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A Conversation with Geof Bradfield, part I
Geof Bradfield is a saxophonist and composer living in Chicago. He is an incredible musician, steeped heavily in the jazz tradition, who is always looking towards the future. Geof's commitment to his vision and self-improvement has always been a huge inspiration to me. His ability to digest, write, and interpret music on a high level seems to know no bounds.
I recently sat down with Geof to talk about, among other topics, his upcoming album "African Flowers," which will be released on Origin Records in the fall. The album also features Victor Garcia [trumpet, percussion], Jeff Parker [guitar], Ryan Cohen [piano], Clark Sommers [bass], and George Fludas [drums, percussion]. Scroll down to a bit to hear "Butare," a selection from the album. Here is part I of my conversation with Geof. Enjoy!
DM: Hey Geof! Alright, so you have a new album, entitled African Flowers coming out in the fall. It draws upon folk music from many different parts of Africa mixed in with your writing sensibilities. You received a grant from Chamber Music America to help fund the project. I'm obviously summarizing this very heavy experience and prestigious honor for you in a few sentences. Can you talk about how all this came about?
GB: Sure. Well, for some background on the situation, I was doing my undergrad at DePaul and thinking about grad school. I ended up going to CalArts. One of the reasons I went there was because of their world music program. I had started checking out African music when I was going to school in Chicago. I came a across Youssou N'dour's record, Set, when I was working in a record store and it blew my mind. I had never heard anything like it. CalArts was an attractive place to go because it wasn't just a college jazz program. I could actually learn about music from other places around the world whereas DePaul was generally a very conservative program.
Another attractive component of CalArts was that Charlie Haden taught there. I had just started to check out Ornette Coleman's music, but I didn't understand it at all. At that point, I was very much into Bird and Cannonball. I thought it would be a great opportunity to really figure out what was happening with that music.
As I was finishing my undergrad, part of me really didn't want to go back to school right away. I was working a lot in Chicago already and wanted to keep playing with good musicians. However, Mark Colby, who I was studying with at the time, gave me some great advice by telling me, "go back to school now, because you'll never go if you don't go now." He said I should do that or move to New York. Honestly, though, I was too scared to go to New York then. I felt like I wasn't ready. You know, I had just started getting a repertoire together and I was playing a weekly session with Bob Dogan [piano] and Eddie De Haas [bass] and those guys were kicking my ass.
So, I decided to go to CalArts. The great thing about Charlie Haden was that he was there all the time. When I was studying at CalArts, I had class with Charlie probably about 13 out of the 15 weeks in the semester. When he wasn't there, he'd send Robert Hurst or Jeff Watts or Jimmy Rowles.
DM: Wow, pretty sweet!
GB: Yeah, so it didn't suck [laughs]. The experience with Charlie coupled with the fact that CalArts was the only world music program that was performance-based, as opposed to coming at it from an ethnomusicology standpoint, really made me want to go to CalArts.
When I was there, I studied with these Western Africans, these Ewe drummers, and you had to do the whole thing–As shy as I was, I had to dance these African dances. It was rough! Bad news…[laughs]. You had to play the drums and sing the songs in Ewe. It was a great experience. I also took Indian percussion and Gamelan orchestra courses.
If we fast forward to a few years ago, I went on this tour with Ryan Cohen's [piano] band through Jazz at Lincoln Center and the Rhythm Road. This program used to be called Jazz Ambassadors and was operated by the Kennedy Center. It's gone on for years. People like Louis Armstrong, Dizzy Gillespie, Dave Brubeck, and Duke Ellington participated in these tours in the past. It's a great program.
DM: What an honor for you guys to be a part of that legacy.
GB: Yeah, it was amazing. There's this amazing book called "Satchmo Blows Up the World" that has some incredible stories in it. You know, like, Dave Brubeck contemplating riding across the Iron Curtain in the trunk of a car because he didn't have the right visa…it ends up working out and he doesn't have to do it, but that was an option that was presented to him! As a result, it puts anything you might have to deal with in perspective.
Anyways, we got accepted by the Rhythm Road program and they sent us to eastern Africa. At the same time, I had also been thinking about writing some music for my own group and applying for this Chamber Music America grant. The idea I came up with for the grant application was to bring my Zoom recorder to Africa, record whatever music I heard there, and write a suite of music based on my experiences. It ended up that I got the grant, although I didn't know until six months later.
DM: So you just did all the recording anyways with the hopes that you would get the grant?
GB: Yeah. I actually assumed I wouldn't get it. I figured I would just write the piece anyway because it seemed like a great idea. I also thought this might be the only time I would be able to visit these places. I mean, how else can you get to Rwanda? Fortunately, Kobie [Watkins, drummer] is such a techy guy. He had this hi-def video camera that he used to record a lot of the stuff with, as well. Billy Banks, who works for Lincoln Center, also recorded a ton of stuff.
Some of the most memorable footage was from the Gekoke dancers from Conga . These 11 or 12 year old kids do this crazy double-jointed dancing with no expression on their face.
The way most of these performances would work is that we would play our set, which was comprised of Ryan's music and some jazz standards. After our set, we would take questions, and then, in a very natural way, the local musicians would get on stage and perform for us.
In Rwanda, we were performing as a part of this festival in Butare, which gathered musicians from all over Africa. We jammed with some of the other musicians on the festival. They showed us the bass line for one of their songs, which I ended up borrowing for one of the pieces, "Butare," that ended up on African Flowers.
Here is a full length mp3 of "Butare":
DM: That bassline that ended up on "Butare" is in five. Was the original bassline the same?
GB: No, actually the original bassline is in six. There is, however, a lot of traditional Rwandan praise music that is in five. It's a traditional meter in Rwandan folk music. So, I took this bassline, which is from a Burkina Faso song, truncated it a little bit, and put it into a Rwandan rhythm which I got from a Hugh Tracey recording. He's the guy that traveled all over Africa and recorded a bunch of music for Smithsonian Folkways. The way "Butare" works, which is similar to how a lot of Rwandan music works, is that the bassline is in 5/4 and there is an underlying 5/8 going on in the guitar. They dovetail together, of course, but aren't in the same meter.
There's this other Rwandan music called Intore music which was common in the court of Rwanda. In this music, the way the horn parts work is that they are almost independent from the underlying rhythms, but they do lock up every few cycles. This is how I structured the horn parts in "Butare." The horns are in an even slower five than any of the rhythm section. It's a free, lyrical, vocalizing type of phrasing over a steady beat.
DM: Yeah, the melody in "Butare" doesn't necessarily feel like it has a time signature to it.
GB: Right. It's tricky to make it happen so that everything lines up correctly. As one horn part ends, the other begins, so if one person falls down on the job…
DM: Then the whole thing is kind of screwed.
GB: Yeah. It can fall apart very easily. I think this is the crux of African music, though. Everybody has to understand each others' part. Each part is very simple on its own. It's the way that they work together that is complicated.
DM: When you listen to it on the surface, it feels very good, but if you approach it from an intellectual standpoint, it can feel somewhat chaotic because there's so much going on.
GB: I like that idea. It should be easy for the casual listener to enter into the music, and then it should be challenging for the musician listener.
DM: It's like walking the line between pleasing a wide audience and being an innovative artist.
GB: Yeah there's definitely a border. There's nothing wrong with very cerebral music that's hard for all of us and doesn't appeal to a broad audience, but I think it's much more interesting and more of a challenge, at least for me, to try and make music that seems very simple on the surface. However, then it also has this depth that the musician or sophisticated listener can get into. It can be appreciated from a number of different perspectives. That's the music I like. The music I really love is music that I heard and loved when I was a kid, for whatever reason, that still continues to reward over the years. Something like Kind of Blue.
DM: Yeah. Some of those albums I've been listening to since I was a kid evoke something much more than music inside of me.
Regarding the writing of African Flowers, was it a trial and error process for you to tastefully integrate African music into jazz and still make it your own thing?
GB: Yeah, it was. It's tricky in a lot of ways and, for one, it's been done a lot already. Some of my favorites in this vein are Randy Weston's Uhuru Africa and Highlife, and also some of Duke Ellington's music where he's drawing on some influence of various different cultures in Africa.
The first thing I decided I didn't want it to be was a project where American musicians played African music. I'm a jazz musician, first and foremost, for all the things that that means. I feel a very clear connection to the lineage of saxophone players. As a writer, I feel a clear connection to that too, but I also have a lot of different interests. I decided that I wanted the music to be jazz and to have elements of these African musics involved. For instance, if you listen to Uhuru Africa, it's very clearly jazz music and jazz musicians, but there are these elements of African music that are included in a very hip way.
When I was writing African Flowers, I was also checking out a lot of classical music, especially romantic-era music, some Schumann art songs, and impressionist stuff like Debussy and Ravel. I knew that I wanted to incorporate some of those compositional and harmonic elements. For years, I've also been listening to Stevie Wonder and Donny Hathaway, people like that. I wanted some of that in it, too. That soulful feeling that is really closely connected to the jazz idiom. I wanted it to be explicit, like I wasn't trying to hide that.
As far as the trial and error process goes, one of the first things I did was transcribe some mbira music from Zimbabwe. I wrote it all out for the sextet to cover all the different mbira parts. I never tried to play it with a group because I could see there was no way it was going to work. It was just insanely difficult. The piece has no clear starting point and beat one is almost always obscured. There's really no way a western listener would hear one, that is, if there is a one! That sounds very meta-physical, but that's the gist. I tried to write it out in a way that was true to that. Then I realized once I completed it, which took a really long time, that it was just not going to happen.
DM: That's a frustrating moment when you realize that!
GB: Yeah! I mean I spent dozens and dozens of hours transcribing this field recording of mbira music! It's gorgeous. Then there's the guy singing on top of it and the percussion underneath it, so I tried to orchestrate all these things. Then, luckily, I realized, before I put it in front of the group, that there was no chance it was going to work.
So, yes, at that time, I was veering way too close to the African side of things–trying to recreate something African and just orchestrate it for a western ensemble. Actually, an interesting thing about Thomas Mapfumo's music is that he kind of does that. He orchestrates mbira music for, kind of, a funk ensemble. He's already done that and that's as good as it's going to get! I really have nothing to add to that. It was a painful realization.
DM: With African music, in general, it tends to be much more about the aural than the written, right?
GB: Definitely. For instance, I was learning this piece from some of the African guys I played with. They played it for me and I was just trying to play along. I swear I finally thought I knew where one was but came always came out on the wrong beat. After we played, I had one of the guys sing it to me because I wanted to write it down, but to write it down, you have to decide on a meter. This didn't really work, so I decided to write it down and then just bar it later. That didn't really work, either. He didn't read music, though. I would ask him as I was writing it out if it was correct and he just kind of shrugged. I do have a video of it, though, and I went back to it later. One thing I realized is that the bass player is kind of screwing it up, so I didn't feel as bad! It was kind of reassuring, but on the other hand, I was totally wrong! What I expected for it was something that was 6/8 or 12/8 based. It turned out to be something sort of in 9/8 but it overlapped measures. It still had the triplet feel to it. The accents were weird enough, though, that it just threw me every cycle. I used the rhythm for this song to create the bassline for the last piece on African Flowers called "Harare/Leaving Africa."
DM: Was it a consideration to have the music be accessible, and, if so, was it more of a consideration after you got the grant?
GB: Actually, if I had the grant initially, I probably would have given even less of a shit if it was accessible, because then it's payed for either way. The grant is the type of thing that makes it possible to present in venues where it doesn't matter as much if you sell it out. The musicians get paid either way. Nevertheless, the grant didn't really impact my thinking either way.
At that point, though, I had already gone through some sophomoric stages of my playing and writing. I had already made a decision around the time I recorded Urban Nomad (Origin Records, 2008) that, in general, I wanted whatever complexity that was in the music to be disguised in some way. Before that, I had thought that there's this culture among musicians of writing music that is difficult, and that it's better because it's difficult. I had finally come to the conclusion that that was bullshit. Music is not improved by being difficult. In fact, most of the time, if your music is extraordinarily hard for another musician, who is of substantial ability, to play, there's probably something wrong with your music.
DM: [laughs]
GB: Now sometimes that's not true. Sometimes you're writing something that's super new and super bad. It's going to be really happening when everybody gets it together. You're just on the cusp of a new thing. Say, for instance, Steve Coleman's music. That's really hard, but it's bad, and it's really important and significant.
That wasn't, however, the feeling that I had about the music that I wanted to write. I thought that if I couldn't make it so that a reasonably educated listener, like my mom or friends that are jazz fans, could enjoy it, then I'm doing something wrong. I didn't want to write a set of music that was like that…you know, when people sit there in their black turtlenecks and nod and smile at the right time. I'm just not interested in that, honestly. There's a place for that, and it's just not my place.
I wanted my music to have that personal thing that moves you. Like the first time I heard Stevie Wonder or Donny Hathaway. That soulfulness. Randy Weston's trio…all the people we've been talking about. I think all those people have that element. There's an entry point for anybody if you just sit down and listen. You don't need a degree. It's not neurosurgery. But, on the other hand, if you listen to it repeatedly, it continues to reward you. There's stuff there every time.
Different types of people listened to Miles at different points in his career. When he started in with the whole electronic thing, a whole new set of people started listening to him when In a Silent Way came out. These people didn't have to know that he's using these chords that are planing in half steps, or whatever. Who cares? There's something that was connecting with the music that wasn't just the drum beat. It's the whole structure of it. The way the whole works together. The sounds that the musicians are getting. All these things factor into why people could listen to it.
So, yes, in general, around the time of Urban Nomad I wanted to start making music that many people would enjoy listening to and that, yet, edges away from that pandering that you hear in a lot of contemporary popular music.
DM: Was there anything in particular, besides getting tired of complicated music, that moved you in that direction?
GB: There's a few things. One was an interview I read with Herbie Hancock. He was talking about the making of Fat Albert Rotunda. He was talking about how he really liked Sly Stone and James Brown and how he really wanted to make an album like that. When he examined his motives, he realized that it was just out of pure jazz snobbery that he hadn't made a record like that yet. That kind of struck a chord with me.
I don't think I was making difficult records before that, but I just went through a period of time where I was writing music that was hard. There were two things going on there. One was that I was just at a point in my development where I don't think I had the craft to make it easier and still get the sound I wanted. The other was that I also thought that, for whatever reason, if it was harder to play, it was hipper, and that's the sophomoric aspect of it. In the end, I just realized what kind of music I really enjoyed listening to. There's some music that you listen to in the way that you take medicine. Like, I should listen to this because it's good for me. Then there is other music that was just really fun for me to listen to. I found my lists for these two purposes to be much different and that I wanted to make music that lined up more with the 'fun' list.
DM: So your writing has changed because of that. Do you feel your improvising has, too?
GB: Yeah, I think so…on good nights. There's still nights where I'm playing for the wrong reasons. The wrong reasons are playing to impress or meet some kind of goal in your mind. In the book, The Inner Game of Tennis, there's this great chapter called "Games that People Play on the Court," and they don't mean tennis. It's very transferable to music. There's still nights where I'm playing some of those games, even when I don't mean to be. On better nights, though, I'm not playing those games.
As far as the music goes, I think I play both more and less than I used to. In terms of playing less, I'm not trying to play to impress like I used to. You know, in a way when somebody walks into the room and you're like, 'oh, now I gotta play some bad shit'–it's just a certain recipe for disaster, musically! Basically you decide to abandon the rhythm section, you don't give a shit about them anymore. That's a bad place to be and I don't feel like I do that as much as I used to.
With the playing more idea, I went through a period where I was too self-consciously editing myself. I would strip out stuff from my playing because I didn't think it was hip enough. This is just as bad an idea as playing to impress. For me, it was a lot of second-guessing happening on the bandstand. Both these things were going on for a long time with me. In retrospect, there were some nights, though, that I was really happy with when neither of these things were happening. I also don't mean that these faults don't come back every once in awhile, either! On the good nights, though, I'm just responding to the other musicians in the moment and not worrying about anything else.
DM: How do you approach a gig where you're playing the same music over and over again? As improvisors, we try to create something new every time we play, but, sometimes, that approach can go overboard. We start thinking too much and the music suffers. How do you deal with this?
GB: I don't think about it too much. I had a breakthrough with that, actually, on the tour of Africa with Ryan Cohen's band. We were basically playing the same set every night. What I noticed was that for the first ten gigs or so, I felt my ability to play the music steadily increasing. The music, in some cases, is pretty complicated and hard to negotiate, but I felt myself internalizing it more and more. Then I felt like I hit a cusp and sort of got worse at the music for a few gigs. I was just frustrated with playing the same stuff. Then, after these few gigs, it went up in the other direction pretty dramatically. I got to a place where I felt I had even more freedom on it, like I do when I play a standard or a blues. It did, however, take the period of being sick of the music to get there. Especially with some of the more restrictive tunes, I just felt like I had nothing left to say during that cusp period…and then, suddenly, I did again.
Now, I've tried to suspend disbelief in some ways. I just think now that it doesn't really matter, actually.
DM: It doesn't matter if you repeat yourself?
GB: No, I don't worry about that at all. I'm more worried about not feeling inspired on any given night, which is not the same thing as repeating yourself. For example, when I was at CalArts, a few of the other students and I decided that Charlie Haden has three solos that he usually played: a major scale solo, a minor scale solo, and a folk song solo. The amazing thing, though, was that I couldn't wait to hear him play any of those! That was the high point of my week if he did. The reason is because each time he played the solo, he played it like it was brand new. It wasn't the same every time. It was just sort of the same idea every time in the same way that, say, a Red Garland solo with Miles' band is somewhat the same idea. It's a certain style but it always sounds fresh and inventive.
DM: Because of the inspiration behind it.
GB: Right. So, I've learned, from playing specific music over and over again, that it doesn't have to be a new tune for me to feel inspired. It could just be a new night if everything is going well. If the the drummer's playing well, we're interacting, and everybody else in the band is listening and not asleep at the wheel…as long as nobody's just phoning it in, I don't think it matters if you've played the music a lot.
In some ways, I prefer to play on vehicles we've played a lot and that everyone is comfortable with as long as we can all bring the fresh attitude toward it.
DM: That takes a lot of effort sometimes.
GB: Yeah. I think that takes a certain sort of thinking about it.
DM: Perhaps a clairvoyance and openness to letting a comfortable tune evolve naturally. Just being open to having the tune be different.
GB: I think that's totally right. Something bad, though, that can happen with a band that's playing the same material is that, not only are you playing the same material, but you feel trapped into going to the same places within it. That's a really negative thing. That's death. That's the end of a band.
The other thing, though, is when you can play the same material and have it still be exciting. There's still different stuff happening. Think of Miles' band with Herbie, Tony, Ron, and either George Coleman or Wayne. They basically played a pretty set repertoire. Another example is Lennie Tristano's cats. They played, maybe, a repertoire of 15 tunes, but the stuff sounded so exciting and fresh. If you listen to those records, they sound like they're really reaching and struggling like it's the first time. For me, that was the lesson I learned from Charlie Haden–even if you're playing something very simple, you can make it feel like the first time. It's not just the way you present it. It's also about embracing everything that's going on around you.
DM: The whole concept of the struggle can be frowned upon when trying to present a professional concert. To me, though, the struggle is something that translates to the audience even more the flawlessness.
GB: Yeah. I think that the sophisticated jazz audience actually wants to hear you fail sometimes. I don't mean in the catty way that other jazz musicians want to hear you fail. Audiences want to hear Miles crack a note. They like the fact that they're attuned enough to what's going on that they can hear when it doesn't work.
I was just listening to this Lee Morgan record, The Rajah. I had never heard it before, but I got it recently on vinyl. There are definitely some rough patches on that record. There's a reason it didn't come out in 1966 when it was first recorded. The band, Lee, Hank Mobley, Cedar Walton, Paul Chambers, and Billy Higgins…as great as they are, they're not all firing together all the time on this record. Not to mention the first track on the record is almost 15 minutes long. So, it's not one of the greatest moments in Blue Note's history.
I realized, though, when I was listening to it, that I learn more from hearing them trying to work it out than I would if it was really perfect. I can hear them trying to make it work and it works great at moments. It's interesting, though, to hear the things that don't quite work. For instance, at one moment, Lee tries to play in another key and it's not quite happening. Then he tries it again later in the cut and it is kind of cool. He's clearly working it out in the recording studio. I mean, can you imagine, God forbid, working it out in the recording studio?!
DM: Time is money!
GB: Yeah. All of us jazz musicians have almost adopted a pop mentality of making a polished, finished product. This is in direct opposition to the famous 'warts and all' quote from JJ Johnson. It's gotta have the mistakes.
DM: I remember discussing Kurt Rosenwinkel's Standards Trio performance at the Jazz Showcase with you and you said that you would almost enjoy hearing Jeff Parker play over that material even more. I think it's safe to say that Parker's playing is much more raw than Rosenwinkel's. Does this aspect have anything to do with your preference?
GB: Yeah. I mean, Kurt is awesome. I have nothing negative to say about Kurt, but I love Jeff. I think that if I were going to sit down and listen to a guitarist playing standards, I'd like to hear Jeff. And, yes, it directly relates to the 'warts and all' idea. Yeah, Jeff's thing is raw, but it's so sophisticated and so crafted. It's not raw from lack of practice. It's because he's spontaneous and he's working it out on the bandstand and he has plenty of material to work from. I think that most cats don't realize that there's a lot of effort on his part that's gone into that particular crafting of his style. It's not by accident that he sounds like that. It's not just that he's trying for something else. Whatever it is, whether it be practicing the guitar, listening to music, thinking about music, or just knowing how you want to sound, it's craft. I would rather hear Jeff than almost anyone on the planet. He's my favorite.
DM: When I first heard Jeff, I was immediately drawn to him, but I didn't know why. This was when I was in high school, so I didn't know a whole lot about music yet. I thought he wasn't technically impressive, but something really made me connect.
GB: He's the antithesis of jazz school values. So, if you've been schooled on the jazz school values system, then liking Jeff is almost contrary to what you've been in school for for the last four years.
DM: Right. This was before I even started playing jazz. I was just listening to jazz at this point. There was some vitality or humanistic quality in his music that just drew me to it. I didn't know why I liked it so much because, no matter what music you play, the most celebrated musicians are usually the ones that are the most technically adept.
GB: Yeah, almost always. Maybe the blues thing is a little bit more lenient. Say, for instance, someone like Albert King.
DM: Definitely, but at that younger age, all my friends were way more into Stevie Ray Vaughn.
GB: Ah, interesting. Well I'm from Texas, so I'm required to like Stevie Ray!
DM: [laughs]. As I started to learn more about music, I began to realize that there's a considerable depth of knowledge in Jeff's playing.
GB: There's tons of language in Jeff's playing. He plays pretty much nothing that's not jazz language. There's no bullshit. With a lot of other cats, you hear a lot of extra stuff in addition to just the point they're making. Jeff is able to make his point and not play a lot of extra shit. He seems to always play exactly what he wants to play even if it's on the edge of working.
DM: Yeah. You can tell that he's really present and in the moment.
GB: I feel like I've never heard Jeff stumble. Sometimes I feel myself stumble and, say, a phrase doesn't work out the way I intended it to. When I listen to Jeff, I feel like the intention is so clear on every phrase in the same way it is for, say, Jackie McLean. It doesn't have to be technically right all the time. He can fumble and miss a note, technically, but the musical idea is so clear that you can fill in the spaces. Even on an uptempo tune, he's still able to make it work out in some way.
I also feel that there are some other really strong things in Jeff's craft that people don't really give him credit for. One thing that I think is really unique about him is his sound. I'm not a guitar player, so I have no idea what that's about, but he's one of the only guitar players that I can voice like a horn. His sound on the guitar has a similar weight to a horn player's sound. So, when I wrote African Flowers, for example, I had the freedom of deciding whether or not he would be a comping instrument or a lead instrument. He's one of the only guitar players I can think of that does that. He has the same weight as a trumpet or a saxophone in a melody situation, whereas, most of the time, when you write that way for guitar, it just gets lost in there. The attack and decay of a guitar can be an issue to blend with the horns in the right way. It can be great if it's just one horn and one guitar playing unison. That almost always works, but if you try to crunch it in there with a couple of horns, it doesn't work with most guitar players. Jeff's sound, though, has this meat and substance to it that isn't present in a lot of guitar players' sounds.
DM: Yeah. I feel like it's bright but it also has a lot of body to it.
GB: Yeah, and that's sort of like the full harmonic spectrum that a horn has. So, when I write it with the sax and trumpet, say in "Harare," the blend is great.
DM: There's some very crunchy voicings in there.
GB: Right. A lot of times, we're separated by a half step and a fourth. On the first Ted Sirota's Rebel Souls record I did [Vs the Forces of Evil], there's a tune like that as well.
DM: "Grendel."
GB: We played it with other people, but with Jeff it always worked. It's just his understanding about how the whole harmony is supposed to sound and how full or resonant his particular sound has to be within that harmony. That's a craft thing. It's very sophisticated.
The other thing that's great about Jeff is his knowledge about how to get different sounds out of the guitar. Without me asking, Jeff got some sounds on African Flowers that sounded like vibraphone or pedal steel.
DM: "Children's Room" is a great example of that. [we listen to excerpt from "Children's Room"].
GB: Yeah, so in this section, the bass is voiced very high and the guitar is doubling it. It's supposed to sound like an mbira.
DM: It totally does.
GB: Mission accomplished!
DM: The first time I listened to it, I couldn't figure out where the sound was coming from until I listened in and realized it was Jeff.
GB: Part of that sound also comes from the fact that Clark [Sommers, bass] uses high action gut strings. In the higher register, the bass doesn't have that same ring to it. It sounds more percussive and thumpy up there, the same way that iron mbira pegs do on the hollow body of that instrument.
DM: Yeah. It works great.
Stay tuned for part II of my interview with Geof Bradfield, which should be posted in the next few days. Thanks for reading!


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App Urges You to Spend Less on Stuff, Donate More
A new app aims to encourage you to find room in your budget for donating to non-profits by prompting you to reconsider your purchases and donate instead. Called Instead, it gives you easy one-button ways to give once you've decided not to spend money on something else.
"Instead of eating at the Cheesecake Factory, how about eating at Chipotle and giving the difference?" creator Micah Davis suggests. "Or, instead of going to the movies, use Redbox, and give the difference."The Instead platform is based on the idea that technology, especially smartphone apps, can facilitate a widespread growth in microphilanthropy. Just as tens of millions of dollars were donated by text message in the wake of the earthquake in Haiti (and the same Red Cross campaign is being used to raise funds for Hurricane Sandy), Davis believes that the Instead app can help to change giving behavior and that all those little donations can add up to something big.
When you download the app, you're asked to give a credit card number or sign in through Facebook. You then have access to a list of 100 or so charities. So, when deciding to forgo buying lunch and packing one from home instead, you can quickly donate $5 to the charity of your choice.
Instead takes a 5 percent fee from each donation, the same as Kickstarter and other fundraising sites, but they have outlined exactly what that fee goes to on their website, so users can feel good about donating.
The Instead app is available for iPhone and Android devices.


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Why Is Social Security Running Out
If you pay Social Security tax or FICA tax as a U.S. employee or employer, you've probably asked questions about why Social Security is running out and if Social Security retirement benefits will be there when you retire in the future. Set up a free My Social Security Account to verify the accuracy of your Social Security earnings record.
According to Social Security Administration (SSA) mid-year 2016 report, more than 60 million Americans receive Social Security benefits. About two-thirds of Social Security beneficiaries receive Social Security retirement benefits. The average retired worker receives an average benefit of about USD 1348 each month. According to many financial experts and the financial press, Social Security faces both current and future challenges to its mission of providing financial stability to older workers and their survivors.
Social Security Challenges
The Wall Street Journal says that Social Security's long-term ability to stay solvent is shaky. Social Security pays millions of retirees, survivors, and disabled persons each month through the OASDI Trust. On its current course, Social Security will run out by 2034. Although OASDI has about USD 2.8 T in available resources now, the 2016 report says these resources will disappear in just 18 years.
- SSA's Trustee report also says that OASDI will begin to spend more than it takes in by 2020.
- If changes aren't made to existing OASDI by 2034, retirees and others will see their benefits cut by about 21 percent.
If you're counting on Social Security to fund at least half of your financial requirements in retirement or you've got very little saved for a future retirement today, it's important to consider SSA's current forecast.
In essence, SSA's problems stem from an overall financial imbalance. According to SSA, there are four separate but inter-related issues it must grapple with over the next 18 years, including a declining worker-beneficiary ratio, increased life expectancy, low interest rates (low yield environment), and Congress's present stalemate.
SSA Worker-Beneficiary Ratio
OASDI counts on current workers to fund retirement for older Social Security retirement beneficiaries. The demographic bulge of Baby Boomer retirees between the years of 2010 to 2030 will stress Social Security's ability to pay out the current level of benefits. It's predicted that 70 million or more U.S. workers will retire in these years.
The "who pays – who benefits" equation is a big challenge. New workers aren't entering the work force in enough size to replace the numbers of Baby Boom generation retirees. That's why SSA reports the declining worker-beneficiary ratio—from about 2.8:1 to 2.1:1—is so important. Fewer new workers won't pay Social Security tax revenues to support the increasing number of Baby Boomer retirement beneficiaries to maintain OASDI cash reserves.
Increased Life Expectancy
People are living longer in retirement. Increased life expectancy means that current retirees will probably receive more money after retirement than they did in the past:
- Grandparents of today's retirees had an average adult life expectancy of about 70 years. The standard retirement age of 65 meant that the average retiree lived just five years afterwards.
- Today's Social Security retirement beneficiaries have a higher life expectancy of about 79 years.
- Increased life expectancy today is attributed to better health care access, education, and targeted pharmaceutical treatments.
Social Security's original design didn't plan for a mass increase in life expectancy, nor did it imagine the impact of today's low interest rate/low bond yield environment. Use the Life Expectancy calculator at SSA.gov.
Low Interest Rates
Social Security receipts are safely invested to grow assets under management (AUM). Today's ultra-low yield environment means that Social Security can't invest money at a previously available rate of return.
Low interest rates have benefited many businesses and consumers. Businesses have borrowed money to expand operations and hire more workers. Low mortgage rates help more U.S. citizens to own a home or refinance an existing mortgage loan.
However, Social Security and bond investors have struggled with low interest rates:
- OASDI can't invest in the stock market. Instead, it must invest in certain bond issues specifically earmarked for Trust funds.
- When certificates of indebtedness or bond issues in the OASDI Trust mature, they're replaced with lower special issue bond yields.
- Although inflation is considered low, today's low interest rates don't allow OASDI to protect beneficiaries' assets against the impact of inflation.
The Federal Reserve's decision to keep low interest rates is designed to help businesses and consumers recover from the Great Recession of 2008. However, the longer low interest rates remain in place, the worse for the OASDI Trust's return. A lower investment return means that Social Security must dip into cash reserves and, in doing so, depletes cash on hand at a fast rate.
Congress Stalemate
Congress must address the known future cash imbalance problem faced by Social Security:
- It has the ability to raise Social Security revenues by increasing Social Security tax or reduce beneficiaries' benefits.
- No one can predict Congress's eventual course but it's clear that changes will be made to Social Security.
Future beneficiaries can also help by deferring retirement benefits. By making the decision to wait to claim benefits at Full Retirement Age (FRA) or later, retirees' receive more Social Security retirement benefits and help conserve OASDI funds.
Of course, younger workers should invest more money for retirement today by taking advantage of existing tax-deferred or advanced retirement plans.


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Ending Modern Slavery
After stepping off the podium at the United Nations, President Obama made a special commitment – to ending modern day slavery. Not just in remote corners of the developing world. But here in this country as well.
Many of the slaves today are girls. Born in this country. Hidden in plain view.
You see these girls around you. They are the lost girls, standing around bus stops, hanging out by runaway youth shelters, or advertised online. Here in D.C., they are right in front of you. At the Motel 8 or the Marriott, at McDonalds or the bars on U St. and Adams Morgan.
According to the FBI, there are currently an estimated 293,000 American children at risk of being exploited and trafficked for sex. Forty percent of all human trafficking cases opened for investigation between January 2008 and June 2010 were for the sexual trafficking of a child. And while the term trafficking may conjure images of desperate illegal immigrants being forced into prostitution by human smugglers, 83 percent of victims in confirmed sex trafficking cases in this country were American citizens.
The average age of entry into commercial sexual exploitation for these children is between the ages of 12 and 14. They are abducted or lured by traffickers who prey on their trust. They are routinely raped, beaten into submission, and sometimes even branded. When they try to run away, the traffickers torture and or gang rape them.
They are girls like Jackie, who ran away from an abusive home at 13 only to be found alone and hungry by a trafficker who promised to love her like a father/boyfriend/Prince Charming. He sold her to at least six different men every night. When she begged him for food or rest, he beat her.
Young girls like Jackie are the new commodities that traffickers and gangs are selling. It is less risky and more profitable to sell girls than crack cocaine or meth. The U.S. government spends 300 times more money each year to fight drug trafficking than it does to fight human trafficking. And the criminal penalties for drug trafficking are generally greater than the ones usually levied against those who traffic in girls.
A girl can be easily, discretely, and anonymously purchased online, on legitimate websites like Backpage.com. With the click of a mouse, the buyer has effectively purchased a girl for sex, with minimal risk of punishment.
Legally, men who purchase girls for sex are no different than men who snatch children off the street to violate them. Both are rapists. No child is permitted to have sex with an adult, much less sell her body — the law says she can't consent. Yet arresting these perpetrators of child rape is rare, and prosecution is even rarer. In most cases, these men are politely referred to as "Johns" and set free. According to the international anti-trafficking organization Shared Hope, very few buyers of prostituted children are arrested or prosecuted in the United States.
In fact, when an arrest is made, it is often the child who ends up behind bars. Most girls in detention, are actually victims of trafficking and sexual violence. Jackie, and so many other girls like her, are repeatedly arrested and detained for prostitution, despite being children who were forced to sell their bodies. This must be the only time the abused child is incarcerated for being abused.
But that's the problem — these girls are not considered victims. Here in the United States, we have the same child sex slave markets as in Cambodia, the Philippines, and India. Girls are sold to the very same types of men, and they are tortured in almost identical ways if they attempt to leave. Yet these girls, the girls from Southeast D.C. or South Central L.A., are seen as the "ho," the bad girl, the hooker.
It is time to really see these girls and help them. Hopefully, the plans the President outlined will help these girls too—because no girl in America, in the 21st century, should be for sale.
And here is what you can do to fight against the exploitation and trafficking of girls:
- Support Rights4Girls leadership trainings for girl survivors to advocate for themselves and other girls subject to violence and exploitation.
- Tell your Representative or Senator to pass the Trafficking Victims Protection Act's Reauthorization.
- Honor our girls everywhere by challenging the over-sexualization and merchandising of girls.
By Malika Saada Saar, executive director of Rights4Girls, a U.S. based human rights organization for young women and girls.


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To travel to EuCheMS OMC 2017, we recommend flying to Schiphol Amsterdam Airport (AMS). Schiphol is one of Europe's largest airports, with over 150 direct connections in Europe alone. To identify a direct flight connection near your location, we recommend using the Schiphol Flight Explorer.
To reach the conference location, we recommend taking the train to Amsterdam Central Station. Alternatively, you can take a taxi.
There are 4 trains per hour from Schiphol to Amsterdam CS. A trainride takes about 15 minutes. You can buy a train ticket in the Schiphol Arrival Hall for Amsterdam Centraal Station.
A taxi ride takes about 25 minutes, depending on the traffic. Plesae ask the taxi driver to take you to "Beurs van Berlage". The address is address: Damrak 243. Please expect a travel fare of about 15 Euros.


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Tag: Robin van Persie
Exclusive: Lukas Podolski, Skunk Rider!
Guard of Honour? Pah!
Include me out.
I'd much rather see this.
Fools Rule: Fanning The Fire
Our motto says it all: Victory Through Harmony. Perhaps that's the biggest lesson we have to learn? As Gunners. If we're ever to start winning again…
A rather ruffled ARSÉNE WENGER pushes a large shopping cart packed with footballers up to the counter. He fumbles through his pockets, eventually producing a fistful of wrinkled receipts, which he places on the counter…
Arsenal and the Holy Grail
The story of Parcival is practically word-for-word the story of our hunky French striker! It's like History repeating itself! History repeating itself! And here's the good part…
Wishful Sinking: Why We Should forget van Whatsisname.
Us Gunners are a passionate bunch. No doubt about it. And competitive rivalry between clubs is an essential part of being a supporter. But, in the same way that we run the club with solid principles, and play the game with a sense of style, so should we, I believe, conduct ourselves in an appropriate manner.
The Sting In The Tale
The Arsenal fairy tale du jour is that Ian Wright, Thierry Henry, Dennis Bergkamp AND Robin van Persie all opened their Arsenal league goal-scoring accounts against Southampton…
On contracts…
"When is a door not a door? When it is ajar…"
"When is a contract not a contract..?"
It bothered me during the Great Cescape – when our club captain, with four years remaining on his contract, was allowed to throw the world's longest, sulkiest hissy-fit – making himself useless to the Club, and forcing a move back to Barcelona.
It bothered me this week, when Alex "Blingalicious" Song slouched off to follow Fabregas to basque in golder pastures. (Our Top Deck midfielder was supposedly unhappy with his mere £55 000-per-week salary – hence the insolence? – and before you could say "WTF..?" he was gone). This despite two, maybe three years remaining on his contract.
Penis Over Brain had us bent over a barrel for nigh on a year – before he practically took a dump in it with his July 4th Declaration of Independence: the footballing equivalent of a 'Dear John' letter – and turned what should have been a routine contract extension into a drawn-out, messy divorce. (A divorce that left us with the house and the memories: he got to marry the home-breaking slut; and keep the kid. (Kid was a Man Utd supporter anyway, so, no loss there…)
Even as … Read More »
"Misery, distress, indigence, adversity, calamity, disgrace, deception, ruin.
It is a card in particular of unforeseen catastrophe."
Hmmm. Maybe I need to find a more optimistic Tarot deck. It's behaving rather like a black-bag-Gooner at present… The urge to 'cheat' and draw another card was almost irresistible, but I guess there is an Arsenal-appropriate lesson to be learned by accepting the hand I've been dealt, and making the most of it.
"Misery, disgrace, deception"
Do I wish that our traitorous captain hadn't issued his foolish and ill-advised Independence Day statement? Yup. Do I regret that he backed his Manager, his Club, into a corner – forcing them to sell him to the only club that showed interest? Yes, sirree. And most of all: do I regret that that club was our sworn enemy? Of course I do.
I would have loved to have seen him be true to his many words, and only win trophies with his beloved childhood club. For a gray-haired, glass-ankled donkey, he sure had a great last season – "dragging us over the finish line" (with a little help from his friends…) But the donkey has joined the Dark Side and gone off to join Shrek at you-know-where. Too … Read More »


text: Your Instagram feed is flooded with enviable street-style/skyline photos with captions along the lines of "Hi New York, so excited to be here!", which can only mean one thing: it's time for New York Fashion Week. I've joined forces with nyu.fashion and my NYC partner-in-crime Anni to create a not-so-basic NYFW guide. This list of hotspots and underdogs has got you covered during these hectic days, whether you're looking for a power breakfast, that perfect Instagram backdrop or a chilled glass of rosé with Leo by your side. Head straight to the article to check out the spots and the map!


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Contact Us
Hicks Contact Information
Hicks Nurseries, Inc.
100 Jericho Turnpike, Westbury, NY 11590
Phone: 516-334-0066
Email: firstname.lastname@example.com
Store Hours:
Monday-Saturday 8am-9pm
Sunday 8am-7pm
Sunday 8am-7pm
From Northern State Parkway: Take Exit 32. Follow sign to Old Westbury. Go north on Post Ave., left on Jericho Tpke. Hicks Nurseries is on the left.
From NYC on Long Island Expressway: Exit 39. Go right at 3rd light on service rd. onto Old Westbury Rd. Turn left at 1st light (Jericho Tpke.). Hicks Nurseries is on the right.
From Suffolk on Long Island Expressway: Exit 40W onto Rte. 25 west. Go west 2 miles. Hicks Nurseries is on the left.
From Roosevelt Field: Go west on Old Country Rd. to Glen Cove Rd. north. Go right on Rte. 25 (Jericho Tpke.) east for 1 mile. Hicks Nurseries is on the right.7


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For creativity, capability and resilience, Steiner schools work
Steiner education is a popular choice of alternative schooling in Australia, with more than 40 schools country-wide. Along with other alternatives to mainstream schooling, Australia seems to be pursuing an agenda of educational choice, similar to that in the UK and US. But what is Steiner? And what does the research tell us about it? [Article by Tao Bak for The Conversation, 26 June 2014]


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Create new operating models to redesign the care system, simplify claims, improve outcomes, and increase reach.
Health plans are influential in promoting better outcomes as they directly influence reimbursement rates and define what "quality" means and how it is measured. They will assist in facilitating the delivery of quality medical services by simplifying claims processing and entering into Accountable Care contracts.
KPMG can help in the areas of:
Request for proposal


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Health Insurance
Regular full-time or regular part-time (75%+) appointments and eligible dependents may enroll in health insurance. The University pays 80% of the health insurance premium and the employee pays 20% (pre-tax). Coverage becomes effective on the first day of the month following completion of one full calendar month of employment if all necessary forms are received by the Office of Human Resources. Premiums are paid a month in advance. Please read the 2019 Eligibility & Enrollment Guide.
Dependent Eligibility Verification Documents
Please refer to this list for documents required for dependent eligibility verification. Documentation required for dependents must accompany paperwork. The employee has 60 days to provide a Social Security number for newborns or other dependents. However, application for coverage to add new dependents must be made within 31 days of the birth or adoption date.
Declining Coverage
If you decline coverage when first offered, you may apply during Annual Enrollment or be eligible under a qualifying event. Contact Jecobi Swafford, Total Compensation Senior Specialist, via email or 425-4452 for information.
Transferring Plans
Transferring health insurance plans may be done only during Annual Enrollment. This is the only time of the year when participants can make changes in their insurance coverage. Changes in coverage will become effective on January 1.
Canceling Insurance
Cancellation is not permitted outside of Annual Enrollment unless the covered person experience a qualifying event or family status change.


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Want create site? Find Free WordPress Themes and plugins.
Services We Offer
We are a diesel products supplier and a member of a local truck pulling club.
We help you locate hard to find parts.
We ship parts for free in the lower 48 states.
We gladly ship overseas – many of our customers are in Canada.
We are available for technical advice on diesel products and performance issues.
We are affiliated with an local installer, specializing in the Cummins line
Bottom Line:
Diesel performance is our passion. Call anytime!
Did you find apk for android? You can find new Free Android Games and apps.


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Cost Management Specialists (CMS)
optimise revenue and improve profit
against confirmed baselines and agreed targets.
Strategic insight with an action bias to:
- improving the customer experience through process excellence
- increase revenue, decrease cost & increase margin
- optimise the benefits of digital transformation
- increase stakeholders ROI
- confirming objectives, assumptions, options & outcomes
- facilitating thought leadership with respect for diverse views
- cross functional collaboration for a preferred option
- an action bias
Customised professional development to:
- build organisational & individual capability
- develop business acumen for problem solving
- motivate continuous improvement
Cost Management Specialists convert 'opportunity cost' to banked $s.
Our cost management eyes, ears, expertise & insight provide a 'gift' of:
- time to increase return on your current daily investment.
- increased revenue, cashflow and margin
- a continuous improvement culture
Contact John Cleary on +61 411 522 521 for an obligation free discussion.
Client List
View Client List.


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I wouldn't have to sell into a panic market as I expect to have cash on hand for at least a year of "top up" at any time. I also can live quite comfortably on just the pension income but couldn't do the extras like travel a lot. The top up to my pension is JUST for the extras, and all of them can be put on hold for a year or two if needed. I don't worry about getting hit with a major bear market for longer than 6-9 months since that is the historical average length. Although I am NOT a market timer, I do watch it quite closely and have taken some defensive moves over the last several months which protected me from a major drop over the last few weeks. I do trade regularly (6-10 trades a month) and have made adjustments to my portfolio as I felt they were warranted. I guess that what I was looking for, is a dialogue with others in the same position who have stocks, not mutual funds, and are researching them on an ongoing basis. Someone to recommend stocks for others to do their Due Diligence on. Some I like are APA, EMC, ORCL, AMAT, ADBE, and VSH. Anyone else got a few recos?
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text: The modern design of Korovesi Villa has attracted people to visit this place. It has the contemporary design with the amazing studio approach that is based on the Australian studio decoration. It is one of the modern villas that are able to accept around 10 guests in the holiday season. It is located in the area in where you are able to get the best view with the panoramic approach….


text: Cameron H. 22019 Posted June 17 Director: I have completed my masterpiece! A dance movie that's nearly 2 1/2 hours long... Screenwriter: But the script was only 8 pages long and two of those just had the words "they dance" written in highlighter. Director: Masterpiece! We watched: NEXT WEEK: Watch Out for Snakes picks 4 Share this post Link to post


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When you purchase an item from the App Store or iTunes, it is possible to obtain a refund on items purchased within the past 90 days if you have a legitimate reason. For example, you might buy the live version of a song when you meant to get the studio version. It is certainly possible to download the wrong app inadvertently, especially on an iOS device.
In this article, I will outline the process of how report a problem (and request a refund) with items purchased in the App Store or iTunes.
Avoiding incorrect purchases There are many forms of media you can get from iTunes and the App Store including movie purchases and rentals, TV shows, music, books, audiobooks, Mac apps, and iOS apps. You can preview a song you are about to purchase on a computer by moving the mouse over the title and clicking on the play button icon that appears. On an iOS device, tap on the song title and it will begin to play a preview and show a circular progress icon.
To avoid incorrect app purchases, click or tap on the icon of the app first, then click or tap "More…" to see the full description.
Returning iTunes and iOS purchases If you need to report a problem with a purchase, start iTunes on a Mac or PC and open the store. Then click Account in the Quick Links section. If prompted, type in your iTunes password. Scroll down to Purchase History if necessary and click See All on the right. If the item is not listed on the first screen, click on the Next button until you see the item you want to report a problem with.
Click on the arrow icon to the left of the item. On the next screen, click the Report a Problem button at the bottom, then click on the words "Report a Problem" on the line where the item appears.
An online form will open in your default browser. Use the popup menu to chose one of the reasons listed:
- I didn't authorize this purchase
- Didn't mean to purchase this item
- Meant to purchase different item
- Item didn't download or can't be found
- Item won't install or downloads too slowly
- Item opens but doesn't function as expected
Or choose "Problem is not listed here." Type a description of the problem in the box below and press the Submit button.
After a few days, check your account to determine if a refund was issued. When you click on the arrow icon to the left of the item, you will see a if the transaction has been reversed. You'll also likely get an email from iTunes support with the outcome of the report.
Returning apps to the Mac App store The Mac App Store has a slightly different return process. Open the App Store app and click Support on the right under Quick Links. Then click Contact Support on the left, and the Get Started button. Click on Purchases, Billing and Redemption, and then "Mac App Store account billing," and then Continue.
This brings you to the page where you have the options to Talk to Apple Support Now, Schedule a Call, or Chat. Choose one of those methods to explain the issue and request a refund.
You can access the same support page from an iOS device by visiting apple.com/support in Safari and tapping the links Contact Us > Get Started > Apps & Software > Mac Apps > Mac App Store > Purchases, Billing & Redemption > Mac App Store account and billing > Continue.
Another method you could use either on an iOS device or computer is to locate the emailed receipt Apple sends out for each purchase. This works for all forms of media, including subscriptions to Apple TV services. The email message contains a "Report a Problem" link that enables you to return the specific item in the receipt.
Refund confirmations are send out via email also, which gives you the ability to easily determine if the issue was resolved from any of your devices.
In using technology, we all occasionally make an error. I hope this article will be helpful if you find it necessary to return an iTunes or App Store item.
FTC: We use income earning auto affiliate links. More.


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Top Trump - Game Instructions
The starting player selects a category from his topmost card. The corresponding value from the computer's topmost card gets compared to the starting player's value. The player with the best value wins and gets the cards. The cards will be placed at the bottom of the pile. The player who has won, then chooses the category for the next round. The winner of the game is the player who obtains the whole pack.
Production in 1000 tons
Water consumption in litres per kg
Production per capita in kg
Production value in Euro per ton
Calories in kJ per 100 gram


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by Deeb
(San Diego, CA USA)
Ahoy mateys! Thought that an appropriate greeting since we're all pretty much in the same boat. Some of us, such as myself, may have a bit less common a sea to sail (keeping with the nautical references :) To clarify, I too am in need of a hip reconstruction. However, I feel my proposed surgery is a bit more complicated due to a pre-existing condition. I have lymphodema of my right leg. I received the lymphodema as a parting gift from a previous surgery to remove what started out as one lymph node. My doctor opted for removing all outlying nodes just in case. The unfortunate problem with this decision is it caused me to develop the lymphodema. The best God has given me to explain what that is is to compare the lymph system in our legs to an elevator. The elevator brings lymphatic fluids up from the foot back into the pelvic region where it is eliminated. Without the lymph nodes in our legs our elevator is broke resulting in swelling in that leg. The swelling can be quite significant and alarming, to say the least. One day about three months post surgery, I woke up with my right leg, no exaggeration, twice as big as my left. Well if that won't send you to your doctor fast I don't know what will. I will have this swelling the rest of my life. I've adjusted and accepted, but it does give me pause in regard to the hip surgery. It's just not a normal looking limb so it has me concerned. If there is anyone who has had a similar situation or knows of someone who has, if you could share with me your experience I would be gratefully indebted. I have been "dragging my foot" on setting a date for surgery and it is really getting ridiculous. I have five children and a disabled husband, so it would be a good thing if I could get some first hand information as soon as possible. Just hoping to know a little better what to expect this time around. Thank you for reading.
Join in and write your own page! It's easy to do. How? Simply click here to return to Share your hip replacement surgery story.


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A casting call for furries "both sexual and non-sexual in nature" and "the freakier the better" has been distributed to the furry community.
There are no details about the U.S.-based show, which is apparently called Furries. Furry News Network posted the casting call, which asks for a one-minute video of the person in costume.
The site notes that "some Furries have found themselves un-welcomed and shunned, if not completely banned from some furry events and websites for participating in a reality TV show," so it warns that people "consider carefully how you will appear to the Furry Fandom, and the rest of your friends as well as the world if you choose to pursue this."


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Self Defence Seminar -
Non Members Welcome*
Saturday 4th April 2009
11.30am to 1.30pm
West Park Leisure Centre, Long Eaton,
Nottingham, NG10 4AA
We will shortly be running a two hour Self Defence training seminar for both members and non – members alike, as this is not strictly martial arts we have decided to allow you to bring with you your friends, family or work colleagues, no martial arts experience is necessary and they need not worry about fitness as this will not involve excessive physical training. On this two hour seminar you will learn basic self defence skills that will give you the knowledge and confidence to help you protect yourself and those close to you from harm if you ever had to. The techniques you will be shown are all easy to remember and more importantly easy to pull off which is vital in a real life self defence situation. Below are the topics we will cover.....
Section One – Conflict Avoidance / Keeping Out of Harms Way
Simple do's and dont's to help stop a potential attack before it even begins
Section Two – Vital Point Striking / Understanding the Human Body
Learn which body parts are vulnerable no matter what size your opponent is
Section Three – Simple Grab, Hold and Choke Defence Techniques
Simple and effective breakaway techniques that will buy you enough time to either
make your escape or fight back depending on the level of threat experienced.
As mentioned no previous martial arts experience is required so feel free to invite your friends along, you can wear your kickboxing uniform and they should wear loose comfortable unrestrictive clothing. This class will be taught from both male and a female perspective. Remember you can bring your Mum, Dad, Sister or neighbour as any non PKA members are very welcome to attend.
Cost £20.00 Per Person - 2 Hour Course
+ Licence Stamped & Dated


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Elmhurst Dumpster Rental Service
Call K. Hoving Companies today, if you are in a need of a dumpster, but are unsure as to where to go. We offer both reliable and affordable dumpster rental services. When you have construction debris or waste materials you want to be removed from your home or business, you don't have to look any further than K. Hoving Companies. We know everything there is to know about dumpster rental and waste management. As Chicagoland's finest and most professional and affordable waste management company, we provide a simple solution for a complicated problem. We will deliver to you the highest quality dumpster rentals and waste management services within the Chicago region. We will match our products to your specifications and deliver them when and where you want them and pick them up after you are finished with them. K. Hoving Companies is the affordable, reliable and straightforward answer to all your dumpster rental and waste management needs. In short, we take the aggravation out of renting a dumpster. All you have to do is make one effortless phone call and your dumpster rental will be delivered to your location on time. As a matter of fact, a number of Elmhurst customers have recently called us and inquired about our waste management services and about renting a dumpster.
Elmhurst Dumpster Rental Service
Elmhurst, Illinois located in both DuPage and Cook Counties, is roughly 16 miles from downtown Chicago. Today, the city has a total population of 40,070 residents with 14,867 households. Elmhurst has a median household income of $83,206 and an average household income of $107,303. The median home value is listed as $342,217. Nearly 50% of the residents have either graduated from a four-year college or university or hold a graduate degree. Chicago magazine recently awarded Elmhurst the top spot out of 192 suburbs, saying that "It may be the quintessential Chicago suburb—pretty, safe, and alive with cultural offerings." As a matter of fact, the majority of Elmhurst homeowners are constantly trying to improve and increase the value of their homes. In addition, business owners are interested in boosting and increasing their sales. It is by no coincidence that they have chosen K. Hoving Companies as their choice of dumpster rental and waste management services. They know they can trust us to provide them with reasonably priced dumpster rentals. They also realize that our rental process is hassle free and without service delays or expensive rates.
Elmhurst Waste Management Service
Your chances of receiving your roll off dumpster rental, where and when you want it, are much better with the experts at K. Hoving Companies. Our locally operated dumpster rental business has an unmatched reputation for fast delivery and on-time pick up. As Chicago's premier source for dumpster rentals, we work with homeowners, businesses and construction sites to supply dumpster services for their every waste management need. Regardless of your location, K. Hoving Companies will get you the dumpster you need for your construction, renovation or cleanup projects. We offer a wide range of roll off dumpster rentals in a variety of sizes that can handle every waste disposal job, large or small. When you're facing more waste and trash than you are capable of handling on your own, it's time to give K. Hoving Companies a call to rent a dumpster. We will help you determine a plan for managing the waste that is being generated from your project, at a price you can afford. When you are contemplating your next project, choose a K. Hoving Companies as your dumpster rental provider! We'll be happy to send one of our experts out to your home or business to provide you with a free estimate.
Elmhurst Dumpster Rental | Elmhurst Dumpster Service | Rent A Dumpster Elmhurst | Elmhurst Waste Management Dumpster


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When it comes to your health, it is important to know your numbers. Health Risk Assessments (HRAs) provide an overall health snapshot including cholesterol, glucose levels, blood pressure, resting heart rate, body composition, waist/hip ratio and more.
Individual participants receive a personalized Report Card explaining their biometric values in the form of universally recognized letter grades (A, B, C... F). The personalized report explains the biometric values and also provides simple, but effective action items to immediately improve employee grades. Click here to register for an HRA or call (417) 820-2790.
If you're doing an HRA through your employer, your individual data remains completely confidential. Your employer receives only group summary reports.
We also offer additional screening services that can be done at the same time as an HRA for additional cost. These screenings can provide further insight to an employee's health.
Before the HRA: Making the most of your HRA
After the HRA: Understanding your results
HRA Report Options:
Single Page HRA Summary


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This cheesy, oven-baked sub is where Italian and Mexican cuisine unite in delicious harmony. With homemade meatballs, sautéed veggies, and taco-flavored tomato sauce, your tastebuds will find this savory sandwich hard to resist.
Any of your favorite taco toppings: jalapeño slices, guacamole, sour cream, pickled red onions, or lime wedges for squeezing over the top.


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More About CADMENTR
Visit My SparkPage Send Me SparkMail
Recipes I've Shared:
I saw this recipe in Woman's World, their recipe called for 4 cups of vegetables in total, but I tweaked this recipe to get much more veggies into the soup, and jazzed it up with extra spices, and tried to use "no salt added" wherever possible.
A hearty meal, for those cold winter afternoons, and a great lunch for those weekdays when a hearty meal is necessary.
I've been wanting to try this out for a while now, and there are so many different variations to the recipe for "Celery Root Soup" out there. I just had to add mine into the mix.
A creamy golden soup that tastes as good as it looks.
High in potassium, low in sodium.
Old fashioned, Chicken vegetable soup with those alphabet letters
A great tomato based soup, that uses up leftover chicken and has a hot and spicy salsa flavour
This Recipe originated in the Good Housekeeping Cookbook from 1980. I have made it many times using the original canned soup broth, but due to it's high salt content, I've adapted this to using my own home made low-sodium beef and chicken broth
A quick and tasty way to get your daily fibre.
The recipe for the caramel portion of these bars is from Chef Meg's Caramel Popcorn recipe, and the remaining ingredients in the recipe are what I came up with to create my high fibre bars.
A great tasty way to get those veggies in
A recipe that tastes like Chicken Cacciatore.
This is a good way to use up the meat from those chicken legs I used to make chicken soup stock with the other night.
The meat is already cooked so everything is easy. Just add everything to the slow cooker and when you get home dinner is served.
I've been wanting to try this BBQ sauce for a while and with a pork loin roast in the fridge, I decided to give it a try in my slow cooker.
This award winning salad was originally created by a great vegetarian cook, Usha Meister. I've tweaked it a little for my own tastes, by adding more dried fruit and changing up the vegetables, and using quinoa instead of rice.
A quick and easy salad for sandwiches.
chicken salad recipe for quick and easy lunches, wraps, fresh rolls and more.
My version of the traditional Chinese soup served in most Chinese restaurants.
Great way to use up leftover cooked chicken
My variation of Chef Meg's Recipe
Adapted from a recipe in the Canadian Living Slow Cooker Cookbook Special
This is an awesome recipe. True Thai taste.
Had some chicken left from dinner, so threw together a Chicken version of my Pad Thai
If you like Thai Food, this one is especially for you. So flavourful, and a great meal if Rice noodles are added.
Had some roast beef left from dinner, so threw together a beef version of my Pad Thai
Another recipe I came up with in order to be able to have a food I like, without all the fat, sodium and calories.
This recipe was adapted to give a lower calorie count from a 1980's "Canadian Living" Christmas Special Cookbook.
If you want to impress, this is the desert to do it with.
This "No Bake", no fail, cheesecake recipe is as lite as a cloud and will use up almost every pan that you own in your kitchen but the taste of the finished product is worth every single dish that you have to wash.
Crispy like KFC, but without all the calories
Easy to make, lower sodium version of scalloped potatoes.
Very Tasty too!
These are the basic 3 ingredients that are necessary to make a cream sauce. What you add to the above ingredients will determine what type of sauce you make.
as good as the local Chinese restaurant's but without the heart attack from the sodium.
Great for lunches, low in sodium and fat.
Recipes I've Rated:
Recipe Collections I've Shared:
|!!!!!low-sodium lifestyle
|!!!!!low-sodium lifestyle
|!!!!!low-sodium lifestyle


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WHITE DESERT Our distinctive gladiator with sleek hardware is a chic summer essential. Polished hardware adds a bold shine. Rivets rim the toe as a nod to the handcrafted construction. Embedded memory foam insole, leather outsole. 100% leather.
Matt Bernson shoes are made in sizes US 5 - 11 and run true to size. Any variants in sizing will be noted in style description, if applicable. Should you have additional questions, please contact customer service for assistance by calling (212) 941-7634 or emailing email@example.com.
is backordered. We will ship it separately in 10 to 15 days.


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January 15, 2020 | 7:00PM | $115.00
112 College St.
Before the parties, seminars and big events begin, San Antonio Cocktail Conference will once again offer Paired Dinners, a more intimate opportunity to enjoy the cuisine from some of our favorite restaurants paired with the cocktails from some of our favorite spirits. Each restaurant will host a single table of guests for a multi-course dinner, pairing culinary and cocktail with each course. Tickets are per person. For inquiries about purchasing an entire table, please contact Cathy, at email@example.com.


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As a diabetes researcher I have a particularly keen interest in blood sugar (or blood glucose). If you have type 1 diabetes and need insulin injections, then knowing and understanding your blood glucose is pretty key to getting through the day (and night). But how worried should we all be about the immediate effect of different foods (and drinks) on our blood glucose?
Following the usual rules of nutrition there is a fair amount of advice out there; blogs teaching you how to stabilise the "peaks and troughs"; pitching slow-release energy foodstuffs against warnings of those that will cause you to come crashing down with a thump. To clarify, I'm not suggesting there is nothing in this – our bodies tend to put a lot of effort into keeping things the same, a repeated challenge to our system may cause damage over time.
Although we may notice a difference in mood and energy while our blood glucose fluctuates, if your pancreas is functioning properly, these fluctuations are unlikely to do you any immediate harm. It is different in type 1 diabetes when the pancreas is not behaving as it should, as these highs and lows can really put someone in danger. But the dip in energy you feel at your desk in the afternoon (possibly a blood sugar dip… possibly just tiredness!) is in no way comparable to a diabetic hypoglycaemic event which can cause panic, anxiety, palpitations, and carries a risk of losing consciousness.
At the moment, we don't really know for sure just how damaging the long-term effect of (non-diabetic) blood glucose variability is – there is a lot of debate in the scientific literature. It is the focus of much research, including our own, so I'm not trying to dismiss it by any means, but there are a couple of things to consider before changing your diet to follow the blood glucose trends. Maybe continuous ups and downs do put an extra strain on our bodies. Maybe this causes our cellular communication pathways to eventually breakdown and maybe this contributes to the development of type 2 diabetes. Or maybe the peaks and troughs don't matter one bit providing the levels even out (on the lower end of the scale) in the end. Maybe, just maybe, that's a few too many maybes to make a snappy stabilising story to sell…
One thing we can be fairly certain of is that everyone is pretty individual and our blood glucose response to a particular food is often not even the same every time we eat or drink it. Take coffee; for some people coffee seems to have no effect on blood glucose, for others it has been shown to cause a rise. In a recent experiment, we found that black coffee (no sugar), consumed at the same time, before any other food or drink that day, caused an increase in the blood glucose of one participant, but that increase was markedly different on each day. Most likely because the participant did not do exactly the same thing on any of the previous days – food, exercise, alcohol – so chances are this caused a knock-on effect in the morning. So, we know that blood glucose variability is individual, and variable!
And where does this leave us? Does it mean blood glucose variability has no importance? Maybe not. I'm ticking the "it's complicated" box for now. There is no simple answer. But what does it mean for your food choices? I am a believer in the holistic nature of a "healthy diet", where mental health is as important as physical. Food has the power to give so much pleasure, pretending otherwise is not going to help keep the relationship healthy. Of course too much sugar is not good for us, that's kinda the definition of "too much" after all…
We need to find our own individual balance; somewhere between cake every day for breakfast and a flat-out ban on any cake-related happiness. I know we're all different, but cake is definitely good for my soul.
Claire is a Senior Lecturer in Biology at the University of Brighton; she has been a diabetes researcher for over 13 years. She is currently involved in research which uses continuous glucose monitors to understand glucose responses to food, drink and exercise. The project is also investigating the effect that variable glucose has on cell viability in the lab. In her spare time she enjoys researching the effect of cake, cheese and exercise on her own happiness.


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The first South Korean astronaut has left the state-run research institute for personal reasons, the institute said Tuesday, bringing to an end the country's first astronaut program and sparking criticism of government waste.
The Korea Aerospace Research Institute (KARI) said Yi So-yeon sent a letter of resignation by mail and the offer was accepted.
She had been on a leave of absence since 2012 to study for an MBA in the U.S.
The 36-year-old scientist became the first Korean in space with two Russian cosmonauts in 2008 under the 26 billion won (US$25.4 million) space project led by KARI.
Yi's resignation triggered claims that KARI had chosen the wrong person for the expensive project and wasted taxpayers' money. (Yonhap)


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Novak Djokovic sails into second round of Australian Open
Tennis saw Novak Djokovic sail into the second round of the Australian open, as he beat Slovenia's Aljaz Bedene 6-3, 6-2, 6-4 to record a routine victory. Britain's competitor's weren't so fortunate however, with Heather Watson, James Ward and Kyle Edmund all crashing out on Day Two. Andy Murray is now the sole British representative.


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116 W. Pacific Street, P.O. Box 85, Gladewater, TX 75647
Phone: 903-845-7608
Email: firstname.lastname@example.com
|Several interesting news articles have been published through the years about the East Texas Museum, Gladewater. Here are links to just a few:
|The Gladewater Museum, Living in History
|Going For the Old, How Antiquing in Gladewater Revived My Spirit


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Situated on the ground level of the sparkling galleria in Melrose Arch our Body20 studio offers a unique training experience that will leave you wanting more.
Body20 EMS training solutions are carefully tailored for each individual members' goals and can be readily adapted for any age or level of fitness. Whether it be an increase in muscle strength, muscle tone, performance, fitness, endurance or stamina, a 20-minute EMS session will deliver a fitter more toned you in a fraction of the time of conventional training.
At Body20 Melrose Arch, you will find a friendly and vibrant team whose prime focus is for you to reach your fitness and strength goals whilst shaping the body you have always dreamt of.
The Body20 experience will change how you look at exercise forever.
Body20 Melrose Arch
Shop 036EF, Lower Galleria, Melrose Arch Shopping Center.
Phone: 066 235 8320
Cell: 082 718 1199
Email: email@example.com
Juanita & Philip Hughes
Technology has made life easier in many ways. It's also made life busier, faster and more demanding, leaving very little time for a healthy lifestyle. Like most people my busy lifestyle was at odds with my health aspirations.
Limited time to exercise and quite honestly not knowing what I should be doing once there, meant I visited the gym less and less. Eventually stopping altogether. As the weight piled on I became grumpy and unhappy.
My husband introduced me to EMS training and from the very first session I was hooked. I felt exhilarated and couldn't wait for my next session. We had been looking for a business opportunity and I knew we had found it with Body20. The opportunity to changes people's lives was too good to pass up.
The reality is that going to the gym four or five times a week is just not an attractive option for so many people and many don't see any improvement as they have no idea how to train effectively. Because every session our members do is with a qualified trainer, they are guaranteed to get the best out of every minute they spend with us.
I think most people know they should be doing something to stay fit & strong and improve their health & wellbeing, but just don't have the time. I was exactly that person. The time efficient nature of Body20 training meant this was no longer a problem for me. It is incredible what just 20 minutes a week can produce.
I now look forward to helping you also reach your goals!


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My remote consultation includes a thorough review of all of the factors in your life (lifestyle, work, fitness, nutrition, etc.), coming up with recommendations and easy-to-follow guidelines so you can start immediately working towards your goals and planning for your next steps.
Whether you're looking to lose body fat, gain muscle, or improve your lifestyle to have more energy and enhanced love life, my proven method not only helps you understand your body and what exercises get you the most benefit, it also helps you understand the barriers in your life that are holding you back.
Maintaining results long-term is not possible unless your nutrition complements your training program.
My nutrition coaching complements your active and social life.
I reward commitment. My Elite Coaching combines both my training and nutrition programs, as if for those people that realize that they want to change and are ready to invest their time and money.


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This large custom-made farmhouse wall clock features a vertical barnwood style with a finished wood back. The white distressed finish, hand painted black numbers, inner accent ring with individual hour marks complete the vintage farm to home look. A premium American Made High Torque Quartz Clock Movement, antique-style spade hands, plus attached hardware are all included. Available size options range from 18 inches to 50 inches in diameter with no assembly required. The clock movement does requires one AA battery to operate which is not included.
Includes FREE Domestic Shipping
Ships in 2-4 Business Days
Primary Materials: Burch wood, chalk paint
Primary Colors: distressed white
Clock Numbers: Arabic numerals
Clock Hands: Black, metal, antique spade style
Batteries: AA battery -not included
Size: 18" X 18" X 1"
Quality wood construction ensures safe and easy wall installation - Multiple size options to choose from - Hanging hardware is already installed to the back of the clock for a ready to hang convenience - Quality 1 Year Manufacturer Warranty Included


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Commonly Used Terms used within this Montana 811 website. They are provided to assist your understanding, they are not legally binding.
- Home
- Glossary
- Alternate Contact
- Authorized Contractor
- Business Day
- Cleared to Dig
- Color Mark
- Continuous Dig
- Correction Request
- Crew on Site
- Cross Street
- Design Planning Request
- Diagram
- Emergency Locate
- Excavator
- Expired Ticket
- Facility
- Hand Dig
- Intersection
- Legal Holiday
- Locator
- Machine Dig
- Map
- Mark
- Meter
- Planned Emergency Locate
- Planning Design Request
- Private Utility
- Right of Way
- Refresh Request
- Relocate Request
- Remark Request
- Site Meet Request
- Sketch
- Standard Locate
- Ticket
- Ticket Number
- Tolerance Area
- UDIG Member
- Update Request
- Utility
- Vacuum Excavation
- Valid Ticket
- White Lining
An alternate individual who may be contacted for questions or issues regarding the locate request. Someone able to reach the primary contact person, this may also be the excavator or contractor who will be doing the digging
A contractor who has provided Montana 811 contact information which pertains to each locate they've requested, and also has signed a waiver acknowledging they have received the instructions and liability statement pertaining to locate requests. This helps expedite the locate submission request process in which the Contractor / Excavator information is always the same. There is no fee for this service.
An official working day of the week, not Saturdays or Sundays, or the Montana State legal Holidays as set forth within the Montana Dig Law.
This is usually after the two (2) business days have passed, excluding weekends and the 6 legal holidays as set forth within the Montana Dig Law and providing the excavator visually determines that the underground facilities / utilities have all been located.
Colored paint marks by which underground facilities / utilities are identified. The colors are in accordance with the American Public Works Association Uniform Color code (APWA). See this web site for the color code associated with each utility type.
A continuous dig extending over a larger area, such as digging for a building foundation or a trench to bury water / sewer pipe, fiber optic, natural gas line, etc.; as opposed to a single dig site such as for the planting of a tree or the setting of a post.
A request to add additional information to the locate request that does not relate to the dig location: such as mentioning that there is a dog in the backyard, correcting an incorrect fax/phone number, needing locators to call and clarify their marks, etc. Locate request will retain same ticket number.
An excavation crew is waiting at the dig site; usually used with an emergency locate.
Also referred to as 'intersection', a place where two or more roads meet. This is critical information in identifying and locating accurately the proposed dig site.
A request involving design/survey (no excavation taking place), has the same requirements as a standard locate request.
Also referred to as Map or Sketch. A black and white rendering which identifies the dig location in relation to property landmarks, street names, measured distances, etc.; and indicating which direction is north as well as the nearest intersection. Additional information is contained within this website further describing how to prepare a diagram, map or sketch drawing. Such things as aerial photographs and Google maps are NOT acceptable and will be rejected.
Request for a locate in which there is a critical need to begin the excavation as soon as possible, an excavation crew is usually on site waiting for the locates to be completed. These locates can only be requested by calling 811. Montana Dig Law defines it as "to alleviate a condition that constitutes a clear and present danger to life or property; or repair a customer outage involving a previously installed utility-owned facility."
A person that performs digs and also moves or transports soil, gravel or sand.
A locate request ticket in which 30 calendar days have passed since the legal start date. Montana law only allows a valid locate ticket to be good for 30 days from the legal dig start date.
An underground or submerged conductor, pipe or structure used in providing services such as; electric or communications service, or an underground or submerged pipe used in carrying, providing, or gathering gas, oil or oil product, sewage, storm drainage, water or other liquid service (including, but not limited to, irrigation systems), and appurtenances thereto; as summarized from the definition provided by the Common Ground Alliance.
To dig without the use of any mechanical equipment.
Also referred to as 'cross street', a place where two or more roads meet.
In the State of Montana, for purposes of Montana 811 processing, these are: New Year's Day, Memorial Day, Independence Day, Labor Day, Thanksgiving Day, and Christmas Day; this is the actual day, not a day preceding or following the holiday.
Also referred to as line-locator, person who has been sent by the underground facility/utility to identify and mark the horizontal location of that facility/utility within the proposed dig area.
To dig or excavate with the use of mechanical equipment such as a back hoe, post-hole digger / driver, power auger, mechanical trencher, etc.
Also referred to as diagram or sketch, black and white rendering which identifies the dig location in relation to property landmarks, indicates which direction is north, indicates the nearest intersection; does not include aerial photographs or Google maps.
Term used by locator to indicate the paint or flags placed by the locator to indicate the buried facility or utility.
Term used by locator to indicate the paint or flags placed by the locator to indicate the buried facility or utility.
Request for a locate which meets the requirements of an emergency locate, but in which the excavation does not begin as soon as possible, but rather at a specific day and time which begins prior to the legal start date. This locate request may only be made by calling 811.
A request involving design / survey (no excavation taking place), has the same requirements as a standard locate request.
Usually refers to facilities owned by the property owners. Also, can be referred to as non-utility company owned facilities, such as buried facilities beyond a utility company owned service meter.
A path or route that may be lawfully used to place utility services, such as; alley, sidewalk, greenbelt, driveway.
A request to remark the locate marks of a dig area prior to the ticket 30 calendar day expiration date. This request has the same requirements as a standard locate request. The original ticket number will be referenced, but a new ticket number will be issued. Usually requested when the marks are no longer visible (i.e. snow has covered the marks, digging has destroyed the marks, etc.)
A request to remark the locate marks of a dig area after the ticket 30 calendar day life has expired. This request has the same requirements as a standard locate request. The original ticket number will be referenced, but a new ticket number will be issued. Commonly requested when the marks are no longer visible (i.e. snow has covered the marks, digging has destroyed the marks, etc.)
See refresh and relocate request types.
A request to meet locators at the proposed dig site to better explain the proposed dig area. Site meets cannot be guaranteed, since it is difficult to coordinate schedules with locators. Site meets are used to supplement information about the proposed dig site; they are not to be used in place of marking and accurately describing and identifying the proposed dig area.
Also referred to as Map or Diagram, black and white rendering which identifies the dig location in relation to property. Landmarks, indicates which direction is north, indicates the nearest intersection. Aerial photographs and Google maps are not acceptable.
A request for locate of underground facilities/utilities. The legal start date in the State of Montana, is two (2) business days after the day the locate is requested; excluding weekends and the 6 recognized legal holidays and the excavator visually determines that the underground facilities / utilities have all been located.
What is created by the One Call Center from the information gathered for a specific 811 locate request. May also be referred to as 'line-locate'. The ticket number identifies the locate request that has been accepted for processing.
An identifying number assigned to a locate request that has been accepted for processing.
Is a defined horizontal space from the outside wall or edge of an underground facility line. In the State of Montana, the tolerance area is 18" each side of the buried facility. Special care and only hand-digging (non-mechanical) must be taken when digging within the tolerance area.
An association, corporation, government entity, or individual which has buried services within a public right of way is required by Montana law to be a member of a Montana 811/One Call organization. Annual dues are required.
A request to modify and/or revise the original dig location, expand the dig location, continuation of a job, or used when an existing ticket is now an emergency. The original ticket number will be referenced, but a new ticket number will be issued.
Also referred to as Facility. A buried service built and installed to serve a specific function such as a natural gas line or main. May also be a conduit, pipe or cable which carries a service such as electricity, cable television, communications, natural gas, etc.
Soft excavation technique defined "as a means of soil extraction through vacuum; water or air jet devices are commonly used for breaking the ground" as defined by the Common Ground Alliance.
A ticket for which excavation begins after the legal start date, the ticket is valid for 30 calendar days after the legal start date.
The use of white paint to identify the proposed dig site; where excavation will take place. This will identify the area for the locators to identify any buried utility lines.