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Richard Cook Tributes
November 2012
A collection of tributes to the late former editor of The Wire, who died August 2007
Richard Cook 1957-2007
Richard Cook Tributes
from Bitstream The Wire #284 October 2007
Richard Cook, the former editor of The Wire, has died aged 50. Richard was diagnosed with bowel and liver cancer in 2006, and finally succumbed to the illness in the early hours of 25 August. Richard edited The Wire between 1985Ð92. During that period the magazine developed from a little-known journal mapping the hermetic worlds of avant jazz, improvised music and modern composition into an internationally read monthly title that attempted to cover the entirety of jazz's 100 year history, while still leaving space for discussion of all manner of other non-mainstream sounds, from noise and Industrial culture to African and Latin music and beyond. Towards the end of his editorship the magazine began to expand its remit once again, introducing in-depth articles on more familiar names such as Prince, Frank Zappa, Van Morrison and, most notoriously, Michael Jackson.
Richard left The Wire to head the jazz department at PolyGram UK, where he produced new CDs by the UK trumpeter Guy Barker, and reissued the pioneering but largely unheard early 60s free jazz recordings of the UK-Jamaican saxophonist Joe Harriott. Thanks to his co-authorship with Brian Morton of the monumental Penguin Guide To Jazz Recordings (now in its eighth edition), books on Miles Davis and Blue Note and the recent Richard Cook's Jazz Encyclopedia, as well as his editorship of Jazz Review, which he founded in October 1999, Richard was best known as one of the most perceptive, provocative and accessible jazz critics of his generation. But he started out on the NME in the early 80s, writing brilliantly about all manner of music, from The Fall to Orchestra Makossa; parallel to his subsequent career writing about jazz, he continued to cover other musics for a wide range of publications, including Sounds, New Statesman, Mojo, The Sunday Times and Punch.
Occasionally, he even returned to the pages of The Wire, and his continuing influence on the magazine was underlined by the fact that three of its subsequent editors, Mark Sinker, Tony Herrington and Chris Bohn, were all first recruited as writers during his time as editor. All of Richard's work was driven by an unequivocal love of music that had been with him all his life (he began collecting records when he was five or six years old and never stopped), and a desire to understand and illuminate music that was facilitated by a unique, quicksilver writing style. His advice to aspiring music journalists was typically pithy: "Describing a piece of music in a way which isn't either cliche-ridden or merely fanciful is desperately difficult. I suppose if I have any advice to offer, it's the simple truth that you have to listen properly, and hard, and ask yourself what's going on and why."
Brian Morton
You certainly don't need a weatherman to know which way the wind blows, but without Richard it's going to be much harder to follow the seasons of the music, its fair patches, its coming storms. The analogy might seem random, because there might be a few regular readers of The Wire who might not yet know that Richard was also 'Mike Fish', who regularly appeared on these pages so that Richard's byline wasn't too dominant. (It also meant he got two votes in the end-of-year poll.) The homage to TV's favourite - and most notorious - weatherman was a typical Richard gesture, wry, funny, very English. He was himself a tad obsessed with the weather: loathed the heat of a London summer, but equally disliked the rain and slush of its winters. When I told him I was returning to live in Scotland, he reacted as if the other half of the Penguin Guide To Jazz team was relocating to Murmansk. Invariably, our telephone conversations got round to how cold and wet it must be "up there": spring, summer, autumn, winter, actual meteorological conditions, it made no difference.
Our phone conversations always began with an impromptu blindfold test. "Hang on, just let me turn this down... OK, what was that? Oh, come on! Surely..." As if five seconds of heavily distorted noise down a rural phone line could possibly reveal whatever he was listening to, and that could have been anything from Ladd's Black Aces to Nurse With Wound. Richard wasn't merely a collector. He was an avid and attentive listener, whose first reaction to a disc was always considered, contextualised and utterly on the money. He never read a liner note until he had listened first. His reviews were crisply detailed, his judgements uncluttered by editorial noises elsewhere. Fashion meant nothing to him.
Some of his views were argued past reason, but that, too, was a measure of his integrity. He stood up for unfashionable musicians, particularly singers, and was singularly perceptive when it came to picking real stars out of the latest 'movement', whether one of the 'British Jazz Booms' that came along like those increasingly rare good summers, Nu-Jazz, the New Quiet, or whatever.
Like his namesake, he failed to forecast the hurricane that was coming, but when Richard was first diagnosed with cancer, a lifelong hypochondriac turned into a stoic overnight. Some people thought Richard walked round with his own personal rain cloud. There was a theory that the middle initial in RD Cook stood for Despondent. True, he was often dismayed by the vicissitudes of an industry he'd seen from the inside and understood better than any of us, but I never found Richard to be anything other than optimistic, upbeat, funny and eternally curious about what the next batch of discs might hold. His departure is in itself a climate change within British jazz.
Andy Hamilton
I was a school friend of Richard Cook's, and a couple of years had passed when I ran into him again at a David Murray gig at the 606 Club in London's Oxford Street - this was when Murray's trio included Sunny Murray, and he was the rising star of the avant garde with Flowers For Albert and other classics. Shortly after, Richard became editor of The Wire, and asked me to write for it - probably a unique instance of old school tie at the organisation. What he saw in my immature, semi-literate but securely opinionated reviews, I don't know, but we were all young then. Like many other writers, I owe my career to him. He was a great and wholly benign influence on my life.
Richard had a deserved reputation for gruffness but his English reserve concealed a great warmth and generosity of spirit. I suspect I'm not the only one to fully realise the extent of that warmth and generosity, only after being deprived of it by his tragic early death. He encouraged the gruff persona, and The Wire once ran a small picture of him in the news column, unsmiling and staring into the middle distance, with the caption, "Cook shares a joke" - itself a joke as dry as they come, and Richard's were some of the driest.
He had a huge passion for music of all kinds, good and bad - from free Improv (though maybe not quite its furthest avant garde reaches) to music hall, trad jazz and early recorded opera. In writing about it, he understood that a true critic will inevitably both encourage and offend, and he wrote, as the clichŽ has it, without fear or favour. He was much too self-deprecating about his own work. When I said I'd buy his new book about Blue Note records, his characteristic reply was, "Wait till it's remaindered, Andy - don't waste your money!" Somehow his writing about jazz perfectly matched the aspirations of the medium - serious but never solemn. His presence in the world of music was huge and irreplaceable, and his death leaves a void. I haven't noticed it getting smaller as the days and weeks pass.
Philip Clark
Unusually for someone from The Wire fraternity, I met Richard Cook only after he'd left the magazine. He'd gone to work for Universal Jazz, although his next project would demonstrate that Richard was too independent of mind to last long in a world where CDs are described as 'units'. Jazz Review magazine was the jazz scene as seen through the eyes of RD Cook, as his byline became. I started writing for the magazine in its second issue as a wet-behind-the-ears music writer in 1999 and Richard became my mentor. Much to the frustration of those major-label suits he'd left behind he much preferred running features on Johnny Dodds and Jelly Roll Morton than, say, about Herbie Hancock's latest album or Jamie Cullum. The readers loved it - and when rival magazine Jazzwisebegan a mean spirited campaign against the magazine in its gossip column, moaning about its alleged old-school attitudes, Richard was resolute: we continue our work and ignore the petty criticism.
Looking through back issues of the magazine in the days after Richard's death, I was struck by the broad sympathies its Editor encouraged. It was quite possible to finish a piece on King Oliver, turn the page and be in the middle of a long interview with Maggie Nicols. Humphrey Lyttelton was the cover one issue, and a few months later John Butcher. Richard commissioned me to write a massive retrospective on Charles Mingus that ran over three issues and took no prisoners in terms of technical detail and aesthetic outlook - one part began with a comparison of Mingus's compositional techniques with those of Helmut Lachenmann. With Jazz Review, Richard gathered a team of writers whom he trusted and licensed them to do good work, happy to run a cosy anecdotal piece about his beloved British Trad scene alongside note picking analysis of Derek Bailey.He himself wrote an astonishing amount of copy - anarticle on Sarah Vaughan was so perceptive that it completely changed my viewpoint on jazz singing. And now I wish I'd told him that. His last feature was an interview with Barry Guy. Richard's own writing style had a knack of evoking jazz's spontaneity and creativity. He was never short of the right word to describe a sound, and putting a droll spin on a common usage phrase was a Cook trademark. Early on in the Jazz Review days Richard took me for coffee and gave me an insightful analysis of the strengths and weakness of my writing, and his encouragement was unfailing even when I pushed the limits, indulging my enthusiasm for Paul Dunmall and Tony Bevan, or delivering 10,000 words on Fletcher Henderson when we'd agreed 2000.
But there were times when he dug his heels in. One feature suggestion was batted back with "On our list of one to ten, he's at number 73", another with, "He's hardly top of the hit parade, mate."
Barry Witherden
I first wrote for Richard when we were both hard-nosed bureaucrats at the Charity Commission in the late 70s/early 80s. During his editorship of the union branch magazine he gradually insinuated more and more articles about the arts, so that many people who used to cast the journal aside unread started to open it for the film and music pieces and began to take in some of the core stuff, too. Richard's stance as a union rep was much like his critical one: he never toed the party line for form's sake, and his arguments were logical and edifying.
For a couple of years we jointly ran a weekly jazz-record recital in the lunch-hour, during which the extent of Richard's taste and erudition became clear: not many people had an equal appreciation for both Annette Henshaw and Norma Winstone at her most abstract. Richard's knowledge and enjoyment wasn't confined to jazz, though. I remember that he saw the depth in Scott Walker's work long before it was fashionable, and also championed the merits of The Beach Boys' Surf's Up. I bought this LP on the strength of his review in the union magazine and found it a huge disappointment until, many years later, dusting it off when preparing an article on Charles Lloyd, light began to dawn.
Soon, Richard went off to NME while I continued to dessicate in my civil servility. We'd bump into each other from time to time at gigs --- he instantly recognisable by his white raincoat and supermarket carrier-bag among trendily-dressed hordes, few of whom would have been likely to match his commitment to, deep knowledge of, or perceptive response to the music --- and I noticed some of his pieces appearing in The Wire in its early, quarterly issues. By that time various jazz fanzines I edited or contributed to had gone the way of most such ventures, and I was suffering mild withdrawal symptoms. Then I met Richard at a party shortly after he had been invited to edit The Wire, and he asked me to become a regular contributor.
I reckoned my taste was pretty eclectic and my mind quite receptive to new musical experiences already, but writing for Richard and reading his own contributions to The Wire during this period helped open my ears to much more: for example, I had always respected the work of Derek Bailey and Evan Parker, but it was Richard's commentaries on their music that helped me to admire it more, and enjoy it. He never managed to convince me about Anthony Braxton, though, but then I never managed to convince him about Jackie McLean.
His reputation as something of a curmudgeon was reinforced by his headmasterly interjections into writers' copy. These could be as terse as 'Rubbish' (when I referred to the later work of Sam Peckinpah as pornography of violence) or the traditional 'You're fired', but would just as often be an economical reminder of another point of view which the writer might have overlooked, or a shaft of light when they got too involved in an arcane point. If a question of fact was at issue Richard would always, at draft stage, be able to advise and inform you on the correct information; if his indispensable reference books (The Penguin Guide To Jazz On CD, co-authored with Brian Morton, and Richard Cook's Jazz Encyclopaedia) did not provide the answer. a quick phone call or email to him would. Moreover, if there were recordings you hadn't got and couldn't get to help with your research, Richard's collection would invariably supply the deficiency, and he was generous in lending out not only albums you had asked to borrow but others that he felt you might need to complete the picture. I have no idea of the total number of 78s, LPs, tapes and CDs he had, but the shelving problems must have been immense. Only a few months ago, when I was packing up some CDs to return to him, he said, with characteristic dry humour, that his wife preferred him to store his CDs in other people's house.
Not everyone, I think, tuned in to the sense of humour which usually informed the curmudgeonliness, and he enjoyed a good or, better still, bad play on words. During my early days with The Wire he sent me to review a gig by Vincent Herring. I packed the review with a series of increasingly awful fish-related puns, and from then on it was something of a game between me and Richard (who used 'Mike Fish' as an alternative byline) as to how dreadful the puns could get before he would object. Later, at Jazz Review, variations developed, where I would see how far I could go with parodying different styles before provoking a '[Get on with it! - Ed]' or '[Steady on! - Ed]'.
Richard was the best kind of editor to work for. He let contributors say what they meant, only tampering with their precious prose if it was gratuitously offensive, actionable or just factually wrong. Those of us who have had embarrassing, misleading statements appear over our names as a result of sub-editing 'improvements' know how invaluable that was. Richard's own writing was elegant, clear and illuminating, and he had his own impeccable standards, but he never tried to force his writers into a house style, and he recognised that if readers are to trust the opinions expressed in reviews they need to establish a relationship with critics based on the writers' personalities and idiosyncrasies as much as on their knowledge. Nevertheless, Richard's own preferences often had to be read between the lines; he saw his job as providing a key to the music, not a celebration of his own tastes. There was a clear distinction between music which was incompetent or dishonest - which he would lambast - and music which he didn't especially like for other reasons; that would be assessed fairly and logically and would be given such credit as was its due. That is why the two books mentioned above are, and will remain, such valuable and trustworthy resources.
His other books (Blue Note Records: The Biography and It's About That Time: Miles Davis On And Off The Record) were equally informative and entertaining. Reviewing the Miles book for BBC Music magazine I commented that Richard "characteristically shines a light into unconsidered corners and magnifies details to reveal the key importance of what might otherwise seem minor gestures ... This book will not only make tyros want to hear the records, but will send antediluvian Davis admirers rushing to remind ourselves of forgotten minutiae, weigh our assessments against Cook's, or just savour favourite moments again". I think this pretty much sums up all his work, not just his writing but the radio shows he presented. His overviews were invaluable in placing musicians and genres in context, and he was skilful at identifying telling elements which brought a piece alive. For me, he belongs alongside that elite group (Charles Fox, Peter Clayton, Max Harrison) who first fostered and informed my love and understanding of jazz four decades ago.
Without undervaluing the hard work put in by his successors as editors and publishers of The Wire, I think it is fair to say that they stand on Richard's shoulders, while Jazz Review stands as an ongoing expression of his personal values in music criticism. It is hard to imagine the scene without fresh examples of his elegant phrasing, his illuminating yet economical descriptions, his sound judgment and his receptiveness to good music.
Edwin Pouncey
As this September's Croydon record fair looms it feels very strange and sad to know that Richard Cook will not be attending. For me, Richard's regular stall, with its boxes of salvaged jazz vinyl and dusty 78s, was the main attraction of the event. The stock had been lovingly hand picked and sorted by Richard from his own collection in the hope that some of them would eventually find a new home with a similar minded record collector and music lover whose taste mirrored his. Trawling through those boxes was always a thrill as you could never anticipate what had been selected. Sometimes I went away empty handed (mainly because the records Richard had chosen were either out of my sphere of interest or titles that I already owned), but occasionally a gem would surface. One that immediately springs to mind is Black Fire, jazz pianist Andrew Hill's 1963 debut for Blue Note. "That's a good one," he advised me at the time, nodding appreciatively at my choice. Because this recommendation came from Richard, it was like being given a 24-carat guarantee that this record (as its title suggested) was hot, and indeed it was. The reasonable sum I paid for Black Fire at the time (knocked down still further by Richard as a kind of in-the-trade discount) now seems paltry compared to the many hours of listening pleasure it has since given me.
As a writer Richard's work guided me to new areas of jazz that I would probably never have explored if it hadn't been for his enthusiasm for the music. His powerful and passionately written early 80s essay on Albert Ayler in NME steered me into a life long obsession with Ayler and free jazz, while his recent book on Miles Davis (It's About That Time) urged me to look beyond the great man's electric period (where I was contentedly stuck) and discover his earlier work. This eventually led me to splashing out for a copy of the Complete Live At The Plugged Nickel box set, an investment that gave me a clearer insight into Davis and his astonishing music. Everything that Richard wrote in his book about this set and the rest of Davis's oeuvre was completely true and trustworthy.
I will miss Richard very much, if only to talk to him about areas of music that I still have yet to discover. He was a guiding light, a gentleman and a scholar, an original human being, and to have known him was both a privilege and a pleasure.
Sue Steward
I got to know Richard Cook through visits to the Wire office in the mid-80s when I was writing about the London Musicians Collective scene and, occasionally, international music before it was World and I became a full-time evangelist. From first sight, Richard always reminded of Egon Scheile's self-portraits: the long, angular limbs and knife-sharp jaw-bone close to the surface of his skin which Schiele would have daubed with orangey smudges to suggest awkwardness and his (the painter's) angst. Richard was just thin: serious and sometimes gloomy about the world, for sure, and particularly about people who didn't understand music or take jazz as seriously as he did. He did carry a degree of existential angst but his faith was like his back-up singer, always there, and music was his sacrament - he listened so closely and talked so passionately about it (I learned a lot in conversations, and his radio programmes were like seminars.) Through editing The Wire, he found his milieu and gathered a diverse web of friends from many points along the music spectrum. The fact that he didn't go to university and was entirely self-taught led Richard onto a very singular and free-thinking route through music which I think heightened his passionately held opinions. Jazz is bedevilled by its orthodoxy and the maleness of it all, the insistence on 'rightness', and those elements never failed to raise arguments between us, particularly during my most rampant feminist days. But I didn't give up on him because, in the end, his jokes and teases made it pointless and I think were his way of conceding, but also because his argument also made me listen more closely to his table-banging line. And of course, the humour was a weapon too: the lopsided smile and eye rolling targeted some critic's oafish remark or review, but would ultimately be directed towards himself - and his old-fashioned ideals (and even his old fogie clothes before his wife, Lee Ellen, guided him into the stylish suits).
Richard was my editor when I was at my most unconfident as a writer and intimidated by the male club which I had entered, and he always offered huge encouragement and a surprising generosity towards the free improv LMC music I wrote about and which interested him little (too far from his notion of improvisation through the jazz language he spoke so fluently). The salsa and Latin jazz that I was by then beginning to write about elicited terrible mockery - but also led to his suggestion that I write a monthly column on Latin music for The Wire, and the offer of regular space for interviews with salsa's celebrities. When he put the singer/songwriter Ruben Blades and the creator of modern Afro-Cuban jazz, Chucho Valdes, on covers in the late 80s, he cannily introduced the magazine to a whole new community of readers. And he was amused when I would return from forays to New York, Miami, Cuba or Puerto Rico, and tell him how these superstar musicians directing sophisticated orchestral dance music would sing the praises of "your English magazine" (and sometimes even whip out a copy to show other musicians). Richard predictably made jokes about it, but he understood that there was more to its rhythmic sophistication that he would never get his feet around, and he could respect another's passion - if they lived up to his standards. And that's the mark of a brilliant editor.
I don't think it's going too far to say that he did more for Latin Music in the UK than any editor at that time, and I love that irony. He didn't need to find a way into it because he was absolutely satisfied with what he did understand and love. And when we met on shared ground - discussing Kind Of Blue or Marie Lloyd or an occasional rock singer-songwriter whose poetry struck his soul - he always planted a new way of hearing. Angus McKinnon said in his moving tribute at the funeral that Richard didn't fit among today's fools and knaves because he wasn't one of them. He did belong to a different era and his retreat to write and listen in his home led to the precious legacy of the crucial jazz guides written so meticulously with Brian Morton, his magnificent biography of Miles, which followed on from the acres of published articles and singular thoughts, and that I hope will lead to a collected works for younger listeners to be inspired by. He leaves a large gap in Britain's music world, and an echoing laugh.
Mark Sinker
"The Wire," wrote Richard Cook in his first-ever editorial for it, "will speak out against the crusty battlements of hidebound jazz strongholds. It will not shrink from exposing the meanness of spirit that has left all of us fatigued. It will stand for joy, intellect, enthusiasm and wisdom. It will attempt to banish ignorance and failure."
The statement could hardly be more compact - just 139 words, issue 18, August 1985, Sonny Rollins sternly professorial on the cover - but there it was, for me at least, our manifesto and our methodology: "We have to embrace, question, involve and extrapolate. If we accept that we are exiles to start with, then we imply there are no borders to keep us in." Who exactly was 'we'? I didn't know then - maybe no one did yet - but boy I wanted in. More than anything I wanted that 'we' to include me: that was the spell he cast with those words - well, not just those words, but those on top of all the words he'd written before, elsewhere.
The dismaying, disorienting news of Richard's death came just as I was leaving for two weeks in Southern France, two weeks more or less by myself. And because this was to be a break from stress and impasse back in London, the purpose very much not to think about what was being left behind, the first thing I had to wrestle with was feeling awful about missing his funeral, and thus any chance of fitting public farewell to my mentor, to this man who so shaped my working life and a fair deal of my critical mind, any chance properly to share that farewell with his colleagues and friends down the years, not to mention many of mine, the loving company of those mourning him.
What followed me though, what I couldn't escape, and had no wish to, were thoughts of Richard himself: not Richard ill, certainly not Richard gone - a fact that I find actually incomprehensible still - but rather memories of Richard as I'd known him 15 years before, writing, judging, joking, very warm, very fond memories. I'd barely seen him in ten years, probably more; I'd spoken on the phone a handful of times at most since I'd left the job he'd passed on to me. The images flooded back to me from a long time past, a time I hadn't dwelt on much, a time that had been buried - because isn't what's just gone always buried, at newspapers and magazines, by the sheer frantic piled-up rush of getting out the next issue, and the next and the next? And because to look back is to be confronted by everything we're running away from...
I remember: how consistently startling those first few years of The Wire were, after Richard arrived, to turn Anthony Wood's great but unfocused idea into something that would survive and stand, that made its mark despite impossibly limited resources. Its severity; the quality of its look, the look of its quality; at the time - callow and contrary and not very foresightful - I was often frustrated, I loved it, but I wanted MORE, more HERE, more NOW, I wanted it to jump out of its austere pacing and CHARGE, I wanted it to shake and rattle the music more freely, more often, more (as I felt) in the spirit of the sound. Reactionaries also craft excellent sentences - if we mimic them we risk becoming them; if we mock them, we risk handing them victory; and so we must learn to best them. To see what they are good at, and do it better. 20 years on and I know all too well what a care and what a vision the long-distance race demands, how quickly instant gratification can use you up, for all its liberating energy - and see, as I leaf back through those pages, how much got said, in that measured, reserved, amused-stern voice.
I remember: asking him once HAD he actually listened to all the records he seemed to have done? Because he was after all only three years older than me (and we both knew how little I'd heard then). Authority - this was the gist of his tremendous deadpan reply - is more a tone than a fact. Which to me was a way of saying, "Don't sweat it, Mark" - and I went away comfy in my lesser knowledge. I thin - mysteriously, amazingly - he really HAD listened to all the records ever. What's amazing to me is that he really was a better critic for this hinterland of learning: anyone else it would have hobbled and deadened.
I remember: the way he wrote about The Fall in NME, and loving the implications it had in every direction. How to put this? Not only was Mark E Smith's project fit to be judged in the company of Cecil Taylor's, Miles Davis's, Duke Ellington's... but they in turn were fit to be judged in his. This was a vast idea.
I remember: how ruthlessly funny his one-line summaries of bad music could be: "Toffee-brain piffle from a woman of no importance". OK, it's probably unkind to remind you whose record that was, if anyone but me still knows or cares (and maybe I don't agree with the judgment!), but the vigour of the dismissal was grounded in and amplified by the sheer extent of his fairness, how well and how generously he cared to listen to mainstream figures that pop consensus mocked or bypassed or misheard or nervously rejected, and to fluff and to trivia and to silly daft dazzle, and to different-drummer cranks or hermits and truculent self-caged misanthropes. To, you know, everything. He was absolutely clear about what he felt; he was absolutely not dogmatic about taste. What mattered wasn't who you wrote about, but how: his ear for a sound, and a dialogue of sounds, was also his ear for a well-formed sentence, and the conversation it could become part of. He always heard music in its social dimensions, and writing too: for Richard it wasn't who you chose to encounter, so much as how you allowed that encounter to unfold, at the time and after. This was the mark of a peerless editor, and I think of a great jazz mind.
I remember: how when everything was cut and pasted and hot-waxed down and bagged up in a giant cardboard parcel to be red-starred to the printers, and he was about to sally off into the night to deliver it to King's Cross by hand, he'd always say, "Well done everyone, good issue." Maybe it always was a good issue, but I loved that he formally closed the editorial process by saying that it was. He was simply a pleasure to work for, and with; I never felt so free, so encouraged, in such good hands.
When I first learned of his illness, I dropped him a brief line to say I was thinking of him, to hint how much he meant to me - but I was frankly frightened by the situation, and the expression was certainly inadequate to the fact, to how very very much his approach, to the familiar and the strange, to the shifting tensions within music and film, had fashioned and guided mine; had opened up my mind and my practice. I didn't want to write something like I'm writing now - something clear but valedictory, some open and personal - because I didn't want to imagine that his illness wasn't something he would stride through and beat; because it seemed to accept and admit too much. My own time at The Wire (far shorter and less demanding than his) had been exhilarating and revelatory and - it took me years to realise - very traumatic in how it ended for me, and not long after I left I dropped out of professional music writing almost entirely for a long space. I never saw Richard, or anyone else from the old days. And when I lately returned to this territory crabwise, and on my own stubborn terms, I still didn't think to hook up with him, to talk things through, about where I'd got to, and where I hadn't. Which is a rather self-involved way of coming round to say how enormously - with long, embarrassed, regretful hindsight - I have come to admire, to be limitlessly astonished by his own commitment, his discipline, his energy and his unwavering focus.
I remember: his three-fold plan. To change the way music was written about; which would change the way it was thought about; so as to change the way it was played. Was that it? The last bit is right, anyway. I loved the vastness of the ambition, as we sat in that ugly office in Cleveland Street, a nowhere place of pipes and whitewashed concrete, industrial carpeting and headache-buzzy strip lighting, loved it and utterly believed in it. Maybe - as if the ambition is any less! - he actually said "to change the way jazz was played", a little-yet-huge difference in our perspectives which I paid no mind to at the time (and now wonder a lot about).
I remember: laughing out loud at the sheer effrontery of those posters up all over Hackney in June 1991, for the relaunch. "The Wire, therefore, will be accepting danger from now on," he'd written in 1985, and here the peril came, the notorious Michael Jackson cover! And shortly after, sacks and sacks and SACKS AND SACKS of angry letters from readers still there under the office desks (parenthetically I remember: what a fabulously inexhaustible amount of desk-space that office had), when I arrived fully on-staff and gingerly paged through a few, to discover that aging jazz fans react to perceived cultural threat exactly as incoherently and as foolishly and as childishly as rock-insecure teens. This was an education, as well as an affirmation: of course it was a shock tactic and a stunt, and of course it was dangerous, in half a dozen ways. But he was right - that the intricacy of the mad corporate palaces of sound Jackson was building WERE full of crafted detail and energy and ideas and possibilities that less funded, more 'serious' musicians risked shutting themselves away from. As he notes in the making of the argument - and perhaps actually NOT quite making the argument, or rather, assuming a little too much about the bighearted persuadable goodwill of the reader, that they are as generous and as unbigoted as he was - the Lester Bowie's Brass Fantasy version of "Thriller", satirical or celebratory, whichever it is, is feeble indeed compared to the original. The most important things are sometimes to be discovered in the most unlikely places - this is what Richard wanted us to know. How and where to look for surprise; and how easy for your habits of enquiry to get complacent, to settle for the received signs of fresh intelligence at the expense of anything like the reality.
I remember: my frisson of excited pleasure when I asked him one day in the office the music HE'D loved best as a kid, and he said Louis Armstrong. I'd imagined - well, I don't even know, I can't now get back to the naivity his answer dispelled, I'm guessing Beatles, or something proto-psychedelic and semi-known, or maybe, somehow he'd always been there in the front row of the Derek Bailey shows. Armstrong: well, of course, who else? Who else was this big, this daring, this subtle, this generous, this pioneering, this omnipresent?
I remember: his essays in The Wire on Don Cherry (issue 4): "the musician who has most clearly embodied the many ambiguities of this music is still historically regarded as a sidekick and a dabbler..." On Coltrane (issue 22): "While the inflections of Bird were so acidly brilliant, brilliant enough to burn his personality unmistakeably on our memories, Coltrane's search without end for his inner self seemed to hide his own emotions. There is - again - just the sound." On Bix (issue 46/47): "Even when he plays poorly, or hardly at all, the spell abides - perhaps even more so, because sometimes one almost wills him to do better, to be more like the great Bix." Relationships, layers of relationship, layers and layers and layers of interwoven conversation, improvisation-as-argument; not just of musician with musician - the chemical inter-reaction of each constituent element in the music, every twist, every line, every pre-cast arrangement, every blurt, some as anciently unavoidable as the hills, some new-minted, traded, stolen, mimicked - but of musician with the world, and musician's world with YOURS.
I remember: asking my friend Cath Carroll, at the time recording artist for Factory Records, what it was like to be interviewed by him. No blabbermouth herself, she told me that (Lady-One-Question style) his method was to keep gently mum until the victim couldn't help but speak, to fill the space he was leaving.
I remember: believing then what I still believe, that he served jazz so well precisely because he never underestimated or undervalued or distorted what other musics might have that jazz didn't, and maybe (sometimes) needed; that genre alone is never a guide; that to live inside a sect is - possibly, if you're lucky with the sect - to grasp the importance of one small thing with pitiless clarity, at the cost of everything else, including very likely this thing's real meaning; and that - and this was what he seemed to be insisting, in his fascination of all the shimmer and yatter of the world's music, as it collided and squabbled and flirted and pouted and pranced together - that there are more ways than one to skin a hepcat.
I remember: standing gawping at Adele, uncomprehending and flabbergasted on the balcony of the strange wedge-shaped building, in the shadow of the Post Office Tower, when Richard had just handed us, two untried kids, the keys of the entire jet fighter squadron. No warning, no hint - we were in charge of his magazine now, he was off. "Be strong," he said, and we all trooped back indoors. (Why did we go outside to be told? There wasn't anyone in the office except us! The improvised ritual of it - ever-so-slightly over-formal and self-mocking - was perfect, of course: and unforgettable...)
I remember: his big grin, the unobtrusive skew-whiff exactness of his handwriting, the way he walked - head down, a tall ship slanted forward, slicing purposefully through fair weather and storm alike - and of course his impossibly dry impish humour.
His choosing me as his successor - of all The Wire's core contributors, possibly the least reliably versed in the music dearest to him, after all - was surely in some ways a perverse, wayward joke: on me, to punish me for not quite having the gumption or the spiritual seriousness to embrace jazz; on the readers, for not quite ever gathering in the numbers required to keep the magazine afloat; on the world of music; on the world of magazines. It was also - as I never said to him and wish I had said - the single biggest compliment I ever received in all my professional life. A compliment I am by no means sure I deserved at the time, and am less sure still that I justified afterwards. I am not especially modest about myself as a writer or an editor - but I know all too well that I faltered and flinched and slipped aside from the field. And it seems to me that he really never did that, that along with everything else he had a gift for committed workhorse power which didn't quit.
Perhaps not the place where it's politic to say it, but The Wire, for Richard, was in the end only a part of the project, a way-station - there will be many who see the Penguin Guides, or the Encyclopedia, as the goal, the 'work', and fair enough. There, after all, he was (presumably) less interrupted and scattered by all the urgent last-minute panics and pressures and compromises of magazine work, where everyone's pulling in a different direction, and money's always tight - and let's not even think about the frustrations of running a specialist label in a very large corporation. Not to let this become a smother of virtues, but he compromised only in irrelevancies, and kept clear, rigorous and uncluttered that central purpose. His flaws as I saw them back in the day now seem all of a piece with strengths I completely envy: yes he did spread himself a bit thin as a writer in the late 80s, in the service of keeping The Wire going, and yes he did read a little jaded in those years, but never where it mattered.
Interestingly, I don't exactly remember when I first encountered the clarity and authority of his voice - so sure from the first it was if I'd always been reading him. Far sadder to me now, I don't exactly know when I last heard it - a phone call, I suspect, asking where my book had got to. In all the times after he'd handed over to me, he never once second-guessed my judgments or mistakes, or allowed disappointment or annoyance to reach my ears, though I can't believe I didn't make decisions and changes that distressed or irritated him. The path he'd put The Wire on with the Jackson cover WAS perilous, and I think DID blunt its ability to do right by jazz - and if it didn't, maybe I did. But I never heard a word of complaint from him.
And now suddenly he was gone, so shockingly, and it was too late to tell this kind, shy, quiet, clever, irreplaceable man everything I now realised I wanted to tell him, the scale of my debt to him. I left it for later, because he'd always been there, and so he'd always be there. And he was a private man, and our friendship had been an office-hours kind of game, a deep unspoken sharing of goals in a tussle of amiable differences. Maybe. Certainly I had adored working with him, playing the diligent, naughty kid, but we never went so far as to discuss principles or intentions or ideals - so I don't know if he knew how passionately I admired and aspired to his openness and generosity and patience and curiosity, before all the world's behaviour, his complex and subtle insights into how things talk to one another; and how we - sometimes, when we get the courage - do the same. And here I was driving alone through unfamiliar, often breathtaking, sun-drenched landscapes; or struggling, absurdly, with a language I hadn't used since school, trying to commune with strangers friendly and sometimes otherwise, or to decode an alien roadsign or guess a term for a food I can't actually identify, unable now forever to pass on my thanks to the writer to who had so vividly inspired me to love negotiating and appreciating the very strange, the seemingly over-known, the unexpected in the familiar. It wasn't the right way to be saying goodbye - but it did sort of gibe, in its wonky way, with how things had always been between us.
So what about the rest of that 'we'? Because for all the monumentality of his achievement - the wisdom and the detail of the resource he's left behind, the unmatched tirelessness, the range of his knowledge, the crackle of his intuition - I don't think the project he set out on is complete, or even hardly started. He wasn't one to push - he commissioned, coaxed, he allowed, he provided space for - and, well, we all went our own ways, and that was only part of the plan.
Jazz writing is once more settled off in its little PC niche - tended well enough by its learned shepherds against the return of a time attentive to it, but meanwhile not really given a second thought outside that niche; elsewhere scurry all the greying avant-gardes, self-important and driven and insecure and unhappy, more than ever parasitic on everything they denounce; and meanwhile the mainstream is the mainstream, a score of sluggish half-integrated flows as oblivious to subtle unconscious strengths as to ghastly faults, always able to cultivate worthlessness in the heart of value, and sometimes - now and the - the other way about. The 'we' Richard invoked two decades ago, the 'we' I wanted so badly to belong to, feels more scattered than ever; by choice as much as market demand or the passing of the years and the shifting of priorities; and - let's face it - we were a fractious bunch in the first place, mellow perhaps about a time-polished THEN when anything seemed possible, likely less whenever 'accepting danger' means jabbing at our current habits, interests, complacencies, confusions of competence and security with values, ideals, futures...
I look back across a quarter century and find him writing presciently and witheringly about matters that dog us still. For example noting (in 1982) that it had not been punk but ABBA and "Waterloo" that blew the whistle on rock's pretensions to progressive grandeur, who first contrasted the "simpering environs of art" and laboured pseudo-intellect with the bright flash of the three minute single; and noting too how uneasy it made us all to acknowledge this, the depths of the bad faith of our evasions, about where seriousness lies, and what it even is. Or a year later, demolishing PiL's Live in Tokyo in the light of Evan Parker's Incus LP Tracks: a very necessary intervention, contrasting the former's prancing theatre of noise-radicalism with something that actually achieved what Lydon only manipulatively gestured at, then shrank from: "Tracks is no product of an 'art' background either. Parker is considered and exacting where his opposites are aggressive and indiscriminate because his approach is empirical: he has worked it through, every rigour and inflection."
You could call this the politics of form versus the politics of symbol, if you like - but that's my kind of shorthand, not Richard's. He would have been concrete. He would surely simply rather have noted that here was an older, more abiding debate than our enjoyably parochial little squabbles really grasped, in the 80s or today. Thus, anyway, his pitch for jazz as a story in pop we should all know better - its emergence, dominance and retreat over 120 odd years, as both example and map, of a universe of actual or potential encounters and transformations, the clash and hug, the face-off and kiss-up, of voices urgent, engaged, tranquil, chatty, scatty, grumpy or devotional; artist with artist, artist with audience, writer with writer, writer with reader, work with world, and what the world said. A story at once huge and humanised. In which a cat can always look at a king. Which brings us at last to those wicked treasures of recollection and derogation that Richard gentled out of Miles for NME in 1985 ("Coltrane was a very greedy man") and how that encounter ended: "He's waving to me. The Prince of Darkness is waving at me. I wave back."
So how to wave back today? As exiles, as he put it, what we also have to live with is that the 'we' no longer includes Richard - except as a guide in our memories - to chivvy and joke and blast and combine and edit us back onto the path, as he understood it, as 'we' (if there was a 'we', which there was) yearned to understand it alongside him. We're on our own this time. Let's not let him down.


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Utah pulls away in 84-66 win over USC
SALT LAKE CITY (AP) — Delon Wright scored 22 points, collected six rebounds, six steals and five assists to lift Utah to an 84-66 victory over USC on Thursday night.
Dakarai Tucker added 18 points and made four 3-pointers while Jordan Loveridge chipped in 16 to help the Utes (13-4, 2-3 Pac-12) snap a two-game losing streak.
Pe'Shon Howard led USC with 16 points and J.T. Terrell chipped in 12. It wasn't enough to prevent the Trojans (9-8, 0-4) from losing their fourth straight game in Pac-12 play.
USC lost despite shooting 50 percent (25-of-50) from the field. Utah matched the Trojans by shooting 49.2 percent (30-of-61) from the field. The Utes gained an advantage by also forcing 16 turnovers – including eight steals – and had a 27-14 edge in points off turnovers.
Utah broke open a close game early in the second half behind hot shooting from Tucker and Wright. The Utes used a 14-4 run to take control. Tucker sparked the run with a 3-pointer on Utah's opening possession of the half. Wright capped it by converting a three-point play that gave Utah a 52-40 lead with 16:15 remaining.
USC did not go away. The Trojans chipped away at the lead and cut their deficit to five when Omar Oraby scored a layup to make it 60-55. Then Wright threw the hammer down and Utah ran away for good.
Final: Utah 84, USC 66. Trojans fall to 9-8 overall and 0-4 in @pac12 play. Next game: Saturday at Colorado (11 am PT on @FOXSports1)
— USC Men's Basketball (@USC_Hoops) January 17, 2014
Wright fueled a decisive 17-2 run for Utah. He stole the ball from Oraby on consecutive possessions and turned each one into a layup to push the Utes' lead back to double digits. When Dallin Bachynski capped the run with a dunk, Utah held a 77-57 lead with 4:51 remaining.
USC found ways to score in the paint throughout the first half. The Trojans slashed to the rim repeatedly while forcing Utah to settle for jump shots. They shot 53.8 percent (14-of-26) from the field before halftime and outscored the Utes 22-18 in the paint.
For a while, it looked like that would be the exact formula USC needed to take control of the game before halftime.
USC twice carved out a four-point lead, going up 17-13 the second time on Oraby's jumper. The Utes battled back, taking a one-point lead on a Loveridge 3-pointer. But the Trojans answered with a 7-0 run, which culminated in a dunk from Jacobs and a 24-18 USC lead with 8:04 remaining in the half.
Utah did not stay down for long. The Utes charged back in front on the strength of a 12-1 run. They retook a 30-25 lead with 4:19 left before halftime on back-to-back corner 3-pointers from Tucker.
Utah led by as much seven before halftime, going up 36-29 on Mario Kovacevic's tip-in basket with 1:39 left. The Trojans rallied to cut the deficit down in the final minute and closed within 38-36 when Byron Wesley scored a layup with 16 seconds remaining in the half.

subset: commoncrawl


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Autoblog reported this weekend Mazda's put the kibosh on rumors of a Mazdaspeed version of the MX-5. Speculation was rampant the turbo 2.3-liter Mazdaspeed3 engine would end up under the hood of the MX-5, but apparently the fuel pump design makes the swap from transverse to longitudinal mounting prohibitively expensive. So what's a forced-induction fan with an MX-5 to do?
How about give the aftermarket a few months and work on paying down those credit card balances. Mazdaspeed can supply a full array of suspension and engine upgrades, while Cosworth has their supercharger — said to provide 210 HP to the rear wheels — on the test bench as we type. Additionally, Flyin' Miata claims they'll have a centrifugal blower ready for action soon, hopefully by the holidays. [Mazda via Autoblog]


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This is a guest post from K. Sean Packard, CPA, who is Director of Tax at OFS. He specializes in tax planning and the preparation of tax returns for pro athletes. He can be reached at firstname.lastname@example.com and on Twitter at @AthleteTax.
Peyton Manning has the opportunity to pull a John Elway and ride off into the sunset as a Denver Bronco after winning his second ring, not that he wants to retire. His career will hinge upon an offseason exam on his surgically-repaired neck, according to
Should the Broncos beat the Seahawks, Manning—and the rest of his teammates—will earn $92,000. The loser's share in the Super Bowl is $46,000. So why does Manning's future beyond February 2 matter to New Jersey? It would seem logical that the Garden State would apply its tax rates on the $92,000 or $46,000 Manning earns for his week in East Rutherford. Unfortunately, we are dealing with tax laws, not logic.
New Jersey, and every other state that imposes a jock tax, taxes players on their calendar-year income from each employer. If the Broncos defeat the Seahawks, Manning's 2014 playing income to this point would be $157,000 derived from playoff bonuses. If the Broncos lose, his playing income would be $111,000.
If Manning is unable to continue playing, New Jersey would apply its tax rates to his income and multiply that amount by the ratio of 7/33 to determine his tax liability. The 7 in the numerator represents the week he spends in the state practicing and attending required NFL events. The 33 is the total number of duty days performed during the year—31 days in January plus two in February. If Manning is forced to retire, New Jersey will collect approximately $1,575 from him if the Broncos win and $982 if they lose.
But should Manning continue his career into the 2014 season, New Jersey will collect an additional $45,000 from him by taxing income he has not even earned yet. Manning is due $15 million next season, which would push his 2014 earnings to $15,157,000 or $15,111,000, and bump him into Jersey's highest 8.97% tax bracket. Luckily, his duty day ratio would go from 7/33 to 7/200, without regard to the Broncos' game at
If Manning is able to play next season, his New Jersey income tax would be $46,989 on $92,000 for winning the Super Bowl, or 51.08%. If they lose and he is able to play in 2014, he will pay New Jersey $46,844 on his $46,000, which amounts to a 101.83% tax on his actual Super Bowl earnings in the state—and this does not even consider federal taxes!
Because the Broncos play at the Jets next season, Manning's effective New Jersey tax rate will be more in line with the state's tax table. He will pay roughly $60,414 if they win the Super Bowl and $60,229 if they lose based on allocable income of $682,065 or $679,995 (9/200 x total 2014 calendar-year pay). However, if the Super Bowl were held anywhere other than New Jersey, he would only be paying them $13,425 or $13,384 for his 2014 game against the Jets.
At this point his only tax-planning tools would be to retire or demand a trade in the offseason. A trade would mean that he will earn his $15 million for a team other than the Broncos, thus saving him about $59,000 in New Jersey taxes. This is because duty days are calculated separately for each team on which he plays. Of course he would have to choose his destination wisely, because there are very few NFL destinations that enjoy lower taxes than Colorado.
I am actually cheering for New Jersey on this one. Not because I want Manning to fund a state-mandated traffic jam, but because football is better with Peyton Manning. I think the residents of Nebraska's largest city would agree.
You can follow Kurt on Twitter or subscribe to my Facebook profile. Read my Forbes' stories here.


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Cambridge United have announced they will be releasing Barry Corr at the conclusion of his contract, leaving the squad ahead of the 2017/18 Sky Bet League Two season.
Corr joined the U's in June 2015 on a free transfer from Southend and quickly became a fan favourite, scoring twelve times from 22 matches in his first season with the club.
Unfortunately for the 32-year-old and the Amber Army, he has spent 18 months on the sidelines as a result of injuries.
"We would like to thank Barry for his true professionalism in what has been a very troublesome 18 month period as a result of his injuries." said Cambridge United Head Coach Shaun Derry.
"It has been a frustrating situation for both parties and this has by no means been an easy decision to make for the Football Club.
"It goes without saying that we wish Barry the best of luck for the future."
Head of Football Operations, Ben Strang, added: "We wanted to give the process of Barry's recovery sufficient time to be well informed in our decision on Barry's future.
"Barry is a fantastic professional that has always tried to do everything he could to get on the pitch for Cambridge United. His work ethic is second to none. He has been hugely respected and well-liked by supporters, players and staff alike during his two years with the club."
Corr leaves the Cambs Glass Stadium after two seasons and a total of 29 games for United and 14 goals.


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Us Weekly Magazine
Us Weekly is a pop culture and entertainment magazine that gives readers a unique perspective into the lives of celebrities and an inside look at Hollywood's biggest stories. Each issue includes photos of favorite stars as well as interesting stories about what they're like when the cameras are off.More Info >>
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Regular columns, including "Just Like Us." feature photographs proving that even models, actresses and rock stars have to do everyday chores. They go to the grocery store, drop the kids off at school and take the dog out for a walk. They have families, bad hair days and eat fast food now and then...just like us.
Us Weekly magazine also gives a glimpse of the glitzy and glamorous side of the entertainment scene.
Celebrities share tips on dieting, fashion, beauty and more. Special editorials throughout the year include the "Year's Best Makeovers," "Hollywood's Best-Dressed List" and "Hollywood's Best Diets."
Readers who want to stay current with entertainment news and celebrity life will enjoy a subscription to Us Weekly.
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If you love breaking celebrity news, movies, music, television, fashion and entertainment then I definitely suggest checking out the current US Weekly subscription deals going on here at Magazines.com.
I'm Patricia Lopez and thanks for stopping by!


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Here's my implementation of a .NET router. After seeing some of the others I've modified my original implementation a bit.
Attached is both the source for the router and a small sample project to demonstrate the functionality.
UPDATED ON 24th FEB
1. Setting up the Api Handler
The API describes which methods are made available to the client. In the .NET version, this is implemented as an ASHX handler. The handler instances a provider object and passes in
a) The name of the provider
b) The url of the handler for this provider
c) An assembly containing the methods for this provider
Upon calling the configure method, reflection is used to find all classes with a DirectActionAttribute. From here, any methods marked with either a DirectMethodAttribute or a DirectFormMethodAttribute will be included in the generated API. A simple caching class has been provided. It is recommended you use this to save generating the API on each call to the handler.
2. The rest
Simply setup your handler ASHX, in this case I've called it DirectHandler.ashx. From here, all we need to do is pass the appropriate provider and the HttpRequest to our processor and it will return a result.
NB: Any form methods will only be passed a single parameter, which is the HttpRequest object. Any other parameters are ignored.
Comments/questions/improvements welcome.


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|Home >> Course Descriptions >> College of Arts and Sciences
|History of Painting, Sculpture, and Architecture
|Three semester hours.
Beginning with Greek and Roman art and continuing through the Cubist Movement, this course will discuss a variety of major artistic works and landmarks. The goal of the course will be to understand art in relation to its traditions of use, meaning, and technique within specific cultures and historical settings. May be substituted for ARTS 1303 in the major in art but not for the minor in Art History.
Home - General Information - Student Services -
Academic Undergraduate Regulations -
Undergraduate Degrees - Academic Graduate Regulations -
Graduate Degrees - Course Descriptions - Faculty -
Appendix A - Appendix B - Appendix C - Appendix D


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Obama Backs Off Warnings About Sequester
(WASHINGTON) -- After weeks of outlining the dire consequences of the looming across-the-board spending cuts, President Obama on Wednesday night softened his warnings, saying the sequester is "not a cliff, but it is a tumble downward."
With a little over 48 hours to avert $85 billion in cuts, the president told business executives "it's conceivable that in the first week, the first two weeks, the first three weeks, the first month -- that unless your business is directly related to the Defense Department, unless you live in a town that is directly impacted by a military installation, unless you're a family that now is trying to figure out where to keep your kids during the day because you just lost a Head Start slot -- a lot of people may not notice the full impact of the sequester."
But, he made clear "this is going to be a big hit on the economy."
"It means that you have fewer customers with money in their pockets ready to buy your goods and services," he told the Business Council in Washington. "It means that the global economy will be weaker....And the worst part of it is it's entirely unnecessary."
Calling the cuts "not a smart thing to do," the president said he's willing to make tough decisions "which will garner some significant frustrations on the part of members of my party."
Democrats need to accept entitlement reform, he said, but Republicans also have to accept the need for additional revenues.
"Whether that can be done in the next two days," he questioned, "I haven't seen things done in two days here in Washington in quite some time."
Copyright 2013 ABC News Radio


text:
What Is SoonerCare?
Online Enrollment
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SoonerCare (Oklahoma Medicaid) covers many health care services. However, there are limitations that apply to ensure that only medically necessary services are provided. Some services are for children only. The benefits and coverage outlined here may change. Please check Chapter 30 of the OHCA Rules for the most up to date information.
* Not covered under SoonerCare CHOICE
The following programs may provide additional services or more restrictions to the services covered above for enrollees.
SoonerCare pays only the deductibles and a portion of the co-insurance when any of the above items are covered by Medicare. OHCA also pays the monthly Medicare Part B premium for SoonerCare members age 65 or older and for certain blind or disabled persons. If an eligible person has other medical insurance, that insurance company must be billed before SoonerCare is billed.


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City in Blue
City in Blue
from 45.00
City in Blue
Available as limited edition prints.
prints 11x14 - $45
prints 16x20 - $65
Limited Edition Prints
All the prints here are reproduced in house from Lee's original artwork. They are printed on beautiful, textured 100% cotton rag paper. Each print is signed and numbered. This image is available in the 11x14 and 16x20 sizes. The measurements refer to the actual image size. There is a white border around the image that can be trimmed as needed, to fit your framing. The prints are enclosed in a plastic sleeve with a sturdy backer board to keep them safe and sound. Mat and frame not included.
All images © Lee White.


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Welcome to Panhwar.com a web site dedicated to
M. H. Panhwar
1925 - 2007 0
This site is dedicated to lifetime work of Mr. M. H. Panhwar (Muhammad Hussain Panhwar)
M.H. Panhwar (Muhammad Hussain Panhwar) was born on 25th December 1925 in village Ibrahim Panhwar district Dadu. He completed his BS (Mech. & Elec.) 1949 and MS (Ag. Eng.) from University of Wisconsin USA in 1953. Professionally he specialized in ground water development, earth moving, agricultural machinery, water logging, salinity control drainage and agriculture. He worked with government of Sindh and West Pakistan as Agriculture Engineer in Sindh 4 years and Superintending Engineer for Sindh and Baluchistan for 12 years up to the end of 1969. From 1970 onwards till 2007 he was running a consulting company specializing in irrigation, water logging, drainage, agriculture, scientific equipment and horticulture. He had written 10 books on ground water in Sindh and many articles on Thar and Kohistan deserts of and engineering.
In 1964 he established a horticulture farm, specialized in fruit crops. This was converted into a research farm for introducing new fruit crops suiting climate of Sindh in 1985 and has developed many new varieties of fruit crops, which include 17 of mango 6 of lychee and many others. He was author of 36 books on culture and post-harvest of fruit crops. Many of them are not printed yet.
Considered as one man Sindhologist his hobby was studies of Sindh and he had published more than 500 pages on various aspects of Sindh. Ten more books on Sindh are ready for press. His personal library has some 50,000 non fictional books almost equally divided on Sindh, horticulture, engineering and environments etc, this library will be open for researchers by M. H. Panhwar trust which is run by his wife and sons. He widely traveled but lived at 157-C, Unit No.2, Latifabad, Hyderabad (Sindh), Pakistan, from where he ran his consultancy and research work he also maintained an office at 54-D, Block-9, Clifton, Karachi, Pakistan. He had four sons, Rafi Hussain (who passed away in 2004), Tariq Hussain, Sani Hussain and Muhammad Ali all settled in USA. His first wife died and his second wife Farzana a bio-chemist has authored many books and attended many international conferences.
In June 2003 Mr. M. H. Panhwar established a trust to undertake social work in Sindh. He has transferred his home, office, agriculture land comprising a farm/orchard and other property in the name of the Trust. The trust is now managed by his wife and sons and it plans to open a agriculture research center at his farm near Tando Jam and build a new structure for research library at his house in Latifabad. Mr. M. H. Panhwar passed away on 21st April 2007 in Latifabad Hyderabad.
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Every year, ITT organises a variety of popular events which enable Members to learn more about their industry at the same time as networking in both formal and informal settings.
Annual events include: the Members-only overseas Conference, President's Dinner, Golf Tournament, Chairman's Summer Cocktails and Christmas Cocktails.
Throughout the year ITT runs Odyssey Suppers at the House of Commons and a session at World Travel Market. ITT endeavours to find different ways to satisfy the increasing need for events.
ITT networking events are extremely popular and tend to sell out very quickly. New events are being added all the time so keep checking this section of the website for updates.
63rd ITT President's Dinner
31 October 2019
ITT Members Lounge at World Travel Market
04 November 2019
Network ITT
13 November 2019
Network ITT
05 December 2019
ITT Christmas Party
09 December 2019
Network ITT
02 October 2019
ITT Odyssey Supper
19 September 2019
Network ITT
04 September 2019
Network ITT
07 August 2019
ITT Summer Party & Student Awards
18 July 2019
From 4 – 6 November 2019, the ITT Members Lounge will once again offer ITT Members the perfect hideaway from the hustle and bustle of the exhibition throughout World Travel Market 2019, as well as the chance to network with their peers.
The Lounge will be for the exclusive use of ITT members, although up to two guests may be admitted if accompanied by a Member.
Click here to register for your three day pass.


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Dalmatia (dălmā´shə), Croatian Dalmacija, historic region of Croatia, extending along the Adriatic Sea, approximately from Rijeka (Fiume) to the Gulf of Kotor. Split is the provincial capital; other cities include Zadar (the historic capital), Šibenik, and Dubrovnik. Except for a coastal lowland, Dalmatia is generally mountainous, rising to the Dinaric Alps. The coast, which is famed for its scenic beauty and its resorts, has many bays and excellent harbors protected by a chain of islands. Although Dalmatian rivers are mostly unnavigable, they supply a substantial portion of Croatia's hydroelectricity. Agriculture, fishing, and tourism are the principal economic activities. There is also industry and mining in the region. The bulk of the population consists of Roman Catholic Croats; there are also Eastern Orthodox Serbs and some Italians (mainly at Zadar and nearby cities).
Long in conflict with Rome, Dalmatia was definitively subdued by Augustus (35 BC–33 BC) and was incorporated with part of Illyria as a Roman province. It was overrun by the Ostrogoths (5th cent. AD), reconquered by the Byzantine Empire (6th cent.), and settled, except in the coastal cities, by the Slavs in the 7th cent. By the 10th cent. it was divided between the kingdoms of Croatia (north) and Serbia (south), while Venice held several ports and islands.
After several centuries of struggle, chiefly between Venice and the crowns of Hungary and Croatia, the coastal islands and most of Dalmatia, except Dubrovnik, were under Venetian control by 1420. Hungary retained the Croatian part, which in 1526 passed to the Turks but was recovered by the Treaty of Karlowitz (1699). The Treaty of Campo Formio (1797) gave Venetian Dalmatia to Austria, and the Treaty of Pressburg (1805) gave it to France. It was first attached to Napoleon's Italian kingdom but in 1809 was incorporated into the Illyrian provs. (see Illyria). The Congress of Vienna restored (1815) it to Austria, where it was made (1861) a crown land, with its capital at Zadar.
By the secret Treaty of London (1915) the Allies promised Dalmatia to Italy in return for Italian support in World War I. In Dec., 1918, it became part of the newly established kingdom of Serbs, Croats, and Slovenes (after 1929 Yugoslavia), but Italy continued to claim Dalmatia. The Treaty of Rapallo (1920) gave Dalmatia to Yugoslavia, except for Zadar and several islands, which subsequently passed to Italy. During World War II, Italy held most of Dalmatia, and after the war it was returned to Yugoslavia. The Italian peace treaty of 1947 gave Yugoslavia the islands that had been ceded to Italy after World War I. Following Croatia's secession from Yugoslavia in 1991, fighting broke out between Croats and Serbs. Many of the port cities in SE Dalmatia were heavily shelled as the Serbs, backed by Yugoslavian federal forces, unsuccessfully attempted to detach that region from Croatia.


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February 11, 2012
Metro Detroit ServSafe Food Safety Manager Certification and Re-Certification Class February 2012
ServSafe Management Certification Class
These classes will cover the following principies: causes and prevention of foodborne illness, microorganisms, safe food handling techniques, safe food storage, cleaning and sanitizing procedures, past control, employees' personal hygiene, employee education and motivation, Michigan's Food Service Law, management's responsibilities and the inspection process.
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Beware of snake oil salesmen and their magic formulas for snagging airfare bargains. Some will tell you that online travel agencies – like Orbitz, or Expedia – are just the ticket. Others only shop on the actual airline sites themselves. Still others tout "aggregators" such as meta-search engine Kayak. But the truth is, to find a great fare, you've got to put in work. There is no one best method – you've got to try them all.
Here, six to-do's to put on your list – don't skip a step, and you'll be on your way – for less, we're almost certain – in no time
#1 Sign up for free airfare alerts. No matter how much research you do, you can't move on to the internet 24/7 and monitor every up and down; airfares can change in a heartbeat, at any time of day or night. Free services at Yapta.com, Hotwire.com, Tripadvisor.com/Flights and – shameless plug – at my own web site, Airfarewatchdog.com, will monitor the route for you and alert you to fare changes, until you tell them to stop.
#2 Be flexible. Those who are, fare best (ba-dum-dum). Sometimes, changing your travel dates by a day or two can result in big savings. Web sites with excellent flexible date search capabilities include Cheaptickets.com, Kayak.com and some airline sites (notably, Southwest.com's "low fare calendar"), all of which search a month at a glance. Cheapair.com is also useful for searching over a longer (330-day) travel period.
#3 Check fares several times a day, and don't listen to airfare pundits who predict airfares. There's no one magic day or hour of the week to search for low airfares. Some "experts" claim to know where airfares are headed and which day of the week is best to buy, but airlines like to keep you guessing. And although some swear by automated airfare predictions (e.g., Bing.com/travel), doesn't it make sense that if Bing really could predict airfares then wouldn't every other site would be out of business by now?
#4 Don't believe it when they say you only have to shop on our website. No airfare website has all airlines or all the deals. Until recently, Kayak.com didn't have JetBlue's fares, for example, and it doesn't have fares on Southwest (only airfarewatchdog.com compares Southwest's fares with other airlines', by the way).
#5 Airlines don't always show their best fares on other sites. Increasingly, airlines such as JetBlue, AerLingus, Singapore Airlines and Iberia are trying to drive traffic to their own websites, bypassing the middleman (after all, they sell more than just airfares on those sites and they hate paying commissions to third-party sites). Thus, they reserve their very best fares, plus promo code deals, for their own sites. A good way to get alerted about promo codes is to follow airlines that serve your desired route (or routes) on Twitter, where the craziest fares are often first announced, or at the very least, buzzed about.
#6 Mix and match. Unless you're the most loyal of travelers – and in this day and age, loyalty doesn't always pay – don't be married to any one airline for your itinerary. Travelocity, Orbitz and Expedia will show you pairings that have you flying outbound on one airline and back home on another; sometimes it's way, way cheaper than the alternative. Something you won't learn about on an airline website.
Hobica is the founder of airfarewatchdog.com.


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Zimmerman verdict: Not guilty
After a year and a half of living as a hermit, George Zimmerman emerged from a Florida courthouse a free man, cleared of all charges in the shooting of 17-year-old Trayvon Martin.
His brother said the former neighborhood watch volunteer was still processing the reality that he wouldn't serve prison time for the killing, which Zimmerman, 29, has maintained was an act of self-defense. A jury found him not guilty of second-degree murder late Saturday night and declined to convict him on a lesser charge of manslaughter.
Story Continued Below
However, with many critics angry over his acquittal, his freedom will likely be limited.
Demonstrators upset with the verdict protested mostly peacefully in Florida, Milwaukee and Atlanta overnight, but some broke windows and vandalized a police squad car in Oakland during protests in four California cities, authorities said.
( PHOTOS: Zimmerman murder trial)
"He's going to be looking over his shoulder the rest of his life," Robert Zimmerman Jr. said during an interview on CNN.
Martin's killing in February 2012 unleashed debate across the U.S. over racial profiling, self-defense and equal justice. Protesters across the country lashed out against police in the Orlando suburb of Sanford as it took 44 days for Zimmerman to be arrested. Many, including Martin's parents, said Zimmerman had racially profiled the unarmed black teen. Zimmerman identifies himself as Hispanic.
Six anonymous female jurors - all but one of them white - considered nearly three weeks of often wildly conflicting testimony over who was the aggressor on the rainy night the 17-year-old was shot while walking through the gated townhouse community where he was staying and where Zimmerman lived.
Jurors deliberated more than 15 hours over two days before announcing late Saturday night that they had reached a verdict.
Defense attorney Mark O'Mara said in August 2012 that Zimmerman and his wife, Shellie, had been living "like a hermit" and weren't working because they feared for their safety.
After Saturday's verdict, police, officials and civil rights leaders urged peace and told protesters not to resort to violence. While defense attorneys said they were thrilled with the outcome, O'Mara suggested Zimmerman's safety would be an ongoing concern.
"There still is a fringe element that wants revenge," O'Mara said. "They won't listen to a verdict of not guilty."
Those watching reacted strongly when the verdict was announced. Martin's mother and father were not in the courtroom when it was read; supporters of his family who had gathered outside yelled "No! No!" upon learning of the verdict.
Andrew Perkins, 55, a black resident of Sanford, angrily asked outside the courthouse: "How the hell did they find him not guilty?"
"He killed somebody and got away with murder," Perkins shouted, so angry he shook, looking toward the courthouse.
Trayvon Martin's brother, Jahvaris Fulton, said on Twitter: "Et tu America?" - a reference to the Latin phrase "Et tu, Brute?" known as an expression of betrayal.
Protesters had taken to the streets late Saturday and into Sunday morning in Florida and other states, largely heeding the advice of officials and others who urged them not to resort to violence.
Authorities said in California media reports that some marchers in Oakland vandalized a police squad car and police formed a line to block some demonstrators there. TV news helicopter footage showed some people trying to start fires in the street and spray painting anti-police graffiti. The demonstration followed a raucous but largely peaceful protest in San Francisco and another in Los Angeles. An Oakland police dispatch said about 100 people protested there but gave no word of any arrests
Celebrities also reacted. Beyonce called at a Nashville concert for a moment of silence for Martin. Rapper Young Jeezy released a song in Martin's memory and Russell Simmons called for a peace.


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MEN'S BASKETBALL: Oakland can't keep late lead, falls to Western Michigan
In recent losses at Michigan State and Tennessee, Oakland coach Greg Kampe had his team trying to slow its typical break-neck pace for a more casual affair. The Golden Grizzlies opted for the opposite plan Saturday at Western Michigan.
Kampe opted to go with junior Ryan Bass, the team's fastest and arguably most athletic player, at point guard. The immediate results were promising, but Oakland lost its third straight, 76-72.
"We did a lot of really good things today," Kampe said. "But we didn't do the things we needed to do to win."
Junior guard Travis Bader, after struggling from the field in recent games, scored a game-high 18 points on 5-of-16 shooting. Duke Mondy, who played seven games at point guard after sitting out last season due to NCAA transfer rules, shifted over to shooting guard. He finished with 17 points. Bass finished with 11 points and two assists.
Corey Petros added 13 points and 10 rebounds, while frontcourt mate Drew Valentine also tallied a double-double with 11 points and 10 rebounds.
Saturday's lineup was the fourth used by Kampe in the early season. He said he plans to stick with the switch, which was also necessitated by the team's need at power forward, forcing Kampe to move Valentine to that position.
"We're fast and we need to get back to that," Kampe said.
Oakland trailed, 40-36, at halftime. Each team led by as many as six in the first half.
The Broncos took a two-point lead, 72-70, from the free-throw line with 1:06 to play. After an unforced Oakland turnover, Western Michigan went up by four on a lay-in with 22 seconds to play. The play had to be reviewed for a possible shot-clock violation, but was ruled good with four-tenths of a second remaining on the shot clock.
"That's typical of how things are going for this team right now," Kampe said.
Petros pulled Oakland within two, 74-72, with 15 seconds to play before the Broncos iced the game from the free-throw line.
Oakland went up two on a three-point play by Bader, 68-66, with less than three minutes to play. Oakland took a three-point lead, 70-67, after Corey Petros hit a pair of free throws with two minutes remaining, but the Broncos tied the game with a 3-pointer on the next possession.
The Broncos took full advantage, as Valentine sat on the bench in foul trouble for nearly four minutes of action, opening up a seven-point lead, 55-48 with 12:34 left in the game.
The Grizzlies came within a point, 59-58, after a three-point play from Mondy with 7:57 to play. The game was tied 65-65, with 3:34 to play before the Broncos took a two-point lead from the free-throw line.
Oakland was outrebounded, 41-35, and outshot, 36 percent to Western Michigan's 47 percent. The Broncos' bench outscored Oakland's reserves, 19-2.
"I liked the way we played," Kampe said. "I don't like the way we shot and some bonehead plays we made."
Western Michigan (6-1) entered the game on a five-game winning streak, while Oakland (2-6) was just 1-5 in its previous six games. Kampe admitted he's happy the team's seven-game road trip is through.
"It's been very difficult," he said. "It's not what I thought we'd do."
After spending the past month on the road, Oakland returns home to face upstart Rochester College and former fan favorite Drew Maynard (Lake Orion) Thursday at 7 p.m. The Warriors recently picked up their first win over Division I competition and took Kent State to the wire early in the season.
"This is one of the better teams they've had," Kampe said. "They have a real chance to be competitive."
The Grizzlies then head to Ohio, an NCAA tournament Sweet Sixteen qualifier a year ago, Dec. 8, before hosting last season's regular-season Horizon League champion Valparaiso Dec. 17.
Paul Kampe covers Oakland University basketball for The Oakland Press. Read his blog "Grizzlies Den" at TheOaklandPress.com/blogs/sports.


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text: To find out the city where T.I. will be playing his upcoming secret "One Night Only" show, make sure you check out @AXE today! They're posting new updates all the time, so check out the page & follow @AXE on Twitter if you want a chance to see your boy take the stage. And maybe a surprise guest too :)


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It wasn't exciting. It wasn't close. But it was very entertaining if you were a Clippers fan.
In a total reversal of Game 1, the Clippers dominated the Golden State Warriors from the opening tip Monday night at Staples Center to take a 138-98 victory and tie the best-of-seven NBA playoff series at 1-1.
Games 3 and 4 will be in Oakland on Thursday and Sunday.
The game at Staples Center was over by the second quarter when the Clippers pushed their 31-20 lead after the first quarter to more than 20 points. They took a 26-point lead, 67-41, into halftime, and stretched that to a 32-point lead in the fourth. The final quarter was played almost entirely by the reserves on both teams.
The 67 points in the first half and the 138 for the game were both franchise playoff records.
The biggest difference, besides an apparent indifference by the Warriors, was the play of Clippers All-Star power forward Blake Griffin. In Game 1 on Saturday, Griffin sat for most of the first half and half of the fourth quarter with foul trouble, playing less than 20 minutes. On Monday, he was the game's high scorer with 35 points. He made 13 of 17 shots from the field and made nine of 10 free throws. And fouls? He had zero.
Speaking of free throws, Clippers center DeAndre Jordan, whose foul shots can remind of the Roberto Duran nickname "Hands of Stone," made seven of eight. He finished with 11 points and five blocked shots. It was that kind of night.
Matt Barnes, who didn't score a basket in Game 1, finished with 13 points. Chris Paul was content to let others score and ended with 12 points, 10 assists and five assists. Reserve point guard Darren Collison had a double-double (10 points, 10 assists).
Stephen Curry led the Warriors with 24 points, 20 of those coming in the third quarter.
Despite the beatdown, a team is happy when they can take one of two on the road and that's exactly what the Warriors did. So, both teams can head north with something to hold on to.
Clippers 105, Warriors 73 (end of third quarter)
Entering the third quarter the question on a few minds was if the Clippers can blow a 26-point lead. And the answer: Not a chance.
In fact, the Clippers hit the 100-point mark (see Lawler's Law, and that's Ralph not Jerry) with 1:27 left in the quarter. And, they took a 32-point lead into the final 12 minutes.
While the Warriors showed a shallow breath of life, they seemed perfectly content with winning one of two on the road.
In fact, it's a bit of an epidemic in the first round of the NBA playoffs as six of the eight higher-seeded teams gave up home-court advantage by losing one of their first two games. Only Miami and San Antonio did not lose a game in the opening sequence.
The Clippers started to lose some focus midway through the third quarter but a 33-point lead will do that to you. Still, they got it back. Blake Griffin continued to show a strong game scoring 14 points in the quarter, raising his game total to 35.
Amazingly, DeAndre Jordan continued his lights out free-throw shooting making seven of eight. Also of note are the 10-point performances of Matt Barnes and Danny Granger.
Stephen Curry, virtually invisible in the first half with only four points, finally started to wake up, scoring 20 points in the quarter for the Warriors.
The only remaining questions in this game are how many minutes Coach Doc Rivers will keep the starters in the game and at what point the Clippers crowd starts heading for the exits. Maybe those questions are actually linked.
Clippers 67, Warriors 41 (halftime)
OK, you know things are going well for you when this sequence of players make baskets for you at the start of the second quarter:
Danny Granger, Hedo Turkoglu, Darren Collison, Jamal Crawford (for three), Turkoglu (three), Granger (three) and Granger again. Yeah, the second team missing in the first game has shown up in the second.
Statistics can tell whatever story you want them to, but these probably tell a pretty good tale of why the Clippers held a 26-point lead at halftime.
Turnovers: Warriors 15, Clippers 7
Free throws: Clippers 17 of 20 including DeAndre Jordan making five of six.
Fouls: Warriors 19, Clippers 8 and Blake Griffin has none.
Now, during that early stretch the Warriors weren't exactly absent but were falling further behind, down by 18 when they called time out with 8:30 to play in the half.
Griffin was the first starter to return to the game with 7:33 to play and Chris Paul followed about 30 seconds later with the Clippers leading by 21.
It's unclear if the Warriors were just having a bad night or they were perfectly content to leave Los Angeles after stealing one road win.
Even the backcourt duo arguably considered the best in the NBA were having problems. Klay Thompson was sent to the bench in the first quarter with three fouls, although he had scored seven points, which turned out to be the team high. Incredibly, Stephen Curry had scored only four points by halftime.
Griffin scored 21 points in the first half, followed by Jordan with nine points and three blocked shots. Crawford also had nine points and Granger had seven.
Chris Paul didn't really need to score much and finished the half with four points but seven assists.
Clippers 31, Warriors 20 (end of first quarter)
Blake Griffin did something in the must-win Game 2 for the Clippers he didn't do in the first game — he played. All 12 minutes, too.
Dogged by early foul trouble in Game 1, Griffin played slightly more than three minutes in the first half on Saturday.
On Monday, he showed some of the dominance that Clippers fans have grown used to seeing. He scored 14 points on four of seven shooting and had three rebounds.
The Clippers started strong in Game 1 and everyone knows how that game turned out. On Monday at Staples Center, they rolled up a 9-2 lead based on five points from J.J. Redick and a basket each from Griffin and Chris Paul.
The lead was extended to nine points (13-4) when DeAndre Jordan — yes, you're reading this right — made two free throws as did Griffin.
Free-throw shooting was a weakness for the Clippers in Game 1, as they made only 23 of 35. In the first quarter, they were eight of nine.
Another difference from Game 1 came with about six minutes to play in the quarter when Matt Barnes scored his first basket of the series. A good sign, perhaps?
He later scored a second basket, although he missed the free throw to make it a three-point play. But perhaps more importantly it was on a play in which Klay Thompson picked up his third foul. Thompson was the Warriors' leading scorer in the first quarter with seven points.
The Clippers closed out the quarter with a 6-2 run, including two baskets by Jamal Crawford, who was a miserable 2 of 12 in Game 1.
As the Clippers prepared for their must-win game Monday night against the Golden State Warriors the palpable excitement of the crowd at Staples Center before Game 1 was gone. Instead, it had all the feel of a November game against Utah.
Was it because of a late arriving crowd stuck on Olympic Boulevard? Or was it the stinging reminder of a Saturday afternoon and a game the team could have won?
The Warriors lead the best-of-seven first-round NBA playoff series, 1-0. If the Clippers lose on Monday, they will find themselves in a hole that they likely won't emerge. Games 3 and 4 are on the Warriors' home court.
What has to go right for the Clippers?
— Blake Griffin has to stay out of foul trouble. On Saturday, foul trouble kept him out of the game almost all of the first half and half of the fourth period.
— The Clippers have to do a better job at the free-throw line. In Game 1 they made only 23 of 35.
— Jamal Crawford has to regain some regular-season form and make some shots. He was 2 for 12 in Game 1.
— And, Chris Paul has to have a better-than-average game. Even though he was the game's leading scorer with 28 points, he wasn't as sharp and clutch as people are used to seeing him.
— Hope that Golden State, having already taken a game on the road, will be on cruise control in low gear having come away from Staples Center with one win and taken back the homecourt advantage.
These questions should be answered by around 10:30 Monday night.


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Future Students
Electrical Engineering was originally founded on the power systems and electronics industries. However, it has grown rapidly, particularly in recent years, to include a broad range of technologies. Currently, it encompasses telecommunications, analog and digital electronics, electromagnetics, transmission technology, electro-optics, information processing, optoelectronics and photonics, computer networks, computer architecture, microprocessors, neural networks, signal processing, automated control systems, robotics, medical devices, power systems, electron devices, remote sensing, laser yechnology, Iot, and artificial intelligence.
Degrees Offered
The undergraduate program in electrical engineering leading to a Bachelor of Science in Electrical Engineering emphasizes fundamental concepts with functional understanding to prepare the engineering graduate for a lifelong, professional career. The program in electrical engineering is accredited by the Engineering Accreditation Commission of ABET.
Students pursuing a masters' degree can earn a Master of Science in Electrical Engineering, either Thesis or Non-Thesis. We offer a fast track program to a Master's degree for undergraduates. And for students pursuing doctoral work, we offer a Ph.D. in Electrical Engineering.