text:
Sleeping Dogs developer United Front Games shuts down
Multiple sources say the company that made Sleeping Dogs has shut down
Sleeping Dogs online spinoff Triad Wars to shut down
Nobody would blame you if you don't remember that Sleeping Dogs got a successor in Triad Wars. It's still in beta, and you may never get to play it – because it's shutting down.
Valve fixes gaping Steam security flaw
Valve's security is usually top-notch, but this weekend, that changed. For whatever reason, the usually air-tight security in place on Steam collapsed, making it laughably easy to hijack accounts.
Triad Wars trailer makes me miss Sleeping Dogs
Did you love Sleeping Dogs and are hunting for the next great experience? Triad Wars might not be it.
Triad Wars preview – Comatose Dogs
Triad Wars offers a free-to-paly Sleeping Dogs experince, but is it a worth successor to the sleeper action hit?
Sleeping Dogs Definitive Edition review: Let sleeping dogs lie
Sleeping Dogs has been given an upgrade and brought to new generation consoles. Is it worth your time and money?
Sleeping Dogs launch trailer attacks
Jump into an even more realistic Hong Kong with the new Sleeping Dogs Definitive Edition.
Sleeping Dogs, you are looking definitively gorgeous
Sweet pork buns, does Sleeping Dogs: Definitive Edition look pretty!
Triad Wars won't nickel and dime you
Triad Wars may be a game in the free-to-play market, but it won't be tricking you out of cash says its developer United Front Games.
Triad Wars drops more details, screens and a new trailer
Build an empire, expand your turf and run a few rackets in Triad Wars.
Sleeping Dogs follow up Triad Wars is a PC only, online game
I hope you weren't too excited for Sleeping Dogs follow up Triad Wars; it's an online only PC game.
Sleeping Dogs: Definitive Edition releases this October
Fresh off of the downright sexy graphics of Tomb Raider: Definitive Edition, comes another Square Enix game that is getting higher definition kung-fu to the face in October.


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"Coach Martin brought in Notre Dame men," Wood's father, Lo Wood, Sr., told Irish Eyes. "He's counting on them to set the tone from Day One, in the film room, on the practice field, you name it."
Wood and Welch both lost their 2012 junior years to season-ending injuries. Welch tore his ACL in mid-August, Wood ruptured his Achilles one week later. Both were projected starters at the time of their injuries.
The pair returned to action last spring and earned backup roles, though neither played as much as anticipated for Kelly's 9-4 Irish. (Wood appeared in 11 games, Welch in 12.)
Welch was withheld from action as a true freshman in 2010 while Wood appeared in 11 contests as a rookie, the notable highlight a 57-yard interception return for touchdown in a 45-21 win over Maryland in a November Shamrock Series matchup.
Likewise withheld from action as a true freshman in 2010, Hendrix appeared in 16 games during his three-season career, most notably in a relief effort at Stanford (a 28-14 loss in 2011) and in the team's subsequent bowl matchup vs. Florida State (a 18-14 Champs Sports Bowl defeat).
Hendrix has already enrolled, taking a course during Miami's early January class period while Welch and Wood will join the University for its January 27 spring enrollment.

subset: commoncrawl


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Twitter, Amazon and Yelp are among the affected.
NowThis Studios, which makes content that can't be found on its website, is part of Discovery Communications' $100 million bet on digital distribution.
According to the charts, the damage is widespread, and the situation is deteriorating.
Vonage wants to beat Twilio at its own game.


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Lily's Florist is an Australian based delivery florist. Order flowers online for same day delivery to any location is Australia. Fresh flowers from just $29.
The rating shows just the review scores in the category or product area selected.
Ratings guide
All Feefo reviews are gathered anonymously from genuine customers. Read more about how our review system works.
Thought lilys florist was in Darwin. Not so
Ordered flowers
Rec call from petal 1.30pm unsble to supply my request. Change colours of flowers
Phone later to find flowers weren't even ordered to be delivered same day. I phoned petal in anger and demanded flowers to be delivered to home address birthday gift. Angry. Bunch of flowers nothing like I ordered. Total disappointment from start to finish. Flowers ordered by ph 10.30am. If i can send a photo of the flowers delivered you compare them to what you offer in your Lily photos. Not so. Michelle Nobbs-Darko
I personally didn't see the end product but my sister in law was very pleased.
Pink gerberas? The picture gave the impression of a bunch of creams, and unfortunately the recipient has a dislike for the gerberas! Didn't feel
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My friend who received the flowers was thrilled with selection and she wasn't home when they 1st arrived so they came back a second time to deliver! That wouldn't happen here in Sydney!


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What?<quoted text>being elected by the 51-53 percent does NOT mean that the president does NOT represent the other 47-51 percent as ANY President would be. Amazing!!
Latest count is 53.5% Obama. 47% Rmoney.
Guess what else? ;-)
Rmoney born in 1947.
Mass. Was 47th in Job Creation when Rmoney left.
Rmoney said 47% of the Nation are leeches, dependent on Gov.
There is more 47 revelations, but I can't remember w/o looking it up.


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Luann by Greg Evans
- August 31, 2013
- From Beginning
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Comments (93) (Please sign in to comment)
"Brass In Pocket"
"Attention Now! Pleeaaaase"….
The Pretender Cafe… "Our Detroit Lean beef" is on special!"… "And as always, if you don't have cash, don't worry!… We Accept Visa and Attention!"…
Attention Worldwide Credit… "The only card that truly pays your way"… "When everyone is saying: 'Give it to me!', you'll know, it's because the Attention Card is in demand!"…..
Tiffanyville… "A great location, at the center of it all!".. "Visit and see why Tiffanyville is nicknamed 'the center of the galaxy'!"….
Alleyz Optometrists…. "Great location, in the center of town!"…
So what do you guy's think. Does the pool party go on for another week or what do you think will be next weeks story line?
The quintessential need to be the center of attention.
Probably just Sunday and Monday…. and we're still waiting for Bern!..
Even Gunther is willing to LOOK at whoever lost her top!!!
Yeah, they've been in the pool for almost two weeks, our time… they are going to be some pruney, raisiny people when they finally go back to school…Yep…. sunburned, and wrinkled….
No such thing as shrinkage here, right George?
Tiffany testing the crowd. Snort.
Run, Ox, while you still can!
Boys will be boys……….
"Pardon me for being human! "
No, I am a full functioning, happily married man (coming up on another double digit year of marriage this October, I might add), and I happen to have an affinity for wordplay, puns, and comedic irony, and also many varied subjects……
You can look back in the past few weeks, or even further back than that… notice the threads, even towards the bottom of them… they're chocked full of things that many posters contribute here in very creative ways…..some people here are good at creating humorous stories, giving anecdotes, and some of us here thrive in wordplay and "pop culture references" (like myself) and some posters like to provide a "musical playlist", or their particular brand of humor… and some of us post back and forth on these various things, and more….. the thing that I posted above was "sponsors"…. my own creative way of tying in themes pulled from the day's strip, with in-jokes and other references unique to this strip, or to pop culture, or other things in general… I don't do that anywhere else but here…. I used to do it more elaborately, but I've since streamlined it, some… and if you'll notice in some of the strip's previous posts, many will tell you that the "Luann" board is chocked full of posts, with a variety of things that different people enjoy from different posters here, and it's different from elsewhere on GoComics…what I do, is pretty much a part of that… ….
and Delta as well.
and Delta as well.
Yeah, true!… but I think she was in the strip on Sunday, or maybe Saturday… she just had on a one piece, instead of the one she had in the store, last week….
Actually, you're the one last week who didn't even know that the strip from last week was part of the storyline…. and people were posting to tell you, but you probably ignored them all…
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Summer's warm weather and bountiful produce make it the perfect season to pack up a meal and head to the nearest park, beach or even your own backyard. Try these chocolaty fruit skewers on you next picnic.
- 1 Premade pound cake
- 8 Strawberries, whole, leaves hulled
- 8 Raspberries, whole
- 1 Cup pineapple, cored, chunked
- 4 Tablespoon chocolate syrup
- 4 Bamboo skewers (6-inch)
Step 1:
Cut pound cake into 4 1x3-inch rectangles and 8 1x1-inch squares.
Step 2:
Place 1 1x3-inch piece cake on plate, stick skewer in middle.
Step 3:
Add strawberry, raspberry, pineapple and 1x1-inch piece of cake to skewer. Repeat with another strawberry, raspberry, pineapple and 1x1-inch piece of cake.
Step 4:
Pour chocolate syrup in a smaller container and drizzle over the skewers just before eating at the picnic site.


text:
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Southern Biotechnology Associates, Inc., now known as SouthernBiotech, was founded in 1982, by scientists from Dr. Max Cooper's Cellular Immunology Laboratory at the University of Alabama in Birmingham (UAB), as a company dedicated to the production, purification, conjugation and commercialization of the world's highest quality, affinity purified, secondary antibodies for research use. As a result of ongoing internal product development and our acquisition of monoclonal antibody producing cell lines through technology transfer arrangements with leading research universities and institutions, we now provide a broad range of affinity purified, polyclonal and monoclonal antibodies, including, fluorochrome and enzyme conjugates, Low Endotoxin/Azide Free (LE/AF) preparations, F(ab) and F(ab')2 fragments, as well as, purified immunoglobulins and collagens. In addition to direct and OEM sales, our products are available through a global network, including, Fisher Scientific in the U.S. and other distributors throughout Europe, Asia, Africa, the Middle East, South America and the Pacific Rim. Our customers and technology transfer partners include most of the world's leading pharmaceutical, biotechnology and academic research laboratories.
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EU's anti-GMO attitude slows development of biotechnology in Southern Africa
The GLP aggregated and excerpted this blog/article to reflect the diversity of news, opinion and analysis. SADC [Southern African Development Community] countries still show the least level of biotech...
FirstHealth partners with MedQuest Associates on outpatient imaging joint venture
FirstHealth of the Carolinas, MedQuest Associates and its affiliates have partnered to operate Southern Pines Diagnostic Imaging, an existing outpatient diagnostic imaging facility in Southern Pines, ...
Citrus grower looks to biotechnology to fight greening disease
Ricke Kress, president of Clewiston, Fla.-based Southern Gardens Citrus Processing Corporation, said that biotechnology might -More-
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The most recent issue of Southern Business and Development named the Virginia Biotechnology Research Park as "Best of R&D in Virginia" and Richmond named "Best Locations for Biosciences in V...
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BRIEF-TeamHealth says acquired Anesthesia Associates Of Cincinnati and Pain Management Associates
* Acquired Anesthesia Associates Of Cincinnati, Pain Management Associates; deal expected to add more than 43,000 annual anesthesia cases to co Source text for Eikon: Further company coverage:
HIV rates soar among Southern men who have sex with men
In six Southern states, more than 15 percent of men who have sex with men were HIV-positive in 2012.
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Students' knowledge of, and attitudes towards biotechnology revisited, 1995-2014: Changes in agriculture biotechnology but not in medical biotechnology.
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If nursing associates are here to stay, get involved.
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Daily Isoniazid to Prevent Tuberculosis in Infants Born to Mothers With HIV
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Hotels in Sholinganallur
Selection of 8 cheap hotels in Sholinganallur with prices from
Hotel reservation
Hotel rooms in Sholinganallur
There are not so many hotel rooms in Sholinganallur, just 8, still everyone can find an offer to suit his choice. The most common offers in this city are 3 и 4 stars, they count 3 out of 8, and their prevalent location is central district. According to our practice, it is the most profitable to book a hotel in the east of Sholinganallur, as it is the location of the hotels with optimal cost and quality offers along with the cheap hotels. Taking into account the small size of the city, there is no need to dwell hotel reservation on the location: the road to the city center would take less then half an hour, so one can book a hotel in any district of Sholinganallur. The most populated with hotels district of Sholinganallur is the south, 50% of cheap hotel rooms are concentrated here. Sholinganallur is an ideal place for solo and business, such travellers rate hotels there 7.6 out of 10 on average. In Sholinganallur one can enjoy the beauty of DakshinaChitra. Moreover, there is a choice of 1 hotels, located within a walking distance from these attractions, however they might not be the cheap ones. The view to city from the hotel room can serve as a pleasant addition to the journey. Apart from all these, hotels in Sholinganallur offer their customers 24 hours front desk service, laundry service, restaurant/cafe and concierge service. The staff of the most hotels is multilingual: it speaks english and french. The most appreciated amenities in Sholinganallur hotels are location and vibe. According to the visitors reviews, hotels in Sholinganallur has clean, great room and awesome vibe. Take a look at our selection of the cheap hotel rooms in Sholinganallur to make a well-informed choice for your reservation!
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Currently Hotellook offers cheap hotels with discounts varying from 5 to 60%. The largest discount found by our users in Sholinganallur was 12%. We collected all discount hotel deals in Sholinganallur together to make it easier for you to find the really cheap one!
discount 12%
Very good family hotel
2.9 km from the city center
Kohinoor Asiana Hotel
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Love to eat? So do we :) That's why we've collected hotels with restaurants in Sholinganallur in one place. Cheap hotel rates here start from
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Hotels in Sholinganallur are spread around the city within the distance of 8.3 kilometers. Those who are keen on antique should definitely fall in love with
Kohinoor Asiana Hotel
, the oldest hotel of Sholinganallur, constructed in 2007. This hotel is located 2.9 km away from the city center. If you like everything shine and bright, Sholinganallur can offer
Novotel Chennai Sipcot
for you, the most expensive hotel, where you can find wi-fi in public areas, parking, 24 hours front desk service, restaurant/cafe, swimming pool, bar, business centre, gym, spa, laundry service and concierge service. The most popular accommodations in Sholinganallur is
Novotel Chennai Sipcot
, 5 stars hotel located in a 6.5 kilometers from the city center. The optimal choice for the ones who want to save some money would be
Lotels Hotel - Medavakkam
, the really cheap hotel located in the south of Sholinganallur.
The best hotels are here and now. Try them!
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Dueto Parfums perfumes | Dueto Parfums – fragrances inspired by the modern cosmopolitan world. Dueto Parfums is a young American brand producing niche perfumes inspired by the modern communication society. Its team of top perfume designers uses the best-quality ingredients to create fragrances of quality without any compromises, always embodying the hottest global trends.
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text:
"Where are all the Girls?" Women in Collegiate Instrumental Jazz
Each spring, a mid-western university music department invites the best high school instrumentalists from the area to a 'Festival of Winds and Strings.' The purpose of the weekend gathering is to recruit high school students and to give them an opportunity to play challenging literature. As part of the recruitment mission, I take the bass players to "sit in" with the top jazz ensemble. One of the visiting bassists sight-read a very difficult part with the band. Returning to her seat, she leaned over and asked, "Where are all the girls?" I looked around and noticed that, of the thirty musicians and teachers in the room, she and I were the only women. I had no answer for her.
Her question prompted me to begin counting the number of women involved in jazz at the University. At a recent concert, 13 of the 53 participants were women. There were no women in the premier jazz ensemble or the student combos. As a member of the faculty combo, I was the only woman to improvise a solo that evening. Young women are common in high school ensembles. Each year there is a new infusion of freshman women into our ensembles and a year later most of them are gone. Why are there so few women in the academic jazz setting and why is it so easy for them to leave jazz behind?
Review of the Literature
Little has been written concerning gender issues in jazz education. Several sources have chronicled the historical importance of professional women in jazz performance (Porter, 1984; Dahl, 1984; McGee, 1994). Becker (1963) described the insulated world of the professional jazz musician. Green (1997) explored the relationship between gender, improvisation and jazz. Porter (1989), Tracy (1990) and Marquis (1998) have written about jazz in academia. Leonhard (1991) reported the under-representation of women instrumental directors in the public schools. Gould (1992a) summarized the historical role of women in secondary and college teaching. Weaver (1994) and Payne (1996) reported the number of women teaching at the college level.
The absence of women in jazz is often linked to instrumentation. Considerable research has been conducted linking gender stereotypes to specific instruments (Abeles and Porter, 1978; Griswold and Chroback, 1981; Delzell and Leppla, 1992; Zervoudakes and Tanur, 1994; Haack, 1998). Gould (1992b) and Delzell (1994) have described the effects of gender, role models and stereotyping on career options in music education. Eccles (1987) linked women's choices to gendered expectations for success.
The university music department chosen for this study is designated a mid-sized, master's degree-granting department by the National Association of Schools of Music (NASM). The majority of the undergraduates are music education majors. Of the current 143 undergraduate students, 60% (68) are female. The faculty of 16 includes five women and 11 men. The full-time faculty women teach in the trumpet, oboe, double bass, voice and piano studios.
The university has offered student jazz ensembles since the early 1970's. These ensembles are treated as adjunct to the other, more traditional performing groups. Students are required to be in two major ensembles each semester. If they choose to participate in jazz, it is in addition to their regular course load. The university's large scholarship budget, controlled by the ensemble directors and studio teachers, facilitates player recruitment for the major ensembles. Recently, the department expanded the jazz program with the addition of a director of jazz studies.
Jazz Studies
Jazz I is an audition-only ensemble made up of the best and most focused players on campus. The average enrollment is 20, and in recent years the number of women has ranged from zero to three. Jazz II emphasizes pedagogy and is the training ensemble for Jazz I. On average, women comprise 30% of the enrollment. Vocal Jazz, an ensemble of chamber singers and rhythm section is also available. Six of the eleven current members are female. The jazz improvisation courses comprise a four-semester sequence designed to take students through the basics of improvisation. In the six semesters the courses have been offered, only one woman has participated.
There is also a well established "jam scene" centered on the university community. Two local clubs sponsor weekly jams that are open to all. The student union and several businesses hire student jazz combos on a regular basis.
The Participants
After observing the available jazz courses, I interviewed the two jazz ensemble directors for background information and chose three female participants for the study. All three were sophomores at the time of this study. They had similar backgrounds in jazz, having played at least three years in a high school jazz program. Each participated in Jazz II during their freshman year and migrated to Vocal Jazz during the sophomore year. All three regularly attended jam sessions, but seldom played. The women were each academically and musically gifted and focused on specific career goals. All names used in this study are pseudonyms.
Ruby, a piano performance major received both academic and music scholarships. Her high school jazz program was considered one of the finest in the state. Her private teacher described her as a "piano jock" because of her willingness to practice four to five hours per day. As a freshman, she discovered an interest in ethnomusicology and was awarded a grant to study indigenous music in New Guinea.
Juanita, a percussionist, began her freshman year as a music major but switched to a business major with a music minor. She also earned both academic and music scholarships. Her main focus in high school was jazz. She played drum set exclusively until she arrived at the university. The transition for her was difficult: "I swing all the eighth notes I'm not supposed to."
Ella was a music education major on a music scholarship. Her major instrument was oboe, but she also played sax and sang with Vocal Jazz. Ella was a very confident young woman, not afraid to mix it up with her male colleagues.
This qualitative project spanned a four-month period. My role was as a participant observer and I was the primary instrument of data gathering (Creswell, 1994). Data was gathered from a variety of sources. Departmental records including class rosters, music major listings, and ensemble personnel lists were reviewed to determine women participation over the preceding five years. Jazz ensemble rehearsals were observed and interviews held with the ensemble directors to explore the nature of the rehearsal context. Individual interviews and a focus group session were held with the three main participants. A semi-structured interview format was used in the interview, with questions focusing on the girls' experiences, goals, and role models. Discussion in the focus group was led by the participants themselves.
A constant comparison method was used throughout the data gathering process to recognize emerging themes. Data were organized and coded first into general categories and later into families, in an attempt to understand what I was seeing and hearing (Bogdan & Biklin, 1998). Group interviews were also conducted (Devault, 1990). As data were gathered, theory was formulated based on the emergent themes (Glaser & Strauss, 1967). Finally, the resultant theory from this study was tied to existing models.
Data analysis revealed four themes. First, the women could not connect jazz to their career aspirations. Each identified clear role models, but none in the jazz idiom. Second, the students spoke of the pressures of fulfilling the requirements of their major instrument. Third, each participant repeatedly mentioned the importance of a positive, non-judgmental and nurturing environment with an emphasis on the social aspects of playing. Finally, each participant had a clear understanding of her skills and what it would take to become proficient in jazz. Each made a conscious decision to limit her involvement in jazz.
Role Models
Both ensemble directors interviewed noted that the lack of female role models in the professional jazz ranks was the primary reason young women do not pursue jazz. The Director of Jazz Studies stated that, historically, women have not been welcomed into the jazz world: "Certainly, at some point, and this may be true today, but definitely through the swing and bebop era, women were discouraged. So without good role models, it's hard for women to identify with the idiom." The historical attitude of male jazz musicians may carry over to the current generation of players. The instructor describes the attitude of some of the young men: "[They] think Diana Krall is OK because she plays piano and she's a babe, but if you're going to be improvising . . . guys do that."
Each of the women interviewed identified a clear career goal. Ruby wanted to teach piano at the college level: "I can see myself very happy in that role. I've talked to [my studio teacher] about that and she agrees that I would be good at that." She saw the value of jazz, not for it's own sake, but because it would make her more marketable. She could not identify any female role models in jazz.
Juanita wanted to work for the university cultural affairs office as a prelude to work in music business: "Right now, I want to be in arts management, like handling contracts for musicians. I worked with [the program director] last year and I really like what she does." Asked if she had role models in music, she cited percussionist Sheila E. and a composer/arranger she saw at a jazz festival: "She was up there conducting the band, playing her pieces. It was the coolest thing. I wanna be the chick up there with the baton." She could not recall the woman's name.
Ella wanted to be a music educator, like her father. "I can see myself doing what my Dad does. He gets to play in the city orchestra and this little jazz band and he gets to do that he wants to do." When pressed about her dreams and aspirations, she said, "I want to be famous, singing in a little club with a back-up group." Asked why she doesn't pursue that, she replied, "I'll probably get a teaching job somewhere before I'll get a job playing or singing." She could only identify Ella Fitzgerald as a possible role model.
The Pressure to Perform
Because the Music Department follows a mainstream approach to music, students are required to study their instrument in a traditional manner. Background interviews with the two directors pointed to studio support. The Jazz II Director stated, "In freshman year they [the girls] are all enthusiastic and then their teachers want them to specialize." Those studios taught by faculty with jazz backgrounds tend to encourage their students to remain in the jazz program. Both Ruby and Ella study with women faculty members who have no background in jazz.
Ruby felt that there was little time for jazz: " I've played in jazz choir, but I haven't practiced it and I haven't grown at all. She [her studio teacher and advisor] has been pushing me really hard and I was very much into classical. Like all these pressures from all sides and I didn't have time for jazz and I didn't want to have time for jazz. It was more frustrating than fun." She was rethinking her involvement in the Vocal Jazz rhythm section. "I'm resentful of the whole jazz choir thing, because it's not inspiring at all and I'm mostly just doing it out of a sense of obligation."
Juanita had a different story. She had never studied percussion formally before coming to the university and she did not enjoy "the classical thing." She continued to be a member of the percussion ensemble and had written an arrangement for the group. She, like Ruby, felt pressure to play in ensembles: "There's just too much pressure. 'Juanita play, Juanita play,' and then negative feedback afterwards. I just wanted to play."
Ella's studio teacher was supportive but insistent that she focus on the oboe. They had some discussion about her interest in jazz: "When I told her I was not going to be in jazz band, she said, 'Well now you have more time to make reeds.' I told her I was going to be in jazz choir and she said, 'OK as long as [you] make reeds.' "
Click to hear "Send in the Clowns." Ella's self-directed jazz band at work.
The Creative Environment
Each participant described how personally satisfying and creative jazz could be. Common to these positive experiences was the social aspect of playing music, positive feedback and lack of pressure. Ruby described her early school experience as: "Great fun, I loved it. We had structure, but we also had room. In high school I was playing with my really good friends. Maybe it was that we were comfortable with one another and we weren't afraid to give out new ideas. We were all pretty naive. Oooh, jazz, it's cool. We'll play jazz."
Juanita did not have a similar high school story. Her band was very competitive: "My high school was very picky, but none of us knew enough to be picky. If somebody played a wrong note at festival, then they were in the dog house all the way home." She did cite two more recent, positive experiences. She played set with a group of "old guys" who treated her with respect and were "so laid back." She played at a local jam: "I loved the informality of it. I didn't feel like it was a performance. We didn't know how to do it. Just do it, don't worry about it."
Ella enjoyed her high school experience: "It was fun. It was so cool. Socially, it was pretty good." She also enjoyed singing at local jams and recalled a student group that had met the previous year. "We all got together and played and it was so fun," she said.
The Negative Environment
My follow-up question to each of the students was "What is it like now?" Interestingly, none of the women mentioned negativity during individual interviews. It was only when they were together in the focus group that they shared their stories. Ella described the reactions of the better players: "If some big hot shot doesn't give you something helpful or some feedback, like 'Oh well, they must not think very highly if they don't think enough to say anything.'" I pressed her for a specific instance of criticisms: "No, it's what they don't say. Sometimes the kids in Jazz I look down on people. They can't compliment because they are too good. Because, if I say she did a good job, then she'll think she's better than me." She summed up her theory on why girls quit: "I think it's because girls can't cut it. I don't know if they are discouraged when they were first starting out to play jazz or what but someone along the line said, 'Well, you're a girl and you're not going to make it as a jazz player.' The line is that guys are meant to be in jazz and not girls."
Juanita described the negativity this way: "It never seems to come in the form of advice. It is criticism. On the critiquing thing, the egos involved in music are such, it seems as though they never have anything good to say. If you've done something good they aren't going to tell you because it will look like they are below you to tell you the something good after a concert. They tell you the things you could work on."
Ruby did not offer any negative stories. "All the jazz guys have been really supportive," she says. A male friend, one of the top players in the program, told her that playing jazz would enhance her classical playing. He also offered his help: " I need someone to teach me to play jazz. The information is overwhelming. [He] has an open ended offer when I am ready to sit down and work on this stuff."
Ella contrasted her negative jazz experiences with a story from her first university symphony performance: "I came in like two measures early on a solo and the orchestra people just laughed about it. It's all right. If that would have happened in a more serious jazz thing, they would have been, 'Dude, you screwed up.' Like laughing at you, not laughing with you." In a background interview, the Director of Jazz Studies described the atmosphere commonly found in rehearsals: "There are two languages spoken in jazz ensemble, music and sarcasm." Asked if he ever tones it down, he replied, "About once a week, but if you don't do well with sarcasm … ."
Each of the women interviewed assessed her skill level and knows, in her own mind, what is necessary to be a proficient jazz player. Each believed that she is responsible for her own success or failure. Each of the women interviewed believed that playing well in a jazz setting was possible, but that it would require effort on her part. I posed a theory to them that some people are too self-aware and are reluctant to take chances while others don't recognize their limitations and "just do it." All three identified with the first category.
Ruby does not participate in jams. "My standards are too high, I'm too much of a perfectionist. I know exactly how much time it's going to take and if I play it I don't just want to kind of play it and be OK. I'd like to really know what I am doing." She was more comfortable with the highly structured learning process associated with classical playing: " I think I know how to fix things better. I know how to practice and if somebody tells me I'm doing something wrong then I know how to fix it."
Juanita was also very aware of her skill level: "Do I feel crappy about myself now and then? Yes. That's been a natural thing for me ever since high school. I get mad at myself for not trying harder, doing better. Not practicing enough. So, I never blame it on other people being mean to me to make me feel bad. I always come back to myself. I'm not doing enough."
Ella believes her lack of effort was the reason she dropped Jazz II: "I got tired of not working on jazz in jazz band and I never put as much effort into it as I wished I could have. A little voice in the back of my head kept saying, 'If you practiced your saxophone, you'd do a whole lot better in jazz ensemble.' "
Theoretical Model
I began this study with preconceived ideas based on my own undergraduate experiences. My assumptions were that the women involved would cite overt hostility, possible negative reactions from their studio teachers or negative experiences with the ensemble directors. Reality, as portrayed by these women, was much more subtle and complex. Each woman was goal-oriented and realistic about her chances of success. Each constantly re-evaluated her participation in jazz. Each chose between spending time and energy on jazz and other activities that could be directly applied to career goals. In making that choice, the women considered three major areas of concern.
First, the three participants could not identify specific role models in jazz by name. The absence of role models is not surprising given the small number of women in the professional jazz world and in academic jazz. Interestingly, the two students who had strong female role models could not see a connection between gender, role models and career choices.
Second, students felt the pressure to study their major instruments in the traditional manner. This pressure was partially the result of instrument choices made in elementary school. As predicted by Abeles and Porter (1978), choices made in fourth grade can impact career decisions. All three students experienced tension with their studio teachers, but they felt that those demands were in their own best interest and willingly accepted the consequences. The tension between jazz and traditional programs at the college level is well documented. (Porter, 1989; Tracy, 1990; Marquis, 1998). The participants in this study, like most jazz students, were caught between two different systems.
Third, all three spoke about the need for a positive and worthwhile learning environment. Two of the three described negativity from male students, but they felt it was more a constant irritant than anything overt. The negativity may be a part of the greater jazz culture whose members attempt to separate themselves from others. Becker (1963) writes:
The musician is conceived of as an artist who possesses a mysterious artistic gift setting him apart from of other people. Possessing this gift, he should be free from control by the outsiders who lack it. The gift is something which cannot be acquired through education; the outsider, therefore, can never become a member of the group (p. 86).
While the students claimed not to be effected by the negativity, their actions indicate otherwise. All three had chosen to remain in the only jazz ensemble dominated by women; the one with the least competitive environment. Women may value social ties more than achievement. Conversely, men of the same age tend to value achievement and competition (Eccles, 1987).
Ultimately, it is clear from their own words that these women were not forced out of academic jazz, but made decisions that lead to limited involvement. In trying to interpret these decisions I looked to Jacquelynne Eccles' model which "Links occupational choices to expectations for success and subjective task value" (Eccles, 1987 p. 135). Eccles counters the idea that women make choices based on lack of self-esteem or confidence. Instead, men and women make different choices because they have different goals and definitions of success.
Eccles indicates choices are made based on an expectation of success. These choices may be between two or more positives, not necessarily a positive and a negative. Women may avoid male dominated fields because they not only have to prove their abilities, but may also have to deal with discrimination. Women may also have a more realistic view of their own abilities: "It is possible that females are as confident as males in their ability to succeed but assume that it will take more work, time and/or effort to succeed than their male peers assume if will take." (Eccles, 1987, p. 146) The women in this study demonstrated great self-awareness and each felt that they had made a rational decision. Choosing a career in jazz would be to leap into uncharted waters. Given that both paths would be rewarding, it seemed prudent to choose the path that seemed most attainable.
Considerations for College and Public School Jazz Programs
Given the options, it is little wonder that many women choose not to continue in jazz programs. Unfortunately, opting out can impact future employment opportunities. The majority of secondary instrumental directors are male (Leonhard, 1991). This imbalance is sometimes attributed to the fact that most high school band directors are expected to lead a jazz ensemble. If female music education majors choose not to participate in jazz programs, they fail to fully prepare themselves for high school positions (Gould, 1992; Delzell, 1994). We perpetuate the imbalance by allowing so many future educators to walk away from jazz programs. In the college ranks, women jazz educators are rare (Payne, 1996) at a time when prospective faculty who can play and teach in both the classical and jazz genres are considered quite marketable.
Encouraging girls to play jazz should begin in the elementary grades. Students should be encouraged to explore instrument choices outside the traditional sex stereotypes. Junior high and high school programs should continue to encourage students to participate in jazz ensembles and improvisation classes, expanding their programs to include instruments not traditionally associated with jazz ensembles.
The problem at the college level is more difficult. All students should be encouraged to continue an interest in jazz. Doing so, however, requires the cooperation of instructors in traditional studios and ensembles. Jazz directors should also look to expand the instrumentation of their ensembles and improvisation classes to include instruments traditionally played by women. Jazz educators should strive to challenge students while offering a creative, nurturing environment, an atmosphere, "where social and musical trust have developed" (Lamb, 1996, p.129). Finally, more work needs to be done promoting those women professionals who can act as role model and mentors to student musicians.
While women are common in art music and most popular music genres, the jazz world remains predominately male. College has become the primary training ground for jazz musicians and the teachers of future jazz musicians. If college programs cannot do a better job of recruiting and keeping women instrumentalists, jazz will continue to be a male-dominated field. The three women in this study demonstrate that it is an easy choice to leave jazz behind. Colleges can do a better job of adapting jazz programs to the needs of women, providing mentoring and role models, encouraging a positive environment and allowing students the opportunity to achieve in both traditional and jazz performance.
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