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In a nod to the reading habits of its audience, the University of Minnesota's student newspaper will cut back to two print editions a week this fall while shifting more resources to online and digital reporting.
The Minnesota Daily, which has served the Twin Cities campus for more than a century, used to publish five editions weekly during the school year for most of of its history. But several years ago, it dropped the Friday print edition. Starting in September, the newsprint edition will come out only on Mondays and Thursdays.
The move was prompted, in part, by declining ad revenue and a study that showed students were more interested in getting their news on their smartphones than from old-fashioned newspapers. "It was totally motivated by our readers' habits," said Dylan Scott, 21, the incoming editor-in-chief. "Everyone at the Daily knows that students have trouble really finding the relevance in a print legacy product."
At this point, no one is suggesting changing the Daily's name. If anything, it should be even more timely than ever, at least online, officials say.
The student-run newsroom plans to roll out a "digital first" approach, with staffers working around the clock to update the news site with breaking news, according to a news release Wednesday.
"We feel like we're going to be more relevant and more daily," said Gayle Golden, chair of the Daily's board of directors and a senior lecturer at the U's school of journalism and mass communications.
As part of the transformation, the Daily is investing in a new web platform to improve how its content appears on mobile devices such as smartphones and tablets, according to the news release.


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Killeen Office
1711 E Central Texas Expy
Suite 300-E
Killeen, TX 76541
Killeen is a place of many possibilities. Killeen is home to one of the few planetariums in Texas, as well as a performing arts theater that produces plays and musicals year-round. Killeen has its very own unique appeal but it is perhaps best known for its northern neighbor that just so happens to be one of the largest military installations in the world: Fort Hood.
Drivers need to keep their heads on a swivel, pay very close attention and exercise caution when they are in Killeen. A driver is more likely to be involved in a deadly crash in Killeen than most other area cities, according to crash data obtained from the Texas Department of Transportation and compiled by the Killeen Daily Herald. The information shows that Killeen has a greater number of fatal vehicle crashes and crashes in general on its main roadways and intersections than other neighboring cities, even when taking into account the communities' population differences. According to the crash data, the bulk of the collisions are happening on Stan Schlueter Loop and U.S. Highway 190 between Copperas Cove and Belton. Smaller nearby cities such as Harker Heights, Nolanville and Copperas Cove have less crashes per capita than Killeen, and the total number of crashes in cities surrounding Killeen have declined in the last three years. Killeen officials blame the higher crash numbers on a number of factors, including construction and speeding motorists.
Don't Wait: Speak with a Local Attorney Today
At The Zimmerman Law Firm, we deal with injuries each and every day. When you call, you will be getting years of experience on your side. Call us today at 254-752-9688 or 1-800-INJURIES. When you or a loved one are injured, we are here to help.

subset: commoncrawl


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BOUCHERVILLE, Tuesday, December 1, 2009 – The Quebec Major Junior Hockey League today announced the winners of the offensive, defensive and rookie player of the month awards for November. The players were chosen by a committee mandated by the League.
Mike Hoffman of the Saint John Sea Dogs is the award-winner on offence. In ten games, the 20-year-old forward registered ten goals and ten assists while posting a remarkable +15 rating. Furthermore, four of his tallies wound up being game-winners. Finally, he failed to collect a point in only one contest. Saint John has won its last seventeen games and is closing in on the all-time record (25) held by the Sorel Éperviers (1973-74).
Jacob Lagacé (Saguenéens), Luke Adam (Screaming Eagles) and Sean Couturier (Voltigeurs) were also considered.
Kevin Poulin of the Victoriaville Tigres gets the nod on defence. In nine starts, the goaltender registered eight wins while posting a 2.40 goals-against-average and .914 save percentage. The Montreal native also enjoyed a career-high seven-game winning streak during that span. He faced an average of 28 shots per contest. The Tigres are only one point behind the TELUS Central Division-leading Voltigeurs.
Marc-Antoine Gélinas (Sea Dogs), Mathieu Corbeil-Thériault (Mooseheads) and Jordon Southern (Rocket) were also in the mix.
Stanislav Galiev of the Saint John Sea Dogs is the month's top rookie. In nine contests, the first overall pick in last July's CHL Import Draft collected three goals and nine helpers. He also posted a +14 rating. Galiev opened the offensive floodgates during the past four weeks, helping him get a share of the rookie scoring lead (29) with Jakub Culek of the Rimouski Océanic.
Michael Claffey (Cataractes), Olivier Dallaire (Foreurs) and Ryan Bourque (Remparts) also received consideration.
|QMJHL – D.D. & Karl Jahnke


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bohu wrote:emariz is right. Consolekit is the culprit.
1) Using synaptic, remove consolekit. On my system this also removed policykit-1, policykit-1-gnome, gconf-editor, and hplip. I don't know what would happen if you reboot while these files are missing so don't reboot!
2) Switch to Debian Stable (squeeze) repository and reinstall consolekit and then lock it at that version. In the synaptic menu, Package>Lock_Version.
3) Switch to wheezy repo and reinstall policykit-1 and policykit-1-gnome.
4) Go back to sid repo and then reboot.
It can be done from the command line by:
- Code: Select all
aptitude install consolekit=0.4.1-4
provided that you have the squeeze repos added.
Also, the package can be pinned in the /etc/apt/preferences file:
- Code: Select all
Package: consolekit
Pin: release v=0.4.1-4
Pin-Priority: 999


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- Description
DetailsThese summertime pals make perfect poolside and patio coasters. Guests will love the colorful creations, which include a lovely ladybug, a fun fish, and a sunny sunflower. The designs are stitched using worsted weight yarn and 7 mesh plastic canvas. Sunflower Coaster by Karen Plank, Fish Coaster by Terry A. Ricioli, & Ladybug Coaster by Marilyn M. Elliott.
Approximate Design
Size: 5"w x 5"h each
- Additional Information
Additional Information
Date Published Apr 1, 2009 Front Cover Author N/A Special Price N/A
- Reviews


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Working Mill for sale in a village Somme, Picardie
Picardy, Somme (80)€262,150 ID: 132287
Longpré les Corps Saints, named for the large number of "holy" relics housed in the local church, lies on the river Airaines just 19kms from Abbeville. The town is on the main railway line from Paris (Gare du Nord) to Boulogne sur Mer.
All facilities are to be found in the town which claims around 2,000 inhabitants.
Every year in September the relics are taken from the church and paraded around the town, a celebration not to be missed.
The mill was built in 1638 for the production of oil and is the only one left of the original 28 mills on the Airaines river.
The main entrance to the house takes you into a well decorated open plan lounge and dining room. Behind this is a fully fitted modern kitchen and the corridor leading to the stairs, office and cellar.
On the first floor are four double bedrooms and the bathroom while the top floor is ready for conversion to more bedrooms or a studio.
From the ground floor office continue into a large area that currently offers a workshop and storage and has its own bathroom and kitchen. From here into the meeting hall that also houses the mill grinding mechanism powered by the working wheel outside. This area is available for hire.
Below the mill are the large cellars with the boiler room and storage.
Outside, the gardens have the river to two sides and comprise the main lawned area and the vegetable garden to the far end. A courtyard with large verandah completes the property.
This superb home is offered at a very realistic price and visits are by appointment only with the agent.
- Property Type
- Mill - Water/Wind
- Status
- Excellent
- Grounds HA or legal
- Grounds 0-1 HA
- Plot size m2
- 2,220 m²
- Sewage
- Mains
Room information
- Bedrooms
- 4
- All bathrooms
- 2
- Garage
- Internal
Special features
- Double glazing
- Barn
- Broadband internet
- Workshop


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|For the junk item in Fallout 4, see Fishing rod (Fallout 4).
The fishing pole is an item added to Fallout 3 in the Point Lookout add-on. Fishing poles may only be found in Point Lookout, primarly near docks.
It is a common fishing pole, made of wood, with a reel.
It has no purpose other than as Rock-It Launcher ammunition.
- 4 at the flooded sinkhole.
- 2 at the covered bridge.
- 2 on the docks east of the bridge, belonging to some swampfolk.
- 1 on the pier near Marguerite's shack.
Community content is available under CC-BY-SA unless otherwise noted.


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Your Guide to New and Resale Condos in Calgary
Are you on the search for a condo in Calgary? If so, you've come to the right place! BCH is your one-stop guide to new and resale condominiums!
As a highly-experienced condo specialist and REALTOR® in Calgary, I know the local condo market inside and out and would love the opportunity help you make your next transaction a success! Begin your condo search below:
Calgary Condos for Sale, MLS® Listing Searches
Calgary Condo Price Range Search
Downtown Calgary Condos for Sale
New Calgary Condos
Calgary has enjoyed many cycles of prosperity due to our provincial resources and industries, resulting in thousands of people moving to our city every year in search of better jobs, incomes and way of life.
This increased population has created rapid urbanization of the city's downtown and inner city, leading to high activity levels in the new condo market.
Residential developers have kept up with high demand for new condominiums in Calgary as they showcase some of their best and most innovative works yet.
For tips to help you navigate a your next purchase, be sure to check out our complete New Calgary Condo Guide today!
Resale Calgary Condos
Condominiums have become an increasingly popular type of residence in the City of Calgary.
Compared to their single-family counterparts, they are relatively more affordable and require little or no do-it-yourself maintenance.
It's this lock-and-leave lifestyle that have many buyers turning their attention towards condominiums. See more of the Benefits of Condo Living.
For tips to help you navigate your next purchase, check out our complete Resale Calgary Condo Guide today!
Get Your Own Expert Representation
Get only the best advice from a condo specialist in Calgary by contacting me today! As a top-producing REMAX real estate agent in Canada (2013, 2014, 2015h), I've helped countless people buy and sell condominiums over the past several years with great success!
Call me anytime at 403-370-4180 or message me below for a prompt response. I am looking forward to helping you accomplish your real estate goals!


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NEW YORK – A man has been struck by an SUV and killed on Staten Island.
Police say Ramone Fores was hit Tuesday night in the Tottenville neighborhood while he was trying to cross a street midblock.
The 33-year-old man was taken to a hospital, where he was pronounced dead.
Police say the driver of the SUV remained at the scene.
No arrests have been made. The investigation is ongoing.


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Charlie Parker – The Best of the Complete Savoy and Dial Studio Recordings – Classic Music Review
You won't remember the long nights—coffee bars and black tights
And white thighs in shop windows
Where blonde assistants fully fashioned a world
Made of dummies (with no mummies or daddies to reject them).
When bombs were banned every sunday and The Shadows played F. B. I.
And tired young sax-players sold their instruments of torture
Sat in the station sharing wet dreams
Of Charlie Parker, Jack Kerouac, René Magritte, to name a few
Of the heroes who were too wise for their own good
Left the young brood to go on living without them.
—Ian Anderson, "From a Deadbeat to an Old Greaser"
Charlie Parker is one of the most divisive and controversial figures in jazz history, and jazz could not have survived without him.
He is divisive for several reasons. From the public perspective, he disconnected jazz from danceable rhythms, an unforgivable sin at a time when swing ruled the airwaves and jazz was virtually synonymous with dance. In doing so, he became an object of worship for the intellectual crowd, a haunting and mysterious figure whose music contained an endlessly impenetrable message with meaning available only to those who claimed the advanced aesthetic ability to understand it. The world was divided between those who dug Bird and those who thought his music ridiculously complex. Hero to beatniks, an enigma to the masses, Charlie Parker became a cult icon, having passed the ultimate litmus test of artistic credibility by croaking off before his time.
Biographies like Gary Giddins' Celebrating Bird: The Triumph of Charlie Parker make things worse by attempting to apply an analytical approach to the understanding of his music. Giddins' annoying habit of always using the most arcane vocabulary when simple English would do also serves to make Parker more intimidating to the average listener. For example, he describes Parker is "autodidactic" instead of "self-taught." Most of today's musicians are self-taught, so they would relate to that word; only Greenwich Village snobs and English majors who never got over it would refer to Bird as an autodidact. Here's Giddins' description of the landmark recording of "Ko Ko," an analysis designed to completely exclude anyone curious about Charlie Parker but unfamiliar with music theory:
Based on the chords of "Cherokee," the specialty feature of Parker's apprenticeship, "Ko Ko" heralded a new point of departure for jazz in the postwar era, an effect paralleling that of Armstrong's "West End Blues" in 1928. Armstrong began with a clarion cadenza; "Ko Ko" opens with an equivalent jolt—a blistering eight-bar unison theme of daunting virtuosity, coupled with improvised eight-bar arabesques by Parker and Gillespie. Then Parker takes off for two choruses of engulfing originality, as though putting everything he knew into this single performance, imposing his will on the music and the musicians, setting forth a novel code with redoubtable nerve. Though improvised at tremendous velocity, his solo is colored with deft conceits: the clanging riff in the first eight bars, the casual reference to "High Society" at the outset of the second chorus, the chromatic arpeggios in the release.
Giddins, Gary (2013-09-01). Celebrating Bird: The Triumph of Charlie Parker (Kindle Locations 951-958). University of Minnesota Press. Kindle Edition.
Yawn. That passage makes me want to fling every Charlie Parker record I own into the Seine. It is about as inviting as a cold bath. Believe me: Charlie Parker is way, way better than that.
The reason why jazz could not have survived without Charlie Parker is because jazz was careening towards an artistic dead-end, a victim of the popularity of swing. When something gets popular, moronic fans want to hear it over and over again, and they don't want musicians mucking with it. While Ellington took a more gradual approach to change, Charlie Parker wanted to get on with it and play the things he kept hearing in his head. If he had not come along and expanded the possibilities of jazz, its growth as an art form might have ended with World War II. Parker made Thelonious Monk, Miles Davis and John Coltrane and many other modern greats possible, because he gave them permission to explore beyond the boundaries of the Saturday night dance extravaganza.
My goal in reviewing Charlie Parker is to bring him down to earth, yank him off the pedestal his worshippers have built for him with their snooty, protective arrogance, and hopefully inspire the curious to explore this fascinating artist. First, there are two things you need to understand about Charlie Parker's music:
- Parker's compositions are nearly always based on pre-existing material, usually standards. He borrowed the chord structures from pedestrian songs like "Honeysuckle Rose," "I Got Rhythm" and "Embraceable You," then essentially deconstructed them and put them back together in a different form. Think of his approach as cubist: Parker takes the original chords and melody, tosses them into the air, grabs a few licks on their way down and then creates new melodies based on the new arrangement of pieces. Because his mind worked so fast and contained a vast library of riffs and melodies, occasionally you'll hear him quoting melodies from other popular songs in the middle of a piece. You can always find a touch of the familiar in anything Charlie Parker ever played.
- Parker's big discovery was that the twelve notes of the chromatic scale can lead melodically to any key. In the key of C, the twelve notes are all the letters and their sharps or flats: C, C#, D, D#, E, F, F#, G, G#, A, A#, B in ascending order; C, B, Bb, A, Ab, G, Gb, F, E, Eb, D, Db. In other words, all the notes from C to C. This is important because tradition organizes Western music into either the major or minor keys, and the paradigm dictated to jazz soloists that they had to stick to the notes permitted by the key. Charlie Parker realized that as long as you resolved a melody to the root, you could pretty much go anywhere. That discovery multiplied possibilities by a millionfold, and even more when you add the blue notes between the notes. Curiously, metal musicians have used the chromatic scale more than other rock musicians, primarily because of the dissonance the chromatic scale can create.
It's also important not to forget that while a musician may be theoretically brilliant and intellectually daring, if the guy sounds like shit, knowledge of all the complex possibilities of the chromatic scale won't mean dick. Charlie Parker was much more than a theoretical genius: he was an amazing alto sax player. The sound of Charlie Parker's sax is like no other, due to his generally vibrato-free approach, his tonal richness and his complete command of all those funny little keys on a saxophone. Forget the complexity: Bird kicks ass! The Best of the Complete Savoy & Dial Sessions is a fabulous introduction to a great saxophone player, a man grounded in the blues and a witty improvisational artist.
The compilation opens with Bird as sideman on a Tiny Grimes' session in a tune appropriately called "Tiny's Tempo." Orrin Keepnews, who compiled the collection, made a superb choice here, for this is probably the most accessible entrance to Charlie Parker's music. It's a basic uptempo blues number with a finger-snapping beat that would make for a great tune to accompany your entrance into the nightclub when you're dressed to the nines and sashaying across the floor to join your half-drunken friends at a table near the stage. Parker's solo comes first and it's a stunner—his tone is marvelous, his phrasing scattered over the rhythms, his deep feel for the blues obvious to even the novice listener. Both Clyde Hart (piano) and Tiny Grimes (guitar) have nifty solos themselves, but I think they should have saved Bird for last—his solo is where the record peaks.
Now things really get interesting. Parker had been playing a song called "Cherokee" almost since arriving in New York in 1939. It had pretty much become his signature song, and he was sick to death of it. However, it was while playing "Cherokee" that he made his discovery of chromatic possibilities, having learned how to play the song in all 12 keys. During those early years in New York, Parker worked as a sideman while jamming after hours with guys like Dizzy Gillespie, Thelonious Monk, Kenny Clarke and Charlie Christian in Harlem spots like Minton's Playhouse. There they created the new anti-swing form of music which became known as be-bop. Unfortunately, hardly anyone heard it. Due to a combination of a strike by the American Federation of Musicians and that little inconvenience called World War II, very few recordings were made in the United States during the period when be-bop was born. When Parker finally got the opportunity to lead a combo in recording session in November 1945, he reconstructed "Cherokee" to produce "Ko-Ko," considered the first official be-bop recording ever made.
"Ko-Ko" flies at 300 beats per minute, almost twice as fast as most punk music. The thirty-two bar introduction is over in about twenty-four seconds, but that introduction is itself a call to revolution. On the first eight bars, Parker and Gillespie play together in unison at breakneck speed, a brief demonstration of the necessity for tight collaboration in this new form of music. Bird then gets two extended solos, flying all over the scale, improvising licks and stealing at least one from an older tune called "High Society." Max Roach comes in for a booming drum solo, then we zip back to Bird and Dizzy for the finish. I could bore you with even more technical gibberish but the real question is, "How does it sound?" It sounds frigging fabulous, like Charlie Parker has flung open the prison door and the music is free again. His command of the saxophone is out of this world, and I've found that once you accustom yourself to the speed of be-bop, some of his other recordings seem positively dull in comparison. I love moments of liberation, and "Ko-Ko" is one of the most exciting.
We now shift to Los Angeles, where Charlie Parker is going to find himself a world of trouble and wind up in a state mental hospital for six months. At this point, Parker's heroin addiction was well-established, and because the heroin supply in California was less than fluid, he resorted to daily doses of full quarts of whisky to ward off the shakes. How he managed to make some of the greatest recordings in jazz history during this period is a testament to the greatness inside him; it only makes you wonder what he might have accomplished if he had ever managed to completely free himself from the drug.
Recording sessions were arranged with Dial Records, and Parker formed a septet that included a very young and not-quite-sure-of-himself Miles Davis. The first cut from the Dial sessions is "Moose the Mooche," a be-bop tribute to his drug dealer. Whenever I listen to this track on this particular compilation, it sounds positively draggy compared to "Ko-Ko," even though it clocks in at 224 beats per minute—still quite a bit faster than punk. Once I adjust my heart rate accordingly, I find an unusually jolly, melodic and free-flowing number, though I find Roy Porter's heaviness on the drums a constant distraction that interferes with my enjoyment of Parker's solo (and Lucky Thompson's hot and growly work on tenor sax). It's followed by "Yardbird Suite," one of my favorite listening experiences in be-bop. Vic McMillan (a last-minute replacement) provides a strong and steady foundation on the bass for the soloists, and the soloists seem much more relaxed and confident as a result. The motif is pleasant to the ear, but I just love how Parker dodges around it, spices it up and enhances the rhythm with unexpected pauses and starts.
"Ornithology" comes next, a co-creation of Parker and trumpeter Benny Harris (who does not appear on the record). The chord pattern is borrowed from "How High the Moon," but you'd never recognize it once Charlie Parker is finished with it. The distinctive phrase that unites the song sounds like a bird fluttering its wings and ending the flutter with a question, as if the phrase is the musical equivalent of "Where now?" The tightness of the combo is remarkable, and the various themes and soloists wind in and out in a brilliant display of compositional variety and unity. It's followed by the Dizzy Gillespie/Frank Paparelli "Night in Tunisia," another jazz classic driven by half-step movements (Eb7 to Dm6) and a Latin bass line; the disappointment on this recording is with the trumpet: Dizzy Gillespie had headed back to New York, and Miles Davis still had a long way to go. Still, it's a pretty sexy and exotic piece that kindles my desire to take up nude belly dancing someday.
After six months in the Camarillo State Mental Hospital (where Olivia de Havilland would film the movie The Snake Pit a couple of years later), Parker went into the studio with a trio that included Erroll Garner on piano, Red Callender on bass and Doc West on drums. The only recording from that session to make the cut for this compilation is "Cool Blues," performed at a tempo more comfortable for Garner than be-bop speed. I think Garner does fine on his solos, but his support on the comps sound clunky to me, especially in comparison to the smoothness of Parker's solos. At the next session Bird paid tribute to his temporary lodgings with "Relaxin' at Camarillo," recorded with a new supporting cast. The song is positively breezy, with much more fluid piano from Dodo Marmarosa (what a marvelous name!). Parker's solo here is playful, melodic and full of rhythmic surprises; it's another one I would recommend to first-time listeners. The tune hardly calls up images of a mental institution; I think it would make a great backdrop to the scene on Les Grands Boulevards de Paris on a sunny afternoon when the sidewalks are packed with happy shoppers and diners.
"Chasin' the Byrd" reunites Parker with Miles Davis and Max Roach, adding Tommy Potter on bass with the marvelous Bud Powell on the keyboard. The first thing you notice is that instead of playing the intro in unison, he and Miles perform a counterpoint duet. The established norm of playing be-bop in unison gave the music a stunning, in-your-face power; the counterpoint by contrast adds more depth and complexity. Parker's tone on his solos is sweeter, less intense but still characterized by his ability to float over the base rhythm and establish his own directions. Miles is getting better, too, sounding more confident and willing to take more risks. Recorded at the same session, "Cheryl" is a Parker blues composition that Bill Kirchner called "one of Parker's greatest lines . . . it avoids any hint of melodic repetition." I think to say that he avoids any hint of repetition is too extreme, but it is a very diverse exploration of melody that would be better pictured as a convergence of flowing streams rather than through conventional staff notation. The Miles Davis composition "Milestones" follows, with John Lewis now on piano, Miles taking the leadership role and Charlie Parker on tenor sax. Keepnews theorizes that the switch had to do with Miles' preference for the tenor, which manifested itself in the lineups of his golden period. Bird isn't as nimble on the unfamiliar instrument, but his tone is nice and fat and he fits in nicely with the combo.
We now return to the Big Apple with Parker leading the Charlie Parker Quintet. As in punk, there were very few slow songs in early be-bop, so Parker's rendition of the Gershwin classic "Embraceable You" is something of an anomaly. All I know is that Charlie Parker takes a song that had been done and done again and turns it into one of the most beautiful and sultry pieces of music I have ever heard. Parker's ability to explore the areas beyond the written melody is on full display here, and while he makes some significant departures from the script, he never departs from the intent to create a thing of beauty. His instrumental voice and spontaneous phrasing capture the tension of desire and the complexities in an intimate relationship. The original Gershwhin lyrics could have been written for Charlie Parker, given his nomadic sex life ("Dozens of girls would storm up/I had to lock my door/somehow i couldn't warm up/to one before"), and Parker expresses his yearning for "the one" in a way that sounds heartfelt and sincere, even if accompanied by sounds of internal struggle. With Miles following Charlie's lead in terms of tone and delivery, "Embraceable You" is nothing less than one of the most beautiful and seductive jazz pieces on record.
In "Scrapple from the Apple" Parker molds "Honeysuckle Rose" and "I Got Rhythm" into one of his more memorable saxophone melodies and a rhythmic delight that makes you want to stand up and sing scat. In the same session, he recorded another ballad, "Out of Nowhere," demonstrating once again that melodic complexity does not necessarily translate into cacophony. This is a stunning number, perfect for close dancing as you let the depth and diversity of his melodic lines bathe you in simmering tenderness. The curiously titled "Quasimodo" takes off on the structure of "Embraceable You," speeds up the tempo and produces a starkly original melodic line. "Crazeology" gets us back to high-speed bop, furiously played. It's as if Parker's had enough of slow tempos and ballads and wants to shoot every drop of libido from his system. "Bluebird" is somewhere in between but very intriguing: it has the unison features of be-bop, albeit at a lower temperature, then eases into a series of solos where Parker clearly stands out. Miles doesn't do too bad either, taking the first solo and making some wonderful explorations of his own, tempering the heat with a touch of the cool.
We're now in the autumn of 1948 for Parker's last sessions with Savoy. "Au-Leu-Cha" sticks with the "Honeysuckle Rose"/"I Got Rhythm" structure but what happens within the structure is quite different from "Scrapple from the Apple." The counterpoint dominates, making for a more complex and interesting experience. As Keepnews noted, the solos flow more naturally, and there is a spontaneous playfulness about the music that is delightful to the ear. Still, I prefer Miles Davis' version of this tune on 'Round About Midnight. The more laid back "Parker's Mood" could be Charlie Parker's ultimate slow blues number. His rhythmic variations sound particularly stunning here, probably because blues solos in general have become rather pedestrian over the years and when you hear the unexpected in a tried-and-true formula, it's always exciting and energizing. This exceptional collection wraps up with the speedy "Merry Go Round," where Parker plays with the dizzying speed and intensity that defined him for many listeners, for good or for ill.
We should remove the shroud of mystery and the cloak of impenetrability from Charlie Parker's shoulders. He was a musical genius who changed jazz forever and for the better, but at the core, he made compelling, exciting, clever and often beautiful music. While Parker's life was tragically short, it would be even a greater tragedy to leave his music to the musicologists. Charlie Parker was as human as human gets, and his brilliance reflects the best of the human spirit.
Miles Davis – Sketches of Spain – Classic Music Review
John Lennon famously described jazz as shit music, but the actual quote is a bit more interesting: "I think it (Jazz) is shit music, even more stupid than rock and roll . . . Jazz never gets anywhere, never does anything, it's always the same and all they do is drink pints of beer."
I'm not sure about the pints of beer part (heroin appears more frequently in the biographies of jazz musicians), and the "always the same" comment is absurd, but I can certainly understand the sentiment about jazz never seeming to get anywhere—a sentiment which many people share. After Louis Armstrong cleared the clutter of early jazz and energized the medium with intensity and direction, jazz reached its peak as a popular art form during the Swing Era, that strange time when Americans dealt with economic depression and world war by dancing to happy-go-lucky tunes played by the big bands. With the advent of the popularity of Glenn Miller and his bubblegum approach to jazz, more serious musicians staged an underground revolution ("underground" because recording was severely restricted in the United States from 1942-1944 due to union problems). The faces of that revolution were Charlie Parker and Dizzy Gillespie, and the musical form they and their cohorts developed was called Bop or Bebop.
Bebop constituted a radical departure from what people knew as jazz. The most important change was the disconnection from dance. With its fast tempos, strange timing, odd harmonic combinations (asymmetrical phrasing), use of the small combo (as opposed to big bands), the emphasis on the virtuoso soloist and Kenny Clarke's shift from the bass drum to the ride cymbal as the beat keeper, Bebop must have sounded like something from outer space to the average listener of the era. What's most important is that when jazz became undanceable it lost its connection to the vast majority of its audience, most of whom assumed music and dance meant the same thing. Jazz thus began its long and steady journey to becoming the music of aficionados and intellectuals, and except for the odd record here and there (usually one of the "soft jazz" variety), jazz has never regained its prominence in American popular culture. Today, jazz is much more popular in Europe than in its homeland.
This exclusivity is aggravated by jazz fans and jazz critics. Talk about snobs! Saying you dig jazz is like saying you belong to a secret club that allows no riff-raff. To enhance that feeling of intellectual and aesthetic superiority, jazz critics tend to write primarily about jazz technique and the musicology of jazz, using a language that is impenetrable to the curious but untutored listener. This is sad, for while some modern jazz is more about virtuoso indulgence than accessibility, the best pieces paint vivid sound pictures that carry tremendous emotional and sensual power.
There are few jazz artists who pack the emotional and sensual punch of Miles Davis. He learned his craft from Charlie and Dizzy, then moved on to be one of the founders of the "cool jazz" movement that removed much of what listeners considered the excess of Bebop while retaining its willingness to expand the medium beyond the traditional. As his career advanced, Miles frequently confused jazz zealots by wandering outside of the genre for inspiration. His rock-jazz fusion work popularized in Bitches Brew caused as much consternation in the jazz world as Bob Dylan's electrically-charged performance at the Newport Folk Festival did in the folk world. While Miles' most famous album is that masterpiece of modal jazz, Kind of Blue, a better demonstration of his genre-bending tilt can be found on Sketches of Spain, released in the summer of 1960. This collaboration with the brilliant arranger Gil Evans is a tribute to artistic curiosity.
The dominant piece on Sketches of Spain is the second movement from Joaquín Rodrigo's Concierto de Aranjuez, written in 1939. The original is a concerto for guitar and orchestra, and a stunningly beautiful work that has been recorded by great classical guitarists from Andrés Segovia to Sharon Isbin. Rodrigo's style is 20th century neoclassical, which means his compositions attempted to live up to the principles of the great classical composers like Mozart and Haydn: ordered, structured, clear and free of the emotional flourishes of Romantic composers like Liszt and Tchaikovsky. Rodrigo's work feels more like paintings by Velasquez, who painted hundreds of proper but rather dull portraits of the Spanish royal family. Not surprisingly, the inspiration for Concierto de Aranjuez happened to be the gardens at Phillip II's palace at Aranjuez (though the achingly beautiful second movement drew inspiration from his wife's miscarriage).
Gil Evans took a different approach, turning the second movement into something more like the paintings of Joan Miró with a touch of Juan Gris. The second movement in the original composition is adagio (play it slowly!) and begins with regularly timed strums on the classic guitar followed by the introduction of the core melody on the cor anglais (English horn). Though classically restrained, the breathtaking beauty of the melody combined with shifting dynamics (levels of loudness) has a tremendous emotional impact. Both Gil Evans and Miles Davis insisted on preserving and even enhancing the presence of that melody, opting to bring more color into the composition through the possibilities of modern jazz and the willingness of both Evans and Davis to push those boundaries to the limit.
So, instead of opening with the mournful guitar, this version of the adagio begins with the sound of castanets and soft bells. The melody appears as beautifully and as softly as the original, though played through a muted flügelhorn enhanced by splashes of complex, convention-defying chord combinations from the horn section. Tambourine enters to vary the soundscape, but the commitment to the melody never wavers in this initial passage. As Miles Davis said of the piece, "That melody is so strong that the softer you play it, the stronger it gets, and the stronger you play it, the weaker it gets." He plays it like he's holding a sleeping baby, with tender, loving care.
Meanwhile, Gil Evans has been busy foreshadowing a breakout into modern jazz with a hint of drums here, a touch of bass there, and a cascade of occasional blue notes from the horn section. This effort picks up speed just short of five minutes into the piece, when the dynamics shift to forte (loud) and the chords shift to the complex chords of modern jazz. In between those glorious chords, Miles is softly grooving on one or two notes, serving more as the rhythm section than the soloist for a few bars. During this passage, the horn section is supplanted by strings and Miles's solo becomes a bluesier version of the primary theme. Suddenly there is a shift in rhythm that echoes Spanish folk dance; the music darkens slightly as the castanets reappear. A tuba makes a brief appearance to serve as the bass foundation for the final passage of flutes and a restrained, sensitive passage from Miles Davis. The stillness of this segment calls up images of slightly cool Spanish nights on a patio surrounded by bougainvillea; an image of tranquility at the end of a long day.
A relatively slight increase in loudness brings us back to the main theme, played by the horn section and supported by tambourine. It also dissolves into stillness and another rich but understated solo from Miles. Many critics have marveled at the control the man had over his instrument, but what is more important is what he communicates with his discipline. While Rodrigo celebrated the formality and traditions of Spain in his work, Gil Evans and Miles Davis have captured the passion of the Spanish soul—the heat that burns behind the fluttering fan of the señorita and the warmth of the shade in the hot Spanish summer. The Evans-Davis take on Concierto de Aranjuez is a wondrous display of the art of sound imagery.
Earlier I mentioned that jazz had been separated from dance by the Bebop revolution; it's really more accurate to say that jazz was disconnected from ballroom or nightclub dancing, for jazz certainly has found a home in the world of modern dance. "Will O' the Wisp" is a female vocal taken from the 20th century ballet El Amor Brujo, originally written for a gypsy flamenco dancer before composer Manuel de Falla turned it into a symphonic piece. The story involves the return of the ghost of the heroine's dead husband, whom the heroine entices to appear by beginning a ritual fire dance then slowly manages to maneuver the ghost into the fire where it vanishes forever. The heat is apparent in the thin tones Miles Davis creates through his horn; the ending fade mirrors the disappearance of the phenomenon with its collapsing notes created by amazing breath control. "Will O' the Wisp" is followed by "Pan Piper," a Spanish folk song arranged to place Miles in contrast with the magical sounds of flute, where a gentle processional rhythm provides a sensuous backdrop for the interplay between flute and trumpet.
"Saeta" is a Gil Evans modification of an Andalusian folk song; a saeta is a form of religious song commonly sung during Holy Week processions. My partner and I were in Madrid during Holy Week one year and happened to stumble into one of these processions, led by damas in black veils holding crosses, torches and icons of saints, marching mournfully through the old streets around Puerta del Sol, never breaking their deliberate rhythm even when the skies opened up and drenched them in rain. Evans' arrangement is brilliant; from the beginning we hear processional, almost military music in the distant background, building in volume as the procession approaches us. The procession stops to allow the saetera to deliver the vocal; in this arrangement, it is Miles Davis translating the vocal through his horn. The approach the takes was best described by Ted Gioia in The History of Jazz:
Instead of aspiring to classical purity of tone, emulating an otherworldly perfection, the early jazz players strived to make their instruments sound like human voices, with all the variations, imperfections, and colorations that such a model entailed.
This was an approach to music that defied conventional notation and refused to be reduced to a systematic methodology. Richard Hadlock, recalling a music lesson given to him by Sidney Bechet, conveys something of this fastidious New Orleans attention to tone production: "I'm going to give you one note today," he once told me. "See how many ways you can play that note— growl it, smear it, flat it, sharp it, do anything you want to it. That's how you express your feelings in this music. It's like talking."
—-Gioia, Ted (2011-04-08). The History of Jazz (p. 48). Oxford University Press. Kindle Edition.
Miles Davis demonstrates the wisdom of that lesson with this heart-stopping solo, emulating a woman's voice in a moment of soul-level suffering through both the modulation of individual notes and a spontaneous, life-like approach to phrasing, full of stutters, stops and bursts of clarity. You will also notice a definite Arab flavor to the piece; after all, Andulusia was under Moorish control for centuries. This influence permeates the album; a gentleman named John Murnane wrote a short but very instructive piece on the Arab influence on Sketches of Spain you can find on the site All About Jazz.
Miles Davis had already begun to explore Flamenco on "A Kind of Blue" with "Flamenco Sketches," but with nowhere near the depth he achieves on the final piece of the original release of Sketches of Spain, "Solea." While "Flamenco Sketches" retains a distinct modal jazz orientation, "Solea" is more steeped in Flamenco rhythms, flavors and dynamics. A "solea" is a core form of Flamenco that I've seen described as "Flamenco Meets the Blues" because of its emphasis on longing for the unattainable and its undeniable African-influenced rhythms. That rhythm appears after a two-minute opening passage where Miles plays softly and achingly, as if mourning the loss of a friend or the woman he cannot have. Gil Evans said he chose the rhythm for the core section "because it kind of swung." No shit! Any person with the slightest sense of sexuality will immediately feel their hips express an overwhelming desire to sway and grind to the beat. And if you're going to have anyone play the solo for such a piece, it has to be Miles Davis, who by all accounts was as obsessed with sexual experience as I am! This is a piece designed to seduce you into an erotic trance; a masterpiece of feel, of touch, of steaming color.
"Solea" is also the song that turned out to be the last song in the last set of Miles Davis' last public performance, a collaboration with Quincy Jones organized to pay tribute to the late Gil Evans. I don't pray, but if I did, I'd pray for the chance to make my final exit accompanied by music like "Solea": music so hot that my soul will burn brightly for all eternity.


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Video Production requires technically correct lighting of the scene. The mood of the scene is determined by the lighting. In most cases at least three lights are alway used on any scene and in others such as Green Screen there may be up to Eight lights used just for a simple medium close-up of a character.
Addavideo to your website with unique lighting that captures the attention of the audience.


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While visiting Occidental a couple years ago, Holcombe Waller played at West County Herb Company and quickly dubbed it his "favorite tiny venue west of the Mississippi."
Even though Waller's haircut is hipper than all the single speeds and plaid shirts in the land, the Portland-based theatrical troubadour defies easy stereotypes. He creates elaborately staged shows incorporating video projections and costumes (what he once called a "meta-theatrical singspiel-style pop opera"), and yet he can also goose-bump a crowd with nothing more than his sweet tenor and acoustic guitar. "Holcombe has an aura of magic," West County Herb Company owner Lisa Kurtz says. "His voice is angelic."
When Waller returns to the West County Herb Company this week, he'll draw heavily from his most recent album, Into the Dark Unknown, which one critic described as "a contender for least macho album of the year." Indeed, whether he's singing about breakups or unicorns, Waller suffuses both the mundane and the magical with an arresting emotional honesty. See him on Friday, April 12, at West County Herb Company. 3641 Main St., Occidental. 8pm. $10–$20. 707.874.9567.


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Loud Latin Laughing is a web catalog of reading. This site always under construction. Inquire within.
Joyce, Ulysses, Chapter 3
My Latin quarter hat. God, we simply must dress the character. I want puce gloves. You were a student, weren't you? Of what in the other devil's name? Paysayenn. P. C. N., you know: physiques, chimiques et naturelles. Aha. Eating your groatsworth of mou en civet, fleshpots of Egypt, elbowed by belching cabmen. Just say in the most natural tone: when I was in Paris; boul' Mich', I used to. Yes, used to carry punched tickets to prove an alibi if they arrested you for murder somewhere. Justice. On the night of the seventeenth of February 1904 the prisoner was seen by two witnesses. Other fellow did it: other me. Hat, tie, overcoat, nose. Lui, c'est moi. You seem to have enjoyed yourself.
Proudly walking. Whom were you trying to walk like? Forget: a dispossessed. With mother's money order, eight shillings, the banging door of the post office slammed in your face by the usher. Hunger toothache. Encore deux minutes. Look clock. Must get. Fermâ. Hired dog! Shoot him to bloody bits with a bang shotgun, bits man spattered walls all brass buttons. Bits all khrrrrklak in place clack back. Not hurt? O, that's all right. Shake hands. See what I meant, see? O, that's all right. Shake a shake. O, that's all only all right.
You were going to do wonders, what? Missionary to Europe after fiery Columbanus. Fiacre and Scotus on their creepystools in heaven spilt from their pintpots, loudlatinlaughing: Euge! Euge! Pretending to speak broken English as you dragged your valise, porter threepence, across the slimy pier at Newhaven. Comment?
All content management powered by MT <$MTVersion$>.


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Using an instant messaging client on your smartphone that doesn't have a PC version is a drawback if you usually work on a desktop computer. KakaoTalk Messenger is a practical and entertaining chat client, that is also available on several different platforms.
It's very comfortable to synchronize conversations between your smartphone and PC.
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Download KakaoTalk Messenger to your Mac to stay in touch with your friends, both from your PC as well as from your smartphone, wherever you are.


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More Info
It's taken nearly half a year for Lenovo's transforming IdeaTab S2110 to go from CES reveal to retail shelves and it's arrived barely unchanged. But despite the initial fanfare, the company chose to slip this slate into the marketplace quietly, ahead even of its official launch at IFA. In that time, ASUS managed to announce and ship a new hybrid tablet of its own, the Transformer Pad TF300 -- a keyboard-optional rival offering the same 10-inch, 1,280 x 800 IPS display and Android 4.0 experience, along with a quad-core Tegra 3.
While Lenovo's offering may not come with four cores or an unskinned version of Ice Cream Sandwich, there is a very contemporary dual-core S4 inside, clocked at 1.5GHz and buffered by 1GB of RAM. Alongside that, the tab's also outfitted with a 1.3-megapixel front-facing shooter and 5-megapixel rear camera capable of 1080p video capture. Other specs include radios for WiFi and Bluetooth 4.0, a battery rated for up to 10 hours of browsing (augmented to 20 hours when connected to the dock) and either 16GB or 32GB of built-in storage. At $430 for the base model alone, it's already positioned as a higher-priced alternative to the TF300. Add the dock and full storage, and you're looking at a cool $580. So, will this be a case of "too little, too late" for Lenovo? Can the S2110 lure undecided customers away from cheaper similarly specced offerings? Read on as we attempt to answer all that and more.


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Hi and thanks in advance for you help.
I need to calculate the average of a range of cells in Ecxel 2007 but only for cells with the same ID.
Project ID is in column A. The file is quite large with more than 300 000 entries and about 160 different Project IDs. Do I have to use a macro to do this or does an averageif function help me here?
A little example of how the file looks like
ID value1 value2
1 3 2
1 4 1
1 3 4
1 2 2
1 3 2
2 4 3
2 6 4
2 4 2
What version of Excel are you using?
2007 has an AVERAGEIF function. Look it up in the Excel Help files.
=AVERAGEIF( Range, Criteria, Sum Range)
For 2003, you have to create your own using SUMIF and COUNTIF:
Thanks for your reply DerbyDad
I'm using Excel 2007. I tried to figure out how the Averageif would apply for my case but couldn't. Do you know how I get the function to work in my example?
What are you trying to average?
I can't test AVERAGEIF on this machine, but I assume that based on the data below, this would return 3, because there are 5 values in B2:B9 that add up to 15 associated with the ID "1".
and this would return 4.67
=AVERAGEIF($A$2:$A$9, A7, $B2:$B$9)A B C 1 ID value1 value2 2 1 3 2 3 1 4 1 4 1 3 4 5 1 2 2 6 1 3 2 7 2 4 3 8 2 6 4 9 2 4 2
If you need the average of both columns for each ID, I'd just add up 2 AVERAGEIF formulas. (Again, this is untested)
Thanks once again!
Its height and diameter measurements of tree plantation trial sites. There are in the whole moe than 300 000 single tress measured. I need the average of each trial. There are about 160 sites (different IDs).
If I understand your example right I would have to identify in which cell number a new ID starts and then rewrite the function accordingly. I think there is a way to this with an array function. If I find the solution I'll post it here but in the meantime I'm glad to receive any further comments.
Ok I think I got it, thanks for your assistance!
The function looks like this. Supposedly you write the first ID (1) in cell A11 and the second ID (2) in cell A12 then
=AVERAGE(IF($A$2:$A$9=A11,$B$2:$B$9)) for ID = 1
When enter the function you have to hit ctrl + shift + enter.
re: When enter the function you have to hit ctrl + shift + enter.
I could be wrong, but I believe that the 2007 AVERAGEIF function can be used instead of using AVERAGE and IF as an array formula.
Note that AVERAGEIF doesn't have a parenthesis between the AVERAGE and IF like yours does.
Did you look up AVERAGEIF in the Excel Help files?
I have 2010 at home...I really need to install it so I can test these new fangled functions! ;-)
re: If I understand your example right I would have to identify in which cell number a new ID starts and then rewrite the function accordingly.
If I were doing this, I would uses Data...Filter...Advanced Filter to create a filtered list of uniques IDs in another column and then just drag an AVERAGEIF formula down alongside it.
There no need to manually determine where the next ID starts. Let Excel create the list of ID's for you.
AVERAGEIF() seems to work just fine - using the example data:ID value1 value2 1 3 2 1 4 1 1 3 4 1 2 2 1 3 2 2 4 3 2 6 4 2 4 2
Then in A11 enter 1 and in A12 enter 2
In cell B11 enter this formula:=AVERAGEIF($A$2:$A$9,$A11,B$2:B$9)
Note the $ signs (they are different to the way you used them in your two-function formula).
Drag to extend the formula to cell C11
then select both B11 and C11 and drag them down a row to B12 and C12
This is what you get:A B C ID Avg 1 Avg 2 10 1 3.0 2.2 11 2 4.7 3.0
In Excel 2007 and later there is no need to use the two-function array formula entered with Ctr+Shift+Enter.
DerbyDad03's advice looks good.
Also it is likely that the AVERAGEIF() function will be faster on large amounts of data than the array formula equivalent entered with Ctrl+Shift+Enter
Thanks for your help! Works like a charm.
Just from what I experienced both formulas are reasonably fast in handling the 300 000 rows. Averageif without array is a bit faster though.
Just curious...Did you go with the Filtered list suggestion?
I copied the whole ID column and removed duplicates. I think the results is the same.


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Hello Kitty Face Cushion: Bubblegum Pink Bow
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- This product is not machine washable. Wipe clean with damp cloth and air dry
- Weight: 9 oz.
- All Sanrio.com products are specialty items. Quantities are limited
Product Reviews
0.0 Rating reviewed by 0 customers


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Google connects its Play Store with Google+, public reviews will now feature your name and picture
Seeking to improve the quality of reviews on its Play Store, Google has all but removed an element of anonymity and now requires users to post reviews of apps and games using their Google+ account.
The new requirement, spotted by Droid Life (via The Verge), can be seen when a user clicks the 'Write a review' link on an app on the Play Store, notifying users that reviews are now "Powered by Google+" and that "From now on, reviews you write will be posted publicly using your Google+ name and picture."
Reviews posted by users before the switch will appear as "A Google User."
Google's new requirement mirrors its approach on YouTube, which has seen the search giant try to remove the veil of anonymity by asking users to connect their existing YouTube accounts with their Google+ profile to promote their personal brand.
At the time of writing, Google appears to be in the process of rolling the feature out, as new reviews simply revert back to the original page. However, it looks as if Google will end up making this a requirement on both Android devices and the Web.
Image Credit: AFP/Getty
Read next: Barnes & Noble launches free Nook reading apps for iOS and Android in UK


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Garland prices are priced by the inch in width of the garland not length.
7″ wide is $9.00 a foot,
8″ wide is $10.00 a foot
12″ wide is $14.00 a foot
You get to pick the greens, not us.
Salal-Huck-Israeli Ruskus-Plumosus-Tree fern,Sprengeri,Veg pitt or green pitt, Magnolia, and others
Garland orders MUST be called in 14 days prior to shipping…


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Canon Pixma TR8560 Drivers Download
Canon Pixma TR8560 Reviews– The new Canon PIXMA uses TR8560 wireless styles, scanning, fax duplication and printing, and is also associated with a 35 percent smaller size than the MX series output change variations. Both consist of a new industrial design, five-way shadow ink system, the rounded interface, automatic data feeds, with automatic two-sided printing. Like the new variants of the TS series, they also get a Bluetooth connection. Using the PIXMA Web Cloud link, which is accessed with the Canon printing application, you can now print from your favorite social networking network and cloud services like Facebook, Instagram, Google Drive, Dropbox, one drive and more. Be flexible with the means that your printer receives paper through the back feed paper or using a front paper cassette. The paper output tray also expands immediately. Print images from your laptop or camcorder, with the right SD card slot in the printer – making it easy to compare before printing your photos.
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|Property and Real Estate
|Job Type
|£50000 — £80000 per annum
|Depending on experience
|19 August 2014
Our client is looking for a professional, experienced and organised Russian Speaking Family Office and Estate Manager to manage all the family`s properties in the UK, property in the south of France as well as manage three PAs in the London Family Office. This is a brilliant opportunity to work within a friendly close-nit team and really get involved! The role reports to the Head of Family Office with the following duties/responsibilities:
• Carry out administration and budget control of all the properties, including cash flow management, expenses reporting, payroll for the staff of approximately 20 people worldwide, etc.
• Manage the domestic staff and get involved in the international household recruitment, manage employment contract, conditions.
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The Ideal Russian Speaking Family Office and Estate Manager must have/be:
• Minimum of 3 years working as a Household Manager for a HNW family (at least two properties` management experience) in the UK or in Europe.
• Hold BA/MA degree in Management, Finance or Accounting.
• HR or Project Management experience is desirable.
• Outstanding time-keeping and people management skills.
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| [Search]
POINTERS: [Texts]
26: Real functions
Real functions are those studied in calculus classes; the focus here is on their derivatives and integrals, and general inequalities. This category includes familiar functions such as rational functions.
Calculus information goes here, perhaps. It is the express intention to exclude from this site any routine examples or theorems from comparatively elementary subjects such as introductory calculus. However, there are a few gems, some FAQs, and some nice theory even in the first semester course. There are some more subtle topics which don't often make it to a first-year course.
Some elementary calculus topics may likewise be appropriate for inclusion in 28: Measure and Integration, 40: Sequences and Series, Approximations and expansions, and so on. Use of Newton's method is part of Optimization.
Articles which use results from calculus to solve some problem in, say, geometry would be included in that other page.)
Approximation questions may be part of number theory.
Questions about R^n (say) which are more about the underlying space than about functions on it are dealt with in various geometry and topology pages.
See also 54C30
Prior to 1959 there was a subject heading "27 - Analysis" in the MSC; in general, papers in that area would now probably be classed in this section (26).
Browse all (old) classifications for this area at the AMS.
Calculus textbooks abound; we will not list them here except to mention the mathematician's favorite, Michael Spivak, "Calculus", Publish or Perish, Berkeley CA, 1980, 647pp, ISBN 0-914-09877-2; and the unique "Freshman Calculus" by Robert A. Bonic et al., Heath 1971.
An unusual resource for the calculus teacher: "A century of calculus", edited by Tom M. Apostol et al. Mathematical Association of America, Washington, DC, 1992. Part I: 1894--1968: 462 pp., ISBN 0-88385-205-5; Part II: 1969--1991: 481 pp., ISBN 0-88385-206-3. -- selections from the American Mathematical Monthly.
Textbooks seen often to be primers!
Szegö, G. P.; Treccami, G.: "What you should know about real-valued functions but were afraid to ask", Nonlinear optimization (Proc. Internat. Summer School, Univ. Bergamo, Bergamo, 1979), pp. 471--486; Birkhäuser, Boston, Mass., 1980. MR82e:58019
Dr. Vogel's Gallery of Calculus Pathologies.
A companion for more advanced students is Gelbaum, Bernard R.; Olmsted, John M. H., "Counterexamples in analysis", The Mathesis Series: Holden-Day, Inc., San Francisco-London-Amsterdam 1964 194pp.
Online texts:
The Truth: Bourbaki, N., "Fonctions d'une variable réelle. Théorie élémentaire." Hermann, Paris, 1976. 331 pp. MR58#28327


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Film score and sound design experts Jörg Hüttner and Matt Salazar give a rare glimpse into the inner workings of the film/TV and video game side of the music industry. They discuss what it takes to break into the business of music scoring, where to focus your efforts, how to avoid common pitfalls and how to adapt to the rapidly shifting technological, licensing and financial changes of the business.
Jörg Hüttner has worked for Hollywood film composers such as Hans Zimmer, Atli Örvarsson, Danny Elfman, Martin Tillmann. His work can be heard on soundtracks to Fifty Shades of Grey, Batman Begins, The Dark Knight Rises, and The Girl on the Train, to name a few.
Matt Salazar is Creative Director at In Flight Music Group where he oversees A&R and the creative aspects of both music production and talent branding.
Prior to that he was a partner and General Manager of LA Sound Gallery which was the largest independently owned scoring stage in Los Angeles.


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YAK // Jani Parsons & Chris Sies
March 9, 2017 @ 8:30 pm - 9:30 pm$10
$10 Suggested Donation
YAK visits Chicago in their 2017 midwest tour.
Jani Parsons, piano, and Chris Sies, percussion, perform as a duo.
Program TBA
YAK is an ambient/industrial duo of amplified, bowed friction on strings and metal. Their 2017 Midwest Tour is an audio-visual journey into the existential mind-state of the Tibetan beast, the Yak. These sounds are tailor-made for the shaggy beast of burden of the Himalayan Plateau, evoking their life and spirit in a mesmerising structured improvisation cycle.
Yuri Popowycz is a Detroit-based violinist, electronic music producer/performer, and illustrator. He performs with the Michigan Opera Theatre and is assistant concertmaster with the Michigan Philharmonic. He also plays out frequently in the city and is active with Detroit Bureau of Sound. Yuri is a graduate of Interlochen Arts Academy '11, and the Oberlin Conservatory '15, and has toured in Japan as concertmaster of the PMF orchestra as well as performed in Europe alongside the Jack quartet with the Lucerne Festival Academy. Currently he runs the ambient music label Music To Stretch To and enjoys working with all the wonderful artists living nearby.
Zac Brunell is a performer and concert producer in the Motor City. As director of the Detroit Bureau of Sound, his work engulfs a range of avant garde music through his productions, which have been described as "sounding as raw as mating bull elephants" (Lansing City Pulse on "X is for Xenakis"). A classically trained percussionist and pianist, Zac is a graduate of the Michigan State University College of Music and is currently Production Manager with the award-winning ensemble New Music Detroit.


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This is Dinky Toys No 129, Volkswagen 1300 Sedan, in blister style packaging. This is the 'taller' blister packaging, it was also available in the more regular shorter blister packs. It was produced between 1965 and 1975.
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Fresno State Farm Market Hosts National Day Events
By Charmayne Hefley, Associate Editor
Fresno State's Rue and Gwen Gibson Farm Market hosted its Annual Pistachio Day on February 26 in honor of World Pistachio Day. Miles Robinson, a student market lead, said, "We've been working with American Pistachio Growers (APG) to market this campaign and give away pistachio samples, all courtesy of APG. We are also raffling a gift basket with several of our products and APG items as well."
Robinson said the Fresno State farm market plans to host monthly events to feature the store and student products, including that very fowl day, Poultry Day, on March 18, and National Raisin Day on April 29. "For Poultry Day," Robinson said, "we'll be sampling Foster Farms chicken in a couple of different recipes. We look forward to having people actually taste our chicken. We will also have a chicken dance contest. For National Raisin Day we're partnering with the California Raisin Board to bring information, samples and have a fun time."
Robinson said the student-run farm market, which specializes in student-made products, is in the process of creating new recipes for its coated nuts and raisins. "Over the past year, we've been slowly rolling out new recipes for our milk chocolate raisins, milk chocolate almonds, milk chocolate cabernet raisins and dark chocolate raisins," Robinson said. "All of our products will have brand-new recipes, 100 percent Fresno State-done."


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In the company of Dalai Lama, Richard (now Radhanath Swami) felt reverential and also felt like being with an intimate friend. The virtue of selfless service became more prominent in Richard's mind. Richard could see that Dalai Lama was a person dedicated not only to his spiritual principles, but also on taking on the massive burden of serving the needs of his people who were either in exile or under subjugation. Dalai Lama had endured incomprehensible challenges and obstacles in his struggle for his people. He tolerated exile, threats and untold suffering, only to selflessly serve.
One of the most endearing of all human virtues is the virtue of sacrifice and service to others. Radhanath Swami saw this principle in action at the famous Golden Temple at Amritsar, Punjab. The huge complex is spotlessly clean and although there are thousands of people walking, still it's clean as people are always cleaning. Besides they are twenty four hours a day distributing food to anybody and everybody who comes. They had 150 people rolling chapattis, flat bread, and at the same time they had a machine, that cooks perfectly 6000 chapatis an hour. There is also chanting of prayers twenty four hours a day. The most beautiful part of this culture is they do not pay anyone anything ever; it's all voluntary. Radhanath Swami described this most beautiful sight of multi-millionaires from Toronto sitting next to peasants of Punjab at the shoe stall and whatever kind of shoe comes to them, they clean every piece of dirt off it and polish it, Hundreds of volunteers from all over the world come to the Golden Temple in a mood of wanting to serve and not to be served. The rendering of such menial services as cleaning and serving endears them to everyone. It is this kind of spirit that Radhanath Swami himself embodies and calls upon all others to inculcate.
Radhanath Swami often gives the example of one of the most famous inaugural presidential addresses in the United States history, given by John Fitzgerald Kennedy. On the day he was sworn in as President, he addressed the whole Nation and said, "Ask not what your country will do for you, ask what you can do for your country", and people stood up and applauded for a long time. The sentence echoes in the hearts of many, even today almost half a century later. Radhanath Swami observes that if people's hearts are very deeply affected by unconditional service even on the material platform, how much more it would if there is unconditional service on the spiritual platform, with consciousness of God, the all attractive Supreme. That unconditional service will attract God and all other living entities of this world.
This selfless service binds the hearts of the served and the one serving. Radhanath Swami gives the example of his own mother who cooked a feast every day seven days a week, after performing all the household chores. This extending of oneself to serve the family connected the family members deeply to each other. Similarly if we serve each other in this spirit, we shall develop deep and meaningful relationships with each other. Life in this world would then be a cause to cheer.
Source: http://www.radhanath-swami.net/selfless-service-attracts-all/selfless-service-attracts-all


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If youve ever participated in a debate online, youve probably come across the concept of the burden of proof. A person has the burden of proof when she makes an affirmative claimthat is, when she claims that something is true. The person with the burden of proof must provide evidence or logical arguments to support her claim. What you may not realize is that this concept isnt just a way for people to avoid making their own arguments on the Internet. In fact, if you file a lawsuit, youll have the burden of proof in your case. But in court, the concept is much more formal, and has been split into three distinct burdens: the burden of pleading, the burden of production, and the burden of persuasion.
1. The Burden of Pleading
The burden of pleading requires that any party that wants to prove something in a lawsuit must include it in his pleadings before he can introduce evidence to prove that its true. The pleadings are the initial written documents filed in a lawsuit. The plaintiff begins the lawsuit by filing a pleading called a petition or complaint. Shortly after receiving the petition or complaint, the defendant must respond by filing an answer. If you dont raise an issue in the pleadings, then the court wont accept any evidence about that issue.
2. The Burden of Production
The burden of production sets a threshold for when there is sufficient evidence for the case to be decided by a jury. The burden of production is met only when the evidence that you introduce is good enough for a jury to accept your allegations as true. That doesnt mean that the jury will accept the allegations as true, but if you fail to meet the low burden of production, the court wont even ask the jury to weigh the evidence. It will reject your claim on its own.
3. The Burden of Persuasion
The burden of persuasion refers to the standard that a jury will use in determining whether you have proven your case, and it varies based on the type of case involved. In a criminal case, the prosecutor must prove the defendants guilt beyond a reasonable doubt, which is the highest burden of proof in the law. Under that standard, if the evidence doesnt eliminate all reasonable doubts from the jurors minds, then they must find the defendant not guilty. In most civil cases, the burden of persuasion is a preponderance of the evidence, which means that the evidence presented in the case makes it more likely than not that a partys claims are true. An alternative standard that is used occasionally in certain kinds of cases is that a party must prove its case by clear and convincing evidence. Though an imprecise phrase, this standard is higher than a preponderance of the evidence, but lower than beyond a reasonable doubt.
Just like in online arguments, if you can carry your burden of proof in court, you will also carry the day. But remember that the burden of proving your case in court is actually three different burdens, each of which must be met for you to prevail. If you fail to meet any one of the three burdens, you will lose your case. For more information on legal topics like this and more, The Bail Pros in Charlotte, NC are happy to help. They have a wide variety of knowledge on bail bonds, lawyers and how to get out of jail fast.


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Dog training involves three main principles to always consider. These principles are the core ingredients to behavior modification and are always at work, whether training the family pet or teaching a police dog to find drugs. Understanding how these principles work is the secret to clear communication between you and your dog. The three principles of dog training are Timing, Consistency and Motivation.
Timing is the first principle. Timing has to do with the way dogs brains process cause and effect. Timing says that any behavior a dog acts out must have a consequence within 1.3 seconds in order for the dogs to associate that behavior with that consequence. Positive behaviors must have a positive consequence within 1.3 seconds and negative consequence within 1.3 seconds. Too often pet owners reprimand a dog far after the event took place. Experienced dog trainers call this punishment. The dog never has to chance to connect his behavior with the consequence. Therefore, the dog is left to deal with an angry owner having no idea what is making the owner upset. This leads to submission, which the owner misreads as guilt leading owners to believe the dog knew what he did wrong. Since 1.3 seconds is not very long, timing can be really difficult. To assist in proper timing, we use "markers." Markers are words used to mark the moment your dog acts out a behavior. You are going to mark "good" at the exact moment your dog acts out the right behavior and you are going to mark "no" at the exact moment your dog acts out the wrong behavior.
Motivation is what you do to influence your dogs' decision-making process. Motivation is an aspect of dog training that requires action from you! At the exact moment your dog acts out a positive behavior, you must mark that behavior by saying "good", then follow up with a reward. How you reward your dog is important. Rewards must be physical. Talking to/praising your dog is not enough. However, a small treat or petting your dog can go a long way. Educated trainers view rewards much like paychecks. When you go to work, your motivation to work is a paycheck. If all your boss did at the end of the week were say "good job" and send you on your way, you would probably find a new job. Similarly, you need rewards to motivate your dog to work. or they will go and find their reward through "self rewarding behaviors"; for example: eating out of the trash, chewing up the couch, digging in the yard, counter surfing, etc.
At the exact moment your dog acts out a negative behavior, you must mark that behavior by saying "no" then follow up with a correction. Again, talking to, scolding, or yelling at your dog is not sufficient. Trainers call the delivery of negative stimulation a "correction" from an approved dog training collar. The strength and style of correction greatly varies on the dog. Corrections are viewed by educated trainers much like speeding tickets. A speeding ticket is given in order for the negative act of speeding to not be repeated. If the ticket was only fifty cents, you would likely speed again. However, if the ticket was too high, say $10,000, you may be afraid to drive altogether. A correction must motivate your dog enough that he does not want to repeat a behavior without making him afraid of a certain situation altogether.
Consistency is the key ingredient when training a dog. It establishes a clear line of communication between dogs and owners. Consistency in dog training means promptly reacting the same way every time to any significant behavior your dog acts out. Significant behaviors may include getting in the trash or coming when the dog is called. For dogs to learn that getting in the trashcan is a negative behavior, you must mark "no" and then correct him every time he gets into the trash. For the dog to learn that coming when called is a positive behavior, you must mark "good" and then reward him every time he comes after hearing his name called. Rules must be very black and white for dogs. Remember! You must mark within 1.3 seconds of a specific behavior and then follow up immediately with a reward or a correction. Each time you miss a chance to reward your dog, or each time you miss an opportunity to correct your dog, you send a strong message to the dog that you have no ability to influence his decision-making.
The way your dog behaves is a product of how you interact with him. Don't blame the dog. Your dog's behavior is directly related to your ability to understand and implement the three training principles:
OFF THE WALL DOG TRAINING ACADAMY, LLC - Programs
Barracks Training - Have you pet board in our spacious accommodation and receive daily training sessions with a professional dog trainer. The average stay for a dog is two weeks. You will still have a private lesson with you dog's trainer at the end of your dog's stay so they can teach you how to effectively communicate and be consistent with your dog at home. We will also schedule a private lesson with you.
Day Training - Drop your dog off in the morning, he or she will receive training sessions throughout the day, then pick up you're your tired pup in the evening. Great for owners who want the consistency of daily training but want to have their dog home every night. You will have one private lesson with your trainer at the end of each week so they can show you what your dog has learned and so they you can continue to be consistent at home.
Private Lessons - Our private lessons give you one on one attention with our trainer. You can work on basic or advanced obedience.
Dog/puppy Evaluations - - If you want a dog for a specific reason; i.e.: protection, other sport and/or if you are having a specific problem with your dog, we can evaluate your dog for you.
Call for pricing and scheduling.


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It's that time again – where I recap everything I can remember playing over the last few months and try to tease out anything I can learn about game design, or just give a snarky one line review.
Stealth Bastard Deluxe – This is a stunning example of a stealth game and a puzzle platformer done right. It has that 'just one more level' addictive quality about it, and I expect I'll end up playing it to completion over the next few months. Even though I'm pretty heavily investing in Unity3D now, games like this make me want to check out Game Maker Studio (the engine behind it) to see if it confers and serious advantage in making games like this.
X-COM: Enemy Unknown – now I know what all the fuss is about. My biggest gripe is that they wasted so much budget on amazing graphics it doesn't really need, and just makes it a little sluggish on my aging Windows machine.
Bollywood Wannabe – a fun Bollywood themed rhythm game, which is a bit like Dance Dance Revolution mashed up with a very simple platformer. I've only picked it up twice so far, but it's good for a laugh. I played it on my TV, viewing at a distance, and I don't think it's well suited to that – visually, your eye needs to be able to switch between looking at the oncoming beats, and the platformer obstacles you are walking toward, and I think this would be much easier at a close viewing distance like a PC screen or tablet.
qrth-phyl by hermit games – yes, it's snake in 3D, but that doesn't do it justice. I love everything hermit games releases, and this is no exception. I'm such a sucker for anything glowy.
3089 – Ph00t's spiritual sequel to 3079 – another action RPG/FPS. I can't say I'm as taken by this a 3079, but is has some great looking low poly trees and some interesting weapons (eg, the teleport ball gun thing which I've forgotten the proper name for). I'm holding off playing much more until the alpha is finished and the whole thing has gone through more iterations of balancing and polishing.
Star Command – I'm not sure if this was influenced by FTL or not, but it's hard not to draw a comparison, since in both you manage a starship and it's crew. FTL is procedurally generated and Star Command appears to be fixed scenarios. FTL tends to keep you on your toes, and Star Command mostly feels like a grind. I also wonder how fans of the simulation genre will like the inclusion of non-optional reflex-based mini games, which if you perform poorly at can extend the time a battle takes to win considerably. The pixel art is wonderful, but the difficulty curve doesn't ramp up quickly enough for me, so I'm not sure I'll keep playing unless I want something mindless on public transport to grind through.
Paranautical Activity – Quite liking this tough-as-nails FPS-rogue-like (famous for being rejected from direct publishing on Steam for having a Greenlight page). I find I can only survive more than one or two rooms if I use the grenade launcher character – not sure if I'm just crap or it's a balancing issue, but nonetheless I have high hopes for where this is headed in future updates.
Proteus – Whoa ! Mind blown ! Another one of those 'I wish I'd made that' games. I'm holding out for the consumer model of the Oculus Rift .. but you know one of the first things I'll be playing once I get it …
The Walking Dead – on Peter Silk's suggestion, I decided to take the time to play this. I guess I'd been scared off by a few reviews that likened it to one long cut scene … no idea why I listen to some of the crap that popular gaming sites spout sometimes, since that's a completely inaccurate assessment. There are interesting, emotional decisions to be made in this game, and it does a reasonable job of subtly exposing the internal 'game model' of trust relationships between the characters that evolves as you chose to favor the interests of one person over another.
Sonic CD (OUYA) – I bought this because Sonic The Hedgehog 4: Part 1 and 2 felt so bloody terrible to play, and this one has more or a classic Sonic feel.
Sentinel – another interesting take on tower defense, that evokes a bit of Rez-like synesthesia. Also uses a few ideas (pickups to click on) that I might steal for future expansions to Def :)
Rose In Time – I actually got this ages ago, when Sophie Houlden made it for an Indie Buskers event … but to be honest, I didn't quite get it, and gave up too easily. I then also picked up the OUYA version since it's a nice way to play it (right before Sophie pulled it from the store. Storm, meet teacup) and gave it a little more time … the penny dropped. It twists my brain in knots, but I love it.
X S.E.E.D (OUYA) – this is quite a unique take on a Metroidvania type game – you drop seeds that pop up different types of flowers – most of which shoot once like little turrets, and one type that forms a protective barrier (or can grab unreachable collectables).
Def – yep, as always, playtesting my own game lots, particularly to refine the gamepad controls on OUYA. It's not just a shameless plug, it counts as something I've actually played !


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Michael Moore Is Spotted at Congressional Hearing on Bailouts
Meena Thiruvengadam reports on Congress.
The government's private-sector bailouts already have gone mainstream, becoming the subject of a recent episode of Law & Order and inspiring music videos on YouTube. Now, the $700 billion Troubled Asset Relief Program appears to be in the sights of Oscar-winning filmmaker Michael Moore.
The documentary legend behind "Roger & Me," "Sicko" and "Fahrenheit 9/11" was spotted Tuesday morning at a Senate Finance Committee hearing on the rescue effort.
Moore wore his trademark baseball cap, standing out among the sea of suits. He sat in the third row, chatting with a dark-haired man as TARP cop Neil Barofsky, Elizabeth Warren, who as Congressional Oversight Panel head is overseeing the banking bailout, and U.S. acting comptroller general and Government Accountability Office chief Gene Dodaro addressed lawmakers.
Moore slipped out of the hearing before it ended, avoiding the reporters and anyone else who may have wanted to ask if the TARP was his next big project. According to the Internet Movie Database, however, Moore is working on an as-yet-untitled project on the global financial crisis.


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Ian Kleinman is back at it, applying his molecular magic to another batch of breakfast treats at his fourth doughnut pop-up -- this time at Sunnyside Burger Bar in LoHi. Kleinman, known for his Inventing Room food lab and catering company, will be whipping up his biggest menu yet -- featuring grape jelly caviar, exploding whipped cream, chocolate blankets and liquid nitrogen-frozen pie crumbs -- from 6 to 10 a.m. January 22 to 25. This year's pop-up will also have a molecular coffee bar and possibly some bar drinks.
As in previous years, Kleinman is inviting you to submit a doughnut idea on the the Inventing Room website; the best submission will receive a dozen free doughnuts. The winner will be announced on January 17, so get your ideas in before then.
See also: Fractured Prune Doughnuts Set to Break Into the Denver Market
You can also pre-order doughnuts on the website if you want to place a large takeout order on any of the days the pop-up is open.
Kleinman's previous doughnut pop-ups have been at Table 6, Bittersweet and Biker Jim's Gourmet Dogs. The doughnuts are actually brioche-style dough deep-fried, split open and filled with combinations of creative toppings. $5 a doughnut may seem a little steep, but they're big (and shaped more like a long John) and come with plenty of fillings. This year's selection includes banana cream pie, tiramisu, PB & J, tres leches, German chocolate, lemon brûlée, doughnut bread pudding, and the Boulder, which is filled with spicy granola, strawberry frozen Greek yogurt and Colorado honey mascarpone.
"German chocolate is my favorite cake from childhood," says the chef. That doughnut will feature coconut cream, a chocolate blanket made with carageenan-thickened chocolate, coconut pop rocks, and pecan paper made with Ultra-Tex.
Other fun techniques include agar-jelled coffee, house-made peanut butter marshmallows torched campfire style, dehydrated mint leaves and rose petals, sous vide blueberries that retain their shape but have the intense flavor of jam, and cinnamon apple slices pressed and slow-cooked for 20 hours.
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Kleinman says the Inventing Room has been busy with catering and other special events, aside from the breakfast pop-up. He'll be flying to Dubai in early February where he'll have a booth at the Dubai Food Festival and he'll be catering the press party for the kick-off of a new season of CNBC's Restaurant Startup, an entrepreneurial reality show in which Kleinman vies against other chefs and food developers for investment money. The new season begins tonight, although Kleinman says his episode was filmed in November.
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In honor of James' 33rd Birthday, I thought I'd share some interesting tidbits about this fabulous number.
Thirty-three has the meaning that good will always triumph over evil.
It is an auspicious number in modern numerology, one of the master numbers along with 11 and 22.
In fact, the average lifetime of a blog is 33 months.
To make James feel better, the average net worth at age thirty three is $2,125. Though we do have our friends over at My First Million at 33 to aspire to.
The median income at age thirty-three is $44,473. If James were earning more than a student income it would certainly surpass that. Though those with a Ph.D. would be earning $65,937 at the same age.
All this to say, enjoy the prime of your life James! So glad to be your wife!