text:
"Music should communicate something even to people that don't know anything about music."
James Danderfer
interviewed by Guy MacPherson
August 2009
At only thirty-one, Vancouver-born James Danderfer has already established himself as a mature voice on the clarinet. His having spent almost half his young life studying, traveling, and playing around the world, including a long stay in Shanghai, has surely done much to deepen and broaden his musical conception. Sadly for us here in Vancouver, Danderfer has again taken off, this time to attend McGill University's Jazz Studies program in Montreal. Guy MacPherson spoke to him just a few days before his departure.
Guy MacPherson: You keep talking about yourself as a clarinet player. What happened to the tenor sax?
James Danderfer: I finished. I finished ahead of schedule.
Oh, congratulations!
Thank you. Yeah, I was really pleased with myself. No, I just always felt like the clarinet was more my voice.
Yeah, always.
So that's what you started on, other than piano?
That's right. I started on clarinet in grade six and then started taking lessons in grade eight. Then I picked up saxophone two years later just because I wanted to play in the jazz band and the band director wouldn't let me play on clarinet. So that's how the saxophone thing started. Obviously it's a great instrument and I still enjoy playing it from time to time, but I just feel like when I play the clarinet it kind of resonates more with me. And even though it's been a long struggle to try and play the kind of music I want to play on that instrument, it's still more rewarding. And I found that I couldn't really do both.
Was it also a factor that fewer people play clarinet so you'd stand out more?
Yeah, that definitely occurred to me. But it's such a bear of an instrument there's only one reason I think people would make that decision. A business reason wouldn't be enough motivation to pursue jazz on that instrument.
When did you make the decision to retire the saxophone?
I made that decision my second year in Shanghai when I got the Canada Council grant to go back there and write music for a year. I was teaching [music] a little bit at international schools, which I wasn't really crazy about, and I was playing a lot of commercial gigs, which were good but it was starting to get kind of old doing the same thing every week. And when I got that government support, I knew that was my chance to leave the saxophone in Canada and go back there just with the clarinet and focus on that instrument. Because as much as I was working on it, I just never got calls for it because people are just so used to hiring a saxophone player, and it's such an iconic instrument for jazz. I wasn't getting calls to play clarinet and I needed that experience just doing casuals, doing any gig. Just playing more. So that was it. I've since picked up the saxophone here and there for commercial gigs or anything to make some money but not for any projects, so to speak.
Do you foresee a time when you might pick the sax up for projects again?
Um... maybe. I don't know. It's a lot of fun to play it and I think I can pick it up pretty easily since I'm sticking with the clarinet. It's not too hard to pull the saxophone out of the closet every so often and play a gig on it. I don't know. We'll see. I'm kinda just diggin' on the clarinet at the moment.
Your sister designed your last CD, Accelerated Development.
Yeah, she did the artwork.
It's so good.
I know!
Is everyone in your family artistic?
My mother is very artistic. She studied painting and as of about ten years ago shifted over to fabric arts. My dad is the one who supports the rest of us! (laughs) He's the great patron of the arts. He studied law and worked as a lawyer for 20 years before quitting law and going into business with a friend of his, which he's still doing today. He really supported us. Really just amazing when you think about it. I've met a lot of people whose parents would not support that, especially if they're coming from a profession like law, which is such a steady income. But yeah, they both were really supportive. I mean, my dad's kind of artistic as well. He likes music. He used to play guitar. He brought home the first jazz albums that I listened to, so I think he kind of understood and obviously saw that I loved to do it. So, yeah, they were both there, 100 percent.
I know he brought home Michael Jackson albums, too.
Did they steer you into jazz or was it just something that you also heard and just took to it yourself?
I think it's something that I also heard. There was more bluesy stuff, like BB King, that was around, there was the Michael Jackson [albums], Quincy Jones records. And when I started playing clarinet he brought home a Benny Goodman album and this Eddie Daniels album called "To Bird With Love". I think that's one of his best so it was a good place to start. But I don't think that they steered me in that direction; it was just more available to me in school.
Why did you choose the clarinet?
I started just kinda by accident in grade six with the clarinet. The band director picked the instrument for me. I didn't even know what it was. (laughs) It was one of those classic band-director-needs-more-instruments stories where he takes everyone outside of the classroom and you get to choose what you want. So I said, "I'd like to play drums. And if I can't play drums, I'll play the saxophone." And of course you know he's already got, like, two dozen drummers and sax players and he needs other instruments. So he looks at my hands and then he looks at my teeth and says, "You know what? I think I know exactly... Looking at your hand structure and your teeth structure, I think clarinet is the way to go." (laughs) So he wrote clarinet on the little blue slip and that was that.
He apparently knew what he was doing!
That's right.
Good thing he didn't pick tuba.
Yeah. Well, who knows? Maybe there'd be more work. (laughs)
Obviously hearing Benny Goodman and Eddie Daniels at such a young age didn't scare you off.
Yes and no. Those two albums and one CD called The Dukes of Dixieland... I would say they were more inspiring than depressing. Definitely more inspiring. Then I got a Charlie Parker album shortly thereafter and that was a bit depressing at first, but then also became inspiring.
Were you the kid who was always inside practicing when your friends were outside playing?
Yep. That was me. Not so much with the piano. Starting the piano was my choice and I practiced hard for about a year and then kind of lost interest.
You went to an arts high school in Michigan. Was that difficult to leave home at such a young age?
It was actually pretty easy because my closest friend was there and we were roommates. And he had already been there for a couple of years so he had lots of friends and I connected with that community pretty quickly. So that first year leaving was pretty easy. The next year, when I went to North Texas University, was a bit of a struggle. I didn't know anyone at North Texas. I didn't know any of the teachers, any students. So I just kind of flew down there and started living in the dorm. I went from high school [in Vancouver] to Interlochen [in Michigan], both of which were small music programs and I'm not going to say I was the star but I was, you know, kind of... on top (laughs). And then I went to North Texas and it was a real wake-up call just because there were so many burning players there.
How did it wake you up? You must have had some self-doubt.
Yeah, definitely. I just felt kind of insignificant (laughs) among so many other players. Especially at that age technique wasn't really my forte. Playing a lot of notes, playing fast... I mean, it still isn't my strength. But at North Texas there was more of a focus on that, more value put on that in general so I was really kind of coming up short in that area, burning big band tenor solos.
So you had to do some wood-shedding.
Yes. Yeah, it was another long year of practicing. And in the end, it was really good. I mean, it was a great experience. I think after the first semester I started to kind of settle in. I made some friends and found some musicians that really inspired me. So it was a good year. It was a tough year. I didn't get a scholarship to go back and I didn't really want to spend another three or four years in Denton, Texas, so I transferred. I transferred to Western Michigan University. Back to Michigan. Some of my jazz musician friends from Interlochen went there and said it was a really good program. So among other places, I applied there and I got a scholarship to go there. So I did. And that was a good move for me just because it was a smaller program. So I got to play more, I was able to record with the top big band. It was a nice balance. I definitely was not on top but the program was small enough that I got to play more often and just do more and be a part of it.
Three years back in Michigan, then back in Vancouver for how long?
Two years.
Getting established in the scene as a pro?
I don't know if I was ever established in the scene. I think two years of practicing all the information I'd been given in university. Because you're given so much information in school and you don't really have enough time to digest it, so it was two years of trying my hand, for the first time, at teaching privately. Yeah, and kind of getting into the scene a bit, starting to connect with some musicians here. I was never working that much just as a player, but I started to make some inroads, I suppose.
Was teaching privately a better experience than later on when you went to Shanghai?
No, not really. I'll tell you what it is: I really enjoy teaching students that want to learn, that come to me with a desire already. But I'm not a good motivator. Most of the students I had were kids that kinda had to be there. I tried, obviously, to get them more interested and showing them recordings, but I'm just not good at motivating kids to learn. So, yeah, I didn't like it at all. And the more I did it, the more depressed I felt about music because I had to, like, force these kids to do something that I naturally loved to do.
Was there ever a time you were forced to do it? Or did you just take to it right away?
I took to the clarinet lessons right away. The piano, like I said, I kind of lost interest in it, so then I was forced to practice for maybe a year or so when I didn't really want to. But after that, once I started with the clarinet, pretty much I was self-motivated.
You wrote in your blog that Michael Jackson was a musical influence.
Hell yeah! (laughs)
Obviously you have eclectic tastes.
Yes. I'm full circle now. When I started playing, I liked all these different types of music and then I became a serious jazzer, with large air quotes around it, and so I basically sold all of my Beatles tapes and my Led Zeppelin and Red Hot Chili Peppers CDs and Michael Jackson and just used that money to buy Charlie Parker CDs and Coltrane and whatnot. And then, as of five or six years ago, I started kind of opening my mind up again to other types of music and rediscovered Michael and all the bands I used to listen to, plus a lot of contemporary bands today as well. I've got a Discman. It's all I need. I'm the last one. It's lonely out here with the Discman, but I'm sticking to it.
It'll come back.
That's right. (laughs) I listen to a wide range of things in general but if I have to get ready for a gig like the ones I've done at the Cellar this past year, then I'll try and just listen to music in that style at least for a few weeks before the gig so that it's really in my head.
How did the electro-acoustic project come about?
That's a good question. How did that come about?... Oh, yeah, okay. I think I can trace this. Back maybe five or six years ago on cruise ships I had this roommate, a drummer, from Minnesota, who listened to a lot of electronic music. Guys like The Chemical Brothers and Daft Punk and Zero Seven... Air, Bjork. He was just listening to this music all the time and he was also writing some of this music on his laptop. At that time it kind of caught my attention just realizing all of the possibilities and hearing all of the different styles of music that could be utilized within electronic music. So that's where it started. I just listened to bands. And when I was in Shanghai a year later, I had an Apple laptop computer that had Garageband in it. So I just started fooling around with that. Actually, I started messing around with that program after I met this burning alto player in Shanghai from Boston who was also experimenting with writing music in GarageBand. So I checked it out and just tried a few different things and it was so much fun to write something totally different, totally not me, not jazz, not even clarinet. Just writing songs in any style. You can just be as creative as you want to, you can be as ridiculous as you want to, and it was all in the privacy of my own apartment, so I could just have fun with it. So I think that's how it started. Then I had this vision of putting together a band that had that sort of creativity where you could really just do anything but still groove. Obviously in electronic music you can quantize the beats. It's mechanical, but it's also groove-y because it's so consistent. So it's a different kind of groove than jazz music.
How is it different from the last show you played at the Cellar, which also grooved?
That was definitely more acoustic. What I call the electro-acoustic thing is totally different.
So I won't like it.
(laughs) You'll hate it! Yeah, I don't know. I don't know what people are going to think of it because often when you try and bridge two types of music you just end up alienating both audiences. But this music is fun. It's got definitely Michael Jackson elements, it's got Herbie Hancock elements, I sing on it, I wrote the lyrics, the tunes. It's just totally different and that's why it's fun. Because it's just not me.
Tell me about that last show you played at the Cellar.
That, my friend, was the New Orleans Soul B3 Project... I guess. I don't have a proper title for it. Let's just call it New Orleans Soul. That was basically lifting contemporary New Orleans brass band music and adapting it for a smaller band that included the clarinet and B3 organ. So the organ kind of assumes the role of the tuba in the left hand and then helps to fill out the horns in the right hand. And the clarinet is just there because it's gotta be there.
Because you're the leader.
There's no other reason.
And the concert before that was a tribute to the great clarinetists. Even though that was old music performed in a modern context, I sense a bit of a populist trend with you. Your recordings in the past were more cerebral. What happened?
Just life. I dunno. Getting out there, seeing more of the world, meeting more people. Just meeting people from all different places and realizing that music should communicate something even to people that don't know anything about music. I believe there's room for every style of music, so cerebral music is great, too, but I just found that I just wanted to play more human music, you know? I think also my generation of musicians largely have been trained in university. Learning in that environment is really good in some ways but you're also very insulated and you're surrounded by people that understand more complicated or more cerebral music. There isn't really any focus on the basic human elements of music. So I think I'm far enough removed from that training, in a good way I mean, that training was great, don't get me wrong, but I'm far enough removed, I've lived a little bit more and I don't want to lose the intellectual element entirely but I really want to work that into music which communicates with an audience, that goes more than halfway and will reach people.
You told me you were tired of playing for jazz musicians.
Yeah, that's also true. I mean (laughs) that might come across wrong, but you know what I mean. I'm back-pedalling now! (laughs) It's an honour to play for musicians! (laughs) Which it is, but once you see a scene in which most of the audience members are other musicians, there's a problem. It's not going to last long once that happens.
So it's a wish to reach out and get a larger following?
Yeah, well, that's also part of it. Because I'm not really looking to teach, I want to play more. I don't want to struggle so much to fill a small club. So that's an element of it, as well. But it's definitely secondary. It's like focusing on the clarinet. It occurs to me that there are benefits beyond just the artistic ones, but the artistic one is the key reason otherwise why bother? It's not like it's a great money-maker either way.
You're singing on your latest project and vocalists seem to have more fame, get more press, and make more money. Was that a factor?
Yes, it does factor into it. When I think of my reasons for starting singing, the initial reason was because the music that I wrote for the Shanghai project, when I listened back to that music as I was writing it, I felt like it needed lyrics. I heard a singer in my head. It wasn't a particular singer but a certain sound. And I just wanted to see if maybe that sound was me, if I could fill out that sound that I was hearing in my head. That's kind of how it started. But yes, to answer your question, it does factor in. I do think about the fact that people connect more with lyrics, with vocals, when something's being said to them. And in the last few years, having listened to more of that music, and connecting with it, I feel like I can use that element to communicate even more. And hopefully the more you communicate feelings and inspiration, the more people you get to come out to the shows. And then the more you can play. So it kind of follows that pattern.
Were you always a private singer? Or was it completely new for you?
This was pretty much new. This sounds hokey (laughs), but I did sing when I was a little kid. I just kind of made up songs. Yeah, I know. (laughs) It's stupid.
Who would you compare your style to as a singer?
I wouldn't be bold enough to compare it to any really good singer at this point. I would just say that my influences would be just influences, right? I don't sound like any of these people unfortunately Stevie Wonder, BB King, Chan Marshall from this band Cat Power.
No jazz singers there.
No jazz singers. I mean, I do have my favourite jazz singers but for this style it's not really influenced by jazz singers.
So we're not going to see you scatting on standards anytime soon.
(laughs) You never know. I'd do it just because I never do it. But, uh, probably not.
When you talk between tunes, you're like a stand-up comic. Did it take a while to get comfortable talking to an audience or were you always like that?
Yeah, it's definitely taken me time to get comfortable with that. Absolutely. After university when I started playing around town a bit and leading groups, I was really nervous about talking so I would just avoid it as much as possible. Then after working on cruise ships and being part of the show band and playing for so many entertainers, like night after night, I think that definitely rubbed off on me a bit. Because you're sitting there on stage just watching the audience while the featured performer has got his ass on the line and is trying to entertain or tell jokes or explain something about the song in an entertaining way, and you can see how they react. So that helped quite a bit. But then just forcing myself to do it. I just wanted to communicate more with the audience, especially if it was original music and there was some kind of story behind it, but was contemporary jazz so it wasn't maybe the easiest thing to tap your toe to, so I wanted to explain the story behind it so that people would get into it more. And the more I did it, the more feedback I got that it was really making a difference for people, especially imagery, explaining thoughts and feelings behind the composition. People really related to it.
Lots of musicians get up there and tell the back-story. But you're also reaching them through humour.
Well, that's the other thing. I really like comedians, I like watching stand-up, and I think over the last couple of years I've started to laugh at myself more on stage, as opposed to feeling embarrassed about mistakes, just embrace them. I really like listening to a good comedian. I think it's very similar to the process of playing music in terms of timing and giving them something. Not saying too much. There are similar elements.
Any teacher or prof who could use humour effectively, you tend to remember the lesson more, too.
Exactly. Good speakers or teachers, good articles or books, they stick with me if it's entertaining. So I try and do more of that. I still haven't actually written anything down, like written a joke or anything. It's just getting up there and trying to do it more. And the more I do it, the more comfortable I am and I think it comes across better the more comfortable I am. Because I'm not up there trying to tell jokes; I just want to relate to people and feel like we're all in this room together and it's an inclusive experience. Rather than just explaining a song, the details, more like an inclusive group.
It is, after all, show business.
Yeah! That's the other thing. Yeah, exactly. It's still a show. That's another thing, getting back to the university schooling, that is maybe a bit frowned upon the element of show business... No, frowned upon is too strong a word; it's not emphasized so you forget that that's actually a big part of it.
Show business has certain connotations, but you're putting on a show and the introductions are just part of that show.
Right. And the show biz part can be genuine or it can be fake. And people usually know the difference. And that's why so far I haven't written material trying to get laughs. I just enjoy doing it now so I stick with what I enjoy doing. I enjoy talking a bit about the songs I try not to do too much and get people involved a little bit. And it's fun. So I just kinda stick with what feels good.
It gives a fuller experience for the audience.
Yeah, I think so. I think it does. I know I appreciate that when I go to a show. It doesn't have to be funny, either. I just appreciate when the performer really makes an effort to meet you halfway, or to give you something to hold on to. Yeah, I know I like it.
Who are your favourite comedians?
I really like Stephen Colbert. Jon Stewart, also. I like his work. Chris Rock. Bill Burr. Louis CK he's just outrageous. Lewis Black. The pit-bull of comedy, what's his name? Bobby Slayton.
You tend to go in projects. Or do you see the electro-acoustic project as an ongoing thing?
I see a three-pronged attack, Guy. (laughs) I see the electro-acoustic thing, keeping that going and going and going and working on it and producing many records--
Hit records.
Hit records! Many hits. (laughs) And then I see the New Orleans Soul project continuing and projects like that that may involve a little bit more of a compositional element and maybe more horns, but that style of jazz. Incorporating elements... Okay, so it's not a three-pronged attack.
It's two-pronged.
It's two-pronged, but hey, that's one prong more than most people.
Your New Orleans Groove project has a large jazz component to it. Will the electro-acoustic
project have, as well? Or will it be mostly pop-based, rather than
jazz-based pop, if you get what I'm saying? George Benson, for example,
was a smoking jazz player who turned to pop music to reach the masses
and was played on commercial radio all the time. Is this music a cross-over that
might get radio airplay, I guess is what I'm asking?
Yes, it is a cross-over. If all goes well, there's going to be a five-song EP.
I think two or three of those songs could be played on the more popular
radio stations. They're not so much jazz. And the other two songs are
definitely more on the jazz side. They're taking beats, like R&B or
hip-hop beats and using that rhythm but the music is still harmonically
more complex, they're instrumental tracks and there's more improvising.
It would be nice if the lay jazz audience could still enjoy that
because of the beats behind it but realistically I think probably not.
The two tracks I'm thinking of right now would appeal more to
contemporary jazz fans. And then the other two or three would appeal
more to pop fans. So basically nobody's going to buy this record (laughs). That's what I'm saying!
charge that's always levelled against artists that move in that
direction is that they're selling out. Say this does get lots of
airplay, how would you take to that charge if it came about?
exactly right, that's the charge that is laid against pretty much every
jazz musician who decides to make that foray into more popular music. I
remember hanging out with Cory Weeds when he was interviewing Kenny
Garrett right after his album came out that had a lot more pop stuff,
and asking him what he thought of that. He said something to the effect
of, "That's just what I'm hearing. I'm hearing more popular type
sounds." So he's writing that music. It was Kenny Garrett. He didn't
really have anything to prove. But the sell-out thing? Yeah, I dunno.
It's so far removed from my reasoning for doing it and so far removed
from the music itself. Like, when I listen to it, it feels genuine to
me because I know it is genuine, but I think other people will pick up
on that as well. So it's so far removed from those things that it
doesn't really matter. It doesn't really matter. We talked about this
idea a few times of taking a more popular direction and the reasoning
behind it. The wider appeal and the idea of making more money from
these projects definitely factors in, but it's not the primary reason
for going in these directions. Because if it was, then I would just go
into banking. My odds would be much better. Or go into the
communications business. Or the drug companies or some other business.
Was I out of line in bringing it up so often?
no. Not at all. No, it's a good question. It's something that I would
be interested in if it was a musician that I liked: Why go that
It is a fine line between, as you say, not wanting
to play to just other jazz musicians while trying to reach a wider
audience, and pandering to the masses.
Yeah. I saw some shows
like that on cruise ships where it was more pandering. They were doing
commercial shows and they didn't really believe in it. It was
embarrassing. It was really tough to see those shows. I mean, I was
playing in them but to see those entertainers. And then you saw the
entertainers that had shows that were commercial and kind of gimmicky
but they believed in it in terms of believing in the entertainment
aspect. It's not like they took themselves too seriously. They believed
in the entertainment part of it and the communication part of it.
I think you can usually tell when an artist is just trying to do
something that's popular just for the sake of the popularity but it
doesn't mean anything to them, and when the artist is doing, like Kenny
Garrett said, something that he's just hearing but also happens to be
popular, but it means something to him.
Right. So if someone were to say I was a sellout, I would just say bring it on. (laughs) Yes, alright, absolutely, whatever you want to think. That's fine, because I know. And I will enjoy it. Maybe not (laughs) being called a sellout but I will enjoy the music that they're labelling a sellout. And that's the only reason I'll make it.
I didn't mean to suggest that will happen, or that I will call you a sellout.
(laughs) Bring it on! The electro-acoustic
thing is a serious departure from contemporary jazz. Even the jazzy
tunes with the more hip-hop rhythms and the synthesizer sounds, even
the ones that I thought would be more jazzy, are a departure. And
that's what's so refreshing about this project for me. It's a complete
departure. And the freedom that goes along with that. It gets back to
being locked into a certain way when people
know you for a certain thing and sometimes you've got other facets. So
this is a chance to explore those things. Because of that, I love it. I
love it. It's so much fun. Yeah, I haven't even thought about that. At
this point I'm just kind of hoping that it'll get enough radio play so
that I can cover some of the costs to record it.
Is radio still a factor these days?
should know, but I don't. I've been reading interviews of up-and-coming
more popular musical acts and they're saying no. Radio play doesn't
really mean anything anymore. I think those acts that say it doesn't
matter anymore are in a different realm. If you're just an independent
jazz musician, then it does mean something. At least the CBC does mean
something because you get some money from that. So it's something. But
for wider appeal, I don't know but it seems like it's all about touring
and establishing connections with people, with the audience so they
come and see you and hopefully after the show they feel like they have
some sort of connection with you and then they want to support what you
do. I don't know. CDs
are not your ticket to a steady income. It's such a weird market now,
isn't it? It's like people giving their music away for free in the
hopes it's going to get them some recognition. They're just giving it
away as promotion so that they can get people to come to their shows.
But it's such a strange business model. You don't make widgets and then
give them away. There's value on it. I see the reasoning behind both
arguments but they're both such solid arguments in today's market that
I really don't know who's right. It's so depressing on one hand and so
optimistic on the other. You know what I mean? With everyone flocking
to the internet, it's unprecedented. The audience is so wide. The potential is huge now. It's global now.
Would you do a video for the new project?
think that's a good idea. Yes, I will definitely do that. Partly
because it's good marketing... I don't know, is it? Again, you're
giving it away for free. I guess you have the opportunity to make them
associate your music with... to capture their attention somehow whether
it's a good-looking video or a creative video, then they will associate
that with the music. So I would do that. I usually work with a kind of
visual aspect when I'm writing music. It's either an image that spurs
the musical idea or I start playing on the piano or whatever and then
some idea gives me an image. So I would love to express that. And
actually, I would love to work with my sister on that. Have her
paintings, oh man, that would be off the hook! (laughs)
Do you hold back at all when you solo on the project?
No. Maybe I should.
So you're not compromising yourself at all; you're just doing something completely different.
Yeah. On one of the poppier
tunes, when I was blowing over that, I just did what felt right for the
tune so it's a little bit more sparse, definitely more groove-y.
Simple, groove-y ideas, but it just felt right. It felt good. And on
some of the other tunes, it's definitely more complicated, really
dense, and that's what felt right on those tunes.
You're listening to more non-jazz music these days. You recently posted on FaceBook that you're listening to Metric. I also started listening to pop music as an adult. We got it backwards.
you start with fun music when you're a kid. And then you get into more,
let's say deeper music, which has more of an intellectual aspect to it.
It can still be fun but it has the intellectual thing. You get deep
into that, and deeper and deeper, and then all of a sudden you don't
know what the fuck's going on and (laughs) everything sounds kinda complicated and you want to hear Billie Jean. Then you go back to that.
You have an appreciation for the early masters. Did that come to you later in your development?
I came to it later. I started listening to music like that, the Dukes of Dixieland and Benny Goodman and Artie Shaw. I could get into that more easily than anything else, any of the modern stuff, when I first started. And then got into Bird and then Trane and then I was kind of just on the contemporary track for a long time. And throughout university still listening to Lester Young and Coleman Hawkins, but my music, the music I was presenting, was more contemporary. And then the same desire to play music that communicates to an audience, it's the same kind of thing that drew me to this classic jazz. Not thinking, okay, I'm going to put a show together like this and I'm going to sell out the Cellar, just listening to that music and just getting back to the raw emotion of it and what it communicated. Not so complicated. But I felt more from that music than a lot of contemporary music that I had heard at that time and that I hear today. I often don't feel anything. Intellectually I listen to a lot of shows over the last few years and can really appreciate what they're doing, but in my heart I don't feel it. At the moment, really, that's the most important thing, and I trust it implicitly, is do I feel something? As heavy and complicated as this music is, and as impressed as I am with the fact that people can play it, do I feel anything from it? And if the answer is no, for me it doesn't really matter how unbelievable it is. It's just a simple gauge.
This early jazz is kind of forgotten. It seems a lot of people start and end with bop. So was it a chance for you to expose some of this great early music?
Yeah. It was that and I just wanted to get more of that musical element in my playing. So I talked to Cory Weeds and just booked the date and told him what it was going to be. This is just what I've done in the last year. I just book a date and then I have to get ready for it. I have to get all these recordings and check out all these clarinet players that I've never heard before. It worked out. I'm really happy with all that I've learned this last year being back in Vancouver. It's been a really good year.
I love your blogs on your website. You appear to enjoy writing. What do you get out of it?
(laughs) Yeah, what do I get out of it? I don't know. I don't get a lot of readership out of it. That's a really good question. I get a chance to air my thoughts sometimes, and I also just put things out there. Like say I'm going to do this project and then I feel like I'm somewhat accountable because now it's out of my brain. Instead of just thinking something, I write it and then people read it and they ask me about it: "How's that project coming?" or "Did you ever check out that Irving Fazola record?" I just feel like it's out there in the world outside of my head. I think all the time about things that I should be doing and once I put it out there, it's just kind of relaxing. It's out of my brain, it's on the net, and then some people read it and I do feel accountable, like I gotta do these things because I'm telling people that I'm doing them.
Is there a book in you, do you think?
(chuckles) Uh... I don't know. I don't know. I would like to write a book for the same reason that I book the gigs at the Cellar just to kick my ass. Just to do it, set the date. I would like to write a book about, for example, the history of art. And I'm sure it's been written, but I just want to learn more about it, so I think forcing myself to write about it would be a great way to learn about that subject. Yeah, the history of art and, kind of getting back to what we were talking about before, the basic elements of art and expression and communication. Just learning about how it's developed over time and things like that. So, yes, I would love to. Will I? I dunno.
I'm sure the history of art has been written, but it's probably really dry. You could infuse it with your trademark wit. So you could make it more accessible, like you do with your music. You see, I'm bringing this all together.
Yes, you're putting it together for me. This is good. I like it. Yeah, that's a good idea. I gotta get on it.
I know you write a lot about achieving goals and how to go about doing that. Maybe you could do a self-help book. Self-help for the lazy man.
For the lazy jazz clarinetist. It's a very niche market.
It would speak to everyone who, in their heart, is a lazy jazz clarinetist.
(laughs) That's right. When I started writing that blog, it kinda was self-help. It was a lot of elements of planning and the stress of not knowing the next move to make and how to make a living at it. And I did connect with a lot of people in different areas of art and beyond art. I think they appreciated the honesty. A lot of people share the anxieties. That sounds obvious but it was kind of a revelation to me: "It's okay and this isn't that unusual and I'm not a complete fuck-up so let's just get back to it. Let's hit the drawing board again. Let's get back up and just keep going." So I think that was a really good thing. I've left the organizing and planning thing for a little while because I felt like I was just talking about it too much. But I will get back to it. There's lots more to do.
Are you satisfied with the direction your career is headed in?
Yeah. Yeah, I am. I feel good about the direction I'm heading in now. I wish that I would have started in this direction earlier, but what's the use in regretting that? That's just the way it goes. So now I just want to work on these directions as much as I can and further them as quickly as I can because, yeah, it feels good. I think I'm onto something here, Guy! (laughs)
Do you find many of your musician friends as goal oriented as you are?
Not openly. I find a lot of people, like I said, share my anxiety but I don't think a lot of people see planning as the key to solving these anxieties. I've talked to a lot of people who feel these anxieties, and they know that planning is part of it, but they don't share my view that that's all of it.
So if you plan, things will happen?
Yeah, that's right. You plan for it, you set ambitious deadlines things you don't think you can do, or that feel uncomfortable often but you set them, you make them part of the plan. Things that you can't cancel on. Yeah, I think that's 95 percent of it. If I spent an hour a day every day just working out a plan coming back to it, editing, adjusting, more thoughts, more directions if I spent an hour a day on that every day, that would make sense to me. I don't do that. But I can definitely see the purpose of that. I really believe it's 95 percent of it.
You say you're not good at motivating young music students who aren't interested already, but you could be a motivational speaker.
(laughs) Yeah! I like that. Yeah, well, I think the blogs have motivated some people. I know they have, actually. I know they have. Some people have been inspired the Saturday Morning News Post and I love to hear that. So if I could share that even more than the blog, yeah, I'd love to.
Are you still working eight hours a day, five days a week on your own, which your goal was?
Yeah, that didn't work. No, that did not work. The hours can change and shift around a lot and then things never actually happen. Like, I can say, "Well, I slept in today but I'm going to work until midnight tonight." It doesn't happen. So another friend suggested that instead of setting the number of hours, you just set the times. The start time and then the finish time. But even that didn't work for me. The only thing that worked was setting ambitious, bordering on ridiculous, goals so I just had to get up and go. I had no choice. This recording [I did this week] was silly ambitious. It was so much work to do the last few months. I've had the motivation from these ambitious goals where I just have to get up and go. There's so much to do I've just got to do it. It's a bit stressful but so far that seems to work best for me because I can't stick to the eight hours a day.
Was working on cruise ships a positive experience for you?
How long did you spend on the ships?
Three years. Three years doing six or seven month contracts and then having six to eight weeks break in between. Yeah, I'd heard a lot of horror stories about the ships. I can see why a lot of musicians would not want to do it because the music's really commercial stuff and oftentimes hokey. And the living conditions are not ideal. But I found a lot of positives. It was great to be playing every night. It was great to be a part of entertaining shows. Like, after university studying music and all the complexities of contemporary jazz, I found it refreshing to be a part of music that served the purpose of entertaining, of communicating. And then I loved the travelling. And I loved, also, having a steady paycheque. That was kind of cool. It was my first, and last, time. (laughs)
So you would recommend this to other musicians.
Yeah, I would. I recommend to all of the friends that I have who are studying jazz in university right now is to go out and work on a ship. You don't have to do it for three years, but at least one contract. Maybe two or three contracts, six months at a time. Because it's a great way to get out there, live a little, meet different people, see some different parts of the world, and play commercial music.
Did you go all over the world?
Yeah. I went all over the U.K., through the Baltic as far as Russia, tons of time in the Caribbean and Mexico, up to Alaska, along the east coast and Boston, around Hawaii.
How did you end up in China?
It was after the cruise ships. I went to New York for three months to give it a shot and see what it was like to live there and see if I wanted to continue living there. And after a few months I decided that I really wanted to go out and see more of the world. So I thought it would be ideal if I could find some place where I could be a part of a totally different culture but also find some work, so I could stay there. And I had a friend in Buenos Aires and another friend in Shanghai, who e-mailed me around this time and said, You should come over here and check it out. And I ended up going with Shanghai just because it seemed like there was more work. Obviously I was really interested to see China, but it seemed like a place where I could sustain some extended travels.
What kind of work is there in Shanghai?
There was teaching at the international school, there was playing at clubs more commercial stuff, like R&B. Jazz-ish stuff. I ended up playing, like, four or five nights a week pretty quickly. There was a lot of work.
Do you miss it?
Yes. Yes, I do. I really enjoy being in Vancouver, but it's the element of excitement and craziness in Shanghai that I do miss. And the food. It was awesome. I'm telling you, nobody does Chinese food like the Chinese.
Or as the Chinese call it, "food".
(laughs) That's good.
You went on this fact-finding mission to New York, Toronto and Montreal to see where you might like to be based. That assumes you wanted out of Vancouver.
Hmm... How can I put this? It wasn't so much that I wanted out of Vancouver, because I don't believe that it's significantly easier to make a living in Montreal or any other city in North America. But it's just that I want to keep travelling and go to different places, but I also want to be in places that have more of a music scene. Like a larger music scene than Shanghai, which was a good scene but it was really little the jazz scene. So that's it. I want to keep travelling but I also want to make sure that I can be part of a music community. I love the community here and I'm always sad to leave because I've found some musicians that I just love to play with but I can always come back here. For now I just want to keep moving, keep seeing different places.
And you chose Montreal because of the jazz program at McGill.
Yeah. I guess it's a jazz degree with an emphasis on composition. Yes, I chose that place because McGill was interested in having me there. They kind of pushed to get me in there and gave me a scholarship. And Montreal's a cool city, as you know. And it's close to Toronto and New York. So it was too good of an opportunity to pass up.
You'll be closer to the action, and closer to the voters. Maybe you'll finally nab one of those elusive national jazz awards.
That's right. Who knows? Anything's possible. I mean, there's only six of us so one of these days I should get it.
Does it really bother you to lose?
No, not really. Nah, it's okay. I mean, it is what it is. It's a popularity contest because anyone can vote. That's not to take away from the winners but I'm just saying that I think there's other elements at play... Ah, jeez, I sound like a total prick now, don't I?
Don't stop now!
That's right! Yeah, maybe I should stop now before I insult someone. Uh, no, the answer is no, it doesn't really bother me that much but I do like to make fun of it. And I like to make fun of the fact that deep down it bothers me a little bit. (laughs) And that's worth making fun of because it's kind of ridiculous.
You're a thinker. Has that held you back?
It slows me down. Definitely. Because I question things a lot. I just question everything: Is this the right thing to do? Just thinking down the road too much instead of going with my gut. Thinking is good. I'm not saying it's all bad. But for better or for worse, it slows me down a bit.
One of your written resolutions was to read more classic novels. Can that sort of thing influence your music?
Yes, it definitely can. Because I don't really have a set system of writing music, anything can inspire: a place that you see, a great movie, a book, a conversation or someone that's inspired you, or a feeling. I would just say all of it. All of it can lead to inspiration.
Another of your resolutions was to not worry about what others think about your artistic direction. Are people giving you grief about your career choices?
It's not usually an issue but with the electro-acoustic thing, especially the singing, I gotta say, that took some balls. (laughs) I'm just going to put it out there because I really had to let go of my pride and just do it and not think so much about what other people would say because your friends and people who know you, know you as a certain person. In reality, we can have a lot of different facets and you just kind of get going along one path, and that's also true to you but then you kind of ignore other facets and then you look ridiculous when you start developing those. Or you could look ridiculous to your friends. And certainly I've gotten no end of jibes and harassing from friends who found out I was taking singing lessons. And in this project when Joe Poole came in to lay down the tracks for the electro-acoustic thing, I had to just grit my teeth when he first heard the tracks and just endure. So, I don't know, does that answer the question?
Yes, it does. Had you come out as a singer-clarinetist from the beginning, no one would think twice about it.
Yeah. To kind of pull this card out... I'm not going to say late in the game, but... you know, somewhat, yeah, late in the game... I definitely have to work on that, on not worrying so much about what people are going to say.
Objectively, are you happy with the way it sounds?
Yes. Yes, I am. It's really hard for me to be objective about how I sound singing so I'm probably going to show it to a few close friends and get the yay or nay and then I'll make my decision based on what I feel.
What will you do with the recording?
That kind of depends on how I feel about the music, but I really want to get it out there so I probably will. Since we were only able to do five tracks, I'm probably going to put out an EP. Just do a limited pressing and try and get jazz festival gigs across Canada with this EP.
Because jazz festivals don't have jazz anymore. So you'll fit right in!
Yeah, that's right. (laughs) So a limited pressing to media and jazz festivals then do some more recording around Christmas time and complete a CD. I think. I don't really know how this is done with the EP, but something like that. You will definitely get a copy.
Excellent! I'll play it at my raves.
(laughs) Yeah! That's exactly what I want.
James Danderfer web site
Saturday Morning News Post
Photo of James Danderfer by Brian Nation


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Welcome back to this weeks Tuesday Tots
We are currently screen free so this post is scheduled in advance. I really hope that the linky works and look forward to seeing your ideas linked up next week.
If for any reason the linky isn't below then pop over to Growing a Jeweled Rose, Learn with Play at home or One Perfect Day to link up and discover who they have featured.

subset: commoncrawl


text:
Prosecutors plan to drop criminal charges against a Sunrise officer accused of slashing three tires at a Davie gas station in September.
In exchange, Milton Plante must do 25 hours of community service, pay $807.46 in restitution and complete a three-month misdemeanor diversion program. He was not required to admit guilt or offer an apology.


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- You are here:
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Video: Fast and Furious Five trailer hits the web
by Jeff Glucker (RSS feed) on Dec 14th, 2010 at 5:58PM
You can make fun of the series all you want... but you know you are going to watch the next installment in the Fast and Furious franchise. The fifth film, called Fast 5, is set to hit theaters (including IMAX) on April 29th, 2011. Paul Walker and Vin Diesel are back again reprising the lead roles of Dom and Brian. Also back are Jordana Brewster, Tyrese Gibson, Ludacris and Sung Kang (which is surprising since we're pretty sure he died in Tokyo Drift, no?). Fast 5 takes place in Rio de Janeiro, where the crew is forced to perform "one last job" in order to earn their freedom. A new law... Read More


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Terms and conditions


text:
The University of Kansas Medical Center
Adopted by MSA on March 7, 2006
Developed by the Honor Council of University of Kansas School of Medicine
A student shall not:
It is each student's responsibility to take an active role in upholding the rules of the Honor Code.
Any person who believes that an Honor Code violation may have been committed shall make an accusation to a member of the Honor Council, the Dean of Student Services or the Associate Dean for Student Affairs. The complaint shall be made in writing and should contain: 1) the accusing person's name; 2) the identity of the person believed to have committed an Honor Code violation; and, 3) a brief description of the facts supporting the accusing person's belief. The accusations will be promptly forwarded to the Chairperson of the Honor Council.
Honor Code Procedure
A. Composition
a. Said special election shall involve only the departing member's class and take place no less than seven (7) but no more than fifteen (15) days following the departing member's last day as a member of the Council.
b. The Co-chairpersons of the Honor Council shall, in writing through campus e-mail, notify members of the class in question of the vacancy and the date chosen for the special election.
c. The announcements of candidacies and form of ballot shall follow the procedure set out in Article 1, Section (A) (4) above. The winner shall be that candidate receiving the most votes.
B. Term of the Honor Council
The Honor Council shall be deemed to be in session year-round.
1) If, in the judgment of the current Co-chairpersons of the Honor Council, reasonable doubt exists about whether any part of Article VII of this Procedure can be completed, any accusation or current case may be deferred to the Academic Committee.
2) Notwithstanding Section (1) above, if the accused student will, in the judgment of the Co-chairpersons of the Honor Council, be graduating or transferring from the medical school before a hearing can be completed, the Co-chairpersons of the Honor Council shall immediately stop Honor Council activity and refer the matter, along with any information generated by the Honor Council to the Academic Committee for disposition.
C. Honor Council Co-chairpersons
Duties and Responsibilities
The Honor Council Co-chairpersons shall have the duties of receiving initial Honor Code complaints, referring complaints to the Investigator, presiding over formal hearings in a neutral role, receiving the formal determinations of the Honor Council, drafting the statement of formal charges against students about whom a finding of probable cause has been made, and serving in an advisory role to accused students. The Co-chairpersons shall not have the power to vote on any issue at the Honor Council hearing. The Co-chairpersons should also act as a liaison between the accused student and the Deans of Student Affairs following the decisions of a formal hearing.
2) Selection
a. There shall be two Co-Chairpersons from the third-year class of council members, one from each campus. Fellow members of the Honor Council shall make nominations for the Co-chairpersons, and the election shall be held at the beginning of each school term. The body of the Honor Council will vote on the Co-Chairpersons.
b. The student with the most votes from each campus shall assume the role as Co-chairperson.
c. The terms of the Co-chairpersons shall be for one school term, which ends with election of the succeeding Co-chairpersons.
d. Should any Co-chairperson become unable to serve or complete his/her scheduled term, another election within the Honor Council shall be held to replace that individual. Refer to item 1C.
3) Continuation of chairperson's term
a. Should a sitting Co-chairperson's term as chairperson expire during an ongoing honor council case, the chairperson shall continue his/her duties as chairperson for that case until it is completed. A new Co-chairperson shall then be elected following the completion of the case as described in Section C Part 2.
4) Transition to the following year's council
It shall be the responsibility of the second year members of the Honor Council to coordinate the election of new members from the incoming class. The Co-chairpersons will have the added responsibility of providing for any necessary transition between the outgoing and incoming Councils.
II. Faculty Advisor
Each Co-chairperson shall meet with respective Deans of Student Affairs in Wichita and Kansas City, who will serve as the faculty advisors. The faculty advisor shall interact only with the Co-chairpersons of the Council and shall not participate in any aspect of an Honor Council trial.
III. Reporting a Violation/Initiating an Accusation
A. Initial Procedure
1) Any person who, in good faith, believes that an Honor Code violation may have been committed shall make an accusation to a member of the Honor Council, the Dean of Student Services, or the Associate Dean for Student Affairs. The accusation shall be made in writing and shall consist of the following:
a) The reporting person's name.
b) The identity of the person he/she believes committed an Honor Code violation.
c) A brief description of the facts supporting the reporting person's belief. Any designated authority, upon receiving such an accusation, shall immediately forward the complaint to the Co-chairpersons of the Honor Council.
2) Upon receiving an accusation, the Co-chairpersons of the Honor Council shall, within seven days:
a) Notify each member of the Honor Council that an accusation has been received.
b) Establish a confidential file in the Office of Student Affairs (file to be accessible only to the chairperson of the Honor Council). The confidential file shall include all documents, including the original accusation and all documents generated by the Council, pertaining to the case.
c) Notify the accused student, by telephone or e-mail, of the nature of the accusation, the facts supporting the accusation, and the fact that the matter has been referred to the Honor Council. The Co-chairpersons shall also notify the accused student of his rights as enumerated in Section VIII of this Code. Under no circumstances during the initial conversation with the accused student shall the identity of the individual making the complaint be revealed to the accused student.
3) If, upon the discretion of the Co-chairpersons and Dean of Student Affairs, it is deemed that item (2) directly above shall not occur within seven (7) days, the initial procedures aforementioned must be completed no later than fourteen (14) days from receiving an accusation.
IV. Honor Council Procedure
A. Investigation
The Honor Council shall begin its investigation immediately upon receipt of the accusation form.
The investigation shall consist of the following:
a) Interviewing the person initiating the accusation.
b) Interviewing the student who is the subject of the accusation.
c) Interviewing any other person whom the Honor Council believes may have information relevant to the accusation.
d) Discovery, collection, and review of all documents or other evidence which may be relevant to the accusation, but limited to those documents which will not unreasonably violate the privacy of the accused student.
B. Determinations
1) Upon completion of its investigation, the Honor Council shall meet to review the evidence and make a determination of whether there is probable cause to formally charge the student with an Honor Code violation. If the accused student is to be charged with a formal violation, the Co-chairpersons of the Honor Council shall then, by email, send a copy of the formal statement of charges to the accused student. Copies of the formal statement of charges shall be sent to the Dean of Student Affairs as well. Since this is not a formal hearing, the consent of three (3) council members (not including the primary investigator, prosecutor, and Co-chairpersons) is required to formally charge a student.
2) If the determination of the Honor Council is that no probable cause exists, the chairperson of the Honor Council shall notify the accused student and the Dean of Student Affairs of the determination. No further action will be taken in this instance, and any case materials generated will be destroyed.
V. Special positions
VI. Hearing Procedure
A. Formal Hearing
B. Guilty plea
C. Not Guilty plea
If the student pleads "not guilty," the hearing shall immediately proceed in accordance with Article VI, Section (D) of this procedure.
D. Not Guilty procedure
a) "The accused student, while he/she may have presented evidence, is not required to prove anything at this hearing, and the student's innocence must be presumed until proven otherwise by evidence gained during the investigation."
b) " 'Burden of Proof,' for the purpose of this hearing, shall mean that the Honor Council members must be made to believe, by clear and convincing evidence, that the accused student is guilty of one or more of the charges offered and that the conduct specified in said charges constitutes a violation of the Honor Code." (The term "clear and convincing" is defined in section IX, item 8.)
c) "If you believe that the accused student is guilty of the following claims (list each claim or charge), then you shall vote against the student on said claim or charge. If you do not believe such guilt exists, your vote shall be in favor of the student upon such claim or charge, proceeding in like manner to each charge until all are voted upon."
If the finding of the Honor Council is "not guilty," the charge fails, and there shall be no further proceedings against the accused student on said charge. The contents of the confidential file shall either be destroyed or, if borrowed, returned to its owners. In addition, the audio recording from the trial will be discarded properly.
E) Guilty verdict
Following a finding of guilty and a recommendation of discipline by the Honor Council, the matter shall be forwarded to the Academic Committee after the five (5) day period for the accused student to file his notice of appeal pursuant to Article VI, Section (17)(1) has expired. Barring an appeal, the Academic Committee shall, with due consideration given to the Honor Council's recommendation of discipline, determine the discipline to be administered to the accused student. The Academic Committee is not bound by the Honor Council's recommendation of discipline and may make its own determination as to the discipline to be administered.
F) Appellate Procedure
a) Should the Academic. Committee affirm the Honor Council's determination, the Academic Committee shall proceed, in accord with Article VI, Section (E) of this procedure, with its determination of the discipline to be recommended to the Dean.
b) Should the Academic Committee reverse the Honor Council's determination of guilt, the charge fails and there shall be no further proceedings against the accused student on said charge.
G) Appeal to the Dean of the Medical School
Within five (5) days after the Academic Committee has notified the accused student that it has affirmed the Honor Council's determination of "guilty" and recommended the specified discipline, the accused student may appeal directly to the Dean of the Medical School, who may meet with the student, review the evidence, and either accept or reject the Honor Council's determination of guilt or modify the Academic Committees recommendation of discipline. The determination of the Dean of the Medical School is final, and no further appeal will be available to the accused student.
VII. Amendment
A) Process
1) Amendments to this code and/or procedure may be proposed by any current member of the student body. In order to be placed before the student body for a vote, proposed amendments must:
a) Be in written form, specifying the section of the code and/or procedure to be amended, the language to be deleted, if any, and the language to be added, if any.
b) Be supported by at least ten (10) percent of the student body, as evidenced by their signatures on a petition or petitions precisely setting forth the information required by Article VII, Section (A)(1)(a) above.
2) Proposed amendments, meeting the requirements of Article VII, Section (A)(1) above, must be submitted to the current chairperson of the Honor Council at either campus. Said chairperson shall, as soon as practicably possible, contact his/her counterpart at the other campus. Together, the two chairpersons shall determine whether the proposed amendment(s) are in proper form pursuant to Article VII, Section (A)(1) and verify that the names appearing on the petition(s) are those of students currently enrolled and that the number of names on the petition(s) is equal to or greater than ten (10) percent of the current student body. Amendments not in proper form or not accompanied by the requisite signatures shall be rejected and returned to the proposing student(s) with a written explanation of deficiencies. Said deficiencies may be corrected and the proposed amendment(s) resubmitted by the proposing students at any time.
3) Should the chairpersons of the Honor Council determine that a proposed amendment meets the requirements of Article VII, Section (A), the chairpersons shall schedule a special election to take place.
4) The chairpersons shall notify the members of the Honor Council by phone/mail/e-mail no later than seven (7) days prior to the scheduled meeting and shall make available copies of the proposed amendment to each member of the Honor Council at least four (4) days prior to the meeting date. The proposed amendment shall pass the Honor Council by a 2/3 majority vote of a quorum of members.
VIII. Rights of the accused student
Any student against whom an Honor Code complaint is made shall have the following rights to be observed by all individuals and entities throughout the course of the Honor Council and appellate proceedings.
A) The accused student shall have the right to notification within seven working days that an Honor Code accusation has been made against him/her.
B) The accused student shall have the right to complete access to any evidence, witness statements, or any other materials generated or discovered by the Honor Council chairperson during the investigation.
IX Definitions
1) Intent: A person acts with intent when, at the time he commits the act, he desires to cause the consequences of his act or believes that the consequences are substantially certain to result from it. (Black's Law Dictionary, 5th Ed.).
2) For credit: A student has submitted an item of work for credit when the evaluation of the work is, either wholly or partially, determinant of the student's grade in the course or clinic.
3) Required element of a course or clinic: An item of work is a required element of a course or clinic when the student either knows or should know that submission or performance of the work is necessary to complete the course or clinic, regardless of whether the medical school offers credit for said course or clinic.
4) Academic activity: An academic activity is any function or activity undertaken or engaged in by a student, whether for credit or not, which directly relates to the student's medical education or fulfillment of the requirements for the student's medical education, or any function or activity undertaken or engaged in by a student in the name of the University of Kansas Medical Center.
5) Health care team: For the purposes of this code, a patient's health care team shall include their staff physician(s), the physicians consulted on the patient's behalf, the resident physicians responsible for the patient's care, the nurses responsible for the patient's care, any social workers, psychologists, or technologists consulted on the patient's behalf, and the medical and nursing students assigned to said team.
6) Honor Council proceeding: An Honor Council proceeding shall be considered to have begun with the report of a violation or initiation of a complaint pursuant to Article III of the Procedure and ended with the end- of the appeals process in Article VI of the Procedure and shall include any action of the Honor Council, Academic Committee, Dean of Students, Associate Dean for Student Affairs, or Dean of the Medical School pursuant thereto.
7) Relevance: Evidence is relevant if it has any tendency to make the existence of any fact that is of consequence to the determination of the action more probable or less probable than it would be without the evidence. (Black's Law Dictionary, 5th Edition).
8) Clear and convincing: To be clear and convincing, evidence should be "clear" in the sense that it is certain, plain to understand, unambiguous, and "convincing" in the sense that it is so reasonable and persuasive as to cause you to believe it. From: Pattern Instructions Kansas 3d.
Last Modified: March 7, 2006. For more information contact: Laura Zeiger.


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Georgia's Mike Bobo has received a hefty pay raise that will make him one of the highest paid offensive coordinators in the Southeastern Conference
Bobo will make $575,000 per year in guaranteed compensation, according to information obtained by the Athens Banner-Herald Wednesday in an open records request. That's a $240,000 raise from the $335,000 he was making previously.
All of the assistants from coach Mark Richt's coaching staff last year also got raises that are already in effect, including defensive coordinator Todd Grantham, who will now be paid $850,000 annually after a $25,000 raise.
Bobo's increase moves him to fourth in pay among offensive coordinators in the SEC behind Florida's Brent Pease and LSU's Cam Cameron at $600,000 and Alabama's Doug Nussmeier at $590,000, according to various media reports. Cameron is set to make $1.3 million in 2014 and $1.5 million in 2015.
Bobo was the ninth-highest paid offensive coordinator before the increase.
"It's not the highest in the conference, but it's among the top three or four and that's where we felt Mike should be," athletic director Greg McGarity said. "Mike has played a huge part in not only running the offense but in the development of our quarterbacks. The way he's been such an integral part of recruiting in general it was a priority for Mark Richt and that's where we ended up."
The Bulldogs offense set program records for points (529) and touchdowns (72) in a season last year.
Grantham's total compensation is behind only Alabama's Kirby Smart ($950,000) and LSU's John Chavis ($911,250) among coordinators in the SEC.
McGarity said Richt has a pool of money to distribute among his assistant coaches and he determines how it is split after review by McGarity.
Offensive line coach Will Friend got a salary of increase of $90,000 to $300,000 per year. Bobo and Friend are believed to have turned down overtures to talk to Virginia Tech and Friend was pursued for at least one other opening.
Receivers coach Tony Ball, who interviewed last week for an opening at Tennessee, received a $50,000 raise to $260,000.
The other assistants each got $25,000 raises.
Inside linebackers coach Kirk Olivadotti will now make $285,000 in salary and tight ends coach John Lilly, secondary coach Scott Lakatos and running backs coach Bryan McClendon will each be paid $235,000 a year.
New defensive line coach Chris Wilson was hired at a salary of $250,000 in January.
Grantham is the only Georgia assistant already working under a multi-year contract.
McGarity would not discuss any multi-year contracts at this time, but has said previously that Bobo could be in line for that. That would be announced at a later date. McGarity said it is yet to be determined if there will be any new titles for assistants.
Under the 38-year old Bobo, the Bulldogs ranked third in the SEC in scoring offense (37.8 points per game) and total offense (467.64 yards per game) and in the top 25 in the nation in both categories.
The salary increases for Georgia's assistants comes in the same offseason that Richt's pay went from $2.81 million to $3.2 million and he received a one-year contract extension. Georgia has played in the SEC title game the past two seasons.
Georgia's nine assistant coaches will be paid a total of $3.225 million, up from about $2.77 million last season. McGarity said that's not in the top tier in the conference but is comparable with SEC East rival Florida.
The raises, McGarity said, are "representative of the job this staff has done really over the last two years. They kept the ship together. Even though 2010 wasn't what we wanted to do, Mark and his staff turned it around and did it the right way. This is just representative of a job that's well done and bodes well for the future."
Georgia assistant coaches total compensation after pay raises
Defensive coordinator Todd Grantham $850,000
Offensive coordinator Mike Bobo $575,000
Offensive line coach Will Friend $300,000
Inside linebackers coach Kirk Olivadotti $285,000
Wide receivers coach Tony Ball $260,000
Defensive line coach Chris Wilson $250,000
Secondary coach Scott Lakatos $235,000
Tight ends coach John Lilly $235,000
Running backs coach Bryan McClendon $235,000


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Bachelorette Party Planning Tips
11 Common Bachelorette Party Blunders
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11 Common Bachelorette Party Blunders
Bachelorette parties can be a blast, but a large, random group, poorly planned festivities, or an unhappy bride-to-be can turn a fun night into a total disaster. One of the easiest ways to ensure a great time? Think ahead. Learn these common bachelorette party mistakes so that your next round of festivities is all smiles and smooth sailing.
Photo by Morgan Trinker via Style Me Pretty


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Nutritional Facts
Cherry Mincemeat Mold
This gelatin has a touch of sweetness from dark cherries and a nice crunch from apples and nuts. Its red color makes it festive for December meals.—Nella Parker, Hersey, Michigan
8 Servings
Prep: 15 min. + chilling
1 can (15 ounces) pitted dark sweet cherries
2 packages (3 ounces
) cherry gelatin
2 cups boiling water
2 tablespoons lemon juice
1/2 cup chopped tart apple
1/2 cup prepared mincemeat
1/2 cup chopped walnuts
Drain cherries, reserving juice in a 2-cup measuring cup; add enough
water to measure 1-1/2 cups. Cut cherries in half; set aside.
In a large bowl, dissolve gelatin in boiling water. Stir in lemon
juice and cherry juice mixture. Refrigerate until partially set.
Fold in the apple, mincemeat, walnuts and cherries. Transfer to a
6-cup ring mold coated with cooking spray. Refrigerate until firm.
Unmold onto a serving plate. Yield: 8 servings.
Nutritional Facts:
3/4 cup equals 190 calories, 5 g fat (trace saturated fat), 0 cholesterol, 55 mg sodium, 36 g carbohydrate, 2 g fiber, 4 g protein.
© Taste of Home 2014


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A Park Falls man is facing methamphetamine charges after coworkers called police after the man reportedly brought a butcher knife to work, acted strangely and crashed his truck into the Flambeau River after he left the building.
According to court documents, on Oct. 18 an officer was paged to Saunders Wood Products in Park Falls to speak to employees about the incident.
Employees said the man acted impaired on some type of drug. According to the criminal complaint, the man got into a verbal argument with another employee. A supervisor asked to speak to the man, but that's when employees say the man left in his truck and drove into the Flambeau River.
The man, later identified as Zach Montgomery, 24, was not injured. During questioning, Police located drugs, later identified as meth in the man's pocket.
Montgomery is expected to be charged with possession of methamphetamine, possession Drug Paraphernalia to store methamphetamine, and possession of drug paraphernalia during an initial appearance on Dec. 17. He's currently free on $1,500 signature bond.
The man's wife, Brittany Montgomery, 25, is also facing charges.
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Southern living bake beans receipe
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The returned
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The complete first season
Based on They came back / a film by Robin Campillo
Originally broadcast as episodes of the television series Revenants in 2012
Number of discs, special features, and language options may vary by copy
Serge & Toni
The horde
Revenants (Motion picture : 2004)
Fiction television programs
Science fiction television programs
Horror television programs
French language edition
From Library Staff
What would happen if the dead come back? This is what happens in a small, idyllic village in France.
Community Activity
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Really enjoyed it, only problem is got to wait for season 2 to come out, it is not even airing yet, so it will be some time,
Super tense and creepy, but not really violent. Perfect for us "horror wimps" as Multcolib puts it.
Horror fans should rejoice at the creation of this excellent creepy, atmospheric and mysterious series. The quality is top caliber and compares to any North-American premium-cable offering. Takes the "walking dead" concept in a new direction, echoing some of the variations introduced to the genre's defining characteristics in the 2013 season of the of "Being Human" (Yank version). With the mountain-village backdrop and the series' cool mysteriousness, one can't help but think of "Twin Peaks", but with a nod the comparison stops there. The stars are appealing talented and captivating. The first season slowly reveals that the gentle rural innocence of the mountain village covers something much darker beneath. This cover is pulled back just enough to get a peek as the season closes. Why have they returned? A price to pay/score to settle? Definitely worth the time to find out, even with subtitles for the Franco-challenged. The real horror is waiting for season 2...
A very captivating, creepy, haunting, slow burn of a horror story. You'll probably watch some it with your hands in front of your eyes. Extremely well-acted and well-directed, it will remain in your memory for some time afterwards.
'The Returned' is set in an unbelievably beautiful mountain community. The story is told with restraint and the actors (especially the children) are magnifique. This series is like an extra long A-plus movie that gets better and better. Our story is told with intelligence, suspense and pathos. Although Seattle doesn't offer an organization like the series' 'Helping Hand', we do have several ZA (Zombies Anonymous) meetings. For others like myself, remember, you're not alone and there is help out there. There is no need to terrify and feed off the living.
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The Returned trailer


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This Thursday, Rainbow Rowell will be visiting Saint Paul! The details for her main event: Thursday, Feb. 27, 7 p.m.
Como Park Conservatory
Rainforest Auditorium, 1225 Estabrook Dr.
Get your books signed and ask her any burning questions you have about Eleanor & Park. I hope to see you there!
-Leslie Read More »
Browse by tag: Read Brave
Feb 24th, 2014
Rainbow Rowell at Como Park Conservatory
Feb 24th, 2014
Book Review: Brewster by Mark SloukaConfession: I work with teens in a library setting, but I'm not generally a huge fan of YA books. *Boo* Hiss* I know, I know. Keep in mind there are exceptions, for one, I loved Rainbow Rowell's Fangirl. (Ms. Rowell, by the way, is doing multiple Read Brave events in St. Paul this week that you should definitely check out if you can.) But in general, books marketed as Young Adult don't work for me. Even when I was in the target audience, you could usually find me reading adult fiction. It might be because I did not like high school, so spending more time there in any capacity is not appealing to me. Even YA fantasy, taking place well outside of the dreary, cinder block reality that is high school, still traffics in unavoidable high school emotions and... Read More »
Feb 4th, 2014
Share Your Special Mix!Valentine's Day always reminds us of that old(-ish) tradition, the exchange of mix tapes. In Rainbow Rowell's Eleanor & Park, two 80s teens fall in love over shared music. Nowadays, of course, we have more modern options to unleash the DJ within, such as Spotify. Inspired by Rowell's visit to the library this February, we'd like you to share the mix you'd make for someone special. Reply on our Facebook, Twitter, Tumblr. We'll share them on our website and social media. We can't wait to see what you guys come... Read More »
Feb 3rd, 2014
Have you read Eleanor & Park yet?Rainbow Rowell will be back in town in less than a month! I'm excited. (There's still time to read her book - pick it up at your nearest library.) You can see her schedule of events here. I'm most excited for the Como Conservatory event on the night of Thursday, February 27. I love going to the Conservatory during the winter, and I think it will be a neat place to see an author talk. Hope to see you there! Read More »


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What does list building and mysterious objectives have in common? More than you think! When we build our list we want to take into account the dice and how they are going to roll over the course of a game- both the good rolls and the bad rolls.
So you don't take one las cannon in your army and actually expect to stop that land raider right? You need to take a few so over the course of each turn, a few will miss in shooting, no glance, or pen, and eventually strip off hull points and destroy the land raider. A number of functioning units evens out the dice. We control random this way though our lists, which is important, but why not the other random aspects of the game?
Let's look at mysterious objectives- are they ground breaking? Is a lucky MO roll going to change the course of the game? Think not, well it defiantly can if you have the right unit on the objective at the right moment. Skyfire, simulated preferred enemy, etc. all can make a huge difference if you account for it and let it go to work over six turns.
I'm now building my Eldar lists to take advantage of mysterious objectives as an actual plan in the army- and why not- there is a 1 in 6 chance of me getting what I want for the unit which is pretty good odds.
There are three zones to deploy objectives- my deployment zone, the middle zone of the table, and my opponent's deployment zone- so let's look at placing two objectives in my deployment zone.
One down and then the other- what is next?
Normally I would deploy my scoring units on them, and in the case of my backfield objectives guardians would go on one, and pathfinders on the other. If I do this we then roll for mysterious objectives at the start of the game.
Well what happens if one starts exploding?
What if one is re-roll misses but my pathfinders are on the opposite?
What if my guardians would benefit from it for some reason over the pathfinders?
Now what I do is deploy one objective on the right, one on the left, and my guardians and pathfinders in the center. My wraithlords which work as blocking units go on the objectives to activate them at the start of the turn- and then when I see what they are, then the guardian and pathfinders move out to the ones that would benefit them the most.
Slight issue is that it takes a turn to get into place- a turn I can't fully use the objective, but not really. With GW's love affair with night fight now shooting is reduced on turn one, and I can always move and then snap fire if it isn't a guardian weapon platform so I'm not really burning much of a first turn.
The more little "random" things I stack in my favor, or can semi-control like mysterious objectives, over just landing and finding out what they are by chance the better I can boost my list- and I'll take whatever boost I can get.
Same things with warlord traits- which can also make or break the game in certain circumstances- and we'll take a look at that next!


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November 17, 2013
Swan Lake – November
One of the central works of the classical ballet canon, and one of the most enduringly resonant and deeply affecting of all works of theatrical art, Swan Lake has enthralled audiences since its premiere in Moscow in 1877. Set to a timeless and famously evocative score by Tchaikovsky, the ballet is marked by a thematic and stylistic dynamism that embraces the fantastic and mythic while remaining rooted in the most universal of human emotions.
Swan Lake retains the captivating, 19th-century fairy-tale quality of the ballet while grounding the narrative in a richly suggestive earthiness that accentuates the tension between the sensual and the ethereal, the natural and the supernatural. The emotional and thematic complexities that are revealed in choreographer James Kudelka's re-telling of the story are heightened and complemented by Santo Loquasto's exquisite and vibrant sets and costumes, both conveying the ballet's tragic beauty and powerful effect with consummate artistry.
For tickets: www.National.Ballet.ca
Venue: Four Seasons Centre for the Performing Arts — 145 Queen Street West
The British Isles Show
When: November 15-17, 2013
Where: International Centre, Hall 5 — 6900 Airport Rd. Mississauga L4V 1E8
Time: Friday 11am-7pm; Saturday 10am-7pm; Sunday 10am-5pm
Admission: Adults: $15; Students (13-18): $12; Seniors: $12; Children under 12: Free.
Show Info: The British Isles Show Canada is Canada's largest consumer show celebrating everything English, Irish, Scottish, & Welsh all under one roof. Celebrating 22 years, The British Isle Show features a large number of specialty retailers offering goods imported from across the pond as well as a host of entertainers throughout the weekend. Known for special appearances directly from Coronation Street, this show attracts thousands of loyal expats and enthusiasts from across Ontario looking to shop and be entertained.
Website: www.britishislesshowcanada.com
Toronto Raptors vs. Portland Trail Blazers
Tip-off: 1:00pm.
For tickets: www.Raptors.com
Venue: Air Canada Centre — 40 Bay Street
Texas Stars vs. Toronto Marlies
Face-off: 5:00pm
Amazing American Hockey League action!
For tickets: www.marlies.ca/tickets/ticketprograms.asp
Venue: Ricoh Coliseum — 100 Princes' Blvd (Exhibition Place)
Live Jazz
12:00 Noon Brunch Matinee:
3:30pm: CLUB DJANGO:
Traditional Gypsy-Swing Sextet.
7:00pm: TOM REYNOLDS TRIO
with George Koller & Lorne Nehring.
9:30: N.Y.'s MELISSA STYLIANOU:
Melissa Stylianou-Vocals, Jamie Reynolds-Piano, Gary Wang-Bass
& Mark Ferber-Drums.
For more details: www.TheRex.ca
Venue: The Rex Jazz & Blues Bar — 194 Queen Street West
David Bowie Is
Straight from London's Victoria and Albert Museum, North America's debut of hit exhibition includes culture icon's original stage costumes, instruments, album art and music videos.
This fall the Art Gallery of Ontario (AGO) offers North America its first chance to take an exciting odyssey through the world of pioneering artist David Bowie—musician, performer and style icon—in the acclaimed exhibition David Bowie is, direct from the Victoria and Albert (V&A) Museum in London, England. Spanning five decades and featuring more than 300 objects from Bowie's personal archive, the multi-media show exposes the groundbreaking artist's collaborations in the fields of fashion, sound, theatre, art and film. David Bowie is will open on Sept. 25, 2013 and runs to Nov. 27, 2013, giving Toronto two full months to live the experience. The AGO is the exhibition's first stop on its world tour.
Acclaimed by the New York Times as "united in sound and vision in a way rarely seen in a museum," David Bowie is marks the first international exhibition devoted to the British-born musician and performer (born David Robert Jones in 1947), who has sold more than 140 million albums to date throughout his genre-defying career. Organized thematically, the show immerses visitors in a spectacular and interactive trip through Bowie's numerous personae and legendary performances, with particular attention paid to his artistic influences. His experiments with Surrealism, German Expressionism, Music Hall, mime and Japanese Kabuki performance are all explored in an explosion of colour, light and sound.
For more information: www.ago.net/david-bowie-is-coming-to-the-ago-this-fall
Location: Art Gallery of Ontario — 317 Dundas Street West
The Gravitational Pull of Bernice Trimble
While making her mother's Everything-That-Is-Bad-For-You casserole, Iris struggles with life, family and the unwieldy laws of the universe. Beth Graham (co-creator of the acclaimed Drowning Girls) has painted a heartbreaking but funny portrait of family in crisis.
For tickets: www.factorytheatre.ca
Venue: Factory Theatre — 125 Bathurst Street
ROM Friday Night Live
The Royal Ontario Museum (ROM) stays up late as
ROM Friday Night Live (#FNLROM) returns for
its fourth season of eight cutting edge Friday
nights in Toronto. This popular adult only event
(ages 19 +) redefines the museum experience from
7 pm to midnight each Friday night from October
18 to December 6, 2013.
#FNLROM continues to offer hip and eclectic
entertainment and inventive programming,
including dance, film presentations, music, art,
interactive conversations and contesting. ElectriCITY Events returns to deliver the city's hottest house
DJs every week, as well as live house jazz by Jamie Ruben Trio and U of T JazzProgram. Local and
international spoken word poets also perform weekly. Friday Night Live continues to serve up some of
Toronto's best known and best loved pop-up food vendors, including City Gourmet, Pimenton, The
Saucy Pierogi, Curbside Bliss, Gourmet Gringos, HotBunzz Street Cuizine, Kanto by Tita Flips,
LaRivolta, and Little Tomato Catering, New this season FNL features international and domestic craft
beer Peroni and Amsterdam.
For more details: www.rom.on.ca
Location: Royal Ontario Museum — 100 Queen's Park
Winners and Losers
An exhilarating, playful, and brutally honest two-hander from the producers of 2013's Someone Else.
Produced by Theatre Replacement and Neworld Theatre, in association with Crow's Theatre, Presented by Crow's Theatre in association with Canadian Stage
Winners and Losers is a staged conversation that embraces the ruthless logic of modern-day capitalism, and tests its impact on our closest personal relationships. Theatre artists and long-time friends Marcus Youssef and James Long sit at a table and play a game they made up called "winners and losers," in which they name things and people — Pamela Anderson, microwave ovens, Goldman Sachs, their fathers — and debate whether, from their perspective, these things are winners or losers. As the conversation unfolds, the competition quickly begins to have an unanticipated cost.
"Youssef… and Long… have delivered the goods — the thrilling, experimental, theatrical goods." – Georgia Straight.
"The experience for the audience is exhilarating." – Vancouver arts journalist Jo Ledingham.
"Verbal fireworks." – The Globe and Mail.
For more details: www.canadianstage.com
Venue: Berkeley Street Theatre — 26 Berkeley Street
Ghost Dance: Activism. Resistance. Art.
Guest curated by Steve Loft. Main Gallery, University Gallery, Salah J. Bachir New Media Wall.
This exhibition presents photographs from the Black Star Collection with contemporary works by aboriginal artists to examine the role of the artist as activist, as chronicler and as provocateur in the ongoing struggle for indigenous rights and self-empowerment. Artists include Vernon Ah Kee, Sonny Assu, Scott Benesiinaabandan, Dana Claxton, Cheryl L'Hirondelle, Alan Michelson, Theo Sims, Skawennati and Jackson 2bears.
For more information: www.ryerson.ca/ric