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In conversation with darcy james argue
This past May, Darcy James Argue and his big band the Secret Society played their first dates outside New York City. A short tour of Europe took them to Amsterdam's Bimhuis, Dortmund's Domicil, and finally the Moers Festival in northern Germany. After the encores and standing ovation from an audience of some 2500 at Moers had subsided, there seemed little doubt among those present that a major young talent in jazz had arrived—or, perhaps more accurately, was in the process of arriving.
Well-versed in the history of the big band in jazz, this up-and-coming 34 year-old Canadian composer and arranger has made contemporary the venerable big band format, partly by showing an awareness of what's happening in the parallel universe of popular culture. It's no surprise to read in the pages of Newsweek that Argue called his music "Steampunk big band music," a reference to "the niche art movement that fantasizes about modern tech innovations in the steam powered era."
With his Secret Society Web site, Argue successfully harnessed the power of the internet to help launch his band and his current album Infernal Machines. He also uses the site to keep fans abreast of news about his activities and the world of jazz in general. On the afternoon of his Moers concert, we spoke not just about his use of the internet, but also things musical: the key influences on his style, such as Maria Schneider and Bob Brookmeyer; his composing aesthetic, and the importance of popular culture to jazz, and how this is reflected in his music. We began by exploring his refreshingly inclusive musical vision.
I'm impressed by the way you've reconceptualized the big band format, bringing it into 21st century. I wonder if you can talk a little about how you've accomplished that.
A lot of people, when they try and make contemporary music with the big band, seem intent on calling it something else, like 'The Jazz Orchestra' or 'The Large Ensemble'—something that makes it clear that it isn't necessarily directly connected or in the genre of what people think about when they think of the big band music: the Swing bands of the 1930s. Calling it something else seems to me a bit pretentious, a state of denial. It's a big band, right? Whether we want it to be or not, it is obviously going to be connected to that legacy. To me what is interesting is that for a while the big band completely dominated popular music in the 1930s. Whenever you heard anything on the radio, whether it was 'jazz' or just 'jazzy,' whether there was a singer on it or it was instrumental, it was always a big band. That was the vehicle for popular music for a good solid decade.
Of course times change and people change. With the advent of electronic amplification you didn't need that many horns for a big sound; you could have that big sound with a smaller band. But I was always fascinated by the incredible popularity of the big bands. A lot of the music I write comes out of imagining an alternate history of popular music where Elvis was always backed by a big band, or David Bowie was always backed by a big band, and all the way down the line. If that had been the standard unit of popular music, what would that music now sound like? That's like an interesting game for me, because with that many instruments there are a lot of possibilities—a lot of sonic and coloristic possibilities that are not there with smaller jazz groups.
Some of the effects and some of the devices that I use are a conscious attempt to try and incorporate some of the techniques that are more a part of studio production techniques trying to replicate something similar using acoustic instruments. With a big band it's possible to actually do that. It's something I find really interesting, to re-focus those devices for jazz, and re-appropriate them into a jazz ensemble.
I find this a fascinating aspect of your music, because for me, jazz loses the link with popular culture at its peril. Can we talk about how you have renewed this link in your music, how it relates to the current times?
There is the extra musical context for some of my music. On the CD [Infernal Machines] there's a piece called 'Habeas Corpus,' which is dedicated Maher Arar, who was a Canadian victim of extraordinary rendition. It is serious to be tortured, and [with all the things happening] in the world at large [it is] impossible for me not to incorporate influences of the music of today. I wouldn't say it was programmatic. I'm not trying to engage in sound painting, or anything quite so literal. But it is definitely inspired by my personal reaction … the Maher Arar story hit home, particularly because he is also a McGill graduate; he is just a few years older than I am, and it's impossible not to think, 'what if this happened to someone I love?' Or 'what if this happened to me?'
The larger context of it is just so horrifying, because the reason he was sent to Syria in the first place was because he was named in one of these torture interrogations; his name was fed to someone who was being water-boarded—like, 'tell us about Maher Arar, no, we know you've had dealing with him, we know he's a bad guy.' And of course when someone is being tortured, they will say anything to make it stop, and the thing to make it stop is to tell the interrogator what they want to know, what they want they want to hear. Then you see Dick Cheney on the TV, saying these interrogation techniques are what keep us safe. It's so absurd. It's absolutely maddening and it is obviously something that has been eating at me ever since it came to light that this was what was being done in our name. In the tradition of Mingus it seemed impossible not to respond to that in some way in music.
Can we turn to specific musical devices and sounds which you have incorporated into your music that reflect elements of contemporary culture?
The record opens with a piece called 'Phobos,' on which has our drummer John Wikan is playing a very old, traditional folkloric instrument called the cajon. We have taken that sound, which has very rootsy sound, and electronically processed and turned it to something unrecognisable. It opens with something very earthy, and the effect we apply to it is very un-earthy. What I hope, is that people put it on and when they hear it they say, 'I thought this was going to be a big band record.' And so gradually we manage to weave some things in and it establishes a mood, it established a way of listening to the album. It makes its intentions known from the start that this is going to involve technology. The sound itself comes out of Aphex Twin and Stereolab and that kind of sound, using the tools of the recording studio in a way that maybe be a bit unusual for a jazz ensemble.
Can we talk about another example, 'Redeye,' which uses loops?
On 'Redeye,' which is the earliest piece on the record, it begins with a very simple acoustic guitar loop. That's a very specific sound and a lot of people are building a whole performance on that technique—will sample one thing and layer another loop and another loop and another on top of it. So I wrote this thing in 2003, it's not nearly as elaborate as that; just one simple loop and the rest the band is used on top of that. I have the luxury of having all these musicians so I don't have to do it with one! It's a bit of nod in that tune and that world, and there is a lot of commonalities between that additive way of building up loops on top on one another, that way of making music, that's straight out of Mingus—'Haitian Fight Song' or 'E's Flat Ah's Flat Too.' Adding and adding each cycle adding a new line to it, so I think there is a lot more productive dialogue that can and should go on between jazz and really creative pop music.
It goes in both directions too, there are a lot of indie rock groups that would really love and could benefit from some of the stuff that jazz musicians can offer. That kind of erosion of genre boundaries, as I see at this festival, is very much the future. There is a venue in New York we play from time to time called Le Poisson Rouge, where you'll have a classical solo piano recital, or Steve Reich's Music for 18 Musicians live there. They'll do that, and then you'll have punk rock bands, and bands like Deerhunter, and it's not a classical venue or a jazz venue or a rock venue, or any of those things, but a place for people with a taste for art.
Can we turn to composition, and how you approach it, and by this I mean, do you see composition as a utility to present the soloist, or as a thing in itself?
For me, the end is to be expressive—to present music that is emotionally compelling, that tells a story and has a narrative arc to it. I'm not really interested in music that is only about a particular compositional device or exploring a particular technical cell, or whatever. That's not interesting, at least not for me. The sound of it, the emotional effect and the communication with the listener is something that is always first in my mind. I want music that is expressive and tells a story, whether there is an extra-musical association to it or not, there is some sense of an arc to it.
As far as dealing with soloists and improvisation, the most important thing is that they understand the arc of the music as well, and that they are able to operate within those kinds of parameters. There are a lot more constraints on what people can play and what is appropriate for them to play in a big band context, because in a way it's on rails … the piece is on rails and going in a certain direction, and they need to assist that rather than fight against it.
Most of the music I write is written specifically with these players in mind … when I present something to them and we read through it for the first time, as a composer the best thing in the world is when somebody intuitively 'gets' what they need to do. And it might be something different from the way they play in their own small groups. I try to create and be clear enough in the setting that I have created [so] it's obvious for them how to continue telling the story in their solo. And if it's not, we have to have a discussion about it [laughs].
But I am very lucky that the people who play in this band are all … interested in storytelling, musical storytelling, and in fitting what they do within a larger musical context, rather than play like a show stopping solo. That's something I'm really not interested in. It's all about trying to create a context where the solo is integrated into the fabric of the music. That's what all the great jazz composers have always done and what I try to do myself.
I agree, I have always had a problem with big bands that split an orchestration in half as a soloist or soloists jump in with something that may, or may not, relate to the thematic material at hand, and go on so long that the opening orchestration becomes a distant memory.
Right. It's incredibly dangerous to open up space for improvisation without having background figures and so on. It requires an element of trust with the musicians to carry forward the momentum you have established with the written music when you get to the improvisation. What I try to do is find ways to shake people out of their normal habits of the way they would normally play things. The first piece on the record 'Phobos,' has a tenor solo and there is a period when a chord lasts an indeterminate number of bars, and I'll cue the next chord always. It gives me some way of shaping the solo section. The only marks are slashes and chord symbols; it allows me to figure out structurally and informally. 'Well I need seven measure of this chord and six of this one and what not,' and rather than leave that up to the soloist, it's like an interaction between me and Mark Small, who is playing the solo, of hearing what he is doing. And when I cue the next chord it's maybe not what he was thinking of, but it's allows me to keep my hand in the game a little bit.
In many ways, the heights the soloist can conquer have now been mastered technically. The challenge is not so much the solo as a thing in itself, but the originality of the context within which the soloist functions, and how the soloist responds to that context.
I can think of several exceptions to that rule, but your point is well taken. I feel the most interesting jazz has been involving players who were about more than virtuosity. Virtuosity by itself is incredibly boring. There are people—I'm going to get into trouble for naming names—who would prefer to believe that Oscar Peterson is a greater artist than Thelonious Monk, and to me that is insane and indefensible! I'm Canadian and can say that; due respect to Oscar and I'm not slagging him, but Monk was an incredible genius, such a complete artist—the whole package—and always very conceptual. [With Monk] it was always the music first and foremost, rather than anything flashy or any kind 'standard soloist' approach, where it has nothing to do with the thematic material. Monk would always have bands that played his music, and improvisation always came out of the music he wrote for his groups. The way he would comp really kept everything focussed and to the point and that's why Monk's bands are so special.
You get the same thing in Mingus' bands; you get the same thing in Duke Ellington's bands. Those are the groups closest to my heart. Everyone is on the same page. There is a real vibe to the music, as opposed to 'Well here's one solo, and here's another solo and it's going to be completely unrelated what the previous has done.' That, to me, is a very schizophrenic way of listening to music and relating to it—more of a jam session kind of approach. That kind of approach is not something that has ever spoken to me in the same way as a conceptual composition
You studied with Bob Brookmeyer, a jazz great and a legendary teacher as well, and I wonder what areas you worked on with him. Perhaps you could describe what you got from his input.
Sure. Brookmeyer was a fantastic teacher and he originally invited me to come and study with him at New England Conservatory. We had corresponded a little on line and he asked me to send him some music and he listened to it and said I'd like you to come down. How can you turn down an invitation like that? At that point I had no intention of going to grad school or getting into the big band business at all. I was a jazz pianist in Montreal. I was writing, but I was writing for my small group. That detour really sent me on this curved path of big band music and big band composing.
And when was this?
I went to New England Conservatory in 2000, I was 25 when I started with Bob. It was interesting, because when I first started taking with him, he didn't actually say very much and it was curious. At New England Conservatory there was a student big band that played exclusively student compositions. It met every week, and you could bring in fragments of things, or works in progress and hear it and get the experience of conducting and rehearsing the group yourself, and learning to manage time. Bob would be there, sitting in the back, and occasionally he would say a few words, but he was really there to sit back and observe. He would listen to the music I was writing. I would bring it in for lessons and he would just nod and encourage me to keep writing, and for a while I thought, 'Is he ever going to say anything?' But what he finally told me was he knew that this piece I was writing—which is actually something we still play today a 20 minute blowout called 'Lizard Brain,' in 13/4—he knew this was something new to me; I came in there and I guess I thought I had something to prove, so I really wanted to write something I didn't know if I could pull off, to stretch my abilities as a composer. He thought that was happening and thought, 'Okay, let's see where this leads him on his own, and at the end of it we'll go over it and we'll pick it apart when it's done.' He had the ability to see, 'okay, here's someone who's growing, we'll let that happen and I'm just going to see where it ends, but I don't want to interrupt something in progress and bog him down with the specifics of voicings or what not.' After all his years of teaching he's able to do that. And when it was done we got into the guts of the piece, how to structure things a little bit better. That led to something that's my usual practice. Now, when I'm writing, it's very hard, but I try not to get bogged down much in the detail. To get as much as possible finished, and at the end sort of figure out maybe this section goes on a little bit long, or maybe this transition needs a little more finesse, or clip the order, that kind of thing. That's always difficult, because your inner critic is always saying 'I could finesse it now,' so it's really difficult to put off that and keep the momentum going when you write … which is why deadlines are fantastic!
How long did you study with him?
I studied with him two years. I did my Master's program at New England Conservatory, and after that I spent one extra year in Boston because my girlfriend was finishing her degree. But I started in the BMI Jazz Composers Workshop, which at the time was directed by Jim McNeely and Michael Abene, so I would be hopping on a bus. They had this really cheap, at the time $10, Chinatown to Chinatown express buses from Boston to New York and back at that time they were not totally legal to use. You'd go down to Chinatown, buy a ticket in a Chinese bakery, look around on the street corner there would be no bus for a while, and someone from the bakery would say, 'Okay, everyone for the bus follow me!' and we'd follow him around the corner, and the bus would turn up and we'd get loaded up in about 30 seconds! The BMI Workshop was all people out of school and I guess wanting to refine their voice, so it was really great meeting a lot of like-minded people with different approaches to music, and a whole different set of aesthetics. Also, you'd get feedback from Jim McNeely and Mike Abene, and the reading sessions every month you could hear what everyone else was up to and look at their scores and that sort of thing. It was there I met Joe Phillips, who is a fantastic composer in New York; J.C. Sanford and a lot of young composers, hearing them at the BMI Workshop, that really planted the seed.
I was still living in Boston, figuring out what to do with the rest of my life, whether it was completely insane to move to New York and try and form a big band—it is, but there were a lot of other people doing it, so it seemed okay! After a year of doing the weekly commute, four hours on the bus and back, I said alright, let's move to New York and see how it goes.
So my girlfriend and I got a place in Brooklyn, and I started calling some people to do some reading sessions at the Union of some of the music I had written, some things I had written in the BMI Workshop and some new things I was trying out. The great thing about New York is that everybody wants to play, and I had this big list of phone numbers that I got from a friend. I would call people, 'Hey, you don't know me, I'm a composer, I'm new in town and I'm having a reading session at the Union, I can't pay you and the music is extremely difficult.' And there was like, 'Great, sign me up!' or 'Sorry I can't make that, but please keep me in mind, I love playing hard music.' There is just a real great attitude in New York, there are a lot of people if they can possibly make it they'll never turn down a chance to play music or read music, even if there's no money involved. So its really helpful to a young composer to exploit that and try out some different people.
I did that for a year and a half. I was working as a music copyist primarily; I had some grants from the Canada Council, I had a grant to study with Maria Schneider, and I was also working as a film and Broadway music copyist. So I would have these reading sessions every couple of months, whenever I had new music to work on, and finally Ingrid Jensen [the trumpeter] took me aside after one session and said, 'You should get us a gig!' It was like, 'Alright, you got a point!' So I got us our first gig at CBGB's Gallery, when it existed; there was a Sunday night jazz series, all kinds of crazy music, that was our first gig, in the CBGB's basement.
It is hard enough to survive in the jazz economy as a soloist, but you have a whole big band to consider, so I guess trying to generate an income stream in order to do what you want to do is difficult.
Well … yes! And it continues to be. The story is that you go into an enormous amount of debt trying to sustain your big band habit. You can't pay the players nearly what they're worth; it ends up being a really insulting amount of money for these gigs. I feel incredibly fortunate to have found players who were in it for the music and were willing to put up with that, and still willing to rehearse, and devote their time and personal practice in rehearsal and conceptual frustrations of working with music that makes demands of the players they don't face in the normal course of events. It has been a long hard slog to get to this point. I am really fortunate to find a group of players who were willing to trust that something would eventually come of this.
Obviously the response to the album was fantastic. When I started the band, I never imagined we would be doing a European tour. We played the Bimhuis two nights ago, that was our first European gig, the Domicil in Dortmund last night, and performing at the Moers Festival tonight. That would have been incredibly unrealistic [to expect]. This is our first set of dates outside New York, and after we get back we're playing our first domestic gig outside New York in Philadelphia.
Can you cast your mind back to your early studies, and how you began to think in terms of a big band?
Sure. I grew up in suburban Vancouver and I was lucky to have a very good music program where I was. I started on trumpet and got really frustrated with it, whereas a piano seemed much more attractive. If I wanted to hit a Bb I could do it 100% of the time, so I switched over. I'd had piano lessons as a child, and gotten frustrated with that too, but jazz brought me back to the piano. For whatever reason it was very easy for me start listening to jazz. I found right away things that I liked. My first jazz record was that Clark Terry record In Orbit, with Thelonious Monk; that was instantly appealing. Wynton Kelly on Kind of Blue: instantly appealing.
In the high school jazz band we played a drastically simplified version of a Thad Jones chart. In the library they had the vinyl of the original recording of it, [so] I got that out. And at 12 or 13 really fell in love with the Thad Jones-Mel Lewis band, so probably that was the seed of the interest in big band.
But I don't think I imagined I would start my own, and I went on to Montreal, where I was a jazz piano major at McGill. I had a range of classes there, and the opportunity of writing for a big band. I heard a few things that started the fire. One was back in 1994, a group of us went down to the IAJE in Boston, and there I heard Bob Brookmeyer for the first time with the Danish Radio Big Band. They played his arrangement of 'St. Louis Blues,' and that introduction really stuck with me. I knew I had to get that, and then the Thad Jones-Mel Lewis box set came out on Mosaic, and I was able to get that—that music had been previously unavailable—and Maria Schneider's first record came out, Evanescence. Our arranging teacher played 'Wrygly' in class, and that completely floored me. 'Well here's someone who's on the cutting edge of great new jazz and it's almost incidental that it happened to be a big band.' This is like something that is really fresh and interesting and current and unlike any jazz I had heard … it was almost like Maria was taking a leap beyond all the small groups in terms of conception and how well everything was integrated structurally. Just the vibe of it that was hugely influential and exciting.
You later studied with Maria Schneider, of course, so perhaps you could expand on her influence on your conception.
Being able to study with Maria was obviously a dream come true. I've taken lessons from a lot of different people, but with Bob and Maria I felt like we were on the same wavelength. When Maria would make a suggestion it was always, 'OK. Yes, exactly.' If I had the experience, that was what I was hearing, I wish I had thought of that, it was like she could read my mind and improve on it! Bob was very much the same way. So much of it is about the structure and the narrative and the flow of the piece. You get a lot of teachers who get bogged down a little bit in the nitty-gritty of voicings, and that of course is incredibly important, but I think I basically had that stuff down. So it is important to move beyond that, because it doesn't matter how beautiful your voice leading is, if the structure of the piece isn't satisfying to a listener it doesn't matter; it's all ultimately in vain.
A lot of our lessons, both with Maria and Bob, were just figuring out how to make things more clear, how to tell the story of the piece in a way it's going to make more sense for the listener, so they can follow the dramatic arc of the piece. That might mean another bar and half of this before going on to here, or, this transition here; 'I think you should sneak in the new material a little earlier,' 'see if you can get more of a crossfade between the ideas rather than a jump cut.' Or sometimes it would be, 'what would make this more exciting if you launch into this new section a bar earlier than expected'—that kind of thing …. Being able to manipulate the structure of the piece to guide expectations was something that was really important to my studies with both Bob and Maria. When we got into the nitty-gritty of details it was always in service of something larger. If we treat this voicing it's going to help the whole arc of the piece rather than just examine every single voicing for the hell of it. It was very clear why we were working on things and why there was a microscope on certain details. Because these were the key details that were going to unlock the rest of the piece, that would make it more expressive, or more communicative, or more mysterious, or whatever the vibe of the piece was.
There was an interesting posting on your website about the so called 'jazz wars.' I wonder if you could talk a little about this and expand a little on what you wrote.
I think the museum approach to jazz is something that has been ultimately disheartening and destructive to music. I understand why the people who were responsible for that took that route, and getting funding and getting respect and getting institutional support for jazz is a noble goal. But at the same time, putting it in that sphere of music that is to be appreciated rather than music that kicks your ass is a horrible mistake. And having the focus be all the time be education rather than communication is something that overlook[s the fact that] great music has a power of its own. It doesn't need to be explained or educated. Someone doesn't need to have studied jazz or harmonic progressions or the history of the music to 'get' a record like The Black Saint and the Sinner Lady. You just get down with it, and instantly whether someone is a jazz fan or it's the first jazz record they have ever heard, it's very clear what it is. It has a power to it. To say, 'You shouldn't start with that record, you should go through the history of the music,' is weird. It's a lot easier to get people interested in music if it is not presented like medicine, so that's one aspect of it.
The other thing is jazz has a connection to popular culture all through its history up until the 1980s. When Coltrane covered 'My Favourite Things' from The Sound of Music, it was a new show; it had been on Broadway for something like six months when he went into the studio with that. It was a pop song. Now we have this disconnected repertoire, we're going to freeze the jazz canon at this particular point in time. These are the standards and nobody knows the original versions. Not even jazz musicians know the original versions of 'Like Someone in Love' or 'Autumn Leaves' or any of these standards. They know the jazz versions. The original point about these being some kind of common vocabulary that people going to a jazz club would know the song and understand the improvisation … that context somehow got twisted into something different, something very codified. The point of doing a standard shifted from something that was accessible—reaching out to the people who are in the culture, doing something current and something that had a symbiotic relationship with popular culture. It went from that to something incredibly isolated, something that only a small group of diehard people know, like 'the jazz repertoire.'
So having those barriers imposed on them meant creating this firewall between jazz and the people who really love music—who have an open-minded attitude towards discovering new music—is incredibly destructive. Telling those people, who know better, that their music, the music they listen to and they love, like Animal Collective: 'Oh that's pop, that's crap, there's no value to that, you should listen to art music, jazz.' It's not just wrong, its offensive and so counter-productive, because the person knows you're bullshitting. There is just so much cultural baggage associated with the idea of jazz as high art, as classical music, and popular music as low brow. The people who make those claims make we wonder if they have ever listened to popular music in the last twenty years, like really listened to it. I suspect not.
But the other infuriating thing is that there are kids who are really intense about music. The kids who follow all the indie rock blogs—those are the people who are out there like really getting excited about music. When a record leaks ahead of time, like the new Grizzly Bear record, there's a flood of interest and activity. These are the people who are really fascinated by new music and their tastes haven't ossified yet. So music is a really important part of their lives, and there seems to be a lot of people in the jazz world who are trying to make it as difficult as possible for those [kids] to come to what they do. Which is why walking around Moers people … [these] young people are really excited about the music; that's why I am really looking forward to performing here.
I don't want to hate on the jazz audience per se, the hard core people, because obviously they are helping to sustain the music as well. But there is a facet of the jazz audience that is incredibly conservative and incredibly set in their ways and in their tastes, and what they want is music that is incredibly similar to music that has already got the official stamp of approval and is very close to what happened in the jazz canon. But what made Mingus and Coltrane and Miles obviously, what made them great was that their music resonated with the times it was made in and it had a connection to the popular culture, and it was a product of its time and that's what made it timeless. For people to take that as a template for making music today seems to be missing the spirit of those artists and the spirit of jazz generally.
I very much agree with you. I believe when jazz cut its umbilical with popular culture in the 1980s, not only was the music the poorer for it, it became increasingly self-referential.
Finally, I would just like to ask you about the power of the internet, and how you used it to increase Secret Society's profile. I wonder if you can talk about this in the context of today's financial climate—where on your blog, for example, you have written about 'dwindling freelance opportunities' and 'world class jazz musicians fiercely competing for the privilege of playing pass-the-hat gigs.'
It's an incredibly difficult problem. I can say my music would be better if I could devote myself to it fulltime. Currently it's still not possible for me. I would like to get up in the morning and write all day or practice conducting any of those things. That's not possible. The rent has to be paid and there are other things I must do to finance my big band habit.
Adversity breeds creative solutions, so you have a lot of people financing their records by soliciting funds from the fans in advance, which is something that is becoming a lot more prevalent of late. A lot more people are trying to circumvent the traditional record label model, which is completely failing, and putting out their records themselves, or putting them out on a label like my record label, which allows you to own it. The positive aspect of that is that you get to control your music, but the negative aspect is you don't get any money in advance to record, or anything like that. So I think a lot of people are trying ways of trying to connect the record to fans, Twitter and what not, to build more of a communication and more of a direct relationship with fans. A part of that is very sincere in wanting to reach out and to be open and have those relationships, in the hope that those fans will actually pay money for the CD. Or perhaps make a contribution to help make the CD.
Music technology is a double edged sword. On the one hand, sure, the record industry as we know it is doomed—the model of record labels having the whole apparatus of scores of managers and A&R people is almost completely gone for all but a handful of artists now. But on the other hand, when we first started, I recorded all our live shows, from the very first one, just with a digital recorder. I converted them to mp3 files and uploaded them to the website. It took us four years to make a studio record, but in those four years, people from all over the world heard what we were doing in small New York clubs.
When Guillermo Klein [Y Los Gauchos] was playing in Smalls in the nineties, there was no document of that. If you weren't there in the club, you missed it. It was legendary and really influential for people who were living in New York at the time; it was a very underground thing. A fantastic composer with a thirteen piece group, he's an Argentinean-born composer who now lives in Barcelona, but in the nineties he lived in New York and his band was playing, I think, every Monday night at Smalls. It became a legendary regular thing, you had to be in New York to hear about it, whereas with Secret Society we just put it up on the internet and people from Japan, Australia, the UK from all over writing in and sending donations to help me make a studio record. So the technology takes away some things but empowers people to do other things.
I do also feel strongly that I would not be in this position without the support I was able to get being Canadian from the Canada Council for the Arts, they subsidized my studies with Maria Schneider and John Hollenbeck. And I recently got a grant to study with Derek Bermel, who is a fantastic classical composer. Just through accident of birth I was able to get these grants; there's nothing like it in the United States. And I have been fortunate to get some small grants from organisations that are still there and still persevering, like American Music Center and Meet the Composer.
But the level of public support for the arts in the United States is dismal. I think especially now that the market is failing, there really needs to be a cultural investment in sustaining non-commercial music, because it feeds everything. It works in interesting ways. It keeps pop music alive: the experimental stuff that people are doing at festivals like this, this music gets incorporated and used by the producers who are doing advanced pop, but putting a glossier finish on it. This is a font of people coming up with new ideas and experimenting with music and trying new combinations that is the wellspring for everything. And that wellspring needs public support. It's for everyone's benefit, and that might not be instantly clear for someone who is mystified by something that's very abstract or experimental and seems very different from the music as they understand it. But they benefit from it and the experiments taking place, and the best of it filters through to the culture at large. I really think it would be tremendous for the U.S.
American popular music basically conquered the world. The whole Afro-European fusion happened there. That melting pot … the combination of groove and harmonic richness and grit—there's really nothing like a New York rhythm section—and the power of that music is at odds with the value in which it is held in America, which is really frustrating. I think what it comes down to, is musicians are going to have to get better at organizing and lobbying—we have to stand up for ourselves because nobody is going to stand up for us—and be able to try and collectively advocate for support for the arts, [especially] support that filters down to the lowest level. Jazz at Lincoln Center is one thing, but it costs them tens of thousands of dollars to turn on the lights in that building, whereas if they took that ten thousand dollars and gave it as a grant to an emerging composer or even a thousand dollar grant to ten emerging composers, you would have great work happening from the bottom up. The top-down perspective represents a problem; the funding that exists is all top-down and is 'Let's fund the elite institutions,' rather than give a grant to say, Mostly Other People Do the Killing so they can afford to make a record or go out on tour, that kind of thing.
Well, sobering thoughts to end on—thanks so much for speaking to Jazz.com
Thanks very much, it was my pleasure, a lot of fun!
Visit Darcy James Argue's Secret Society website.
September 05, 2009 · 0 comments
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text: May 30, 2013 14:06 2013 High School Graduations 2013 High School Graduations Advocate story May 17, 2013; 2:15 p.m. Comments Lists of graduates for high schools in The Advocate's coverage area will be posted here as names of the graduates are sent to The Advocate. Names of graduates will only be accepted from each high school. Parishes will be added as graduations occur. Iberville Parish Math, Sciences and Arts Academy East East Iberville High School Get The Advocate in your inbox Subscribe


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June 27, 2016
WIN Week In Review May 30-June 1, 2008
By Doug Cunningham
Twenty thousand workers at ten University of California campuses and hospitals could strike as soon as June 4th. Many of the workers are in poverty and qualify for public assistance. The workers want better wages and benefits and they've been negotiating with UC for ten months. Lakesha Harrison is President of AFSCME Local 3299.
[Harrison]: "This whole fight is not about resources, it's about priorities. UC has the money to do what's right by the workers and they refuse to do it. If UC really values the workers and the workforce and the patient care folks they need to pay a wage that'll help sustain that workforce and pay the wage that needs to be paid – which is at least 25 percent more than what they pay now."
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From: Oracle Corporation
Minor Subject: Patches are available to prevent unauthorized access
Product(s) Affected: WebLogic Server and WebLogic Express
Threat level: Medium
Any client that can access a JNDI server can exploit this vulnerability.
Severity: High
The WebLogic Server instance can be rendered unusable and potentially confidential data can be stolen.
Recently a problem was identified that could potentially cause a security vulnerability in certain versions of WebLogic Server and WebLogic Express. Patches are available to correct this problem (see section II). Oracle treats such possibilities with the highest degree of urgency and does everything possible to ensure the security of all customer assets. As a result, we strongly suggest the following action:
I. Read the following advisory.This vulnerability occurs in both WebLogic Server and WebLogic Express. Throughout the rest of this advisory, references to WebLogic Server apply to both products.
II. Apply the suggested action.
III. If you know of any additional users interested in future security advisories, please forward them the registration instructions below.
This vulnerability occurs because some internal WebLogic Server objects that are bound into the JNDI tree and are insufficiently protected. Some of these objects control key functions of the server. Simply unbinding the appropriate objects will render the server unreachable (denial-of-service attack). It may be possible through clever coding to leave the server operational but to have some confidential data transmitted to an attacker's object rather than the internal WebLogic Server object for which it was intended.
This security vulnerability affects all installations of the affected releases. Access to the JNDI tree is required to exploit it. The patches available in this security advisory address this vulnerability.
The following versions of WebLogic Server and WebLogic Express are affected by this vulnerability:
- WebLogic Server 8.1, released through Service Pack 2, on all platforms
- WebLogic Server 7.0, released through Service Pack 5, on all platforms
- WebLogic Server 6.1, released through Service Pack 6, on all platforms
Oracle strongly recommends the following course of actions:
WebLogic Server 8.1
Upgrade to WebLogic Server 8.1 Service Pack 3.
WebLogic Server 7.0
- Upgrade to WebLogic Server 7.0 Service Pack 5
- Download and apply the patch #7824570 from OracleMetaLink as per the instructions below:
• Select the Patches and Updates tab after logging in to OracleMetaLink.
• Click Simple Search.
• In the Search By field, select Patch Number from the list.
• Enter the patch number. The patch number may be different for different product releases and platforms.
• Select the platform (or choose generic as applicable)
• Click Go.
• Click Download to download the patch.
- Follow the instructions in the readme file to apply the .jar files to your installation.
WebLogic Server 6.1
- Upgrade to Service Pack 6
- Download and apply the patch #7824611 from OracleMetaLink as per the instructions below:
• Select the Patches and Updates tab after logging in to OracleMetaLink.
• Click Simple Search.
• In the Search By field, select Patch Number from the list.
• Enter the patch number. The patch number may be different for different product releases and platforms.
• Select the platform (or choose generic as applicable)
• Click Go.
• Click Download to download the patch.
WebLogic Server 6.1 Service Pack 7 will include the functionality in this patch.
Oracle strongly suggests that customers apply the remedies recommended in all our security advisories. Oracle also urges customers to apply every Service/Maintenance Pack as they are released. Service/Maintenance Packs include a roll-up of all bug fixes for each version of the product, as well as each of the prior Service/Maintenance Packs. Service/Maintenance Packs and information about them can be found at:
Note: Information about securing WebLogic Server and WebLogic Express can be found at http://edocs.bea.com/wls/docs103/security.html. Specific lockdown information is provided at http://e-docs.bea.com/wls/docs103/lockdown/index.html. We strongly encourage you to review this documentation to ensure your server deployment is securely configured.
As a policy, if there are any security-related issues with any Oracle product, Oracle will distribute an advisory and instructions with the appropriate course of action. Because the security of your site, data, and code is our highest priority, we are committed to communicating all security-related issues clearly and openly.
All previous advisories can be viewed at: http://www.oracle.com/technology/deploy/security/wls-security.
Additional users who wish to register for product advisory distribution should follow the registration directions at: http://www.oracle.com/technology/deploy/security/alerts.htm.
Security issues can be reported to Oracle by following the directions at:
Thank you,
Oracle Corporation


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The Jeffco School Board will host six community budget forums this week to seek public input on priorities for the 2014-15 budget.
The forums are schedule for the following dates and locations:
- Monday, March 3, 6 - 7:30 pm at Standley Lake High School and Evergreen High School
- Wednesday, March 5, 6 - 7:30 pm at Chatfield High School and Arvada West High School
- Saturday, March 8, 9:30 - 11 am at Lakewood High School and Dakota Ridge High School
The forums will take place in the school library, except at Lakewood High School where the forum will meet in the school's lecture center.
Those who plan to attend may also want to read the letter to stakeholders that outlines the goals the Jeffco School Board will also consider when planning the budget.
Results of the last month's Jeffco community budget survey are available on the Jeffco Schools homepage.
Comments made on the budget survey are also available for review.
During the school board's Feb. 18 discussion about the forums, board member Lesley Dahlkemper said one of the values of community engagement is that "it provides us an opportunity to learn from our community what they value most."
Dahlkemper also pointed to the large turnout for the budget survey, noting "We had 13,000 people across Jefferson County respond to the budget survey" before being interrupted by board president Ken Witt, who commented sarcastically, "Sometimes three and four times."
An analysis by Jeffco School's IT staff found Witt's statement to be untrue. With the exception of one household with 18 responses (out of a district-wide total of 13,101), the average number of responses from a single household was 1.71. That number is consistent with the reality that two parents or a combination of student and parents in a household might have taken the survey.
A more detailed analysis of IP address use for the survey and the potential for fraud is included at the end of the budget survey results.
Suggested Links
- Ray and Associates selected for Jeffco Schools superintendent search
- Controversial contract with Jeffco School Board attorney made public
- Jeffco School Board revises TS Gold decision, reviews legislative platform
- New Jeffco charter school given conditional go-ahead
- Jeffco School Board majority forces Stevenson into early resignation


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Army Guard
Air Guard
Joint Staff
Plan, prepare, execute and assess combat service support operations within a corps or division area of operations. On order, conduct stability operations in support of federal missions and provide Military Assistance to Civil Authorities for state and local missions. The 287th Sustainment Brigade is the largest brigade-level headquarters in the state and commands three subordinate battalions.
The unit commander is Lt. Col. Thomas Foster. The senior noncommissioned officer is Command Sgt. Maj. Brian Anderson.
The unit is composed of the following;
- 287th Special Troops Battalion, Hays
- 169th Combat Sustainment Support Battalion, Olathe
- 287th Special Troops Battalion, Hays
- 169th Combat Sustainment Support Battalion, Olathe
Headquarters and Headquarters Company, 287th SB, completed relocation from the Wichita East Armory to the Heartland Preparedness Center during September. The Heartland Preparedness Center houses HHC, 287th SB; Detachment 2, 731st Transportation Company; and Detachment 1, 242nd Engineer Company. The Wichita RSP site has relocated to the new armory and a portion of the Kansas National Guard Medical Detachment is also scheduled to move in. The Heartland Preparedness Center was unveiled to the public in an open house on March 21. Wichita Mayor Carl Brewer; Maj. Gen. Lee Tafanelli, the adjutant general, and several other local and state dignitaries attended the event.
In July, the brigade conducted Army Force Generation available year training in addition to multiple Military Decision Making Process exercises for future mission command events.
As part of the Kansas-Armenia Partnership for Peace initiative, the 287th sent two teams to train Armenian military members on staff operations and logistics to assist with their certification to meet NATO standards and participate in peacekeeping operations around the world.
Soldiers supported the 19th Expeditionary Sustainment Command during Ulchi Freedom Guardian 2014 (Warfighter Overseas Deployment Training) in the city of Daegu, Korea.
Activated soldiers during poor weather conditions in three locations around the state to support civil authorities, as necessary.
Click here for emergency preparedness information, safety awareness information and general information about severe weather and other potential emergencies that Kansans should be prepared for.
For information provided by Kansas Division of Emergency Management, click here.
For information provided by Kansas Homeland Security, click here.
Copyright © 2016, KANSAS ADJUTANT GENERAL'S DEPARTMENT
Questions/suggestions to: Public Affairs Director


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TC TO LORD ASHBURTON ; 26 May 1852; DOI: 10.1215/lt-18520526-TC-LOA-01; CL 27: 120-121
Chelsea, 26 May, 1852—
Dear Lord Ashburton,
I am sorry to have fallen under the just suspicion of stealing your beautiful caduceus, or twisted stick, yesterday at my departure: I did not notice it till we were in the cab, halfway to the station and no time to return. It shall be left at Bath House this evg or tomorrow.
We got perfectly well home; and I had a silent afternoon, not interrupted by the Furies, if a stranger to the rosy Hours; and finally an excellent sleep, rocked by the loud tumult of the east-wind, which had grown to copious batterings of rain this morning. What a day for the Derby,1—for her Ladyship's bright new carpets above all! You can report that I put the Letters in, before two o'clock yesterday, in a Town Post-Office.
Except a weakness which seems fitter for a sparrow than for a man,—or which might, in the language not of flattery be defined as a transcendent laziness,—I have now no disease to complain of; and these sad residues will go gradually too, I hope.
I send many regards to My Lady and Sambo:2 bid you take good care of yourself in the middle of the tumults; and am always
Sincerely Yours, /
T. Carlyle
There are now 250 Candidates for the London Library! A subcommittee is to sift them down;—and, in the end, it is too plain, there must be at least 249 disappointments.


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Old West Horse Drive
Ron Wilson
Beautiful images of the Old West. Cowboys chasing horses, swinging lassos, horses running, kicking up dust in the golden light of the low sun. Photographed in Oregon at the Rock Springs Guest Ranch. Individual photos may be seen at Ron's website www.ronwilsonphotography.com
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Blurb Sites


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Panama City - A Panama City man is under investigation by the IRS for allegedly illegally selling untaxed cigars to wholesalers in other states. And apparently it was a pretty lucrative venture.
The investigation centers on Ehab Ahmed, who owns the Panama City Wholesale Supply on Beach Dr. Law enforcement officials say they seized evidence from Ahmed's home that proves he's guilty of conspiracy to defraud the united states, mail fraud, money laundering and structuring transactions to evade reporting requirements.
In 2010, a number of undercover agents contacted Ahmed wanting to buy untaxed cigars. They said they could sell them cheaper in Georgia, which charges a 14% cigar tax, and compete with bigger retailers. Ahmed allegedly sold the undercover officers large orders of cigars, for as much as a couple hundred thousand dollars a load, until October of last year, when authorities raided the operation.
Investigators believe Ahmed earned at least a million dollars from October 2010 to August 2011 making these types of transactions. But they say Ahmed's bank records show he never deposited more than 10-thousand dollars at a time because the bank has to notify the IRS of any transaction over 10-thousand dollars.
We tried to talk to Ahmed , but he was not at his home or at Panama City Wholesale Supply Thursday afternoon.


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With the upcoming 50th annual John F. Kennedy memorials, substaintial attention is being given to everyone that had any connection to the fateful day. Assumed assassin Lee Harvey Oswald may have been a loner in life, but it seemed in death he at least had Nick Beef next to him. For years visitors to Oswald's grave in Fort Worth, Texas have wondered who Beef was since a mysterious gravestone appeared next to the legendary killer's around 1997. On Friday, the The New York Times solved that mystery by tracking down Nick Beef to New York City where he is alive and well.
Beef, a 56-years-old, 'non-performing performing artist' and writer was born Patric Abedin and his father was an Air Force navigator. He and his father witnessed the landing of Air Force One at Carswell Air Force Base in Fort Worth on November 21, 1963.
During the commotion, Beef lost track of his father and a military police officer hoisted him onto his shoulders so he could try to spot his father in the crowd. It was at this moment that the President and First Lady drove past as he had a perfect view.
The next day, Beef shared the story during school at Waverly Park Elementary School. During recess, Beef remained indoors due to his asthma and he was alone when the principal announced that the President had been shot and killed; young Beef was the one to tell the news to his teacher and classmates when they returned to class.
Beef and his mother moved to Arlington in later years but always made the weekly trip back to the air base for his asthma shot. Frequently they would stop at Rose Hill Cemetery to observe Oswald's grave.
'Never forget that you got to see Kennedy the night before he died,' his mother would say.
In 1975, when he was 18, he read in a newspaper article that the plot next to Oswald's grave had never been purchased and inquired about it at the cemetery. Beef placed a deposit of $17.50 down on the plot and made 16 monthly payments of $10 to own it.
Life choices took Beef out of state and he found his way to New York, where he performed in a sketch-comedy troupe, and did some freelance humor writing. Beef married, had two children and divorced.
When Beef returned to Fort Worth to bury his mother in 1996, he stopped by the cemetery and asked to get a gravestone put on his plot.
When asked what he wanted, he decided on Nick Beef to protect his family name.
While he is a comic, he insists that buying the plot and placing the gravestone is not some elaborate joke.
'It meant something to me in life,' he told the Associated Press.
Beef has no intention of actually using the plot, saying he would prefer to be cremated.


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This item is not in stock.
- Paperback Edition
- Publication Date: 05-01-2002
- Page Count: 280
- Categories: Fiction
- Search within this book, powered by Google.
The Parish and the Hill
Afterword by Anne Halley
Told from the vantage point of a young woman who grows to maturity in a New England mill town in the 1920s, The Parish and the Hill portrays three generations of an Irish immigrant family in their urge to negotiate multiple identities. Originally published in 1948, The Parish and the Hill is now identified as one of the finest works of Irish American fiction, and one of the first to explore Irish life from a woman's point of view. The central character, Mary O'Connor, is the product of a family and a town divided by the conflicting values of the "shanty" and "lace-curtain" Irish. Brilliant and powerful on the themes of alienation, social class, and alcoholism, the novel offers complex and unforgettable portraits of the love between grandfather and granddaughter, mother and children, sister and brother.
"The beauty and depth of [Curran's] writing recall the most powerful of Willa Cather's works, which deal with the hard- won education and independence of a gifted young woman. It is grand to have The Parish and the Hill back in print."
"To genteel Irish palates Mary Curran's broad, colorful, unrelieved descriptions may seem as strong and fiery as the undiluted Irish whiskey."
"This lyric and haunting novel about three generations of Irish immigrants deserves a visible place in the multi-ethnic tradition of American literature. Through the working-class consciousness of its female narrator, it celebrates the democratic ideals of the early O'Sullivans who find themselves among Yankee, Polish, and 'lace-curtain' Irish neighbors in a mill town in western Massachusetts. The text's classic storytelling, mythic framework, and memorable minor characters make this a most 'teachable' novel."
"By using their own words and the perspective of a young girl narrator, Mary Doyle Curran not only recreates three generations of an Irish immigrant family but poignantly evokes their faith in the American dream, their bewilderment as they see their hope fade, and the dignity with which they accept their roles as outsiders."
"Mary Curran was my teacher at Wellesley in the late forties, the only teacher I had at college who asked new questions. She first published The Parish and the Hill in those years, telling the truth about Irish-Americans as she taught us to seek the truth in other less conventional, uncanonized literature. I celebrate the republication of her moving novel and its story of class, bondage, and the courage of women in the early days of Irish immigration to the United States, and in the hard years that followed. This is a fine novel from those dark, postwar years by a memorable woman who illuminated those years for me and many others."


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Ukraine - a photo odyssey is a travel book to document my travels through Ukraine in September 2013. The visit which was my first in any of the erstwhile Soviet countries and was a complete eye opener. I was completely blown away by the beauty of the country and the simple affectionate people so eager to show case their country. This book is dedicated to my friends in Ukraine.
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A Walk through Paris and Prague Published June 10, 2014


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Man Decapitated by Subway in the Bronx
Witnesses describe the absolutely horrifying scene.
Well, this is absolutely horrifying: A man reportedly threw himself in front of a train at the above-ground Mount Eden subway stop in the Bronx this morning. According to the MTA and witnesses, he was likely decapitated, and his body fell onto the street below. "I'm scarred for life, I'm trying to not think about it but I can't, it's inevitable," a woman who was on the 4 train in question at the time tweeted. What a nightmare.
"I was paralyzed when I saw his body parts," she added.
Oh my god half of his body fell down to the street, I'm traumatized— Elianny (@DollVuitton) November 22, 2013
Yeah he threw himself and his head fell down to the street and half of his upper body; the rest is still ... http://t.co/E9VedQ1k2T— Elianny (@DollVuitton) November 22, 2013
"@NYScanner: Bronx: Jerome Ave & east Mt Eden ave FDNY on scene with a person under a train, / God bless RIP pic.twitter.com/cyWkSb5qfk— DaOriginal Dj Focuz (@DjFocuz) November 22, 2013


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5 NEWS UPDATE: Shooting Suspect Charged, Victim in Critical Condition
Written by Your 5News Team
Last updated on July 16, 2013 @ 6:48PM
Created on July 16, 2013 @ 10:40AM
Suspect: Wade Raese, 30
The Sheriff's Department has confirmed to 5 News that Wade Raese called the department and deputies picked him up at Central Towers in Elkins without incident.
His bond is set at $250,000 and he is being charged with attempted murder.
Officials at Ruby Memorial Hospital said Ryan Earl Young is in critical condition at the hospital.
People in the Highland Park area said they were shocked to hear about the shooting. They also said they were shocked to hear who supposedly committed the crime.
"I got more afraid after I found out who had done the shooting because I know the kid. I really can't say I'm afraid of him, he was always a nice kid to me," said Kimberly Vandevender of Highland Park. "I wouldn't of expected it out of him, but the way kids are mixed up in drugs and stuff now-a-days, you never know. You don't know who to trust, you can't even trust your own family anymore."
Keep it to 5 News for the latest on this investigation.
Sheriff's deputies in Randolph County are investigating an apparent shooting in Elkins Monday night.
Deputies say they were called to Davis Memorial Hospital at around 8:00 p.m. for a man who suffered a gunshot wound to the head. That man was later identified as Ryan Earl Young.
According to witnesses, Wade Raese, 30, shot the victim inside a vehicle that they were in at Highland Park.
Hospital staff confirmed that Young suffered a gunshot wound to the rear head and neck area. His condition is unknown at this time.
Stay with 5 News and WDTV.com for any further updates.
Add your CommentYou must have an active WDTV.COM user account to post comments. Please login to your account, or create your free account today!
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Owasso's New Heights Church holds annual Back2School Event, including supplies, clothes, exams
OWASSO, Okla. - Parents, this is your chance to get all of your child's back-to-school needs in one place and free of charge.
New Heights Church in Owasso is holding its annual Back2School event from 8 a.m. to 4 p.m. Wednesday.
The giveaway is aimed at helping as many families as possible who may not be able to afford all the essentials.
More than 1,000 backpacks loaded with school supplies are being given away and the church's clothes closet will be handing out new shoes, socks and underwear.
Hair stylists are giving free haircuts, free eye screenings are available and children who need glasses will be referred to optometrists in the area prepared to donate free exams and glasses.
The Oklahoma Caring Van is providing free immunizations and the Mobile Smiles Dental Unit is administering free dental care.
New Heights Church is located at 106 S. Main St. in Owasso.
Don't forget to sign up for school closing emails so you know immediately when Owasso Public Schools cancel classes. When schools cancel classes you will be able to find the list on our 2 Works for You app, Storm Shield weather app and website.
BACK TO SCHOOL SWEEPSTAKES: Enter for your chance to win a $1,000 Visa gift card


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This week, San Francisco Ballet welcomes the Hamburg Ballet for two performances of John Neumeier's A Midsummer Night's Dream (see more).
The Hamburg Ballet is at the War Memorial Opera House on February 12 at 7.30 pm and February 13 at 8.00 pm. For more information and tickets, visit the San Francisco Ballet website.
Jerusalem continues its successful run at the San Francisco Playhouse. Here's what The Guardian had to say about it: "Jez Butterworth's gorgeous, expansive new play keeps coming at its audience in unpredictable gusts, rolling from comic to furious, from winsome to bawdy." Tickets can be ordered online via the Playhouse website, or by calling the box office on (415) 677-9596 open Tuesday to Saturday 1:00 pm-6:00 pm.
This year marks the 10th anniversary of the Black Choreographers Festival: Here & Now - Celebrating the Legacy of African American Arts & Culture. A wide-ranging program of performances is taking place until March 8, at venues in San Francisco and Oakland, with highlights including works by Nora Chipaumire, Gregory Dawson, Joanna Haigood, Portsha Jefferson and Robert Moses.
This week's performances - from February 13 to 15 - feature renowned choreographer and dancer Nora Chipaumire, a former member of the acclaimed dance troupe Urban Bush Women, in a program entitled Miriam. A deeply personal work, featuring an unusual staging and format, Miriam invites the audience to grasp the concept of being an outsider, a piece described by The Performance Club as "..... challenging, dark, brave and exquisite". Dance Magazine writes that Chipaumire "has become a rock star of downtown dance, with a majestic quality that blows everything else out of the water".
Norah Chipaumire's Miriam is at San Francisco's YBCA Forum, at 8.00 pm. For reservations and further information, call 415.978.ARTS (2787) or visit tickets.ybca.org/single/EventListing.aspx
The SFJAZZ Center has a series of programs so popular this week that most of them are either already sold out, or almost there! The first features Malian master musician, Bassekou Kouyate playing the ngoni, at the Miner Auditorium, on February 12, and this one is sold out. You might want to check for returns on the day, though http://www.sfjazz.org/events/season2/basseko-kouyate.
The following evening, February 13, features a return to SFJAZZ by Cécile McLorin Salvant - a concert which is most definitely sold out - however you can check for returns on the day. Ms McLorin Salvant appears at the Miner Auditorium - see http://www.sfjazz.org/events/season2/c%C3%A9cile-mclorin-salvant.
Claudia Villela & Harvey Wainapel play Stan Getz's 'Getz/Gilberto in the Joe Henderson Lab on February 13 and 14. February 13 is sold out, but there are still some tickets available for February 14 - see http://www.sfjazz.org/events/season2/villela-wainapel.
Kate McGarry and Keith Ganz appear at the Joe Henderson Lab on February 15 and 16. A favorite artist at SFJAZZ, Kate has firmly established herself in the first rank of jazz singers, and her appearance with her husband, Keith Ganz, celebrates the release of their first live duo album, Genevieve and Ferdinand. Her 2009 Palmetto release, If Less Is More… Nothing Is Everything, earned a Grammy nomination for Best Vocal Jazz Album and she's won Rising Star Vocalist honors in the DownBeat Critics Poll three times. All About Jazz writes: "Kate McGarry certainly has that 'thing' that Duke Ellington wrote a song about, and her music does mean a thing." Find out more about Kate and Keith's performances here.
Cal Performances presents Sweet Honey in the Rock on Wednesday, February 12, in a performance entitled Forty and Fierce! This renowned African-American female a cappella ensemble from Washington DC has a firmly-rooted following in the Bay Area, and celebrates four decades of sacred music of the Black church, music of the the civil rights movement, and songs representing the struggle for justice everywhere. The Grammy-nominated group - featuring vocalists Carol Maillard and Louise Robinson (co-founders), Aisha Kahlil, Nitanju Bolade Casel, and American Sign Language interpreter Shirley Childress Saxon - will perform selections covering blues, spirituals, gospel, hip-hop, reggae and jazz.
Sweet Honey in the Rock appear at Zellerbach Hall on Wednesday, February 12, at 8.00 pm. Tickets are available through the Ticket Office at Zellerbach Hall, at (510) 642-9988, at calperformances.org, and at the door.
There's also a performance for Bay Area school children on Thursday, February 13, at 11.00 am. Tickets are available in advance only. Go to the Cal Performances website to register.
Grammy and Golden Globe Award-winner, Kitaro, debuts his "Symphonic World Tour 2014" at the Green Music Center on February 14. Appearing with his ensemble and the Santa Rosa Symphony, conducted by music director, Stephen Small, Kitaro includes performances of his most memorable music from Silk Road and Kojiki. An internationally acclaimed composer and musician, Kitaro is one of the founding architects of the New Age category of music - influenced by American rock and R&B, and combining electronic artistry with elements of traditional Japanese music and Western pop.
The concert takes place at Weill Hall, Green Music Center at Sonoma State University, at 8.00 pm on Friday, February 14. For further information please visit the Santa Rosa Symphony website.
This weekend, the Santa Rosa Symphony presents Sons of the Fjord - a program of music by Matre, Grieg and Sibelius. The Symphony is conducted by Bruno Ferrandis - and French pianist, Philippe Bianconi, is the guest artist in a performance of the Grieg Piano Concerto. In addition to solo recitals and chamber music, M Bianconi has performed with leading orchestras and conductors in major concert halls and festivals around the world. Le Figaro writes of his playing as "gorgeous", adding: "Bianconi is capable of covering a great range of emotions without losing his clarity and brilliance", and the Washington Post describes his playing as "always close to the soul of the music, filling the space with poetry and life".
The program opens with the American premiere of Resurgence by multiple award-winning Norwegian composer, Ørjan Matre, and closes with Sibelius' Symphony No 2. It takes place at Weill Concert Hall, Green Music Center, from February 15 through 17. More details are available on the Santa Rosa Symphony website, and information on tickets can be found on http://www.santarosasymphony.com/myAccount.asp.
Classical KDFC's regular Saturday morning broadcast, Live from the Met, this week features Die Frau ohne Schatten (The Woman without a Shadow) by Richard Strauss, with libretto by Hugo Hofmannsthal. It's 10 years since the Metropolitan Opera last presented this legendary production by opera director and designer, the late Herbert Wernicke, and in this performance Vladimir Jurowski leads the Metropolitan Opera Orchestra and a cast which includes Anne Schwanewilms and Torsten Kerl as the otherworldly Empress and Emperor, and Johan Reuter as Barak. Christine Goerke, the dramatic soprano star, returns to the Met as the Dyer's Wife, whose shadow the Empress must win to free herself from a fatal decree.
Sung in German, the opera is broadcast live on Classical KDFC at 10.00 am (PST) on Saturday, February 15. Log onto the KDFC website for tuning frequencies or to listen to the live broadcast.
The Society Cabaret at the Hotel Rex http://societycabaret.com/ presents Love! A Valentine Cabaret, starring Jessica Fisher, Christopher M Nelson and G Scott Lacy, at 8.00 pm. See more at: http://societycabaret.com/#sthash.ujjbeO1C.dpuf
On Saturday, February 15, the Cabaret features Sandy and Richard Riccardi. In a performance described as 'tastefully raunchy', they present an all-comedy musical show, described by New York's Cabaret Scenes Magazine as "a fun-filled hour of lampoons, jabs and jibes on a host of topical subjects". More information is available on http://societycabaret.com/
The Chinese Culture Center celebrates Chinese New Year with a Spring Festival on Saturday, February 15. With a theme entitled Old School/New School, the Festival features performances from Starr King Elementary School and Pacific Wushu; dance from China Dance Theatre, Jerry Christopher Lin, and Shan Yee Pool Ballet; traditional Chinese lion dance by Yau Kung Moon; and art activities, featuring calligraphy from Justin Hoover and Chris Treggiari of SanFranStudios and Golden Mountain Calligraphy Society.
The Festival also celebrates the opening of the first solo art exhibition in the United States by modern Chinese abstract art pioneer Fong Chung-ray - which runs from February 15 to May 31. Between Modern and Contemporary: Fong Chung-ray focuses on the artist's mature work, featuring styles which include calligraphy, splashes of acrylic, and found materials such as sheets of plastic.
The admission-free Spring Festival takes place on Saturday, February 15, from 11.00 am to 3.00 pm, at the Chinese Culture Center. For more information, please visit www.c-c-c.org
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Edition: 2nd
Author(s): Mariotti, Steve; Glackin, Caroline
ISBN: 9780137013289 / Package / 1/7/2009
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When will it happen in Whitehall pa
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Nov. 9, 2013—Pursuant to the Memorandum of Understanding Re: Residual Vacancies—City Letter Carrier Craft (M-01824), the first wave of city carrier assistant (CCA) conversions to full-time career status took place Nov. 2.
While the exact number of conversions that took place on Nov. 2 has not yet been finalized, NALC estimates that somewhere between 1,500 and 2,000 CCAs, most of whom had served multiple years as transitional employees (TEs) prior to becoming CCAs, were converted to full-time career status to fill vacant full-time letter carrier jobs.
Those who served as former TEs directly before their CCA appointments will not serve a probationary period as full-time career letter carriers (see M-01826).
As vacancies continue to be filled through the steps in M-01824, more CCA conversions should take place in the coming weeks and months.
When will it happen in Whitehall pa
So where did these conversions happen??


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Designer Insights with Petar ZaharinovPetar Zaharinov is the Designer and co-founder of Praktrik, a Bulgarian design studio based on the practicality of design, as well as novel design elements. Petar designs furniture using burr puzzles as inspiration for his work, hence why his furniture looks so intriguing and mystical. They are designed to stimulate people intellectually, generally designed using interlocking wooden pieces. Petar is constantly adapting his designs and developing new puzzle structures. So we are happy to bring you the Designer Insights of Petar Zaharinov. 1) In your own words describe your unique style and creative aesthetic? I am focused on designs that look impossible but after applying some little trick they become possible. I also search for solutions where structure, function, and aesthetics are all one. 2) When starting a new project, what is your creative process? I first invent an abstract principle and visualize it with a symmetrical scale model, than I search for possible applications. It is actually upside-down the typical design process. 3) Out of the creative people you have worked with, who is it that you respect and admire the most? People that do things with Causa, not only for profit. People that go out of their comfort zone and explore new territories and are ready to pay the price for it. They can be found in many different fields: politics, entrepreneurship, art, science etc. If I have to give examples: Gandhi, Martin Luther King, John Lennon, Nikola Tesla, Theo Jansen, and many others of course. 4) When looking for inspiration is there a particular thing you do to get inspired? I usually look for inspiration outside the design field: mathematics, puzzles, geometry etc. Trekking, camping, slacklining, such activities charge me with new energy and help me see life from different angle. 5) What has brought you to this point in your career? And what is your advice for people looking to follow in your footsteps? What made me switch from architecture to product design were intuition and seek for freedom. The design field offers much more space for application of principles from other areas. Here I can be an entrepreneur, not just a head of studio. My advice is not to be afraid of making mistakes. Courtesy of: Terrys Fabrics
teTRIKsA communist era studio apartment refurbishment by PRAKTRIK The flat is located in a typical large-panel system building in Sofia. It consists of one multifunctional room, that operates as a living room and a bedroom at the same time, a kitchen, a bathroom, a corridor, and a large balcony divided into glazed and unglazed parts. This kind of buildings are very restrictive in terms of rearrangements because all walls are made of reinforced concrete and most of them are load-bearing; moreover, the budget did not allow replacement of the interior doors. The goal of the refurbishment was to turn the apartment into a place appropriate for young people, providing enough flexibility at an affordable price. The decision was to turn all of the immovable "heritage" - walls, ceilings, floors, and doors, together with the appliances, into a passive achromatic background, emphasizing the flexible assemblable wooden furniture and lighting. The flexibility is enhanced by the possibility of combining the modules from the different rooms, turning the whole flat into a tricky human-scale tetris game, inspiring the name of the project which is a combination of "tetris" and "tricks". The biggest challenge was the main room which is supposed to accommodate many different functions – not only connected to working and sleeping but also to different social activities – from having dinner with friends to drinking tea and playing board games in more relaxed atmosphere. This requirement necessitated the adaptation of the bed to functions different from sleeping. It is the biggest furniture in the room and using it only as a bed would not leave space for placing sofas and low tables for example. The solution was to make it modular using five benches – three standard VBT and two standard VIB with backrests at the ends. The parquet flooring is not slippery providing enough friction and keeping the five modules together. The upholstery was designed in a way allowing transformations – from mattress to cushions. The rest of the furniture in the room follows the same dual-use concept, providing a lot of functional combinatorics. The kitchen has a classic furniture arrangement typical for this kind of apartments, nevertheless the worktops are also assemblable and independent from the appliances, giving the possibility of rearrangements. The cabinets are also modular and equal to the ones in the corridor, bringing even more flexibility. They look decorative but their shape is actually very constructional and tectonic, providing a huge number of possible arrangements and assemblies. Their mobility is facilitated by the battens on which they are hung, eliminating the necessity of fastening them directly to the walls. Designer: Petar Zaharinov VIDEO: Music: Biplane by Podington Bear Staring: Peter Zaharinov Director: Simeon Tsonchev Production: Mono Collective http://monoco.eu
aboutPRAKTRIK is a studio and brand focused on "practical" "tricks". All products are inspired by burr puzzles. We see great potential for facilitating their principles for utilitarian purposes. Their production requires no hi-tech, they can be made of natural, ecological, and healthy (harmless) materials, they are assemblable and disassemblable, they can also be fun. Such puzzle structures are geometrical and constructivist on one hand and mystical on the other. This mystery brings some emotional quality to such designs that we consider very important nowadays. They also stimulate and require some intelligence from the user which is also very important to us. Most of such known puzzle examples are too complicated and their parts are difficult to manufacture; as a result, new ones had to be found. During the geometrical analysis it became clear that this task was just the opposite of the one of a classical puzzle maker because the new solutions had to be as simple as possible and easy to assemble. Generally, three interlocking principles have been used: The first one is represented by structures (4x6, 5x4, 6x3 ...) that are theoretically "impossible" to be assembled at least in our tri-dimensional world. They can become reality only by leaving enough distance between the faces of the element notches and applying some pressure during assembly. These burr structures are interlocked in all directions and are independent of their orientation in space and gravity. The second one is represented by structures (1x3, 1x2+1, 1x6, 2x3, 4x3... ) that can be put together by sliding motions. It can be sliding of the wooden pieces one after another (1x3, 1x2+1), half of them after the other half (1x6, 2x3, 4x3 ), or all of the elements together (1x3, 1x2+1, 1x6, 2x3, 4x3... ) as a coordinate-motion (slide-together) structure. Such mechanical puzzles are locked only in some directions and most of them depend on gravity in order their parts to stay together. The third principle is represented by structures (VST, VIIC, XIIL, IXT1, VIMB....) that can be put together by moving all parts simultaneously. Such puzzles are named "coordinate motion" or "slide together". Once assembled, the whole structure stays stable even one tries to move one or several of its parts. The stability in this case does not depend much on orientation and gravity. The name of a particular piece of furniture comes from the logic of its structure. For the "impossible" and "sliding" pieces it consists of the number of different element types multiplied by the number of elements of each type. The whole mathematical expression gives the total number of wooden parts. For "coordinate" collection the name consists of the total number of elements represented by Roman digits followed by letters representing the function - "S" for stool, "T" for table etc. Some of the principles we found appeared to be part or a step of more complicated puzzle structures (1x3, 1x2+1) and other appeared to be already known to other inventors (1x6) - Rinus Roelofs and his 6 piece slide structure (mortise-and-tenon joint). There are still numerous practical burrs waiting to be discovered and some of the wooden "knots" presented here to be used in other fields different from furniture design. We are happy to work with VizaLiving, a factury that has more than 20 years of experience in producing high quality furniture. Praktrik Ltd Facebook Google+ Twitter YouTube
+359 879 436299
Praktrik Ltd
Dianabad, bl. 11, entr. 3, ap. 54
Sofia, 1172
These terms and conditions apply to all transactions on this site. Using this site indicates your acceptance of these terms. These terms may change at any time. You will be required to read and accept these terms and conditions prior to confirming your order.
All prices include VAT but exclude delivery. Delivery charges will be shown clearly in the shopping cart prior to your submitting your order.
Payments are done via PayPal Email Invoicing. After submitting your order you will receive invoice on your e-mail.
Generally where an order contains more that one item, all items will be delivered at the same time. Lead time vary depending on the product.
The lead time is 3 to 4 weeks for the items in "sliding" and "impossible" collections and 2 to 3 weeks for the items in "coordinate" collection. For the lamps in this collection the lead time is 3 to 4 business days. The lead time of each product is specified in the product description.
Shipping times and price vary depending on the product and the chosen shipping method.
Upon submitting the order you can choose a shipping method provided by the following services: Bulgarian Post, EMS or DPD Economy (EU only)
While we take every step possible to handle your merchandise with care, occasionally damage can occur during shipping or handling. Please inspect your purchase promptly after you receive it and report any visible damage at email: firstname.lastname@example.com. If you are reporting goods as delivered damaged, digital images of the damage will be required.
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PRAKTRIK Ltd.


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Saturday, June 25, 2011
Memorable: 1992 Honda CBR900RR FireBlade
Over the years, reams of text have been written about the original Honda CBR900RR FireBlade and about how it rewrote the sportsbike rulebook back then. Tadao Baba, project leader for the first FireBlade (which was launched in March 1992), initiated the concept of 'total control,' favouring light weight and mass centralisation over outright top-end power, resulting in a sportsbike that wasn't just very fast, but also actually handled very well.
While the FireBlade was an absolute revelation back in the early-1990s, you might sometimes wonder how it would stack up against modern machines. The first FireBlade weighed 185 kilos and its carburetted, DOHC, liquid-cooled, 893cc inline-four produced 124 horsepower. Doesn't sound hugely impressive today, when it isn't uncommon for litre-class superbikes to pack as much as 190-200 horsepower.
Friday, June 24, 2011
Valentino Rossi to ride the Ducati GP11.1 at Assen
In a serious bid to salvage the 2011 MotoGP season, Valentino 'The Doctor' Rossi has been testing the Ducati GP11.1 at Assen. The GP11.1 is a hybrid – the GP12's chassis, fitted with the GP11's 800cc engine. The bike is also fitted with the new DST (Ducati Seamless Transmission) gearbox that Ducati Corse have engineered for their MotoGP bike.
Aprilia lets loose with SR Max hotness
The Aprilia SR Max 300 and 125 are scooters. They are available in red and white colours. And, no, you can't ask the girl in these pics to go on a date with you...
Usually, we wouldn't write about scooters like the Aprilia SR Max 300 and SR Max 125 here on Faster and Faster. But Aprilia figured out a cunningly devious way of getting us – and we suppose a hundred other websites like us – to write about the 2011 SR Max 300 and 125 scooters. They simply released these high-res pics of the two scooters with a hot Italian chick draped all over them. Voilà! Mission accomplished.
Yamaha's 50th Anniversary special edition YZR-M1: High-res pics from Assen
To celebrate Yamaha's 50th year in motorcycle GP racing, Jorge Lorenzo and Ben Spies will be running this special red-and-white livery at the 2011 Assen TT
Yamaha will be celebrating their 50th year in motorcycle grand prix racing during this year's Assen TT, for which they have commissioned a special red-and-white livery for their YZR-M1 bikes.
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PR ##228 June 20, 2007
Joyce Anne Judd, a trained artist/performer who has been educating young people in the arts for more than 20 years, will be instructing the ?Through the Lens & Curtain? class this summer at Raritan Valley Community College (RVCC). The program for youth and teens is being sponsored by RVCC?s Corporate & Continuing Education (CCE) division. Classes will be held at the College?s North Branch Campus.
The 10-session course will be offered twice: Mondays through Fridays, July 9-20 and July 23-August 3, from 9 a.m.-noon (children ages 8-12), or 1-4 p.m. (teens ages 13-16).
The ?Through the Lens & Curtain? class will allow students to experience film and theater by connecting the two art forms. Youngsters will learn about how plays become film and how films are transformed into plays. Participants will also learn techniques for acting in both film and on stage. The workshop culminates with a special performance of work created by the students.
The cost is $315 for each two-week session.
For more information, call 908-526-1200, ext. 8404 or e-mail firstname.lastname@example.com . Youth program brochures also can be picked up at the CCE office, located in the lower level of RVCC?s College Center, between 8 a.m. and 5 p.m.
RVCC, located on Route 28 and Lamington Road in North Branch, NJ, and serving Somerset and Hunterdon County residents for close to 40 years, offers more than 80 associate degrees and certificates. In addition, customized training programs and non-credit courses are available for those seeking personal and professional development.
The College is committed to offering a quality and affordable education through effective teaching, liaisons with the community?s businesses and state-of-the-art technology. For further information, visit www.raritanval.edu .
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Broken rudder dashes Telefónica's dreams
Telefónica skipper Iker Martínez saw his dreams of a fourth Volvo Ocean Race leg win evaporate overnight Thursday when, during the much anticipated and much feared gybe towards the Leg 8 finish in Lorient, France, Telefónica damaged its port rudder. As Telefónica limps in, overall race leader Groupama leads the way to the finish line.
With less than 300 miles to Lorient and while leading the six-boat fleet, Telefónica landed awkwardly off a huge wave and suffered damage to the port rudder as well as a breakage in the spare starboard rudder fitted as a replacement on Thursday afternoon.
"It's the first time that something like this has happened to me and it will be difficult to accept, but I'll have to worry about that once we reach land and any risk is over," Martinez said
Sailing in 35-knot winds, Groupama was expected to finish Friday morning. PUMA Ocean Racing powered by BERG was 24 miles behind in second with CAMPER with Emirates Team new Zealand another mile back, followed by Abu Dhabi Ocean Racing, Telefónica and Sanya.


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Medford Area Senior High School student, Sarah Lundy, a junior, recently traveled to Chicago to attend an audition for NBC's very popular singing competition program "The Voice". Sarah is no stranger to being on stage. She has performed in productions put on by the Medford Area Senior High School and Middle School Drama and Music Departments as well as with the Medford Area Community Theatre. But this, as Sarah discovered, is a totally different animal. Sarah shares her experience with K99's Patrick Porten...................................
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Boston bombing victim Adrianne Haslet-Davis was on "Meet the Press" but she walked out of the interview in tears. On April 12, the New York Daily News reported that dancer Haslet-Davis got very upset when the names of the Boston bombing suspects were said out loud. She hasn't said their names (Dzokhar and Tamerlan Tsarnaev) and doesn't care to know them or be reminded of them -- so when this happened, she got extremely upset.
"Cannot believe @meetthepress chose to use the bombers name instead of respect their guest. Had to walk off set crying," tweeted Adrianne after the misstep. You see, Adrianne had asked the names not to be spoken -- and while she was told they would respect her wishes, someone slipped up.
The Boston bombing survivor was on "Meet the Press" as part of a "roundtable discussion with three other participants." With the anniversary of the Boston Marathon bombings fast approaching (April 15), many interviews and discussions have been aired by news stations across the country. Haslet-Davis did a very nice interview with Anderson Cooper which aired last weekend. She has been very involved in the bombing aftermath and she is an inspiration. For "Meet the Press" to not respect her wishes -- well that caused serious backlash.
Despite an apology from NBC News and from "MTP" host David Gregory, Haslet-Davis was very hurt. She expressed her feelings in an open letter on her website. She clearly has very strong feelings about a day in history that changed her life forever -- and many feel that "MTP" should have been more accommodating. It's not like she was asking too much.
Obviously "Meet the Press" wanted the Boston bombing segment to go differently but many applaud Haslet-Davis for her courage. Many in Boston and around the world respect her and she deserves nothing but that. The 33-year-old lost the lower part of her left leg in the Boston bombings in 2013. She has since walked and danced again thanks to a prosthetic leg.


text: × Basketball Summer Sale: Select DVDs & Instant Videos Only $25 Each When Purchasing 4 or More! (Click here to apply Coupon code!) (This Coupon Expires at midnight on June 30, 2016) Becoming a Champion Basketball Player: Creating Open Shots and Improving at the Line Item Number: BD-02573C Currently 5/5 Stars.5/5 Stars (0 Reviews) Your Price: $39.99 Sorry, this video is no longer available. Please call 1-800-873-2730 or email us at email@example.com for recommendations on similar products. See more products by: FIVE STAR BASKETBALLBarry Brodzinski


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I was disappointed in your Sept. 15 editorial "Gains outweigh the costs for hydropower from Quebec." The community of Sugar Hill, N.H., unanimously voted to oppose the Northern Pass project as proposed at our 2011 town meeting. The proposed towers and widened rights of way would cut our town in half and devastate our scenic views and historic main street. The tax revenues that Northern Pass has promised to the town fail to consider the losses in property taxes and real estate values in Sugar Hill that have already occurred with the mere suggestion of high-voltage direct current towers.
Northern Pass is an elective transmission project. It is not needed to keep the lights on in New England. It would be built on spec. The developers hope that if they are allowed to build, they can compete with local power producers to sell the imported electricity.
New Hampshire already generates more electricity than it uses.
No environmental organization has endorsed this so-called green project.
If Northeast Utilities is so desperate to pursue this endeavor, why isn't this private corporation talking about burying all the lines along existing state-owned transportation corridors?
The writer is a member of the select board of Sugar Hill.


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Peter Capaldi's new Doctor Who costume has been revealed, and according to a report by MSN, the new look comprises " . . . a dark blue Crombie coat with red lining, dark blue trousers, a white shirt and black Doc Marten shoes." See it here.
Who designed Peter Capaldi's new Doctor Who costume? Doctor Who costume designer Howard Burden is the man responsible for the dramatic new look.
Who is Peter Capaldi? He was named as the 12th Doctor Who in August of last year, and according to IMDb, he portrayed the role of Caecilius during a 2008 episode of the show titled "The Fires of Pompeii." He is also an Oscar award-winning actor, earning the accolade for his role in Franz Kafka's It's a Wonderful Life.
Learn more about Peter Capaldi in the video at the top of the page. Is he really too young to portray the title role in the popular series? He is 55 years old. Do you like Peter Capaldi's new Doctor Who costume? Sound off below.
Important: To read more articles like "Peter Capaldi's new 'Doctor Who' costume revealed," please click the "Subscribe" link at the top of the page, and follow @ExamineThat on Twitter. New content added daily.


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May 23, 2014 10:00 AM
A few years back, we featured a Williams-Sonoma Outdoor Pizza Oven that cost $5,000. It gave us dreams of having pizza cookouts in our yard, but at that price, we were going to have to stick to calling Papa John's. Now Williams-Sonoma is offering a Pizzeria Pronto Outdoor Pizza Oven ($300). It's not quite as glamorous as the other model, but at a fraction of the price, it's way more feasible to host pizza parties for our friends. Pass the mushrooms!
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