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"Happy Fest" is a springtime greeting in New Orleans, our own kind of "Aloha." People say it to start a conversation and again to depart. I heard this greeting a hundred times this festival season around town. I heard dog-walking neighbors say it during the week in the streets. Outside the Fair Grounds, street performers and Mid-City residents with packed porches and open doors shared it with the streams of people converging near the entrance. I heard it in cheers at logjams in the streams where people clogged around trays of jello shots. Inside the Fair Grounds I saw parties split ways saying "Happy Fest" as they went to different stages. It's a greeting that comes commensurate with a smile.—Alex Johnson
Michael Skinkus
Usually, we like to start our Fest with some Mardi Gras Indians. But on the opening Thursday, the Semolian Warriors weren't scheduled until 12:30, and so Michael Skinkus and Moyuba won out. It was an auspicious start, with the New Orleanian-based troupe invoking the orishas in a respectful (and pointedly non-sacred, given their appearance on a racetrack paddock Lagniappe stage) fashion. Not that respect means dull. Although the troupe did succumb to the unnecessary revisionism of sax solos occasionally, the core of overlaid vocals and polyrhythmic Afro-Caribbean percussion shone through—making a grand opening both for the Semolians (who keep that pulsing bare-bones parade sound alive) and for the Cuban bands that graced this year's Fest. These were a great and long overdue addition, and the various bands, which each played several sets, drove the lesson home. Take the Septeto Nacional Ignacio Piñeiro, for example. Even performing dance music, they knew to keep the brass sharp, tight, and in the back, behind the congas and the vocals, while the more basic lineup of Grupo Caury—again, vocals and percussion—evoked nearly as wild a response. When the rhythm is right, less is so much more.—Clea Simon
Hitting the Ground Running
On opening day of Jazz Fest 48 the hot and humid weather was mitigated by cloud cover and a gusty wind that made baseball caps the choice over straw hats. Crowds were sparse except for the two big stage headliners and lines for some hard-to-obtain goodies like cochon de lait po-boys were reasonable all day.
My first move was to buy the commemorative post office release from "Big Chief Monk Boudreaux Station." Don't know if Monk ever dreamed he'd have a post office named after him but he has now lived to see it. Monk also curates the Mardi Gras Indian performances at the Fest and he started the program by booking the Semolian Warriors to represent at the Jazz and Heritage stage. The uptown gang hit it hard with a nonstop call and response that touched on all the rituals, from "Shoo Fly" to "Big Chief."
Over on the Gentilly stage things got started with a bang, as Alex McMurray rocked out his killer new tune "Ninth Ward Chickens" and played a set based on material from his latest, Alex McMurray Sings His Greatest New Orleans Hits.
Michael Skinkus and Moyuba performed a stirring invocation at the Lagniappe stage by summoning down the Vodun orishas to bless the festival. Cuba was this year's featured guest country at the Fest and Skinkus is well versed in that country's musical heritage. "This is Afro Cuban music," he announced as he led his eight-piece band, all dressed in white to honor the spirits, through a high-energy set that had the largely female audience dancing enthusiastically. Though the music is based in ancient traditions, it moves directly into contemporary jazz via the extraordinary playing of Martin Krusche on soprano saxophone and Brad Walker on tenor.
Once his set was finished, Skinkus rushed over to the Acura stage to sit in with the New Orleans Suspects, who played one of the best sets I've ever heard from them. Skinkus was blazing throughout, especially during Mean Willie Green's terrific drum break.
Meanwhile over at Economy Hall, trumpeter Jamil Sharif was leading his sextet through a hot set of traditional New Orleans jazz. Clad in a sharp black and white checked jacket, Sharif had the fans clapping and second lining to "This Little Light of Mine" five minutes into his set.
I had to miss the Paul Sanchez set because I was interviewing Kim Carson over at the Alison Miner stage. I should not have been surprised when Carson volunteered that Sanchez, then with Cowboy Mouth, was one of the people who encouraged her to start writing songs when she first came to town. We've all benefitted from that because Carson has gone on to become one of the top local songwriters. The interview was a delight as she recounted her days working with Theresa Andersson, having Clarence "Gatemouth" Brown sit in during a gig in Slidell and recounting an observation made by Dave Malone about the differences between herself and Dolly Parton. She didn't even have to employ the punch line to get a huge laugh. Carson played a few of her songs as well, including her first, a tune called "Where's the Jukebox?" written on napkins at the Saturn bar, and her great song about a dog named "Buddy Johnson." Carson later played with her full band at the Lagniappe stage, bringing out some of the songs she talked about during the interview.—John Swenson
Cuban Cultural Exchange
The music festival culture created by George Wein at the Newport Jazz Fest and perfected here in New Orleans by Wein and the New Orleans Jazz & Heritage organization has become an institution of its own. For 48 years Jazz Fest here in New Orleans has presented the best of what the city's unique culture has to offer. In recent years, as many of the icons of the city's music have passed away, local headliners have been replaced by national acts that have expanded the festival's commercial appeal but have not managed to rob the event of its core identity.
Alongside the decision to bring in non-New Orleans headliners was the brilliant idea to feature a guest country each year, bringing musicians with roots common to those of New Orleans into the mix. This has been a refreshing, educational and musically stimulating addition to the Jazz Fest lineup. Up until now my favorite cultural exchange had been the year the Brazilian musicians came to town and played with everyone.
But this year's guest country, Cuba, proved to be the most spectacular choice yet. We have been cut off from interacting with this nation's music for more than half a century, but the lifting of the embargo allows us to see how closely Cuban music is aligned with the music of New Orleans. The common roots are intertwined in the African ancestry of the music, but there is more than just common ground here. There's a sense of identity, like being reunited with a long lost family member. The deep links between Havana and New Orleans, the two major port cities in the region since the colonial era, have been reestablished.
It's almost as if Jazz Fest was taken over, or somehow completed, by the Cuban correspondence. It seemed like everywhere I walked over the course of Jazz Fest I heard congeros beating a clave rhythm into the air. Often I couldn't tell where it was coming from, because it was represented everywhere, from the Kids Tent to the Jazz and Heritage Stage, from Congo Square to the Fais Do-Do Stage. And of course at the cultural pavilion, where a festival inside a festival rolled with its own rules.
Conga drums figure prominently in New Orleans music as well, and even national acts like Stevie Wonder and Earth, Wind and Fire use congas as part of the rhythm section. So the sound was wonderfully ubiquitous, and also a kind of completion. Many of the Cuban musicians used nothing but the human voice and percussion instruments to create exciting montunos that built in intensity and seemed to overspill their borders at will. A five-piece band at the cultural pavilion might suddenly at the end of the set explode into a 15-piece maelstrom of chanting voices, polyrhythms and dancers. More than one observer noted how close in spirit this music is to that of the Mardi Gras Indians, and on the last day, Big Chief Juan Pardo & Jockimo's Groove featured two Cuban percussionists in the mix at the Heritage Stage. Once again, Jazz Fest was able to renew itself in a surprising way.—John Swenson
The superabundance of Cubans was great of course. Lots of rumba (room-bah), a term that in North America is very loosely used, but in Cuba refers to a specific kind of vocal-and-percussion music.—Tom McDermott
Stanton Moore
Saw Stanton Moore on Saturday, April 29 at the Jazz Tent and he was at his best—started out with a trio featuring Astral Project bassist James Singleton and pianist David Torkanowsky. The trio played two out of three James Black songs—"Whistle Stop" and "Magnolia Triangle"—to start things off. The rest of the set, all taken from Moore's upcoming album, was made up of Allen Toussaint songs.
Moore brought out Eric Bloom on trumpet, Skerik on tenor sax and Mike Dillon on percussion for a version of "Java," Toussaint's million-seller for Al Hirt. Bloom laid back for the first pass but soon rode into his virtuoso comfort zone. Don't make things too easy for this guy.
Next, the terrific rendition of "Magnolia Triangle" highlighted by Moore's thunderous drum intro and a game-changing arco-loop solo from Singleton. Moore then stood up from his drum kit and addressed the crowd: "Every musician in New Orleans considers him one of the greatest soul singers of all time."
Enter Cyril Neville, resplendent in a tan outfit topped with a white fedora. Stanton hip-checked the band into a tricky 5/4 slicing of "Everything I Do Gonna Be Funky" with Cyril navigating the beat deftly. Great horn arrangement. Then Cyril just took over on a finale of "Night People" that had him pushing the band to successive heights with his vocals. "Shake it…" Cyril shouted. "Jazz Fest '17."—John Swenson
Moore Than Meets the Eye
The schedule simply read, "Stanton Moore," yet being presented in the Jazz Tent, those in the know figured that meant the drummer's trio with pianist David Torkanowsky and bassist James Singleton. Yet there was, well, more. The three were joined by percussionist Mike Dillon and saxophonist Skerik. The group bowed to the late, great drummer James Black by doing a stunning version of his "Magnolia Triangle." Later, Moore introduced, "One of the greatest soul singers of all time." Cyril Neville stepped out and, among other tunes, sang two Allen Toussaint classics, "Everything I Do Gonna Be Funky" and "Night People." A apt wrap to a great set.—Geraldine Wyckoff
I loved Feufollet, who seem to have pivoted from a very good but conventional Cajun band to a multistylistic Americana/Cajun Pop band with very interesting harmonic progressions and counterpoint (at least on the few songs I heard). The Savoy Family Band were the usual delightful selves, as was Roddie Romero, all at the same stage.—Tom McDermott
Helen Gillet
Belgian transplant Helen Gillet may be best known these days as the ultimate collaborator: this Fest, she not only played nighttime gigs with the sax player Jessica Lurie (at Bacchanal) and drummer Nikki Glaspie (Chickie Wah Wah), she also introduced the films of the Belgian avant garde at the Zeitgeist. But there's something to be said for the woman alone. With her loops and delays, Gillet conjures a full ensemble out of her cello, with a sound that ranges from gypsy jazz to Indian drones, with a strong song sensibility beneath it all. On the Lagniappe Stage the first Friday, she was in prime form with a packed set that ranged from some of her usual covers (PJ Harvey's "Angelene" and the Belgian songwriter Julos Beaucarne's "De Memoir de Rose") to newer originals ("Slow Drag Pavageau," about the legendary New Orleans bassist) and old favorites ("Atchafalaya"). It's always a blast to see newcomers respond to Gillet, and the standing-room-only paddock fell silent as the cellist (in a red jumpsuit) layered vocals over percussive beats (made by slapping the body of her cello) adding in bowed and pizzicato passages as each song progressed. At times like this, solo is more than enough.—Clea Simon
Seahorse Saloon
The first Sunday was a wash until the gates finally opened around 3 p.m., but being pent up in the Seahorse Saloon was a quintessential Jazz Fest experience in and of itself. The Po Boyz rocked the house for over three hours straight as the rain refused to quit. Throngs of dance-happy festers from near and far (mostly far) boogied down to the band's funky brand of Latin/soul/gospel-inflected country party music. —Laura DeFazio
Rainy Day Dream Away
Woke up Sunday morning April 30 and got ready for Fest Day 3. We all knew it was gonna rain, but it hadn't started yet when word came down that the opening would be delayed. When some 3-4 inches came down sideways during the space of an hour around midday it was hard to believe the gates would open at all. But by 3 p.m. the rain had stopped and they were letting people in. The crowd at the main gate was out of control so it took quite a while to actually get in. As a result we missed Dr. John, who was treating Jazz Fest to a look at his revived New Orleans band with special guest Charles Neville on saxophone. Mac is part of the life blood of the city's music so it's wonderful to see him reconnect with it. Everyone I talked to who saw the set loved it and remarked on how happy Mac seemed. I'm happy for him.
Rainy days certainly have their downside, as Little Milton well knew. More than half of the scheduled performers had their gigs cancelled, and acts who could have played, but didn't, included Pitbull and George Benson, both major draws, so their fans were bummed. Nobody took it harder than Dave Malone of the very interesting all-star lineup Magnificent 7, which includes his brother Tommy Malone, John Gros, Mark Mullins, Robert Mercurio, Raymond Weber and Michael Skinkus. Dave and Mark were part of the recent Last Waltz tribute tour, and I was looking forward to hearing them play "Cripple Creek." And of course the vendors and food merchants were pretty much wiped out. If you ordered the Jama Jama you got enough spinach on the plate for three people.
On the other hand, a philosophical bent might lead to—even—a sigh of relief. Alex McMurray, who had played three gigs until 4 a.m. the previous morning, rustled himself out of bed for his 11 a.m. gig with the Tin Men, found out it was cancelled and went back to sleep. He was gonna need the rest with Chaz Fest coming up that Wednesday.
Somewhere during the deluge, Ed Volker got the call that his Quintet Narcosis band would hit as scheduled on the Lagniappe Stage at 3:50 p.m. Though he might have been skeptical, he assembled the group only to find that there was no power. The outage had also stopped the Alison Miner stage.
"I thought about asking the guys to just come over to my place and play," said Volker, "but here we are."
About 4 p.m. the word came out that power would be restored in five minutes.
The band got up there and everyone was set except for Volker's piano, which was inaudible. Bassist Rene Coman, percussionist Michael Skinkus, guitarist Camile Baudoin and tenor saxophonist Joe Cabral began playing a 20-minute sound check/jam with Cabral playing all the way through and Volker hitting the keyboards but getting no response. Then, at 4:31 p.m., the keyboards magically appeared in the mix and Volker immediately launched into a composite of "Sailing Shoes," lines from "Fish Head Music" and the repeated refrain "Sail Away."
"We're actually playing!" shouted Volker to the assembled dancers. "You're actually here!"
The group played a truncated set of "Dancing On the Grave of a Son-of-a-Bitch," "Go Down Swinging" and "Coup de Grace," three songs about not leaving quietly.
"Thirty years ago," Volker mused, "we probably would have played in the rain."
On the day after the Fest, May 8, Volker got a chance to play two meaty sets with this same band at Chickie Wah Wah.—John Swenson
Another Magical Day
Over at the Gospel Tent, Glen David Andrews got cancelled but Val and Love Alive, backed by the 30-voice Mass Choir and a slamming rhythm section that included an amazingly powerful trap drummer, must have thought God himself performed some kind of miracle to get them on that stage. Across the track at the Jazz & Heritage Stage, the Midnight Disturbers looked like a musical version of Noah's ark with at least two of everything—or two sousaphones anyway—six percussionists, including drummers Stanton Moore and Kevin O'Day, six saxophonists led by the incredible Roger Lewis (he's everywhere!) on baritone, three trombones including Big Sam Williams and Corey Henry, and three trumpeters led by MC Shamarr Allen. New Orleans bands know how to play fanfares and finales better than any other musicians on the planet, and the Disturbers' break tune, 12 minutes of killer funk vamp featuring an eight-bar cameo from each member as he was introduced, was sheer ecstasy.
"When I say 'Midnight,' you say 'Disturbers,'" Allen hyped the crowd at the end.
A trip for some of that spinach led me into the Tom Petty zone, and it was better than good. Petty writes rockers with a two-guitar bite and memorable hooks and he can line up an impressive array of those tunes. Many of this band's peers are now relegated to self-parody but Petty's band is impressively musical and he really treated his fans to something special.
In any other setting I would have stuck around for more Petty, but not with Chief Monk Boudreaux hitting the stage. Monk is like a great preacher—you might know the scripture he's citing, but it's the way he tells the story that counts. Wearing a gorgeous purple and orange Indian suit, surrounded by seven family members in variously hued costumes, Monk starts out slowly with the warning "They Don't Know," then invokes the elements with his dramatic "Lightning and Thunder" dirge: "You walk outside… and it's raining…" which breaks into the up-tempo call-and-response of "Shallow Water." Monk tells the story of "Shotgun Joe," reconfigures an old favorite as "When you come to New Orleans, You wanna come and dance with me," brings up his grandson to sing "Sexual Healing," then finishes out with "Little Liza Jane," the reggaefied "Rising Sun" and a stirring "Indian Red," with the 9th Ward Hunters in force in front of the stage, singing along and dancing with the crowd. As his family sings "Let's Go Get 'Em," Monk slowly leaves the stage, ending another magical day at Jazz Fest.—John Swenson
Joyride Quartet
Cynthia Sayer and her Joyride Quartet was a fresh breeze, with Dennis Lichtman on fiddle and clarinet. Power banjo and tango on banjo, very cool.—Tom McDermott
Jon Batiste
Wearing a handmade banana leaf-printed shirt, Batiste left his piano for a stand-up solo on his melodica, or what he calls his "harmoniboard" for its harmonica-keyboard combination.
Batiste smiles as big and wide as the white keys on his piano. At the Allison Minor Music Heritage Stage, he spoke of his calling to the piano, the band's "social music" and "jazz two-point-oh." Batiste expressed his love for home, "this creative community," and distinguished two of his mentors of the same name: John Lewis, the composer and pianist; and John Lewis, the congressman and civil rights leader. Batiste sees his music as spreading the good word and a hope to positively influence the community.—Alex Johnson
Delfeayo Marsalis: King Big Band
The smartest man in the room celebrated Donald Trump's first 100 days in office by closing out the Jazz Tent lineup on Day 2. Delfeayo Marsalis released one of the best New Orleans albums of 2016, ironically titled "Make America Great Again," before the election. Let's hope his reign as the leader of the city's best working big band lasts longer than Agent Orange. Delf brought his 15-piece band in top form, with a four-trombone chorus pumping the front line. Roger Lewis carried the weight with his powerful baritone saxophone, soloing against giant slabs of sound in classic Ellington/Mingus style. A great way to end the day and don't let anybody tell you there's no jazz at Jazz Fest.—John Swenson
R&B Revue
Even though two of the stars of the New Orleans Classic R&B Revue featuring Clarence "Frogman" Henry, Robert Parker and Al "Carnival Time" Johnson sang just a few songs each, a huge amount of New Orleans R&B history accompanied them on stage on Sunday, the final day of Jazz Fest.
Robert Parker's voice sounded strong on the Gentilly Stage, but at 86, he wasn't up for both singing and dancing to "Barefootin'," his international dance hit.
Nor did Al "Carnival Time" Johnson do much moving during his two songs. Johnson, 77, opened with his relatively recent "Mardi Gras Strut," followed by "Carnival Time," his Mardi Gras classic from 1960. Like Parker, his voice was intact and recognizable, but he, understandably, didn't do any jumping around either.
The mobility difficulties and other health challenges Clarence "Frogman" Henry, 80, has experienced for years have not taken the sparkle from his infectious stage presence. Endearing as ever, he sang like a girl and a frog for "Ain't Got No Home" and charmed his way through "(I Don't Know Why) But I Do" and "You Always Hurt the One You Love."
Still irrepressible, Henry stayed on stage longer than Johnson and Parker. He sang more songs than they did and, at the end of his set, valiantly lifted himself from the seated position he'd spent most of his show in.
Bobby Cure and his band, a group that's specialized in classic New Orleans R&B for decades, opened the set with their own selection of local R&B favorites. They later provided expert backup for the R&B legends.—John Wirt
Panorama Jazz Band
The Panorama Jazz Band were wonderfully eclectic, with some fantastic friends sitting in.—Tom McDermott
Usher and the Roots
Starting ahead of schedule, the collaboration with Usher and the Roots covered George Clinton, and also Kool & the Gang's "Jungle Boogie." With The Roots' percussion and sousaphone additions, Usher's "Yeah!" and "U Don't Have To Call" were especially funky renditions.
Questlove's drum leads drove the scene while Usher and Black Thought traded lead vocals. Black Thought, in a denim jacket and a red-white-and-blue-ribboned panama hat, held the crowd's attention with his lyricism. Usher, with his hair dyed varicolored—perhaps to match the Jazz Fest logo on the curtain behind him—led the crowd through his catalogue of sexy hits, like "My Way," "Love In This Club," "Confessions," and "Climax," all while shedding his vanilla cream button-down. Ultimately, Usher skinned up and led the dancing crowd shirtless and in charge. —Alex Johnson
Cinco de Mayo
It took a week to get off the ground, but Jazz Fest was flying high on Friday, May 5. The place was packed on Cinco de Mayo under a sunny sky with cool temperature and a stiff breeze that continued to dry out the rain-soaked infield.
For me, it was one of those Jazz Fest days where I kept running into old friends and getting sidetracked. As a result, my observations are sketchy.
Plus side: A friend wanted to meet at William Bell. It was as good as it gets, a Stax classic straight out of the Isaac Hayes days. The band was tight and the arrangements superb. Bell is a great singer who has lost nothing from his heyday.
"I'm back on Stax, 40 years later," said Bell, looking suave '70s in a silver Mylar suit. He introduced his classic "You Don't Miss Your Water" with a shout out to New Orleans: "This city was the first city where the song was Number One."
Bell played several other classics, a couple from his new album This is Where I Live and closed with "Born Under a Bad Sign."
Minus side: I ran into some other great friends and drifted over to Wilco, which I found very disappointing. They overloaded the sound system to distortion levels. But I had a great time with my friends.
My original plan was to hang at the Lagniappe Stage, where I enjoyed Leyla McCalla's set and sitting in stall 5 at the paddock listening to the Deslondes' easygoing Holy Cross groove. That's when I ran into my friends.
More plus: There's always something wonderful when you least expect it. Walking away from a truly mediocre national act on the Gentilly Stage, I peeked into the Kids Tent and there was James Singleton playing a gorgeous bass solo. He was playing with David & Roselyn, who were positively joyous. "We used to sell our cassette tapes off the stage to make money," said Roselyn by way of reminding the crowd how long they've been playing Jazz Fest. —John Swenson
Irma Thomas and Stevie Wonder
Perhaps Jazz Fest's largest crowd grew for Irma Thomas at the Acura Stage ahead of Stevie Wonder's long-awaited show (Wonder's show came after his 2016 Jazz Fest appearance was rained out). Irma Thomas instructed the many thousands of festers on how to waive their handkerchiefs and bandanas in the air. "It's an old New Orleans tradition, and I want y'all second lining out there right now," the Soul Queen said before launching into "Pocky Way."
Stevie Wonder delivered a lengthy message of love and unity before launching into his highly-anticipated—and densely packed—headlining set on the Acura Stage. John-Michael Early of local funk band Flow Tribe squeezed up front between the stage and sound booth to witness "the master" play after last year's cancellation. "The feeling up front was well worth the wait," Early said. Wonder's set wound through two hours of "favorites and deep cuts," and each song spread "Stevie's messages of love and positivity."—Alex Johnson
May 6 was Stevie Wonder day, which was apparent from a midday venture into the Gospel Tent, where Kim Che're opened up with an inspirational and rocking version of Stevie's "Higher Ground," a song that pretty much offers a synopsis of Wonder's career aspiration to use music as a force for social and spiritual enlightenment. Backed by three backing vocalists and the slamming house band at the Gospel Tent, Kim plumbed the song's message in both secular and spiritual terms: "Teachers, keep on teaching," she sang, then added, "All the teachers in the audience raise your hands!" A lot of hands went up. "Preachers, keep on preaching!" The same shout out brought fewer raised hands. But the point is there's an urgency to Stevie's lyric, a call to public action that has been a hallmark of a career in which he's never shied from political controversy. Calling on teachers to keep teaching at a time when Trump's education secretary, the vile oligarch Betsy DeVos, is trying to dismantle the American public education system, is politics at its cutting edge. Stevie is gonna tell it like it is, and his songs will keep doing it even when he's not there to do it himself. Just as he did with the uplifting tribute to Dr. Martin Luther King, "Happy Birthday." Stevie may be the person most responsible for getting Dr. King's birthday declared a national holiday.
It's no surprise, then, that "Higher Ground" was close to the beginning of Wonder's own set. Eight years ago, at his last Jazz Fest performance, Stevie was promoting the candidacy of Barack Obama and kept on during the set, repeatedly urging the crowd: "Don't be afraid to win!" This time he couldn't even bring himself to utter the current president's name, referring to him as "45."
He had a message for the current occupant of the White House: "God gave him the position he's in for a purpose," he said during a lengthy opening address to the audience. "To bring us together again. Divisiveness is not a solution."
The crowd was as big as any I've seen at the Acura stage—maybe there were more for Aretha, it's hard to tell with the addition of the grandstands—and Stevie, dressed in an orange, brown and turquoise dashiki, engaged them in a spirited, hit-packed show. The band teased the reggae groove of "Jammin'" to the crowd's delight, but Stevie stopped them and said "This is a celebration of life, so clap your hands!"
He then got the crowd to sing the chorus, a trope that worked at various spots in the set. The band was tight, with two guitarists who played some terrific back-and-forth solos and an intense rhythm section. Stevie's voice is still strong and his keyboard work on several instruments was as great as ever. The only parts of the set that didn't project well to the festival crowd were the ballads, although you could tell he delivered songs like "When Did You Leave Heaven" and "Overjoyed" with all the emotion he could wring out of them. He was never far from a barnburner like "Don't You Worry About a Thing" or "Sir Duke," though, so it all worked out in the end.—John Swenson
Chucho Valdés Quintet
Fifteen minutes after the scheduled start for the Chucho Valdés Quintet, the audience in the Zatarain's/WWOZ Jazz Tent let its impatience be known. Even after the Jazz Tent announcer introduced Valdés, the Cuban pianist was nowhere in sight. The announcer soon returned to say, dryly, "Coming soon to a Jazz Fest near you."
Finally, the tall, 75-year-old jazz master, wearing a beret and a shirt of vibrant, tropical colors, walked on stage and offered an embracing wave. His Jazz Tent audience was less than capacity, but extremely enthusiastic.
Valdés and his quintet—featuring a drummer, two percussionists and an upright bassist whose instrument was too low in the mix—got quickly down to their Latin jazz business. Presiding good-naturedly from a grand piano, Valdés dominated the keyboard with endless fluency. His florid musical imagination, transferred effortlessly into lines, patterns and lushly harmonized chord solos, never faltered.
Valdés represents the best of the jazz and classical traditions. These two usually disparate worlds exist without conflict in this one extraordinary musician. It's as if 19th-century Romanticism and elegance meet mid-20th century jazz and Cuban rhythms at a dance.
With a drummer and two percussionists on stage, rhythm and percussion played a major role in Valdés' Jazz Fest set. I would have preferred more of his piano, more melody, simply because Valdés is such a brilliantly skilled, elegant pianist.—John Wirt
Trumpets Trumpeting
There seemed to be an abundance of trumpeters featured at this year's Fest, particularly in the Jazz Tent. That's not a complaint in the birthplace of Louis Armstrong, but an observance. It sprang forth on the first Friday with the arrival of New Orleans Trumpet Mafia led by Ashlin Parker. The set started mildly enough with just four guys blowin' out front. Soon, however, a line of trumpet players who had been waiting behind the scenes streamed onstage making a joyful noise. Responding to the sound, those in the audience jumped to their feet in what could be described as a good kind of shock and awe and offered a rousing applause. Former New Orleans resident and trumpeter Maurice Brown was the featured guest this day and performed several tunes from his new album, The Mood. Brown, an enthusiastic musician, added to the show with his sense of fun, dance moves and by twirling his trumpet. This set also provided the first sighting of Ghana-born percussionist Weedie Braimah who turned up to sit in or dance out front of stages—most often at the Cuban pavilion—all over the Fair Grounds. This man had some fun on both weekends.
Terence Blanchard substituted for trumpeter Hugh Masekela, who regrettably had to cancel due to health problems, for what was to have been a reunion with pianist Abdullah Ibrahim & Ekaya. Blanchard kept a somewhat low profile though blowing strong in the ensemble that included three saxophonists and a fine, young, low-riding drummer. The ever-distinguished Ibrahim often took solos rather than including himself with the multi-instrumentalists in the group that added harmonic flavor with the addition of flute and cello. A lovely set.
Blanchard was back the next weekend leading his E-Collective band. While it was great to hear him blow as a sideman with Ibrahim, the trumpeter was at center stage for this outing that combined some screamin' blowing on his part, electronics, sampling and some pure funk.
Though very different, Blanchard and trumpeter Nicholas Payton, who performed three days later, share some common directions. Both New Orleanians boast deep roots and continue to challenge the music in order to propel it forward. Payton, playing horn and keyboards on music from his new album, Afro-Caribbean Mix Tape, embraced all—old and new—of what he calls Black American Music. Old school slurs met electronic sampling as Payton offered a knowing sly grin.
A tribute to Miles Davis was in order, provided by the all-star SF Jazz Collective. Surprisingly, the set opened with a sax solo though later the brilliant trumpeter Sean Jones got his share. Jason Marsalis stood attentively at the side of the stage apparently checking out the vibes of Warren Wolf or perhaps the sharp young drummer, Obed Calvaire. The excellent set included some hard swinging, Davis' classics like "Tutu" and original material such as "Feel the Groove" provided by pianist Edward Simon.
Even several of the Cuban groups featured a trumpet-like instrument, a Chinese cornet, in their mostly percussive instrumentation. Conga Los Hoyos, with several members dressed in folkloric costumes, danced into the audience along with a very animated guy costumed as a horse. As another member used a brake drum as a percussion instrument—"We have lots of old cars in Cuba!"—the colorful steed danced with bassist James Singleton.—Geraldine Wyckoff
Music Thinkers
Jazz Fest is a good time to meet not just music players but music thinkers. One such scholar excited me with his discovery of syncopated piano and band scores from the Caribbean, dating back to 1780!—Tom McDermott
Lost Bayou Ramblers
The Lost Bayou Ramblers took two stages the first weekend, first playing a raucous set on the Gentilly Stage with their fiddle-and accordion-stomping Cajun music. Later, at the Allison Minor Music Heritage Stage, the Rambler's Michot brothers played a more intimate set with storytelling between songs. They played a family favorite, "Blues de Tactac," Cajun-French for popcorn blues. Andre Michot explained, "'Blues de Tactac' means I went out last night, going out tonight and I'll do it again tomorrow. I ate all the popcorn at the bar and I'll even eat some crumbs tonight. It's just that kind of weekend."—Alex Johnson
DJ Stevie
Stevie Wonder's long-awaited makeup show on the Acura Stage had its ups and downs for sure. The sound quality was shockingly poor for the first few tunes, and a series of ballads during the middle section fell flat despite their sincerity. It just wasn't that kind of crowd. Fortunately, the show really picked up during the second half as Wonder dove into a string of hits: "Sir Duke," "I Wish," "Signed, Sealed, Delivered," "You Are The Sunshine of My Life" and so on, that reminded everyone why he's one of the most beloved pop stars of all time. Nevertheless, the thing that stuck with me the most was the Motown legend's brief and somewhat bizarre foray into DJing. In a turn of events that I certainly did not see coming, Wonder brought out an electronic pad and began dropping samples of everything from Parliament's "Flashlight" and David Bowie's "Fame" to The Eagles' "Hotel California." He even threw in some on-the-fly remixing in there for good measure. This unexpected DJ detour came toward the end of the set, right after a "Living for the City" that featured guest vocalist Corinne Bailey Rae and right before the "Superstition" that closed out the show, so it was an odd use of prime setlist real estate. The crowd seemed to be kind of into it, though I'm not sure everyone knew what was going on. Hell, I barely knew what was going on. Is this just something Stevie Wonder does now? Were there technical difficulties I didn't know about? Was he paying tribute to recently-departed musical colleagues? Is this the beginning of Jazz Fest's transition to electronic music programming? Please, someone clue me in on what was happening there. I need answers. The people need answers.—Sam D'Arcangelo
Travers Geoffray
Travers Geoffray opened with a Pete Johnson cover, "Death Ray Boogie," and then steamrolled his hot piano through his own catalogue. Fresh off the Mississippi Rail Company, Geoffray plays as fast as the Ferriday Killer, Jerry Lee Lewis, and the growing crowd sang along to "Mabel" and "Take Me Home," even though these new songs from his first solo record, Highway Kings, were released less than a month ago. Clad in a navy suit, this showman proved he's ready for the main stage.—Alex Johnson
Tank & the Bangas
The festival spirit thrives in the message of Tank and the Bangas, who played their "theatrical soul" music in the shade of the Gentilly Stage. Fresh off their recent NPR Tiny Desk Concert win—a major accolade besting more than 6,000 other contestants—Tarriona "Tank" Ball led her players and dancers, on stage and those in the enormous crowd, with her inspiring lyrics, bright smile and beautiful voice.
"I am the sun, boy, look," Tank sang in "Oh, Heart." Holding a beer in one hand and a water in the other, an old gray-bearded man sang along with Tank. As she went on about "swimming in an ocean of butterflies" in "Rollercoasters," a young couple, both shoeless in the grass, danced together passing their baby between them.
After the Gentilly Stage set with the full band and green-and-blue spandex-onesied dancers, Tank and Merrell Burkett, keyboardist and NOCCA alumnus, performed a slam poetry-infused discussion at the Allison Minor Heritage Stage. Tank grew up on Music Street in the 8th Ward where she began writing poetry and, at first, felt insecure about her clothing. Her voice, singing or rapping, offers inimitable range, as unique as the woven fabrics she wears, or the flowers and beads in her purple hair.
When asked what it's like to be in their band, Tank said, "We grew up singing in the church and don't want to grow up. It's like recess. We want to shine the positivity back for everybody."—Alex Johnson
Henry Butler
The highlight of the Fest? Pianist Henry Butler blazing away as fiercely as ever; given his current predicament, this was a very emotional thing to experience.—Tom McDermott
Michael Guidry
Michael Guidry, whose art hung from the bleachers displaying a gate-mouthed alligator releasing warblers and red-winged blackbirds, said he had an "amazing day" selling his paintings from his studio booth. "I hear them before I see them," Guidry said of the birds, his voice only audible at a close distance because of the guitars and brass resounding from nearby stages.—Alex Johnson
I love that at Jazz Fest we can be swept away by huge, internationally famous bands but also stumble into tiny, low-tech local ones. I passed by Wilco (who I had never really listened to before) at the Gentilly Stage and was rooted to the ground by the heart-wrenching lyrics and musical build. The sound was actually good (always a crapshoot on big festival stages) so the messages hit home powerfully.—Laura DeFazio
"We made it!" exclaimed Wilco frontman Jeff Tweedy as the band returned for an encore of the Being There favorite "I Got You (At The End of the Century)." Much was said, in the run up to Jazz Fest, about Stevie Wonder's return to the Acura Stage following last year's weather debacle, but the men of Wilco still had a show of their own to finish. Two years ago the beloved—and surprisingly enduring—American rock band was forced to call off its Gentilly Stage performance after half an hour when a downpour brought too much lightning for anyone's comfort. The group wasted no time making use of 2017's fairer skies, immediately launching into a beautiful "Ashes of American Flags" that soared toward its gentle peak. Other selections from the band's 2003 magnum opus Yankee Hotel Foxtrot appeared as well, including "Jesus, Etc," "Heavy Metal Drummer" and "I Am Trying to Break Your Heart." That last one showcased Nels Cline's signature guitar distortion, a calculated cacophony that almost always gels into a lovely melody. However, the day's highlight came with a particularly sprawling take on "Impossible Germany," a dueling guitar jam-vehicle that reached its highest of heights on this Friday afternoosnoopn (the best version this Wilco fan has seen in his 12 shows). Between the career-spanning setlist and a healthy dose of cynical Tweedy banter, the only criticism to be made is that they didn't play "Sky Blue Sky." But then again, I guess they didn't need to.—Sam D'Arcangelo
Terrance Osborne
While the Soul Rebels played a midday set at Congo Square, artist Terrance Osborne showcased his signature Jazz Fest "Nola" portraits nearby. "I use my wife's eyes for Nola and my daughter's face." With her face painted in various Dia de los Muertos patterns, Nola is a beautiful woman whose hair grows Creole cottages, roses and birds' nests. A full second line brass band parades up her spine.—Alex Johnson
Pat McLaughlin and His New Orleans Outfit
Pat McLaughlin is such a good singer/songwriter/guitarist. Give him a two-guitar quartet and you've got a gourmet meal. At the Lagniappe Stage he teamed up with the inimitable lumberjack Alex McMurray, bassist Rene Coman of the Iguanas and potential monument Carlo Nuccio on drums. McLaughlin is a singer who puts so much into every vocal you link to Van Morrison (tone, phrasing) and Joe Cocker (sheer soul bearing emotion). But only Pat McLaughlin sounds like this. Blues and R&B, could be from underwater, Bobby Charles and beyond—send out a search party.
McLaughlin told the crowd that his day job was playing guitar with John Prine, then sang a song he wrote with Prine about going downtown to rattle somebody's cage. And something about a monkey, I think. Lots and lots of songs, "Still In the Morning Light." McLaughlin with his gritty red Telecaster with the PM inscribed on the neck and McMurray with his fat hollow-body Gibson, the perfect dialogue of twang and shaking reverb, rolling it up on "Repo Man," "I'm In the Mood to Break My Baby's Heart," then the astonishingly dramatic "Cry On Me."
"I don't know if there's a better gig than this," said McLaughlin. "It just means so much to be able to get up here and play your shit."—John Swenson
Blues Tent Blues: Great Music, No Dancing
It must have felt strange for the Cedric Burnside Project to be pounding out the raw and driving hill country blues without folks dancing like crazy. But that's how it goes in the Blues Tent where the audience remains estranged from the performers. The power duo with drummer, vocalist and sometimes guitarist Cedric Burnside, the grandson of the late R.L. Burnside, and guitarist Trenton Ayers, the grandson of the late Junior Kimbrough, dug in nonetheless. Past time to rethink this venue.—Geraldine Wyckoff
Big Freedia, Queen Diva
Resplendent in bleach-speckled denim with a shock of blue hair cascading down her back, Big Freedia owned the Congo Square Stage from the moment she walked out and held a pose before commencing with the hit-packed show. Between the long blue-on-blue jacket that dipped down almost to her feet, her thick and swaggering vocals and her team of high-kicking, split-twerking dancers, she truly lived up to her Queen Diva moniker as she pumped up the large crowd with numbers like "Rock Around the Clock" and "Gin In My System." ("I know it's a little early in the day," she acknowledged, "but how many of y'all have a little liquor in your system?")
The almost gymnastic dance-off between members of the female backup crew and the single file, back-to-front of the stage "Back That Azz Up" twerk parade probably ranked as the best dance performance I've ever seen at the Fairgrounds. Part of what made it so compelling, though, was that all those "Azz Everywhere" moves underscored the larger message about self-love and empowerment that runs through Freedia's music and stage persona. Bounce is an important part of New Orleans' music heritage and in 2017, Freedia deserves to wear its crown.—Jennifer Odell
Amos Lee and Alabama Shakes
On the Gentilly Stage, Philadelphia's Amos Lee played his hits, along with covering local favorites, like "Hey Pocky Way." He also led the crowd in Ginuwine's "Ride My Pony," George Michael's "Faith," and closed with a lively version of Boyz II Men's "End of the Road." A mellower than usual Alabama Shakes followed Amos Lee with a relaxed set. Lead singer Brittany Howard, however, rocked local Krewe frames as she ripped her teal guitar and proved her voice is as powerful as ever.—Alex Johnson
Landry Walker Charter High School
The most moving performance I encountered was the Landry Walker Charter High School in the Gospel Tent, hands down. I love that a high school choir can move me as much and more than a group that's all over mainstream radio. That's just so cool! I won't even bother to try to describe the sense of joyful uplift I felt hearing all those voices raised in unison. It was simple but powerful. It was better than drugs (I'd imagine). The soloist singing "His Eye is on the Sparrow" was particularly mind-blowing.—Laura DeFazio
Give Me That Old Time Religion
The big choirs that perform in the Gospel Tent can really pack a punch, yet the combos—quartets, quintets and such—who have been praising through song for decades also hold a special appeal. Groups like Leo Jackson & the Melody Clouds, the Rocks of Harmony and the Electrifying Crown Seekers create magic with the members' fine vocal harmonies and sincere delivery. Leo Jackson, the son of the group's founder, ran through the aisles of the tent, bringing his spirit to the crowd. Similarly, a member of the Rocks knelt at the edge of the stage to testify, a move that brought the audience to its feet. The Crown Seekers are unique in that they offer a country flavor to their show with some fine guitar licks provided by the group's leader, James Williams whose wife, Lynn, plays keyboards with the group. The Seekers now have a couple of secret weapons—two men that sing falsetto and go up for the high notes. Wow.—Geraldine Wyckoff
Kristin Diable and James Andrews
The first Friday was hot and muggy, and after a couple of hours of fighting crowds and hearing snippets of different bands (turning the corner to Kristin Diable belting "I'll Make Time For You" on the Acura Stage was particularly powerful), it was a relief to collapse on a chair in the comparatively cool Blues Tent.
But of course I got up again almost immediately, because when James Andrews and the Crescent City All-Stars take the stage, sitting is not really an option. Their brass is always electrifying, their rhythm section is always on fire, and (in keeping with the family tradition) Andrews is a ridiculously charismatic entertainer. Their Jazz Fest performance was just as good as I expected.—Laura DeFazio
Snoop Dogg
After being rained out last year, Snoop Dogg made up for lost time at the Congo Square Stage. DJ Raj Smoove warmed the crowd before Snoop appeared onstage with long dreads and dressed in all black—all except for his silver shades facing the sun and a shining chain and diamond emblem, "Cold."
Following him onstage were two female dancers who never tired of changing outfits to match the songs, from "Beautiful" to "Sensual Seduction," "Drop It Like It's Hot" to "Gin and Juice." Caught up in the song "Gin and Juice," the beer man stood on his cooler and waved handfuls of bills in the air dancing in synch with the music like a choreographer leading the audience along.
After "Who Am I (What's My Name)?" got the crowd singing along, Snoop Dogg lit a blunt and asked the hand-waving crowd if seeing Snoop play was on their bucket list, and then got to his real question: "Or is smoking weed with big Snoop Dogg on that bucket list?" Thousands checked that box when he sang "Smoke Weed Everyday."
Snoop played Tupac's "Gangsta Party" immediately following Biggie Smalls' "Hypnotize," a way of bringing the festival spirit to a 1990s East Coast-West Coast rift. He ended the day by thanking New Orleans, professing his love for the city and promising to return anytime Jazz Fest asks him in the future.—Alex Johnson
Keeper of the Flame
Davell Crawford is known as the Piano Prince of New Orleans, though at this year's Blues Tent set he could also be dubbed the Keeper of the Flame of New Orleans rhythm and blues. When Crawford, playing both a baby grand and electric keys, got down and sang classics like "Working in a Coal Mine" and "Ruler of My Heart" he did so with authenticity and love. This wasn't simply a stroll down memory lane.—Geraldine Wyckoff
Gal Holiday
After a morning downpour, Gal Holiday and the Honky Tonk Revue rang in Thursday a.k.a. Locals' Day at the Gentilly Stage with a lively set filled with old favorites and new tunes. Their new-ish (and predominantly female) band configuration sounds awesome. And get this! Guitarist Gregory Good's one-year-old son, backstage with mom Ali, took his first step just before the show started. How's that for some Jazz Fest magic?—Laura DeFazio
Do Whatcha Wanna
Big Chief Victor Harris, the Spirit of Fi Yi Yi, was flamboyant both in his spectacular orange suit adorned with shells and in his vibrant attitude. Leading the Mandingo Warriors, which included a full rhythm section, the Chief declared, "It's all about celebration," and proceeded to bring out his three wee grandsons, all of whom he proudly informed were born during a Jazz Festival week.—Geraldine Wyckoff
Back in April I wrote about French Quarter Festival's lack of interest in doing anything about the overabundance of folding chairs in a piece on OffBeat.com. So I was pleasantly surprised to see that Jazz Fest went further with their chair control efforts in 2017. As far as I could tell, the "no chairs beyond this point" lines were placed further from the stage than in years past, and festival staff actually did its job of keeping chairs off the walking paths during particularly packed shows. This doesn't change the fact that, on its most crowded days, Jazz Fest has simply outgrown the Fair Grounds. But it does go a long way toward making the festival experience more enjoyable for everyone. Well, everyone except people who like to build a chair fortress at the front of a 30,000 person mass. Good work, Jazz Fest.—Sam D'Arcangelo
Stage Krewe Thanks
We seem to notice when technical problems interfere with sound quality at Jazz Fest. As a collective audience, we're less prone to appreciate the work the stage krewes do to turn out eight hours' worth of music from acts with vastly different technical (and in some cases, personal) needs in an outdoor setting where stages are positioned relatively close to one another.
Abdullah Ibrahim's unintentional moment of silence while he was playing piano stung a bit. It was balanced out a few days later, though, when David Torkanowsky stopped to publicly thank the stage krewe for squeezing a large horn section onto the stage along with a rotating cast of singers that included Germaine Bazzle, Kermit Ruffins and Sinatra devotee Clint Johnson.
Asking the audience to give the tech krewe a round of applause, Torkanowsky expained, "This is an unusual setup and they've had a lot of work to do to accommodate basically who the hell I think I am."
During his set the weekend prior, Dr. John displayed similar grace when it came to acknowledging folks behind the scenes by shouting out both the front of house and back of house sound guys in his band introduction.—Jennifer Odell
Chaz Fest: Descent Into the Maelstrom
My favorite New Orleans festivals are the local gatherings around my neighborhood in Bywater, particular the quixotic Chaz Fest, named after local musician Washboard Chaz Leary and designed to showcase music that Jazz Fest usually overlooks. It's a labor of love for organizer Alex McMurray, because it would be an understatement to call it a non-profit organization. The festival takes place at enormous financial risk, and this year's event, on the Wednesday between Jazz Fest weekends, was battered and tormented by day-long thunderstorms, torrential rain that made it impossible to play for most of the day. During the late afternoon hours a break in the rain allowed the Valparaiso Men's Chorus, one of McMurray's several bands, to perform on the main stage. The group is basically the Tin Men—McMurray on guitar, Chaz on washboard and Matt Perrine on tuba—augmented by accordions, tin whistles and the "Chorus" of somewhere from 12 to 20 people singing the call-and-response work songs called sea shanties. It's a wonderfully improbable aggregation that only comes together on special occasions for obvious reasons, and I've always been struck by its popularity. I suppose part of the reason people like it so much is that the audience gets to sing and drink along with the chorus. But standing there amid the drenched surroundings of this all-but-washed-out festival, listening to these musicians and their hardy fans sings songs about drinking, drowning, hangings and death on the high seas, I finally understood the tortured glory that informs the concept. McMurray and his gang were singing in the face of disaster, just as so many who sang these same songs amid maelstroms that threatened them to the point of death have over the centuries. Someone said it was like being in the band on the Titanic, playing as the sea claimed the ship. Even as the elements were bringing Chaz Fest down to Davy Jones' locker, Alex McMurray stood there defiant and raised a can to the gathered crew, all of whom were damn glad to be there with him.
"Drink!" he exclaimed. And so they did.—John Swenson


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Download Applications:
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subset: commoncrawl


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Here is my cash flow update for January 2018.
P2P Investments:
Bondora returned 132,52€ (-12,17€ less than last month)
Twino returned 19,74€ (-83,11€ less than last month)
Swaper returned 55,77€ (-30,66€ less than last month)
Robocash returned 28,74€ (-2,97€ less than last month)
Crowdestate returned 63,39€ (+39,43€ more than last month)
Mintos returned 14,10€ (+1,07€ more than last month)
This gives me a total of 314,26€ (-88,41€ less than last month)
which equals 10,48% of my first goal (-2,94% less than last month)
Those -88,41€ compared to last month are mostly due to the withdrawal on Twino. So everything is fine. Once the income from the rental property is added from next month, the total income will spike to new heights 🙂
Comments on the returns
Twino returned less because I withdrew most of the funds, leaving only ~1.600€ of mostly defaulted PG loans. I needed the money for the down payment of the rental property I bought.
Crowdestate had the biggest income return so far. I added another 2.000€ in late January because I wanted to invest in the R. Feldmana 2, LV-1014, Riga project which had an estimated return of 23,26%. Unfortunately the payment took 3 days to arrive so I missed it. Dang! Only 200€ from my spare cash balance got invested. Next time I will use TransferWise, to shorten the transfer time. I don't want to miss an opportunity like this again.
Swaper finally came down to earth. The returns over the past months were substantially higher than the average, due to late loans being bought back. On average 64€ is expected.
I transferred another 3.000€ to Robocash on February 1st. My total investment is now 6.000€.
Real estate
My first property has been bought! We are in the process of handling the final things, like handing over security deposits, rent for February etc.
If you are new to this blog and haven't heard about the rental property before, you can read more about it in this previous post. I'm in the process of updating the Real Estate page as soon as the purchase is finalized completely.
Crypto currencies
According to the Poll, about 75% of my readers are interested in knowing more about my small crypto currency portfolio. 21% are not interested (which I deeply respect) and 4% are uncertain.
To help those who are interested, I plan on making a new page in the top menu dedicated for Crypto. I'll let you know as soon as it's ready. Those of you who are not interested can simply ignore that page 🙂


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Will upload the movie reviews next time. I had three of those. :D
It was a Waveback Wednesday last Wednesday, and I just found it a bit dismaying that I couldn't play certain slow songs that I wanted to play, such as "Hiding Inside Myself" and "In My Life". Oh, well. Gia had a zinger yesterday which did get to me... heh.
"Why don't you play good songs?"
Ouch. I like those songs... heh.
In any case, Keiko was there, and chatting with the listeners proved to be very amusing. Moreover, in addition to Chinese New Year and Ash Wednesday, it was also Mandaluyong Day yesterday, so it was quite interesting in that respect. Nonetheless, there really isn't much to talk about when it comes to what happened yesterday...
According to Ray, my co-T.A. in the department and my classmate in Levinas, I was being extremely smooth last night.
So I walked into class, and Adrian and Ray were shaking my hand because apparently, TJ said I "made a breakthrough" with someone last week. I laughed it off, then just sat in the room.
I was still a bit smarting from being described as "old" in Medieval Philosophy, though. When they asked, "What is Marcelle?", some people answered that "Marcelle is old". Ouch. And then Dr. Miroy chuckled and said, "What does that make me?"
Dr. Miroy used that as a springboard to talk about what is essential about Marcelle, and being old or tall is not the essence, as Marcelle was only "old" in reference to the sophomores, but the senior who was ribbing Marcelle about being "old" was actually older than Marcelle was… sweet justice.
Anyways, back to the real story…
I had a hankering for yema, so I went to the rolling canteen to get one more. I thought about it, and got an extra one for Ces, as she was awfully nice conversation recently.
So I go to her, and I tell her, "Advanced happy Single Awareness Day. Flowers are so passé."
We chuckle about it, and Levinas class begins. The sugar rush gives me an inexplicable spurt of ideas that just made our teacher look at me quizzically. My odd acts were compounded when I realized that there was no balut in the rolling canteen.
Anyways, after the class ended, while we were walking and Ray, TJ, and Adrian were ribbing me about it, Dr. Garcia gets himself involved in the conversation and wonders about "Marcelle L'amour". I mutter to him that the object of the discussion is right behind us, and I joked that maybe I'm better off giving flowers to one of my students instead, knowing full well that the Dean heard me all too well.
All the while, Ray was telling me I was being smooth. I told the three guys to go grab a smoke and tell me when they're done, so I spent the time to bond a bit with Ces again. It was interesting, really. She's a person who likes reading books, I'm more of an audiovisual person, although I do read. I found out that Dione and Wilfred were together, but even more amusing was when I told her about the horrible first impression I gave Dione when I hitched with her and out of habit, rode in the back seat. Major boo-boo. Heh.
In any case, Ces noticed that Ray and company were taking too long to get a smoke, and it was getting quite amusing at that point. Nonetheless, we really had an interesting bonding session, and I left her when the guys started honking the horn for me to go to them already.
I SMS'd her afterwards for the nice conversation that made my otherwise wretched day. Ray commented how smooth that was, too, and when I told them about certain things I could do if I wanted to, they realized I practically wrote the book on smoothness, but just refuse to carry the moves out.
We had an interesting dinner for the most part, as TJ was talking about having his third eye opened, though. The food was pretty good, and they realized how deep my fascination for the oriental ran when I really told them that if possible, I'd want to set myself up to be able to teach Chinese Philosophy. That's when we got to talking about how the moment you institutionalize Eastern thinking, you destroy its essence. It was a long discussion about martial arts and the like.
Something about that Shaolin monk story got to me, though… I'll tell it to you if you remind me to tell you next time I meet you. :D
.:Coincidence? And More Ismootness:.
I was in the LRT-2 this morning, rushing to get to school. In front of me was a cute Chinese girl, and I correctly guessed she was Atenean, given her bag, and the book she was reading.
So the moment we started walking to the tricycle station, I struck up a conversation with her. Turns out her name was Anne, and she was a junior student who is taking up Chemistry but will double-degree in something else. She was in ICA in high school, which I guessed when she mentioned that she can debate.
After I told her that I used to be a debater and still want to go back next schoolyear, she asked me if I knew any undergrads. Then…
Do you know Cecille Lao?
Boom. Apparently, the very person I was bonding with last night is Anne's kabarkada. Heh. Interesting way to start the day, neh?
.:GTO Revisited:.
I was re-watching the last few episodes of the Great Teacher Onizuka animated series, and I really felt quite a rush of emotions during the arc with Uehara and Yoshikawa having their romance develop so slowly but surely, and how the whole Aizawa Miyabi arc turned out when Eikichi Onizuka finally won her over after everything.
One thing the Director of Forest Academy said in that mini-marathon I had really struck me. Teachers are indeed Seikokusha: teachers entered into a vocation. To be a teacher is a calling. Inasmuch as I do joke around often about wanting to use teaching as "hunting grounds" for myself, I realize I probably don't have enough gall to even attempt something like that.
Besides, what really got me into teaching to begin with was the sheer pleasure I got from knowing how much I could help, as that's precisely what I did for my classmates as an undergrad when I helped some of them review for oral exams. The fact that GTO managed to help his students despite the way he is really gives me hope. Heh.
It's funny, because there I was, during our little break in Levinas class, and a girl says hi to me. Apparently, she still remembers me as Mr. Bulaong's substitute teacher that one time. A few moments later, a friend of mine walks up to me and tells me that her roommate had my answers to Mr. Bulaong's thesis statements in her computer, and I end up wondering how these people found out about it, considering I really only told my batchmates about it. It's becoming an amusing kind of urban legend… heh.
Teaching is indeed a vocation. There is quite no other way for me to sum it up. On a personal note, I do have far greater respect for grade school and high school teachers than college teachers, though. I don't think I can ever do what these people do, considering the sheer pressure of the job itself.
Seikokusha. That word has a nice ring to it.


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Choosing a CareerBlogs
Choosing a graduate career and which sector to work in is one of the biggest decisions a person ever makes in his or her life. Most of your waking life will be spent working in your choice of occupation, so when choosing your sector you should be asking yourself two main questions; 'Can I do it?' and 'Will I enjoy it?' The first question can be answered quite easily. Your degree should cater somewhat to the sector you are opting for (although if you did a non-vocational degree then this doesn't have to be specifically attributable). Hobbies and extra-curricular activities will also give you an idea of whether you are capable of carrying out expected tasks but really it boils down to you knowing your own strengths and weaknesses. 'Will I enjoy it?' is a harder question to answer because it involves a lot of foresight. Many jobs can sound exciting at first just because they are something different to what you are doing now and this is especially true for graduates who have been studying for their entire life so far. It may also be rare to find a graduate job where every day is packed full of exhilaration and glamour however it is very possible to get a job in which you take pride. This is the real way to determine whether you will be satisfied with your job, by determining if it is something you care about, something you will have passion for, and something you will take pride in. When you care about your results you care about your work and it makes all the difference to how much you enjoy doing that work. For those who are completely amiss as to where to place their first foot in the world of work then first remind yourself that you are by no means alone. Many people are quite unaware of the direction they should be heading right up until the first day of a job they fall into. Also remember that your first graduate job is not your only, doors have not been shut off completely. If you work in that sector for a while and find out that it is not for you then you can by all means switch to something else, find something you like and proceed to settle and advance that career path. For example, if you have completed a History degree you can apply this to a wide array of sectors. There are jobs in advertising, human resources, management, PR, media, education and finance that are available to you, to name a few. It may be somewhat of a trial and error process but it is simply about finding the sector that suits your abilities. Choosing your first graduate job can be daunting for some but it is not something that is set in stone. Your first graduate job is about settling in and finding the niche that you feel the most comfortable in and produce the best results. Apply for your first graduate job today or if you have already begun your career and enjoy it, look to further your progress.
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AIRPLANE DESIGN - AERODYNAMICS by EDWARD P. WARNERMember, Society of Automotive Engineers; Associate Fellow, Royal Aeronautical Society; Professor of Aeronautical Engineering, Massachusetts Institute of Technology; Assistant Secretary of the Navy for Aeronautics.
FROM THE PREFACE I have written here for the student interested in the practical application of aerodynamic theories to design, by no means for the specialist in the theories themselves. I have written with the object of exacting from my readers only a very modest knowledge of mathematics of collegiate grade.
Proofs and derivations have been ruthlessly omitted wherever they would have involved undue mathematical complication or where they were not necessary to an understanding of the results and their application.
608 PAGES - 1927 - McGRAW-HILL BOOK COMPANY, INC.


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Tuesday, the Sheridan County Commissioners accepted the 99-year lease proposal from the Wyoming Game and Fish for junior water rights on Lake DeSmet. Wednesday, the Johnson County Commissioners rejected the G&F proposal, stating that they weren't comfortable with the length of the lease.
This Saturday night, music lovers in Sheridan County will be able to get their fill with 16 acts set to take the stage at this year's Sod Farm Festival to benefit Project Schoolhouse.
At their meeting Tuesday, Johnson County's Commissioners and County Attorney Ken DeCock also discussed the county's proposed fuel depot
At their meeting Wednesday, the Johnson County Commissioners publicly criticized County Attorney Ken DeCock for his handling of events concerning the exchange of letters over a grant application and the reason for the letters being sent to the media a full day before the commissioners were notified of any problem.
The Sheridan City Council held a special meeting over the noon hour Thursday, where they approved the 1st reading of an ordinance regarding the bond issuance for the Sheridan Commercial Park special improvement district. Sheridan City Clerk Scott Badley.
The Sheridan County Commissioners held a special conference to express their disappointment with the Johnson County Commissioners decision to reject a lease proposal from the Game and Fish for water rights on Lake Desmet.
The Associated Press reports Wyoming has recorded its first human case of West Nile Virus of the year occurring in an adult male in Crook County.
Second Chance Sheridan Cat Rescue is sponsoring a 5K walk/run at the Powder Horn Saturday morning.
LADY BRONC VOLLEYBALL - The Lady Bronc volleyball team will open their season at a tournament in Riverton tomorrow.
The Lady Broncs start the season as the defending 4-A champs and Head coach Wendy Ruby says that positive finish to last season has carried over into practice the last two weeks.
Ruby says with many new faces on the varsity squad this year it may take a few matches to find out this team's identity.
Road & Travel


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Adam Torres
Top SongsSee All
High LonesomePearls to Swine 2016
Morning RainPearls to Swine 2016
Juniper ArmsPearls to Swine 2016
Some Beast Will Find You by NamePearls to Swine 2016
Green Mountain SongI Came to Sing the Song - EP 2017
I Came to Sing the SongI Came to Sing the Song - EP 2017
AlbumsSee All
Singles & EPsSee All
BooksSee All
About Adam Torres
Midwestern singer/songwriter Adam Torres became a fixture of the burgeoning indie scene of Athens, Ohio in the mid-2000s. During this period, he split his time between Switzerland, where his parents were living, and Athens, where he attended college and played both as a solo artist and with respected indie folk outfit Southeast Engine. After spending the summer of 2005 in Switzerland, Torres returned to Ohio with a cache of new songs that would make up his 2006 debut, Nostra Nova. Featuring contributions from all around the Athens musical community, the album was a sprawling and ambitious production based around Torres' folk-flavored, intellectual songs, many of which had been inspired by his recent interest in the writings of psychologist Carl Jung. Though the album received a very limited D.I.Y. release, it became something of a cult classic over the years among those who knew about it. From 2005-2008, Torres continued to record and tour with Southeast Engine, and after graduating college lived in Ecuador for several years. In 2012, Washington, D.C.-based cassette label DZ Tapes released a self-titled set of demos Torres had made during his time in South America. He eventually relocated to Austin, Texas, where he immersed himself in the local indie scene and began working on material for another proper studio release. In 2015, Misra Records reissued his debut, Nostra Nova. In 2016, it was announced Torres had signed with Fat Possum Records, which released his long-awaited follow-up, Pearls to Swine, in September of that year. ~ Timothy Monger
- Cincinannati, OH
- Singer/Songwriter
Similar ArtistsSee All


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This hotel is exclusively for adults. All guests must be aged 16 or over.
Hotel Highlights
- Adults only at this luxury hotel
- Beach bags with fresh towels brought to your room each day
- Bikes and snorkel equipment available to hire
Mezzanine - luxury beach resort in tulum
A small and perfectly formed retreat steps from Tulum beach on the Riviera Maya
From the moment you're greeted with a welcome margarita, you'll know you're in for the star treatment at Mezzanine. With just a handful of rooms tucked away beside a peaceful stretch of Tulum's camera-captivating beach, the scene is set for a true boutique getaway.
At Mezzanine, luxury means having the time and space to completely relax. With so few other guests you'll be well cared for – and drinks to day trip tips are always on offer. Each day starts with hot tea or coffee waiting outside your room. Enjoy it with sea views from your private terrace or the hotel deck. Spend the day in a hammock beside the pool, or stroll along the beach to the Tulum ruins. When you're hungry, snack on zingy ceviche and quesadillas from the beach menu. Then by night, relish a full menu of authentic Thai cuisine – and a cocktail or two.
Thanks to its endless sweep of sand and clear Caribbean waters, Tulum is an invitation to take it easy. Ask the hotel to set you up a sun lounger and parasol and laze the day away. If you're feeling more active, snorkel with tropical fish and sea turtles, or cycle to a nearby cenote. With so many ways to fill your days at Mezzanine, one visit may not be enough.
- 9 rooms
- 1 restaurant
- 2 floors
The rooms
Standard Room
Sleeps: 2 People.
Standard Room, street views with King size bed, air-conditioned and have complimentary WiFi access.
Sea View Room
Sleeps: 2 People.
Sea View Rooms have King size bed, a terrace with sea view, bathroom with shower, air conditioning and have complimentary WiFi access.
Master Suite
Sleeps: 2 People.
Master Suites have King size bed, a balcony with sea view, lounge area with music system, mini bar, rain shower, soaking tub, air conditioning and complimentary WiFi access.
Key Features
Air conditioning
Check in
Check out
Join INVITED and get 10% off exclusive rates. Plus early check-in and late check-outs among other benefits.
- 24-hour front desk
- 24-hour security
- Air conditioning
- Children not allowed
- Concierge desk
- Continental breakfast
- Doctor on call
- Early check-in
- Free parking
- Full service housekeeping
- Housekeeping - daily
- Late check out guarantee
- Laundry/Valet service
- Local calls
- Newspaper
- Pets not allowed
- Restaurant
- Room service
- Room service - limited hours
- Safe deposit box
- Security
- Turndown service
- Wakeup service
- Water sports
- Wireless internet connection
- Air conditioning
- Balcony/Lanai/Terrace
- Bathrobe
- Bathroom amenities
- Bathtub
- Coffee/Tea maker
- Hairdryer
- Internet access
- King bed
- Minibar
- Safe
- Sitting area
- Fine dining
Wake to hot drinks and morning snacks waiting outside your door. Then find your way to the restaurant for breakfast beside the shore. All day long, the Mezzanine kitchen will keep you supplied with tempting bites – from local favourites to light salads. Or take a taste adventure to Southeast Asia, courtesy of a menu designed by renowned Thai chef Dim Geefay. Signature cocktails crafted by an expert mixologist provide the perfect finishing touch.
Cuisine type: Thai
Meals served: Breakfast, Lunch, Dinner
At Mezzanine we produce our own freshly squeezed coconut milk for our dishes and we use fresh Thai herbs grown in our own garden in Tulum -from seeds originally brought from Thailand. Everything is freshly prepared- when ordered. We use no MSG and no processed sugar- the sweetness in our dishes comes from piloncillo which is a raw form of dehydrated sugar cane juice.
These reviews are the real opinions of INVITED members and we have verified their stay at the hotel.
Great Weekend
October 2018
We loved our stay at Mezzanine, specially the staff, they are always ready to help.
Top tip for other guests:
Great location, wonderful food.
What I liked most
- Welcome and Departure
- Location
- General Service
- Breakfast
- Restaurant and dining
- Leisure facilities
- Internet and wifi
Very nice stay
My Trip Type: Couple
Great location in Tulum, beautiful beach close to the tourist area. The staff and concierce were very nice and helpful. The hotel is very small and cozy but I strongly suggest the sea view rooms because the standard ones overlook the street. Breakfast, restaurant and drinks were extremely good.
Top tip for other guests:
Book the sea view rooms
What I liked most
- Location
- General service
- Breakfast
- Internet and wifi
- Local knowledge and experiences
- Restaurant and dining
- Room service
What I might improve
- Guestroom and bathroom


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Thursday night's "The Late Late Show With James Corden" featured what must certainly be the longest conversation about the Nebraska Huskers in the show's history, thanks to guest Gabrielle Union.
The Omaha-native actress discussed her home state's passion for football with Corden and fellow guest Bill Hader.
Corden, a Brit, was a bit confused by the name Nebraska chose for its team. But, by the end, Union had him drinking the big red Kool-Aid (even if he later mistakenly referred to the team as the "Corn Huskies"). Here's how it went:
Corden: "Gabrielle, you grew up in Nebraska. Was (football) a big deal in your town?"
Union: "Our town, our state. The Nebraska Cornhuskers, that's it. That's what we have."
Corden: "What are they called, the Nebraska what?"
Union: "Cornhuskers."
Corden: "The Cornhuskers."
Union: "The Cornhuskers."
Corden: "The Cornhuskers."
Union: "The Cornhuskers."
Corden: "In retrospect, it doesn't feel like a great name. Does it, I don't know?"
Hader: (Laughing)
Corden: "I'm looking forward to going to see the Cincinnati Butter Churners. It doesn't feel like in 200 years time, there will be, like, the Michigan Ubers. It doesn't feel like something you can shout very easily. 'Let's go, Cornhuskers!'"
Union: "Yes! You say, 'Let's go, Big Red! Let's go now, Big Red! Blackshirts!'"
Hader (looking at Corden): "Welcome to America, dummy!"
Corden: "What's chewing gum got to do with any of this?"
Union: "It's a big red sea of Cornhusker fans. We have one of the largest stadiums and the biggest fanbases out there. And we're voted, every year, the nicest fanbase."
Corden: "And this is in Nebraska?"
Union: "In Nebraska, yeah. In Lincoln."
Corden: "I'm going to say it right now. They're my team."
Union: "There ya go! I'm converting them left and right!"
Corden: "I don't have a team. I'm all in for the Cornhuskers."
Hader: "I don't care because I'm not into football."
See the video of the exchange below. And be sure to read The World-Herald's recent interview with Union and our review of her new film, "Breaking In."


text: Announcing 5 Day Mograph Animation Fundamentals Week Leave a comment Written by Charles Rowland, August 17th, 2015 Topics covered includeCinema 4D, Dynamics It's Week 2 of my 5 week long 5 Day Mograph challenge series on Lynda.com! This weeks challenge is all about the art of keyframing; breathing life and character into even a simple sphere through animation. The overarching theme will be Animation Fundamentals and what terms like "Easy Ease, Squash & Stretch, and Timing & Spacing" mean and why they're important. You'll learn about the most important animation fundamentals that will beef up your knowledge and understanding of what makes an animation look good and why. You'll be able to apply this knowledge to every single animation you create in the future. Many people who perhaps didn't go to school for animation, like myself, were not necessarily taught these principles and needed to figure them out all on their own. This Animation Fundamentals challenge will help to build your skills from the ground up each and every day! I invite anyone who wants to sharpen their animation skills, learn new ones, or just needs a little extra inspiration in order to create to take on these challenges! How these challenges will work is every weekday I'll present a theme and you'll then create a short animated GIF based on that theme. There are 5 weeks to this challenge and the schedule is as follows: Week 1: 08/03/15 Week 2: 08/17/15 Week 3: 08/31/15 Week 4: 09/21/15 Week 5: 10/05/15 Join the 5 Day Mograph Challenge VERY IMPORTANT! These challenges are completely FREE and open to non-lynda.com subscribers for the week of release up until the release of the next challenge. For example, the Week 2 challenge will be open the week of 08/17/15 and close 08/31/15 when the Week 3 challenge beings so be sure to join in & watch the challenge videos during the week of that challenges release up until the days leading up to the next challenge. If you're a lynda.com subscriber you can join in at any time! When you're finished with your animation, please share it on social media using the hashtag #5DayMograph and post it to the challenges Tumblr page: http://5daymograph.tumblr.com Need more convincing? Here is why daily creation is so important: 1. It expands your creativity by training your brain to find creative solutions to daily design problems & at the same time making those decisions quickly! That translates to being able to handle inevitable tight client deadlines! 2. It gives you an opportunity to try a new technique or style that you may not get the chance to in your normal work day 3. Beef up your demo reel! This is a perfect opportunity to add more work to your reel & show off what you can do 4. Creating work means you can show it off! You won't learn what's good or bad design until you share your work and see what people think. You won't learn that well in a vacuum. 5. Daily challenges will teach you commitment & perseverance. Everyone who is good at design & animation is a former noob, but they didn't get to be good at their craft overnight. Every day you'll make small improvements that over time become large improvements! Did I convince you yet? Ready to join in? Join the 5 Day Mograph Challenge You won't become an amazing animator overnight, it takes time to craft great animations so let's drop some keyframes! Watch the video:


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PhysioNet is supported by the National Institute of General Medical Sciences (NIGMS) and the National Institute of Biomedical Imaging and Bioengineering (NIBIB) under NIH grant number 2R01GM104987-09.


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Among other things, she says:
I know that New Orleans will win its fight in the end. I was born in the city and lived there for many years. It shaped who and what I am. Never have I experienced a place where people knew more about love, about family, about loyalty and about getting along than the people of New Orleans. It is perhaps their very gentleness that gives them their endurance.
They will rebuild as they have after storms of the past; and they will stay in New Orleans because it is where they have always lived, where their mothers and their fathers lived, where their churches were built by their ancestors, where their family graves carry names that go back 200 years. They will stay in New Orleans where they can enjoy a sweetness of family life that other communities lost long ago.
But to my country I want to say this: During this crisis you failed us. You looked down on us; you dismissed our victims; you dismissed us. You want our Jazz Fest, you want our Mardi Gras, you want our cooking and our music. Then when you saw us in real trouble, when you saw a tiny minority preying on the weak among us, you called us "Sin City," and turned your backs.
Well, we are a lot more than all that. And though we may seem the most exotic, the most atmospheric and, at times, the most downtrodden part of this land, we are still part of it. We are Americans. We are you.


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In this section
Many separating couples would like to come to an agreement about their children or financial affairs but may not be able to discuss the issues constructively between themselves. Family mediation can create a safe space to help you reach agreement with the support of our highly skilled mediators.
How does mediation work?
Mediation is a voluntary process which the Courts actively encourage. You and your partner meet together with a neutral mediator or mediators to discuss the issues between you.
The mediator encourages dialogue, helping to clarify issues, explore options and test which will work in practice. If firm proposals are reached, these are recorded in a document which although not legally binding, can be made into a legally binding agreement if you wish.
Although mediation does not involve the Courts, it is conducted within the framework of the law and, as such, both you and your partner are expected to give full and frank disclosure of your financial situations.
Children are not automatically involved in the mediation but mediators have a special duty to encourage parents to consider their children's wishes and feelings. The mediator can discuss how to talk to your children about the changes that will be happening and how to help them to understand those changes. It is important that the views of the children are taken into account in issues that directly involve them. The mediators' Code of Conduct provides that all children and young people aged 10 and above should be offered the opportunity to have their voices heard directly during the mediation. We offer child inclusive mediation if you would like your children involved in the mediation process.
Our policy is to speak to both parties before arranging appointments for mediation to ensure that you both understand the process. We will usually then meet you and your partner separately to determine whether mediation is appropriate in your particular case. If your case is not suitable for mediation this meeting will constitute a MIAM (Mediation Information and Assessment Meeting) which is generally required before a party can start Court proceedings in relation to a child related or a financial claim on divorce.
For more information on how mediation works, take a look at the video What is family mediation? by the Family Mediation Council or read our Top Ten Tips for Your First Mediation Meeting.
Why use mediation?
Mediation has a number of advantages over the traditional Court process:
- Almost any family dispute can be resolved in mediation including financial and housing arrangements on separation and divorce, issues concerning children such as where they will live, how often they will see each parent and their education, disputes between cohabitants and inheritance disputes. The process is extremely flexible and can be tailored to your particular needs.
- Unlike the Court process where a judge will be appointed and the process is fixed, you choose the mediator and remain in control of the situation and the decision making process. This can lead to longer lasting settlements than those which are imposed by the Courts.
- Mediation can take place at any time and at any stage in the legal process. It is rarely too early or too late for mediation.
- Mediation is considerably cheaper than any legal process.
- Mediation can promote discussions and concessions that would not be possible in the Court process because it is a confidential process. Agreement is, therefore, much more likely.
- The confidential nature of mediation also means that it is ideal for those seeking privacy and discretion.
Types of mediation we offer:
The Legal 500 UK 2019 directory of the leading law firms notes that Family Law in Partnership has the "best set of mediators in London".
Our mediators cover all family issues ranging from divorce and separation (including finance and housing matters) to children matters (including residence and contact issues, international relocation of children and schooling) and mediation in relation to pre- and post-nuptial, civil partnership and cohabitation agreements. They also offer preparation and support to couples about to embark on mediation with other firms or court proceedings. Our mediators offer mediation in relation to both domestic and cross border family disputes including international child abduction, access and custody cases.
We offer all types of family mediation including:
- Sole and co-mediation. One or two mediators working together.
- Child inclusive mediation. When child inclusive mediation takes place the mediator will, with the child's consent, feed their views back into the overall mediation process. We have years of experience in this field and four of our mediators are trained in this area. Dominic Raeside is an active member of the Government's Voice of the Child Advisory Group.
- Civil/commercial model of mediation. We have four mediators trained in this area.
- Mediation in cases involving child abduction. We have one mediator who is a specialist in this field.
- Crunch-point mediation. Crunch-point mediation is intended for disputes which have reached a crunch-point when everyone knows the case should settle but cannot see how it can settle. Read more about crunch-point mediation here.
Our team of mediators:
We have thirteen mediators including two of the top mediators in the country, Dominic Raeside and Ruth Smallacombe. Dominic and Ruth have a therapeutic, rather than a legal, background. Eleven of our family lawyers are trained mediators.
Our mediators are among the most experienced in the country and are known and trusted by the legal community for being highly skilled and utterly professional. They hold memberships of both national and international family mediation organisations and take most of their referrals from the best family lawyers in London and the surrounding areas. Their track record for getting to lasting agreements and enabling couples to have good post separation relationships is second to none. We are the only firm ranked top tier for family mediation by the prestigious legal directory, Legal 500 UK, with five of our mediators ranked as leaders in the field of family mediation.
The Legal 500 UK 2019 directory of leading law firms notes that "this large team of family mediators" provides a service which is "first class, measured, fair and comprehensive".
The strength in depth of our team of mediators and the range of skill sets that they are able to draw on, from legal skills and collaborative practice to therapeutic and counselling skills, adds real value to the support and insight that our mediators can bring to resolving complex family issues.
Examples of our mediation work:
- Mediation involving a couple who were in their mid-sixties and had substantial assets. Over five mediation meetings the couple agreed their separation, initiated divorce proceedings and successfully negotiated all of their financial arrangements which were recorded into a binding financial consent order without the need for any formal court proceedings.
- Mediation involving a dispute over schooling between parents who had separated a number of years earlier. It was agreed that the son's views should be taken into account and a child inclusive mediation meeting was held with their son who was clear about his schooling preference. The results of this meeting were fed back to the parents who agreed to abide by their son's wishes.
- Mediation concerning the relocation of a mother with her three young children to Australia. After a number of mediation meetings the father agreed to the mother moving to Australia and arrangements were agreed for scheduled visits and regular contact via Skype with the children
- Mediation between a lesbian couple and a gay male friend who had fathered a child for the couple who had since separated. The father had a contact order but the child was refusing to visit. The father made an application to the Court for contact with the child. The matter was referred to mediation by the Court. The outcome of mediation was that the father withdrew the Court proceedings, the mothers agreed to encourage the child to begin to see the father again and the child agreed to see her father again.
- Mediating a high conflict situation where the couple had separated several years earlier and had found it difficult to adjust emotionally and practically. The parents were in litigation about their children, finances and business interests and their children were in the middle of their disputes. After two mediation sessions, which addressed their conflict and lack of cooperation, the parents were able to focus on the needs of their children, who took part in a child inclusive mediation.
- Mediating a couple who had been married but were now separated. Their only child had been born when they were in the process of separating. The mediation involved five sessions with careful attention to their divorce and transition to their new separated parent relationship. The mediation resulted in agreed arrangements for their baby and a financial plan was later incorporated into a consent order.
Feedback from our mediation clients:
"The mediation service was excellent"
"I would recommend Family Law in Partnership to anyone who needed mediation"
"I felt that my dilemma was understood and appreciated"
"The process was particularly helpful in counterbalancing the fear and insecurity which divorce raises"
"We found the sessions invaluable"
"Excellent, empathetic with a detailed knowledge of the different emotional issues that clients experience during divorce and separation"
Read our recent blogs on mediation:
Top Ten Tips For Your First Mediation Meeting
Correcting the Imbalance in Family Mediations
A Childhood in Conflict (or Court) or a Chat with a Family Mediator
Resolving Financial Disputes in Mediation
Mediation Matters in Family Disputes
Refuse to Mediate at Your Peril
The Benefits of Mediation on Divorce
For further information:


text:
- Hyundai Motor wins Most Popular City Car for the i10 at 2017 Honest John Awards for fourth consecutive year
- i10 praised by users of HonestJohn.co.uk for its low running costs, refinement and five-year warranty
- Hyundai Motor UK claims Most Popular City Car for the fourth year running at last night's Honest John Awards as voted for by HonestJohn.co.uk users.
The Hyundai i10 has taken the most popular City Car Award for the fourth year in row, which is an amazing achievement given the high level of the competition. Indeed, over the past 12 months the i10 has generated more interest with our readers than any other car in its class, with many attracted to its five-year warranty, low running costs and refined interior.Dan HarrisonManaging Editor, HonestJohn.co.uk
We are delighted that the i10 has continued to impress the HonestJohn.co.uk users again this year. Receiving the Most Popular City Car award for the fourth year running proves that our customers continue to value the stylish and refined package that the i10 offers within this highly competitive segment. For 2017, we introduced New i10, with not only a fresh new look but it also bringing technology to the segment that is usually only found in the classes above so we are pleased that the i10 is a car that continues to prove a hit in the market.Tony WhitehornPresident and CEO, Hyundai Motor UK
The New i10 starts from £9,540 (S trim 1.0-litre petrol manual), up to £13,760 (Premium SE 1.2-litre petrol automatic). For more information, visit: http://www.hyundai.co.uk/
Now in its seventh consecutive year, the Honest John Awards don't follow the traditional awards format, instead the winners are chosen by the best experts of all: the website users. The awards recognise and reward the cars that HonestJohn.co.uk users search for most on the site. The reviews which create the most interest among HonestJohn.co.uk users are the winners.


text:
living in: true grit
It doesn't take much to persuade me to emulate the Coen Brothers' 2010 remake of True Grit. Mattie Ross is the most nerve-y, whip-smart, unconsciously stylish heroine I've seen on the big screen in ages, and I'd almost give up my cozy, heated bedroom to follow in her footsteps. When you add her partner in crime, Jeff Bridges, it's enough to make any girl want to saddle up. — Amy Merrick
1. Top Shop Tweed Coat, $170; 2. Grether's Pastilles, $13; 3. Rag and Bone Fedora, $150; 4. Handmade Shoebrush Set, $47; 5. Pewter Cup, $32; 6. Sausage Tape, $4; 7. Antique Island Cabinet, $4995; 8. Vintage Basket, $135; 9. Beeswax Tapers, $6
The next roundup and set up stills continues after the jump…
Life on the road while hunting for your father's killer doesn't have to be as miserable as it sounds. Warm, snugly blankets, an old-school bedroll, saddle bags and solid boots — you could also just skip the manhunt and go to a cabin for the weekend. I vote for option number two.
1. Merino Throw, $108; 2. Coleman Flask, $17; 3. Leather Saddle Bag, $135; 4. Antique Richards Conversion Gun; 5. Canvas Bed Roll, $203; 6. Enamel Coffee Pot, $21; 7. Horseshoe Ring, $255; 8. Antique Brass Candlesticks, $275; 9. Horsehead Bottle Opener, $16; 10. Steve Madden Boots, $100


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What is the weirdest question you've been asked about your diabetes, and how did you respond?
'What the f, is that heroin or something?'
On a date!
I kissed him.
How do you inspire others?
Sharing my struggles with managing blood glucose on Insta and Facebook, explaining to people how it works (unless someone knows from direct experiences or a friend or relative they Do. Not. Know. Especially and unusually, the medics!), talking about the good days too, sharing my problem solving skills – was refused a pump by my hospital, so I changed hospitals and after 1 month I got my pump! It's been much less variable with a lot less work, telling people that it's how we view things rather than what they are which is the 'problem.'
Tell us a story about how diabetes has affected you.
It's solidified my capacity for resilience – I have never been scared of anything.
It's helped me to do my job better – I work in public health.
It's strengthened my empathy for others but also made me less accepting of excuses and inspired me to be more solution focused.
I climbed Kilimanjaro, have run the London marathon, lived along for 6 years, set up my own charity, was in costume at Notting Hill Carnival, heaps of different stuff.
Would you rather fight one horse sized duck or 100 regular sized ducks?
Neither would fight me, they wouldn't want to lose.