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Long time fan Adam Gensler, had the opportunity to discuss all things Hunter with the master himself in this multi-part series.
The master of the 8-string guitar sits down with JamBase to talk shop; first of a multi-part series celebrating his new album >>
The conversation in this multi-part series continues as Charlie discusses posture, politics, projects and more... >>
Charlie discusses his joy from playing with Garage a Trois as well as other worldly issues in this multi-part series >>
In the final part of series, Charlie Hunter discusses the talented musicians that helped create the new album >>
Adam: There are a lot five-string bass players, and even some six-string bass players out there. Steve Masakowski [Astral Project] plays a seven-string guitar. How many musicians do you think there are out there playing what you got going?
Charlie: Well, I know there is another couple of them.
Adam: (surprised) Oh, really?
Charlie: Yeah, there's a guy who just started in L.A. And I have a student up in Boston. So, yeah, there are a couple of people who are starting to do what I'm doing.
I would have to say that the guys with six-string basses, most them have that to have an extended range when they are soloing. They are not playing bass lines and something else.
And Steve Masakowski's thing is more piano oriented. His thing, I think, is to have a wider range to play larger voice chords, for solo runs, and to play within. But I don't think what he is very much going after…
Adam: (interrupting) I would agree. What you are going after definitely seems to be different.
Charlie: Yeah, I am definitely trying to go after a rhythmic, melodic, harmonic counterpoint thing. I'm just trying to create a different vocabulary out of what is essentially the major, or rather, the more important parts of the bass and the guitar.
Adam: So there are other people doing it. Did they pick that up from you? Where do they get the instrument? Do they have to call the guy up who made yours?
Charlie: Yeah, from Ralph Novak up in San Leandro (California). Yeah, I mean I guess they just heard what I've been doing and were like, "Oh, I can do that. Let me just learn what it took him about 10 years to put together in a year, and then I can make my own style."
Adam: Right on.
Charlie: So I'm sure that's what they are doing right now.
Adam: What gave you the idea? When did it occur to you, "Hey, I could marry these two and make it work for me?"
Charlie: It was a gradual thing. And it is still evolving. I'm still learning how to make more of a musical statement on the instrument. Rather than just trying to make it, I'm really trying to make a statement with it and trying to carve out something with it.
I think it just came naturally out of the fact that I'm kind of a closet drummer and I also played bass on the streets for a while when I was a street musician.
Adam: That was in France?
Charlie: France and Switzerland and… all over Europe.
Adam: That was before you actually picked up on combining the guitar and the bass?
Charlie: Yeah, definitely.
Adam: Because you see some pretty freaky instruments out there when you are walking the streets in Europe.
Charlie: Yeah, I guess. I'm not sure if I've seen that many.
Adam: I've seen some people who have made some pretty bizarre things. And it gets you lookin' and the next thing you know, you are dropping some coins beside their feet.
Charlie: That's right!
Adam: When you first started playing your instrument, say, when Les (Claypool) first saw you play it, did he look at that thing and say, "What the hell is that?"
Charlie: Well, yeah, I guess. I think people kind of knew me in the Bay Area just because I played so many gigs. I think I became pretty commonplace around the Bay Area. When I go out [of the Bay Area] —because people still don't know, no one really knows who I am, so I end up really answering a lot of questions about the instrument. And, you know, I'll probably end up doing that for as long as I play it!
Adam: That's right. Well, two last questions on the instrument.
Charlie: Sure…
Adam: When you are playing on co-bills, or any other times that other musicians are around, does anyone try to give it a go?
Charlie: I think that they can try to, maybe they can play a little bass line on it. Or maybe they'll play a little guitar on it, but it is just such a specialized thing. It totally takes a specialized technique and it just really takes a lot of…it is just really hard, man. It is a really difficult-- it has so many angles and difficulties involved in it. But, I'm a freak about challenges, so I probably would not have it any other way.
Adam: So you haven't had the opportunity to hand it to anyone you really respect, watch them flounder and sit back and laugh?
Charlie: People aren't really that interested in trying it. (Light laughter). But Tuck Andress played some stuff on it. Pat Martino played it a minute. John Scofield tried to play it. Pretty much everyone tries to give it a go, but it just takes so much time.
Adam: At what point did you transfer from doing this as a hobby and quitting your day job, so to speak? And what was that like?
Charlie: Well, let's see. I worked moving furniture for a long time. I did music concurrently with other day gigs. I'd have gigs at night and I'd have a day gig too. I think I probably have just been playing music for the last, oh ten years, probably.
Adam: Was there any one point where it crystallized for you?
Charlie: Well, I've known that that was what I was going to do since I was fourteen years old. It is difficult in this country to make a living as a musician. It is still difficult, and I guess I would be considered to be doing well. But I love what I do, so I am not complaining about it.
Adam: I give you a lot of credit for giving it a go. What I really respect about musicians and, in a certain way of thinking, I look at entrepreneurs similarly, is that they both really go for it and jump into the unknown. Yeah, entrepreneurs are more geared toward money, but they are still taking a chance, can flop on their face and not be well received.
Charlie: I think it is a little deeper than that because when you really decide that you are going to be a creative musician with the goal of creating your own sound and doing your own thing, you have pretty much decided upon a life of always swimming upstream. You have decided on a life of always pushing the van up the hill when someone has the breaks on. You just have to realize that and hope that it all evens out.
Adam: When I first started seeing you play, you would stand a lot. In
the last couple of years, however, you are clearly sitting down more. Is there
a different way that you are thinking about the music? Is there more
percussion involved that you want to hone in on now? Does sitting down allow
you to you to more easily maneuver along the neck of the guitar?
Charlie: What happened was I got such bad tendonitis. My playing
posture was so messed up that I basically had to start all over again.
Adam: That guitar must be pretty heavy, I guess.
Charlie: Yeah, it sucks. But what are you going to do? You just deal
with it. And I decided that sitting down felt a lot better. It took a while
to get used to, but now I can't even imagine standing up and playing.
Adam: I'm told (Jerry) Garcia had tremendous scoliosis. He had a MIDI
in his guitar and it completely screwed up his posture.
Charlie: Yeah, it really messes up people. You are concentrating too
much on the music (at the time) to really think about those things, but you
really have to take time and work on it. I'm still working on it. I am still
working on getting better with posture. I'm much better now than I was.
Adam: Several years ago, you played with Michael Franti. He is
a very political individual who clearly uses his music as a distribution
channel for certain topics and ideas. I would think you would have to be at
least moderately political to have performed with him on a regular basis. Yet,
I don't really see that perspective from your music since then.
Charlie: Yeah, well, I think I am (opinionated about politics and
social issues)—when it comes to it. I mean I definitely am. Michael and I
would argue for hours and hours about different topics. I'm from Berkeley.
What can I do? I don't think you can escape that growing up there. At least
then—I know it is a different, more Republicanized place now. But when I was
growing up, it was a very radicalized, liberal place to live.
However, I try to keep all of those things that I'm interested in separate from
my music. It is because I was a working person. I know what is it like to
work at a really difficult job all week. And at the end of the week you really
want to go see something that makes you feel a whole lot better and lifts your
spirits. For me, music, especially instrumental music--although vocal music
can do this and is really great too--speaks to a certain part of one's soul or
psyche that verbal language and the types of ideas that come from it don't. And
I feel like that's my job—to uplift people in that way and not to beat them
down. I will get involved in discussions, benefits, and all of those things.
But I really have a different mission.
Adam: Speaking of benefits, after Calder [Spanier] died, I saw you play
at the Great American [Music Hall in San Francisco] for his wife and, I guess,
now born child.
Charlie: Yeah.
Adam: If Calder were alive today, do you think he'd be playing with Bob
Charlie: Oh Jesus! (laughs) Because everyone else who has played in my
band has?
Adam: Exactly.
Charlie: I don't think so. I don't think he'd have been interested in
that. I kind of sincerely doubt it.
Adam: That question was meant as a joke.
Charlie: Oh yeah. Sure. I know. But I really don't think he would
have been interested in that.
Adam: After Calder passed away, your next two albums were much more
percussive and there is really no sax voice.
Charlie: Right. The next three records, actually.
Adam: Well, isn't there a little bit of sax on the self-titled one? I
think two or three tracks or something.
Charlie: Sorry. You're right.
Adam: Is that coincidence? Were you purposely searching for something
different or were you already going toward a more percussive, less
horn-oriented sound (before Calder died)?
Charlie: I was already moving toward that. And after Calder died, I
just felt like—it was pretty heavy for me. I felt like it was serendipitous
that I wasn't pursuing that type of sound in that way.
Adam: Your current band is the first band with a saxophonist in it
since then.
Charlie: Yeah! It is the first one. And he is great. John [Ellis]
just kicks ass. He really plays great lyrical music and has a great big sound.
He is very musical, but he plays in the band. He is into what the band is
doing. He is not a show boater. He is not out there representing for the
football fans. He is into the band thing, and that is what I'm about right
Adam: And this is also the first time since the other quartet with
Calder and [Scott] Amendola, where you took the band in to do an album. When
you were writing this album, were you writing to a person? Were you writing
specifically for John Ellis when you were thinking of the sax part or were you
actually thinking of it in the more general terms of "the song"?
Charlie: I definitely think of people's sensibilities. Coming to New
York, for three years, I got a chance to play with the greatest musicians ever.
And it was great. I was playing with Leon Parker and Adam Cruz and just
getting hooked up with all of these amazing musicians: Mike Clark, Josh Roseman
and, of course, Peter Apfelbaum.
And I realized, "Well, this was great." And I really feel that I got a great
education and I'm still getting an education. But I enjoy having a band. So I
got some younger guys and I explained to them the musical space that I wanted
to explore. I explained how it works and what everyone's job is in the unit.
So, basically, I try to write for the concept, to write for the group. But
then I'm always trying to expand that as well and not get bogged down in
writing the same thing over and over. I try to really, really expand on it as
much as I can to keep it growing and evolving.
Adam: And is that different from, say, when you were working on the
Duo album? When you were working on that, did you have Leon Parker in
mind or were you just writing?
Charlie: Yeah. I definitely had Leon in mind. But that doesn't mean
that it can't work with other people. But I definitely think that there is
something really personal about it. When I think of music that I am most
impressed and most inspired by, I think of Thelonius Monk and how he wrote.
And how a lot of the stuff I feel he wrote with Charlie Rauss in mind. Or Duke
Ellington and how he, over many years, wrote with all of the different people
that were in his band in mind. And how the people in Motown wrote for
different singers. You know, they would write different things. I think
writing within the context of a particular person's sensibilities puts your
mind in a different state where it can operate and get the most you can out of
the idea.
Is there a different way of thinking? Is playing with your quartet more structured?
Charlie: Yeah.
Adam: It seems that your playing with Garage a Trois is very loose and necessarily spontaneous. It seems that you are willing, and required, to turn on a dime.
Charlie: Well, Garage a Trois is essentially four leaders. We come together and say, "Let's play this. Let's play that." But everybody is very giving and very open. And everybody just lets it happen. Someone takes up the thread and someone takes it somewhere else. There is no bully in that band. So everyone kind of lets it go, and at various times one of us takes the initiative and takes the song different places. And it is great fun. We always have a real blast with that. It is also a great outlet for me to do all kinds of stuff that I never get to do as a leader.
And that, to me, is always the most important thing—doing whatever it takes of you to make the concept work the way it should work. Which means, if I play with Garage a Trois, I just have to make sure that I'm keeping the groove together and being creative and I just do my part. If I'm playing in Mike Clark's band, I just have to make sure to make those bass lines happen and to keep it all together. In a duo setting, that means I've got to get really creative and take the stuff to different places and be very communicative with the drummer. And, you know, if I'm playing in my group now, especially with a vocalist, I feel like I'm the glue that keeps everything stuck together. I just have make sure that the feel is right, the vibe is right, the dynamics are happening, I'm making the vocalist sound really good, or whatever it is. I feel like I'm not so much of a guitar soloist on this record that I just put out.
With each different group you have a different set of responsibilities. And that's what's fun--being able to morph yourself into the person that is going to make the band sound as good as you think it is supposed to sound.
Adam: When you are playing live with your band, how structured are the songs? Do they ever go places that you hadn't anticipated when the song started?
Adam: I was hoping you'd say that.
Charlie: Hold on one second
(the conversation diverges...)
I'm digressing. Where were we?
Adam: We were talking about you.
Charlie: That's boring.
Adam: (laugh) No offense. It does pale into comparison to what is going on [read: the September 11, 2001 attacks, and their repercussions].
Charlie: You got that right. But, you know, I think we are going to need music and the creative arts a lot more than we had. I'm tooting my own horn here, but I feel we are going to need the kind of stuff that we are offering--from an honest place that is not about a lot of posturing. I hope that we can do some good with it, you know?
We need people like musicians more than ever right now. It becomes much more important to make people feel that they are still human through all of this.
Adam: That was an interesting aspect about this particular event. I think most people associate music with something that can make them feel better when they are feeling down. And I totally agree with that perspective. Music has been a major source of happiness and learning for me—all of the good things that I want to become.
But when this last thing happened on Tuesday, strangely, I didn't feel like seeing or hearing music. I remember listening to something in the car that I always enjoy, something I consider to be one of the finest pieces that I've ever listened to and as I started to get into it, I actually felt hollow, a little bit, for feeling good about music. It was a really bizarre feeling.
Adam: I don't know. This has been a really strange 10 days. The impact it has had on me has been quite profound and bizarre.
Charlie: Yeah, well, it is only starting.
Adam: That's for sure.
I want to talk about the vocals on your album because it is obviously a major departure from where you have been. I read something from either a press release or your website where you said, "This is what I listened to growing up" and I think you made a comment to the effect of, "When you are playing on the streets, you gotta have vocals or you starve."
Charlie: That's right.
Adam: ...which is a good response to incorporating vocals into your overall concept, but it begs the question: why did you wait so long to incorporate them? Was it that you wanted to find and define your own musical voice before introducing someone else's?
Charlie: I don't know. It just happened when it was supposed to happen. I just wasn't at that point in the road where I wanted to do something like this yet. Now I think I was. I'm glad I did.
Adam: Did it require anything different as far as your approach to the album?
Charlie: Yeah. I think I became a lot more of a producer and probably a lot less of a guitar player. (laughs).
Adam: What is the difference between both writing and producing the album versus writing the songs and not being involved in the production aspect?
Charlie: Well, a producer is all about vision. When you bring in a producer, you are dealing with someone else's vision of what you are, which can be very cool. However, with a record like this I knew exactly how it was supposed to sound before I even go into the studio. And I just tried to get after that and make it sound even better.
I'd like to work with different producers at some time or another, but I feel good playing that role now.
Adam: Do you think you'll ever produce another artist's record or CD?
Charlie: I'd love to. If anybody wants to call me, I'm ready.
Adam: I'll see what I can do.
Charlie: Go right ahead.
Adam: How did you choose the vocalists appearing on your album? How did that all come together?
Charlie: It was totally serendipitous. I had wanted to work with some of these people. I had wanted to work with Mos Def. I knew I wanted to have Theryl [de Clouet of Galactic] on the record. Kurt [Elling]'s an old friend.
When we went into the studio, we had four days to record the instrumental tracks for the record...
Adam: (interrupting) And is everyone laying down the tracks at the same time?
Charlie: Oh yeah! Definitely. It's all live.
We went in and essentially recorded all of the instrumental tracks on the first day. Then, my manager, who was there, said, "Oh, you know, Theryl is in Philly. And he said he can come up." So the next day he came up and we recorded his two tracks that day. We didn't know what we were going to play when he arrived. We just got some music together and we did it.
Then, we heard Norah Jones' demo CD. And I immediately thought, "I've got to get this lady on my album." So we called her up and she was actually working waiting tables when we called. So she said, "Yeah, I'll come down tomorrow." Norah came down the next day and we worked her tunes up and did them.
And that night, we got a call in the studio from Mos Def: "Oh yeah, I'll come down." So he came down. I had an idea for the song "Creole." I had already written that tune, more or less as an instrumental, and then I said to him, "Man, try to put something on this." And he sat down and wrote the lyrics in about twenty minutes.
Adam: Really?
Charlie: Yeah. And, boom. We had it. And by four o'clock in the morning we had a record.
Adam: I particularly enjoy the feel as "Street Sounds" segues into "Rhythm Music Rides Again" and as the Kurt Elling tune, "Close Your Eyes," segues into "Percussion Shuffle."
Charlie: I really labored over the sequence. I always do that.
Adam: It has a nice effect. In both cases, you are literally put into one mood with the vocals and suddenly the mood shifts into the instrumental tunes. There is literally a launching off, an airy release, into instrumental space. I think it works pretty well.
Charlie: Oh, good! I'm glad.
Adam: You like taking contemporary songs and rearranging them. Each time, your interpretation is completely different from the original, yet the essence of the particular song always remains.
Charlie: I think if you start out with a good tune, you can do whatever the hell you want with it. The song just has to have that structure-- a real solid frame that can take a lot of beating. That's why that Bob Marley record came out good. It takes a serious beating, but you still know it's his music at the end of the day.
Adam: So, is there a lot music out there that you feel can't hold up to that?
Charlie: What do you mean?
Adam: How do you decide on a particular tune? How do you know "Fly Like an Eagle" and "More Than This" are songs that can take that beating? Why not...
Charlie: (interrupting) Go for it. Give me an example.
Adam: Give you an example. Um...(at a loss for words) How about, um, "Thriller" by Michael Jackson?
Charlie: Um... that, to me, is the weakest part of that whole Thriller album. That's the weakest tune. Most of his tunes have really good hooks. They are really old school and have genuine Motown style. They have great chord changes, great hooks, great countermelodies, and great backing parts as well. For instance, the bass line is not usually an accompanying bass line, but rather is a melody itself.
Some of those songs have been heard so much, but some of his tunes you could do great stuff with. I wouldn't choose "Thriller" because it is not my favorite tune.
Adam: Yeah, it's not mine either. But you put me on the spot there.
The last thing I wanted to talk to you about was how various rooms influence your playing style. For instance, when you walk into Bimbo's versus when you walk into the Elbo Room versus playing at the Greek [all Bay Area venues], is there anything about each of those rooms that impacts what you are going to play or how you are going to play it?
Charlie: Definitely. As far as setlists go, we just take our song lists on stage and play.
The Greek Theatre is a big place, but is still as close as you are going to get to the audience while playing in such a big place. You can play some quieter stuff than you would imagine, but you most certainly have to play some hard-hitting stuff.
If you are going to play a place like Bimbo's, which is a much more intimate place—although it can hold 900 people--your dynamic level can really be elongated to the point of being a little more dramatic.
As for a place like the Elbo Room, it just feels really loose.
Adam: Are you talking to the band about the room? Or do you feel that they are all professionals and can figure it out on their own?
Charlie: Oh yeah—we know what we are supposed to do.
Adam: Where do you think your music is going from here? Each album seems to have a completely different feel.
Charlie: Yeah. I don't know.
Adam: So you figure that something will come up and you'll just follow the passion?
Charlie: Yeah. We'll just see where it goes logically.


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text: Development of nickel strip mines would change forever the famed wild rivers of Oregon's legendary Kalmiopsis Country. Pristine watersheds would be turned into industrial zones of strip mines, haul roads and nickel processing facilities. At stake are the purest of waters, wildest of salmon and steelhead streams, and one of the highest concentrations of rare endemic plants in North America. Protect our Kalmiopsis Rivers.


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The National Science Foundation has awarded a $1.1 million grant to Northern New Mexico College in Española to support scholarships that will increase the number of students seeking to be science, technology, engineering and mathematics teachers for north-central New Mexico schools.
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Through a partnership involving Northern New Mexico College's departments of Engineering and Math and Science with collaborating local school districts, the program aims to increase the number of qualified mathematics and science teachers in schools for Northern and central New Mexico.
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Excel07 pivot macro
Excel 2007 Pivot Tables & Macros WORKSHOP DESCRIPTION ................................................................1 Overview 1 Prerequisites 1 Objectives 1 WHAT IS A PIVOT TABLE....................................................................2 Sample Example 2 PivotTable Terminology 3 Creating a PivotTable 4 Layout of the PivotTable 5 Pivoting a PivotTable 6 Refreshing a PivotTable 7 Grouping and Ungrouping Data 7 Grouping Numeric Items 8 Grouping Items in Date or Time Ranges 8 Removing Groups 9 Creating a PivotChart 9 EXERCISE 1 11 WHAT IS A MACRO? ............................................................................12 Creating a Macro 15 Run a Macro Without Using Keyboard Shortcuts 17 The VBA Environment 17 Editing a Macro 19 Writing your own Macro using the VB Editor 20 EXERCISE 2 21 WORKSHOP DESCRIPTION Overview The first leg of the Excel Workshop series was designed primarily for those who had little experience with Excel. Participants were able to flavor the basics of a spreadsheet, create and modify worksheets, format and enhance worksheets, manage workbooks and setup their work in a presentable fashion. The second leg of the series was designed to cover topics such as conditional formatting, creating templates, formulas and functions, charting techniques, mail merge and creating lists. This the conclusion of this series designed primarily for Pivot Tables and Macros. To start off we will cover a general know how on Pivot Tables, followed by creation of a Pivot Table and a Pivot Chart. Later on the workshop concludes with recording macros, macro menus and global macros. Prerequisites Excel 2007 Basics (optional) Excel 2007 Formatting (optional) Objectives Learn about Pivot Tables and create them. Learn about Pivot Charts and create them. Record a Macro Go behind the scenes of a Macro Write a Macro. Academic Technology and Creative Services : Fall 2007 Excel : Pivot Tables and Macros 1 WHAT IS A PIVOT TABLE A PivotTable summarizes the information from selected fields of a data source. The source can be an Excel list or a relational database file containing similar data. When you create a PivotTable, you specify which fields you're interested in, how you want the table organized, and what kinds of calculations you want the table to perform. After you have built the table, you can rearrange it to view your data from alternative perspectives. This ability to "pivot" the dimensions of your table—for example, to transpose column headings to row positions—gives the PivotTable its name and its unusual analytical power. One minor drawback to using PivotTables is that, unlike a formula based summary report, the data in the PivotTable does not update automatically. PivotTables are linked to the data from where they were derived. If the source is external, the PivotTables can be set to refresh at regular time intervals or when it's being accessed. Sample Example The best way to understand the concept of a PivotTable is to see an example. The example here shows a list of sales figures spread across two countries. The list is organized by: Country, Salesperson, Order Date, OrderID and Order Amount. The data spans to 400 rows however with a few keystrokes you can turn this long list into a table that provides meaningful information to be viewed at a glance. Academic Technology and Creative Services : Fall 2007 Excel : Pivot Tables and Macros 2 The PivotTable for the same data looks something like this: The Salesperson column is positioned along the row axis, the Order Amount makes the body of the table while the Country is set as the selector on the top. The PivotTable shown here makes it easy to find almost all the information from the sample data shown before. The Order Date and OrderID are not visible in the PivotTable however can be added in if required. The dropdown option for the Country category allows you to view the data for a specific country. Likewise you can narrow down the option for a particular Salesperson as well. PivotTable Terminology Understanding the terminology associated with pivot tables is the first step in mastering this feature. Column Field: Fields of data Data Area: Cells that contain summary data. Grand Totals: Totals of cells in a row or column Item: An element in a field that appears as a row or column Group: Collections of Items Page Field: Fields of data Refresh: To recalculate the PivotTable after any changes have been made to the source data. Row Field: Fields of data Academic Technology and Creative Services : Fall 2007 Excel : Pivot Tables and Macros 3 Source Data: Data that was used to create this PivotTable. Sub Totals: Sub total of cells in a row or a column. Creating a PivotTable Here we'll create a PivotTable from the sample list (Salespeople_Example.xls) from the Workshop Series 3 folder. To create a PivotTable from an Excel source, 1. To begin, click on a cell within your Data Source. 2. Then choose from the ribbon, Insert > Pivot Tables. 3. This displays the Create Pivot Table dialog box, prompting you to ???? options these four steps… a. To specify the type of data source on which the table will be based and whether you want to create a PivotTable or a PivotChart Report. b. To specify the location of your source data. c. To specify where you want the PivotTable to appear. d. Click OK to continue. You will notice two new tabs appear in the Ribbon under PivotTable Tools, as shown below. Academic Technology and Creative Services : Fall 2007 Excel : Pivot Tables and Macros 4 Layout of the PivotTable Now all that's left for you to do is to check the fields that you would like to add to the report. Another way to do this would be to drag the fields and drop them into the four quandrants below the PivotTable field-list, or drag them directly into one of the PivotTable zones. Academic Technology and Creative Services : Fall 2007 Excel : Pivot Tables and Macros 5 Pivoting a PivotTable To pivot, or rearrange, a PivotTable, drag one or more field headings. To move a field from the column axis to the row axis, for example, all you have to do is drag its heading from the column area to the row area. In addition to transposing columns and rows, you can change the order in which fields are displayed on the column or row axis. For example, you can drag a heading to the left. Academic Technology and Creative Services : Fall 2007 Excel : Pivot Tables and Macros 6 Refreshing a PivotTable PivotTables are not updated each time a change occurs in their source data. To manually update a table, select any cell in the table and choose Options, Refresh on the Ribbon. If you want Excel to refresh your PivotTable every time you open the workbook in which it resides, choose from the Ribbon, Options, Pivot Table Options. Then select the Refresh Data When Opening the File check box in the PivotTable Options dialog box under Data tab. If you want to prevent Excel from updating the table each time you open the workbook, be sure this check box is cleared. Grouping and Ungrouping Data PivotTables group inner field items under each outer field heading and, if requested, create subtotals for each group of inner field items. You might find it convenient to group items in additional ways. Excel provides several options for grouping items. Academic Technology and Creative Services : Fall 2007 Excel : Pivot Tables and Macros 7 Grouping Numeric Items To group numeric items in a field: step 1 . Select a numeric item in the field & choose Options > Group Field. step 2 . You'll see a dialog box similar to the one shown, but tailored for the numeric range of your own data. Fill in the Starting at, Ending at, and By values as appropriate. Grouping Items in Date or Time Ranges To make this kind of table more meaningful, you can group the date field: step 1 . Select a date item in the field & right-click to Group and Show Detail, & choose Group. step 2 . Then fill out the Grouping dialog box as shown. step 3 . Excel gives you a great deal of flexibility in the way your data and time fields are grouped. In the By list, you can choose any common time interval from seconds to years, and if the standard time intervals don't meet your needs, you can select an ad hoc number of days. Academic Technology and Creative Services : Fall 2007 Excel : Pivot Tables and Macros 8 Removing Groups To remove any group and restore a field to its ungrouped state: select a grouped item, choose Options > Ungroup. Creating a PivotChart You can create a PivotChart by choosing PivotChart under PivotTable Tools, Options and Tools. Academic Technology and Creative Services : Fall 2007 Excel : Pivot Tables and Macros 9 Notice that you can rearrange a PivotChart exactly as you would a PivotTable—by dragging field headings from one axis to another. To add fields, drag them from the PivotTable Field List. To remove fields, drag them off the chart. To limit the display to particular items in a field, select those items in the field's drop-down list. Academic Technology and Creative Services : Fall 2007 Excel : Pivot Tables and Macros 10 EXERCI SE 1 PIVOTTABLE & PIVOTCHART In this exercise, you will practice creating a PivotTable and a PivotChart by using the techniques learned till now. 1. From the Workshop Series 3 folder on your desktop, open the file named exercise1.xls. 2. Create a PivotTable that can give you an up-to-date information on the total expenses for the various Funds. 3. Summarize the fund distribution for each vendor. 4. Save the file. 5. Next, create a PivotChart on the data from the same file exercise1.xls. 6. Save the PivotChart as a new Worksheet 7. Save your file (using the same filename). Academic Technology and Creative Services : Fall 2007 Excel : Pivot Tables and Macros 11 WHAT IS A MACRO A macro is a set of instructions that tells Microsoft Excel to perform one or more actions for you. Macros are like computer programs, but they run completely within Excel. You can use them to automate tedious or frequently repeated tasks. Macros can carry out sequences of actions much more quickly than you could yourself. For example, you can create a macro that enters a series of dates across one row of a worksheet, centers the date in each cell, and then applies a border format to the row. Or you can create a macro that defines special print settings in the Page Setup dialog box and then prints the document. Macros can be simple or extremely complex. They can also be interactive; that is, you can write macros that request information from the user and then act on that information. There are two ways to create a macro: You can record it, or you can build it by entering instructions in a module. Either way, your instructions are encoded in the programming language Microsoft Visual Basic for Applications (VBA). Recording a Macro Rather than type macros character by character, you can have Excel create a macro by recording the menu commands, keystrokes, and other actions needed to accomplish a task. After you've recorded a series of actions, you can run the macro to perform the task again. As you might expect, this playback capability is most useful with macros that automate long or repetitive processes, such as entering and formatting tables or printing a certain section of a worksheet. When you record a macro, all steps that are needed to complete the actions that you want to record are recorded by the macro recorder. Navigation on the Ribbon is not included in the recorded steps. NOTE : The Ribbon is a component of the Microsoft Office Fluent user interface. step 1 . If the Developer tab is not available, do the following to display it: a. Click the Microsoft Office Button, and then click Excel Options. Academic Technology and Creative Services : Fall 2007 Excel : Pivot Tables and Macros 12 b. In the Popular category, under Top options for working with Excel, select the Show Developer tab in the Ribbon check box, and then click OK. step 2 . To set the security level temporarily to enable all macros, do the following: a. On the Developer tab, in the Code group, click Macro Security. Academic Technology and Creative Services : Fall 2007 Excel : Pivot Tables and Macros 13 b. Under Macro Settings, click Enable all macros (not recommended, potentially dangerous code can run), and then click OK. NOTE : To help prevent potentially dangerous code from running, we recommend that you return to any of the settings that disable all macros after you finish working with macros. step 3 . On the Developer tab, in the Code group, click Record Macro. step 4 . In the Macro name box, enter a name for the macro. NOTE : The first character of the macro name must be a letter. Following characters can be letters, numbers, or underscore characters. Spaces are not allowed in a macro name; an underscore character works well as a word separator. If you use a macro name that is also a cell reference, you may get an error message that the macro name is not valid. step 5 . To assign a CTRL combination shortcut key to run the macro, in the Shortcut key box, type any lowercase letter or uppercase letter that you want to use. NOTE : The shortcut key will override any equivalent default Excel shortcut key while the workbook that contains the macro is open. For a list of CTRL combination shortcut keys that are already assigned in Excel, see Excel shortcut and function keys. step 6 . In the Store macro in list, select the workbook in which you want to store the macro. Academic Technology and Creative Services : Fall 2007 Excel : Pivot Tables and Macros 14 TIP : If you want a macro to be available whenever you use Excel, select Personal Macro Workbook. When you select Personal Macro Workbook, Excel creates a hidden personal macro workbook (Personal.xlsb) if it doesn't already exist, and saves the macro in this workbook. In Windows Vista, this workbook is saved in the C:\Users\user name\AppData\Local\Microsoft\Excel\XLStart folder. In Microsoft Windows XP, this workbook is saved in the C:\Documents and Settings\user name\Application Data\Microsoft\Excel\XLStart folder. Workbooks in the XLStart folder are opened automatically whenever Excel starts. If you want a macro in the personal macro workbook to be run automatically in another workbook, you must also save that workbook in the XLStart folder so that both workbooks are opened when Excel starts. step 7 . To include a description of the macro, in the Description box, type the text that you want. step 8 . Click OK to start recording. step 9 . Perform the actions that you want to record. step 10. On the Developer tab, in the Code group, click Stop Recording. TIP : You can also click Stop Recording on the left side of the status bar. Creating a Macro Let's create a simple macro that inserts your Department name and University Logo in a worksheet. Academic Technology and Creative Services : Fall 2007 Excel : Pivot Tables and Macros 15 step 1 . Begin by opening a new file and saving it to the desktop as Macro.xls. step 2 . Choose Developer, Code, and Macro which then displays the Record Macro dialog box. step 3 . Assign a name to the macro. The default is Macro1 or you can enter your own name. Let's use UniversityLogo. Note that this name cannot have any spaces. step 4 . Assign a key combination to the macro by entering a letter—in this case, uppercase L – in the Shortcut key edit box. step 5 . Store the macro in the currently active workbook by making sure the This Workbook option is selected. step 6 . Enter a description for the macro in the Description box; in this case, type Inser t University Logo. step 7 . To begin recording, click OK. Excel displays the message Recording in the status bar. step 8 . Select Page Layout > Page Setup dialog box. step 9 . Select the Margins tab and change the Top Margin to 1.75. step 10. Select the Header/Footer tab and click the Custom Header button. step 11. To the Left section, add the CSUS Logo, to the Center section add the University Name and your Department Name. Click OK step 12. Similarly add the Page number to the left section and File path to the right section of the Footer. Then click OK. step 13. Click OK to complete Page Setup. step 14. Click the Stop Recording Macro button on the Developer tab.. step 15. This step is IMPORTANT; if you don't stop the macro recorder, Excel continues to record your actions indefinitely. step 16. To test the new macro, open a new worksheet. Type your name in cell A1 and then press Ctrl+Shift+L. Excel runs the macro and performs the sequence of actions in the same way you recorded them. Do a Print Preview!! Academic Technology and Creative Services : Fall 2007 Excel : Pivot Tables and Macros 16 Run a Macro Without Using Keyboard Shortcuts You don't have to know a macro's key combination to run the macro. Instead, you can use the Macro dialog box: step 1 . Choose Developer, Code, and Macros to display the dialog box. step 2 . Select the name of the macro, and click Run. step 3 . You also can use the Macro dialog box to view and edit macros, as you'll see in the next section. The VBA Environment Now that you've recorded your macro, let's find out what Excel did. When you clicked OK in the Record Macro dialog box, Excel created something called a module in the active workbook. Excel recorded your actions and inserted the corresponding VBA code in the module. Choose Developer, Code, and Macros to display the dialog box. Click the Edit button. Academic Technology and Creative Services : Fall 2007 Excel : Pivot Tables and Macros 17 As you can see, a module looks like a window that you might see in a word processing program. The menu bar above the module includes menus for editing, debugging, and running VBA code. In the module you can review, enter, copy, move, insert, and delete VBA statements and comments using techniques that are similar to those you use in a word processing program. The VBA environment is a big place, full of interesting details, but for now let's focus only on the code we've recorded. On the right side of the VBE is a window displaying the module containing your code. The first and last lines of the code act as the beginning and endpoints for the macro you've recorded; a Sub statement starts the macro and an End Sub statement ends the macro. You'll notice that special VBA terms, called keywords, are displayed in dark blue. Here is an explanation… SUB: This is a keyword that begins a Macro and is followed by the name of the Macro. COMMENTS: The comments are entered following an Apostrophe. VB ignores the apostrophe. STATEMENTS: Each action carried out by the Macro is written in statements. The syntax of a statement is an Object followed by the Action. Here are some examples: RANGE("A6").Select: The Object is the range reflecting cell A6 and the Action taken is Select. SHEETS(3).ACTIVATE: An action is something that the object knows how to perform and so is known as the Method of the object. Academic Technology and Creative Services : Fall 2007 Excel : Pivot Tables and Macros 18 SELECTION.FONT.NAME = "ARIAL": An action can contain an equal sign which usually is followed by the characteristic or an attribute of the object. This is termed as Property of the Object. END SUB: This is a keyword that ends the Macro. Editing a Macro Suppose you've recorded a macro that enters your name and address. Then you discover that you forgot a step or that you recorded a step incorrectly—you chose the wrong border format, for example. What do you do? To add code to an existing macro, you can record actions in a temporary macro and then transfer the code into the macro you want to change. For example, to add to the UniversityAddress macro a step that sets font options for the address, follow these steps: step 1 . Open the macro_example.xls workbook that contains an address. step 2 . Choose Developer, Code, and Record Macro. Excel presents the Record Macro dialog box. In the Macro Name box, enter Macr oTemp and click OK. Academic Technology and Creative Services : Fall 2007 Excel : Pivot Tables and Macros 19 step 3 . Choose Home, Cells, Format, and Format Cells and click the Font tab. Select Arial, 14-point, and Bold Italic. Then click OK to apply the formats. step 4 . Click the Stop Recording button in the Developer tab. step 5 . Choose Developer, Code, and Macros. In the Macro dialog box, select MacroTemp and click Edit. step 6 . A window appears that contains the original macro recorded plus the MacroTemp macro. step 7 . Select all the code inside the MacroTemp—from the line beginning With through the line beginning End With—and then choose Edit, Copy. step 8 . Scroll up to display the UniversityAddress macro. step 9 . Click at the end of the line that contains the statement: Range("A6").Select. step 10. Press Enter to create a blank line. Then position the insertion point at the beginning of the blank line. step 11. Choose Edit, Paste. step 12. Scroll back down and delete the entire MacroTemp macro, from the Sub statement to the End Sub statement. step 13. Run the original macro and see the difference. Writing your own Macro using the VB Editor step 1. Open the workbook Layout.xls step 2. Choose Developer, Coder, Visual Basic Editor step 3. Choose Insert Module step 4. Type the following in the module area Sub LayoutPortrait() 'Macro to change the layout to Portrait 'Keyboard Shortcut: Ctrl+Shift+P ' With ActiveSheet.PageSetup .Orientation = xlPortrait End With End Sub step 5. Save the Macro step 6. Open Excel, and go to Tools – Macro – Macros step 7. Select the newly entered Macro and click the Options button. step 8. At the prompt for Shortcut Key type P step 9. Click OK and close the Macro window. a. Test your Macro by choosing the sheet Expense Statement. b. View the sheet via Print Preview and notice that the document is in Landscape c. Now run your macro. d. View the sheet via Print Preview Academic Technology and Creative Services : Fall 2007 Excel : Pivot Tables and Macros 20 EXERCI SE 2 MACRO CREATION In this exercise, you will add a new Macro. 1. You can create the Macro either by using the standard method or by using the VB editor. 2. The file to work on is exercise2.xls 3. Change the appearance of the document by updating the font to Comic Sans MS, size 11, italic and column width of 20. 4. Save the Macro and execute it. Academic Technology and Creative Services : Fall 2007 Excel : Pivot Tables and Macros 21 RESOURCES Faculty / Staff Resource Center Located in ARC 3012. Assistance available on walk-in basis. Open Lab on Fridays, 1-4 pm (Fall, Winter, Spring) Open Lab on Thursdays 1-4 pm (Summer only) FSRC Website http://www.csus.edu/uccs/fscenter/ Getting Help University Help Desk (916) 278-7337 or firstname.lastname@example.com Academic Technology Consultants http://www.csus.edu/atcs/contact.htm Help Desk - Problem Reports & Contact Information http://www.csus.edu/uccs/helpdesk/contact.stm Training Requests firstname.lastname@example.com Campus Resources Training http://www.csus.edu/training Training Handouts http://www.csus.edu/training/handouts Online Tutorials http://www.csus.edu/atcs/tools/tutorials.htm Educational Tools http://www.csus.edu/atcs/tools Accessibility at Sacramento State http://www.csus.edu/accessibility Academic Technology and Creative Services : Fall 2007 Excel : Pivot Tables and Macros 22
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20.11.07 - Photos: Rick Guzman/For SHOWTIME PPV: Kermit Cintron (28-1, 26 KOs), of Reading, Penn., will make the second defense of his International Boxing Federation welterweight championship against Jesse Feliciano (15-5-3, 9 KOs), of Los Angeles, in one of the top fights this Friday at STAPLES Center on SHOWTIME PPV. Two time world champion Fernando Vargas (26-4, 22 KOs) and three-time world champion Ricardo Mayorga (27-6-1, 22 KOs) fight in what promises to be a street brawl in the main event of a highly anticipated pay-per-view telecast that begins at 10 p.m. ET/7 p.m. PT and is being distributed by SHOWTIME® PPV.
Also on the stellar card, former IBF 154-pound champion Roman Made in Hell Karmazin (35-2-1, 22 KOs), of St. Petersburg, Russia, now fighting out of Los Angeles, will take on former two-time World Boxing Association super welterweight champion Alejandro Terra Garcia (25-2, 24 KOs), of Tijuana, Mexico, for the WBA Intercontinental championship..
The day after Thanksgiving live event begins at 3:15 p.m. Doors open at 3.
Tickets, priced at $300, $150, $100 and $50 are on sale online at ticketmaster.com, via Ticketmaster charge-by-phone lines at (213) 480-3232 or (714) 740-2000 and at all Ticketmaster ticket centers. The main event is scheduled for 12 rounds at a catch weight of 166 pounds.
Cintron and Feliciano participated in a well attended media roundtable on Tuesday to discuss Fridays world title bout.
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Uncle Drew wrote:Bazemore is having huge impact on this team, i'm not sure where would all scoring come if he isn't here, i like that he is aggressive and he is defending Paul George very well.
Did Kelly saw scouting report on David West, dude is money from that mid range, guard him man!
puffyusaf#2 wrote:Man Indy is getting a lot, and I mean A LOT, of contact on our guys.
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Vicky Christo has been teaching dance to children at St. Sophia's Greek Orthodox Church for more than 30 years. Some of her students, including her brother Nick Dimkos, are now well into their adult years and still dance at the church's annual Greek festival. But Dimkos not only continues to perform in the shows; he is also committed to helping his sister instruct dance classes, and has been doing so for 20 years.
This kind of devotion to family and tradition is typical within the Greek community, carrying over from generation to generation.
"That's the most important thing -- to carry on the tradition," said Matina Marinos Sterio, a St. Sophia communicant, in response to why her two children are involved in Greek dance.
Sterio is part of a first generation family. Her parents Peter and Georgia Marinos moved to the United States years ago from a village just outside the city of Sparta off the Peloponissos Peninsula in Greece. They now reside in Liverpool.
Sterio, her sister Elaine (Eleni) and her brother Kris (Kyriako) were festival dancers growing up. Now she and her husband Jim would like for their children to share the same type of experience.
Peter Sterio, 11, has been dancing for three years and plans to stick with it as an adult.
"It's really fun and it's really cool learning about your culture," Peter said. "It's pretty cool meeting a lot of new friends."
His little sister Krystyna, 8, is in her second year of dance and is just as enthusiastic.
"I choose to dance in the Greek Fest because it was a new kind of thing for me," she said. "I never thought I would do anything like it and when I started it was really fun."
As for stage-fright, it only lasted a season.
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11 November 2013 08:17 [Source: ICIS news]
SINGAPORE (ICIS)--China's Zhejiang Wankai New Materials Co restarted its 250,000 tonne/year polyethylene terephthalate (PET) line that uses solid state polycondensation (SSP) technology in Zhejiang province on 9-10 November as planned, a company source said on Monday.
The SSP line, which produces bottle-grade PET chips, was shut at the beginning of November because of weak demand and declining prices, the source added.
Its PET line that uses continuous polymerisation remains in operations and has been producing bright fibre-grade PET chips during the shutdown of the SSP line, according to the source.
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Brigid Bergin, Reporter
Brigid Bergin is the City Hall and politics reporter for WNYC.
A youth marching band and dancers in red sequins performed outside the Barclays Center Monday morning as elected leaders and de Blasio administration officials showed off the venue and the borough's finest to the Democratic National Committee.
Members of the DNC are in New York on Monday and Tuesday as the city competes to host the 2016 presidential convention in Brooklyn for the first time.
New York City Police Commissioner Bill Bratton, talking up the Subway, brought a Boston brogue to the festivities.
"There it is, the 2, 3, 4, 5, B, Q, D, N, R, L-I-R-R," said Bratton, gesturing towards the Atlantic Avenue station.
Try taking the A or C to Hoyt and Schermerhorn just a couple of blocks from the BC and stop a taxi if you can find one and ask them to take you to the BC. You will be amazed how they will not have a clue. Been there, done it.
You're kidding, right? Taxis won't be able to find the Barclay's Center in downtown Brooklyn?
The chances of the DNC in Brooklyn are very, very slim. No Hotels, Restaurants and plus taxi cabs will not be able to find it. That area has been a dead zone for the last 30 years. There was a reason why the Dodgers left the area. We should try and remember our History lessons and we would not waste all this money on trying to sell a venue when there are hundreds of better ones. The 100,000 hotel rooms are far away.
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Tyrell Provides Irish Political Party Fine Gael With Streaming Solution From ViewCast
Fine Gael Webcasts Live Coverage from 2009 Ard Fheis Political Conference
"The ViewCast solution was selected by Fine Gael as a key tool in broadening its communications channels, both internally within the party and with the wider public. Fine Gael required a solution that would enable them to stream live video of regular updates, open meetings and question and answer sessions with the party leader and other key members of the organization. ViewCast's Niagara GoStream SURF solution also played an important role in Fine Gael's communication strategy during its Ard Fheis conclave in
"Fine Gael was originally looking for a portable streaming device that was cost effective, easy to set up and portable enough for use in remote locations, and they found such a solution with ViewCast. We are confident that the GoStream SURF will enable Fine Gael to quickly enhance its political traction and stand out within the Irish political arena," said
McLoughlin from Fine Gael added, "Tyrell's support and assistance has helped us to get up and running quickly and smoothly. With the ViewCast solution, there's no reliance on expensive third-party encoding companies or rental companies – we're now fully self-sufficient and have incredible flexibility. We're also looking forward to rallying our constituents at our local elections with innovative activities during the election campaign, including a members-only broadcast from the party leader, interviews and video profiles of key candidates."
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About Fine Gael
Fine Gael is one of
About Tyrell
Tyrell is Ireland's leading reseller of creative technology solutions for the broadcast, post production, education and corporate sectors. Established in 2000, Tyrell represents leading suppliers in the areas of video, audio and graphics. Tyrell's strengths combine over 40 years of industry expertise, a broad product portfolio, a dedicated technical support team and an extensive high-profile client base. Clients can also experience the latest broadcast, non-linear editing, and audio systems at Tyrell's dedicated demonstration suites, located in central
About ViewCast
ViewCast develops industry-leading hardware and software for the transformation, management and delivery of professional quality video over IP and mobile networks. ViewCast's award-winning solutions simplify the complex workflows required for the Web-based streaming of news, sports, music and other video content to computers and mobile devices, empowering broadcasters, businesses and governments to easily and effectively reach and expand their audiences. With more than 300,000 video capture cards deployed globally, ViewCast sets the standard in the streaming media industry. ViewCast Niagara(R) streaming appliances, Osprey(R) video capture cards, and Niagara SCX(R) encoding and management software provide the highly reliable technology required to deliver the multi-platform experiences driving today's digital media market. For more information, visit www.viewcast.com/.
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ViewCast Contact: Jeff Kopang Vice President of Marketing Tel: +1 (972) 488-7200 E-mail: firstname.lastname@example.com PR Agency Contact: Jessie Glockner Rainier Communications Tel: +1 (508) 475-0025 x140 E-mail: firstname.lastname@example.com Investor Contact: Matt Clawson Allen & Caron Tel: +1 (949) 474-4300 E-mail: firstname.lastname@example.com
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International News Archive - August 30, 2005
BEIRUT (Reuters) - Lebanese police arrested three former top pro-Syrian security officials on Tuesday, a security source said, in a move believed to be linked to investigations into the killing of an ex-prime minister.
TEHRAN (Reuters) - Iran's President Mahmoud Ahmadinejad has re-appointed Gholamreza Aghazadeh as head of the country's nuclear program, state media reported on Tuesday.
By Benjamin Kang Lim BEIJING (Reuters) - China marks the 60th anniversary of Japan's defeat in World War Two with receptions, speeches and commemorations this week, but said on Tuesday it was not trying to whip up anti-Japanese sentiment.
SYDNEY (Reuters) - Police ringed Sydney's harbourside Opera House on Tuesday and closed off access to the public to stop anti-globalization activists from disrupting a conference of world business leaders.
JAKARTA (Reuters) - Indonesia failed to issue an amnesty for some 2,000 jailed members of the Free Aceh Movement (GAM) on Tuesday, despite a pledge to do so.
By Nadim Ladki BEIRUT (Reuters) - Lebanese police detained three former top pro-Syrian security officials on Tuesday for questioning by U.N. investigators probing the killing of ex-Prime Minister Rafik al-Hariri.
By Nidal al-Mughrabi GAZA (Reuters) - Palestinian militants renewed their pledge on Tuesday to respect a truce to the end of the year at meetings with an Egyptian envoy helping prepare for Israel's withdrawal from the occupied Gaza Strip.
By Jon Boyle PARIS (Reuters) - Seven immigrants, including four children, died in a fire in a rundown building in central Paris, three days after 17 people died in a blaze in a crowded apartment block used by African immigrants.
By Stuart Grudgings MANILA (Reuters) - Allies of Philippine President Gloria Macapagal Arroyo crushed a bid to impeach her over allegations of electoral fraud and graft on Tuesday, hoping to draw a line under a months-old crisis that nearly unseated her.
CANBERRA (Reuters) - Australia and New Zealand are lobbying the United Nations Security Council to indict Zimbabwean President Robert Mugabe and his government in the International Criminal Court for crimes against humanity.
- A woman chauffeur.
- A woman who operates an automobile.


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$14.40 Buy It Now 15d
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Care Plan & Assessment Review Program on CD-rom
· 100 SAMPLE CARE PLANS - totally customizable to your client - copy/paste/customize and print it! Also includes CASE STUDIES / CLINICAL REVIEWS - different conditions for reference with suggested Nursing diagnosis and critical thinking questions.
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On May 25, 2010, the Montana Kalispell Lakers American Legion Baseball team kicked off the Western AA Conference season with a game against the local Glacier Twins. At the start of the game, Joe Pistorese, a 17-year-old pitcher for the Kalispell Lakers, stood on the pitching mound with one goal in sight — a win. But what Pistorese didn't foresee was that he would be walking off the field with sweat-drenched clothes due to achieving his second no-hitter.
"I knew I was doing my job well, and I was focused on getting the win more than anything," Pistorese said. "It felt great when I threw the last pitch to end the game, but I didn't realize what I had done until I looked over at my coaches (Carl Hennell and Ryan Malmin) who were running the field with a cooler to dump on me."
Pistorese pitched his first no-hitter last summer during his second season with the Kalispell Lakers — a rare success which the left-handed pitcher attributes to studying his competitors batting stance.
"Because I've grown up with most of the players, and I know how they bat, I'm always pretty confident with my pitching," Pistorese said.
However, Pistorese's confidence was tested during the bottom of the eighth inning with only one out. As a Glacier Twins player was at bat, the opposing team's commentator announced to the crowd that Pistorese was pitching a perfect game. Immediately following the disruptive call, Pistorese pitched three straight balls to the batter. But he wasn't going to let the commentator jinx his pitching. Pistorese took a walk around the mound to clear his head and then fired three straight strikes.
"I couldn't believe he (the commentator) did that," Pistorese said. "After the game when I was being interviewed by the radio, I looked back at him when I was asked if anybody was talking about it (pitching a perfect game) in the dugout. Everybody in baseball knows you don't talk about something like that when it's happening."
The nine-inning game consisted of Pistorese pitching a mixture of 80-mph fastballs and curveballs, allowing zero hits, walks and errors. "His curveball was my favorite pitch to call," said Zach Brosten, a catcher for the Kalispell Lakers.
"He kept it low and it had a sharp break, and he threw it for strikes. It was nasty."
As a result of Pistorese's perfect pitching and his teammates great defense, the Kalispell Lakers defeated the Glacier Twins 8-0.
"I like the competition of Legion baseball," he said. "I love my coaches as they treat me like a friend; it's just a lot of fun."
[1] http://www.legion.org/print/81431


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Volkmann's contracture
|Volkmann's contracture
Ulnar and radial arteries. Deep view. (Musculature and muscles of forearm are illustrated. However, a more proximal injury, such as a supracondylar fracture of the humerus injuring the brachial artery, may be the cause of the ischemia leading to the contracture.)
|Classification and external resources
Volkmann's contracture, also known as Volkmann's ischaemic contracture, is a permanent flexion contracture of the hand at the wrist, resulting in a claw-like deformity of the hand and fingers. It is more common in children. Passive extension of fingers is restricted and painful.[1] On examination the fingers are white or blue and cold and the radial pulse is absent.
It is named after Dr. Richard von Volkmann (1830 - 1889), the 19th century German doctor who first described it,[2] in a paper on "non-Infective Ischemic conditions of various fascial compartments in the extremities".[3] Because the contracture occurred at the same time as the paralysis, he considered a nerve etiology to be unlikely.[4]
Any fracture in elbow region or upper arm may lead to Volkmann's ischemic contracture but commonly caused due to supracondylar fracture of the humerus.
Volkmann's contracture results from acute ischaemia/necrosis of the muscle fibres of the flexor group of muscles of the forearm, especially M. flexor digitorum profundus and M. flexor pollicis longus which becomes fibrotic and short.
It is caused by obstruction on the brachial artery near the elbow, possibly from improper use of a tourniquet, improper use of a plaster cast, or compartment syndrome. It is also caused by fracture of forearm bones which cause profuse bleeding from major blood vessels of forearm.
Surgery to release the fixed tissues may help with the deformity and function of the hand.
All splints, plaster and bandages that might be obstructing the circulation should be removed and fascial compartment should be opened (fasciotomy) in the incipient stage.
- requires restoration of blood flow;
- reduction of compartmental pressure
- proper initial splinting of hand in the function position;
- release of forearm flexors;
- muscle slide
- tendon lengthening;
- test for intrinsic tightness
- free functional muscle transfer
- ^ Robert C. France (30 December 2003). Introduction to sports medicine & athletic training. Cengage Learning. pp. 426–. ISBN 978-1-4018-1199-0. Retrieved 15 April 2010.
- ^ R. Volkmann. Die ischämischen Muskellähmungen und Kontracturen. Centralblatt für Chirurgie, Leipzig, 1881, 8: 801-803.
- ^ synd/2865 at Who Named It?
- ^ American Surgical Association (1913). Annals of surgery. J. B. Lippincott. pp. 555–. Retrieved 15 April 2010.
External links[edit]
- -26542065 at GPnotebook
- Volkmanns_contracture at the Duke University Health System's Orthopedics program