another renovation, the school made plans to move west once again and purchased 86 acres of Rancho La Cienega o Paso de Tijera. At this time a $1.00 student library fee was instituted to begin a budget for book acquisitions. However, these ambitions were suddenly set aside when after 55 years, the Vincentians elected to withdraw from college work in Los Angeles and sold the campus in 1910.
With support of Archbishop Conaty, the teaching mission was assumed by a group of Santa Clara Jesuits led by Richard A. Gleeson. President Glass stayed on as Trustee while the remaining students and furnishings were transferred to hastily erected bungalows by J.V. McNeil on the Arroyo Seco in the small nearby town of Highland Park.
By 1917 the Jesuit fathers were able to reopen college operations and once again McNeil Construction, now with architect Thomas Franklin Power, was called upon to create a new campus back in the Pico Heights district on 16th Avenue. Here the Loyola College campus library including the Bishop Thomas J. Conaty Collection of Irish History and the theology, canon law and church fathers collections would operate for the next twelve years. In 1929 an extraordinary gift of 100 acres of coastal real-estate pulled Loyola College yet again further west to the Del Rey Hills with the library to be left behind for use at the remaining Loyola High School. The book collection would later be further dispersed with the Bollandists set of volumes and works of the church fathers sent to the Jesuit theologate at Alma, California.
Despite the sudden stock market collapse just months after groundbreaking, new Rector-President Maher quickly made plans with David Elms Graham as architect to have McNeil furnish a library at the new Loyola University of Los Angeles. In the St. Robert's Administration Building a prominent lower level corner was set aside that would anchor the collection for the next thirty years. At the same time Librarian Felix Rosetti, SJ, was moved to a new position at Santa Barbara and allowed to transfer books to begin a new collection. Shortly after Trustee Joseph Riordan was named Librarian-Treasurer, he created a collecting budget for the library of $100 per month. Arts and Sciences Dean Father Hugh Duce with newly hired librarian Frank Glaser began a catalog of the collection. With the deepening of the national financial crisis, the library budget was shortly discontinued and the collection grew by gift only. Notable acquisitions were the St. Joseph's Library at San Jose's History of the German People set and the Father Joseph Sasia Collection.The student library held approximately 12,000 volumes when cataloger Duce became university president and advanced library development in 1934 with approval of enameled steel shelving installed in St. Roberts's.
In 1935 Santa Clara Jesuit historian Arthur D. Spearman was appointed the new director of the library of 15,000 volumes with Dorothy Lynch named librarian. Now the library budget was reinstated and new purchases increased. The loss of pre-1929 periodicals in the move to del Rey was somewhat mitigated when in 1937 Emma de Poorter gave her deceased cousin, Father Julius de Vos's, library of 400 volumes and numerous periodicals dating to 1918. Collection growth was steady leading up to WWII with support from parent volunteers such as Mrs. Charles Von der Ahe as chair of the Library Fund Publicity Committee. Also of note was the 1937 gift of the Kehoe Mining Collection which was used to build a separate Engineering Science Library. The library reading room furnishings included gifts of art reproductions from the wife of author Frank Spearman and the Field family of Hollywood while two brothers, Joseph and James Magoffin of Los Angeles, handcrafted a pair of walnut dictionary stands as a gift from friends. Around this time, the library was designated a U.S. Government Document Depository.
Following a second major shelving installation, Assistant Librarian Edward Brady created a bindery department which he headed until the commercial John Vogenthaler Bindery took over operations. Soon older volumes were moved to a stack room and other less used volumes were transferred to the Father's Library at Xavier Hall.Even after over 3,000 books were donated to a local high school and other libraries, the collection stood at 26,000 bound volumes by 1943. When the St. Joseph's gift was reclaimed by the Theologate Library at Alma, Father Spearman was permitted to simply purchase a replacement.
Picture postcard of library,in Auditorium Annex, circa 1950.
Following transfer of Arthur Spearman to San Diego in 1947, Theodore Marshall, SJ, was appointed to care for the 41,000 volume collection now serving 1,200 undergraduate students. Marshall stayed on to serve the library for nearly 37 years of remarkable enrollment growth and shifting technologies in library management. Anticipating postwar growth for Loyola University with returning GIs attending college, Marshall moved the stacks into the St. Roberts Auditorium Annex as temporary quarters for the next twelve years. Marshall also began to campaign for rare books, the beginning of what is now the library's Department of Archives & Special Collections.Staff support was increased with the creation of both the cataloging and periodicals departments and by 1950 the university was poised to offer master's degrees in English and Education. Yale scholar Frank Sullivan, recruited from St. Louis University, would join the English Department and soon after arrival completed negotiations for the acquisition of the John Doran Leonard William Longstaff St. Thomas More Collection including a printed Utopia of 1518.
Campus growth in the 1950s culminated with the 1959 completion of the Charles Von der Ahe Library, the building still housing the library today. Again McNeil was contracted, and the result was a contemporary three-level ruffled Norman tan brick design by Gustav Ullner (Albert C. Martin and Associates) enclosing 42,000 square feet of space. The building provided for 150,000 volumes and 362 student user seats. Room was allowed to relocate the Education Department's audiovisual library and space for special collections was made to accommodate a rare books vault. In 1960 Jesuit historian Richard Trame founded the University Archives which did not relocate to the new library building, but remained in a small area under the foyer of St. Robert's Hall .
Von der Ahe Library under construction, 1957.
From the beginning the new library building included plans for a ten-year expansion. As the general collection grew, it was occasionally bolstered with outstanding acquisitions such as the 1960 T. Marie Chilton gift of Shakespeare's First Folio and the 1967 Helena and John Weadocks Collection of Rare and Fine Printed Books and First Editions including a very rare Milton's Paradise Lost .However, the Von der Ahe Library structure was not designed for the additional library needs of the 1968 affiliation with Marymount College nor the planned accession of the 40,000 volume Jesuit House of Studies Library. The 1,500 volume Engineering Library from Pereira Hall had already been melded into the general collection by this time.Additionally, the Von Boltenstern World Wide Postcard Collection had by now achieved a near-perfect collecting equilibrium with an organic life of its own. Many users over the years had come to remember the collection, thus "doorstep accessions" and cards from modern day vacations continually arrived and their processing into the collection was endlessly backlogged.
Von der Ahe Library atrium, 1980.
Pressure for completion of the Unit II phase of the Charles Von der Ahe Library mounted. In a 1971 planning report, consultant Dr. G. Edward Evans of UCLA's Graduate School of Library and Information Science stressed that a modern library is not only shelves of books but must be a comprehensive multi-media information resource base as well. His recommendations included a detailed elaboration of space relationships in terms of library functions. The 1972 Western Association of Schools and Colleges (WASC) accreditation report strongly seconded his report.A year before, the university had been pleased to announce a major unrestricted gift from the Rosecrans Foundation [William Stark Rosecrans III ('08)] and library expansion planning was now well in hand. A memorial fund was established to finance the Frank Sullivan Rare and Special Books Room in the new construction.
On March 8, 1976 Fr. Merrifield signed a $1.8 million contract to begin expansion construction. Nearly twenty years after dedication of the Von der Ahe library, the unit II addition was completed, giving a total of 88,427 gross square feet, seating capacity of 656, and collection capacity of 183,729 volumes.
In 1977 Dr. G. Edward Evans was now asked to return and further review and analyze the 56 year old collection and its management. He reported the library was falling behind and he made a number of recommendations for major improvements. The manual card catalog should be upgraded to a modern electronic database. To build the system it was obvious that the outdated Dewey book classification arrangement should be replaced with the universal Library of Congress classification system. Also, the Jesuits had long accepted any donated library materials resulting in an over-emphasis of casual reading materials. A major collection weeding was overdue. His recommendations were accepted by the university administration, and in 1987 Evans accepted the invitation to become the next university librarian. Then, came retrospective conversion of the library's old card catalog cards to online bibliographic records and on November 13, 1990, LINUS, the library's online catalog and integrated library system was dedicated.The 1990s saw dramatic growth for the library's collections and services. Compact shelving was installed on the lower level to accommodate collection growth since the building was exceeding its collection capacity. The library began moving low-use books and journals off-campus, first to storage at UCLA and later to Iron Mountain, a company that specializes in long-term storage and retrieval documents. At the same time, the university began planning and fundraising for a new library.In May 2003, the university received two major gifts from the William H. Hannon Foundation and the Bill Hannon Foundation, launching the campaign to fund the construction of the William H. Hannon Library. Ed Evans retired in 2005 and the university began the search for a new Dean of Libraries. The process of planning the new library accelerated in 2006 as fundraising neared completion. The university hired DMJM Architects (later AECOM) to design and build the library, to be located on the bluff overlooking the Los Angeles basin and Marina del Rey. In July 2006, the new Dean, Kristine Brancolini, arrived and immediately began working with the architects and university administration to complete the design for the building. Construction ended in the summer of 2009, with a grand opening celebration on August 30, 2009.
© 2012 Loyola Marymount University


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Molecular Nutrition Review
What You Should Know
Click Here To See Our Highest Rated Review
Molecular Nutrition is a company that was founded in 2001 by William Llewellyn and is dedicated to researching and developing innovative technologies for sports nutrition. The primary goal of Molecular Nutrition is to promote new and innovative products, not to market old products. Molecular Nutrition's products are studied at prestigious universities, including Baylor, and have been profiled in Sports magazines.
List of Ingredients
Ingredients vary depending on the product.
Product Features
Currently Molecular Nutrition offers 4 products on its website that vary in price, starting at $29.99USD. They are Peka Beta, Lipid Stabil, Anabolic X-Factor, and Anabolics 9th Edition. Peka Beta is a muscle performance enhancing product. , Lipid Stabil is a cholesterol management and reduction product. Anabolic X-Factor helps increase muscle size and strength. Anabolics 9th Edition is a book about performance enhancing products and steroids.
The full ingredients list for these products is not available on the company website and the products are a bit pricey.
- Clinical study information and results are made available on Molecular Nutrition's website.
- Full ingredients lists are not available.
- Products are expensive.
Molecular Nutrition's products are geared more towards those looking to increase muscle mass and performance and not geared towards those looks to lose weight.
If you are looking for a product or diet to help with weight loss you might want to continue your search. A good weight loss product should include an appetite suppressant, a healthy diet, and an exercise plan that works for you.