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|Drugs that cross the blood-brain barrier
Jun 15, 2005
A friend has just been diagnosed with PML. He is starting HIV meds today or tomorrow, and I want to be sure he takes meds that cross the blood-brain barrier. Is this list I found on the web complete?
AZT, d4T, 3TC, abacavir, nevirapine, efavirenz, amprenavir
Should I add fosamprenavir? Any others? I called Gilead to ask about tenofovir and FTC, and they said they didn't know!
Thanks for any help.
Response from Dr. Wohl
Dear Mark-
AZT and d4T do seem to get into the spinal fluid better than other HIV drugs. Nevirapine does fairly well and interestingly, efavirenz has poor penetration into the central nervous system. Protease inhibitors also don't get in well although indinavir better than the others. Tenofovir concentrations in the spinal fluid are low compared to blood plasma.
That said, there are conflicting data regarding the benefit of using HIV drugs that do or don't get into the central nervious system and the course of HIV dementia. I am unaware of studies of spinal fluid concentration of HIV meds and response of PML.
I think a combo of Combivir+Nevirapine+Kaletra would be an aggressive choice that could be started with and possibly reduced to Combivir+Kaletra if toxicity to nevirapine develops or after he improves and has undetectable blood viral load. It may be that any combo that can get the blood viral load down quickly will have the best chance to work.
Afraid of Protease
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subset: commoncrawl


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Our home is a little cottage on a two acre lot and while it's an old house with many needed fixes it came with the most beautiful gardens I could possibly imagine.
Before I delve into the treasure that is my garden, I thought I would give you a brief understanding of the importance of plants in my life.
One day a young father told me he was off to get his girls their spring pedicures. I looked at him blankly. He was surprised at my response and said "Don't you get your spring pedicure every year?! Isn't that a thing all you girls do to prepare for flipflop season?!" I looked back at him blankly. I didn't know why this question surprised me so much, since it is not unthinkable or illogical to splurge on a pedicure before revealing your little toes to the world each year. The realization hit me as mother's day rolled around and I thought of my mom. The Spring manicure and pedicure I had grown accustomed to involved every single nail bed being generously coated in a thick dark rich dirt. Spring means getting out the "old" pair of sneakers. The ones with no arch and the hole in the front toe. Throwing on that old pair of jeans with grass stains down the front and holes in the knees. Tossing your unkept hair in a sloppy pony tail or under an old baseball hat. Slathering on some sunscreen and bugspray and getting down on your hands and knees to til the old soil and weathered beds to make them new again. The coming of spring meant GARDENING.
I grew up with my mother's stories of growing up in upstate NewYork. How they bought a house there that had been used as a dump by the previous owners. They cleaned every trash heep and made it a garden. The way she described their treasured home always made me think of something out of a movie. The great pond stocked with fish and ducks and the large Weeping Willow protecting it from the warm sun. She had endless stories about growing up there and how she cut fresh flowers in the morning and scattered them in vases all around their home.
Later my grandparents moved to the mountains in Pennsylvania and began a new life there. My mother always said it couldn't compare to their old home, but to us it was magic. Acres of land with a dug pond and fresh springs, sweet peas, blue flag irises, bull frogs, grapes, and everything you can imagine.
When I think of my grandmother I think of roses. She always had a rose garden. My grandfather was quite the gardener as well. He knew the best way to make grape jelly was to mix his Concord grapes with wild grapes so you had the perfect combination of sweet and tart. He also was an avid blueberry picker and could come home with 10 buckets to my 1.
A couple years ago and after my grandfather's passing, my grandmother decided she needed to pack her bags and move to NH to live with my uncle. She left behind their motel that had been sold years ago, their pond that was dug by my grandfather, her rose gardens, my grandpa's grapes, their peach tree, and so much more on their enourmous lot in the mountains. My mother and I seemed to have more memories associated with the gardens than anything in the house.While family members sifted through her furniture, china, etc. to collect their cherished memories of the old house, my mother, aunt, and I rooted through the gardens digging up numerous plants and throwing them into plastic bags with the addition of some dirt. Among my memories I collected a bleeding heart, knockout rose, and even a Helleborus dumetorum or what Grandma called "the Irish plant." It has a subtle beauty and is one of the first blooms after the dismal days of February and March.
They had an enormous variety of Irises and I grabbed quite a few. Last year they were still recouperating from the transplant so this year the great reveal took place. I couldn't recall what I had gathered that day in the frenzy of packing, moving, and digging. This year I was met with an amazing surprise, PURPLES. Ever aesthetically minded, I had selected 3 varieties of purple irises and when they bloomed this year I was instantly in love.With each bloom I thought of my Grandpa, lover of nature, explorer, and gardener.
They are a perfect compliment to my blue flag Irises.
I have 3 varieties that came with the house and though they take the majority of one of my beds I can't imagine parting with any of them! They are very low maintenance and look like grasses when their season ends.
I also relocated my Grandma's knock out rose to my main garden beds this year.
Of course as soon as it bloomed I saw that it's bright pink color (that I love) didn't match anything else. So I made an emergency trip to the greenhouse and picked up some complementary pinks.
I also added some Rasberry Wine Bee Balm this year that should compliment all these when it blooms.
Here is my gardener in training riding next to my new Bee Balm.
Do you enjoy to garden or fear that you have a black thumb? What role do plants play in your family history?


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Competition can chip away at your membership base if you haven't been investing time, energy and funds into your greatest asset: your team. Your company's ability to attract and retain top talent is a critical link to member satisfaction and loyalty. That's why the following practices should be standard at your club:
• Hire well. Even if you desperately need to fill a position, take time to screen applicants carefully. Individuals should have the requisite education and experience and should be intrinsically friendly, have a positive attitude and be passionate about helping others. You can't teach employees who lack these basic traits to become outstanding service providers.
• Offer top pay and benefits. You can no longer hire minimum-wage employees to operate the front desk or staff the fitness floor. Service superstars in all departments, from maintenance to group exercise, deserve excellent compensation for their passion and commitment to fulfilling their club's mission. Many members of ACAC's housekeeping team have been with the company for more than 10 years. Historically, this team receives high marks for friendliness and club cleanliness on our annual member survey. A high level of remuneration to motivate and retain these valuable employees has been a smart investment.
• Create an exceptional work environment. Foster an atmosphere of trust and respect in which all employees are expected to act according to the Golden Rule or ethic of reciprocity. Employers can also support team members by offering workplace flexibility and encouraging work-life balance.
• Keep the lines of communication open. Effective communication is at the heart of every successful organization. Employees, especially younger generations, desire transparency. Ensure that employees can give and receive constructive feedback about their performance and the company's operations.
• Invest in employee education. Establish the expectation that learning is an ongoing part of employment in your organization. In-house training programs, education reimbursements and other development opportunities increase your team's knowledge, productivity and loyalty to the company. Give team members access to resources, such as a senior employee mentor, a peer advisor and/or a library of professional materials.
• Recognize employee achievement. Reward team members for behaviors that reflect the goals and values of your organization. Provide your team with specific examples of their colleagues' accomplishments so it is clear what actions have been rewarded. In addition to excellence in service and sales, recognize employees for new ideas, initiative and creative problem-solving. At ACAC, we honor team members throughout the year for adhering to the organization's cultural imperatives: sales, service, lifelong learning and leadership. Awards are given by the company's senior leaders, are peer nominated or are based on member surveys and comment cards. In addition to public recognition, recipients receive a $1,500 cash bonus.
• Develop career paths. Employees leaving a company often cite lack of professional progress as a reason for their departure. Make sure that positions in your company do not dead end. There should always be the possibility for a next step, whether it is a promotion or an opportunity to learn a position in another department.
Recruiting and retaining a high-performing workforce sets off a chain of events that result in increased member retention and profitability. If your company consistently delivers superior value, it will earn customer loyalty, which in turn will increase market share and revenue. With greater profitability, the organization is in a position to pay better wages, attract high-quality candidates and provide working conditions that boost employee morale. In this scenario, overall job satisfaction is high and employee turnover is low. As employees mature in their respective roles, their advanced skills and experience lead to greater productivity, reduced training costs and lower attrition rates.
Member loyalty begins with employee loyalty. A company that believes that its team members are its most valuable asset is not only a great place to work, but it is also a great place to do business.
Phil Wendel is founder of ACAC Fitness and Wellness Centers, Charlottesville, VA. The four facilities have an annualized attrition of 25 percent. Christine Thalwitz, ACAC's director of communications, contributed to this column.


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Rob Zombie Remix Collection 'Mondo Sex Head' Due in August
Rob Zombie may be working on a new album and trying to finish his 'Lords of Salem' movie, but another release will be coming before both.
The new compilation, 'Mondo Sex Head,' is a remix collection curated by DJ Jason Bentley and featuring a number of top musicians reworking the singer's past favorites. It's due Aug. 7.
The set is lead by KoRn's Jonathan 'JDevil' Davis, who offers the 'Number of the Beast' remix for White Zombie's 'Thunder Kiss '65.' Ki:Theory does double duty, reworking the songs 'Foxy Foxy' and 'Pussy Liquor." The Blood Beetroots serve up their 'Motherf—er Remix' of 'Burn.' Plus, the Chino Moreno project ††† (Crosses) deliver their take on 'Dragula.'
Zombie himself chose the songs to be remixed, and gave his approval to the project. He added, "I like the idea of taking songs and reconfiguring them." This will be the musician's second remix collection, following 1996′s 'Supersexy Swingin Sounds.'
Other acts taking part include Photek, Document One, Big Black Delta, Das Kaptial, Drumcorps, Kraddy, Tobias Enhus featuring the Jane Cornish String Quartet, and Griffin Boice.
Before the full album streets, there will be two separate digital-only EPs serviced featuring material taken from 'Mondo Sex Head' with exclusive bonus tracks.
Rob Zombie 'Mondo Sex Head' Track Listing:
1. 'Thunder Kiss '65′ (JDevil Number Of The Beast Remix)
2. 'Living Dead Girl' (Photek Remix)
3. 'Let It All Bleed Out' (Document One Remix)
4. 'Foxy Foxy' (Ki:Theory Remix)
5. 'More Human Than Human' (Big Black Delta Remix)
6. 'Dragula' (††† Remix)
7. 'Pussy Liquor' (Ki:Theory Remix)
8. 'Lords of Salem' (Das Kaptial)
9. 'Never Gonna Stop' (Drumcorps Acid Remix)
10. 'Superbeast' (Kraddy Remix)
11. 'Devil's Hole Girls' (Tobias Enhus Remix ft The Jane Cornish String Quartet)
13. 'Mars Needs Women' (Griffin Boice Remix)


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Who Will Win the 2012 ACM Award for Entertainer of the Year? – Readers Poll
Five artists are competing to be named Entertainer of the Year at the 2012 ACM Awards on April 1. Jason Aldean, Kenny Chesney, Taylor Swift, Brad Paisley and Blake Shelton have all had years worthy of the honor, but only one can bring the trophy home. Your votes will help decide the winner.
Female artists have snagged the Entertainer of the Year prize at the last three ACM red carpet events, after being dominated by male artists -- specifically Chesney and Toby Keith -- for many years. In 2012, Swift is hoping to repeat that trend, while Chesney is looking to win his fifth time in the category. It's the first nomination in this particular nod category for Shelton, while Aldean and Paisley were nominated in 2011.
Official voting for this fan-chosen award begins on March 19 at www.VoteACM.com. But before the country king or queen is crowned, we want you to place your best guess. Who do you think is worthy of the award? Share your opinion in the Taste of Country reader's poll and then watch the 47th annual ACM Awards on CBS to find out who wins.
Don't forget to click here to find out how you can instantly win hundreds of prizes given away every hour, courtesy of KFC and Dr Pepper!


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"...we can't tell you what a 'Jass' Band is because we don't know ourselves. As for what it does—it makes dancers want to dance more—and more—and yet more!"
—Kalamazoo Gazette, 20 May 1917
Folks weren't exactly sure what it was or what to call it. At first it was "jass," a derogatory term that soon came to mean just the opposite. Some called it "wild, weird and woozy." Others called it "pep," "ginger," "snap," "zippy," "snappy," "synco," "jas," "jaz," "jazbo," "jazzy," and ultimately... "jazz."
It wasn't long before the word "jazz" was being used in conjunction with almost anything exciting—theatre, sports, automobiles, clothing, dance, and of course, music.
The first two decades of the twentieth century saw great change in American popular culture. A younger generation of listeners continued its fascination with African American music, which had grown considerably since the 1890s. With the advent of ragtime, social dancing became more popular than ever. But if ragtime started a fire, jazz turned that fire into an inferno.
"Five fellows who cannot read music are given five different pieces to play at once. They are equipped with a Razzoo, a Bazzoo, a Blam Blam, a Wahoo and a Wheezer. They are then filled with Jamaica ginger, barbed wire, Rough-on-Rats, rock salt and TNT and turned loose. The noise that results is jazz. When people hear it they say "they could just die dancing." Many of them do. Fifty years ago the waltz was something awful. If our dear old forefathers could only see us do the Shimmy! Hot Dog!"
—Kalamazoo Gazette, 17 June 1919
Ragtime was immensely popular in Kalamazoo (and elsewhere) during the first decades of the twentieth century, as were the bands that played it. Instrumentally, the structure of these early performance units can be traced back to the minstrel bands of the mid-nineteenth century, and carried forward through the social and dance bands of the latter nineteenth and early twentieth centuries. Ragtime and early jazz combos typically consisted of four to seven musicians, though some had as many as ten or more. Violin, cornet, brass or string bass, and banjo were mainstays of the minstrel era that remained, while the minstrel "tambo" (tambourine) and "bones" (clackers) were taken over by a "trap" drummer. Exciting new textures then appeared, led by the clarinet, saxophone, trombone, mandolin, guitar and piano.
Early jazz (often called "hot music") was filled with brisk tempos, sudden breaks, quirky sound effects and crazy on-stage antics—much of which can be directly attributed to the novelty acts on the vaudeville circuits. But the most significant change came about when musicians in the South began to add improvisation to syncopated popular music (ragtime, marching band music and blues).
"What differentiated Jazz from these earlier styles," explains Scott Alexander of The Red Hot Jazz Archive, "was the widespread use of improvisation, often by more than one player at a time. Jazz represented a break from Western musical traditions, where the composer wrote a piece of music on paper and the musicians then tried their best to play exactly what was in the score. In a Jazz piece, the song is often just a starting point or frame of reference for the musicians to improvise around. The song might have been a popular ditty or blues that they didn't compose, but by the time they were finished with it they had composed a new piece that often bore little resemblance to the original song."
After decades of slow but certain change, an explosion occurred in popular music in early 1917. America had lost its innocence, and audiences simply could not get enough.
From as early as March 1917, ads by the Cable-Nelson Piano Co. began appearing in the Kalamazoo Gazette blazon with the new term, "jazz." On March 7th, the Victor Talking Machine Company released "Livery Stable Blues" backed with "Dixie Jass Band One-Step" by the Original Dixieland 'Jass' (Jazz) Band, commonly regarded as the first jazz record ever.
"Livery Stable Blues" performed by The Original Dixieland Jass Band
Victor Records No. 18255 take 1, recorded 26 February 1917
Audio Archive | download mp3 (2.9MB)
Local excitement over the new record grew quickly. On 15 April 1917, Fischer's Music Shop announced that a shipment of 500 copies of the "special Jass Band dance records" had just arrived from Chicago. Fischer even published the complete telegram from the Chicago Talking Machine Company to prove it! A Kalamazoo Gazette advertisement on 28 April 1917 for Victor's upcoming May releases included a headline, "Dixieland 'Jass' Band plays whirlwind dance numbers." An ad for Fischer's Music Shop in May 1917 described the Original Dixieland 'Jass' Band as "organized disorganization, a brass band gone crazy!"
By the end of 1917, several of Kalamazoo's leading local musicians had already jumped on the "jazz" and "pep" bandwagon with their own compositions and renditions of well known jazz numbers. Among the most successful were the bands led by James H. "Jazz" Johnstone, Ed Snuggs, Herman Salomon, Charles Brocato, and the Fischer brothers.
Ace Kalamazoo stringman James Hart "Jumpin' Jazz Jimmie" Johnstone fronted several local musical organizations, and was one of the first in Kalamazoo to feature jazz in his programs. Johnstone's mandolin ensembles included the Gibson Plectral Sextet and the YMCA Mandolin Orchestra. He also fronted the Kazoo Banjo Bugs, and founded the Kalamazoo Chapter of the American Guild of Mandolinists, Banjoists and Guitarists. A feature of Johnstone's early act was "Yankee Doodle Backwards," where he played the mandolin behind his head with his back turned to the audience.
In May 1918, The Gibson Mandolin-Guitar Company announced that it would begin manufacturing a tenor banjo "to keep the ambitious 'Jazz' players supplied." Johnstone, a supervisor in the stringing department at Gibson, publicly praised the new instrument, saying "it's in a class by itself." Soon thereafter, he began offering a series of lessons in his popular folio, How to 'Jazz' on the Tenor Banjo and Mandolin-Banjo.
"'Jazz' music, as applied to Banjos, is just another term for Ragtime or syncopated music, only a more intensified form. The player should learn all the different styles and strokes, both single notes and chords."
—James H. Johnstone, 1919
Johnstone was also a successful composer and active local music publisher. His own compositions included "The Red Triangle" (for mandolin orchestra), "The Palms" (tenor mandola solo by Faure, arr. by Johnstone, 1919), "Tenor Mandola Solos" (unaccompanied, ca. 1916), "Frolic of the Kazoos" (mandolin, 1916, and guitar solo, 1918), "Jimmie" (banjo duet, 1922), "A Live Wire" (march, 1919), "Jacksonian" (march, 1919), "Camp Custer" (march, 1919), "The Banjo Bugs" (rag, 1916), "Ka-Zoo-Za-Lum" (rag, 1919), and others, many of which were of ragtime and jazz interest.
Charles and Burton Fischer were no strangers to innovation. Some twenty years earlier, their orchestras had been the first to feature ragtime music locally, and by the spring of 1917, Fischer's Jazz Band was including the latest popular jazz pieces in its repertoire.
To take advantage of the newest trends in music and sound reproduction, Charlie and Burt took their outfit to Camden, New Jersey, in October 1917 to cut a few test sides for Victor Records with the hope of securing a recording contract. According to Victor ledgers, the band cut four numbers on 10 October 1917, some of which were of jazz and ragtime interest. During the sessions, Burton Fischer's "Casino Jazz" and "Oodles of Pep" were attempted, plus "Annie Laurie," a trombone and cornet duet by Ed Snuggs and Will Reifsnyder.
In 1922, Fischer tried again, this time traveling to Richmond, Indiana, to record a pair of sides for Gennett Records, known today as the "Birthplace of Recorded Jazz." According to discographer Brian Rust, two pieces were attempted during the October 7th session; "Maggie Blues" (no. 11198) and "Faded Love Letters" (no. 11199). Unfortunately, it appears that none of the recordings from either session were ever issued commercially.
"Oodles of Pep" One-Step, by Burton E. Fischer, 1917
Midi sequence by James Pitt-Payne, London, UK, ca. 2004
Boasting several of Kalamazoo's best musicians, including James H. "Jazz" Johnstone on the tenor banjo; Bert Reeves, the "Australian violinist;" and "Memphis Davis," a "sensational jazz drummer;" Fischer's Jazz Orchestra was the star of the show in 1918 when the Elite Theater put on its Big Jazz Novelty night in November. The band went on to achieve great success with Burton Fischer's own compositions, and interpretations of others', including "Tropical Blues" (written by Edward Schroeder of Battle Creek) and "Wabash Blues," both widely heard on records by the likes of Joseph Samuels and Isham Jones.
By 1919, Fischer's Jazz Orchestra had become so popular that a second band and even a third were required, just to meet the growing demand. (At one point, Fischer had at least six different bands on the road throughout the Midwest.) Fischer's Jazz Orchestra staged two extensive tours of Pennsylvania during the spring, then split its membership three ways and hired extras to fill multiple ten-week summertime engagements, including the Casino in South Haven and the Manitou Beach resort near Jackson. During 1919 and 1920, Fischer's Jazz Band played daily at Kalamazoo's Oakwood Park and for Godwin's weekly dancing assemblies, while Fischer's Banjo Phiends and Fischer's Jazzadours received extended bookings at resort hotels throughout Northern Michigan, plus steady work at regional fairs, local parties and dances.
Originally formed in 1915, Charles G. Brocato's six piece Novelty Orchestra made its public debut on May 31st, 1917, at Myers Park on Whites Lake. The band featured a quartet of saxophones, plus piano and drums. Brocato's orchestra made further appearances at Oakwood Park during the summertime, at the Auditorium Theater in the fall as part of Will Godwin's dancing assemblies, and at the Knights of Pythias Temple with Howe & Fry's Thursday evening dancing parties, providing "Jazz" and "Pep" for local dancers at 50¢ per couple.
Brocato's expanded (eight piece) Novelty Orchestra enjoyed continued success with a special program of jazz music at the Auditorium in January 1918. Soon after, the group changed its name to Brocato's Original Jazz Orchestra, based on its success with Original Dixieland Jazz Band numbers like "Livery Stable Blues" and others.
During the 1919-1920 season, Brocato's ten piece Novelty Orchestra included Charles Brocato himself playing clarinet and saxophone; William Wilkinson and Stanley Brothers, violins; Flutell Bowman, cornet; Harold Schrier, trombone; Louis Vaupre, saxophone and oboe; Ed Greene, clarinet and saxophone; Charles Springs, marimbaphone and chimes; Nahum Davison, piano; and "jovial Ed Howard, dispensing jazz as you like it, with his new jazz drummers outfit" (Gazette). New jazz hits featured by the group included "War Bride Blues" and "I'm Sorry I Made You Cry." As manager of the famous dance pavilion at Oakwood Park, Brocato featured his group for five performances each week throughout the summer months between 1918 and 1921.
Herman Salomon's Orchestra, best known for its sweet dance music, was most popular in Kalamazoo and throughout the state during the ragtime era at the turn of the twentieth century. Yet nearly twenty years later, the group proved it was still "up-to-date" with a series of Moonlight Dances at the Auditorium in 1918, "featuring saxaphones(sic) and other novelties, jass and pep."
At the age of sixteen, Edward Snuggs was a featured soloist in George B. Newell's massive College Band. He later went on to become a key member of Fischer's famous orchestras and is remembered to this day for directing the summertime concerts in Milham Park during the 1950s and early 60s. During the Jazz Years, numerous local bookings featured "Genuine Southern Jazz by Eddie Snuggs and his Dixieland Players." Winter months saw Snuggs and his Jazz Orchestra providing the music for Snuggs & Byers Assemblies, where dancers could learn all the latest steps beginning at 8 pm, then dance to "a real Jazz band" from 9 until midnight. When summertime rolled around, Snuggs and his band of "all jazz artists" were booked for dances every night of the week at the new White's Lake Pavilion.
The first World War had tremendous impact on American popular culture. According to Ed Esterman, a local amusement park manager, "the war changed everything." America entered the war in Europe in August 1917 and each day sent thousands of soldiers overseas. With the armistice of November 1918 and the signing of the Treaty of Versailles the following June, these Americans returned home with new ideas and new expectations. The automobile added mobility, and the sudden proliferation of phonograph records made popular music inexpensive and portable. For less than a dollar, fans could purchase recordings of the latest popular selections performed by the artists themselves and enjoy them almost anywhere. By 1919, the production of talking machines exceeded $158 million and the overall value of manufactured musical instruments in America exceeded $320 million, much of it due to the success of jazz.
With many Kalamazoo musicians eager to support the troops overseas, "Jazz" Johnstone, arranged a benefit performance in January 1918 to aid the Kalamazoo Gazette with its "Smokes for Sammies" fund, which supplied American soldiers in the trenches with tobacco products from the home front. The Gibson Plectral Sextet, the YMCA Mandolin Orchestra, and the Kazoo Banjo Bugs (all led by Johnstone), along with Fischer's (newly organized) Jazz Band and several others assisted with the performance, which raised more than $400 for the cause.
Johnstone took his jazz and mandolin bands to Camp Custer more than thirty times during the summer of 1918 to entertain the doughboys. In all, Johnstone gave nearly sixty concerts for the troops at the camp, including numerous appearances with the Kalamazoo YMCA Mandolin Orchestra and "Jumpin Jimmie Johnstone's Jubilant Jazzers."
Fischer's Music Shop joined the war effort and worked with the Boy Scouts to collect more than one thousand phonograph records ("ranging from 'jazz' to grand opera") to be donated to the troops overseas as part of a nationwide "Slacker Records Drive." Each record would carry a personal message from the donor to the soldier who received it.
When the War came to an end in November 1918, tens of thousands lined the streets in Kalamazoo to witness the parade of marching bands, floats, and jazz bands. Hundreds attended the Liberty Ball and danced to jazz music by Brocato's Novelty Orchestra. A week of celebration followed, culminating with a "Big Jazz Novelty Night" at the Elite.
Prohibition came to Kalamazoo in 1915, which closed the saloons and breweries but did little to stop music lovers from enjoying the latest popular trends. The locals were eager to learn how to dance to the new "stuff," and kept the weekly dancing assemblies by Will Godwin and George Byers filled to capacity. Godwin featured Fischer' Jazz Band, while Byers partnered with Ed Snuggs and his Jazz Orchestra. Charles Brocato sponsored similar dances, featuring his own Original Jazz Orchestra. Often, up to six or more dance instructors were enlisted for each session to meet the growing demand.
In part, the burgeoning popularity of jazz may be attributed to the sudden proliferation of phonograph records and piano rolls. For the first time ever, music lovers no longer had to settle for do-it-yourself re-creations when actual recordings made by the original artists could be enjoyed right in one's own home.
For home enjoyment in Kalamazoo, jazz piano rolls by Q.R.S. and Imperial were available at Grinnell Bros., 107 East Main. "Good Jazz Records" and jazz piano rolls could be found down the street at the Cable-Nelson Piano Company, 128 West Main. A free copy of Agnes Lynn's Columbia record, "Jazz Baby," could be had with the purchase of a new phonograph at B. M. Jones Piano Company, 320 South Burdick, where select Victor, Gennett and Emerson "Double Face" records were just 42¢ each. Victor Records could also be found at Grinnell Brothers Music House on East Main, and at Fischer's Music Shop on the third floor of the Gilmore Brothers Department Store. Records by Wilbur C. Sweatman's Original Jazz Band and others were available at the Home Furnishing Company on North Burdick Street, and the "Newest Jass Hits" on Columbia Records were just 65¢ each at Hoover-Bond's, 227-231 East Main.
Beginning in 1920, popular blues and jazz records on Pathé and Okeh were available in the Gilmore Brothers Store and in the Blanchard Music Department of Horace Prentice & Son, 137 South Burdick. By 1922, the new Aeolian Vocalion Red Records could be found at Frank Talbot's in the Burdick Street Arcade, and at the B. M. Jones Furniture Company, 148 South Burdick.
Radio was in its infancy in 1922 when the Fischer Orchestra broadcast for the first time from the News Building in Detroit. For just over an hour on Wednesday evening, 7 February 1922, radio operators for hundreds of miles around listened in on Fischer's "Radio Concert."
"Radio instruments at Western State Normal received the entire concert very clearly and a large number of amateur sets in the city recorded the entertainments. An instrument in one Ohio city 'cut in' and asked Fischer's to repeat "Wabash Blues," one of the selections on the radio phone concert. This was done."
—Kalamazoo Gazette, 9 February 1922
Fischer's Orchestra was the first Kalamazoo musical organization to perform a concert over the radio, though others soon followed. In May, Fischer repeated the stunt with a special radio concert broadcast from Milwaukee and played for eager listeners at a special Oakwood Park "Radio Dance."
"There is something very appealing about a 'Jaz' Band, and this company of colored entertainers is the greatest of all the bands of its kind.
—Kalamazoo Gazette, 3 February 1917
Among the first of the "big name" jazz performers to come to Kalamazoo during the early years of "The Jazz Age" was Ralph Dunbar's Tennessee Ten, who visited the city on three separate occasions in 1917 and early 1918. The "Ten" featured singer Florence Mills, "The Harlem Jazz Queen," plus Thomas Morris, Ed Garland, and 'Jimmy' O'Bryant, all of whom went on to make records in the 20s. For their first appearance, Col. William Marshall of the Majestic Theater brought them in for a half-week stay in February 1917, which featured "the very latest thing in the cabaret line... the 'Jaz' band." A three-day run followed in August, which included "the drummer with the juggling sticks, the whirling bass player and all the old favorites [that kept] the audience in an uproar." A popular attraction on the Keith vaudeville circuit, the Tennessee Ten Real Original Jazz Band returned for a third engagement at the Majestic the following April with a promise to "keep the syncopation at fever heat."
"T'aint Nobody's Business If I Do" instrumental performed by the Tennessee Ten
Victor Records, No. 19109-B, recorded 26 June 1923
Audio Archive | download mp3 (3.1MB)
The Original New Orleans Creole Band, including founding member and string bassist William Manuel Johnson, brought its brand of "Real Jazz Music" to the Majestic Theater in Kalamazoo for a four day run in December 1917. As it turns out, this band was an early ancestor of King Oliver's Creole Jazz Band, which included Johnson, plus the famous Joe "King" Oliver and Louis "Satchmo" Armstrong. Billed as "The Original New Orleans Creole Rag Time Band," they introduced Kalamazoo audiences to "some 'Jazz' music that [had] never been equaled here."
Henry Santrey and his Jazz Band appeared at the Armory for three nights in September 1919, then again as Henry Santrey's Vaudeville Jazz Band in October. Santrey cut several records for Cameo in the mid-twenties. During the September series, audiences enjoyed "two hours of high class entertainment" from Santrey and his band, then danced until midnight.
John Philip Sousa brought his band to Kalamazoo more than a dozen times over the course of his touring career, and he was seldom afraid of new and different ideas. Sousa was an outspoken proponent of ragtime and later embraced jazz. During his October 1919 performances at the Armory, the band featured Sousa's "Impression at the Movies" Suite, which included "The Jazz Band in Action."
Lieutenant Jim Europe's 369th Infantry 'Jazz' Band (known as the "Hellfighters") appeared at the Fuller Theater on 23 April 1919. According to jazz writer Floyd Levin, James Europe "introduced the sounds of American ragtime to Europeans during the World War I. Although his career was brief, he profoundly influenced the course of popular music, not just in the United States but throughout the world." (Red Hot Jazz Archive)
The 369th Infantry Jazz Band recorded two dozen tracks for Pathé in March and May 1919, and was ranked among the best bands in the world. Just three weeks after his Kalamazoo appearance, Lieutenant Europe was stabbed to death in Boston by one of his musicians.
"Crazy Blues" performed by Mamie Smith & Her Jazz Hounds
Okeh Records No. 4169 (7529 take C), recorded 10 August 1920
Audio Archive | download mp3 (3.2MB)
In April 1922, Mamie Smith and her Jazz Hounds made a stop at the Fuller Theater for two shows, sharing the bill with comedian "Boots" Hope and the duo of Harrington and Birdie. Smith, known as the "Queen of Syncopation" and famous for her million-selling "Crazy Blues," had a wildly successful career and recorded dozens of sides for Okeh, effectively setting the standard for future female blues singers.
The Jazz Hounds featured George Mullen, cornet; Curtis Mosby, drums; and George Bell, violin. During the same tour, Smith managed to convince a young Coleman Hawkins to join her band, though it appears Hawkins joined sometime after her Kalamazoo appearance.
In May 1925, Benton Harbor's famed House of David Band headlined the Fuller Theater in Kalamazoo for the final stop on its national tour. Billed as "The Greatest Jazz Band in Vaudeville," the "bewhiskered sheiks of syncopation" made a significant name for themselves as a touring novelty act throughout the 1920s, appearing at many of the most renowned venues in the country. While membership in the jazz band (known as the Syncopep Serenaders) changed throughout the years, some of its members made significant contributions to recorded jazz.
"The House of David Blues" performed by Elmer Schoebel's Chicago Blues Dance Orchestra
Columbia Records No. A3923, recorded 30 May 1923
Audio Archive | download mp3 (2.5MB)
Founding member and trombonist Ephraim "Eph" Hannaford left the organization in the early 20s and appears as a session musician on numerous jazz and dance recordings, including stints with Roger Wolfe Kahn, Nathan Glantz' Orchestra, the Synco Jazz Band, the Dixie Daisies, and Mamie Smith. He also made records on the Banner and Regal labels as Eph Hannaford's Broadway (Dance) Orchestra. His brother, Ezra "Cookie" Hannaford, played alto saxophone and clarinet, and led the House of David jazz band until 1927, when he left to make records with Vincent Lopez and His Casa Lopez Orchestra in New York.
Celebrity endorsements soon followed. Banjoist Wesley "Slim" Schneider claimed to be "100 percent Gibson" in a 1920s Gibson Company catalog, and "Cookie" Hannaford was publicized in association with Columbia Records and MCA.
Penned in 1923, "The House of David Blues" poked fun at the "longhairs" from Benton Harbor and quickly became an early jazz standard. Not to be outdone, the House of David Band adopted the song as its theme, and performed it during House of David basketball and baseball games. As legend has it, their fellow barnstormers, the Harlem Globetrotters, liked the idea and adopted "Sweet Georgia Brown" in response. The rest, as they say, is history.
By the mid-twenties, jazz—although scorned by some as evil and unsophisticated—had become the popular music of its time. The style that was once confined to New Orleans and the South spread throughout the United States and Europe. San Francisco to Memphis to Chicago to New York—where each region developed its own distinctive flavor.
The novelty antics and crude performances were soon replaced by cool sophistication and musical dexterity as jazz evolved into swing during the 30s and big band during the 1940s. Still, the brief period when ragtime grew into jazz during the late nineteen teens and early twenties remains an exciting and important time in American history.
Like many of our Local History essays, this article is by no means a definitive study; rather it is a continuing work-in-progress. If you have new information, corrections, or items to share, please contact the author or the Local History Room.
Related reading from Kalamazoo Public Library's Local History essays.


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- England
Ferdinand: I can be England manager
Rio Ferdinand has revealed he dreams of becoming England manager and has claimed that radical changes are necessary within the national set-up.
The former Manchester United defender, who won 81 caps for his country, also believes England should follow the example set by the likes of World Cup winners Germany in appointing a younger coach.
"Everyone has dreams of playing for England and my dream after football is to manage England," Ferdinand, 35, told the Daily Mail.
"[Joachim] Loew, [Juergen] Klinsmann were young geezers when they started out with Germany. Look at [Marco] Van Basten, [Jose] Mourinho, [Pep] Guardiola and Luis Enrique - they are not old fellas but they were given a chance.
"It is different in this country. We are 10 years behind in certain situations. We have to do what's best for English football."
Since signing for Queens Park Rangers during the summer, Ferdinand has been training for his UEFA B coaching license, meaning that he would only need the A License and Pro License to be considered for a managerial position.
Ferdinand admitted that although he was not in a position to coach now, he would be surprised if, when fully qualified, he was overlooked for a managerial role.
"I will give myself the best opportunity of getting the job by getting all the badges," added Ferdinand. "I don't expect the chance now, but once I get the badges I am there. If I don't get a job in management I will wonder why.
"I don't think people should start shouting the odds about the opportunity to manage clubs until they have their badges. I am not sitting here saying 'give me a job' because I don't have them yet."
Despite sitting on Greg Dyke's FA Commission, designed to assess the state of English football and offer solutions going forward, Ferdinand conceded that he may not fit the mould of a typical choice for the national job.
Ferdinand cited his eight-month ban from football for missing a drugs test in 2003, but believes he deserves a second chance, also pointing to the example of Glenn Hoddle, whom he regards as the best England manager he worked under.
"Everybody deserves a second chance," said Ferdinand. "Maybe I'm not their [FA] type, but I don't know what their type is.
"Glenn Hoddle is a prime example. He's the best one you had and he is gone, never to be seen again with England. We are on our knees."
Ferdinand also believes a shake-up is needed to turn around the fortunes of the England team, questioning the mentality of young players in the Premier League and suggesting their incentive to succeed at the highest level has gone.
"It will take radical changes for things to happen with England and people's noses might be put out of joint but in the long run it will work," Ferdinand added.
"Are you going to do that extra set of doggies, or sprints? You can be in the reserves and if you have £5,000 a week coming in you're thinking about what colour car you're going to get.
"That is the way it is. Maybe clubs or the FA have to revert back a little bit to give them a bit more of a grounding."


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Introduction to Coulomb Blockade Lab
Additional materials available (2)
Licensed according to this deed.
Published on
The tutorial is based on the Coulomb Blockade Lab available online at Coulomb Blockade Lab. Students are introduced to the concepts of level broadening and charging energies in artificial atoms (single quantum dots) and molecules (coupled quantum dots).
A tutorial level introduction to the underlying theory can be found in chapters 5 and 6 of "Electron-Phonon and Electron-Electron Interactions in Quantum Transport", Gerhard Klimeck, Ph.D. thesis, Purdue University, 1994.
Sponsored by
[2] "Spins in few-electron Quantum dots", R. Hanson, L. P. Kouwenhoven, J. R. Petta, S. Tarucha, and L. M. Vandersypen, Rev. Mod. Phys., 79, 1217, (2007).
[3] "Conductance Spectroscopy in Coupled Quantum Dots", Gerhard Klimeck, Guanlong L. Chen and Supriyo Datta, Phys. Rev. B, Vol. 50, p.2316 (1994).
[4] "Elastic and Inelastic Scattering in Quantum Dots in the Coulomb Blockade Regime", Gerhard Klimeck, Roger Lake, Supriyo Datta, and Garnett Bryant, Phys. Rev. B, Vol. 50, 5484 (1994).
[5] Chapters 5 and 6 of "Electron-Phonon and Electron-Electron Interactions in Quantum Transport", Gerhard Klimeck, Ph.D. thesis, Purdue University, 1994,
[6] "Probing electronic excitations in molecular conduction", B. Muralidharan, A. W. Ghosh, and S. Datta, Phys. Rev. B, 73, 155410, (2006).
[7] "Current rectification by Pauli exclusion in a weakly coupled double quantum dot system", K. Ono, D. G. Austing, Y. Tokura, and S. Tarucha, Science, 297, 1313, (2002).
Cite this work
Researchers should cite this work as follows:


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Published Apr 27, 2007
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Homecoming 2009
September 22, 2009
Come home to Lewis & Clark this fall and take advantage of a full slate of campus activities, including:
- Alumni College sessions featuring undergraduate faculty.
- Reunions for alumni of all years who participated in the Pamplin Society of Fellows, Residence Life, and theatre arts.
- Young alumni reception (classes of 1999 through 2009).
- Multicultural reception.
- Homecoming football game (Lewis & Clark v. Crown College).
- Sixth Annual Tailgate Extravaganza.
- Weekend theatre performances.
On the Web:


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Planning and Community Development Services
The Cattaraugus County Planning Division provides countywide planning and community development services to the constituents of Cattaraugus County. These services include developing and implementing countywide plans and strategies for economic development, agricultural protection, tourism, transportation, and environmental protection.
Some of the projects the County Planning Division has been involved in recently are:
- "Smart Development for Quality Communities" Guidebook Series - a series of eight guidebooks that lays out a vision for the County for growing our communities using our unique assets while preserving the rural characteristics that make Cattaraugus County Naturally Yours.
- Equestrian Initiative - a strategy to develop the equestrian economy in Cattaraugus County.
- Community Transportation Coalition of Cattaraugus County - assisting in the development of a rural transporation plan for Cattaraugus County.
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Register Here for the Southwestern Indiana Bass Classic
Southwestern Indiana Bass Classic
Saturday, September 20th 7am – 3pm
- $1000 First Place Prize
- $500 Second Place Prize
- $500 Exact Weight-in Prize
The first-ever Southwestern Indiana Bass Classic, presented by WKDQ and Coors Light. We invite you out to Angel Mounds boat docks on Saturday, September 20th to watch more than 100 anglers battle for the ultimate bass — and the grand prize of $1,000!
Dozens of anglers will descend on the Ohio River to try to snag that big bass and get big payouts in the process.
The big winner of the classic gets $1,000, second place receives $500 and if you grab the fish that weight exactly 3.0 we will give you $500 in cash!
Are you wondering if it's too late to register? Not at all. It's $100 per boat with a limit of 2 anglers per boat. Send us your information and we will give you a call to collect your entry fee.
Not interested in fishing, but just want to watch? We'd love to see you! Bring a chair (and some sunscreen and sunglasses; it's gonna be warm!) and watch these Angler's battle it out for the biggest bass.
Weigh-in will begin at 3 p.m. on Saturday. We'll see you out there!
Register below for the Southwestern Indiana Bass Classic. Someone will be calling you within 3 – 5 business days to collect your payment information.


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Typographer, graphic designer and businessman Erik Spiekermann has created timeless, influential and, yes, Meta-physical work over the past three decades.
Next to founding MetaDesign and FontShop, the latter being the first ever digital distributor of fonts, and designing more instant classic typefaces than any other, he has been recognized as an outstanding expert internationally as a lecturer and professor.
Listen to the design genius talk about new visual languages, design processes, the analogies of music and typography, and why we need better client culture in this fantastic short documentary by our friends over at Gestalten. Watch the full video after the jump!


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New Science Center
New Science Center, 1999 (click thumbnails for larger images)
A new science building was built after the need for a better area to do lab work arose at Saint John's University. At the time of its construction, Biology was the second largest major on the SJU campus, and students required more space to do quality lab work. In order to eliminate safety concerns and over-crowding, construction took place to build a new facility, as well as renovate the existing Science Center.
Planning for the new science building began in 1994, when architect Gregory Friesen began gathering data. He wanted to create a functional building that was still compatible with the old Science Center, which was designed by Marcel Breuer and built in 1965. A groundbreaking ceremony took place on June 19, 1997. Construction took about one year.
The construction took about a year and cost $8 million; the simultaneous updates to the old Science Center cost $3.5 million. The funds for the new building were acquired through a St. John's bond issue and fundraiser called Discovery. At the time, it was the largest capital project in Saint John's history. Donors were given opportunities to name classrooms, laboratories, specialty rooms or the building itself in exchange for financial gifts.
The New Science Building opened September 8, 1998 and was dedicated on April 16, 1999.
The new facility was two stories and 48,000 square feet. It housed the Biology department and the microbiology, histology, molecular biology and biochemistry labs. One of the biggest highlights of the New Science Building was the Hilger Entrance Hall. It featured a two-story Theisen Pendulum, which demonstrates the earth's rotation and gravitational pull. There was also a dome ceiling with stars, a video display wall, and a gathering space for students.
An artist's rendition of the New Science Center, 1997 (click photo for larger image)
- "Auditorium Dedicated," Saint John's Magazine, Autumn 2001, p. 3.
- Bowen, Amy. "New Science Center Opens Tomorrow." The Record, September 10, 1998.
- Holt, Emily. "Science center officially dedicated and blessed." The Record, April 22, 1999.
- Molene, Johne. "SJU embraces new science building." St. Cloud Times, September 15, 1998.
- "Science Center Completed at Saint John's." Saint John's Magazine, Autumn 1998, p. 1-3.
- "The Evolution of the Sciences at SJU," Saint John's Magazine, Summer 1998, p.1.
- http://cdm.csbsju.edu/u?/SJUArchives,5542 Saint John's Magazine, Summer 1997, back cover
Special thanks to Ariel Smelter '12 for drafting this text.


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May 22, 2002
Responding to the ever increasing cost of health care, the June 2002 UCLA Anderson Forecast Conference will examine why medical costs are rising, what can be done about it and how to understand the tough health care choices that businesses, government and individuals are facing.
Titled "What Every Business Needs to Know About the Current Health Care Crisis," the all-day conference will feature a variety of participants, including doctors, health care executives, management consultants, hospital and health care administrators, and county and state government officials. Through several insightful panel sessions, these experts will address key issues within the industry and provide unique perspective on the impact of the healthcare crisis nationwide.
As typical with each UCLA Anderson Forecast Conference, economists Edward Leamer, Tom Lieser and Christopher Thornberg will reveal their latest economic predictions for the state, nation and Los Angeles region, including a special focus on the real estate market's influence on the economy.
The lead sponsor for the June Forecast Conference is Deloitte & Touche, and co-sponsors are HealthNet, K&R Law Group, Tenet Health Systems and WellPoint.
UCLA Anderson
Korn Convocation Hall
110 Westwood Plaza, Los Angeles, California
Wednesday, June 19, 2002
Registration and Continental Breakfast: 10 to 10:30 a.m.
UCLA Anderson Forecast Conference: 10:30 a.m. to 4:30 p.m.
Networking Cocktail Reception: 4:30 to 6:30 p.m.
Speakers include:
Leonard D. Schaeffer, chairman and CEO, WellPoint
Thomas L. Garthwaite, M.D., director and chief medical officer, County of Los Angeles, Department of Health Services, and former under secretary for health, U.S. Dept. of Veterans Affairs
Michael Karpf, M.D., director, UCLA Medical Center, and vice provost, Hospital Systems
Steve Burrill, health care industry leader, Pacific Southwest region, Deloitte & Touche
Sarah S. Harrison, vice president, customer strategy integration, AstraZeneca
Paul Swenson, CFO, Blue Shield of California
Keith Richman, M.D., assemblymember, State of California, and member of the assembly's budget, health, and insurance committees
James C. Robinson, Ph.D., MPH, professor of health economics, University of California, Berkeley, School of Public Health
Arthur M. Southam, M.D., executive vice president, Kaiser Foundation
Walter Zelman, Ph.D., president, California Association of Health Plans
Paul R. Torrens, M.D., MPH, professor of health services, UCLA School of Public Health
David Lusk, Western region practice leader, integrated health group, and managing director, Pacific Southwest for Human Capital, Deloitte & Touche
Please contact UCLA Anderson's media relations office at (310) 206-7707 or via e-mail at email@example.com for more information or to register for the conference.
Members of the public should contact the UCLA Anderson Forecast office at (310) 825-1623 or via e-mail at email@example.com to register to attend the conference. The conference is open to the public at a cost of $350.00 per quarter or through an annual membership.
For agenda updates, please visit http://forecast.anderson.ucla.edu


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Mama Rosie came to this country from Italy in 1908. Her delicious home-style pasta recipes have been passed down through the generations. Today we proudly produce the same authentic, great tasting pasta products that our grandmother made.
"EXCELLENCE In QUALITY" for over 35 years our family has been working diligently to make Mama Rosie's the number one selling Frozen Ravioli in the North East. Our Premium Pasta is manufactured on machines that simulate "Authentic Hand Rolled" pasta. This Authentic method is achieved when the pasta dough is mixed, kneaded and stretched through rollers to develop the unique texture of Hand Rolled pasta. Other frozen ravioli dough's are produced via Extrusion. Extruded dough forces the pasta through dies to shape the dough at high pressures and temperature. The extrusion process strips the dough of its light delicate textures and home-style taste.
Our products contain only the highest quality, all natural ingredients, with that wholesome home cooked taste. Please enjoy all of our filled pasta products - Cheese Ravioli, Tortellini, Cheese Manicotti, Stuffed Shells, as well as our Ricotta Cavatelle, Potato Gnocchi, and our great tasting entrees.
"From Mama's kitchen to your table." Mama Rosie's Frozen Pasta is always an easy home cooked meal. Great home-style taste; that delivers a great source of calcium, fiber, folic acid, iron and protein...


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Almost everyone has been adversely affected by the economic challenges over the past decade. Some of us have lost our jobs, houses, retirement or at least know someone personally who has. People are tired of it and won't put up with it anymore, at least for long. We now have many more choices of where we can work, who we give our money to and where we buy things. This is the Information Age, where transparency governs everything, and word of mouth helps us decide on how we spend and what companies to support.
Today, companies are free to sell or deliver most anything, and their culture is usually based solely on that. But to ensure success, culture also needs to be structured to align with the wants, needs and demands of its employees and customers. Companies need to be transparent in "what" they do and "why" they do it to attract and retain people, and they must also treat employees and customers like they matter.
So, according to Dr. David "Doc" Vik, founder and CEO of The Culture King and author of "The Culture Secret: How to Empower People and Companies No Matter What You Sell," if you want a company that attracts and retains loyal employees and customers, is successful and will stand the test of time, creating your own unique culture is priority #1.
Unique culture, in a nutshell
Having a unique culture is the most important factor in business. When done right, it will become part of your DNA and it will attract both loyal employees and customers, allowing the employees and the company to be empowered and grow.
The challenge is that articulating "culture" within a business, in and of itself is kind of "sqwooshy." Companies attempt to do many things to create a culture, but the anticipated positive effects are not always realized because the structure that will create the culture is, most often, the missing piece.
Keep in mind, that within all companies, there is already a culture, but it may not be what is wanted, and many times, the culture is created by default. So if you want to create your own unique culture that will help empower your employees and drive your company to success, transforming the culture you already have is a great place to start.
Related Topics : A Big Market for Big Data Jobs, Midmarket CIO, IT Management Automation, SharePoint, Technology Markets
The gig economy is clearly disrupting the tech industry, both in positive and negative ways. ... More >>
Is fake news a security issue? Some say yes, as it can be used as a social engineering tool to spread disinformation and conceivably to get unsuspecting users to click on malicious links. ... More >>
Executives at several top tech firms outline the skills they need now and in the near future, including IaaS and IoT security expertise. Other skills listed may surprise you. ... More >>


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A new study released by the non-profit Center for College Affordability and Productivity might confirm what many new college grads have already been thinking—nearly half of working Americans with college degrees are in jobs for which they're overqualified.
Continue Reading Below
With the number of academic degrees at every level on the rise, it only makes sense that the demand for college-level work might outgrow the availability of such positions. For instance, according to USA Today, the number of Americans whose highest academic degree was a bachelor's grew 25% to 41 million from 2002 to 2012; associate's degrees increased 31% in the same time period and master's and doctorate degrees grew even faster, at a rate of 45% and 43%, respectively.
According to 2010 Labor Department data, college graduates in the workforce in 2010 stood at around 41.7 million, while the number of jobs requiring a college degree leveled off at around 28.6 million.
So what does all of this actually mean? "There are going to be an awful lot of disappointed people because a lot of them are going to end up as janitors," study lead author and Ohio University economist Richard Vedder told USA Today.
It's not just janitors, either. Consider some of these numbers:
15% of cab drivers in 2010 had bachelor's degrees vs. 1% in 1970 25% of retail sales clerks had bachelor's degrees in 2010 v. less than 5% in 1970
Not everyone agrees with Vedder's findings, though—especially when it comes to jobs in the tech field. Joe Minarik of the Washington-based Committee for Economic Development argues that a lot of high-tech, high-productivity jobs are being outsourced in America, in part because people here don't have the skills required to do such jobs.


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Trinity helps FD succeed
Trinity Regional Medical Center is a good example of something that is so important a part of our immediate environment it is easy to take for granted. Its excellence is enormously important to our community and region.
Having a first-rate medical center close at hand is essential to the quality of life of every Fort Dodger. Trinity has become a major regional referral center for specialty care. That benefits not only those who call Fort Dodge or Webster County home, but also many others who live in the nearby counties.
The presence in our community of a superb medical facility also makes Fort Dodge more competitive as it seeks the economic growth that is so important to the future of the city and region. It's no secret that two of the factors that are of critical importance in corporate decision-making about site selection are the quality of a town's schools and the ready availability of comprehensive, top-quality health care. Fort Dodge does well on both dimensions even when compared to much larger cities.
Consequently, it is no exaggeration to assert that Trinity's excellence helps this town achieve its dreams for tomorrow.
But there's more to the story.
A 2012 survey by the Iowa Hospital Association documented that the Hawkeye State's 118 community hospitals have an enormous economic impact. According the IHA, annually Iowa's hospitals provide more 71,169 jobs and pay in excess of $4 billion in salaries and benefits. That puts hospitals collectively among the state's largest non-agricultural employers. And that's just direct employment. When one adds in the additional jobs in communities across the state that exist because of hospital spending and the dollars spent by their employees, the IHA estimates that 133,000 jobs are tied directly or indirectly to the hospital industry. The overall economic impact on the state's economy is calculated to be approximately $6.2 billion a year.
Here in Webster County, Trinity Regional Medical Center generates about 1,313 jobs and adds more than $68 million to the Webster County economy, according to information released by the hospital this month.
There are many reasons to take pride in Trinity Regional Medical Center. It's no exaggeration to assert that its success contributes mightily to the ability of our town and region to thrive. Not only is it vital to the health of people who live here and in surrounding counties, but it also contributes to the ability of Fort Dodge and nearby towns to prosper economically.


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2 These loans require you to repay a fixed amount of interest, so paying off early won't save you any money. In fact, it can increase your effective interest rate to 200% or more.
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Justin Bieber jacked a bicycle from a security guard in a Vegas casino … AND GOT CAUGHT BY A COUPLE OF GIANT GOONS … and our sources has footage of the entire botched heist.
It all went down at The Palms Casino Resort on September 14 … when JB and his crew were in town to watch the Floyd Mayweather fight.
Bieber entered the building through an employee entrance and stumbled upon a patrol bicycle in the hallway — so, he took it.
Security footage shows Justin joyriding the bike through the halls — while a security guard chased after him in an effort to get the bike back.
Eventually, a couple of bigger security guys — dressed in suits (so you know they"re not f**kin around) — cornered Justin in the hallway and forced the pop star to hand over the stolen property.
We"re told security gave Justin a stern talking to and eventually let him go.


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- Premier League
PSG deny contact with Ashley Cole
Paris Saint-Germain have rubbished reports that they will attempt to lure Ashley Cole away from Chelsea during the January transfer window.
Cole is out of contract at Stamford Bridge at the end of the season, and interim boss Rafael Benitez appeared to reveal during one of his opening press conferences as manager that the England defender would depart the Blues in the summer.
Benitez has since moved to clarify those comments, suggesting Cole could stay at Chelsea beyond his existing deal, but neither Cole nor Frank Lampard - another in his final year - have yet agreed new terms.
Big-spending PSG are currently managed by Carlo Ancelotti, who previously coached Cole during his time at Chelsea. But sporting director Leonardo insists any report of a move in the transfer market is based purely on that link.
"We have never spoken with Ashley Cole, there has never been any contact," Leonardo told the media.
"Carlo was his coach at Chelsea, that's why that story is doing the rounds."
Leonardo also quashed talk of a move for Wesley Sneijder, saying: "Sincerely, we have never contacted Wesley Sneijder to come to PSG - we have five players in his position already."
Lampard was Chelsea's match-winner in their Sunday trip to Everton, scoring both goals in a 2-1 win, but says he remains in the dark as to whether he will be offered new terms at the club.
"At the minute there is nothing been said and my contract's till the summer," Lampard told the BBC. "I'm enjoying playing, I'm working hard in training, I'm loving being part of the team and the ability we've got in the team.
"That's all I can tell you at the minute, and that's fair enough for me, I'm happy just to keep playing well and contributing to winning games."


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