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Whirlpool Gold® 36-inch Convertible Island-Mount 400-CFM Glass Canopy Hood
This 36-inch glass canopy hood mounts above an island and not only provides excellent performance, but it simply looks great. It features a powerful 400 CFM motor and has three fan-speed settings and 6-inch round duct to work perfectly with your needs. The dishwasher-safe grease filter is a breeze to clean up, and optional recirculating and chimney extension kits are available. Its sleek glass design brings more elegance to your kitchen.
Dimension Guide
Detailed dimensions of your new appliance with space requirements for the area surrounding it.
Use & Care Guide
Comprehensive information about your new appliance - from getting started to cleaning and maintenance.
Warranty Information
A complete description of your warranty coverage, and contact information for service and support.
Installation Guide
Instructions for unpacking and installing your appliance, including electrical requirements and necessary tools.
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Top Features
400 CFM Centrifugal Blower
3-Speed Push Button Control
Dual Halogen Lighting (Bulbs Included)
Additional Features
Dishwasher-Safe Mesh Filters
7.0 Vertical Sones (Round)
Damper Included
Vertical Exterior Ventilation (6" Round Duct)
Convertible to Recirculating (Ductless Installation) - Optional Kit Required
Optional Chimney Extension Kit Available
Extends chimney height for ceilings over 9'. See installation instructions for details.
Air exhausts downward for versatile installation options
Downdraft Hoods
Configuration and Overview
Product Dimensions
- 25 3/16
- 33 1/4
- 36
Dimensions are for planning purposes only.
For complete information, visit service and support.


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For Kansas City Ballet's fall performances, Artistic Director William Whitener has struck a pleasing balance—he has assembled three Balanchine shorts, one comic and lighthearted, one lush and romantic, one stately and formal; and included a magnificent and moving modern piece, which may just have been the evening's highlight.
All in all, the program, which kicks off the Ballet's 2010-2011 season—its last before moving to the Kauffman Center—is a success, highlighting the company's trademark versatility across many dance genres and vocabularies.
Thursday evening's somewhat lightly attended premier at the Lyric Theatre began with the stately and traditional Mozartiana, featuring a succession of solos and group work, all set to Tchaikovsky's Mozart-like orchestral movements.
Next up, the Tchaikovsky Pas de Deux, featuring a score that was originally intended to be used in Swan Lake, highlighted the impressive athleticism of Michael Eaton and the grace of Kimberly Cowen, the latter flowing through classic lifts and leaps in a diaphanous peach dress.
Then, veering far from the Balanchine-Tchaikovsky canon was the strikingly beautiful modern piece Lark Ascending. Set on a dark, bare stage, soloist Stayce Camparo's graceful gestures evoked birdlike movements and flight. She was supported by a cadre of male dancers whose angularity and precision gave the entire piece, which is said to allude to the struggle for achievement and purpose in life, a poignant and haunting quality.
Last was the comic ballet Slaughter on Tenth Avenue, which the Ballet has decided to use as its principle point of publicity for these fall performances. Originally choreographed as part of the 1936 Broadway musical On Your Toes, and with music by Richard Rogers, this is the amusing story of a jealous Russian ballet dancer, clowned perfectly by Gabriel Davidsson, who plots to have a rival dancer assassinated. Big, boisterous crowd scenes, costumes and sets saturated in warm pinks and oranges, and comically outsized performances are Slaughter's stock, all of it well-supported by soloists Michael Eaton (who even tap dances) and the graceful Aisling Hill-Conner.
Musical accompaniment was generally well performed (aside from a screechy violin solo in one of the Tchaikovsky pieces) and the lighting designs were especially effective in Lark Ascending. However, I though sets for Slaughter on Tenth Avenue, though well suited to the staging, had an almost ticky-tacky quality, especially in the bar area.
The Kansas City Ballet's fall performances continue through the weekend at the Lyric Theatre in downtown Kansas City. For tickets and more information, visit the Ballet's website.

subset: commoncrawl


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The nex mall in Serangoon Central opened in November to much fanfare amid heightened expectations from residents in the area. It is currently Singapore's largest sub-urban mall with over 360 premium tenants and brands like Isetan, FairPrice Xtra, Shaw Theatres nex, Cold Storage and Courts.
Besides being a place for residents in the area to shop, play and run errands–the SkyGarden on its top floor has a dog park for pets and a dry and wet children's playground, and the Serangoon Public Library is set to open soon–nex is fast becoming a go-to destination for foodies. Visitors can indulge in their very own gastronomic adventure with over 90 food and beverage (F&B) including familiar favourites like Crystal Jade Kitchen, Putien, Sushi Tei and Carl's Jnr.
Here are our pick of some of the most interesting F&B choices at nex:
Unit: #B2-48/49
Opening hours: Mon-Fri:10am-10pm; Sat-Sun: 10am-10.30pm
The opening of this first Singapore outlet of the Japanese cult burger chain is one of the most anticipated launches in nex. Among the things that fans love most about Freshness is its fresh and natural ingredients that include some organic selections.
Every menu item is freshly made, including its freshly-squeezed-on-the-spot orange juice. Freshness serves organic coffee and tea, and uses natural ingredients and unique items like pumpkin buns and potato wedges that are imported straight from the chain's very own potato farm in Hokkaido, Japan.
Besides the fresh factor, the burgers here are also very unique and different from those offered at other burger joints in Singapore. The 'spam burger', with its thick slice of fried luncheon meat that's paired with gooey fried egg, brings back comforting childhood memories. The 'tofu vegetable burger' gets a zesty kick from chunky guacamole.
Besides the nex branch, Freshness also has a presence in The Central and Century Square Shopping Centre. There are plans to open at least three more outlets this year.
Must-tries: spam burger ($4.50), tofu vegetable burger ($5.90), pop over ($3.30).
Freshness Burger
Broaster Chicken
Unit: #B2-02/03/04
Opening hours: Daily: 10.30am-10.30pm
Broaster Chicken has been an American tradition since 1954 and now, it is available in Singapore. Fans swear that the chain's special combination method, of combining pressure cooking and deep frying, works to produce a more tender, juicy and flavourful chicken. Each chicken piece is marinated in a special solution for eight hours and is only coated with flour and fried upon order.
Previously, Broaster Chicken was only available in big 7-Eleven outlets like the one in Serene Centre and Sengkang Sports & Recreation Centre. Now, its standalone restaurant at nex is drawing the crowds who come for the two-piece chicken set–the mash potato is exceptionally good–as is the very conveniently packed boneless chicken with cheese.
Must-tries: boneless chicken with cheese ($4.90), 2-piece chicken set ($6.90)
Unit: #B1-08
Opening hours: Mon-Thur: 11am-10pm; Sat, Sun, PH eve & PH: 11am-10.30pm
This innovative outlet features all things laksa. Penang assam laksa, Singaporean laksa lemak and Sarawak laksa–you name it, they have it. The menu also features other laksa-based dishes, like laksa lasagna (layers of pasta, chicken and taupok smothered in a laksa sauce, topped with cheese and grilled) and laksa fish burger (grilled fish fillet served on a bed of greens, in a burger bun, topped with laksa sauce).
When you dine at this restaurant, you are doing good too as Laksania is a part of an emerging breed of social enterprise who do business with a heart. Mentally-ill patients from the Institute of Mental Health (IMH) are hired to prepare ingredients such as fish, chicken and the spicy rempah paste at a central kitchen located within IMH.
Said Laksania spokesman Tay Su Yin, "These groups have benefited from on-the-job training in the various aspects of F&B and have been fully integrated into our business model. To further contribute to the community, our future plans involve the hiring of other marginalised groups to work in the various eateries."
Must-tries: laksa lasagna ($8.50), laksa fish burger with fries ($8.50), Singapore laksa ($6.50)
Unit: #01-61/62
Opening hours: Daily, 11am-10pm
Call it tacky if you wish, but there is no doubt this nautical-themed restaurant brings back nostalgic memories. The original The Ship, complete with lighthouse, anchors and flags, is located in Shaw Centre and was started by a group of sailor-friends back in the 1960s. The nex outlet is the currently the restaurant's only branch outside of the city area. It is similarly decorated and serves the same Western and Asian dishes that The Ship is well known for, including 'chicken Maryland' (chicken cooked Southern style, with bacon, fried banana and corn fritters) and 'ship steak'.
The Ship spokesman Stella Yun says, "We decided to choose nex for our second outlet because we have a history in the area. We used to have a branch in Serangoon Central years ago and it does evoke a sense of nostalgia to come back to the same area.
"We also want to introduce our restaurant to families and the younger crowd, and nex has a good mix of brands which are likely to draw them in."
Must-tries: chicken Maryland ($15.90), escargot bourguinonne ($13.90 for half dozen), ship steak ($34.90)
The Ship Restaurant
Unit: #B2-57
Opening hours: Daily: 11am-10.45pm
Bright, cheery and fun–that's what you feel when you step into the Glacious store. Fashioned like a playground for frozen yogurt lovers, guests are free to mix and match their own yogurt flavour combination from the self-serve machines. Then, customise your dessert further by adding the toppings you desire. The dry toppings, like granola and raisins, are dispensed from hygienic dispensers, ensuring a fuss-free experience as well as the freshest possible toppings.
You pay by weight for all yogurt and toppings–$0.30 per 10g or $0.35 per 10g if you choose toppings from the premium range.
Glacious, which also has a take-away branch at Bukit Panjang Plaza, said that its best sellers include the mango and original frozen yogurt. New flavours are introduced regularly so keep up with what's fresh and available on the Glacious Facebook page or on the @glacious_yogurt Twitter channel.
Must-tries: mango and original flavour
Don't Miss These Giveaways:


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Cumulative impacts assessment along a large river, ...
|Cumulative impacts assessment along a large river, using brown bullhead catfish (Ameiurus nebulosus) populations
|D. W. West, N. Ling, B. J. Hicks, L. A. Tremblay, N. D. Kim, Michael R. van den Heuvel
|Environmental Toxicology and Chemistry / SETAC
|Start page
|End page
|The effects of point-source and diffuse discharges on resident populations of brown bullhead catfish (Ameiurus nebulosus (LeSueur, 1819)) in the Waikato River (New Zealand) were assessed at sites both upstream and downstream of point-source discharges. At each site, the population parameters, relative abundance, age structure, and individual indices, such as condition factor, organ (gonad, liver, and spleen) to somatic weight ratios, and number and size of follicles per female, were assessed. Physiological (blood), biochemical (hepatic ethoxyresorufin-O-deethylase [EROD] and plasma steroids), and other indicators (bile chemistry and liver metals) of exposure or response also were measured. No impacts on brown bullhead health were obvious at individual geothermal, municipal sewage, or thermal discharge sites or cumulatively along the river. Brown bullhead from the bleached kraft mill effluent site showed elevated levels of EROD, decreased numbers of red blood cells, increased numbers of white blood cells, and depressed levels of sex steroids. However, growth rates, condition factor, age structure, and gonadosomatic index suggest that discharges with significant heat or nutrients benefit catfish despite physiological impairment at one site. Consideration of brown bullhead population-level responses to discharges in a monitoring framework revealed three different population-level response patterns resulting from the point-source discharges.
Using APA 6th Edition citation style.
Times viewed: 479


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Wordpress, Social Media, MarketingBookmark This
1201 South Parker Road Unit 203
Denver, CO
Posted: August 20 2014
Always be on the alert for potentially fraudulent job postings online - never send money to a potential employer.
DescriptionARMA is looking to bring on an intern with strong knowledge and understanding of the digital media landscape, including various social media websites. Company is currently redesigning our website, and will soon launch a social media / marketing campaign. The intern hired for this position will need strong critical thinking skills in order to integrate into our vibrant and passionate team who are very excited to share this exciting launch with an intern hoping to gain a ton of great online experience. Wordpress, SEO, web development and marketing skills needed.
Responsibilities- Utilizes social media to engage with a community of fans/followers online
- Help build a WordPress CMS website for Restaurant Technology
- Coordinates online marketing and advertising campaigns
- Collaborates with staff on projects and assignments
- Demonstrates interest in social media and how media and communication strategies can continuously engage the online community
Requirements- WordPress and SEO skills
- Restaurant Experience as either a server, bartender or manager
- Social networking skills and knowledge
- Possesses skills in writing, presentation, interpersonal relations, and customer management
- Performs well in environment that values creativity, flexibility, and variety
- Exhibits personal qualities, such as open-mindedness, enthusiasm, and adaptability
- Prefers challenges, fast pace, new ideas, future focus, and unstructured environment


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Jun 25, 2014 9:05 AM
While an elephant never forgets, a fashionista never forgets a wickedly cute elephant print. Though simple, the Eliza V-Neck T-Shirt Dress ($98) still manages to make a statement - regardless of whether your metaphorical "trunk" has any junk in it.
If you've got a product or service that you'd like to promote on Outblush, click here to find out about our advertising opportunities.
Outblush is a blog for girls who love to shop. Our staff digs up the best clothes, home stuff, beauty items, and more. New items are posted every day — bookmark us and check out:


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Minister for Health Mary Harney has indicated that the Government is 'unlikely' to be in a position to make any further incentives available to GPs to build and equip new primary care centres.
Responding to a question in the Dáil from Labour TD Ciarán Lynch, Ms Harney said that the HSE was offering to take 25-year leases at agreed rates in primary care centres that have GP involvement. "GPs and health professionals entering such centres are doing so at very attractive rates, which developers can only offer because of the security and value of the HSE lease," she stated.
However, she added that, given the current economic climate, further incentives along the lines suggested by the Joint Oireachtas Committee on Health in its report on 'Primary Medical Care in the Community', published in February, were unlikely.
The Oireachtas Committee felt there needed to be a range, albeit limited, of different appropriate incentives available to facilitate the various primary care project models and geographic demands.
A menu of possible incentives that could be considered by the Departments of Health and Finance included: capital tax allowances against all income; stamp duty relief on the purchase of a site; double rent relief for health professional tenants; and double the interest relief on all loans, and capital investments, for owner occupiers.
The provision of a tax relief for significant innovation and/or delivery of new clinical services not previously available in primary care was another option, the report stated.


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Golf Tech Golf Shorts
These shorts are ready for sunshine with a moisture-wicking finish and UPF 50+.
Stripe It Golf Shorts
This winning look will keep you cool on and off the golf course with dryCELL technology and a UV resistant finish.
Plaid Golf Shorts
Take comfort and sophistication on and off the golf course in this Plaid Short. Enhanced bio-based wicking finish, UPF +40 sun protection and dryCell technology will make the competition sweat.
Monolite Golf Shorts
Regular Price: $70.00
Special Price: $45.99
As cool and comfortable as they come, these slim fit shorts are a golf go-to.
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- $40.00 - $49.99 (1)
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Parks Canada
Home > Learn and Discover > Street View for Google Maps
A Parks Canada team member hikes with the Street View Trekker in Tuktut Nogait National Park, Northwest Territories © Parks Canada, 2014
Thanks to an ongoing collaboration between Parks Canada and Google, you can now explore highlights of many Parks Canada places using Street View for Google Maps.
Pick your favourite Parks Canada place from the list of locations currently within Street View or learn more about how to best use Street View to explore Parks Canada places.
To learn more about the collaboration between Google and Parks Canada, visit our webpage describing the Google-Parks Canada Street View Project.


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Upgrade for a Better Experience
Canandaigua National Bank & Trust would like to encourage all of our customers to update their internet browsers as new releases are made available. Using the most recent browser version ensures the best security, design experience, speed and functionality.
Continue to CNBank.com
If you have any comments or concerns, please contact our Customer Call Center at 585.394.4260 ext. 0.
Security Center | Customer Support | Contact Us
In this issue: Do You Have the Right Medicare Coverage?, Social Security: When is the best time to start collecting?, and Life Insurance Options Later in Life.
One of the challenges of planning for retirement is that an unexpected event, like divorce, can dramatically change your retirement income needs. If you were counting on your spouse's Social Security benefits to provide some of your retirement income, what
Of the topics covered in my columns over the past years, the one that has generated the most interest and questions is "How can I maximize my Social Security retirement benefits?".The issues of most interest are Do I have a
After announcing that benefits increased 1.5% for 2014, the Social Security Administration provided some other information that may be of interest.Benefits. The average benefit payable to retired workers is an estimated $1,294 a month (as of January 2014). Retired couples
We previously published articles dealing with preferred strategies for claiming Social Security retirement benefits. What is not appreciated by many is that by managing claiming strategies carefully, it is possible to build the equivalent of a sizeable longevity insurance benefit
Many retirees consider the decision of when to start receiving Social Security benefits to be a no brainer. But life is not that simple. This may be the most important decision faced by retirees. Making the wrong choice can mean
In 1955, the life expectancy of the average American was 69.6 years. By 1995, it was 75.8 years. Twelve years later, life expectancy reached a new high of 77.9 years, according to the latest information from the Centers for Disease Control and Prevention. While certainly positive, these statistics may only add to the pressure many people already feel about their lack of retirement savings.
If your marriage has ended and you are single again, make sure all your financial arrangements reflect your new status. Here are a few tips to help get your new financial life off to a good start. Tip #1 Change
You know that you are eligible to begin receiving Social Security benefits as early as age 62. But are you aware that depending on your income those benefits could be taxable? Wouldn't you like to increase your net income (after
When to begin taking Social Security retirement benefits is one of the most important decisions facing retirees. The decision for married couples is complicated by options that are unavailable to singles not previously married. A married couple having average life
I recently received a call from a local resident who is about to retire. He already had an appointment with Social Security but wanted to speak to me about the rest of his retirement assets. I explained that we should
One wonderful aspect of Social Security is the fact that a spouse who has little or no lifetime earnings can receive benefits based on the work history of his her spouse, ex spouse or deceased spouse. Although this scenario isn't
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Klitschko vs. Haye
Saturday, July 2, 2011
Imtech Arena
Hamburg, Germany
- Wladimir Klitschko vs. David Haye is an upcoming heavyweight unification fight for the WBA, WBO, IBF, IBO, and The Ring heavyweight titles.
-Tale of the Tape-
Wladimir Klitschko
Nickname: Dr. Steelhammer
Hometown: Kiev, Ukraine
Record: 55–3–0–0 (49 KO)
Height: 6 ft. 5 in. (1.96 m)
Weight: 247 pounds
Style: Orthodox
Titles: WBO/IBF/IBO/The Ring Heavyweight Champion
David Haye
Nickname: Hayemaker
Hometown: London, England, United Kingdom
Record: 25–1–0–0 (23 KO)
Height: 6 ft. 3 in. (1.91 m)
Weight: 210.5 lbs.
Style: Orthodox
Titles: WBA Heavyweight Champion
* Coverage for Klitschko vs. Haye will begin in the United States at 7:45 p.m. EST / 4:45 p.m. PST. *


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Do you reside in or have a loved one in Honeycreek Retirement Village ?
To be the first to provide feedback on Honeycreek Retirement Village click here...
Description of Honeycreek Retirement Village in Grove, OK
Honeycreek Retirement Village, located in Grove, Oklahoma provides the following services: Senior Community. Honeycreek Retirement Village has a very good hospital, Integris Grove General Hospital, located nearby, which scored a 84 out of 100 in its most recent Medicare review. The Honeycreek Retirement Village's nearest hospital is 2 miles away. The zipcode (74344) in Oklahoma, where Honeycreek Retirement Village is located, has an average safety rating based on recent crime statistics.
Honeycreek Retirement Village is a Senior Community. Senior communities are for seniors who can take care of themselves. It is often a set of apartments in a variety of sizes from studios to large two bedrooms, where seniors live independently, but may receive additional services like transportation, pools, a convenience store, bank, barber/beauty shop, resident laundry, housekeeping, and security, are all services and amenities that may be provided there.
Cost Of Living
Compared to the National Average
Provided By EPA; Closer to 100 is better
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Have you ever experienced a moment of panic before you got ready to pitch a proposal, deliver a talk, or convene a meeting? I'm not referring to butterflies in your stomach or simple stage fright. I'm talking about being stopped in your tracks with a feeling of such tremendous self-doubt that your confidence was shot. Welcome to the non-exclusive club of millions of professional women (and men) who experience the imposter syndrome. Dr. Valerie Young is an internationally known speaker, author, and expert on women and the Imposter Syndrome. Her book — The Secret Thoughts of Successful Women: Why Capable People Suffer From the Imposter Syndrome and How to Thrive In Spite of It [3] (Crown Business, Random House) — is a fascinating look into how so many accomplished and capable people suffer from self doubt.
A self-described "recovering imposter," Young remembers her own experience in graduate school when she succumbed to feelings of self-doubt and failed to recognize and celebrate her accomplishments. The Imposter Syndrome is a major psychological phenomenon that is extremely prevalent in the career world.
There are high-achieving, celebrity, Imposter Syndrome sufferers, including Tina Fey, Maya Angelou, and Sheryl Sandberg, who openly admitted to feeling like an imposter at some point during their careers. Young says, "When you feel yourself sliding into competence extremism, recognize it for what it is. Then make a conscious decision to stop and really savor those exhilarating mental high points and forgive yourself for the inevitable lulls."
That's what Tina Fey does, as excerpted from Young's book: "The beauty of the impostor syndrome," says Fey, "is you vacillate between extreme egomania and a complete feeling of 'I'm a fraud! Oh God, they're on to me! I'm a fraud!' So you just try to ride the egomania when it comes and enjoy it, and then slide through the idea of fraud."
Another type of imposter never achieves success, according to Young, because the imposter syndrome holds them back from moving forward with their goals: "The thing about 'impostors' is they have unsustainably high standards for everything they do. The thinking here is, 'If I don't know everything, then I know nothing. If it's not absolutely perfect, it's woefully deficient. If I'm not operating at the top of my game 24/7, then I'm incompetent.'"
Fakes & Frauds
Imposter feelings need to be normalized so we can understand that the circumstances are situational. The imposter syndrome is not a mental illness but a phenomenon that afflicts many whose work is constantly being reviewed by a subjective audience.
Consider the creative careerists and those who use skills in writing, design, performance, or marketing, as an example. These professionals often only feel good when they garner rave reviews because their work is appreciated by a subjective audience.
First-generation professionals and college students often feel like they are frauds who don't deserve to be charting a new path. Women in STEM careers (science, technology, math and engineering) are a still minority in the workforce, and they often succumb to the pressure of feeling they need to represent all women in STEM fields. They often believe they are not worthy or good enough even when very accomplished. This is a classic example of the imposter syndrome at work.
Take a Risk
When opportunity knocks with a new job, promotion, or a chance to take a risk, women often feel the imposter syndrome take hold. Young suggests the imposter syndrome gives us an opportunity to drill down and ask if the new opportunity is fear based. Sometimes it's a question about whether the new promotion, for example will really provide you with an authentic path that honors your values. It begs the question — how do you define success? The feelings of self-doubt are normal, and in the best-case scenario, it prompts one to self reflect on what really matters. According to Young:
"While the impostor syndrome is not unique to women, they are more likely to agonize over tiny mistakes and blame themselves for failure, see even constructive criticism as evidence of their shortcomings; and chalk up their accomplishments to luck rather than skill. When they do succeed, they think 'Phew, I fooled 'em again.' Perpetually waiting to be "unmasked" doesn't just drain a woman's energy and confidence. It can make her more risk-averse and less self-promoting than her male peers, which can hurt her future success."
Did You See Her Hair?
It's very well documented that girls and women are more likely to internalize failure and mistakes while boys and men are more likely to externalize these. Young cites a classic cartoon example where a woman tries on a pair of pants that no longer fit, and she says, "I must be getting fat." While a man tries on his ill-fitting pants and states, TThere must be something wrong with these pants."
Women tend to assume it's their issue and blame themselves. There is a social and cultural bias and women can be the worst offenders. Have you ever watched an Academy Award show and a famous actress (any will do) approached the stage to receive her coveted award, and you murmured, "I can't believe she is wearing that dress!" Women tend to be very critical of each other so fostering a culture of self-confidence needs to start with women supporting other women.
Own Your Confidence
Don't wait till you feel confident to act confident. It's important to have humility to admit when you don't know something. A way to build confidence is to be authentic and accept that you don't need to know everything.
Young talks about an unrealistic Competency Rulebook. Women set very unrealistic expectations for themselves and the imposter syndrome then has a ripe environment in which to thrive. Women must stop being their own worst enemies. It's impossible to know everything and women need to give themselves a break. Perfection is unattainable so women have to stop waiting to achieve perfection and celebrate the strengths they already own.
According to Young, it's time for women to be bold.
"Being bold is not about being right, being perfect, or knowing it all. Rather it is about marshaling resources, information and people. It involves seeing problems as opportunities, occasionally flying by the seat of your pants, and ultimately being willing to fall flat on your face and know you will survive."
You've heard the adage "fake it till you make it," but Young takes this a step farther. She encourages us all to find the chutzpah artists in our world who take life by the horns and have the moxie and the courage to make things happen. We can learn so much from these courageous souls by tapping into their willingness to take a risk. Start observing the confident people around you and model their behavior.
The Imposter Syndrome can start at tender age so Young encourages parents to be communicative with their kids and address adversity, resilience, and self-confidence early on. Young points out:
"Research shows that even as girls, women are more likely to blame ourselves when things go wrong. We're also more apt to give up following a setback. Since failure and mistakes are inevitable, bar none the best thing parents can do is to help their daughters understand the learning value of failure and to gain confidence from overcoming adversity rather than running from it. It's okay to falter. The key is to get back in the game and try, try again."
What's a Woman to Do?
Self-confidence is attainable. Expand your comfort zone incrementally toward a stretch goal. Baby steps will allow you to truly own what you do well and learn to turn off the negative mental self-talk that often surfaces. The imposter syndrome can emerge during performance evaluations or review time when you feel most vulnerable at work. By focusing on what you love to do, you can reprogram you brain to also believe that you do these things really well. Take time to enjoy your strengths and don't set unrealistic goals of perfection. Celebrate what you've already done well.
What is your negative internal script saying? What do you want the positive voices to say instead? Revel in your excitement, anticipation, and successes and become O.K. with the fact that you can and will make mistakes. When professional athletes don't win the big game, they watch the playback tape, learn what they can do better next time, and get back into the game.
Pull up a chair — invite yourself to the table, and give yourself permission to own your strengths and your self-confidence. The Imposter Syndrome is very real but you also have the power to silence this negative self-talk so you can enjoy your life and your career.
Be sure to check out Young's book for great strategies on how to thrive in spite of the imposter syndrome.


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I use VPN to connect to my company's wiki/email/etc. when I'm not in the office. Does VPN encrypt all the traffic between my laptop and the Internet (that is, even non-company hosts such as google.com, etc.) or does it only encrypt traffic between my laptop and the company wiki/email/etc. hosts?
If I'm on a cafe's free wifi, will connecting to the corporate VPN encrypt all of my traffic or just my traffic to the corporate hosts?


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Photo of the Antarctica
Service Medal
Civilian participants who deploy to an Antarctic research station or vessel and remain south of 60 degrees South latitude are eligible to receive an Antarctica Service Medal and Certificate from the National Science Foundation.
Eligibility is based on cumulative service of at least 30 days prior to September 30, 2008. After October 1, 2008, eligibility is reset and based on cumulative service of at least 10 days.
For military personnel eligible for this award, please contact your command.
Background and History of the Antarctica Service Medal
Civilian medals and certificates have been mailed for the following seasons:
If you are eligible to receive a medal and certificate and have not, it may have been returned to us because we do not have your most current address on file.
Please send a written update of your name and address to:
Antarctic Support Contract


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Indian captain says Australian selectors lost first test
The Indian cricket captain MS Dhoni added to Australia's misery following their eight-wicket first-test loss in Chennai on Tuesday by claiming the tourists had lost the match at the selection table.
India's spinners claimed 20 Australian wickets on a turning red-clay pitch in Chennai to bowl Michael Clarke's side out twice.
Australia's offspinner Nathan Lyon had a tough initiation to test-match conditions in India with match figures of four for 244, and Dhoni was surprised that they didn't include Xavier Doherty as a back up spinner.
Australia's captain Michael Clarke countered Dhoni's claim, saying it's more a question of performance than selection.
Next story in Sport: Black Sox beat Czechs in warm-up
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text: Albert Bierstadt (American, born Germany, 1830-1902). A Storm in the Rocky Mountains, Mt. Rosalie, 1866. Oil on canvas, 83 x 142 1/4in. (210.8 x 361.3cm). Brooklyn Museum, Dick S. Ramsay Fund, Healy Purchase Fund B, Frank L. Babbott Fund, A. Augustus Healy Fund, Ella C. Woodward Memorial Fund, Carll H. de Silver Fund, Charles Stewart Smith Memorial Fund, Caroline A.L. Pratt Fund, Frederick Loeser Fund, Augustus Graham School of Design Fund, Museum Collection Fund, Special Subscription, and John B. Woodward Memorial Fund; Purchased with funds given by Daniel M. Kelly and Charles Simon; Bequest of Mrs. William T. Brewster, Gift of Mrs. W. Woodward Phelps in memory of her mother and father, Ella M. and John C. Southwick, Gift of Seymour Barnard, Bequest of Laura L. Barnes, Gift of J.A.H. Bell, and Bequest of Mark Finley, by exchange , 76.79 (Photo: Brooklyn Museum, 76.79_SL1.jpg)


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Alcohol is a legal drug; it seems fairly certain that despite the massive societal costs in traffic and other accidents, lost worker productivity, destroyed homes and lives, it will remain legal. Yet it is not entirely unregulated, and it might be worth considering better ways to regulate it. This is of particular significance as the country is considering legalizing other substances which could impair performance, such as marijuana. Making it legal to use such substances recreationally makes it more likely that there will be the kinds of negative consequences (such as traffic accidents) from use.
Alcohol is, of course, regulated. It is a crime to sell it or to give it to minors, with the very controlled exceptions of parents serving it within their own homes and religious organizations serving it in small quantities in rituals. Anyone of legal age can purchase it and consume it. It is assumed that all adults will drink responsibly. That is patently false, but it is the presumption of the law.
Of course, if you fail to drink responsibly, you are still permitted to drink; however, if you drink and drive we will deprive you of your right to drive. Your driver's license will be suspended, possibly revoked. You will also pay fines, and you might face jail time. This, though, does not prove to be all that practical a solution. For one thing, people who are intoxicated are irresponsible by definition; they lack the ability to make sound choices, and to recognize their own inability. Nearly every drunk who is conscious believes himself to be sober enough to drive, and the drunker he is the less likely he is to believe he is impaired. He also is less likely to remember that his license is suspended. For another thing, in many parts of this state, at least, depriving someone of the ability to drive often deprives him of the ability to work, stranding him in a situation in which he is more likely to drink more, part of a downward spiral that turns working class functional alcoholics into street beggars.
Perhaps, then, we should consider a different approach. We should license drinking. Anyone who wishes to consume alcohol must obtain a license, and it would be a crime to consume alcohol without a license, and a crime to sell or serve or provide alcohol to anyone who does not have a license. Licenses would be available for a reasonable fee--money to fund alcoholic treatment programs and alcohol-related accident costs--to anyone who meets the minimum age requirement; a simple test covering the laws concerning alcohol use might be given. It would have to be presented in bars, restaurants, liquor stores, even at private parties, much as it is required now to present proof of age for cigarettes and alcohol purchases, but for everyone. Then if someone is stopped for driving while under the influence, we can suspend their drinking license, and so make it more difficult for them to obtain alcohol. The same penalty could be applied to convictions for "drunk and disorderly", and for parolees (who are technically banned from consuming alcohol while on parole) and other persons whom we determine should not be legally permitted to drink, and we could suspend the drinking license of anyone convicted of providing alcohol to unlicensed drinkers. If we make unlicensed drinking a crime, it becomes easier to stop people from driving under the influence.
One of the benefits of such a program is that it is easily expanded to cover other drugs, should other drugs be legalized. If we want to make marijuana legal, we undoubtedly want to control who is permitted to use it, and to be able to prevent people from using it whose use presents a clear and definable threat to themselves or others--people who drive under the influence, for example. It is probably easier to prevent a habitual abuser from using than to prevent an impaired user from driving while impaired.
There would of course be problems to resolve. How would the program handle out-of-state guests? Would it be a crime for an unlicensed resident to drink while out of state and return to the state under the influence? These are details. The core idea is sound, and worth consideration. Keep alcohol legal; make it harder to obtain by those who cannot use it responsibly.
Then if we decide to legalize other drugs, we will already have a system in place to bring such substances into use responsibly.


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Welcome to Leadership Collierville!
Established in 1994, Leadership Collierville is an outgrowth of the State of Tennessee Three-Star Community Economic Preparedness Program. It is a non-profit, non-partisan community-based organization which provides participants insights into how Collierville functions by hosting educational training sessions to assist members in developing leadership skills to become better informed citizens.
Our adult program runs from October to May and offers monthly education and training sessions on the Collierville community, including government, diversity, education, business and economics, and much more. The men and women selected each year represent a diverse cross-section of the Collierville community.
We also offer a youth program - Youth Leadership Collierville - which is a seven-month program for sophomore and junior high school students living in Collierville, who attend public or private schools or are home-schooled.
2015-16 Applications Now Available
Applications for the 2015-16 Leadership Collierville adult and youth classes are now available. Download them now and submit it to Leadership Collierville for consideration in the upcoming classes.
For more information, contact Terry Dean at, 853.1949 or email@example.com.
Thanks to our sponsors!


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Five time NCAA Regional Champion Ricci Woodard expertly details the fundamental techniques of successful hitting and slapping. Also, Coach Woodard reveals the approach to infield fundamentals that has made the Bobcats a perennial powerhouse in the Southland Conference. You learn what to do-and how to do it.
Softball Triple Threat: Slapping, Bunting & Hitting
Building a Championship Infield
Purchase the Ricci Woodard's Hitting and Fielding for Softball 2-pack and save $10!
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This is to get some clarity, I know the two words have nothing to do with each other but they sound so similar that I caught myself saying "locally convex" when I really meant "uniformly convex" and the other way around. Perhaps it would help me if you could tell me whether my understanding of why they are called that is correct and correct me if it's wrong. So here goes:
A uniformly convex space is a space such that for any two points $x,y$ that I pick on the unit ball, if the line between them is $\varepsilon > 0$ long then the midpoint $\frac{x+y}{2}$ is $\delta > 0$ away from the boundary of the ball. (by that I mean that the the absolute value of the midpoint is less than $1$)
I am not sure how this is much different from saying that the unit ball is convex. It makes me think that every point in the space has a convex neighbourhood basis that is, that for every neighbourhood $N$ I can find a ball inside it (by scaling and shifting of the unit ball) that is contained in $N$. Not sure I am using the right words. This understanding must be wrong because if that was the case one should call the space "locally convex". Perhaps this is the cause of my confusion?
On the other hand, as far as I understand, a locally convex space is a vector space together with a collection of seminorms that is endowed with the weakest topology such that all the seminorms are continuous. I think this means that any neighbourhood of any point in the space contains an intersection of open balls $B_{\|\cdot\|_\alpha}$ where $\|\cdot\|_\alpha$ are seminorms. So here it seems more obvious that I should call the space locally convex, since if I pick a neighbourhood I can intersect convex open sets to get a convex open set inside it.
So my question is: which parts of my current understanding are right and which aren't? Thanks for your help.


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Class 10th (ICSE) & Class 12th (ISC)
ICSE, ISC results out today
Over 8,600 ICSE and ISC students from the city await their fate with bated breath.
Over 8,600 ICSE and ISC students from the city await their fate with bated breath.
The Council for Indian School Certificate Examination (CISCE) will declare the results of Class X (ICSE) and Class XII (ISC) at 3pm on Saturday. These examinations were conducted in February-March.
Shruti Narkar, an ICSE student, said she has lost her appetite. "There are butterflies in my stomach as I await my results. I am expecting to score above 85%."
It is not just Mathematic and Science that is giving students nightmares, they actually fear their performance in the Environmental Studies (EVS) paper. For the first time this year, the EVS paper was application-based and students say they found it extremely tricky.
Carl Laurie, principal of Christ Church School in Byculla, said, "The EVS paper format was a little different this year. There were many application-based questions. So students are worried about the outcome.''
A total of 1,32,922 students appeared for the ICSE exam of which 7,823 were from the city. In the case of ISC exams, a total of 59,905 students appeared for the exam all over the country of which 786 were from Mumbai.
Users can log on to anyone of the following websites to view the results:


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Percussion group's unique performance will wow the crowd
Experience a totally unique style of performance with Junk Rock, a percussion group performing on Thursday, Oct. 10 at noon in the Williams Building Student Center at Penn State Fayette, The Eberly Campus. This event is free admission and is open to the public.
Performing on oil drums, plastic tubes, milk vans, and various unusual objects, Junk Rock makes the audience a part of every show. With comedic wit, virtuosic drumming, and distinctive showmanship, Junk Rock delivers a truly dynamic performance.
For more information, visit the website at fayette.psu.edu or contact the Office of Student Life at 724-430-4248.


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Recharge prices are final and there will be no refund or exchange permitted. Please be advised that you will be responsible for incorrect viewing card number you purchase recharge for and all charges that result from those purchases. Dish Tv Recharge International is not responsible for any purchase of recharge for the incorrect viewing card number.
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This is an automatic process and will be followed in all cases, however, for cases where you have received a success confirmation but not received a recharge or any other case you are welcome to log a complaint by sending an email to email@example.com and we will provide you a quick resolution.
Kindly note, in all cases our liability is only restricted to providing you a valid recharge or refund to the extent of payment received by us. We shall not be responsible for any other claim or consequential liability arising out of a failed recharge on our system.


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By Cortney Ofstad
February 11, 2014 | Vol. 95, No. 35
Cortney Ofstad/Daily Globe
TRUSTEE KATHY Maki, center, speaks about payments to the Gogebic Range Area Solid Waste Authority for garbage collection during a meeting Monday of the Ironwood Township Board of Trustees. Listening in are supervisor Al Baron and trustees Kevin Lyons and Bernie Brunello.
IRONWOOD TOWNSHIP - The Ironwood Township Board of Trustees held a short meeting Monday evening.
During the meeting, the board approved a motion for a pre-payment to the Gogebic Range Area Solid Waste Authority. The payment is $20,000, and according to trustee Kathy Maki, the township is "paying for the garbage collection ahead of time, then having collection costs deducted until the $20,000 is paid back."
Maki said if the payments were going by shares of the solid waste authority, Ironwood Township would be paying more than $20,000 because "we're bigger."
A motion was approved to pay the solid waste authority, and board members said it was "a good deal."
The board also approved a motion to appoint resident Rudy Grbavcich to the Ironwood Carnegie Library Board to represent Ironwood Township.
During previous meetings, when the township's funding of the library came under questions, Grbavcich spoke out against paying the library a fee of $16,500. Since then, the township agreed to pay the library $2,303, an average of $1 per resident according to 2010 Census data.
Grbavcich spoke during public comment on Monday's meeting to clarify his stance on the library.
"I have been quite vocal about the library, but the issue was never the library," Grbavcich said. "My issue was with the means of funding."
Grbavcich said problems would arise if a millage was imposed on residents to fund the library, and the "tax and spend attitude" of the city of Ironwood, was not going to be his stance.
"I believe the library should be a more volunteer-based library, less spending," Grbavcich said. "And that's what I'm going to look for, unless told otherwise."
Other business
Supervisor Alan Baron thanked Steve Tiziani and Ruotsala Construction for opening up Lost Lake for winter recreational use.
Treasurer Jyl Olson-DeRosso updated the board on Frost Fest, coming up Feb. 22 from 10 a.m. to 2 p.m. at the Ironwood Township gym. According to Olson-DeRosso, 20 of the 25 tables are filled for the event.
Trustee Steve Boyd updated the committee on the Ironwood Township Planning Commission's progress with the drafting of the zoning ordinance.
According to Boyd, the commission has been making progress and "finally moving forward" with the project. Olson-DeRosso asked when a copy of the draft ordinance would be made available to the public and Boyd said it would be a couple of months.
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With a so-called "supermoon" rising over the mountains and perfect weather greeting the crowd, Red Butte Garden got a serious taste of New Orleans Sunday night, courtesy of Galactic and Trombone Shorty & Orleans Avenue.
The co-headliners both bring different flavors of the Big Easy in their shows and respective sounds. Galactic delivers a funk-infused bit of jam-band dance music that these days leans toward blues-rock thanks to the presence of vocalist Maggie Koerner. And Trombone Shorty and his band Orleans Avenue rely on a stellar horn-section led by the versatile leader who bounced between singing and playing along with a variety of instruments--he's no one-trombone trick pony.
Galactic started the proceedings with a set alternating between instrumental jams and songs featuring Koerner--a formula later copied by Trombone Shorty. Koerner first made her considerable presence felt on "Higher and Higher" early on, as well as "Dolla Diva." And while her flowing purple dress and powerful pipes made her a constant focal point when Koerner was on stage, the musicians in Galactic are too strong to stay on the sidelines. Trombone player Corey Henry and drummer Stanton Moore consistently took command of the proceedings when the mood struck them--Henry with his boisterous playing and crowd interaction, and Moore though his propulsive percussion.
Among the other highlights of Galactic's set were "Doesn't Make a Difference at All," "Should've Known Better" and a scorching closing cover of the Rolling Stones' "Gimme Shelter."
Trombone Shorty & Orleans Avenue took the stage to a surprisingly heavy rock instrumental before the horns took over and a more traditional New Orleans vibe came in. Trombone Shorty (real name: Troy Andrews) is an engaging frontman, chatting up the crowd between taking turns on vocals, trombone, trumpet and tambourine. On Sunday, his repeated exhortations to the crowd that it was time to party were both endearing and completely unnecessary given how Galactic started the show.
The instrumental workouts from Andrews and Co. were my favorite moments of the Trombone Shorty set, but he's no slouch on vocals, either. Songs like "Craziest Things," "You Are My Everything" and "Fire and Brimstone" all kept the crowd on its feet and dancing as well as the energetic instrumentals.
Trombone Shorty & Orleans Avenue have become regular visitors to Red Butte Garden the past few years, and nothing they did Sunday should keep their Utah audience from growing even more. Here's hoping they and Galactic forge a long-term summer-tour partnership, because that's a dance-party double-bill that's hard to beat.


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Difference between revisions of "OWASP Top 10 2010 AppSecDC"
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== The speaker ==
== The speaker ==
Dave Wichers is
Dave Wichers is the Chief Operating Officer (COO) of Aspect Security , a company that specializes in application security services. the , the Application Security , .
, and the ., application security , , and application security consulting services, .
Dave a and Masters degree in Computer Science is a CISSP and a CISM.
Revision as of 14:11, 4 August 2009
The presentation
OWASP Top 10 Update
The speaker
Dave Wichers is the Chief Operating Officer (COO) of Aspect Security (www.aspectsecurity.com), a company that specializes in application security services. Mr. Wichers brings over seventeen years of experience in the information security field. Prior to Aspect, he ran the Application Security Services Group at a large data center company, Exodus Communications.
His current work involves helping customers, from small e-commerce sites to Fortune 500 corporations and the U.S. Government, secure their applications by providing application security design, architecture, and SDLC support services: including code review, application penetration testing, security policy development, security consulting services, and developer training.
Dave holds a BSE in Computer Systems Engineering from Arizona State University and a Masters degree in Computer Science from the University of California at Davis. Dave is a CISSP and a CISM, is currently the OWASP Conferences Chair (www.owasp.org), and is a coauthor of the OWASP Top Ten.


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Prepare to be dazzled with an incredible new production of Andrew Lloyd Webber's Phantom of the Opera currently being performed at the Aronoff Center as part of Broadway Cincinnati until May 11, 2014.
This is the story of love, romance, hatred, and jealousy. The Phantom is a music genius and writer. He haunts a Paris Opera challenging the owners and performers over the years. He demands excellence in the theatre that he insists is his. The Phantom constantly causes mayhem, and mishap when the theatre owners and performers don't meet his demands.
The Phantom becomes intrigued with the talents of a young chorus girl Christine Daae. He sees talent in her music, he appears to her to instruct and mentor. However, as Christine's interests turned toward another the Phantom unleashes a rein of terror.
Theatre attendees will be amazed by elaborate costumes, and bold musical routines. Some of the spectacular tunes include "Angel of Music," "The Music of the Night," "The Phantom of the Opera" and "Masquerade."
Cooper Grodin as the Phantom was passionate, driven, displaying the raw emotions of the character for the audience to feel and experience.
Julia Udine, draws the audience in brilliantly reflected the character personal conflict of being torn between her feelings for her teacher and her feelings of love for Raoul.
Ben Jacoby, as Raoul championed the role and was highly believable in defending the one he loves.
This is a great show to experience and explore the wonder of theatre in Cincinnati. There is more information at www. Cincinnatiarts.org


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Current Articles
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A recent IDC report states that the number of SMEs is expected to surge this year up to 33 % by the year end -- the phenomenon isn't baseless; it's driven by global business demands and the need to keep costs low.
The desire to gain a competitive advantage, collaborate, connect and thrive has driven businesses to leverage the benefits of cloud computing. Imagine the feeling of achieving your business goals without over investing or wasting money on routine maintenance, general upkeep, and other unnecessary expenditures. Here are six reasons why small businesses love cloud computing.
Could you think of any other reasons small businesses love cloud computing?
We'd love to hear from you. Please comment below.
To learn more or get started with Cloud Computing, visit the Sererra Web site at www.sererra.com.
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Dean L. WithamAugust 06,2014
BERLIN Dean Louis Witham, 93, formerly of Weston Trailer Park in Berlin and more recently of Richmond, died Friday, Aug. 1, 2014, at the Vermont Respite House in Williston.
Dean was born on May 3, 1921, the youngest of 11 children to Burt and Eva (Ormsbee) Witham. He attended schools in Worcester and graduated from Montpelier High School. Following his graduation, he enlisted in the United States Coast Guard and served during World War II.
He was married on Aug. 14, 1949, to Marion Louise Brickey, and they had two sons, Bob and Gary.
Dean worked for the city of Montpelier Street Department as a foreman for over 37 years. He drove snowplow, the citys old snowblower, and worked in the stock room and parts department. He retired on May 31, 1983.
He enjoyed going camping with family and friends, bowling, bingo; he was an avid deer hunter for over 30 years. He was a good friend to many people.
Dean is survived by his wife, Marion, of Richmond; sons Robert and his wife, Erin Witham, of Colchester, Vermont, and Gary Witham, of Phoenix, Arizona; four grandchildren, Rob Witham, of East Hardwick, Korey and Kollin Witham, of Barre, Ryan Witham, of Colchester; a great-grandson, Benjamin Witham, of East Hardwick; and many nieces and nephews and cousins.
He was predeceased by his siblings, George, Jenny, Lillian, Earle, Myrta, Mahlon, Kenneth, Bob, Raymond and Fern.
A graveside service will be held Saturday, Aug. 9, at 10:30 a.m. at Berlin Corners Cemetery.
Memorial contributions may be sent to Vermont Respite House, 99 Allen Brook Lane, Williston, VT 05495.
Those wishing to leave online condolences may do so at www.guareandsons.com.MORE IN ObituariesBARRE TOWN A well-attended Mass of Christian Burial and celebration of life for Michael P. Full StoryNORTH DUXBURY Helen Burbank Davis, 93, passed peacefully in the comfort of her family at the... Full StoryBERLIN Gretchen (Haag) Payne died on June 13, 2016. She was born Nov. Full Story
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The 2012 Conference "Thinking Outside the Walls" was held on October 10-12, 2012 in Richmond, VA.
Most Conference presentations and handouts have been uploaded to our website. I am waiting on just a few. Presentations can be found at http://abos-outreach.org/news/ If you go to the website, please visit the far right tab "News and Events" and choose ABOS Blog. You will see the presentations.
Please click the conference evaluation link to fill out the online conference evaluation form.
Presenter and workshop information for "Thinking Outside the Walls" Annual Conference:
Our 2012 Conference Sponsors generously helped to underwrite portions of the conference.
OBS Specialty Vehicles
|Loyal Bookmobile Sponsor
Conference Sponsor
Farber Specialty Vehicles
|Loyal Bookmobile Sponsor
Conference Sponsor and Sponsor of the conference name badges
Acore Mobile Modular Shelving
|Vendor Exhibitor
Sponsor of one of the Carol Hole Attendance Awards
Our keynote speaker was Dr. Gary Fountain, rector at Chatham Hall in Virginia, and author. He has been an English professor for many years and was instrumental in starting the iPad program at Chatham Hall. Dr. Fountain is the author of the critically praised Remembering Elizabeth Bishop: An Oral Biography.
Our author lunch, featuring Donald Ray Pollock, was free for all attendees! Mr. Pollock's first book, Knockemstiff, won the 2009 PEN/Robert Bingham Fellowship. His work has appeared in The New York Times, Third Coast, The Journal, Sou'wester, Chiron Review, River Styx, Boulevard, Folio, Granta, NYTBR, Washington Square, and The Berkeley Fiction Review. The Devil All the Time is his first novel.


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State and federal tax refunds can sometimes become a challenge to an RDFI. It's imperative to properly post and handle refund exceptions in order to minimize the risk to your financial institution. In this webinar you will finally get the answers to all of your questions! Ensure you handle these exceptions correctly to minimize the liability of your financial institution and avoid costly mistakes.
This informative session is designed for ACH operations staff, branch personnel, compliance officers, and AAP candidates.
ABOUT THE PRESENTER – Luann S. Kohlmann, AAP, NCP, WACHA
Luann serves as the Vice President of WACHA (The Premier Payments Resource), headquartered in Wisconsin. After many years in the financial industry Luann joined the WACHA team in 2003. She is responsible for development and execution of association member programs, including education, conferences, and publications. She also conducts ACH audits and risk assessments.
Luann has spoken nationwide, including NACHA's Electronic Payments Conferences, and is very active in national councils and committees. She has been an Accredited ACH Professional since 2002 and became a National Check Professional in 2011.
PLEASE NOTE: Your registration fee allows you to have one telephone connection. However, as many people as you like may listen from your office speaker phone. If you register for the webinar, your registration fee also includes one internet connection from a single computer terminal.
The LIVE WEBINAR option allows you to have one telephone connection for the audio portion and one Internet connection (from a single computer terminal) to view online visuals as the presentation is delivered. You may have as many people as you like listen from your office speaker phone. Registrants receive a toll-free number and pass code that will allow entrance to the seminar. The session will be approximately 90 minutes, including question and answer sessions. Seminar materials, including instructions, pin number, and handouts will be emailed to you prior to the broadcast. You will need the most current version of Adobe Reader available free at www.adobe.com.
Can't attend the live webinar? The ON-DEMAND WEB LINK** is a recording of the live event including audio, visuals, and handouts. We even provide the presenter's email address so you may ask follow-up questions. Approximately 1 week prior to the webinar, you will receive an email with the web link. This web link can be viewed anytime 24/7, beginning 6 business days AFTER the webinar and will expire 6 months after the live program date. But there's more . . . AS AN ADDED BONUS, you will also receive a FREE audio/visual CD ROM.* The CD ROM includes the original audio/visual presentation, the question and answer sessions, and the handouts. Use the on-demand link or this "off-the-shelf" training program for those that could not attend the live seminar and for future training.
3. BOTH LIVE WEBINAR AND ON-DEMAND WEB LINK** (INCLUDES FREE CD-ROM*) Includes options 1 and 2 above
*CD Rom for PC use only
**All materials are subject to copyright and intended for your credit union's use only.
NEW! Listen on your iPad, iPhone, or Android. Instructions will be emailed to you with the on-demand link.
$199.00 Webinar per connection
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TIME: 3:00 p.m. - 4:30 p.m.
To register and pay by check, email Mary Zelinsky at firstname.lastname@example.com and your credit union will be invoiced. To register and pay online, click here.


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It's time to celebrate the most glorious season of all, and what better place to make merry than in one of the most magical places on earth, Walt Disney World Resort? There's nothing like attending Mickey's Very Merry Christmas Party at Magic Kingdom Park to get you in the holiday spirit.
Snow falls softly on Main Street, U.S.A., as Magic Kingdom Park closes to all but event ticket holders to this special Party, held on select evenings through December 20. Even during the balmiest of Florida evenings, you'd swear Jack Frost was nipping at your nose as the park is transformed into a winter wonderland with festive wreaths, sparkling lights, and enchanting, life-sized wooden toy soldiers. Holiday cheer emanates from seven different refreshment areas, where cast members clad in candy-cane-striped aprons hand out complimentary holiday treats--steaming cups of hot chocolate, cinnamon-sugar Snickerdoodle cookies (with a sweet, buttery flavor), and apple slices.
Even Grumpy the dwarf might have to crack a smile at the sight of 200,000 white lights shining on Cinderella Castle, giving the effect of glittering icicles. The transformation of the Castle is what sugar plum dreams are made of and gives a hint of the wonders still in store for guests staying in Magic Kingdom Park for the Christmas Party.
Mickey's Once Upon A Christmastime Parade features all your favorite Disney characters decked out in holiday finery, including Duffy the Disney Bear, Horace Horsecollar, Clarabelle Cow, Chip and Dale, Goofy, and, of course, Mickey, with his perennial girlfriend, Minnie. There are also dancing gingerbread men, prancing elves, and high-stepping reindeer (with high-flying hooves that would put the Rockettes to shame), all making way for Santa Claus himself. "Tiny tots with their eyes all aglow" will find it hard to take their eyes off this parade, and so will their equally bedazzled parents.
Celebrate the Magic, a magnificent castle projection show, incorporates holiday themes along with clips from beloved Disney animated films. A festive finale showcases a gingerbread castle, candy canes, and gifts wrapped in fanciful Christmas packages. If you buy a pair of Glow with the Show ears, you can actually become part of the magic, your Mouse Ears pulsing with colors and lights in time to the projections!
Holiday Wishes: Celebrate the Spirit of the Season is a breathtaking music and fireworks show, with a special live appearance by Tinkerbell the fairy, soaring into the sky. What could be more magical? And the spectacle is enhanced by Glow with the Show ears, lighting up in perfect sync with the pyrotechnic explosions.
What's Christmas without the music of the Nutcracker suite? In the Celebrate the Season show on Cinderella Castle Stage, Mickey, Minnie, Goofy and Donald bring Tchaikovsky's stirring ballet to life in a dazzling celebration of the holidays.
Don't miss riding the Jingle Cruise (a first-time-ever holiday-themed version of the Jungle Cruise) in Adventureland. The holly jolly decorations are delightful additions to the cruise, and the skippers plying those treacherous waterways have a boatload of new corny jokes sure to "sleigh" you.
During the Party there are plenty of special Disney Character Appearances (including those lovable-beyond-belief Seven Dwarfs), as well as Christmas shows and dance parties, like A Totally Tomorrowland Christmas Show and Club Tinsel, both in Tomorrowland. Perhaps the most heartwarming Character Dance Party takes place at the Diamond Horseshoe in Liberty Square--Woody's Hootin' Holiday Open House. Woody the gentle cowboy dances the night away with toddlers, parents and grandparents, never losing his friendly smile or gallant demeanor, a true personification of the Christmas spirit.
Although the Party kicks off at 7 p.m., guests with MVMCP tickets can enter the Park as early as 4 p.m., giving them plenty of chances to go on their favorite rides before the gala entertainment begins.
Once you've experienced a Mickey's Very Merry Christmas Party at Magic Kingdom Park, don't be surprised if you decide to make this event an annual tradition for your family. Truly, it's a one-of-a-kind, masterfully-executed extravaganza that could only have been engineered by Disney.
Mickey's Very Merry Christmas Party is a special event that takes place in Magic Kingdom at Walt Disney World Resort on select fall nights from November 8-December 20, 2013. Purchase of an additional event admission ticket is required to attend. Purchase your tickets at the official Disney World site. For assistance with your WDW Resort visit, call (407) 939-5277.
Suggested Links
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William Donald Gillis
Position: C
Height: 6-3 Weight: 245 lbs.
Born: March 31, 1935 in Corpus Christi, TX
High School: Medford
College: Rice (school history)
Drafted by the Cleveland Browns in the 8th round (89th overall) of the 1957 NFL Draft.
Weighted Career AV (100-95-...): 8 (7842nd overall since 1950)
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Brunotti presents 'The Art of Surfing'. In this concept we present a quickdry boardshort for men and women with the most famous painting of Vincent van Gogh, the Sunflowers.
This is the story of world champion in kiteboarding Youri Zoon. EyEFORcE productions has followed Brunotti rider Youri Zoon over the last couple of years, filming him across the globe. This video documents his career.
This Brunotti Spring collection is inspired by our teamriders who are active in boardsports. During their college and university live they still like to express their boardsports lifestyle. You will see these elements in a perfect combination.
The snow park of the Stubaier Gletcher is the perfect location to shoot parts of the Winter '12 Brunotti collection. Let's watch this, in slow motion...
As snow addicts we see the direct effect on our beloved mountains. We can not undo damages already made, but we can reduce our impact. We have to protect our planet if we want to enjoy everything what the mountains has to offer.
No time to change! Brunotti presents the Jersey Snowboard collection. Wear the Brunotti jacket and snowpants every moment of the day: for chilling out and riding on in your jerseys. Because there is no time to change.


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In conversation with ben allison
by Tom Greenland
Since his initial emergence in early 1990s as part of the Jazz Composers Collective, New York bassist, composer, and bandleader Ben Allison has resisted and defied easy categorization. He partakes equally of "downtown" and "uptown" aesthetics, as well as a host of other influences, including Led Zeppelin, television soundtrack music, altered timbres and extended techniques. He has developed, ultimately, what could be termed a "mid-town" sound, something uniquely his own. Over coffee at one of his favorite local spots, Allison had much to share.
Thank you.
One thing people think when they think of you is that you have a wide range of things that you can do musically. You've played with what we might call "downtown" players and also mainstream musicians, and you definitely have strong roots in your music. Can you talk about that? I'm not trying to pigeonhole you or anything like that, but maybe you could talk about boundaries, and what is jazz, and how you see your role in defining that, or not defining that.
That's a big question. . . . I came up in the late eighties when there was, at least outwardly, a kind of division in the scene; I mean, people wrote about it a lot, and write. People use those terms: "uptown," and "downtown," and "mainstream." A lot of the musicians that I knew did their best to avoid those kinds of monikers, at least a lot of my contemporaries. The people that I tended to gravitate towards often were the kind of musicians that straddled both scenes, that liked to work in a wide variety of settings.
Ben Allison, photo by Tom Greenland
Who are we talking about here?
Well, for instance, a lot of my compatriots in the Jazz Composer's Collective. That was our non-profit organization that we started back in the early nineties. As you say, I was involved in playing with a lot of the people that were representative of quote-unquote "downtown" music, and also more mainstream, or "uptown," music, and we always felt like—at least I felt like I didn't want to pledge allegiance to one camp or the other. I really felt like there was value in many different styles of music and the kind of thing that I wanted to do usually involved elements of almost everything.
I think of jazz as a fusion music. At its core, it's a fusion music; it really is — from its infancy, in my opinion, a coming-together of different musical traditions, and it's always had that at its core. And it's always also been an evolutionary music; it's always been the kind of music that evolves over time when different groups come together and trade ideas. And I really wanted to be in an environment where there was a lot of trading of musical ideas. And there's a certain dogma that comes with associating yourself with a camp, and I wanted to avoid that. I like the idea of organizing and putting a name to what we were doing . . . but I also felt like the key would be to really have the ability to define it on a daily basis, just by the music that we were playing.
So we weren't necessarily associated with "uptown" or "downtown" or whatever. It was really our own thing. I thought there was a lot of similarity of viewpoint with some of my friends. We were all really interested in composition, jazz composition, as a guiding force behind our music — that is, new music. Our definitions of composition among the members of the collective are extremely varied. For instance, Ted Nash, the saxophonist who was involved early on, wrote rather elaborate, sometimes fairly through-composed pieces of music, whereas Frank Kimbrough, for example — a pianist involved early with the collective — would write two or three bars, a little scrap on a piece of paper. But the idea was, no matter how much you wrote down — or didn't write down — the idea was that we were trying to create something specific. It wasn't random. It wasn't entirely left to chance. Each person's group had a particular sound.
So even if Frank's group, for instance, was largely improvised, if he didn't notate a lot of things, the vibe of his approach was — is — clear. I mean, as a bass player in his group I would approach his music from a certain mind-set. I was always thinking to serve the tune. That's what I mean by compositional: it wasn't just about the notes, it was about exploring certain kinds of sounds, certain vibes, certain moods. And those moods were more often created by the composer. They would set the stage. And that was something that we all, I think, had in common, and we all also had in common a desire to integrate a lot of different useful styles into our own particular mixes.
What kind of styles were you going to?
Well I listen to every kind of music on Earth; I mean, even stuff I don't like, I still listen to it! [laughs] That's been my approach.
What kind of music are you drawn to, say, that you might partake of in your composition?
I've been drawn to? You mean that I like? Oh, phew! I can't narrow it down to any particular thing that draws me to something. I would say that the music I come back to often is music that is — well, in the Western tradition let's say, if we're talking about music from around these parts — I think it's often people who are focusing on music from a composerly standpoint: people that are writing original music, people that are trying to develop recognizable sounds, so that in the first few bars you can kind of tell who it is. People who have a personal style. . . I mean, there's a reason why Neil Young is still listened to. There's a reason why he's keeping legions of fans, and new fans: because he writes good tunes! And you can't get past that, and they have a sound that is his.
Ben Allison, photo by Tom Greenland
Now, some people don't like that sound, but everybody recognizes it—well, a lot of people recognize it—and he can write good songs. And that helps; that always works; that always just stands the test of time. Duke Ellington is another example; [Thelonious] Monk is another example. I also like musicians like Monk whose playing is totally intertwined with his tunes, his writing. I mean, they're almost indistinguishable. That appeals to me. And I've used that kind of concept in my own writing. I really write from the vantage point of the bass, and then I try to incorporate the things that I like to do on bass into the tunes. I mean, really, that was my first inspiration for writing — period — was to create situations for myself musically that I sounded good in.
Do you write from the bass?
Yeah, most of the time.
Or do you use piano yourself, or harmonies, or…?
Early on, years ago, I did, and then I specifically avoided it for a long time. Starting in about the mid-nineties I sold my piano and decided I wasn't going to use it anymore. Not that I'm not a fan of harmony, I guess I just felt, stylistically, I didn't want to bog them down with too much information in the middle range there.
I also have the great fortune of playing with some musicians who are masters of harmony, so they often would fill in the blanks, and I like leaving a lot of room in the middle for them to do that. If you look at my charts, they're usually bass notes and melodies — almost like figured bass, in a way — and I don't provide a lot of harmonic information. I often think of it as being implied by what's going on on either side. And, you know, that's just my approach. I guess, as a bass player, I'm a real counterpoint person: I'm really thinking about things more in a linear way.
And everybody's got a different approach. For pianists, so much of it is about harmony, 'cause that's what their instrument does; it's just a great harmonic instrument. . . . Once I'd gone through studying harmony and really trying to absorb as much as I can and really getting into it, once I did that, and felt like I'd gotten as far as I wanted to get with that, I really wanted to push away from it and see what else could happen. With my group Medicine Wheel, my whole idea was to start from the vantage point of texture. I would really think of a particular texture or timbre, and that sound would be the very first idea I had for the tune, so that…
Can you give me an example of that?
Well, on my first Medicine Wheel record, a tune called "Blabbermouth": the solo section starts with the pianist plucking the strings of the piano and the trumpet player playing plunger trumpet into the piano, so the pianist would hold the [sustain] pedal down and it would give this very reverberant effect and kind of creepy and strange. And that was the first sound that I thought of, so I'm, like, "Alright, I want to write a tune around that, that really features that sound." So, by the time you get to that in the tune, you're already two minutes into the tune, and people may not recognize the fact that that was the impetus for it, but when I did that it started a thought process.
For instance, on that particular tune I started with that idea and then I thought, "Well, that was a spacey, atmospheric kind of sound. What can I do to ground it? Well, let me add some kind of funky bass-line or something that will really ground it rhythmically." And I had this bass-line that I'd been working on that I just had in my little scrapbook, so I pulled that out. "Alright, the bass-line's really just a C-dominant sound; it doesn't really go anywhere. What can I do to add some angularity?" So I wrote a really angular melody. It was adding layers and adding layers and kind of trying to counteract the previous layer and adding some kind of form to it.
And it was somewhat intellectual in that way, in that I was thinking, "What can I do to offset this?" It was a lot of problem-solving. So then I had this funky bass-line and an angular melody and this thing that I was going to get to: "Alright, now I need something to offset that," so I wrote a bridge which is totally different. And, you know, a lot of it is taking all the fragments that I have, the little pieces that I've been working on, and have documented on paper or on tape, and assembling them. And once I have all these pieces it's seems to blossom. It just becomes — for that stage — it's somewhat intellectual.
Then once that's in some kind of a shape, then you really have to look at it again and really apply your aesthetics — we were talking about aesthetics before — really making sure this doesn't sound like crap. And that's [laughs] the most important part!
I think some of my favorite composers are inspirational in that way. The first one that comes to mind is Alban Berg, whose music I studied a little bit after the early nineties. He was, of course, a proponent of the twelve-tone school, a student of Schoenberg's, and they were really using these kind of intellectual approaches to come up with musical ideas — coming up with modes, and then shifting them upside-down, turning them backwards, and matrices. . . . It got very intellectual. But, in the process, the thing that separated his music out, for me, maybe more than some of the other composers out of that school, was that he would take that material and then apply a really beautiful sense of aesthetics to it. So he wouldn't let that be the end; it would be more the means-to-an-end. In other words, he would take those various strange techniques and come up with musical fragments that might be pretty weird, but then he would apply his romantic sensibility to it — I know he was a big fan of Brahms — and he would take those fragments and make them sound really beautiful and really great, at least to my ears. And I just thought these he struck a really great balance between heart and mind, and I learned a lot from him.
So if you're composing, there's an element of conscious effort — you're working with an idea or material. Do you have a point, too, where you work it out, you play it, and you just feel it? And then step back from that? You know, I would say I probably work in the opposite direction: I might try to get into a zone first. In writing, for instance, you just let it out, let it flow, 'cause if you're sitting there trying to think everything through, sometimes you can't get the idea out. And then you go back and put your ideas on the table — "Okay, is that working?" — almost more calculatedly. You see what I'm saying?
There's absolutely a back-and-forth. That's where the fragments come in, the fragments I mentioned that I use. I started this description in my classes as Step Two — or Step Three, actually. The first step is, as you say, really letting it go, just letting your mind wander. I mean, so much of the musical fragments that I have in my scrapbook come from either things that happened spontaneously on the bandstand that I try to remember or ask musicians in my group to remember. Or, more often than not, just getting together with guys with a tape deck or whatever — these days it's my laptop — and recording a free session. We just get together, turn the lights off, and play, and mess around for a couple of hours. "What are you working on?" "Oh, check this out: bluh-bluh-bleh!" and we'll just mess around, you know, and just come up with little ideas. And if I'm getting together with a drummer, and we're playing for three hours, there might be two really cool grooves in there that I want to build off of — just two bars, four bars worth of stuff that I'm really going to take and say, "Alright, this is the jumping-off point."
So I've got something somewhat specific that maybe the next guy doesn't have that's a really great musical idea. Now, what do you do with it? And the reason that, I think, is good, and works for me is, number one: it really capitalizes on the special things that musicians I know do — you know, really unique things that they come up with. And therefore I consider them such an integral part of the writing process, because I really want to play with all these guys for a reason: they're all very very creative, individual musicians with a composerly mind-set who have original voices on their instruments, who have been working to get something personal together for a long time. And that shows. I want to capitalize on that; I want to use that; I want to incorporate that into the tune. And that really helps to define the band sound. So those are the two most important parts of that.
The second one is playing with people and hearing their ideas and their personality?
Yeah, or also just working out stuff on my own, where I'll play the bass and sing along with it, or just sing a little idea in the tape machine, or just sit down and play a bunch of ideas, then record it all. It doesn't have to be with another musician. And sometimes it is. A lot of times it isn't; a lot of times it's me sitting at the guitar. This new group I have [Man Sized Safe] features Steve Cardenas on guitar and the guitar features heavily into the sound. I wrote quite a bit of the last two albums on guitar, at least some of the ideas were written on guitar. And I use Pro Tools a lot when I'm writing…
Oh, ok, like, set up grooves or…?
Right, set up ideas, recording little ideas on tape and kind of layering them up. Some guys use sequencing software. I always felt that to be kind of cold; I prefer to compose to the real sounds, if I can. But I do like the idea of having that instant feedback, being able to hear how things fit together a little bit before I put them into that shape. And then, Step Three is to…
Step Two was to work with the ideas, see what you have?
Yeah, and try to do that kind of intellectual process of assembling them into some kind of form. [Step] Three is bringing them into the guys, bringing them into the session, or putting them out there on a gig and seeing what it really sounds like, and then also having them weigh in on it. The guys often have great ideas. Like on the Cowboy Justice record, for instance, we did "Blabbermouth" — that's the tune I mentioned at the beginning of this interview that we recorded on the first album — we decided to re-do it and I really wanted to give it a totally different treatment, and Ron Horton had the great idea, right off the bat, of starting with the bridge, what used to be the middle of the tune, making that the beginning of the tune and kind of flipping the sections. And it's such a simple idea, but it totally changed how I thought about it and I ended up writing a whole new section for the bridge and having it start in a different way. A great idea, and it set up this whole train of thought.
So I call that the "workshop" section in deference to [Charles] Mingus, who was my whole school. So, bringing it in, workshopping it, letting the band flesh it out. Somebody'll say, "Yeah, you know, I'm not really feeling this." Where I thought someone would have a great time soloing, they're, like, "Yeah, I don't really feel this. This isn't really me." And another person will say, "You know, I want to sink my teeth into this!" "Great! Okay, so that's going to be…" We've talked about things like that.
Like a feature for that person?
I think so; I mean, I don't often have more than one soloist on a tune. Sometimes I do; sometimes I write little ditties, just the tune, and when we get to the set, where anybody can solo on it any night, or maybe I'll have everybody solo tonight if we just want to stretch it out into some massive jam. It depends on the gig. You know there're different settings we play in, in rock clubs, and we play in opera houses, and we play at festivals where it's, like, fifty-five minutes and the red light goes on and you've got to get off the stage. So you have to have a band that can turn on a dime and be able to play in any situation.
Do you change your material for those different situations?
No, but we change how we play them.
How so?
Well, like what I was just mentioning. Depending on the length we have, how tight we'll play the tune, how much we stretch it out, the order. Also our approach to an individual tune might change a little bit.
Does it change with the audience? Like, if it's a "rock crowd" are you going to go for more grooves?
It's not going for more grooves. It's not what you play, it's how you play it. So we will change how we play to fit the room. You're always reacting to the audience, but I rarely go into a setting thinking, "Hm, this audience seems like this, maybe we should play like this." I'm more often of the mind of, "This is what we do. Let's try to pull them along into our scene." And I'm always amazed at how, if the music's good and it feels good, no matter where you are, people react favorably. However, we will change things quite drastically depending on the acoustics. That has a big impact on how we blend because some rooms are really dry, some rooms are very reverberant, some rooms we're playing almost totally acoustically, some places we're [going] through some massive sound system, and that impacts how you play. This isn't pop music; it doesn't sound the same in every setting; every night's different. And I actually enjoy that immensely and I take a certain amount of pride in being able to work in almost any kind of room, have the music work in any setting. That's the mark of a group that's been playing for awhile.
As far as reaching your listeners, you've said already that, "I do what I do and try to make it engaging." I'm just curious about your appeal, because you definitely have some call-backs to the tradition of swing and all this stuff, but there're also a lot of contemporary aspects to your music. It's crossover, in a way. I mean, I wouldn't call you a mainstream player, but there are elements of rock and street culture and things like that. Is that something that you're just messing around with, or is it something that you hope will bring people who may not get into the more esoteric aspects of extended improvisation and atonality?
Well, it's funny, because I think we're still talking about atonality as being the vanguard of the music, where in the jazz world a lot of that happened before I was born. I mean, that happened in the late fifties, early sixties; certainly by the late sixties that was well investigated. I mean, I was four at that time. So, that to me is classic jazz; I don't really see that as being the vanguard of the music.
Also, the rock references—you know, I'm a big fan of classic rock, so that's music from the sixties and seventies [laughs]. It's forty years old! And I think, that being said, I don't write with the idea of necessarily trying to attract new audiences. I mean, I do, of course, want to broaden my audience all the time. We do that mostly by touring and getting our music played on the radio and all the things that we do to get people aware of the music. I'm very gratified, though, by the kind of audiences that come out and do it. I mean, we were at the Green Mill jazz club a couple weeks ago in Chicago and the demographic was about as wide as you can get. That's also a testament to that club and the vibe that they put out. It's a great club. We [recently] toured around for a little while and we always try to play there when we get to Chicago, if we can. The people that are reacting to it are really from every conceivable background in terms of age and gender and race. And I guess because my music incorporates so many of the things that I like, and so many of the things that I like are all over the map [laughs], there's hopefully something there that almost anybody can get to.
But I think, overall, what I hope people react to is, first of all — I hope this comes across — the sense of joy that we feel when we're playing, when the band is in-sync musically. I don't mean, necessarily, tight rhythmically; I mean in-sync musically, where we're really trading ideas, where we feel that sense of spontaneity, but also an interplay that's working, that's like a really great conversation, where there's a lot of give-and-take and somebody's throwing out an idea and then someone else in the band reacts to it almost instantly and you can hear that happening in real time. It's very exciting. And I think people react to my music when — even if they don't necessarily know that's what's happening, on an intellectual level — you feel that; you feel that when that's happening; you feel the energy. When you see music live it's different than hearing it on a CD. And I think that's what most people react to when they hear this music.
You know — you're a music writer and a fan and a listener, and I'm a big fan of the music, a listener and a player — we sometimes get almost sidetracked our knowledge. I mean, I know, for myself, I sometimes fall into a trap of analyzing a piece of music while listening to it [laughs], you know? Which is kind of stupid. I sometimes wish I didn't know anything about it and could experience it just like so many of the people in the audiences that we play for experience it — just as it is. You know, they don't really understand the mechanics of the whole tune, nor should they; they should just feel it for what it is. And that's really my favorite kind of audience member — somebody who really doesn't know that much about jazz and hasn't heard it a lot, certainly the kind of music we do, because then you're really playing for people who are just experiencing it in the way that I hope people will.
Yeah. I think that's a challenge for jazz because, you know, when it was coming up there were a lot of common references that people could grab on to, like the tunes — everybody knew the tunes.
Right, everybody knew George Gershwin, everybody knew the Broadway tunes, everybody knew the popular music of the day.
Right. And there're newer artists coming along that are trying to use the popular music of the day. I'm thinking of Josh Redman's James Brown cover ["I Got You (I Feel Good)" from Joshua Redman] or something like that. Or, they're trying to bring in more pop music; you have all these "smooth jazz" artists that are bringing in rock and pop and r&b references…
Yeah, very recognizable pop tunes.
Yeah, and then putting the jazz element of the creativity or the open-endedness within that. And I think that's a challenge for artists that are trying to be really original. How can you be simultaneously original and have enough references and enough familiarity to make people feel comfortable with your exploration?
That's interesting. For me, it's very very hard, but it's something I take very seriously; that's probably what I work on more than anything.
Because, for instance, with very avant-garde music, you lose a lot of people very quickly by challenging them that much. You're asking a lot of patience from your listener. But I think you can combine both of those things.
You can challenge them, and make them comfortable, if that makes sense?
It's absolutely true, and that's where the aesthetics come in to play. Aesthetics — it's hard to quantify; you can't really quantify it, but, for sure, something has aesthetic appeal if it feels in some way relevant to people. And the music that we all have in common — this is why I'm a big fan of television music, by the way, and that music factors largely into my sound, because I'm a product of the TV generation. I mean, I came up really, in my opinion, at the height of television music. The sixties and seventies was when guys were writing incredible music for television, whether or not you noticed that. Some of these hour-long shows would have full scores, totally programmatic, scored out to the smallest movement, and themes that people may not have consciously assimilated but are in the back of their minds. You know, Star Trek and Little House on the Prairie and all the cop shows, all the cop dramas—[in] all of that stuff, there's a lot of incidental music that went on, underscoring it, and those sounds have seeped into our collective unconscious and they're there. So as a jazz musician I'm tapping things like that.
Programmatic music?
Programmatic, yeah. By that I mean music that really follows the scene. So for a score that would mean the timing of how the video was cut influences how the music is cut. And classic programmatic music would be, like, Peter and the Wolf by Prokofiev, where each animal's got its own theme, and when that animal shows up in the story you hear that theme. And in Star Trek every time there's a fight sequence you get: dahn dahn dahn dunt-dunt dah daah! You know, that's the fight music, and every time Kirk is fighting that's the theme you're going to get, and you recognize it as that, and that's there. And I guess sometimes people remark that my music has some kind of film-like quality and I'm actually happy when they say that because I do—I'm not telling stories in my mind as I'm writing it, but I'm referencing a lot of that kind of music that's sectional—each section has a point, it's got a real character to it, you know?
Yeah, that was my next question: is there an image for each part. Duke [Ellington] did that a lot in his music. He would tell them a color or he would have a description, and then say, "Just play. You interpret it, but I have a very specific idea."
Yeah, no doubt. I think the best description for me is, as a composer, I'm trying to create a landscape that the musicians are then free to explore. So, in an abstract way — another way of saying that is — you're setting up a mood, a tone, a color, a timbre, whatever you want to call it, that the improvisers are — should — be aware of, and should be conscious of. But then they're free to play off of that and manipulate it and explore it and change it and react to it in whatever way they see fit. But the point is that the vibe is there.
May 13, 2008 · 1 comment
// May 14, 2008 at 05:34 PM
great interview!!!!!!!!!!!!!