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Norwegian eplekake is my favorite comfort food. It's the cake my mom made when my friends came over, or when her good friends came by for a visit. The kind of friends you want to sit all afternoon and talk to over a cup of coffee, not the kind you need to impress. I imagine it's because eplekake was the desert my grandmother most often made for her as a child, translating as comfort food to her as well. I've never made it before, and often crave it. Since I'm living in Mom's house now, caring for her, it seemed a good time to learn…before she's gone. It also seemed like something she'd enjoy – if only I could get it right! There's nothing worse than slaving in the kitchen to make the food she remembers, serving it to her, and after the first bite she says…nothing. It's happened. I recently made something I thought she'd love. She anticipated it with excitement all day long. When she finally got it, she ate it without saying a word. I finally mustered the courage to ask if she liked it and she said, "Well, it's a little too…."… something. In other words, it wasn't right. I honestly cannot recall what I made at this moment. I'm sure it was so traumatic for me I've blocked it out. Just kidding. I'm not that sensitive…I really don't remember.
I tried one version of the apple cake last week and it was very good — but not it. This week I've tried two more recipes I stumbled across, but still not Mom's. Today I tried this one, and I'm getting really close. I like this one. It's a bit moister than Mom's but she was so thrilled by its moistness that I wonder if she never had it quite right either! I will continue to search for the perfect eplekake, but for now this is my favorite. Put more apples on it than I did so the apples cover the top after baking. It makes for a prettier cake. I do love how apples are in every bite. Make sure you use 4 apples, and cut some pieces in chunks to float on top of the cake. This is a delicious cake with depth, and classic home-baked taste and texture. I'm sure if you make it once, you'll make it again. Top it with vanilla sauce for a heavenly treat. It's not necessary though. It stands proudly on its own.
Hee's how you make it:
150 grams all purpose flour (10.5 Tblsp)
150 grams butter (10.5 Tblsp.)
150 grams sugar (10.5 Tblsp.)
3 eggs
2 tsp baking powder
1/8 tsp. salt
2 tsp. vanilla (pure)
1 cup milk
3 – 4 apples (I prefer Granny Smith because I like the tartness. Suit your fancy.)
10 – 15 almonds, optional
In a separate bowl, mix the flour, salt and baking powder together with a whisk.
Cream the butter and sugar until it's fluffy and light, or at least fully blended.
Add the eggs – one at a time. Make sure each egg is fully blended in before adding the next one.
Add vanilla
Add the flour mixture and milk, intermittently until everything is well blended.
Pour batter into a 9″ buttered/greased springform pan.
Peel and core the apples. Slice apples between 1/4 and 1/2 inch thick.
Mix sugar and cinnamon in a small bowl.
Roll the apple slices in the cinnamon/sugar mixture, and lay them on top of the batter in whatever design inspires you. Or none at all.I experimented laying some across the top and some vertically, while pushing them down into the cake to so they'd show up deep inside the cake when done. When I make it again, I'd add more apples and crowd them like a NY subway at rush hour. Some of them hanging out by the door, some deep inside the car.
If you choose to use almonds, chop them roughly and spread across the top of the cake.
Serve with Vanilla Sauce. You can find the recipe HERE.
Sure hope you like it! If you try it, please let me know how it was, and any improvements you might have made to it. I love hearing what inspires others!
I plan on trying this with whole wheat flour and non refined, natural sweeteners next time. I hope to find a healthier alternative that gives me as much pleasure as the apple cake made by the women who came before me.


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Dec.13, 2007 in HornyTeenModels
Emily shows off in her bonnet before taking a shower
Hey there, her name is Emily! She was born into a Mennonite family in Lancaster, and raised in the plain ways of amish community. It was all she ever knew, until she turned 18 and started paying more attention to the people driving past in their cars on their way to parts unknown to her. There was more out there than plain clothes, bonnets, and tending to household and farm chores.
One day she met a boy from outside the community, who just happened to be helping her father out on the farm, and soon found herself sneaking out most nights to meet up with him. He introduced her to so many wonderful things, including sex. It's become her weakness! From there it was a downward spiral as she craved sex 24/7, and became a real Mennonite rebel. When her parents found out, she was shunned by her church, community and family. So, she left the family farm to make her way in the big bad world on her own. she went wild discovering true self, and seeing what life was really like. she was shocked at how much getting naked turned her on, to be photographed (something people looked down on). So, now here she is sharing naughty self with you ! Enjoy in every hardcore scene and hot blowjobs!

subset: commoncrawl


text:
Ask the Building Maintenance Experts
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Friday, October 09, 2015
[Thursday, May 30, 2013]
The question I have is regarding the event facilities in the hotel I manage. It is 11,642 square feet. How many working hours do I need daily to clean this space? What should I charge?
Contract Cleaning
- Lukas Gatzke
This is, as with many such recently, an unanswerable inquiry.
I have no idea of what the facility is going to be used for, and I suspect you cannot be certain either, until it is booked.
Events differ in size, nature, and attendance and that is why the cleaning needs will vary.
If this is open space, you will want to use a wide-area vacuum for carpeted sections and an autoscrubber for tile. What equipment you have available will dramatically affect the man-hours.
Charges depend on your labor rates, productions rates, and other factors such as insurance contributions and supplies.
My best recommendation is to start tracking the costs of all the above and get together a list of charges for certain events based on your own experience. In time, you will have accurate information on which to base future decisions as to equipment and charges for the clean-up.
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Tag Archives: 1978
Alan Smithee Podcast 80: Halloween, the extended TV cut (1978, John Carpenter) / The Day After Halloween aka Snapshot (1979, Simon Wincer)
It's time, it's time. Put on your masks and watch…watch. Two days after Halloween, Halloween, the last thing you'd want to do is watch Halloween. An ubiquitous classic, but your reserves have run out for critical analyses of John Carpenter's horror classic because Rob Zombie so thoroughly sullied the original idea with modern vulgarity and took all the magic away by making Myers a troubled, bullied youth.
You may think those scare us, you're probably right. Remakes and Zombie on Halloween night? Nah, An Alan Smithee Podcast has waited until the day after Halloween to watch Halloween and an unrelated film (unrelated except by sheer force of a duped viewer's internal justifications): The Day After Halloween, which was not filmed under that title and has gone by several others. The video distributors knew this Australian turkey (both the Aussie and Golden Turkey sense) called Snapshot wouldn't sell rentals unless the invisible hand of the market picked you up off a shelf of virtually indistinguishable Halloween ripoffs. Being Australian, they gambled that they'd get away with sticking Halloween in the title and 30 years later, it's the only reason anyone's talking about it. So who's really laughing last?
IMDB being IMDB, they've listed the film by its least well known alternate title, One More Minute, just as they've reduced the incredibly good Deliverance imitation Rituals to its most exploitative namesake, The Creeper.
To mix things up, the version of Halloween that we're viewing has a few extra scenes added for television, gently playing with the rhythm of the acts without adding any blatant connections to Halloween II, thankfully. The only element in the mix of Snapshot of interest is the presence of Vincent Gil, the ill-fated Nightrider from Mad Max – the screechy rocker, roller and out-of-controller who gets blow'd up real good in the opening chase scene. Here, he plays a gay fashion photographer who doesn't raise his voice even once. What a disappointment. There's another connection the film has to Mad Max (small country, huh?) but you'll have to listen to the episode to find out.
The larger problem with The Day After Halloween is that Snapshot is only remotely a suspense or a "thriller" film, let alone a slasher flick.
Enjoy this episode of An Alan Smithee Podcast as we squeeze out the last few precious drops of Halloween cheer from an already rotting pumpkin.
Alan Smithee Podcast 66: She Done Him Wrong (1933, Lowell Sherman) / Sextette (1978, Ken Hughes)
This may well be the worst episode of An Alan Smithee Podcast since the last worst episode. That alone should make for required listening. We are defeated by overestimating the entertainment value of a Hollywood "legend" whose golden years may not have been all that amusing, even in what is considered to be her best film.
The icon is Mae "Come Up And See Me Sometime" West, and the nominally good film is She Done Him Wrong (1933). By the time we get to the more auspiciously dire swan song Sextette (1978) our spirits are already broken and discussing the not-so-fine art of double entendres becomes insult to injury.
West's life would probably make a better film than any films of her own. West worked her way up in vaudeville, rebelling against stuffy social bigotry and sexual repression like every other young punk in the 1920s and crafting the stage persona she came to be known for onscreen: a brassy, wisecracking maneater who dominated and manipulated all those around her and constantly joked between the lines about her sexual prowess. This proto-post-feminist shtick was heady stuff for the time, as were her drag queen inspired fashion choices and shimmy-shawobble hip movements inspired by black nightclub dancers.
What's headier to think of today is that West was thought of as a sexual object of desire and not merely a comedian – which is exactly how she liked it. People come to see her on Vaudeville for the raunchy laughs while her nudity-free act let her revel in skits and songs about her sexual power as a universally irresistible man magnet. She wasn't the most attractive broad in show business but there wasn't yet an official middle ground between glamourous and funny women performers. Women weren't even legally ruled funny by the Supreme Court until 1927. Her breakout Broadway play Diamond Lil was a saucy melodrama set in the "Gay 90s" at the turn of the century, and by the end of the roaring twenties everyone in New York knew of West.
When she arrived in Hollywood, Diamond Lil was prepared for the screen as She Done Him Wrong, much to the consternation of the Hays censorship office who'd already caught wind of West's reputation. This was a big factor in my urging of the film as West's "good" movie for Alan Smithee Podcast – if the Hays office hated it, it must be good, right? Joe Bob Briggs even featured it in his book of essays on sexually liberating milestones in film, Profoundly Erotic. I can't blame him for recognizing the cultural significance of Mae West and her best known work outside of My Little Chickadee with W.C. Fields, but he should have affixed the same warning that he gave Blood Feast in the similar tome Profoundly Disturbing – this film is more fun to talk about than it is to actually watch.
At just over an hour, She Done Him Wrong crawls like a snail. A film so short shouldn't need musical numbers but there's almost as much padding as the inside of Mae's girdle. The story revolves around her headliner status at an 1890s saloon and dancing hall, which means the songs featured were considered kind of corny even in 1933. Mae's songs are about as sexy as a slow ready of "She'll Be Coming 'Round the Mountain."
You can count the number of sets on your hand as the obviously stagebound nature of the original play relegates everything to either mustachioed fops onstage or West hamming it up with cocktail napkin quality zingers in her private backstage boudoir. Some of her come-ons are directed at young Cary Grant, who had acted in a few prior films including Blonde Venus with Marlene Dietrich, but whom West would claim "discovery" of for the rest of her life.
Mae West's life after She Done Him Wrong was an experiment in aging timelessness. Far ahead of the cultural curve, West was absorbed into collective consciousness almost immediately by cartoons, quotations and parody. By the 1940s she was already considered old hat and muzzled by stricter Hays Code regulations on the depiction of promiscuity. She left Hollywood, making sporadic television appearances over the years and otherwise supporting herself with live performances around the world. At some point the warm tide of nostalgia that made W.C. Fields and The Marx Brothers hip again revived interest in and respect for her libertine overtones and she returned to film Gore Vidal's other infamous contribution to cinema besides Caligula (previously discussed in this episode), the infamous Myra Breckinridge (1970). At the age of 77, her looks and timing obviously weren't what they once were, which is why it may have taken another eight years before two young, eager and likely homosexual fans from Crown International Pictures approached her about filming her last attempt at Broadway, the 1961 farce Sextette.
There are two forces at work in Sextette which have rightfully qualified the film for previous inclusion on "Razzie Award" lists of "the worst films ever made" and the like. The first is obviously that West is, uh, not well. She's playing herself the only way she can, far past not only the cultural expiration date of her act but that of her corporeal husk. This results in line readings of corny innuendo with pauses so awkward, rumors have persisted for years that she was being fed her lines through earpiece microphones under her wig. This leads to some real ickiness between her and Timothy Dalton, giving his all as her newest husband (the sixth) who can't wait to make the kind of proper Englishman love to West that she hasn't had since Cary Grant.
The film would've been enough of a mess with her running around on Dalton while occasionally stopping for disco-infused songs. Elevating the film the true clusterbomb status is the gaggle of guest stars playing West's former husbands who all happen to be staying in her honeymoon hotel, with great wackiness and misunderstanding. The guest star ensemble method of casting had reached a tacky nadir by the late 70s and Sextette combines vintage 70s celebrity scenery chewers sprinkled with West's geriatric Hollywood pals doing her a favor: Keith Moon AND Ringo Starr, George Hamilton, Tony Curtis, Walter Pidgeon, Alice Cooper, George Raft and who else but Dom Deluise as West's right hand man. Some acquit themselves admirably, like Dalton. Deluise sings and dances on a piano.
Unfunny comedies are hard to appreciate even if they're historically significant. Our next attempt to class up Alan Smithee Podcast won't rely so heavily on dated hipness and sultry sirens. Future bad-movie selections, however, will probably include Dom Deluise again at least once.
Episode 51: Piranha (1978, Joe Dante) & Piranha (1995, Scott P. Levy)
Horror franchises and would-be franchises evolve and devolve in the most unpredictable directions. The Piranha series is an illustrious and obscure one, as we began talking about in our look at Piranha II: The Spawning. In this episode of An Alan Smithee Podcast we complete our preparations for Piranha 3D, the biggest 3D horror event since the last one, with praise for the 1978 Roger Corman-produced original Piranha and abhorrence for the little seen 1995 Showtime channel remake also produced by Corman.
In 1978 Joe Dante got to direct his first film for Roger Corman after working for him as a trailer editor. Piranha announced to the world Dante's expertise at monster movie nostalgia, a filmmaking role he was destined to practice throughout the special effects driven regressive childhood of the 80s. Alan Smithee has discussed his unjustly ignored monster and boyhood nostalgia throwback Matinee (1993). One of the few filmmakers taken under the wing of Steven Spielberg – that kindlier, cornier purveyor of boomer childhood and other people's adulthoods – Dante must have known there's no better way to get his attention than making a smarter and funnier competitor to that year's Jaws 2.
Death Race 2000 or Rock 'N' Roll High School might have been the trash masterpiece that marked the peak of Corman's second renaissance after the days of Vincent Price, but Piranha gave movie fans a warmup for Dante's future stories of monster movie tropes intruding on the TV version of reality.
One of Piranha's secret weapons was the first genre screenplay of Johny Sayles, who'd go on to become one of the most respected independent filmmakers in America. In 1995, Corman was selling off his assets and remaking old titles for as little money and thought as possible, including the liberal recycling of the old scripts themselves. Piranha '95 is a photocopy of the original crumbing away on cheap, brittle paper. The piranha themselves are mostly recycled as well, footage from the original film. This movie is almost guaranteed to disappoint fans of the original even more than Piranha II: The Spawning.
Piranha 3D has the good luck charm to be the third reputable follow up to the continuing adventures of good old Project Razorteeth. The cast indicates an appreciation of the original's b movie eclecticism: Ving Rhames, Elizabeth Shue, a long lost Christopher Lloyd and Richard Dreyfuss in a Jaws spoofing cameo. Director Alex Aja knows how to pile on the grist they way they did 20 years ago. Incidentally, Dante has a 3D family friendly horror film called The Hole coming out later, so all three may now join that exclusive club inhabited by Dante and James Cameron called "What the heck do we have in common? Oh yes, piranhas and 3D."
Episode 25: Blue Collar (1978, Paul Schrader/ The Hand (1981, Oliver Stone)
This week on An Alan Smithee Podcast we roll up our sleeves and git-r-dun Paul Schrader style with Blue Collar, his directorial debut after becoming a household name writing Taxi Driver. The leads are one part household name, one part Hollywood name and one part b-actor on the verge of breakout. Richard Pryor was in his prime and does a dramatic turn while still being funny. Harvey Keitel was still riding high on the Martin Scorcese train but was about to disappear for ten years. Yaphet Kotto had a bunch of blaxploitation movie credit before Roots but it looks like he'll always be remembered as the black guy in Alien. He's in this too – and he's awesome.
Schrader's direction was probably never better after this, and his first time success is all the more impressive considering the accounts that his three leads hated each other's guts. This is a very underappreciated movie, especially since Richard Pryor rapidly began his descent into lame movie mediocrity almost immediately after this unheralded serio-comic performance. Things kind of fall apart at the end but this odd mix of crime story, comedy and drama shows a ton of best effort from every talent involved.
To say The Hand is not the worst killer hand movie ever made is a backhanded compliment. You've got to hand it to Oliver Stone for having a career after this sophomore writing-directing effort (his debut was the even more forgotten Seizure.) Michael Caine is always handy for starring in crappy movies when he needs a new garage and gives Stone a performance just unpleasant enough to match the paranoid, misogynist and mean-spirited screenplay he wrote for him. Stone even gets hands-on and has himself killed in a cameo at one point. There's more than a handful of things to talk about as we manhandle this rightfully neglected piece of shoddy handiwork.
Also, someone should have lent Stone a hand directing the "scary" scenes. They're none too handsome.
Show Notes: Episode 1: Carpenter was a Jesus, Part 1 of 2
On the premiere episode, Matthew and Andrew discuss the first part of John Carpenter's career–from The Resurrection of Broncho Billy to The Thing.
Films discussed:
The Resurrection of Broncho Billy (1970), Dark Star (1974), Assault on Precinct 13 (1976), Eyes of Laura Mars (1978), Halloween (1978), Someone's Watching Me! (1978), Elvis (1979), The Fog (1980), Escape from New York (1981), Halloween II (1982), Halloween III: Season of the Witch (1982) and The Thing (1982).


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Black Law Student Discussion Board / Re: Home Ownership and Wealth Building« on: May 17, 2005, 02:04:16 PM »
not at the moment... i should know next month
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Messages - official2008
Black Law Student Discussion Board / Re: Home Ownership and Wealth Building« on: May 17, 2005, 02:04:16 PM »
not at the moment... i should know next month
Black Law Student Discussion Board / Re: Home Ownership and Wealth Building« on: May 17, 2005, 02:01:21 PM »
yeah, i'm on reserve
Black Law Student Discussion Board / Re: Home Ownership and Wealth Building« on: May 17, 2005, 01:51:03 PM »
Offical.. no one is stereotyping you for wearing a gold/silver chain geez...
i'm done, Black, we just disagree.
i didn't pass judgement on anyone; i just like to argue.
the time difference makes it difficult for me to get on when y'all are on... i don't think i'm being sensitive, but when i come in to work, and i see this *&^% i can't respond to cause i'm too busy... i can't get back at y'all, with my argument or responses to the jabs.
Black Law Student Discussion Board / Re: Home Ownership and Wealth Building« on: May 17, 2005, 01:37:03 PM »
you're jacked up. and you still haven't said anything useful.
you would know too RBG, i'm sure you be buying those meats...when the last time you seen the outside?
Black Law Student Discussion Board / Re: Home Ownership and Wealth Building« on: May 17, 2005, 01:31:51 PM »
you're jacked up. and you still haven't said anything useful.
what's wrong with my picture
Black Law Student Discussion Board / Re: Home Ownership and Wealth Building« on: May 17, 2005, 01:28:34 PM »
i ain't runnig away, but i'm done with this argument. and a lot of people don't think my argument was jacked up.
i was 15 at the oldest
Black Law Student Discussion Board / Re: Home Ownership and Wealth Building« on: May 17, 2005, 01:19:23 PM »
Ok, the picture, its 8 years old. So yeah, I did wear a silver chain and my hat backwards in high school sue me.
And on that same topic, you call me a gold chain man, I cant say I know what that is, but Im assuming youre claiming me to be some type of thug or flashy, materialistic person; thats not the case. But yet you stereotype me, and in next couple of day youre going to be on talking about how white people always judging us or something along those lines check that.
Anyway, Im done playing devils advocate. I think I put up a good one, but its obvious youre not getting what Im saying, plus its getting personal, and i'm not on often enough to defend myself. My argument never was dont buy houses. I said, from the beginning, that it was secondary get money first, get your business first, then when youre in a better position, buy a house.
Its a stifling investment; Im saying, initially, its better to rent. I just think, if my mother didnt get her magazine off the ground, cause she decided to stay on a journalists salary, to pay a mortgage.
Black Law Student Discussion Board / Re: Home Ownership and Wealth Building« on: May 16, 2005, 03:48:44 PM »
that's one way to do it; just discredit anything counter to your beliefs. you're never wrong that way...
Black Law Student Discussion Board / Re: Home Ownership and Wealth Building« on: May 16, 2005, 03:21:08 PM »
Msjay, youre right, my family did rent until they could afford to, and it was the right to, buy a home; we got three now.
Anyway, I can only assume that I presented the argument poorly, as it is not really as controversial as you make it out to be. Economists have been saying this for years.
Its my fault though, i should have realized that I cant discuss this with non-economists and closed-minded people without backing it up.
So, listen to the economics editor of the Economist Magazine, this Harvard economist, and another smart economist touch on what I failed to get across.
Im going to get some numbers for yall too.
Be easy.
Black Law Student Discussion Board / Re: Study: Exotic Names Don't Make Grade For Black Students« on: May 15, 2005, 03:04:34 PM »
i remember a similar study i heard about a while ago...
this one has nothing to do with the socio-economic status of parents; this is pure racism. check it out
December 12, 2002
What's in a Name? Perhaps Plenty if You're a Job Seeker
By ALAN B. KRUEGER
HAT'S in a name? Evidently plenty if you are looking for a job.
To test whether employers discriminate against black job applicants, Marianne Bertrand of the University of Chicago and Sendhil Mullainathan of M.I.T. conducted an unusual experiment. They selected 1,300 help-wanted ads from newspapers in Boston and Chicago and submitted multiple résumés from phantom job seekers. The researchers randomly assigned the first names on the résumés, choosing from one set that is particularly common among blacks and from another that is common among whites.
So Kristen and Tamika, and Brad and Tyrone, applied for jobs from the same pool of want ads and had equivalent résumés. Nine names were selected to represent each category: black women, white women, black men and white men. Last names common to the racial group were also assigned. Four résumés were typically submitted for each job opening, drawn from a reservoir of 160. Nearly 5,000 applications were submitted from mid-2001 to mid-2002. Professors Bertrand and Mullainathan kept track of which candidates were invited for job interviews.
No single employer was sent two identical résumés, and the names on the résumés were randomly assigned, so applicants with black- and white-sounding names applied for the same set of jobs with the same set of résumés.
Apart from their names, applicants had the same experience, education and skills, so employers had no reason to distinguish among them.
The results are disturbing. Applicants with white-sounding names were 50 percent more likely to be called for interviews than were those with black-sounding names. Interviews were requested for 10.1 percent of applicants with white-sounding names and only 6.7 percent of those with black-sounding names.
Within racial groups, applications with men's or women's names were equally likely to result in calls for interviews, providing little evidence of discrimination based on sex in these entry-level jobs.
There were significant differences in interview-request rates among the nine names associated with black women, but not among the names within each of the other groups.
At the low end, the interview-request rate was 2.2 percent for Aisha, 3.8 percent for Keisha and 5.4 percent for Tamika, compared with 9.1 percent for Kenya and Latonya and 10.5 percent for Ebony.
Only part of this variability reflects chance differences resulting from sampling, although the authors have not been able to find a good explanation for the wide range. Thus it is important that the names chosen for black women were not uncommon; they represent 7.1 percent of all names listed on Massachusetts birth certificates for black girls from 1974 to 1979.
The 50 percent advantage in interview requests for white-sounding names held in both Boston and Chicago, and for both men and women.
This discrepancy complements findings from earlier studies in which researchers sent a small number of matched black and white "auditors" to apply for jobs in person. Typically, though not always, the black job seekers were less likely to be invited for an interview or offered a job.
Those findings, however, were criticized because the applicants knew the intention of the study and might have behaved differently. In addition, the auditors might not have been well matched with the jobs in question; they could have been overqualified or underqualified.
Professors Bertrand and Mullainathan's study is less susceptible to these concerns. First, they used a large number of names and inanimate résumés. Second, the job openings involved administrative, sales, clerical and managerial positions, and they submitted résumés patterned after real résumés of people who were actually seeking similar jobs.
Their most alarming finding is that the likelihood of being called for an interview rises sharply with an applicant's credentials like experience and honors for those with white-sounding names, but much less for those with black-sounding names. A grave concern is that this phenomenon may be damping the incentives for blacks to acquire job skills, producing a self-fulfilling prophecy that perpetuates prejudice and misallocates resources.
Two main theories explain labor market discrimination. One, known as taste-based discrimination, posits that employers or customers, co-workers or supervisors have a preference against hiring minority applicants, even if they know they are equally productive.
The other, known as statistical discrimination, assumes that employers personally harbor no racial animus but cannot perfectly predict workers' productivity. In this case, an employer assessing an applicant would assign some weight to the average performance of the person's racial group, instead of basing the judgment solely on the individual's merits.
A difference between these models is that employers sacrifice profits to indulge in taste-based discrimination, while, in principle, statistical discrimination, if based on accurate information, can help the bottom line. Professors Bertrand and Mullainathan cannot distinguish between the models and both may be applicable but they suspect that their finding that employers in heavily black areas of Chicago are less likely to discriminate against black-sounding names augurs for taste-based discrimination.
Nevertheless, either rationale for discrimination is illegal and prohibited.
"That which we call a rose," Juliet said, "by any other name would smell as sweet." An organization like the Civil Rights Commission or the Equal Employment Opportunity Commission could perform a service if it routinely monitored discrimination by conducting audit studies similar to Professors Bertrand and Mullainathan's.


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Music | Programs & Degrees
One Trinity Place
San Antonio, TX 78212-7200
Members of The Trinitones perform for the all-campus picnic following the presidential inauguration of Dr. Ahlburg.
At Trinity, you may participate in music as much as you wish. Many students perform in ensembles, take lessons, and enroll for a class or two. For those students interested in a concentration in music, several major programs and a minor are available. For further details regarding the study of music at Trinity as well as the Music Department's policies and procedures, please consult the Music Student Handbook.
Major in Performance: Students interested in a concentration in Performance generally enroll in the Bachelor of Music degree. Music studies comprise approximately two-thirds of the total curriculum, and include courses in Theory and Comprehensive Musicianship, Music History and Literature, Applied Music, Ensembles, as well as specialized courses in performance studied, literature and pedagogy, and many opportunities to perform in recitals and concerts. These opportunities include such areas as: organ, piano and vocal performancee.
Major in Composition: Within the Bachelor of Music degree, students may complete a program of studied in composition. Courses include Theory and Comprehensive Musicianship, Forms and Analysis, Counterpoint, Orchestration, Electronic Music, and private study in Composition. Music studies comprise approximately two-thirds of the total curriculum, with the remaining third in the Common Curriculum.
Music Education: Trinity University has created an innovative five-year program in teacher certification. During the first four years, students complete a Bachelor of Music degree in Choral, Instrumental, or Elementary Music. After earning the Bachelor's degree, students complete a summer session and a fifth-year internship that includes supervised student teaching in elementary, middle and high schools, where carefully selected teachers and conductors join university faculty members in providing a supportive, realistic initial teaching experience. Upon successful completion of the fifth-year internship, students are awarded a Master of Arts in Teaching (MAT) degree, together with all-level certification.
Major in Music: Students may complete a major in Music within the Bachelor of Arts degree program. Music studies comprise approximately one-third of the total curriculum, making it possible for many students to complete an additional major in another field of study. Courses include Theory and Comprehensive Musicianship, Music History and Literature, Individual Applied Instruction, Ensemble, Conducting and Performance Laboratory
Minor in Music: The minor is designed for students who wish to complete a concentration in music as a part of their liberal arts education. The program requires a total of 26 semester hours in music, including Theory and Comprehensive Musicianship, Music History and Literature, Individual Applied Instruction, Ensemble, and Performance Laboratory.
The Trinity Jazz Ensemble, under direction of Chip Burris, performs at the picnic following the inauguration of Trinity's 18th President, Dr. Dennis A. Ahlburg.