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Placement Testing FAQs
Why do I have to take placement tests?
To begin wtih, the Massachusetts Board of Higher Education requires state universities, colleges, and community colleges to administer placement tests in reading and mathematics to all new first-year students; placement testing at Bridgewater State University is, therefore, mandatory. Many transfer students will not have to take placement tests if they have taken and transferred appropriate courses from their previous institution(s).
But more importantly, placement testing allows us to better identify the introductory math and writing courses that best match your current skill level in each area. For instance, while one student might come to college equipped with the necessary skills to take a calculus course, another student may first need pre-calculus, while another might need to brush up on algebra--and there's nothing wrong with any of those situations!
I took ACCUPLACER placement tests at my previous institution. Can I transfer those scores to BSU?
Your test scores must be a maximum of one year old.
You must have taken ACCUPLACER placement tests; we do not accept other placement tests.
- Your previous institution must fax or e-mail your official score transcript(s) to us directly along with your Banner ID number; we do not accept hand-delivered test scores. Our fax number is 508-531-4268, and our e-mail address is firstname.lastname@example.com.
Note that while you may have taken one or several ACCUPLACER placement tests at your previous institution, you still may have to take one or more at BSU depending on which scores you transfer.
I currently live out of state/far from campus. Can I take my placement tests somewhere closer to me?
Yes! As long as you currently live at least 75 miles or more from the BSU campus, and you are an incoming first-year student, you may take your placement tests remotely, at a qualified institution of your choice; note, however, that you are responsible for researching, locating, and scheduling an appointment with an acceptable proctor. To learn more, and to review our remote testing instructions and guidelines, click here.
What do I need to bring with me on placement testing day?
If you are testing for the first time or during one of our large group testing sessions, all you need to bring is a photo ID. We will provide all other testing materials (computer, scratch paper, and pencil). Students who do not present a photo ID will not be allowed to test.
If you have scheduled a retest with our office, you must bring a photo ID along with a $10 retest fee, payable on test day by Visa, Mastercard, or personal check.
If I forget to bring my photo ID to my placement testing appointment, can I still take the tests?
No. Students who cannot provide us with valid, government- or school-issued photo identification on test day (such as a current passport, driver's license, state ID, high school ID, or college ID) will not be allowed to test. Only original ID documents are accepted; any other means of presenting identification (e.g. a photo of a driver's license on a cell phone, a photocopy of a passport printed on a piece of paper, a relative's vouching for the identity of a student) are not acceptable.
Testing Services' primary concern during placement testing is ensuring test security and validity. While this policy might inconvenience a student who forgets to bring their photo ID on test day, please understand that we require all students who attend Bridgewater State University to adhere to this policy in order to ensure the fairest assessment possible for all students.
If you do not have any form of photo identification, Massachusetts residents can obtain a Massachusetts photo ID through the Massachusetts RMV. Click here for more information.
What happens if I fail the tests?
Keep in mind that you can't "pass" or "fail" a placement test! Instead, a particular score will place you into a particular math or writing course. Your placement testing scores only determine which math and English courses you'll begin with. For example, your writing placement might be ENGL 101, while another student might place into ENGL 102; both students, however, will complete ENGL 102 regardless of where they begin.
If I can't fail the tests, then what do my scores mean?
First, where your placement process begins depends on where your major will take you. Let's say, for example, you decide to major in management at BSU. Management majors need MATH144 (Applied Calculus for Business) to earn their degree in management. The prerequisite for MATH144 is MATH140 (Elements of Pre-calculus). Students who aren't quite ready for pre-calculus will take MATH095 (Pre-calculus Readiness) as their first math course; since this course covers pre-college math, it doesn't grant college credit, but it does count toward full-time status.
To figure out which course best suits you, we will give you a 12-question, computer-based, untimed elementary algebra placement test before your orientation. Your result on this test, along with your Math SAT scores, will determine whether you'll start with MATH095 or MATH140. If you earn 55 points out of a possible 120, for example, you will begin with MATH095; in another scenario, if you earn 87 points out of 120, you will begin with MATH140.
Finally, if you earn a score of at least 82 out of 120 on your 12-question elementary algebra test, we will give you a second, 20-question placement test covering college-level math. A high enough score on this second test allows you to enter MATH144 directly. Note that this scenario is just one example; the math courses you need to take will vary depending on your major.
What is the format of the math placement tests?
All incoming first-year students will take two untimed, multiple choice math placement tests. First, everyone will take a 12-question Elementary Algebra test. The second test you take depends on your performance on the first. If you earn a score of 0 - 81 on Elementary Algebra, you will then take a 17-question Arithmetic test; if you earn a score of 82-120, you will instead take a 20-question College-Level Math test.
Incoming transfer students may need to one or two of these tests, depending on your academic history at your previous institution(s).
What is the format of the English placement tests?
We'll use a method similar to your math placement for your writing and reading placement tests: for incoming first-year students, you'll take a 20-question, multiple choice, untimed Reading Comprehension placement test along with a 60-minute hand-written essay on placement testing day (students who earn at least a 600 on their SAT Verbal score are exempt from writing the essay).
For incoming transfer students, if you require writing and reading placement testing, you will take a 20-question, multiple choice, untimed Reading Comprehension placement test, followed by a 20-question Sentence Skills test of the same format.
How can I prepare for my placement tests?
As a supplement to the 6-Cess Program, CollegeBoard offers free sample questions and practice applications for all ACCUPLACER exams. In addition, Math Services in the Academic Achievement Center provides free, drop-in math tutoring for all BSU students throughout the year. Click on the links below to access a particular resource:
Can I retake my placement tests?
During your time as a BSU student, you may take your math placement test a total of three times. We do not offer writing and reading retests. Your first test attempt is free; subsequent attempts cost $10, payable on test day by Visa, Mastercard, or personal check. We recommend that you refer to our placement test resources and spend some time reviewing before attempting a retest.
Retests are held in our office during our office hours. To schedule a retest, give us a call at 508-531-1780.
Where can I sign up for placement testing and orientation?
If you are an incoming first-year student, you will receive a letter and e-mail from Admissions that includes a new first-year student checklist and a link to our placement testing registration site AFTER Admissions receives your deposit. Generally, placement testing for incoming first-year students is held on several Saturdays from April to June. You can only sign up for placement testing once you have received your "New First-Year Student Check-List" from Admissions.
If you are an incoming transfer student and were told you need to take one or more placement tests, placement testing will be available after your transfer advising workshop or by appointment at a later date. Give us a call at 508-531-1780 for more information.
I'm busy on all of the placement testing dates!
We do our best to offer convenient testing dates and times, and we understand that our students are busy and have other responsibilities. However, placement testing is an integral part of your transition to Bridgewater State University and is state-mandated. Students who do not complete placement testing will not be allowed to register for math and English courses. It is, therefore, your responsibility to adjust your schedule accordingly to accommodate placement testing and orientation.
Can I use a calculator?
You can't use any electronic devices during the test, which includes calculators, cell phones, etc. For certain math questions, however, the test will provide you with an on-screen calculator, which you may use. We ask that you leave your cell phone at home or in your car. If you do bring it with you into the building, we'll ask you to turn it off during testing.
I have a disability and need accommodations for placement testing. What should I do?
Bridgewater State University is committed to ensuring all individuals equal access to its programs and services. We offer a number of services to students who have a documented medical condition, have limited mobility, or have emotional or learning disabilities. If you are a student who requires accommodations for placement testing, please contact the Disability Resources Office at 508-531-2194 or TTY 508-531-6113 at least one week prior to your placement testing appointment.
Where is placement testing held, and where can I park?
All information regarding placement testing is available when you register for a placement testing session, and you will receive a confirmation e-mail with location and parking information. If you're not sure where to go, feel free to give us a call at 508-531-1780.
Where can I view my placement test scores?
You can view your placement test scores in a few ways:
- When you've completed your tests, your scores will be automatically e-mailed to the e-mail address you provided during the registration portion of the test.
- You may view your placement tests scores at any time in InfoBear by clicking Student > Student Records > View Test Scores.
- You may view your scores at any time in DegreeWorks under the "Test Scores" section.
How can I transfer my placement test results to another institution?
Placement Testing Resources
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Contact Us
Testing Services
Maxwell Library
Ground Floor, Room 001
Academic Achievement Center
10 Shaw Rd.
Bridgewater, MA 02325
Tel: 508.531.1780
Fax: 508.531.4268
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Applied UX Strategy, Part 1: Maturity Models
Published: December 9, 2013
In a perfect world, companies would take a systematic approach to product design from their very first days. But, in reality, early product design efforts can be sporadic for various reasons—for instance, because a product must launch as soon as possible, there's not enough money at the start, the user base must grow at the fastest rate possible, or the product idea changes constantly in trying to discover an effective business model. Why is this?
Product-growth and market-penetration rates are critical in a company's early days. In fact, they're more important than perfect technical solutions or high-quality designs. This is true especially for lean startups that employ the minimum viable product (MVP) concept. A team first needs to validate that they're solving the right problem for the right audience, in the right market. Only after that should they polish their product. At that point, a company understands that good design is important to the product's success.
There could be many different reasons for emphasizing design: Competitors might become stronger. A product might receive negative feedback from users or have a poor public image. A product's user base might be shrinking. Perhaps good design just becomes trendy. Or the focus of a company's strategy might change from aggressive user acquisition to user retention.
Many years ago, my company Mail.Ru Group experienced similar issues. We have about 40 different products, with many versions for mobile devices and tablets—adding up to about 200 products overall. A lot of our products are leaders in their market niches. Our total audience is about 100 million users. At this scale, a global redesign becomes really complicated and requires a certain level of UX maturity.
Introducing My UX Maturity Model
In this series of articles, I'll write about the levels of UX maturity through which companies with large product portfolios progress. Based on our experience at Mail.Ru and looking at other companies, plus learning about existing UX maturity models, I'be defined three levels of UX maturity, shown in Figure 1, as follows:
- operational—The designer is just an implementer, working on individual design tasks and creating design deliverables.
- tactical—The designer is an integral part of a product team and deeply integrates design into other product development tasks and processes.
- strategic—The designer is a visionary or product owner who influences strategic decisions on how to evolve a product.
Figure 1—Three levels of UX maturity
These maturity levels indicate how deeply designers become engaged in product and business management. For each level of UX maturity, there are basic criteria for achieving that level, plus progressively more sophisticated activities for maintaining sustainable growth. Sustainability is a critical part of establishing a systematic approach to design, as well as ensuring predictable quality. This series of articles will discuss all of these aspects of UX or design strategy.
Company Maturity
In addition to UX maturity, the company itself must have sufficient maturity. Looking at a company's success as a business and its effectiveness as an organization, a company may also be at different stages of evolution that determine its agility in choosing goals, the persistence of its business model and current market position, the available resources it can invest in products and the quality of processes, the experience and far-sightedness of employees and management, and common priorities. This is the environment in which User Experience will grow, which is dramatically important to the successful implementation of UX strategy. To make UX strategy happen, you must have deep knowledge of the company, its business, and three core elements:
- resources
- processes
- priorities
These resources are the basic requirements for executing UX strategy and placing attention on design:
- Money to invest in anything other than the company's basic needs—ensuring a product works and acquiring new users. You must know whether the company and its specific departments have money to invest.
- People to work on design. You should consider both their experience and their workload.
- Sufficient time remaining before the next product release.
- Credibility that would let User Experience make bold decisions without micromanagement from supervisors.
It's important to assess the current availability of resources and whether they meet your needs for UX strategy execution. If you have enough of all of these things—that's great! But if you lack some resources, how can you get them in the near term and whose approval do you need? What if you break UX strategy execution into several phases, so you can gradually get the resources you need? Perhaps these resources already exist, but you haven't yet requested them.
Having a systematic approach to UX design means building an effective work process that lets you create and enhance designs and integrating this process throughout the whole development cycle. A good design process should consider all of the steps of the development cycle. Don't be afraid to push for changes in these if they're resulting in bad user experiences. Factors to consider include the following:
- new product and feature initiation—Who is responsible for decisions relating to launching new products or redesigning existing products or features? How do decisions become tasks, and when are they assigned to designers? How do market, competitive, and user research occur?
- development—What development model does the company use—waterfall, agile, lean? What deliverables do designers provide to developers, and how do they support the implementation process?
- quality assurance—What does the company mean by quality—basic tests to ensure that a product does't crash, matches functional and business requirements, has good usability, and complies with design guidelines and the designers' initial mockups? Can the design team block the release of the product if there are problems with the user experience?
- marketing—What is the target audience? Are marketing promises true to the actual product? Is the design of marketing collateral good enough in comparison to the quality of products' visual design? Do they have the right voice and tone?
- support—When and how does a company help its users to resolve the problems that they encounter when using a product? Are users satisfied with the help they're receiving?
Designers' participation during development and quality assurance is critical. If the role of a design team is to be more than just that of implementer, their participation is also important during the initiation of a product-development project. In service design, the design team should also enhance support and marketing processes. In a perfect world, user experience is a key part of every step.
It's also necessary to know the basic rules by which a company works, including
- powers and responsibilities—for every member of a product team
- approval workflow—from requirements and deliverables to product decisions and entire phases of a project
- KPIs and metrics—for employees, departments, products, and their features
- organizational structure—whether matrix, functional, division, or a combination. How are people distributed across business units, products, departments, and roles?
When a company is a startup, a small group of founders and early employees can manage all product-development tasks. They're generalists who take on all responsibilities and fill all roles. But with company growth comes specialization. People get assigned to specific roles and more employees get hired. So, throughout the product-development process, the organizational structure is changing. If the company is ambitious, it will change often.
Furthermore, there are politics. This is not necessary a bad thing like the intrigues that we see in the news and in movies. First of all, you need to consider other people's interests. This will help you to get their support and to work more effectively as a team, avoiding conflicts.
The current processes in any company are rarely fully efficient. Sometimes this is because an organization is young, sometimes it's a legacy of a crisis within an industry, and sometimes short-sighted management is the cause. So, from the beginning, User Experience should integrate into a company on its own terms. If you need to change something, you should change not only how design occurs, but the company's processes as well. A successful company is always changing, so the efficiency of its processes always lag behind its growth. Therefore, even once you'be built the best design process you can conceive of, you should always look for ways to improve on it.
A company and its products always have their own paths by which they grow and evolve. Business priorities determine which path to follow and when and are influenced by the current state of a company's choice of market, what market segments the company wants to enter or focus on, competitors' positions and actions, technology trends, and the current state of the company and its products. A UX Strategist should know not only where the company is heading, but also why it has chosen its path. What problems is the business trying to solve right now? What problems will become important in mid-term and long-term? These are design problems that you will have to solve. A business's priorities can vary, depending on whether it is
- seeking an appropriate market, a product for that market, or a business model to monetize it—A product ought to change and pivot often—maybe even dramatically—to enable the company to survive. The role of User Experience: user research, defining and validating product hypotheses, and fine-tuning the user experience.
- growing the customer base and/or profits—The product gets new features or distribution models. The role of User Experience: user research, UX and visual design, and usability testing.
- customer retention—You need to differentiate your product from those of competitors by becoming more customer oriented, expanding its feature list, optimizing your product for key usage scenarios, and strengthening your brand. The role of User Experience: user research and fine-tuning the user experience.
- efficiency of product-portfolio management—It's becoming more important to launch and improve products faster and make design activities easier. The role of User Experience: establish guidelines and standards.
- getting your product out of a crisis when its customer base, profits, and/or market share are shrinking—Two possible scenarios are making gradual improvements or radical changes. The role of User Experience: user research, UX and visual design, and usability testing.
Companies can have more than one high priority. Furthermore, different products may have different sets of priorities. A UX Strategist should understand how to help advance the interests of the business in any case. Start by simply helping the company meet incoming requests for design work. In the beginning, these are often easy tasks, and you need to make your design just good enough. Then you can try to influence how product priorities and problems emerge. At Adaptive Path's UX Intensive Design Strategy Workshop, they describe several stages in the evolution of a design team:
- solving developers' problems
- solving users' problems
- solving business problems
- asking whether you should solve a problem at all
It's critical for a company's top management to understand the value of good design. Only in such a context can you safely make dramatic changes to a product's strategic direction or design. Otherwise, the lack of their support will block your progress in making changes to either a product's design or your design process. A company's leaders may even disband the entire UX team. Famous identity designer Paul Rand always tried to work directly with top management so he could be sure that his work would become fully realized, and his clients wouldn't screw around with it.
What About Your Company?
When you're learning about a company for which you're creating a UX strategy, you can use the various components making up these resources, processes, and priorities lists as a checklist. Together, they paint a portrait of a company. Each company's strategy is unique, so regardless of whether companies have similar design goals, their execution and the details of a design will differ.
For a few lucky companies, design is a key competitive advantage and a way to differentiate their brand right from the beginning—it's a real business driver. Other companies have founders or early employees who have a strong design background and skills, so build User Experience into their culture from day one. But most companies realize that they need a systematic approach to design only after they'be already achieved business success. So examining a business's current state is one of the main concerns of the UX Strategist. In addition to this checklist, you should analyze your company using existing organizational maturity models. One of the most notable of these is the corporate lifecycle by Isak Adzes, shown in Figure 2.
Figure 2—Adzes's corporate lifecycle diagram
And to make your task even more complicated, remember that the competitive environment is constantly changing. So to get the most of UX design, your UX strategy must adapt to such changes and solve your company's current problems and reach its current goals.
UX Maturity
As I've stated in the introduction to this article, there are three levels of UX maturity—operational, tactical, and strategic. To move up on this UX-maturity ladder, you must understand how a company and its business work really well. Does the company have problems or constraints? Does it have all of the necessary resources? In this overview, I'll briefly describe all three levels. And in my subsequent articles, I'll tell you about each level in depth.
Operational Level
At the operational level, a UX design team is merely an implementer. The team executes incoming design tasks and creates design deliverables, as shown in Figure 3.
Figure 3—Operational level of UX maturity
Design Chaos
Design quality is random.
- Developers are on their own. Somebody has to put user-interface controls on the screen and give them some visual style.
- The company either hires its first designers or assigns team members who have design skills to the role of designer. Maybe one of company founders has design experience.
- Designers are outsourced—either before hiring designers onto the team or afterward.
- Design tasks are completed. Design quality is random.
Wishing for Change and Finding a Leader
The company begins following a systematic design approach. There are some first successes and relaunches.
- Executives see problems in consumers' perception of products in the form of negative feedback, a shrinking customer base, and general criticism in the industry.
- The company hires a UX leader or promotes someone from inside the company.
- The UX leader shows where are problems and how to solve them.
- The company initiates a program of user research and analytics.
- They achieve some first successes, product changes, and relaunches.
The Team and Work Process
The UX team sets up a design process, does short-term and mid-term planning, and establishes a clear way of assigning and approving tasks.
- The company builds or acquires a UX design team. Ideally, the company hires highly skilled UX designers, but it may be necessary to hire inexperienced or mediocre people to fill gaps at some stages. These people must either grow or go later on.
- The UX team sets up a process for assigning and approving tasks and does short-term and mid-term planning for design tasks.
- The team defines workflows for typical projects and tasks, ranging from the creation of new product concepts to providing UX support for current releases.
- The team chooses their optimal toolset for creating wireframes, prototypes, mockups, and other deliverables; knowledge and document exchange; and planning and efficiency tracking.
- The team outsources UX resources and involves them in solving either tasks that are not related to product design or in helping with design when there is too great a workload for the team.
- The team establishes learning, training, and skills-improvement programs to grow designers professionally.
- The UX team regularly contributes to product updates.
Tactical Level
The UX designers play an integral role on product teams. Design is deeply integrated with other product development tasks, as shown in Figure 4.
Figure 4—Tactical level of UX maturity
Design Team Integration
The UX team works effectively in a tight collaboration with the Product team. Designers feel the pain of developers and managers and vice versa.
- The UX team can demonstrate the value of User Experience to every product and project manager. These managers understand and support the UX design team and bring them design problems, not solutions. UX designers are the sole owners of design decisions and are in charge of design projects, but work in tight collaboration with product and project managers to solve product design problems. When new product or project managers join the company, the UX team needs to teach them how they can work effectively with one another.
- The UX design team gains authority, credibility, and trust and always gets heard. All design decisions get made up front by the UX team.
- Experts in other disciplines like developers, testers, and marketers trust UX designers. They often contact designers directly to solve ongoing problems or ask questions bypassing managers altogether.
- The UX team engages in mid-term and long-term planning of design tasks.
- A quality-assurance process gets set up and covers design implementation reviews, usability testing, and ensures designs solve business goals.
- Products become more consistent as the UX team establishes common visual-design elements, interaction principles, and information architecture patterns.
Design Principles and Guidelines
Supporting the company's current products and launching new ones gets easier. The company's product portfolio now has a recognizable look and feel.
- First-model products get launched, and the unification of the company's product portfolio coalesces around them. Their visual design, interaction principles, and overall quality are good enough to provide a basis for the whole portfolio. The UX team provides scalable design solutions, which should be tested on several products before rolling them out to the whole portfolio.
- The UX team designs new products and redesigns other products around these model products.
- The team creates UX design guidelines that specify visual design, interaction design, and information architecture. These establish standards that designers, managers, and developers must follow. These guidelines and standards include mockups and specifications.
- UX guidelines have a technological basis and provide frameworks and unified code bases. Design is integrated into building blocks that developers use every day.
- The company builds dozens of products based on guidelines that are built into frameworks, making it easier to control and evolve their designs. Thus, the UX team makes changes to groups of products all at once instead of focusing on each instance.
- Design principles guide the company's efforts in building and evolving products. These are high-level commandments that help the team to choose the best design decisions from several alternatives.
- The entire product portfolio gets updated to conform to unified UX design guidelines and standards. The user experience is consistent across the entire portfolio of products.
Strategic Level
The members of the UX team serve as visionaries or product owners and influence strategic decisions on how to evolve a product, as shown in Figure 5.
Figure 5—Strategic level of UX maturity
Knowledge Base and Knowledge Transfer
Knowledge about users and how they interact with product user interfaces helps the company to improve the whole product portfolio. The company learns from its mistakes.
- There is a unified knowledge base that documents how users work with the company's products, ongoing competitor analyses, and design and technology trends. This includes analytics and user research data, market and competitive research, and customer feedback.
- The UX team defines KPIs (Key Performance Indicators) to track product design enhancements. These are tied to business KPIs and goals.
- New product and feature ideas come from the bottom up—from UX researchers and designers to product managers.
Design As a Market Differentiator
The company has its own visual design and interaction language that influences the industry.
- Everyone on the product team has at least basic design skills, including developers, QA engineers, and managers.
- Design provides market differentiation as the company finds its own language of visual and interaction design. The company's UX design patterns and solutions get copied by competitors. Visual and interaction designs leverage emerging trends and even help to launch design trends.
- The company's product design influences the industry.
Other Existing UX Maturity Models
To gain a broad understanding of the problem space, it would be helpful to examine some other existing UX maturity models. These UX maturity models include the following:
- Danish Design Centre's Design Ladder
- Jakob Nielsen's Corporate Usability Maturity Stages: 1–4 and 5–8
- Stefan Klocek's Hierarchy of Effort
- UX Maturity Model for Companies Seeking Competitive Advantage, from Scott Plewes, of Macadamian Technologies
- Normal Modes' UX Maturity Model, which is based on a Forrester Research maturity model created by Bruce Tomkin
- Andrea Priscella's Adaptive Digital Strategy Framework
Figures 6–10 show some of these other existing UX maturity models.
Figure 6—Danish Design Centre's Design Ladder
Figure 7—Stefan Klocek's hierarchy of effort to fix a broken user experience
Figure 8—Scott Plewes' UX Maturity Model for Companies Seeking Competitive Advantage
Figure 9—Normal Modes' UX Maturity Model
Figure 10—Andrea Priscella's Adaptive Digital Strategy Framework
You'll probably disagree with some aspects of these diagrams, but that's okay. There is no universal theory of anything, and there never will be. But these diagrams provide a good starting point for building your own UX maturity model.
The higher your company's UX maturity level, the better its products will be as a result. And it will be much easier to sustain this level of quality. While a company can jump levels of UX maturity, it's likely to result in a short-term success that is hard to maintain. You wouldn't want your company to backslide and lose all of the progress that it's gained if you go away on vacation or leave the company, so try to strive for long-term goals. In the next installment of this series, I'll tell you how to accomplish and sustain each level of UX maturity.
Topic: UX Strategy
2 Comments
Hi—I have made a Web site for developing and sharing maturity models. It's called GridMark.io, and it's free to use.
In a matter of minutes, you can set up your UX maturity model and get your clients or collaborators to fill it out by sending them a link.
They get a nice report, and you can export the responses into Excel for further analysis.
You may wish to give it a go.
Thank you, Mehdi! It looks promising. I'll try to create my maturity model here.
Join the Discussion

subset: commoncrawl


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Map of The USA Jigsaw Puzzle
Turn your map of the USA into a fun jigsaw puzzle and flagging game to play. This is a great activity for the whole family to play together.
Here's a large size printable map of the USA in a few parts to make your puzzle, with a tutorial, plus a template for cute flags to make for extra fun. This makes a great geography activity and a family game for the 4th of July. Can you Unite the States?!
The flags include questions like 'Mom was born here', 'Dad was born here' etc … so you can combine family history with geography in this fun activity!
Question flags templateOur free printable files are for personal use only.
Please read our terms & conditions before downloading, thank you!
How to make & play the USA jigsaw puzzle
1. Print the map template, cut and glue to the cardboard pieces.
2. Cut along the outline with a craft knife. Cut into as many pieces as you like. You can leave the big pieces as they are for an easy game or divide them into smaller pieces (individual states) for a more complicated jigsaw.
3. Make your flags with fun questions! Use the questions in the template and why not add your own questions. Wrap the strips around cocktail sticks.
4. Trim the sharp ends of the sticks. Also to prepare for the game, puncture small holes on the cardboard jigsaw pieces where the answers will be to make it easy for children to stick the flags on.
Add more questions, for example:
– Mom went to school here
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etc, etc…
6. Let's play! Firstly, finish the jigsaw puzzle! When you've finished your jigsaw, hand out the question flags and stick them in the right place on the map. Have fun!
Tip: you can mount the map on the wall for more geography activities and tape the flags flat on the map. Mark where everybody – relatives, friends- live on the map with the flags and frame it as wall art!
If you'd like to add a small American flag to this map, you can find them in our 4th of July printables.
See our printable map of the USA page for more map options.


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you have received a medical withdrawal for psychiatric reasons and
if your dean has asked that you receive "medical clearance"
through Counseling and Psychological Services (CAPS), the following
documents which are in PDF format are available to be printed for
your use. These documents describe what is required of you and your
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to Student - Provides an overview of the process of obtaining
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to Mental Health Provider - Provides explanation of the
documentation needed by CAPS in order to provide medical clearance
and make a recommendation to the student's academic dean regarding
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student's academic dean regarding the student's readiness to reenroll.
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make an appointment at CAPS for this purpose.
Student Reenrollment Information Update and Consent for Communication with Academic Dean - This form provides CAPS with your current contact information in the event that a CAPS professional needs to speak with you about your request for medical clearance for reenrollment. It also provides CAPS with permission to convey recommendations to your academic deans regarding your reenrollment. This form should be completed and returned to CAPS at the time that reenrollment is being requested.
Notification to CAPS of Student Medical Withdrawal - Unlike
the forms listed above, this form is not intended for student use.
It is to be used by UVa academic deans to notify CAPS that a medical
withdrawal has been issued. The form also stipulates the nature
of the reenrollment assessment requested by the dean. It should
be completed by academic deans who are choosing to utilize CAPS
for reenrollment consultation. The form should be sent to CAPS at
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text:
Victor Series Engine Water Pump
- Short Style;Aluminum;2.58" From Block To Hub
Mfg Part # : 8803
These competition water pumps are designed for circle track and endurance racing applications. They feature a revised impeller entry, a black anodized finish and .100" thicker rear cover for greater durability. Auxiliary water outlets ease fabrication of custom plumbing systems and auxiliary fittings are available as AN or NPT. These water pumps provide max cooling with equal distribution to both sides of the block within 1%. By eliminating hot spots, the engine produces optimum power from every cylinder without detonation and pre-ignition. Other features include billet hub and heavy-duty ball/roller bearings.
About Edelbrock Parts & Accessories
Vic Edelbrock Sr. was born in a small farming community near Wichita, Kansas in 1913. In 1938, Vic Sr. bought his first project car... a 1932 Ford Roadster. This car was a turning point in Edelbrock history. It was Vic Sr.'s entry into the world of "hot rods" and it inspired the design and manufacture of the first Edelbrock intake manifold. The roadster became an important part of Vic's product development. He would install his parts on the roadster to determine how well they would perform. Vic received multiple requests for his twin carb manifold. This was the driving force behind the opening of his own performance parts business. Today Edelbrock Corporation has seven locations: four in Torrance and three in San Jacinto, California, totaling over 500,000 square feet. Torrance Headquarters include: R&D; manufacturing; state-of-the-art testing facilities, advertising and tech support. "Proven Performance" is the philosophy that began with Vic Sr. in 1938 and it continues today with the same high standards of performance and quality. Vic Sr. would be proud of what has grown out of his small garage in Los Angeles, California.
- 2002 - 2003 Ford Mustang - 4.6 L; 8 Cyl;


text:
Thought I'd register after lurking around these parts for a bit...
Just bought a new bike + parts today on Amazon. Totally excited.
This bike plus upgraded tires, pedals, saddle, a brake levers set, and some bar tape. (All for under $350 shipped!) I used to own a Trek 7.3 FX but have decided to give single speed a go.
Complete newbie here, however. Never built a bike before but would love to finally understand the mechanics and get my hands dirty!
I live right by the lake so it'll be fun to ride the trails... any Chicagoans out there?!


text:
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text:
Robin Roberts Used Weight Training and Yoga to Aid Her Return to Good Morning America
- Just five months after a bone marrow transplant, Robin Roberts returned to the Good Morning America anchor desk this morning. Roberts was treated for a rare blood condition, myelodysplastic syndrome, also known as MDS.
- She has used weight training and yoga to regain her strength and progress her recovery. "I love how much stronger I feel," she said.
- Earlier this month, Roberts' doctors gave her an all-clear, indicating tests showed no sign of the condition and that she could return to work. To aid in that transition, ABC staff took voluntary flu shots.
- Roberts is working closely with her doctors to ensure she doesn't overdo it and they will decide together how many days a week she'll be able to resume working on GMA.
Read Full Post >


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ugh. i suppose my internet ramblings and/or blog postings have gotten me some good exposure in the cycling scene here, but with that comes the almighty google indexing search engine. i've tried to remain somewhat anon by not listing my full name on my site, but with some sleuthing and cross referencing i've been contacted by the 'ol ex via blog comment.
whatever prompted the contact; i still find strange that she's initiated contact. a couple years ago she found my sister who did not reply. it's been about six years since we parted ways.
i let sleeping dogs lie. what to do now? lend me advice if you will.
i'd rather not follow up. she's a nice gal who i'm sure means well. but i just don't want to deal with it; nor do i care to talk about what's been goin' on, etc. and now i'm forced to make a decision to reply or not and if i reply there's probably some expectation to keep a running dialog which i don't want either.
good grief! any words of wisdom? what can i expect or do at this point?


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I've posted this a cpl times when Savages get talked about. I don't own one but do own a Rem 700. 200 shots thru the 700 to get it figured out and it still isn't close to a LRH. I hope yours shoots as well as this one. A Cabelas/Savage 6.5 will be my next rifle purchase.
200 yards from the LRH:
Attachment 5167
The full story:


text:
Compact 700mL dispenser is ideal for tight spaces. Lifetime Performance Guarantee; including batteries. GOJO SMART ELECTRONICS technology minimizes energy use per actuation, eliminating need to change batteries over the life of the system in most installations. Large sight window, skylight and clear refill bottles make it easy to check fill status. CONTROLLED COLLAPSE refills hold their shape as they empty for a more attractive appearance. Easily converts to locking dispenser. Removable pump makes recycling easy. SANITARY SEALED™ refills made of durable, recyclable PET material, using 30% less plastic than rigid HDPE bottles. Fully ADA compliant.
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"The facility must establish and maintain an Infection Control Program designed to provide a safe, sanitary and comfortable environment and to help prevent the development and transmission disease and infection."1
1. Centers for Medicaid and Medicare Services.


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Situated in El Valle del Espiritu Santo and Los Conejeros.
Isla de Margarita - Venezuela.
For the moment we dispose of a furnished apartment with 2 rooms and a bathroom. In the apartment there are bedlinen and there is also a parking, air conditioning, water and a cable TV.
The apartment is located 10 minutes walk from Mercado de Conejeros and 15 minutes walk from the Basílica de Nuestra Señora del Valle.
Low season: minimum 3 days.
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e-mail: email@example.com
The prices will be communicated by phone or email.
Don't hesitate to contact us if you have any further questions.


text:
June 2007
Presenting the extension to the Hunter Museum of American Art in Chattanooga, Tennessee, the work of Randall Stout Architects, a practice based in Los Angeles, California. Notice the UFO landing pad extending tongue-like from the mouth of this zinc-clad giant toad. Notice, too, the utter absence of any human feminine attributes in the elevations -- no ornaments or curves, no openings, no vocabulary. Nothing but an uptight, shut-in, sightless male box. This hatred for the feminine in current architectural practice has gone unremarked by anyone in the Feminist camp, by the way -- with the possible exception of Elaine Scarry in her book On Beauty and Being Just.
The architects' own propaganda states: "Re-establishing the primacy of the mansion and its garden setting at the center of the complex, the project brings balance to the overall facility and site composition.Drawing from the natural setting of the site, the architects developed a building design that embodies a contemporary interpretation of the rock outcroppings and strata within the cliff below, while the undulating forms of the roof reflect the dynamic movements of the neighboring river."
In other words, forget about urbanism, forget about the civic relations between a monumental building and the context of the city, forget about urban landscape typology.
This thing was an AIA award winner!
Previous Eyesore
Previous Eyesore


text:
Insert name here) and this is my talk page, please follow the guidelines at the bottom to learn on how to message me.
Archives: 1 | 2 | 3 | 4
Good to see you!
Hey, Karl, long time no see!
Good to here that you are having good time at the Forums. How is Linx? Do you hold any position there?
Anyway, good to see you once again! -- ILan (XD • Edits • Home ) 16:36, January 28, 2013 (UTC)
- Yeah, maybe some day in the future, though I'm not really a Forums guy, kinda got used to Wiki-styled sites. And who knows, maybe one day you would be a Mod or Admin of the Forums with 100000+ posts. ^^ -- ILan (XD • Edits • Home ) 13:42, January 29, 2013 (UTC)
Yeah. I'll make sure I follow the plagiarism rule next time. :/
But anyways just wanted to say hi. I've seen you around quite a lot at GTAForums. --Zulu2065 (talk) 06:58, March 2, 2013 (UTC)--


text:
Transfer-Messenger RNAtmRNA rescues ribosomes that are stalled by damaged messenger RNA
Damaged messenger RNA poses a double danger to cells. If a messenger RNA is truncated, it will be missing its stop codon, so it will encode a faulty, truncated protein. Also, ribosomes get stalled at the end of these truncated messages and are unable to release the mRNA and move on to the next protein synthesis job. Bacteria possess an ingenious molecular method for solving both of these problems at the same time, that destroys the faulty protein and releases the ribosome all at once.
Two in One
Transfer-messenger RNA, called tmRNA for short, rescues stalled ribosomes. It is composed of a long strand of RNA, several hundred nucleotides in length. The one shown here (PDB entry 3iyr ) is from Thermus thermophilus, and has 349 nucleotides, and a similar structure is available from Escherichia coli, which is slightly larger (PDB entry 3iz4 , not shown here). tmRNA folds into a distinctive donut shape with several functional parts. The two ends come together to form a section that looks remarkably like a transfer RNA, shown here in red (a tRNA is shown for comparison, from PDB entry 4tna). Like a tRNA, this portion is loaded with an amino acid, which for tmRNA is always an alanine. Next to this, there is a short section that acts as like a messenger RNA (shown here in magenta), that encodes a short stretch of amino acids, complete with a stop codon. SmpB, a small protein shown here in blue, assists the tmRNA.
tmRNA to the Rescue
Several problems must be solved when tmRNA rescues stalled ribosomes. First, the truncated mRNA has been translated to its end, so the decoding site doesn't hold a complete mRNA codon. To solve this problem, the tRNA-like portion of tmRNA inserts into the ribosome and the SmpB protein fits into the decoding site, replacing the normal codon-anticodon interaction. Then, protein synthesis needs to be resumed. The alanine carried by the tmRNA is added to the stalled protein chain and the mRNA-like section slips into the position normally occupied by mRNA. In the process, the truncated mRNA is kicked out to be destroyed by ribonucleases. The ribosome then steps along the mRNA-like stretch of the tmRNA, extending the truncated protein by a few amino acids and finally releasing it when the tmRNA stop codon is reached. This isn't the end of the story, however: the sequence of this short extension encodes a tag that is recognized by the protein degradation machinery of the cell, ensuring that the faulty protein will be destroyed.
tmRNA in Action
Cryoelectron microscopy has been used to look at the structures of many of the steps in this process. The structure shown here captures the tmRNA just after it gets started translating the short extension encoded in the mRNA-like section (PDB entries 4v6t ). The structure includes an outgoing tRNA (yellow) and elongation factor G (magenta). A crystallographic structure is also available for a small fragment of tmRNA bound to ribosomes along with elongation factor Tu, showing the atomic details of the interaction of SmpB with the ribosome (PDB entries 4v8q ).
Exploring the Structure
As you can imagine, tmRNA must be very flexible to allow the tRNA portion to enter the ribosomal tRNA site, and the mRNA portion to feed through ribosome and be translated into protein. The two structures shown here (PDB entries 3iyq and 3iyr ) reveal some of this flexibility, showing tmRNA just after it binds to the ribosomal A-site, and after the tRNA-like portion has inserted into the ribosomal P-site. These PDB entries only include atomic coordinates for tmRNA and SmpB--you have to imagine the rest of the ribosome surrounding the structure. To take a closer look at these two structures, click on the image for an interactive Jmol.
Topics for Further Discussion
- You can look at the cryoEM maps for these structures at the EMDataBank. Links are available in the "Experimental Details" box on the summary page for the structures.
- B. D. Janssen & C. S. Hayes (2012) The tmRNA ribosome-rescue system. Advances in Protein Chemistry and Structural Biology 86, 151-191.
- B. Felden & R. Gillet (2011) SmpB as the handyman of tmRNA during trans-translation. RNA Biology 8, 440-449.
- J. Fu, Y. Hashem, J. Wower & J. Frank (2011) tmRNA on its way through the ribosome. RNA Biology 8, 586-590.
January 2013, David Goodselldoi:10.2210/rcsb_pdb/mom_2013_1


text:
Restricted Access, Director's Permission Only!
Interview with Ted Alexander by Ann Beatty, 32 page typed transcript (2 copies); typed and hand-written notes titled Ted Alexander Interview 1/24/85, 3 pp.
Interview of Larry Bunker by Ann Beatty, 66 page typed transcript (2 copies); Interview with Larry Bunker by Ann Beatty, typed transcript, pp. 35-66
Interview with Bill Douglas by Ann, 14 page typed transcript (3 copies); 17 page transcript of interview titled "Bill DouglasSolar Analysis" by Ann (3 copies)
Interview of Bill Evans by Marian McPartland, 11 page typed transcript (2 copies); 19 page typed transcript
Interview with Pat Evans by Ann Beatty, February 2, 1985, typescript transcript with handwritten editing notes, 11 pp. front and back
Interview of Mark Gridley by Ron Nethercutt, 32 page typed transcript (2 Copies)
Interview with Dan Hearle by Ann Beatty, 12 page typed transcript (Verso unidentified typescript); 12 page typed transcript; 24 page typed transcript
Interview with Chuck Israels by Ron Nethercutt, 12 page typed transcript; 12 page typescript with handwritten notes; 24 page typed transcript
Interview with Felix Laiche by Ann Beatty, 28 page typed transcript; 32 page typescript with red and pencil handwritten notes; 28 page typescript with handwritten red ink in margins; Feb. 1, 1985, 12 page typescript with handwritten red and blue editing, At head of title: Printout for ProofingBeatty Tape #6
Interview with Mundell Lowe by Ron Nethercutt, 5 page typed transcript; 11 page typed transcript
Interview with Gretchen McGee by Ann, 3 page typed transcript; 2 page typed transcript
Untitled interview transcript of Ann/Marc, typescript, p. 2-25 (3 copies)
"Film narrative," Harry Evans, Steve Allen, Bill Evans, 7 page typed transcript; 10 page typed transcript
Gene Lees Jazz Letter (9 pp.)--3 letters plus one copy between Ann Beatty and Gene Lees concerning Lees biography on Evans
"Discovery of a Musician: Conversations with Bill Evans" by Umberto Santucci Music Jazz, Vol. 21, March 1965, typescript with handwritten notes in red ink, 16 pp.
"First part of a long study by Alian Gerber: Bill Evans Universal et Controverse," Typescript with handwritten notes in red ink, 6 pp.
"To What Extent is Venice Today a Product of its History" by Ann Beatty "Europe '83 Dr. Michael Pulman, University of Denver, October 14, 1983," typescript 15 pp.
Class report for Jazz History Bill Evans prepared for the Honorable H. David Caffee, University of Denver, Summer Session,1984, typescript photocopy, 11 pp. (2 copies)
DB Music Workshop "I Hear a Rhapsody" Solo Transcribed and Annotated by Dan Haerle, 3 pp.; "I Hear a Rhapsody" Bill Evans 2-4-84, Manuscript photocopy melodic line with chord symbols, 3 pp. (2 copies of p.1- 2)
"What is this thing portrait jazz" 12-28-59, Music Manuscript photocopy, Melodic line with chord symbols, 3 pp. (4 copies)
"Very Early" transc. C. Bloom, Music Manuscript photocopy, Melodic line with
chord symbols, 2 pp.
BOX 1Continued
Folder 19 MusicContinued
"Blue in Green" M. David arr. Phil, music manuscript, piano music, 1 p.
"Solitude" Manuscript photocopy, piano music, 1 p.
"What's New?" by Bob Haggart, recorded Bill Evans, Transcribed T. A. manuscript photocopy, melodic line with chord symbols, 1 p. (4 copies)
"Come Rain or Shine" arr. Phil Urso, manuscript photocopy, piano music, 1 p.
"Spring is Here" arr. Phil Urso, manuscript photocopy, piano music, 1 p.
"Stella by Starlight" arr. Phil Urso, manuscript photocopy, 1 p.
"Waltz for Debby" for Christopher Keane composed by Bill Evans special arrangement Christopher Keane by B Manuscript photocopy Piano music, 1 p.
"Bill Evans; Santa Claus is Coming to Town" transcribed by Claudia Bloo 11-10-79 Manuscript photocopy Melodic line with chord symbols, 3 pp.; "Bill Evans; Santa Claus is Coming to Town" transcribed by Claudia Bloom 11-10-79 Manuscript photocopy melodic lines with chord symbols, 2 pp.
A Previously unreleased solo by Bill Evans "When I fall in love" printed piano music photocopy, 2 pp.
12 Tone Row by Bill Evans, music manuscript and handwritten notes photocopy, melodic line with chord symbols 1 p. (3 copies)
Outline used to write Thesis: Bill Evans: Portrait of his life, Example in his Style of Motivic Development and Rhythmic Displacement from "Solar" and "Autumn Leaves" Solos, A Harmonic Analysis from "When I Fall in Love," by Ann Brinkerhoff Beatty, University of Denver, August 1985
Handwritten and typed notes about Bill Evans probably used by Ann Brinkerhoff Beatty to write a Thesis: Bill Evans: Portrait of his life, Example in his Style of Motivic Development and Rhythmic Displacement from "Solar" and "Autumn Leaves" Solos, A Harmonic Analysis from "When I Fall in Love," University of Denver, August 1985
Typed Pages from Thesis of Bill Evans: Portrait of his life, Example in his Style of Motivic Development and Rhythmic Displacement from "Solar" and "Autumn Leaves" Solos, A Harmonic Analysis from "When I Fall in Love," by Ann Brinkerhoff Beatty, University of Denver, August 1985
Tape Two, Bibliography, Tape One on verso; Tape Three, Bibliography, 4 pp.
Autumn Leaves-Bill Evans
"Autumn leaves all" Audio cassette tape
Miscellaneous typescript, red ink, musical excerpts taped to pages, manuscript music photocopy, some with "Solar" at head of page, 74 pp.
"Autumn Leaves," transcription of Portrait in Jazz Riverside RLP 12-315 recording 5 pp. bound with Previously unreleased solo by Bill Evans WhenI fall in love photocopy (8 copies)
"Autumn Leaves" Bill Evans Piano Solo Prevert-Kosma trancribed by Cyndi Sampler Manuscript photocopy Melodic line with chord symbols, 4 pp., (2 copies)
"Autumn Leaves" on Protrait in Jazz, Manuscript (photocopy), Melodic line with chord symbols, 2 pp.
Examples of Motivic and rhythmic dis. from Solar & Autumn Leaves; Harmonic analysis of When I Fall in Love, typewritten photocopy and handwritten (red ink/pencil/blue ink) edited; taped music example; various paginations and paper sizes
"Methods of Melodic Development as Used by Bill Evans" Chap. I, 10 pp.; "Methods of Melodic Development as Used by Bill Evans"typewritten photocopy; handwritten notes, 8 pp.
"Rhythmic Displacement" Chap. II, 10 pp.; "Rhythmic displacement," 7 pp. typewritten photocopy
"Harmony" Chap. III, 15 pp.; "Harmony," typewritten photocopy; 10 pp.; "Harmony" typewritten photocopy; handwritten notes, 7 pp.
Music manuscript photocopytreble with chord symbols, 6 pp. some with portions cut out at end: "Bill DouglasBoulder Colo Naropa Institute"
7. Printed Music
Preludes op. 37, no. 2 [Scriabin], 6 pp. of printed piano music
Preludes op. 31, no. 4 [Scriabin], 5 pp. of printed piano music
Miscellaneous typewritten photocopies; edited pages; music examples; various paginations and paper sizes 56 pp.
BOX 2Continued
8. Miscellaneous article photocopies, typescript, music lead sheets, manuscript transcriptions
Music manuscript photocopy melodic tenor line with chord symbols at end: "Bill Douglas Naropa Institute," 9 pp.
10 photocopied articles some ILL slips attached
"Periodical possibilities on the subject of Bill Evans," handwritten, typescript, 10 pp.
"Selected Discography," typescript, 2 pp.
"Sonata" Manuscript photocopy melodic line with chord symbols, pp. 2-3
9. Solar, approx 85 pp. of various sizes of misc. materials, manuscript photocopy,
transcription of Solar by Bill Douglas, typescript, music scores photocopy
1. Correspondence of Ann Beatty and others re: Evans publication and research, typescript
and handwritten notes photocopy, approx. 100 pp.
a) Correspondence Mrs. Magee and Bill July 23, 1959
b) Correspondence Dr. Pottle and Bill Evans Oct. 10, 1950
c) Correspondence between Ann Beatty and Charles J. Gans July 4, 1985, 1 p.
d) Correspondence between Ann Beatty and Marie Griffen (Institute of Jazz Studies),
July 11, 1985, 1 p.
2. Bill Evans, by Hanns E. Petrik (scan of book)
3. The Grammys: The 36th Annual Grammy Awards, Program book, Bill Evans Lifetime
Achievement award
4. Turn on the Stars: Bill Evans: The Complete Discography, compiled by Peter H. Larsen,
Book and photocopy, 134 p.; typescript photocopy, 10 pp.
5. Miscellaneous
a) SLU and Phi Mu concert programs, typescript photocopy, 17 pp.
b) LA Times article on Evans 1980, 3 photocopies
c) "Readings" Bill Evans 1969, Handwritten photocopy, 8 pp. (2 copies of part)
d) 2 receipts
e) Portion of article by Jim Aikin, photocopy, 1 p.
f) 2 Notes "From the desk of Marie Perlman", Pink paper
g) Copies of ILL requests, 8 pp.
h) "Southeastern Magazine" Premier Issue, Summer 1984, "Bill Evans: Jazzman" by
Rick Settoon, p. 10-12
i) Copies of yearbook pages
j) "Southeastern By-Lion" Oct 25, 1989, Article: "Nethercutt assists with Bill Evans
book research" 2 pp.
k) Copy of article Protector of the Music: An Interview with Judy Bell," 3 pp.
l) 2 copies from Music Dispatch [Bill Evans discography], 1 p.
m) Program "Ron Nethercutt" U.P. College of Music
n) Program "Salin-Lahi, Salin-Lahi"
o) "An Oscar Peterson Bibliography", Typescript with handwritten pencil notes, 1 p.
p) "The Big Myth", Typescript (photocopy) with handwritten editing marks, 14 pp.
q) "Larry Bunker," Handwritten bio. Notes on music manuscript paper, On verso music
manuscript melodic line with chord symbols, [1] p.
r) New Grove Dictionary of Jazz, L-Z (List Southeast as having Bill Evans Archive)
s) Opening Remarks for Bill Evans Festival Concerts at Southeastern, Tuesday,
February 26, 2002 (2 copies)
t) Obituary of Bill Evans, Morning Advocate, 1980
6. Music Manuscript
a) "Nardis" by Miles Davis Bill Evans' solo 2-2-61 Explorations, Manuscript
photocopy piano music, 3 pp. (3 copies)
b) "Solar" Vanguard sessions 6-25-61, manuscript photocopy melodic line with chord
symbols, 4 pp.
c) "Nardis" Miles Davis melodic line with chord symbols
d) "Sonata Manuscript photocopy melodic line with chord symbols, p. 2
BOX 3Continued
6. Music Manuscript Continued
e) Untitled page Manuscript photocopy melodic line with chord symbols, 1 p.
f) Untitled page, Typescript with handwritten notes and musical example (photocopy)
g) Untitled music manuscript with chord symbols, Manuscript (Photocopy) with
handwritten notes in red, Melodic line with chord symbols, At end: Bill Douglas,
Boulder Co, 5 pp.
7. CD and Tape Reel
a) CD, Conversations with Bill Evans Jean Yves Thibaudet, piano
b) CD, Bill Evans Interview
b) "Letter from Evans" Promotional announcement, 1 sound tape reel (7.5 ips, ½ track
stereo, 5 in. tape reel, ¼ in. tape)
8. Photograph of Mural of Bill Evans in Music Building (4 copies)
9. Framed cover of iajrc Journal, Vol. 19, No. 1, January 1986 (8" x 10")
1. "Bill Evans Unauthorized" recorded live at the Balboa Jazz Club Madrid Dec. 1979
(1 sound cassette)
2. "Marian McPartland on Bill Evans" May 19, 1989 "KSLU" (1 sound cassette)
3. "Bill Evans: An Audio Portrait" Master C-120 cassette(1 sound cassette)
4. "Waltz for Debby" Moscow sax Quintet Jan. '90New Orleans (1 sound cassette)
5. "Bill Evans: I Loves you Porgy from Torch Song Trilogy" (1 sound cassette)
6. "Southeastern Forum Bill Evans" "NethercuttEvans" (1 sound cassette)
7. "Bill Evans Trio at Village Vanguard" 1-17-80 Private tape by Toney Sweet
(1 sound cassette)
8. "Bill Evans Trio" 1/17/80 (1 sound cassette)
9. "Bill Evans, Rare Concert Recordings" (1 sound cassette)
10. "Bill Evans at Club Monmarte" (1 sound cassette)
11."Live in Marseille" 1976 (1 sound cassette)
12. "Bill Evans Trio '65"-Live concert (1 sound cassette)
13. "Piano Jazz Marian McPartland & Bill Evans" (1 sound cassette)
14. "A Tribute: London 16.9.90" (1 sound cassette)
15. "Sylvia Syms: Tribute to Evans" (1 sound cassette)
16. "Bill Evans Birdland Session", The 1960 Birdland Sessionson cover
17. "Bill Evans Live in Stockholm 1965" (1 sound cassette)
18. "Bill Evans in Paris 1972" KSLU (1 sound cassette)
19. "The Collection, Bill Evans" Deja Vu, p 1985 (1 sound cassette)
20. "Bill Evans Trio 1972" (1 sound cassette)
21. "Bill Evans Walkman Jazz" Verve p1987 (1 sound cassette)
22. "Bill Evans Live at the Village Vanguard, At Shelly's Manne Hole" (1 sound cassette)
23. "Canadian Concert Unknown Session" (1 sound cassette)
24. "In Your Own sweet way Two Super Trios" (1 sound cassette)
25. "Bill Evans Trio with Gary McFarland" (1 sound cassette)
26. "Piano Perspective Autumn Leaves" (1 sound cassette)
27. "Bill Evans & Lee Konitz" (1 sound cassette)
28. "Bill Evans Live in Tokyo, vol. 2" (1 sound cassette)
29. "Fred Hersch Evanessence" (1 sound cassette)
30. "Larry Coryell & Miroslav Vitous" Quartet dedicated to Bill Evans & Scott LaFaro
(1 sound cassette)
31. "Turn out the stars from Good Evening" 7-30-89
1. Crosscurrents (Fantasy F-9568)
2. New Jazz Conceptions (Riverside 12-223)
3. New Conversations (WB Records BSK3177)
4. Intuition (Fantasy F-9475)
5. Village Vanguard Sessions (Milestone 47002)
6. Quintessence (Fantasy F-9529)
7. Montreux III (Fantasy F-9510)
8. Explorations (Riverside 9351)
9. Peace, Piece (Milestone M-47024)
10. A Rare Original: Bill Evans (Alto AL 719)
11. California Here I Come (Verve VE2-2545)
12. Idol of the Flies (Bethlehem BCP-6031)
13. Canadian Concert of Bill Evans (Can-Am 1200)
14. Music of Bill Evans: Kronos Quartet (Landmark LLP 1510)
15. Bill Evans Re: Person I Knew (Fantasy F9608)
16. Simple Matter of Conviction (Verve UMV 2107)
17. You're Gonna Hear from Me (Milestone M-9164)
18. Alone (again) (Fantasy F 9542)
19. Intermodulation (Verve UMV 2106)
20. The Interplay Sessions (Milestone M47066)
21. Affinity (WB Records BSK 3293) (2 copies)
22. Living Time (Columbia KC 31490)
23. Symbiosis (Pausa 7050)
24. Cannonball Adderley: What I Mean (Milestone M-47053)
25. Bob Brookmeyer and Bill Evans: As Time Goes By (Blue Note LT1100)
26. Spring Leaves (Milestone M 47034)
27. Explorations (Riverside 9351)
28. Chick Corea/Bill Evans/Stan Getz Sessions (Verve VE-2-2510)
29. I Grandi di del Jazz: Bill Evans (Grandi del Jazz GdJ 53)
30. Masters of the Modern Piano: Bill Evans (Verve VE 2 2514)
31. Pike's Peak (Portrait Masters J 44392)
32. Mark Murphy: September Ballads (Milestone M 9154)
33. Bill Evans: The Tokyo Concert (Fantasy F-9457)
34. Since we Met (Fantasy F-9501)
35. Bill Evans Trio with Symphony Orchestra (Verve 2304525)
36. At the Montreux Jazz Festival (Verve 2304152)
37. I Will Say Goodbye (Fantasy F 9593) (2 copies)
38. The Magic Touch: Tadd Cameron (Riverside 9419)
39. Epilog: Bill Evans in Memoriam (Nopa 2901)
40. Marilyn McPartland Plays the Music of Billy Strayhorn (Concord CJ-326)
41. Portrait in Jazz: Bill Evans Trio (Riverside 1162)
42. The Paris Concert, edition 1 (Elektra 60164-1)
43. The Paris Concert, edition 2 (Elektra 60311-1)
44. Atlanta All Star Quartet plays Bill Evans (Antelope AR 888) (2 copies)
BOX 5Continued
LP RECORDINGSContinued
45. Elegy for Bill Evans (Palo Alto PA 8065)
46. Bill Evans: A Tribute (Palo Alto PA 8028)
47. Bill Evans: The Second Trio (Milestone M-47046)
48. Eloquence (Fantasy F 9618)
49. Bill Evans: Piano and Orchestra (MGM E4184)
50. Everybody Digs Bill Evans (Riverside 1129)
51. Bill Evans at Town Hall, vol. 1 (Verve UMV 2053)
52. More from Vanguard (Milestone M 9125)
53. Together again (DRG MRS 901)
54. You Must Believe in Spring (WB HS 3504)
55. Autumn Leaves (Lotus LPPS 11.111)
56. Time Remembered (Milestone M47068)
57. Tony Bennett, Bill Evans Album (Fantasy F 9489)
58. From the 70's (Fantasy F 9630)
59. Conception (Milestone M. 47063)
60. Trio (Motian, Peacock), Duo (Hall) (Verve VE-2-2509)
61. Bill Evans Album (Columbia 30855)
62. We Will Meet Again (WB HS3411)
63. Portrait in Jazz: Bill Evans (Riverside OJC-088)
64. Kind of Blue (Columbia PC 8163)
1. "Bill Evans Trio: Live at SLU Spring 1980" 2 sound tape reels (10 ½ in.; ¼ in. tape)
2. "Le Jazz Club" Misc. performances ATR 2/2/89 Sat. 5/6 Bill Evans 1 sound tape reel (10 ½ in,
1/4 in. tape)
3. "Southeastern Louisiana Jazz Ensemble" 3/2/79 MENC/Nashville Crest Records 1 sound tape
reel (10 ½ in. ¼ in. tape)


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The tiny hamlet of Mapledurham can be reached by driving down a long, twisting, narrow lane, which gets particularly exciting at busy times. A far more sedate method is to take a gentle boat journey along a short stretch of the River Thames, departing from the Caversham promenade. Arriving in this picturesque village is like stepping back in time as it appears to be virtually untouched by the usual disturbances of 21st century paraphernalia, and remains a secluded outpost with only a few residential properties, a church, and the Mapledurham estate.
An attractive Elizabethan building with some 18th/19th century alterations, Mapledurham House has been the ancestral home of the Blount family since the end of the 15th century, and remains very much a family home to descendants of that same family. The present house was started by Sir Michael Blount c1588 to replace an old manor house that dated back to the 12th century. As Lieutenant of the Tower of London in the reign of Elizabeth I, Sir Michael felt that a grander residence was more appropriate to his status. Suffering the usual consequences of property belonging to a Catholic family, Mapledurham House went through a torrid time during the 1640s but was eventually secured by Walter Blount in 1651. Through their long association with the renowned 18th century poet, Alexander Pope, Martha and Teresa Blount became the most famous sisters of the family and, following Pope's death, he left many of his possessions to Martha, which are displayed in Mapledurham House. Pope also influenced the layout of the gardens in conjunction with his favoured designer, William Kent.
When Catholics were allowed to follow their faith openly, a lovely little chapel was created in Mapledurham House, in the Strawberry Hill Gothic style that was so popular at the end of the 18th century, and this continues to be used regularly for the celebration of Mass. About 30 years later, Thomas Martin gave the house a thorough facelift, introducing fine plasterwork and classical features to harmonise with the original Tudor work. Although not comparable with the refined work of Robert Adam, Martin adopted his style of blending old and new to remodel some of the rooms. Filled with family portraits, relics and furniture from every generation, Mapledurham House represents an interesting mish-mash of changing fashions and fortunes.
Externally Mapledurham House looks warm and inviting, built of the rich red bricks traditionally used during the Elizabethan period, and displaying some intricate patterns in the brickwork. A survival from the days when it was dangerous to practice Catholicism, is the small gable above a high window at the back of the house adorned with oyster shells. This was once a familiar sight on houses to denote that it was a safe refuge for Catholics.
A remarkable, fully restored and operational 15th century watermill also survives as part of the Mapledurham estate, and is worthy of inspection. Apart from looking delightfully romantic, as a working mill it is possible to see it 'in action' and purchase some of the flour ground regularly on site.


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Joe's Pub Announces HAIR's Levy, Sheik, Kober & More In Upcoming Lineup
FEB 15 - FEB 21 AT JOE'S PUB FEATURING LEVY AND SHEIK ROCK JOE'S PUB Monday, February 15 at 9:30 PM
Caissie Levy (Sheila in Hair) and Kacie Sheik (Jeanie in Hair) invite their friends from the Hair Tribe and beyond for a benefit for Women in Need, Inc
Monday, February 15 at 11:30 PM
Hair's Andrew Kober plays revives his solo show for its NYC debut performance!
Fridays, February 19, March 19 & April 23 at 10:00 PM
Lady Rizo kicks off her monthly Friday residency this month. It's your chance to check out her incredible pipes at this stripped down show!
Friday, February 19 at MIDNIGHT
"The team's singular vision, style and point of view have set it apart from the ever-increasing number of sketch groups currently clamoring for the New York spotlight. Harvard Sailing Team doesn't fight for the stage; it owns it."-TimeOut NY
THE BARE BONES OF Joe Iconis AND MICHAEL R. Jackson
Saturday, February 20 at 7:00 PM
Musical theater writers Joe Iconis and Michael R. Jackson present a bare bones night of their incendiary tunes.
Sherry Vine AND GREG SCARNICI PRESENT: THE BUDDY AND BARBARA EVERHEART COMEDY HOUR!
Saturday, February 20 at 9:30 & 11:30 PM
Join your hosts Buddy & Barbara for an evening of madcap hilarity with songs, sketches and special guests abound!
Sunday, February 21 at 9:30 PM
"The funniest camp duo since Kiki and Herb" -The New York Times
Monday, February 15 at 9:30 PM
Join Broadway's very own sweethearts Caissie Levy (Sheila in Hair) and Kacie Sheik (Jeanie in Hair), alongside some unbelievable special guests from the Tribe and beyond, as they rock Joe's Pub to raise money for Women in Need, Inc.!
Women In Need, Inc. (WIN), founded in 1983, today serves over 9,500 adults and children, providing housing, help and hope to New York City women and their families who are homeless and disadvantaged. Through comprehensive programs such as shelter, supportive permanent housing, job training, domestic violence services, alcohol and substance abuse treatment and childcare, WIN offers the tools and guidance which allow our families to return to their communities and live independently. $25
Monday, February 15 at 11:30 PM
On February 15, one time Tony-eligible actor Andrew Kober of Broadway's Hair makes his New York solo debut at Joe's Pub. As previously seen by approximately 100 Ohioans in the auditorium of Shaker Heights High, this updated Koberet is an even more self-indulgent version of the phenomenon that took the Midwest by storm eight years ago. In it, Broadway's most famous hetero drag queen muses on his life so far...because no one else will.
The concert will be directed by David Ruttura with musical direction by Matt Hinkley, both of whom really had nothing else going on in February. It is being produced by jokr productions (Joey Oliva & Katie Riegel) and Noah Cornman.
On reviving the show for his huge New York fan base Andrew says, "Don't worry - there won't be too many show tunes. And my mom, Olga, would be thrilled if you bought tickets... but you don't have to." And the producers want you to know that it will feature a really spectacular and rockin' encore. You'll definitely want to stay until the end. $15
Fridays, February 19 & March 19 at 10:00 PM
"The brazen blonde belts out classics and pop tunes atop a piano" -- Women's Wear Daily
"Caburlesque artist Lady Rizo has, thankfully, upped the ante... throwing in enough hyperfemininity to blow your heart and go down on your mind." - Sharyn Jackson, Village Voice
"Lady Rizo and The Assettes brought down the house."- Men's Vogue
"Rizo's mischievous grin and banter hold the audience captive." - NY Press
"adorably louche"-- Time Out
"Lady Rizo bring(s) out the Broadway in this chart-topper" --Rolling Stone
The incomparable "cabaret star" (NY Magazine) Lady Rizo is back for an unchaperoned evening of song and decadence. You may have seen her here at Joe's Pub with her "glam bottom baring dance troupe the Assettes " (Village Voice), celebrating the billboard top ten in the monthly series Our Hit Parade, or midtown at the gothic Night Hotel co-hosting the weekly transnational lounge Foreign Affairs.
But here is your chance to have her all to yourself. Her seamless mix of baudy humor and elegance has been likened to Mae West but its her vocal chops that have garnered recent attention: collaborating with both Yo-Yo Ma & Moby on albums this year, singing selections of the American Songbook in front of the internationally acclaimed 36 -piece orchestra The Knights, and at MOMA for a sold out cabaret for the Kirchner Exhibit.
Let her lashes beguile you as she interprets an irresistible mix of popular songs from all eras backed by some of the finest musicians in New York City. Even though she is venturing out solo, if you know Lady Rizo you won't be surprised if a couple special guests pop up. $15
Friday, February 19 at MIDNIGHT
"The team's singular vision, style and point of view have set it apart from the ever-increasing number of sketch groups currently clamoring for the New York spotlight. Harvard Sailing Team doesn't fight for the stage; it owns it."-TimeOut NY
"Wicked sketch comedy."- AM New York
"Saturday Night Live wishes it was as funny as the Harvard Sailing Team."- Charleston City Paper
Special guests The Chris and Paul Show will open the night with The Greatest 15 Minutes on Earth. Mark this date down as the official most funked out night of sketch comedy of the year. It's the greatest holiday on the calendar so make sure to not miss out on this midnight special, see you there! $12
THE BARE BONES OF Joe Iconis AND MICHAEL R. Jackson
Saturday, February 20 at 7:00 PM
Musical theater writers Joe Iconis and Michael R. Jackson present a bare bones night of their incendiary tunes. A couple of special guest stars will join the boys for a concert that is sure to shock, bother, offend, and titillate. $15
Sherry Vine AND GREG SCARNICI PRESENT: THE BUDDY AND BARBARA EVERHEART COMEDY HOUR!
Saturday, February 20 at 9:30 & 11:30 PM
In the grand tradition of Sonny & Cher, The Mandrell Sisters and Donny & Marie, Sherry Vine and Greg Scarnici star as Buddy and Barbara Everheart, the twisted, mad-cap hosts of this "televised" Public Access variety show featuring hysterical sketch comedy, musical performances, outrageous video parodies and special guests. $15
Sunday, February 21 at 9:30 PM
Not since Rugrats Live! has a television show burst onto the theatrical stage with such public anticipation. People are going ape shit for JEFFERY AND COLE CASSEROLE: LIVE! Come meet your favorite characters: Jeffery, Cole, Justine, the Old Show Queen, Albert the fidgety goose, and Becky. They're all live and in the flesh at Joe's Pub for the next heaping serving!
Come see the boys that TimeOut New York call a "perfect refreshment" and what USA Today calls " refreshing exuberance." Wow, that's a lot of refreshment! Don't be the only kid in the playground to miss Jeffery And Cole Casserole: Live! $15
Online at joespub.com, Phone 212-967-7555,
In Person At the Public Theater Box Office (1 PM to 6 PM), or at the Joe's Pub Box Office from (6 PM to 10 PM) both located at 425 Lafayette Street, NYC
For table reservations please call 212-539-8778. Purchase of tickets does NOT guarantee a table reservation; you must call to reserve seats. Seating, as well as standing-room, is available only on a first-come, first-served basis for all shows without a dinner reservation. Two drink or $12 food minimum per person is standard.
Photo credit: Peter James Zielinski


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Why does Capriossi bother to show up. Oops, this post will be deleted for criticizing one of the anointed here. Ben's Yam lacks the grunt to take on the Hondas running together. But at least it provided some semblance of a show.


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A couple weeks ago I attended my first Coachella Valley Music and Arts Festival. Indeed it was the first true music festival I'd ever been to, outside a couple small-time jazz fests with my family as a kid.
I spent three days poking around the food tents, gazing up at the soaring art pieces, choking on dust, trying not to get too overwhelmed by hordes of bodies moving from one end of the Empire Polo Club to the other and, of course, taking in a couple of my favorite bands and discovering a few fresh ones.
The Stagecoach Country Music Festival, I found out on Saturday, is an entirely different festival animal. Here are five takeaways from my first Stagecoach:
1. Lay of the land. Stagecoach has fewer stages than Coachella, and the art is gone. What was a largely green, grassy infield for Coachella weekend one had turned to brown or sand this weekend, two weekends later. Somewhere around 90,000 people tromping around for days on end will do that.
Also, it can be a little more tricky to walk around at Stagecoach when compared to Coachella. This is largely because folding chairs are allowed at Stagecoach. There are barriers and walkways set up to navigate through the masses parked in front of the Mane stage, which helps a little bit, but I still found myself accidentally stepping on a few people's belongings as the crowds grew for Jason Aldean on Saturday night.
2. Demographics. This might come as no surprise, but the Stagecoach country crowd is an older, whiter, and slightly rowdier one than Coachella. Alcohol is limited to several beer gardens at Coachella, but it flows freely throughout the festival grounds at Stagecoach.
Perhaps also no surprise: some Stagecoach-goers are pretty darn patriotic. American flags were everywhere, and chants of "America! America!" or "USA! USA!" would randomly break out in between sets. Go figure.
3. BBQ is the best. My assignment Saturday was to write a story on a Texas style barbecue competition. This ended up as one of my highlights of either Coachella or Stagecoach.
I tracked down the Johnson family. They run Lowbelly BBQ in Palm Desert, and have entered their barbecue at Stagecoach since the festival's first year, in 2007. Jan Johnson was kind enough to describe the process of producing their premium meats while her husband Gary and son Nic were busy putting the finishing touches on their final brisket contest entry of the day. I of course indulged in a taste test of both the ribs and brisket. Tasty.
4. It's a mega rock concert. There are fewer bands, fewer stages, and I'll admit -- I'm not much of a country music fan to begin with. But, I never saw such a massive crowd at Coachella as the one I witnessed for Jason Aldean on Saturday night at Stagecoach. Video screens were mounted out into the crowd showing short, flashy clips of Aldean ripping on the guitar. Fans danced and leaned over the barriers, yelling along with each lyric. I didn't know live country music could be quite like this.
5. Weather. While Stagecoach temperatures were nearly perfect -- if anything, it was a little chilly Saturday night -- the dust was back, just like Coachella weekend one. Whichever festival you attend next year, bring along a bandanna or one of those cheap white dust masks to cover your face. I'm still sneezing and blowing out dust today.
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Have Legal Questions? Ask a Lawyer Now.
Dear Customer, thank you for choosing Just Answer. The offer by the HOA's attorney is a valid and binding offer. If you pay within the given time they will file the notice of satisfaction and the judgment will be rendered satisfied in full (The HOA cannot come back and ask for more).
Regarding any report on your credit, the credit reporting agencies review the various court's judgment rolls. If your judgment is still outstanding, this will be reported against your credit. If there is a notice of satisfaction of judgment entered, this will not appear against your credit rating.
what about the appeal I currently have in process, its only a week old, will this conflict with the settlement offer? can I ask the ask the court to vacate the judgment based upon the settlement?
The idea in these types of cases is that the settlement is based on you dismissing your appeal in exchange for the HOA reducing its demand to satisfy the judgment. As part of the settlement you would withdraw or dismiss your appeal. You cannot ask the court to vacate the judgment based on the settlement, although you may ask for the judgment to be set aside, it is unlikely that you will succeed in doing so. Most parties by the time they have reached this point are willing to discuss a settlement based on the amount at issue as opposed to a set aside or satisfaction of judgment. You can of course ask, (but keep in mind that when you ask for something new in a settlement you are rejecting the old offer therefore the HOA may not be willing to give you that opportunity back).
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May 30, 2016
Montgomery, Ala. About 90,000 Alabamians will have to find new health insurance policies because their current policies don't meet the requirements of the federal health care law.
The Associated Press compiled the 90,000 figure by contacting Alabama's major health insurance companies. The state Department of Insurance says it doesn't have figures on the issue.
Alabama's largest health insurance provider is Blue Cross and Blue Shield of Alabama. It has 87,000 customers who have been notified that their plans don't meet the law's requirements. They are being enrolled in a new plan that complies with the law.
Human reports it has 3,000 customers affected.
United Health Care says it focuses on the group insurance market in Alabama rather than individual policies.
Click Here to access the online Public Inspection File
Viewers with disabilities can get assistance accessing this station's FCC Public Inspection File by contacting the station with the information listed below. Questions or concerns relating to the accessibility of the FCC's online public file system should be directed to the FCC at 888-225-5322, 888-835-5322 (TTY), or firstname.lastname@example.com.


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- Home
- Research
- Education & Outreach
- Facilities
- Advanced Print and Roll to Roll Manufacturing Facility
- Nanoimprint Lithography & Hybrid Coating R2R Coaters
- Conte Nanotechnology Cleanroom Lab
- Nuclear Magnetic Resonance Facility
- UMass-Amherst Mass Spectrometry Center
- W.M. Keck Center for Electron Microscopy
- W.M. Keck Nanostructures Laboratory
- Hysitron Triboindenter
- Nanonex Nanoimprinter
- Industry
Professor Maria Santore Elected to Fellowship in the AAAS
Professor Maria Santore of Polymer Science and Engineering has been elected to Fellowship in the AAAS (American Association for the Advancement of Science). Maria was recognized for her contributions to science and technology on February 16, 2013 during the AAAS Annual Meeting in Boston, Massachusetts.


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See All Contributors »
Hypothetical Question: Harrison Barnes commits to ISU... what would be his nickname (if any)?
Obviously we can throw "The Mayor" out of the running.
My thoughts:
I think it would be cool if it were something like "The Advantage".
Because no matter who we play... Iowa State will always have The Advantage. (The Edge sounds cooler... but Edgerrin James had to steal that one)
'Hard Ball' to play off of Harrison Barnes
I'm not trying to jump the gun and set a nickname in stone for a young man who has not even committed to us. And I realize that pegging somebody with nickname before they even set foot on campus is just putting unnecessary pressure on that person. I am just trying to start an enjoyable thread for people to discuss some fun nicknames that hopefully someday in the future we might see one of them given to Harrison. If you don't have anything positive to contribute... please do not contribute.
Love the disclaimer!
I am not that creative but look forward to seeing some peoples ideas
The Chosen One :)
more realistic . . .
Long Shot
Originally Posted by cycopath25
The Chosen One :)
more realistic . . .
Long Shot
B/c he has unlimited range.....right?
yeah . . . That's it!
I'm thinking something meteorological, i.e. Cyclone-related:
How about "F-5", because he is THE most dangerous Cyclone ever.
Forever trying to find a cure for the Dunning-Kruger Effect.
Savior. Fitting for our first National Championship.
Posted via Mobile Device
I would be a fan of 'hometown hero' personally. Keep it simple. Perhaps 'the bouncer' would work as well.
"Seven minutes to glory."
El Diablo....you know with the wings and claws and stuff
Iowa State became the Cyclones after they leveled Northwestern in 1895. As the Chicago Tribune (9/29/1895) noted:
'Struck by a Cyclone
It Comes from Iowa and Devastates Evanston Town'
Jesus shuttlesworth
The City Clerk
The Miracle....
Posted via Mobile Device
Originally Posted by snowcraig2.0
The Miracle....
Posted via Mobile Device
good one, it would be a miracle if he came to ISU
Hometown Harrison
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Philadelphia, PA (Sports Network) - Carolina Panthers running back Jonathan
Stewart left Monday's game against the Philadelphia Eagles with an ankle
He left the game in the third quarter after gaining 27 yards on eight carries
along with two catches for nine yards.
His return to the contest is questionable.
The Sports Network