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We've noticed that one of the signs that a language is becoming mainstream (and perhaps being abandoned by the cutting edge developers) is that the For Dummies book becomes the top seller. [...]Tim raises an important point: PHP is going mainstream, and cutting edge developers are looking elsewhere.
In Q1 of 2005, the Dummies book was #7; in Q1 2006, #5; in Q1 2007 it's #1. Not only is the Dummies book now #1, four of the top five titles are now introductory.
Many of the want ads I've seen for PHP recently read like we're looking for someone young and cheap to work like mad and crank out web pages. This is a little depressing, but not entirely surprising. The web has been the dominant development platform for over a decade; no one needs to pay top dollar to just build web apps (or worse, maintain and configure them).
Why would a professional developer want to use PHP and work on a project where someone who picked up PHP For Dummies last month is nearly as qualified? The whole point behind being a professional developer is accepting progressively more challenging tasks, not switching from one entry level skill to the next.
None of this reflects on PHP itself, just PHP's status as a mainstream tool suitable for beginners. Sure, there's interesting work for PHP experts, but the bulk of PHP work doesn't need an expert of any stripe.
Tim's point is an expression of Paul Graham's Python Paradox, but in reverse:
if a company chooses to write its software in a comparatively esoteric language, they'll be able to hire better programmers, because they'll attract only those who cared enough to learn it. And for programmers the paradox is even more pronounced: the language to learn, if you want to get a good job, is a language that people don't learn merely to get a job.Because PHP skews to beginners and is becoming mainstream, professional programmers are moving away from it.
The problem with the Python Paradox is that it's both vague and fuzzy. By Paul's logic, if I'm starting a company, I should be using Factor or Io, because those languages are extremely esoteric.
Somehow, I don't think esoteric-ness is the important quality.
People who program professionally and truly care about their craft want to solve increasingly hard problems. They want to walk away from the old drugery and focus on what matters: solving the problem. Using the same tools over and over again means each project starts by fighting the last battle over again. Only then can the real work start: fighting the next battle, and solving the new problem.
The "fight the last battle" syndrome helps explain why languages like Python and Ruby are on the rise with professional programmers, while languages like Java and PHP are on the decline. Java uses a heavyweight, cumbersome, static object model, while Python and Ruby use a lightweight, dynamic object model, supplemented with powerful core types like lists and dictionaries. PHP makes it possible to build web applications, while Ruby and Python offer a variety of frameworks to that make web applications easier to build with much less effort.
Thus, Java and PHP are on the decline because they use old ideas and enforce older, more cumbersome styles of programming to solve problems than those offered by Python and Ruby.
As Ruby and Python make dynamic languages respectable, the whole "static vs. dynamic" language debate sounds like fighting last battle to me. It's tired. It's boring. It's a solved problem, they both work, and it's time to move onto something new.
What's the next battle? I'm not sure, but I've got a few ideas:
- Functional programming over OOP and Imperative programming
- Strong typing over weak static typing or dynamic typing
- Mathematical foundations for concurrency over ad hoc models (i.e. threads)
- Parsing over regex hackery
- Implicit parallelism


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Just out of curiosity, Mike, but did you get inspired to use the name Hypnos by the title of the wonderful H.P. Lovecraft story, or the Greek god of slumber and father of the gods of dreams?Glad to hear of the Path of White Clouds re-release. Genesis is an epic release...
Didn't you used to have an FAQ item for people requesting info for school papers? I seem to remember that (or it was just a forum topic years ago... wow - the forum's been around quite a while now (2001 I think)... )
I'm definitely jazzed for Message From a Subatomic World, Mike, as I'm still digging Sounds of a Universe Overheard. Will that be ready for ordering Feb/March? The Austere/Solyaris looks cool, too...@ least form the cover art.
We're aware of the problem of potential confusion or conflict, when artists select names that are not unique. This is something we're dealing with on more than one front, right now.We can't exactly tell Nebula they can't be called "Nebula" since they already released two albums under that name, and it would be weird and confusing to release the Path of White Clouds album under some other name, like "Gigi and Mathias's Euro-Ambient All-Star Band." We don't have a definite solution on this one right now, but in the case of one other such conflict, we're releasing the album by the artist "Sense" under the name "Sense (Robert Logan)" to avoid confusion with several other artists known as "Sense."
"At first we called ourselves The Originals, but there was another group of lads called The Originals, so we changed our name to The New Originals..."
I love the 'Echoes of Polyhymnia' Cover.
Quote from: Seren on January 30, 2008, 12:25:16 PMI love the 'Echoes of Polyhymnia' Cover. Wow, thank you very much!
You wouldn't believe it & you'd never guess...

subset: commoncrawl


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2 Riders in the Same Direction
When two kiteboarders are traveling in the same direction, the faster rider must give way to the slower rider in front. Why? By coming from behind, the faster rider has a better view of the situation, so he must defer to the other rider and change his course. Watch as the faster rider changes course.


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Justice Souter at Harvard
Justice Souter spoke today at Harvard's commencement, where he sought to pre-empt the inevitable charges of the Court's "engaging in activism to extend civil liberties" that come at the end of each term and the start of every confirmation battle. In recognizing the Constitution's conflicting values and open-ended provisions, Souter presented a judicial approach in staunch opposition to what he called the "fair reading model"–think Chief Justice Roberts's balls-and-strikes metaphor–as having only a "tenuous connection to reality" in the cases that "raise the national blood pressure."
The judge, Souter argued, must reckon with the fact that the "Constitution is no simple contract," but rather a "pantheon of values" with language that "grants and guarantees many good things, and good things that compete with each other and can never all be realized, altogether, all at once." These conflicts, Souter said, reflect the "desire of the American people, like most people, to have things both ways." When those good things compete–order v. liberty, liberty v. equality–"judges have to choose between the good things that the constitution approves, and when they do they have to choose not on the basis of measurements but of meanings."
As examples, Souter cited two landmark constitutional law cases from which many contemporary cries of judicial activism originate.
To illustrate a Court's obligation to decide between conflicting constitutional provisions, he spoke about the Pentagon Papers case in which the Court's majority rejected both Justice Black's First Amendment absolutism and the government's claims of absolute executive privilege. The Court instead decided against the government but contemplated circumstances in which a prior restraint, despite the First Amendment's plain language, would be necessary under the President's constitutional mandate in foreign affairs and national security. Upon this consideration, Souter asked,
Should the choice and its explanation be called illegitimate law making? Can it be an act beyond the judicial power when a choice must be made and the Constitution has not made it in advance in so many words? So much for the notion that all of constitutional law lies there in the Constitution waiting for a judge to read it fairly.
To show the promise of the Constitution's deliberately open-ended provisions such as the Equal Protection Clause, Souter referred to Brown v. Board's rejecting a separate-but-equal regime that seemed sixty years prior to mean "enormous progress" for the Plessy v. Ferguson majority, who "remembered the day when human slavery was the law in much of the land." The Brown Court, then, "found a meaning in segregating the races by law that the majority of their predecessors in 1896 did not see." To this, Souter rhetorically asked his audience and hypothetical Brown-skeptics:
Did the judges of 1954 cross some limit of the constitution into lawmaking? Was it activism to act based on the current meaning of facts that at a purely objective level were the same as Plessy's facts 60 years before? So much for the assumption that facts just lie there waiting for an objective judge to view them.
Indeed, for Souter, "judges who understood the meaning [of Jim Crow] that was apparent in 1954 would have violated their oaths to uphold the Constitution had they not held the segregation mandate unconstitutional."
Souter concluded that the "the very opportunity for conflict between the good and the good reflects our confidence that a way may be found to resolve it when a conflict arises." The fair reading is view of judging, then, "devalues those aspirations, and attacks that confidence, and diminishes us" by "discourag[ing] our tenacity (our sometimes reluctant tenacity) to keep the constitutional promises the Nation has made."
Although the fair reading model seems to promise to satisfy the "basic human hunger for certainty and control," Souter recognized that in an "indeterminate world,"
we can still address the constitutional uncertainties the way [the Framers] must have envisioned, by relying on reason that respects the words the Framers wrote, by facing facts, and by seeking to understand their meaning for the living. That is how a judge lives in a state of trust, and I know of no other way to make good on the aspirations that tell us who we are, and who we mean to be, as the people of the United States.
UPDATE: Link to transcript added with quotes fixed to reflect the official text.
One Response
[…] Posted in Law and Politics by Mike Sacks on June 4, 2010 Last week, I published a run-down of Justice Souter's speech at Harvard, in which he offered a strong rebuttal to the textualist/originalist approach that has […]


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So What You Popped A Molly?! The 10 Most Annoying Phrases In Songs
We all have a song or two that we just can't stand. Sometimes the radio plays a jam one time too often. Sometimes the beat isn't exactly on point. And sometimes, the lyrics are the problem. It may not be the whole song we're over, but there are choruses and phrases we're just sick of or that make no amount of sense at all. Check out our list of 10 rap phrases that we don't want to hear anymore.
"Popped a Molly"
Rap music may need an intervention. Apparently, Molly is the new hot drug in the street. Rappers spit about it so much, white people get on the Internet and Google "who is Molly?" They know Molly as MDMA and they've been losing their minds on the designer drug since the late eighties.
Rappers like Juicy J talk about popping a Molly in almost every song. And all I want to know is can we move on and talk about something different? 'Cause ya'll sound like a broken record. No? Well get back at us when ya'll are done getting high.


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Wounded Warrior Amputees Play Hardball
A friendly charity match turned into a beating around the bottom of the fourth inning. The June 1 NFL vs. Wounded Warrior Amputee Softball Team game drew crowds from nearby military bases and football fans from far and wide.
With Ravens' starter Torrey Smith pitching, the Wounded Warriors took an early lead and remained dominant throughout the game. NFL players Smith, DeSean Jackson and E.J. Biggers proved handy with a bat, helping their team earn five runs. The fatal flaw of the NFL team was fielding.
By the bottom of the sixth, the Warriors had scored 21 runs and showed no signs of stopping. The NFL knew it was time to raise the white flag, or throw the white towel in the air, which is exactly what the pitcher did after giving up a homerun to Saul Bosquez.
Sorry you missed the big game? Next year, event producer Torrey Pocock hopes to hold an even bigger event with more stars. Memo to the NFL players: Work on your fielding in the off season.


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How can something so easy be so difficult? I like to have an inventory of canned licks as the basis for true improvisation. But for some reason I can't seem to come up with anything "musical" over a secondary dominant with a b5. Any recommendations, guidance or referrals are greatly appreciated.
The juice of Lydian dominant is the #4 to nat5 tension/resolution. I think the easiest way to hear things in the beginning is to target the nat5 and use the #4 as the tension resolving up to it, but you can certainly hang out on the #4 once you learn to hear it.
If you're coming from the standpoint of simply trying to transpose mixolydian licks to LD, it sounds crap, because the nat4 behaves very differently. 4-3 is the natural tension/resolution in mixolydian, but in Lydian Dom, it's more about #4-5 tension/resolution.
A great shortcut to expand the tension/resolution relationships is to use the Dom9 a step above as the tension to target the dom9 chord of your 7b5. So C Lydian dominant would be a D9 to C9 tension/resolution.
Watch Reg's videos.
Originally Posted by buduranus2
Can you give me an example in a tune of a progression you would like to be able to play over?
Originally Posted by christianm77
Originally Posted by matt.guitarteacher
Originally Posted by buduranus2
OK, so good example Take the A-Train... As far as I can hear from recordings Ellington/Strayhorn did not conceive is this chord as a Lydian Dominant originally (not sure if that was even a thing theoretically in the '40s) but rather a whole tone tonality, which is actually very closely related.
(The II7 chord does resolve. It resolves to V7. Don't let the IIm7 confuse you, that's just a suspension of V7...)
So, anyway, I think you have this backwards. The way that I've always found best is to transcribe lines on chords like this and work out what's going on.
Firstly, going the other way - trying to turn scales into lines, usually does sound contrived unless you already know what you are doing - i.e, can hear it.
Second reason is that I don't really think there's any point cultivating language over specific chords. It's best to know how to apply the language you've already got in many different harmonic contexts as possible. In the case of 7#11, as with minor chords, or half dim, you need good sounding true minor language.
By true minor I mean minor key lines that don't accentuate the b7 as a chord tone - i.e. are not based around a m7 tonality, but a minor triadic or m6 tonality. Real jazz lines rarely stick entirely to one scale - but minor key jazz lines that use the 6th and major 7th and minor 7th in combination are pretty common. So you aren't really talking about using 'melodic minor' but a combination minor scale that features notes of the dorian, harmonic and melodic minor. Using the V arpeggio on minor key for instance to get a min(maj7) tonality is a common bebop cliche. Another are line cliches that run 1-7-b7-6.
Now, if you learn how to do that, you can then put that on a related dominant (ii-V relation.) If I play on a G7 a line based on the Dm version of the Barry Harris '3' phrase, for instance, maybe descending from the 5th to the 3rd by step and then putting a little V arpeggio:
On G7, that C# pops right out... So we say - G lydian dominant. But the melodic line is convincingly jazz, which is a separate consideration.
Another good bop example of this sound are the phrases Parker plays on the D7 and A7 chords of the bridge on Moose the Mooche check 1:05 on.
So: don't confuse language and harmony. Harmony is what we get when we prominently feature the C# on the G7 (G7#11!) BUT language is that little descending melodic thing that would work equally well on a Dm chord, or a Bm7b5 chord, or a Db7b5 - or even F major to give a lydian augmented sound... Theory is very much concerned with harmony, but rarely gives clues as to language, which is why most teachers advise transcription.
I think you understand the harmony, but not the language, which is why your lines sound contrived.
There are ways of going from basic materials into language, but I'll pass over that here.
I very much appreciate your comprehensive and clear reply. I developed the "linguistic elements" of jazz in the context of jazz-blues, then progressed to rhythm changes, which seems very close to the blues conceptually if not structurally. So that's why my lines over a non-functioning dominant, such as they are, sound contrived. They may be "correct" but they're not "right." As for whole tone over the D7 in A Train, lydian dominant has a nice five note whole tone run landing on the b5/#4. So that's pretty close to what Duke and Strayhorn intended, as you mentioned. Also, as you point out, it's preferable to conform the line to the chord, which is what I do. That is, I'll record and loop a 7b5 chord without meter and then try to play something "musical" over it. Or sometimes I'll record a straight dom7 and play various scales/modes to hear the alterations more starkly. I think it's like you say, that is, it's not just modes of melodic minor etc. but rather a mash-up of scales covering the same harmonic zip code. It occurs to me as I write this that maybe I'm too locked into LD or whatever. I think I'll try to incorporate a chromatic passing tone to keep the chord tones on the strong beats. Not exactly sure where I'll shoehorn that in. Also I'll try the altered scale as well. Might be just what I'm looking for. In closing, my sincerest appreciation for your insights and assistance.
I find that if what I'm playing is "vanilla" (major, minor, dorian ideas), it is fine to play lines in a more "familiar" way... pieces of the corresponding scales that have no gaps, more melodically linear, starting or ending on their tonics, and similar simplicities that let the lines closely follow or match the harmony. This is what you might call a "cards face up" "full disclosure" kind to playing... easy to hear, easy to transcribe.
However, for lydian dominant (as well as symmetric diminished, augmented, and some others), I find it often sounds better to match the complexity of the harmony by deliberately playing lines and phrases with "secrets and mystery" integral to their composition, using ideas like:
- avoid starting or ending phrases on the tonic
- avoid the tonic when the line passes through it
- skip over notes that reveal too much too directly
- take a more angular approach (zig-zag a little through the notes)
- distinguish/destabilize some notes/lines with either a little more "push" (faster, louder, maybe stronger accents) or a little more "pull back" (slower, softer, weaker dynamics, ghosting the weakest notes, or ghosting the beginning and ending notes of phrases)
- use "enharmonic ambiguity" - note sets that could melodically describe multiple chord harmonies (any of which would sound good at that point, but it is not clear which harmony you might be describing, at least immediately).
Spend some time exploring the relationship between various chords and scales and LD.
- play a sharp nine chord, find the LD that harmonically describes it
- play a ninth chord, a flat five chord, find the descriptive LD
- play any LD and look for the augmented and diminished scales that describe it
Keep in mind that the LD is a chameleon; its scale inversions/modes describe multiple harmonies, which means that its self tonic is shifty with respect to different contexts (its immediate tonic depending on what particular chord harmony it is describing).
A lot of great advice, so let me try to address your suggestions in order, at least up to the level of my ability. First, I typically aspire to start/end phrases on notes other than the tonic, although sometimes I will if I'm playing a cliche tongue in cheek. I've actually found my playing to be a little too angular at times, overly reliant on arpeggios. Although it sounds OK to me as long as I incorporate more linearity. As for avoiding the tonic when the line passes through it, sometimes I look at the tonic as a quick V7-I if I can get away with it. I like your idea of keeping lines harmonically ambiguous. In this regard, I'd like to get further into fourths. Lastly, if I think of LD as the fourth mode of melodic minor, then I start finding melodic minor in places where I wouldn't necessarily anticipate it. I think maybe this is what you meant about LD being a bit of a chameleon. Many thanks!
Ask a theory question, you get a theory answer, which you think is the bees knees. It ain't, because it won't un-contrive what you actually play, and what you actually sound like.
If your licks sound contrived then they probably are. That is, they're worked out on some kind of blueprint and then performed to rote. Or, worst scenario, they're generic and applied to any tune regardless. Your words:
I like to have an inventory of canned licks
Lyd Dom is the mixo with a sharp 4 or, more simply put, the minor melodic off the 5th of the dom - i.e. D mel m over G7 or G7 alt.
Just play it is my advice, forget the theory ideas, they'll only make you sound even more contrived. Improv is tightrope walking. Being safe is to be dead.
Context? Are your lines going somewhere in a purposeful manner? Are your lines being used to create rhythmic phrases? Are you creating with your ear, your fingers or your brain?
Yes I'm asking very general questions about very specific things, but maybe the focus on using an inventory of canned licks obfuscates the sense of purpose to what you play. Why are you playing that line? Where is it going? Where did it come from?
Thinking along the lines of a "progression" actually progressing from a musical thought towards a conclusion might inspire you to phrase differently, with more space and brevity and imagination with which to create movement. That's where using a scale becomes subservient to actually saying something with urgency and intention. This is an entire discipline of practice in itself. Phrase thoughtfully; the qualities of the scale may reveal themselves and impart a living quality this way.
Try messing around with a Coltrane 1-2-3-5 pattern a whole step above the Lydian Dominant, so for C7#11 a D shape, giving you the 9th, 3rd, #11 and natural 13
At first I thought, wait, is having lydian dominant licks a thing? Then I realized that I have one. I use it occasionally and it sounds contrived, at least to me, because I've heard it a lot and, typically, I'm tossing it in mechanically in a high tempo tune where I'm struggling to keep up. Some musicians hate licks in a general way. I remember one teacher yelling, "no licks, make melody!".
Having a "lydian dominant lick" implies that you have a lick you're going to play on a LD chord, no matter what else is going on at the time. I'm aware that great players use licks, but, in my somewhat limited experience talking with great players about this, they never speak of it in this way, even when they admit to using licks. Most will tell you that they don't know what they were thinking when they played a certain thing, and they're being honest. I recall a great player being asked what he was thinking at a particular point in a solo he'd just played. His answer was "I was thinking darker".
So, my answer to the OP question about making LD licks sound less contrived is not to play them. Instead, consider the harmony of the tune and try to make a suitable alternative melody. I think this is done in different ways by different players. But, clearly, some players sing to themselves (you can see Herb Ellis doing it during every solo, for example) and then try to play what they're singing.
I'd suggest picking a tune with an LD chord. Then comp the tune while scat singing. After you sing a line you like, put it onto the guitar. In my hands, this technique produces much better results than thinking about anything in a more theoretical or mathematical way. I know that some great players have put in their time with the math, but I think it's to learn the sounds, not to be thinking about math during a solo.
Licks are a different story. But, a good way to develop licks is to scat sing them and then write them down. That way, they're your own and it gets away from well worn ruts in your muscle memory on the fretboard. It's likely to be more melodic simply because you're singing. If you're committed to playing licks over LD chords you're going to have to surround them with compatible material.
rp, I agree OVER and OVER again. I used to try and play all the cool licks I knew at jam sessions. That never worked for me, it felt forced. Now I practice on listening "with my ear bent down to the ground" (as pauln would say) to what everyone else is doing, and shape my lines around what's happening on the bandstand. If a lick surfaces within a solo, great--but it has to emerge naturally.
I'm an odd musician. If I were to think of a "lydian dominant" lick--I would think of the context of the chord in the KEY of the song. So, for instance, if I wanted to play an A7 with a sharp eleventh in the key of C major I would think of the A7 as follows:
A -- 6th in C
C# -- b2 in C (#1 makes me nervous )
D# -- b3 in C (or #2, if you're into that kinda thing)
E -- 3rd in C (Lage Lund says the major 3rd is really in with the kids these days)
G -- 5th
B -- 7th
okay, four chord tones and two colors.
Why did I relate it back to C? Well, I'm an odd bird. If you think of all of that in C, you can control how each sound responds to the chord progression. I've already gotten into arguments about how when you play a Dm7b5 with a natural nine in C major, you are actually playing a major 3rd in a minor context--which is incredibly hip and hard to hear (but possible). I know, I know--locrian natural 9 scale... that doesn't help me as much as thinking of that major 3rd against C minor when I am trying to hear it.
If you think of the A7#11 as it relates to, I dunno, Abminor (where it occurs more naturally) you could do:
A -- b2 in Abminor
C# -- 4th in Abminor
D# -- enharmonic 5th of Abminor
E -- b6th of Abminor
G -- natural 7th of Abminor
B -- b3rd of Abminor
Like I said, I'm an odd bird. I am using Contextual Ear Training to reteach myself all the theory I learned 15 years ago. If you practice singinig, like RP said, you'll figure out how lines over the A7#11 work. If all else fails, listen to how pro's solo over the A sections of "A Night in Tunisia"
Last edited by Irez87; 06-10-2019 at 07:07 PM.
Originally Posted by Irez87
Ok, so now comes the A7#11. If I can hear and feel it I wouldn't be thinking at all. But, maybe I've never played the tune before and the harmony is unusual, so I don't know what it's going to sound like and I have to play something.
First do no harm. No clams. That principle gives me all the chord tones. I'll guess that the bassist is going to hit an A at some point, so I can outline the #11 quality of the chord by including an Eb. That's probably as far as I'd think about it.
A7 is automatic so all I need to think about it how to adjust to the #11. I'd pick the other notes by ear, and if somehow the tonal center was Cmajor, I'd know that I can get the sound of the A7#11 by raising the C a half step to C# and playing the Eb . I also know, without thinking, that I can get some additional consonant tones sort of by thinking "all white keys except C and F".
After that, it's all about the tune, what's happening in the band, and what I played in the preceding bars.
If I was completely bereft of ideas I could go to my one 7#11 lick, but, for A7#11, I'd have to play it at the 11th fret, with a high F#, which might not sound good.
I can't think of a tune with a VIdom7#11 either, I was just using it as a random color tone. It fits more as a bII7--i progression, you get that b6 sound with the bIIdom7#11 (the #11 is the b6 in the minor key) which is indicative to minor.
Start learning "Christmastime is Here" now...you'll have Lyd Dom nailed by December.
Originally Posted by rpjazzguitar
That is what I meant about LD being used to describe multiple different harmonies - with an alert audiation to all that matter what else is going on at the time. The major scales and fingerings are so ingrained into most musicians that they become like water to a fish - they don't think about it, they just know how to move through it. For those that have taken a similar path with LD, it becomes part of the lowest level of harmonic substance, the basis from which other things are produced. Its advantage over major is that it describes and produces so many more jazz harmonies without modification, as direct inversions of the scale, like modes, reallocating the tonic.
They don't know what they were thinking because they were not having to think "this is LD" any more than they were having to think "this is LD with it's local tonic on its particular self scale degree" or "this inversion of the LD is the altered scale". This too they don't think about, just know how to move through it.
I don't know how others approach this. I do know that great players do it differently.
For me, it's something like this. A fundamental skill for a jazz player is the ability to hear a line in mind and instantly play it, without error. So, in my judgement, a player should be able to play the melody of any song he knows - in any key, starting on any string, any fret, any finger. Some tunes are harder than others, but that's the goal.
So, if you're soloing and you hear, in your mind's ear, a line with a lydian dominant sound, you shouldn't (in this approach, anyway) have to think about the name of the scale or mode or any other verbally mediated approach (that is, using language to think about it). Rather, you imagine a line with that sound, you play it instantly, and, if it's good enough, some jazz student will transcribe it and explain to you what you played.
Anyway, that's how I see the goal. Thinking this way suggests focus on ear training and working on playing melodies as major parts of a practice routine. Traditionally, ear training was done with transcription. That may still be the best way, but I think there's value in any approach that allows you to imagine more sophisticated lines.
Originally Posted by rpjazzguitar
This is a constant, persistent assertion which is just wrong. And it's stated in thread after thread.
When you play major, are you aware that it's major? Do you HAVE to think the words "major scale"? Do you assume that others think the words "major scale"? Are they/you LIMITED by the speed at which they think these words or is it just automatic?
Now...Why do you assume that all others think this way re something as basic as Lydian Dominant? Who said that they HAVE TO "think the words" first? I just don't think that anyone did. It seems like an imagined problem.
I'm not talking about beginners who can't otherwise play either. That's beside the point. But I can play Lydian dominant in multiple positions with multiple arps from melodic minor without any cumbersome thought process, and I'm not even really a jazz player.
Many players are thinking combinations of pitch name, scale degree number, chord degree number, chord Roman numeral, lyrics, the person's name that we almost remember in the back of the room, what's for dinner after...all while actually playing. Labels aren't RESTRICTIVE to things which you already KNOW in a basic way.
It just doesn't work that way. Being able to label something which you know already by ear, kinesthetically or otherwise is a separate issue. Yes, there are people who can also label things which they can't really play as well. But that's beside the point.
Where are these imagined "word thinkers" among real players?
Last edited by matt.guitarteacher; 06-11-2019 at 11:08 AM.
Originally Posted by ragman1
Originally Posted by rpjazzguitar
Originally Posted by rpjazzguitar
Originally Posted by buduranus2
Pauln, are you talking about George Russell's Lydian Chromatic Concept?
I'll go back to my original point--you need to hear the notes, not the scales.
I'm reposting this video here, I think I had it in the Performance Ear Training Journal:
Greg Fishman, by the way, is the real deal. If you REALLY want some vocabulary, he has Hip Licks vol. 1 & 2 on his website. That's not the point.
The point is that you learn how the unique colors of the 7#11 chord sound over the basic triad--one at a time. Jordan Clemons is all about this method of learning new colors/ sounds. Greg Fishman is all about "tasting" these sounds. I'm on the same wavelength--but a little broader. I like to think of these colors operating on the home key. That way, I know exactly how my ear wants to resolve back to the home key.
For that A7#11 to Abmin6--I would pedal an Ab (and maybe a B natural) WHILE I play A7#11 sounds when I'm practicing in the woodshed (usually on the piano--at first, at least). Chords don't exist in a vacuum. Many of us already understand functional harmonic analysis, like how we analyze all of Autumn Leaves in Gm. Yet when we start our line studies, our melodic concepts, we automatically go back to an isolated chord by chord mentality. I think this needs to be seriously revamped, from the ground up. But, I'm an odd bird.
That's how I study ear training. All sound operates in the broadest sonic context--the sound of the key. You build all harmony off the sound of the Key. Anything that operates outside of the key does so to create beautiful tension and release--movement. I think Coleman Hawkins said something along the lines of "I play harmonic movement, not chords".
Let me go in even further. All sound operates within the sound of the key and the pulse of the tune. Notes and scales don't mean shite if you don't know how to use them in respect to the pulse. What happens when I place the #11 on the downbeat (I'm talking chord tones, not key tones--because this might resonate more)? What happens when I place the #11 on the "and" of 1? Where, in the measure, in the phrase, do I resolve my color tones (or altered tones)? How does this rhythmic placement of these altered notes effect the tension of my line? How does the rhythmic placement of my core chord tones effect the resolution of my line? How do I punctuate my line--where do I leave space? That's swing, bebop, hardbop, and beyond. Where we place the notes in time (pulse?) takes primacy over scales.
Originally Posted by matt.guitarteacher
Lot of theory flying around here. Nothing wrong with that, but...
Just listen to what players do. That'll put everything together, can't recommend it enough really.
Common dominant chords that tend to feature a #11
IV7 --> relates to I minor
II7 --> relates to VI minor
bVI7 --> relates to bIII minor (that's an interesting one)
bVII7 --> relates IV minor
BTW usually the #11 is featured because it is a diatonic tone - either to the major or related minor keys. This seems to not get mentioned very much...
Originally Posted by christianm77
Originally Posted by Irez87Originally Posted by Irez87
Originally Posted by christianm77
Ugh, Chris '77 you're getting wrapped up in this deep theory stuff too. Let's back up, and post actual tunes where there's a secondary dominant that functions as a true #11 harmony. I agree
that in A Train, that IIdom7 is usually played with a whole tone--but I sometimes play it as a #11. Days of Wine and Roses comes to mind as well, but that's a #11 with a different function. I could post some examples from my Greg Fishman book, but I just played through some and he doesn't specify how they resolve (which is a huge part of making these licks work, at least functional harmony wise--I hate that term)
A Train (maybe)
Days of Wine and Roses
Lady Bird
So we could all pick one tune that has clear dominant #11 harmony, isolate the harmonic phrase (not the chord, the phrase), and post recorded examples of what each of us would play using those materials. Ragman almost did that with his post--I liked that he played something instead of rambling like I usually do
Last edited by Irez87; 06-11-2019 at 05:32 PM.
Unfortunately when learning Music Language we get caught up in the technical aspects a bit too much. For me being mostly self taught, I look at Lydian Dominant as being part of Melodic Minor.
By that I mean it comes from the Melodic Minor parent scale. So I have different arpeggios like a Min9/Maj7 that I've committed to memorize throughput the entire 12 fret fingerboard. i.e. C13#11 would be Gmin9/maj7 arpeggio
Guitarist Scott Henderson has some lessons on how to use this as well as other arpeggios in interesting ways. Do a Google search.
so, no takers on the recorded examples?
Originally Posted by Irez87
This isn't really a lydian-dominant-from-melodic-minor demo, but it is a good demo of the fact that you really need only the maj 3, #11 and b7 to get the "lydian dominant" sound. If you hang for a few minutes till he gets to the ensemble demo, you'll hear him throw a variety of color tones into the "vanilla dominant" to great effect.
Though he does make a point of incorporating his instructional licks into the demo performances, you'll also hear that he improvises very freely and fluidly. Having some memorized vocabulary in your ears and under your fingers lets you avoid having to think too much, freeing you to express yourself. Yet, you don't want to be limited to only certain licks.
So I think you want to approach this from two directions:
- get the "lydian dominant sound" into your mind's ear, and learn a lot of ways to find that sound (see ragman's video for an excellent jumpstart)
- get some good-sounding licks in that vein memorized cold, so that you can then use them as seeds for your own melodic ideas. I think that's what you are trying to do by asking for some recorded examples, and that's a great idea.
Once you get the theory, the sound and some licks under your belt, your own lydian dominant ideas will grow organically.
Originally Posted by jads57
As a result I play Melodic Minor and its modes like the Altered Scale all the time but never think of them as such; I think of those sounds as modes of Lydian Dominant.
Originally Posted by buduranus2
If that's the type of music you want to play I would focus on the minor on dominant approach as it's the ways those guys seem to think.
For the LD sound itself I think you have to check out more recent players who grew up with chord scales.
But you don't have to learn about LD to be a strong Blue Note style player.
Originally Posted by Irez87
The #4 is in the melody
Chord lasts for four bars
Tune represented by entire history of jazz
A genuine non resolving dominant
I think the 7#11 in DWR is a passing chord - I would probably ignore it for the purposes of blowing .
Last edited by christianm77; 06-12-2019 at 05:30 AM.
Originally Posted by christianm77
Also bearing in mind that it's not what one 'does over a chord' that matters so much as the transitioning between one chord and another...
Originally Posted by ragman1
Conceptually I would stake money on the 'minor on dominant' connection (i.e. ii on V) being the source of any #11 sounds. You can hear this in Django, Charlie Christian etc. If you play the major seven on the minor, you obviously get #4 on the dominant.
Whole tone is common in Bud Powell
Originally Posted by christianm77
but Cherokee is very fast so maybe no one noticed
Originally Posted by ragman1
But I remember Barry Harris saying you could choose whether or not the play the #11 in Cherokee.
But players got up to all sorts of stuff. Even pianists playing a 9 in one hand a b9 over it.
Jazz wasn't the study of chord symbols back then.... and I think bop was more interested in the changes, treating each chord a bit more independently than before. Swing players often took a more key centric, generalised approach on the changes which would actually encourage some more of those 7#11s I guess...
I suppose bVII7#11 is the most common 7#11 sound in jazz.... it's so closely related to IVm(maj7) that gives a good way into those sounds. You can hear plenty of examples of this sound in the swing era even...
On reflection I guess that was what Irez was talking about with respect to Days of Guns and Roses....
There's a good version by the Nikelson trio (Lage Lund on guitar)
Well, that was a lotta videos.
I went through a few versions of A Train coz the 7b5 has two bars and you don't have to wait for it. Most play WT, a few ignore it. Probably doesn't matter.
Originally Posted by christianm77
Originally Posted by christianm77
I don't know if it's just a more modern take, but he's more often talking about doing the opposite: using A7#11- Lydian dominant to target Dm- Dorian or vice versa. As opposed to playing "D melodic minor" over A7.
Re other posts about tempo and easier to hear, more modern Lydian dominant sounds etc, Jeff's recommendation of Christmas time is hear is a good one. Slow, lots of LD opportunities over multiple chord often, and easy to hear with lots of #11 melody notes as true accented chord tones.
If you want to woodshed more Lydian Dom over something like A train, for sure sub the bII7#11 for V, just to get more reps on it one fret away from you're II7.
Originally Posted by buduranus2
Emphasise the major seventh and you have LD, use the minor and you have a standard dominant sound.
Obviously D Lyd Dom = A melodic minor, but solo lines aren't usually that obviously chord scaley unless they are played by Berklee grads like Lage Lund ;-)
Even b6 sounds good in context.
Check the music.
Originally Posted by matt.guitarteacher
That's the way he thinks harmonically but he plays quite old school language.
He has his own way of talking about what I just posted above. I think we think quite similarly, I just tend to convert everything to the simplest scale description because I find it easier to deal with. I reckon Reg played the way he does before he went to Berklee and retroactively analysed and developed his approach after taking CST classes.


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Not technically exclusive to the world cup or football itself, but it seems to be a salient and relevant issue in the current context. Though I would not usually back the booing approach myself, I would say there are certain situations in which it is justified, the current state of the England team being one of them. That said, I would be a lot more reluctant to start booing Arsenal or any other domestic team I followed, I'm not entirely sure why this is.
Anyway, discuss.


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Wild mushroom tartlets
October 1, 2019
- 375g block all-butter puff pastry
- flour, for dusting
Flour is a powdery ingredient usually made from grinding wheat, maize, rye, barley or rice. As…
- 25g butter
Butter is made when lactic-acid producing bacteria are added to cream and churned to make an…
- 300g mixed wild mushrooms or just one type, cleaned and sliced
The mushroom is a fungus which comes in a wide range of varieties that belong to two distinct…
- 25g parmesan (or vegetarian alternative), finely grated
Parmesan is a straw-coloured hard cheese with a natural yellow rind and rich, fruity flavour. It…
- small handful parsley leaves, chopped
One of the most ubiquitous herbs in British cookery, parsley is also popular in European and…
- 1 garlic clove, finely chopped
- 1 egg, beaten
The ultimate convenience food, eggs are powerhouses of nutrition, packed with protein and a…
- Roll the pastry out on a floured surface and cut out 4 circles, about 15cm wide. Leave to chill on a lined baking tray in the fridge.
- Heat oven to 200C/fan 180C/gas 6. Heat a large frying pan until hot, then add the butter and fry the mushrooms for 5 mins until there is no liquid left in the pan. Season, then take off the heat and mix mushrooms with the Parmesan, parsley and garlic.
- Score a 1cm border around the edge of each tart, then spoon the mushrooms into the centre circle. Brush the edge with beaten egg, then bake the tarts for 20 mins until puffed up and golden. Serve immediately. http://stokvideolar.com


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Lowry Collection - 3 Door 3 Drawer Sideboard - Oak
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The Lowry range - This oak collection is one of the most diverse available today, meaning that you can find the pefect item, whatever the style or size of your home. Beautifully made with a natural finish and antique brass effect handles this collection has a rustic feel that brings a relaxed look to your home.
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These items are made specifically to your order and will therefore be Brand New A-Grade items. As a result of this, delivery may take between 2 to 4 weeks.


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So, the bowls of cheesy, salty snacks adorn the coffee table, fifty inches of high-def screen rests on the living room wall; all the hype, hoopla, and analysis is done, the stage is set as you tip a bottle with your best buds raring to go on Super Bowl Sunday. Then, come the commercials…gotta see those famous, infamous, acclaimed, highly-influential, much publicized, awesome national commercials! And, after all, you auditioned for one of them yourself. And then—hey! There it is…there's the spot you went in for. And there's the huge smiling-from-ear-to-ear face of the other guy from the callback lobby—he got the part. That guy won the spot; and you lost it. Who cares now if the Patriots or the Giants take home the trophy. Your day is destroyed.
Someone else is getting the exposure you want, they're getting a lot of money which you need; he gets to tell his mom and friends of his success, add the gig to his resume—and you're still struggling.
Actors are prone to career anxiety just as all careers are prone to trigger crisis at times. The acting field is notorious for its erratic earnings and rejection. Actor Hamish Linklater from the play Seminar, on Broadway, puts it this way, "In my ideal world there would be 99% unemployment for actors, and I would be the 1% that's employed. I hear about somebody getting a job at Starbucks and I get jealous."
According to Alain de Bottom, author of Pleasures and Sorrows of Work, "It's a real taboo to mention envy, but if there is one dominant emotion in modern society, that is envy. And it's linked to the spirit of equality…The closer two people are, in age, in background, in the process of identification, the more there is a danger of envy — which is incidentally why none of you should ever go to a school reunion — because there is no stronger reference point than people one was at school with. But the problem, generally, of modern society, is that it turns the whole world into a school."
As everyone feels envious at times, it's important to realize we're all more than our successes and failures. We're all a work in progress. So, accept the fact that you're feeling this way, but don't give in. Instead, use it as motivation, get yourself out there and work harder than you've ever worked. Directors, Producers, Ad Agency suits don't give actors a big-time national commercial because they're big hearted; they award you the spot because you audition, you're prepared, you deliver the lines naturally, you take direction–in short, you're a pro. That's how you score a big-time national spot. And make sure you have an up-to-date resume and current headshots. There's nothing a Casting Director wants to see less than an old headshot. Take care of the business of acting, and the acting business will take care of you. Remember: "Success occurs when opportunity meets preparation."
To hear Alain de Bottom speak with witty insight about modern-day envy, click here.


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When Pamela Anderson came to South Florida last week to promote her new perfume, little did she know it would cause quite a stink with the local paparazzi.
The 42-year-old beauty was at the W Hotel in Ft. Lauderdale promoting "Malibu," her new fragrance, but the appearance didn't come without stipulations.
Anderson's manager, Peter Asher, demanded photogs covering the event only shoot her with a "ring flash" to cut down on some of the mother of two's slight imperfections.
That didn't sit well with noted Miami shutterbug Seth Browarnik, according to the New York Post. Browarnik apparently threw a little fit, claiming that the ring flash requires a bigger battery pack and makes his work take longer.
Asher, in turn, banned Browarnik and any other photog who didn't comply from the charity/promotional event, causing other photographers to boycott the red carpet.
"I can only suggest it is something Pamela wanted," a rep for "Malibu" told the Post. "In-house photographers were told to use the ring light, but our red carpet was issue-free," a rep for Make-A-Wish, one of the event sponsors, said.
If there was a lack of photographers, Anderson, who's no stranger to controversy, didn't seem to notice or care.
The former Baywatch star posed on the red carpet and spoke with NBC Miami about the rumors that she's expecting baby No. 3.
"Someone else said that to me, that's crazy. I feel like everyday I'm kind of defending rumors, even in my own family and my own friends and people close to me," Anderson said. "I'm still looking at them going, 'Do you honestly believe that after knowing me all these years, you honestly think that's true?'"


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The world's foremost sporting event is embracing social media by creating its own social network.
With just 100 days until the start of the 2012 Summer Olympic Games in London, the International Olympic Committee unveiled today the Olympic Athletes' Hub, a website where fans can connect with athletes and enjoy photos, videos and live chats from the Olympic Village.
The Hub is a social media aggregation site for Olympians past and present, a way for athletes to expand their presence, increase their fanbase and, of course, build their brands. More than that, though, it is the committee's response to the sweeping changes social media has brought since the 2010 Winter Olympic Games in Vancouver. The rise of Twitter and the ubiquity of Facebook and other social media has fundamentally changed how we communicate with each other and the world around us.
"The Olympic Athletes' Hub was born out of our desire to connect Olympic athletes and their fans more intimately than ever before," Alex Huot, the head of social media for the IOC, said in a statement. "With the launch of the Hub, we are creating a paradigm shift in the communication around the Olympic Games."
The committee keeps calling this "the first social media Olympics," and Olympic organizers clearly understand that people want, and expect, to communicate directly with athletes. Huot says the IOC wants the Hub to "amplify the voices of athletes" and "solidify deep and meaningful relationships" between athletes and fans that continue beyond the closing ceremony.
"These relationships could, in fact, last for lifetimes," he said. "I feel that Olympians inspire and their engagement in social media at London 2012 will result in the biggest online conversation in Olympic history."
That isn't hyperbole. Social media will be huge, and the Hub is a harbinger of how coverage of the Games will change, said Douglas Alden Warshaw, co-founder of First-Person Communications and a digital strategist with an expertise in social media.
"Clearly we are past the point where people are drawn to the Olympics because of patriotism alone," he said. "The ability of athletes to connect with fans and vice versa is critical. Now more than ever you have fans connecting to athletes that aren't their country's stars. Like everything else the web does, borders become less important and the Olympics are not immune."
Embracing social media also is an effort to attract younger viewers, the people for whom tweets and status updates are an integral part of their day. This will provide an interesting real-time look at what people are watching and reacting to — and how NBC and others cover the Games, Warshaw said.
"I think social media will not only be interesting for real time, but also as the younger demographic programming guide," he said.
The Hub will compile social media updates of Olympians in a comprehensive, searchable directory. Every account is verified by the IOC, so you'll know you're following, say, the real pentathlete Margaux Isaksen, not a parody.
Fans will be able to interact with the athletes, get live updates, watch videos and get training tips from the likes of Nadia Comaneci, Edwin Moses, Mark Spitz and others. Cooler still, fans will be able to engage in text chats with athletes live from the Olympic Village during the games.
This being social media, the idea is, of course, to build a community. To encourage that, fans can follow athletes. The more athletes you follow, the more points you earn, collecting virtual prizes like medals and real-world prizes that will be awarded in the weeks and days before the Games begin.
More than 1,000 Olympians have joined the hub, and the number is expected to grow as the Games approach. "The $64,000 question is, will the athletes be authentic or will they let their handlers take care of this," Warshaw said.


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The Costume Ball is set to unveil its curtains Wednesday, October 24th! With a stellar lineup of designers, a fluid and macabre venue, the Costume Ball brings about images of grand ballrooms and mystical creatures that sway in Gothic lace and blood red lips to gaze upon. A grand masquerade just in time for All Hallow's Eve!
I had a great time setting up this preview this evening, though I did have a few snags that made it more of a cursing fest than a baroque themed piano concerto. For a funny thing happened on the way to the Costume Ball; I had picked out mon cherie Gabriella's outfit while she was busy in that evil real life realm. I purchased the erotic necromancer outfit from Deviance, not realizing with my foggy brain that Deviance is one of the amazing designers involved with the Costume Ball. Gabriella and I perused the items offered for the event and low and behold I spot the Deviance outfit and facepalmed loud enough for her to worry I had a concussion! Funny how things happen, kismet I tell ya!
But enough about my strange adventures covering this great event, what will your Costume Ball be about? The only limitation is your imagination!
"Even in death, our love will endure."
What Gabriella Is Wearing:
*Skin-[PF] Kumi <Java> – Oak (Available at The Costume Ball October 24th)
Eyes-Mayfly– Deep Sky Mesh Eyes (Red Mahogany)
Hair-Alice Project-Sari II and Sari Braids – Infinity (Available at Cinema)
Nails-Sexy Mamas Prim Nail – Glitter
Outfit-Deviance – Necromancer complete outfit – Midnight Rose
What I Am Wearing:
Skin-Fallen Gods STATUExy – clean stone
Hairbase-MADesigns Tintable Hair Base ~ Stripe 3
Eyes-.ID. Bionic / Mesh Eyes / Deep Teal (Available @ Cinema)
Horns-[europa] Maelus horns LAVA
Make-Up-Shakeup! – Shakeup! Dia de los Muertos Tattoo Mask-Catrina Makeup B (Available at The Costume Ball October 24th)
*Ears-#Ziau# Mesh Ear – Monster (Available at The Costume Ball October 24th)
Outfit-A:S:S Pan-Demonium (Exclusive outfit created for AVENUE CINQUE)
*Pose-Purple Poses – Couple 190 (Available at The Costume Ball October 24th)
*Decor-.:SF:. "Nevermore" Dark Parlour Set
*Promotional Copy-Thank You!


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A via thousand priests are worried that same-sex marriage will lead to Catholics being jailed and killed for their faith.
More than 1,000 priests have signed a letter voicing concerns that same-sex marriage will threaten religious freedoms in a way that was last seen during centuries of persecution of Catholics in England.
In the letter published in the Daily Telegraph, the priests claim that same-sex marriage could even lead to Catholics being excluded from some professions, such as teaching.
No, no, no. First, get down off that cross; there will be no executions, banishments, and imprisonments for Catholicism as there were during those ugly years of the Reformation. Also, while I wouldn't be surprised if some people lost their jobs (like some fanatical pharmacists and teachers), it won't be for being Catholic. It will be for being raging bigoted asshats.
Unless you want to argue that bigotry is a cherished sacrament in Catholicism. Well, then, I guess maybe you will find your religion treated with contempt.


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Hello all,
I read a lot of griping about the lifetime subscription and its limitations. It sounds like maybe the contract language changed over the years, but I could be wrong. Anyway, I got mine in 2008 for $300 and I was pretty sure the fine print said I could transfer it to whatever for $75. Now I'm reading that there are all sorts of other stipulations.
The question I have is that I am selling my car, and I want to move the lifetime to my new Ford truck which already has a 6 month trial. What is the best way to go about this?
I was thinking to wait until the trial is over and give it a shot, but by that time I will no longer own the car that has my subscription on the alpine. Does that matter? Do I need the old radio, I already have the ID recorded on the website.
Also I noticed that on the website it allows me to simply type the new radio ID / ESN whatever... to transfer my subscription, so I'm thinking maybe I'm in the class that can get away with it.


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All the application does is send push notifications to people stating, "Yo." That's it. There's no photo-sharing, no messaging, no video playback and certainly no gaming. Yet Yo, which reportedly took only eight hours to create, has raised $1 million from its backers and caused many to question Silicon Valley's possible tech bubble, according to reports.
How could any app that just sends a simple word be worth more than $1 million, or even a few hundred bucks? The startup's developer and founder, Or Arbel, says that "Yo" can mean many things to many people, according to ThinkProgress.
"You usually understand what the Yo means based on who you get it from and when you get it," he said. "The way it affects your life is profound."
Part of the blame goes to techie Robert Scoble who allegedly called the "stupidest but most addicting app," which we suppose is high praise. It debuted on April 1, but if it was an April Fool's prank, it still got 50,000 users who sent 4 million Yo's. It's success apparently made Arbel move from his native Israel to San Francisco.
Arbel says that it takes two taps to send a "Yo" which makes it simpler than a message or photo share and possibly more addictive.
U.S. & World
The seed money was arranged by one person, the chief executive of an Israel photo-sharing network called Mobil -- and Arbel's former employer -- who managed to find investors for the app he used to summon his personal assistant.
Arbel sees Yo as having serious commercial appeal, especially at Starbucks, where baristas could use it instead of shouting names.
"We do have some users who don't get it and think it's a joke," Arbel told ThinkProgress, but he said they soon come to love it.
Arbel is attempting to publicize his startup but it seems more like a joke than anything that could change someone's life for the better.
Is this an example of the tech bubble? What else could you call it when an ephemeral photo-sharing and messaging app is worth $16 billion, and an app that simply sends the message "Yo" is worth millions?


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Bethanie Deeney Murguia graduated Summa Cum Laude from the University of Rochester with a BA in psychology and fine art. She continued her study at the School of Visual Arts in NY where she received her MFA in illustration. She was awarded a merit scholarship after completing her first year of the program. While in New York, she worked as an art director for Hearst Magazines.
Since relocating to the Bay Area, she has continued to work as an art director for design and marketing firms. Bethanie has created illustrations for toy packaging and various children"s publications, including Ladybug and My Big Backyard (National Wildlife Federation). Her paintings and design work have been honored with numerous awards.
Buglette the Messy Sleeper (Random House, 2011) was Bethanie"s debut publication as an author and illustrator. Zoe Gets Ready was published by Arthur A. Levine Books (Scholastic) in 2012.


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An invisible line in the ocean is now gone. For the past 25 years, sea otters that swam further south than California's Point Conception were scooped up and moved back north, where they could not interfere with fishermen or oil interests along the southern coast. After years of debate, this controversial "No-Otter Zone" was lifted by the U.S. Fish and Wildlife Service (FWS) on Dec. 18, and sea otters are now free to reclaim their historic territory.
Southern sea otters came very close to extinction a century ago after intensive hunting for their fur reduced their population to just 50 animals living off the coast of Big Sur. Today about 2,800 live in California waters, a testament to decades of protection under the Endangered Species Act (ESA), the U.S. Marine Mammal Protection Act (MMPA) and California state law.
But while these laws have protected the sea otters and given them a chance to recover their population, it also forbid them from traveling too far south in search of food. This zone was established in 1987 when the FWS was trying to establish a small population of sea otters on remote San Nicholas Island, which was intended to act as a safety net in case the main population further north was hit by an oil spill or other catastrophic event. Under the ESA and MMPA, moving the sea otters to San Nichols Island required special permission of the U.S. Congress. According to the advocacy organization The Otter Project, "an agreement was reached between FWS, conservationists, commercial fishermen, the Navy and the oil industry to create a sea otter 'management zone,' dubbed the 'No-Otter Zone', from Point Conception to the border of Mexico, requiring FWS to remove otters from the zone." This also meant that sea otters lost some of their ESA protections and the FWS lost oversight of otters within this zone.
FWS stopped moving otters out of the zone more than a decade ago, mostly because the San Nicholas Island population did not thrive, but it took years for the zone to officially be lifted. Meanwhile, sea otters from the north were increasingly crossing the line, angering fishermen who — as I wrote in 2010 — feared that the voracious mammals would eat up their profits.
Steve Shimek, executive director of the Otter Project, told local news station KSBW that the zone was never effective. "Trying to tell a marine mammal to stay on one side of an imaginary line across the water was a dumb idea," he said, pointing out that the now-increased territory is essential to the otters' population growth. "Allowing otters to once again inhabit Southern California waters is considered critical to the recovery of the species."
Not everyone is happy about the zone being lifted. California Republicans sponsored a bill in April to keep the "no-otter zone" in place, arguing the creatures would "be invading prime shellfish fishing grounds and U.S. Naval testing areas." That bill never got off the ground, and now the sea otters have more ocean waters in which to swim, eat and, hopefully, thrive.
Related posts on MNN:


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Gold Leaf Ring
Product variations
Color: Gold
size: One Size
Finish off a pretty look with this contemporary ring with leaf detailing that continues around the whole piece.
Product code: 955817
Care Instructions
- Mixed materials
- Keep away from hairspray, perfume, cosmetics and other harsh chemicals. Avoid contact with water.
Free Standard Shipping on orders over $100 ($5 otherwise).
Standard Shipping: 8-15 working days.
Returns Information
Need to send something back? We now offer FREE returns!
Returns Policy
For peace of mind, and to make things easier for you we are also extending our returns policy. For orders placed from 1st March 2020, we have extended our returns policy to six months.
We really hope you like your purchase, but if you need to send anything back, just email email@example.com with your order number beginning USF and we'll send you a pre-paid returns label. We are happy for you to return items to us within 30 days from receipt for full price items and 15 days for items bought during the sale.
- bvseo_sdk, dw_cartridge, 16.1.1, p_sdk_3.2.0
- CLOUD, getContent, 99ms
- reviews, product
- bvseo-msg: Unsuccessful GET. status = ERROR, msg = Not Found.;


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Other retailers may charge $499.00
The Emilie Dressing Bench in Teal will sit with pride and purpose in any space you wish to fill. Designed with chesterfield cushioning in a heavy duty linen blend fabric with gloss black turned legs and added sweet antique look castors, it oozes charm, practicality and elegance. Ready to serve you well at the end of your Queen or King size bed or alternatively used as a stunning bench seat within your home or hotel.
Please Note: Colours may vary from image. Dress
Download Printable Specifications Sheet
We ship Australia wide and aim to ship within 2 business days, unless otherwise stated.
Delivery fees will be calculated on the cart page, and you can expect delivery within 10 days to capital cities. Remote areas may take a little longer.
We are unable to deliver to a P.O. Box Address or Parcel Lockers.
Read our Shipping & Returns page for full details.
Returns & Refunds:
We have a 30 day no questions asked returns policy. Returns must be in original packaging. You can return your item to us within 30 days of when it was delivered to you for a full refund. We will refund the cost of the item(s), less the cost of return shipping.
Please fill in our Return Request Form.
Read our Shipping & Returns page for full details.
We have a 12 Month Warranty on all items from date of purchase, unless otherwise stated.
Read our Warranty page for full details.
My beautiful seat arrived in a couple of days and very happy with the quality and price was great too
Love my new seat it is just perfect and well made... Was delivered quickly as well
The bench arrived as pictured and in perfect condition. Easy assembly. Wonderful customer service.


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Ronea Saunders of the Central Connecticut women's track and field team was named NEC Field Athlete of the Week for the second time this indoor season, the league announced Tuesday. Saunders earns the honor after claiming a victory this past weekend at the University of Albany Great Dane Classic.
Saunders added to her NEC lead in the high jump with one of the top performances in NCAA Division I this season. The third-year Blue Devil, who set the NEC Outdoor Championship record as a rookie, cleared 1.78m (5' 10") on her final attempt to defeat UConn's Natasha McLaren and take gold at the UAlbany Great Dane Classic. Her height of 1.78m ties her CCSU record for the event.
In addition to qualifying her for the 2014 NEICAAA and IC4A/ECAC Championships, the height ranks Saunders in a tie for 17th overall on the NCAA DI leader board. Only 29 jumpers have cleared the 1.75 mark this season, a height that Saunders reached at the BU Season Opener back on Dec. 7.
Saunders and the rest of the Blue Devils are set to return to action this Saturday at the Boston University Terrier Invitational.


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Afrobeats Fridays at Cococure April 3rd 2020 with Dj Bill GatesCococure Get Directions
April 3, 2020 10:30 pm - April 4, 2020 4:00 am
Buy Tickets Book your Table
Age: 18+ Last Entry: 1.30am Dress Code: Our Dress Code can be described as "upscale chic." Hats, chains, excessive jewelry, athletic wear, baggy attire, sunglasses, and tennis shoes are not permitted. Entry is always at the doorman's discretion. Designer trainers and Smart sneakers are permitted when smartly dressed. Please do remember our dress code is smart casual. Not adhering to this dress code may lead to refusal of entry ID Required: Yes Shoe Type: No Sports Trainers, Sandals & Slippers
You can sms full names only to the guestlist number +447418314650 for
Ladies – Free before 11pm, £10 before 12, £20 before 1am
Gents – Free before 11pm, £15 before 12, £20 before 1am. Cheaper tickets are on the event page. You can also use the guestlist link
Event Description
New Location, New Vibes, Same old trusted brand.
After 3 and a half years of Cirque du Lagos and Lagos Saturdays. Cococure brings you a new weekly duo, This is Cococure 'Fridays' and 'Saturdays' emphasising on the changing sounds of the ever growing afropolitan scene. Join us as we explore with the best djs in town in a venue that truly reflects the ethos of our brand.
Entry: Free Entry for all on Glist before 11pm, Doors Close at 01:30
Dress Code: No Sports Trainers, Sandals & Slippers.
Music: Afrobeats, UK Afro, Hip Hop & Bashment
To join the Guestlist,Send names to +447418314650 on event week or go to https://cococure.com/guestlist
On Guestlist – Free for all before 11pm. For guest list send Name to +447418314650 for this week or send for future weeks at Guestlist.
Ladies (on guestlist) – Free before 11pm, £10 before 12, £20 before 1am
Gents (on guestlist) – Free before 11pm, £15 before 12, £20 before 1am
No guestlist or ticket. £20 at the door
NO ID NO Entry
More Table packages available at https://cococure.com/tables
Drinks Menu available at Drinks Menu for This is Cococure
Venue Photos
Venue: Cococure
Venue Phone: 07707888048
Venue Website: https://cococure.comAddress:


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Story highlights
- International Women's Day is on March 8, 2013
- An annual celebration of women's political, economic and social accomplishment
- Leave your favorite inspirational quotes from women, past and present, in the comment section
Every March 8th, International Women's Day honors the achievements of women past and present, while remembering that equality is still a work in progress.
So, in the lead-up to this year's event, we're asking our readers to share their favorite quotes from celebrated women of the world.
It could be a motto on love, a tip for success, a proverb on happiness or a witty observation about life. Just share the words that have inspired you along the way and it could be featured -- along with your name -- as part our special coverage.
Lost for inspiration? Check out some of these quotes from a few of the amazing women who've appeared on CNN's Leading Women over the last year.
"If you can find something that you're really passionate about, whether you're a man or a woman comes a lot less into play. Passion is a gender-neutralizing force." Yahoo CEO, Marissa Mayer.
"Make sure you continue to trust what you know about yourself and stay true to what you believe in." Melinda Gates, businesswoman and philanthropist.
"You know you're old if they have discontinued your blood type. Someone compliments you on your alligator shoes, and you're barefoot," late comedian Phyllis Diller.
"Always find the time to do something for other people. Indeed, there is nothing more rewarding than making someone else happy." Fabiola Gianotti, Physicist, CERN.
"Never think you can't do anything because you're a woman, everything is open to you as a girl. The future is yours." Our very own Christiane Amanpour.
So, who inspires you? Leave your favorite quote in the comment section below or via Twitter using the hashtag #wisdomofwomen.


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Accountancy Recruitment Agency Northamptonshire - Accountancy Jobs Northamptonshire
Accountancy Work is a division of CV Screen Ltd and specialises in recruiting accountancy & finance professionals for organisations in the Northamptonshire area.
Established in 2000, we have built up a large database of Accountancy professionals in the Northamptonshire area, and our experienced recruiters are able to source highly skilled accountancy & finance staff for your business.
Our permanent placement fees of 12.5% of the basic salary are excellent value within the marketplace and we also offer a 100% rebate for 100 days to provide you with added peace of mind when you are recruiting.
Our experienced Consultants recruit Accountancy & Finance professionals at all levels of seniority from Accounts Assistant right through to Finance Director.
We pride ourselves on our honest, ethical and professional approach to recruitment and have successfully recruited for over 1500 companies in the UK including household names such as Red Bull, Links of London and Kleeneze.
Why not call us on 01604 904 023 to discuss how we are able to assist you.


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By RJ Jacquez. Follow him on Twitter in English @rjacquez and in Spanish @rjacquezEspanol
tweetmeme_url = 'http://blogs.adobe.com/rjacquez/2009/05/52509_weekly_wrapup_rjacquez_o.html';
|To Retweet this page, click the Retweet button on the left, or click the below to ReTweet the video tutorial. Thank you in advance and if you haven't joined Twitter, now is a great time to do so!
Here's a weekly wrapup of what happened the week of 5/24/09:
News and Announcements:
Published recording: "How to Build Animations in Flash CS4 for Captivate 4 eLearning projects" Plz RT: http://bit.ly/gvnh53:19 PM May 28th from web
- Uploaded the Exercise files for 'Building animations in Flash for Adobe Captivate 4' for you to try it http://bit.ly/RLe2q2:07 PM May 29th from web
- [Adobe Captivate 4 News] Fix now available for Audio, USB microphone on Vista and more! Select Help > Updates to download.8:08 AM May 29th from web
- [Adobe News] Acrobat.com "Presentations" is now on Adobe Labs, http://bit.ly/b5HX7. Sign up now, it's simply amazing!!11:31 PM May 26th from web
- New Post: 'Video Tutorial on Building Animations in Flash CS4 for Adobe Captivate 4 #eLearning Projects' –http://bit.ly/L32rE10:15 AM May 29th from web
- Adobe After Effects News! RT @jtranber: After Effects updated to 9.0.2. Details here: http://tr.im/mO3311:11 AM May 29th from web
- Consolidated and Published all Adobe Technical Communication Suite 2 tutorials on this page, http://bit.ly/JHCJj7:07 PM May 29th from web
Useful Resources:
- Adobe Kuler is also great for picking contrasting colors for Captivate projects. Just upload a background image, http://bit.ly/ZYpAG12:47 PM May 24th from web
- Great review of Adobe ConnectNow (free screen sharing service) by Productivity501, http://bit.ly/17PHNK. How are you using ConnectNow?11:40 AM May 24th from web
- Here's an Adobe RoboHelp 8 review by @Blogcritics – http://bit.ly/IKDxu8:08 AM May 30th from web
- Just installed the RT feature, still unsure why this isn't built-in! RT @mfubib: If you use Firefox + twitter.com: http://tr.im/mTt5about 23 hours ago from web
FAQs, Tips and Tricks:
- Captivate 4 movies have a Fast Forward btn for toggling between normal, 2X, 4X, ideal for viewing demos. http://twitpic.com/648t110:16 AM May 28th from web
- [Tip] To search someone's Twitter Timeline use Google. Example, to search for "Adobe" in mine, type site:twitter.com/rjacquez Adobe12:11 PM May 24th from web
- [TweetDeck Tip] Just found the 'autocomplete usernames' option in Settings, great for #followfriday. http://twitpic.com/66rgi10:59 AM May 29th from web
- [Windows Tip] To copy/paste a file's path, Shift + right-click file and select "Copy As Path" now paste anywhere3:39 PM May 29th from web
Compelling ReTweets (RTs):
- Please take advantage! RT @connectusers: Free Online Connect Pro Product Training for You and Your Users: http://bit.ly/1YGXZ12:55 PM May 26th from web
- RT @Stevehoward999: Adobe Captivate team at ASTD ICE, Washington DC, May 31-June 3: http://bit.ly/12Mn5z – meet the team…12:50 PM May 26th from web
- RT @macrofireball: Soundbooth's volume correction is saving me hours of production time. Drag file to match to & click Match Volume.10:54 AM May 28th from web
- Excellent Tips! RT @tonykarrer: Great post discussing a challenge I have when speaking – umm – http://bit.ly/EkWFv9:15 AM May 29th from web
- @lancerobert Just tried it and you're correct there's a problem with Flash CS4 trial download. I will reach out to internal team now.11:27 AM May 29th from web in reply to lancerobert
- Thank You!! RT @pegmulligan: @rjacquez Thank you! Adobe is lucky to have you: Knowledgeable, approachable, and passionate about your apps.12:19 PM May 29th from web
Personal Observations:
- @hughes4x4 Regarding the line next to your images in FrameMaker 9, could you post a screenshot? Could also be a change bar, or press Ctrl+L9:06 AM May 28th from web in reply to hughes4x4
- What a difference a generation makes, I grew up on a farm, parents still have no telephone. My 2.5yo is navigating my Avatar on Second Life12:26 PM May 24th from web
- My First #FollowFriday @mfubib, @Stevehoward999, @pegmulligan, @macrofireball, @rjhoughton, @bschlenker, @scottabel, @arh, @esulliva10:47 AM May 29th from web
- Just watched a great and compelling tribute to Nick Madaras on ESPN, and will be sending my soccer ball next week, http://bit.ly/DEMvf 11:06 AM May 24th from web
- Still amazed at how many web presenters keep email/IM/Twitter apps running when presenting, not a pretty picture when these pop-up9:34 AM May 26th from web
- Thinking about how much more effective virtual presentations are vs. traveling. Virtual is also good for planet & the bottom line!10:39 AM May 27th from web
- Was just notified that my "Introducing Adobe eLearning Suite" video has been watched 10,000 times, made my morning! http://bit.ly/A5anl10:54 AM May 27th from web
- You know you are getting Old when you think that Music lyrics today aren't what they used to be. I'm There 🙂about 22 hours ago from web


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Casper Curling Club Hosts Open House [VIDEO]
Casper Curling Club will host an Open House Sunday, January 13th at 6:30 at the Casper Ice Arena in the Sky Box.
A Learn to Curl session will follow at 7:45 for those interested in getting on the ice. Club members will help you learn a basic slide and delivery of stones. To ensure your comfort and safety on the ice, they suggest that you wear loose, comfortable clothing, and dress in layers. Be sure to have an extra pair of clean, flat, gripping rubber-soled shoes to wear on the ice. All other equipment will be provided.
Advance sign up is appreciated but not required. For information and sign-up, please contact Dean Boril at 267.4994 or email@example.com
Here is a quick instructional video to give you an idea of what you are in for.


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Nyhetsbrev fra Peru
Our staff in Peru regularly put together a newsletter which is sent to volunteers working in Peru at the time, those signed up to join a project in Peru and to previous volunteers. The newsletters contain information about the country and our projects, stories written by volunteers, advice on what to expect when volunteering abroad in Peru and much more. If you're considering overseas voluntary work the newsletters are a great way to gain a better idea of what to expect.
6,04MB Peru Newsletter - January 2015
On the 5th of November, Taricaya celebrated its 13th anniversary. For Director Stuart Timson, it was amazing to think back on how much Taricaya has been able to do during this time period, with the help of close to 2000 volunteers to date.
6,04MB Peru Newsletter - January 2015
Former teachers, John and Jill Hughes have swapped the British winter for Peru's rainy play an instrumental role in the important work Projects Abroad does to improve the standards of English teaching in regional schools.
2,76MB Peru Newsletter - December 2014
Kitty Lam, from Hong Kong, is a professional dentist with ten years of experience, who took the challenge of joining us to discover South America. "I decided to allow myself the time to do this. You can keep postponing, but the time is now", she says.
1,78MB Peru Newsletter - November 2014
My nicest memory is that of Machu Picchu and the hike up to Wayna Picchu. We arrived at dawn and the mist first prevented us from having an overview of the site, but little by little the mist disappeared and we could discover this Inca marvel.
1,90MB Peru Newsletter - October 2014
Hi there! My name is Pascal Brunner and I'm currently volunteering as a basketball tacher in the local club, as well as at a public school in Urubama. I will stay one more month in Peru and for the past two months that I have been here, I have anjoyed every bit of my time. The idea of volunteering with Projects Abroad is more than just teaching basketball. On the contrary, It's all about speaking the language, getting to know the culture and more than any-thing else, being in contact with the local people.
1,80MB Peru Newsletter - September 2014
Tyler Stutzman is 23 years old and has travelled to Peru from the United States to do the sports project offered by Projects Abroad. Tyler's background is firmly rooted in sport. He recently graduated from Stanford University where he studied Political Science but had a scholarship for athletics, which made him a perfect volunteer at the Apu Pitusiray Football Academy.
2,39MB Peru Newsletter - August 2014
Molly felt that perhaps less people were considering a gap year these days but her adivice to people sitting on the fence is simple: "Just do it. It's worth it, I've got so much out of this."
2,26MB Peru Newsletter - July 2014
Claudine has been extremely dedicated to her placement and was constantly looking for ways to improve the quality of education that the children were receiving. There were so many moments that Claudine will remember when she returns home. The children and parents organized a small goodbye party for her with local food made in typical adobe ovens called 'huatias'. The words of thanks from the parents were a lovely end to a great experience in this tiny community.
2,40MB Peru Newsletter - June 2014
Mikaylie Page, a volunteer from Australia, painted flags on faces in celebration of the World Cup in Brazil. We also threw a tiny party and handed out footballs to the children.
10,57MB Peru Newsletter - May 2014
A four month placement in medicine is Alex's way of getting to know his profession a little better, and his time at Antonio Lorena hospital in Cusco has already given him some great experience.
1,01MB Peru Newsletter - April 2014
Denise Blake is a professional, veteran teacher from Canada who joined our Teacher Training programme in January of 2014.
730KB Peru Newsletter - March 2014
Björn Andrews is nineteen and from Schleswig-Holstein in Germany. He recently left school, and before throwing himself into a mechanical engineering degree, he made the decision to pack his bags and head for South America to learn more about the world.
4,70MB Peru Newsletter - February 2014
Ron Picard got involved with Projects Abroad in 2011. His younger son, Renn, had turned 16 and as the Christmas break approached, they were keen to get away from the routine of work and high school and spend some time doing something together. Renn was keen on the idea of doing something meaningful, such as volunteering, and so his mother discovered Projects Abroad online.
4,66MB Peru Newsletter - January 2014
Jonathan and Sam Hopkin-son are a father and son pairing from Adelaide in Australia. Both were born in the North of England but have spent much of their time in Australia, which they now consider their home. It's particularly nice to see a family group with us and the two of them have an easy and comfortable way with one another that is quite conta-gious.
3,58MB Peru Newsletter - December 2013
My name is Andrew, I'm somehow 37 years old all of a sudden despite this seeming impossible, and I'm delighted to be Projects Abroad's new Information Man-ager for Peru. I have been in the office for nearly a month now and have enjoyed getting to know everyone and learning about our various projects in the region. I've had a couple of chances to get out and about to meet some of our current volunteers but there may be some of you that I still haven't caught up with.
3,74MB Peru Newsletter - October 2013
My name is Mélanie and I have worked in many different positions within Projects Abroad since March 2012. A few weeks ago I landed in Peru to join a brand new Projects Abroad Team: The Research & Training Centre. If you had told me four years ago, when I was a care volunteer myself, that I would be here in Peru doing what I'm doing, then I wouldn't have believed you. Truthfully, I could not be happier about how things have turned out.
1,15MB Peru Conservation Newsletter - October 2013
The turtle project has been another very exciting month. October is the start of the hatching season for all of the eggs that we gathered in previous months. It wasn't been easy though- this year has been especially difficult because of attacks from ants and wasps infesting the beaches and causing many of the eggs to not develop at all.
3,24MB Peru Conservation Newsletter - September 2013
We have achieved some great things in the rescue centre this month. This began with the recapture of one of our Margays. Several months ago she managed to escape during a routine cage cleaning and ran off into the forest. We tried searching for her but gave up after a few weeks.
581KB Peru Conservation Newsletter - August 2013
As part of our on-going efforts to support staff education, we have been helping our staff vet to finish her thesis. Carmen has been with us since March this year and has decided to focus her thesis on Caimans.
1,45MB Peru Nyheter - August 2013
I am Karolien Pazmany, 23-years-old and am living in Belgium. Last year, I finished my masters in archaeology and was looking for some experience abroad before starting real life work.
494KB Peru Conservation Newsletter - July 2013
The turtle project is one of the biggest projects of the year for us, something we have been doing for many years now and have had huge success with, and it's the namesake of Taricaya Ecological Reserve.
1,60MB Peru Nyheter - Juli 2013
Lily participated in all of the extracurricular activities, parades, walks, cook outs, parties; "she is a French with a Peruvian heart" said the teacher who worked with her. Now that she is gone, the children keeps asking 'when will Lily be back?' soon, I tell them, soon…Keep your promise dear Lily, do the things you planned and come back to visit your kids who really love you.
461KB Peru Conservation Newsletter - June 2013
During this time we were also involved in a Peruvian Tv show, Giovana and her camera crew work for a TV latina, which is a fairly popular channel based in Lima. The show 5x24 is about Giovana and her adventures around Peru doing extreme activities, she's worked with Peruvian national volleyball team, she was a Special forces soldier for a week and she's joined us…
2,10MB Peru Nyheter - Juni 2013
As I was volunteering for three months I had the opportunity to take two weeks off as holiday. Before Easter I went traveling with my friends Sacha and Roxane. We had condors swoop over our heads in the Colca Canyon near Arequipa; island hopped on Lake Titicaca staying at the captain´s house one night; watched the sun set over the lake' walked across the border to Bolivia;
2,25MB Peru Conservation Newsletter - May 2013
We have re-started another project in Taricaya this month; something we piloted many years ago was the use of Sensor cameras in Projects Abroad conservation projects. A sensor camera is a self-contained unit about the size of a bag of flour which has an infra-red sensor, flash, light sensor and display panels built into it.
1,58MB Peru Nyheter - Mai 2013
Over the last few weeks, the streets and squares in both Urubamba and Cusco have come alive during the evenings with troupes of young people practicing their traditional dances for various parades and festivals over the coming months.
2,66MB Peru Conservation Newsletter - April 2013
Another month and another new member of staff has joined Taricaya! In April we said hello and welcome to Salvador who is an entomologist or insect expert. Salvador will be with us for the foreseeable future helping us in an area where we have virtually no information.
1,89MB Peru Nyheter - April 2013
Now that I'm back home and my experience in Peru and with Projects Abroad is left as a memory, I am finally able to step back and see everything as a whole. How is it that in only a few months, I can make the closest friends I have ever had, I can work the hardest I have ever worked, I can be as scared and vulnerable as I have ever been in my entire life, I can learn and experience more than all of high school combined.
519KB Peru Conservation Newsletter - March 2013
It's been another amazing month in Taricaya. Lots of volunteers have meant we could really advance with many of our projects and as the year continues to look very good we have begun planning for even more work in the coming months!
1,51MB Peru Newsletter - March 2013
When I was asked to write summary of my experience on the Inca project with a few photos, I thought it would be easy. Then I realized that it couldn't be summarized. I had the best time of my life! I climbed mountains, saw ruins thousands of years old, found ceramics that were used, not only Inca but another culture before. This has been the most amazing and rewarding experience I will ever have!
1,40MB Peru Newsletter - February 2013
Maybe it´s the Andes and the simplicity of life. Maybe it´s the friendliness, patience, and graciousness of everyone I meet. Maybe it´s the synergy among every aspect that has rebooted me into a new calm, self-aware state of mind.
500KB Peru Conservation Newsletter - January 2013
During the last few months we have been incredibly busy working on the Animal Rescue Centre, new buildings, new enclosures, fixing old ones and enriching the cages so the animals are sufficiently stimulated during the day.
958KB Peru Newsletter - January 2013
When I decided to volunteer in Peru with Projects Abroad I knew I did not have the average profile. People in my circle of friends thought that volunteering is for teenagers, people on gap years and definitely not for the over 30's, but with my daughters grown and gone (one to work abroad, another away from home at University), I grew more and more restless. I wanted to feel useful and help people.


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Bikram Yoga, Maui-HI necesitaba un nuevo diseño de logotipo y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 33 diseños de 14 diseñadores freelance.
Create our logo:
connect the name with a (Plumeria) flower and make it look like a serious business located in paradise
(Hawaii, Nature, Yoga, Sweet People, Serious Business.)
"Bikram Yoga Maui - HI" and "Bikram Yoga College of India, Maui - HI"
The logo should be simple, clean look, and with an ALOHA touch or full of ALOHA; a definite Maui, Hawaii connection.
The word Yoga, or Bikram Yoga should stand out, since this is what we offer: intense yoga workout, in a very clean environment.
Bikram Yoga with Aloha is what you get at our facility, meaning next to the intense, healing & body, mind, eye opening yoga practice, a community feel and care, for real.
We want you to feel invited, welcome and inspired to kick back but also to assume responsibility of your health and well being.
Our slogan: "Change your life, for real!"
The logo should be strong and yet have a touch of paradise with the Plumeria flower, without sending a "take it easy, honey" message.
We are here to facilitate change and immeasurable learning. Our doors are open to our local community but also to visitors. We would like to welcome you to come in and practice and transcend yourself. At "Bikram Yoga, Maui -HI" you'll simply work with the most fascinating subject in this world: YOU.
We are a large team of all Bikram certified instructors and maybe more importantly, with yoga and aloha at heart. Our island's spirit is so strong and our yoga so amazing that we found this the ultimate place and combination to become who you are and no longer be who you where.
And our Karma is to help you with that.
By the way, my name is Gina, and my team consits of Tony (co-owner), Estefano, Doc, Giuliana, Dannette, Martha, Lucia, Emily, Monique, Beth & Eden.
This is a yoga family operated business. We do everything ourselves, including the cleaning after you. Only with the marketing or design we need some help from you, so we can keep focusing on what we are good at.
Mahalo nui for putting your energy into our small project!
- Item 1...One brand, two name versions; short and full name.
- Short version: "Bikram Yoga, Maui - HI"
- Full version: "Bikram Yoga College of India, Maui - HI"
- Logo: name and Plumeria (hawaiian) flower.
- Colors: 2 or 3 colors: Blue & white or blue, white & yellow, or blue, white & red.
- Our tagline: "Change your life, for real!"
- keep it simple, plain, clean look
- connect the name and the flower and make it look like a serious business located in paradise
- JPG format and whatever else makes sense to post it on the internet and to print it on a letter or flyer.
- Item 1...No romantique letters and design
- no honeymoon look
- no yoga postures
Descubre cómo funciona un concurso de diseño u obtén más información sobre nuestros servicios de diseño de logo.