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Below is the text from the May/June 2012 Saxophone Journal article.
Charlie Jennison by Thomas Erdmann
Saxophonist, clarinetist, pianist and composer Charlie Jennison is one of those rare individuals who is equally skilled as both a performer and teacher. Born on September 26, 1947, Jennison began playing professionally while still in junior high school in Florida. Education wise he's earned a Bachelor's degree in Music Education from the University of New Hampshire and a Master of Arts in Saxophone Performance and Composition from Lesley College. In addition he has furthered his study in saxophone with jazz notables like Jerry Bergonzi and Charlie Mariano, and jazz improvisation with Jerry Coker. Forming a musical partnership with ex-Woody Herman pianist and teacher at the Berklee College of Music, Tom Gallant, the two worked steadily for 30 years. As a performer Jennison has also worked with many other artists including Natalie Cole, Alan Dawson, Buddy DeFranco, Dizzy Gillespie, Vincent Herring, Frank Mantooth, Bob Mintzer, Marshall Royal and Clark Terry. While past teaching experiences include time at the University of New Hampshire and St. Paul's School, Jennison currently teaches at the Phillips Exeter Academy and plays lead alto with the Seacoast Big Band and lead tenor with the Capitol Center Jazz Orchestra.
As a teacher I know you have great respect for those who helped you become who you are today, but one really stands out.
Correct. I owe a lot to many of the great teachers and players I've met along the way, not the least of whom is Dave Seiler, the Director of Jazz Studies at the University of New Hampshire. He's been there since the mid-1980s. There wasn't a jazz program at that school until Dave arrived. His background is from Wisconsin, and he has experience not just in saxophone but also in classical clarinet. He's encouraged me to keep up my doubling, being a fine flutist as well. He was responsible for getting me the teaching position I held there for 14 years. While I was teaching there it was incredible how many different opportunities he created for me, both with his ensembles and playing with him in small jazz groups both in concert and in clubs. We're still good friends. He directs the Seacoast Jazz Big Band which plays quite a bit in this area.
You play lead alto in that big band and lead tenor in another. Each situation is different. As a lead alto player, what advice do you have for others, such as high school and college students who are playing lead alto in a big band, to help them be more effective?
One of the things I harken back to is that I got a chance to sit next to Marshall Royal when he came to play at UNH. To hear him play lead alto for some of the Basie charts we were doing was inspirational. It was astonishing to me what kind of a sound and projection he got out of his instrument. It was through working with the Seacoast Band, that I learned to listen to the lead trumpet. I always, as lead alto, try to cue in on and match style, intonation, and phrasing with the lead trumpet. Then the saxophone section works off the lead alto player. If you have the across-the-band thing going, by cueing into the lead trumpet and lead trombone, then as lead alto you will be in tune and stylistically correct with the rest of the band. You have to listen across the band and not just to the saxophone section.
The lead tenor chair is different and as a lead tenor player what advice do you have to help those who are playing that position to be more effective?
The first thing to be careful of is to make sure you're not overblowing the altos, especially in the upper register. The tenor is a powerful instrument. You have to cover your sound a little, lie back, and try to match the volume and intonation of the lead alto. The lead tenor chair is often the solo chair, and at that point, when the music opens up for solos, you can pretty much do what you want, but as far as the ensemble is concerned you also have to be sure to blend with and complement the trombones as well.
When you play behind a vocalist, as you have done on a number of recordings with vocalists like Kathleen Kolman and Leila Percy, what are you thinking?
You know, my piano knowledge comes into play when I'm working behind a vocalist on the saxophone. I'm always trying to find a note in the harmony that blends well with the melodic material the vocalist is doing. It's really important to not play too much; understatement is better. I try to look for openings where there is phrasing by the vocalist that allows them to breathe, and at those moments I try to reinforce the harmony. Often times I'll try to create a little countermelody, so I'm also doing a bit of composing at the same time. The main thing is to not get in their way and leave plenty of space.
All vocalists are different, and some really fill the space. How do you approach your role if they take up all the space themselves?
In those cases, less is more. I will, in those situations, use sustained harmonic notes, half and whole notes, so that there is not too much motion. If I'm not left much room, I'll still make sure I'm reinforcing the harmony as best I can, using thirds and sevenths.
Quite often young saxophonists will make the mistake of playing too much behind vocalists.
Correct. Young players generally feel like they need to fill up the entire space all the time. If there is nothing going on they feel something is lacking or missing, and the exact opposite is true. Silence is a very valuable thing to learn how to play with. I've always felt I played too many notes and lately I've been trying to edit myself, to play fewer notes, with the result being that they mean more.
You're being very humble, you're a great player. You mentioned your piano background being important in your saxophone playing. Can you discuss why learning the keyboard is so important to saxophonists and all musicians in general?
One of the things about the piano is its visual aspect. It is easier to see where a note should belong. When I play many times I will visualize where a structure lies and I can more easily understand the chordal structure of certain harmonies. Music is supposed to be a sonic event and something you hear, but there are shapes the keyboard can provide that really help in thinking things out. Jerry Bergonzi discusses this in his pedagogical materials. When you're working with pentatonics, for example, you're really creating a shape, in terms of spatial orientation, rather than a linear one, and that has been a very helpful concept for me in terms of improvisation. There is another thing about the piano that is really helpful in my saxophone playing, and that is my work as a rhythm section player. What I've learned is how to treat a rhythm section when I'm a horn player. No bass player ever appreciated having to play 14 choruses of I've Got Rhythm while a tenor player got up and blew a lot of meaningless stuff. That's one of those areas where editing yourself can really help. I tend to take fewer choruses when I'm playing in a group than anyone else because, (a), I feel like I've said all I have to say with fewer chorus and, (b), I like to listen to the other players in the group because I'm so interested in what they do. Having the piano background has really helped me with my harmonic concepts and then applying those concepts to my saxophone. For example, one time I was studying some of George Shearing's block piano voicings and I realized that if I arpeggiated those chords and notated them it would make a great saxophone exercise. So I wrote them all out in the various qualities, major, minor, dominant, and so forth. Then I arpeggiated them on the saxophone.
People tell stories of how John Coltrane loved to play out of Oscar Peterson's piano tutorial materials.
Oscar Peterson was one of my piano teacher's favorite piano players. He made me listen to Oscar quite a bit. The incredible speed and facility Oscar had, as well as his ability to create those great 16th and 32nd note flourishes, definitely influenced my playing. It also made me more appreciative of what Coltrane did on the saxophone.
In a review of your second recording as a leader one reviewer wrote concerning your incredible finger work. When you were young, how did you work to develop your finger technique?
I think classical training is behind it. When I was an undergrad at UNH my band director was a clarinet instructor and, although he doubled on saxophone, he appreciated his limitations as a saxophone player. He had the bassoonist from the Boston Pops, Dr. Donald Bravo, come up and give me instruction one day a week. Dr. Bravo instilled in me the importance of regular practice of scales and arpeggios. It was like studying in the old school, as if Joe Viola or Al Gallardoro were teaching me, really developing a classical technique and sound. Because Don was a bassoonist he was aware of all of the literature, so we read a lot of solos as well as all the Ferling Etudes and the music of Bozza. There's no doubt that work contributed to my technical development.
You've brought up a few of your former teachers, but additionally I wanted to ask about three of the more well-known performers and pedagogues with whom you've studied. I was wondering if you could tell the readers what you learned in your work with them. The first is saxophonist Jerry Bergonzi.
Jerry helped me expand my playing not only rhythmically, but definitely harmonically as well. One of the first exercises he had me do, and this was when I was studying for my masters degree at Lesley College, was to learn Giant Steps in all 12 keys. My other teachers had been telling me the importance of playing in all 12 keys, and they made me learn the blues in all 12 keys, as well as Cherokee in all 12, but I had never really thought about learning Giant Steps in this manner as well. That was an eye opener and a mind bender in terms of learning about harmonic progression and where things actually lay on the horn. Since then I've been using a lot of his methodology in my teaching, particularly his materials on scale fragments and pentatonics because those are the ones that you can usually use with immediate application with students; they can grab onto those ideas and use them fairly quickly. It's funny because when I used to go down for lessons with him in Boston, Jerry wouldn't play saxophone. He'd play either piano or drums during our lessons. His chops on both are pretty impressive. I was also learning about the piano during these lessons from just watching and listening to him play, as well as our discussions about the piano where he showed me some really cool pentatonic voicings. He really turned me on to the various ways pentatonic scales can be applied in performance. With his drumming, he also helped me to think outside the box, illustrating what various rhythmic patterns could be superimposed over 4/4 or 3/4 meters. That's characteristic of a lot of modern playing and so it's important for students who are interested in that, to actually practice some of that stuff in advance.
The next is Charlie Mariano, who was called the Dean of Boston jazz musicians.
He was associated with that scene from the earliest time. I was fortunate to first meet him at one of the Stan Kenton band camps at the University of Connecticut. He had just returned from India and had gotten into the shehnai, the Indian oboe-like instrument. It was a riot to see him with the big band because he'd sit cross-legged on a pillow in one corner and played the shehnai while the big band was roaring away. It was like an early example of fusion. One of the things I gleaned from working with him was his sound. At the time I didn't have much of a concept of how to create a sound on the horn, I was really just using a stock mouthpiece and whatever. I learned from him that by experimenting with the different facings and reeds you could really open up the sound and get a much bigger, fuller tone out of the instrument. I think breath support was another one of the things he helped me with, and the concept of being able to put more air and more support into my playing and sound.
The last is one of the first great jazz improvisation teachers, Jerry Coker.
Fortunately for me I also first met him at that same Stan Kenton band camp. Now, as an educator, I have read a lot of his materials, bought his books and studied them, and then have used them with my students. One of the things that I gathered from him at the time I was studying with him was the importance of listening. Not just to listen as much as you can, but to also make sure that when you're listening you're not doing anything else; put everything away and make that your sole occupation. What to listen for was another thing I learned from him; how to listen so carefully that you're able to pull and extract things from specific recordings. We did some of that in his classes. He also introduced me to jazz theory. More than anything else I got a running start on chord structures, alterations and extensions from him. I got a lot of valuable material.
Your first CD as a leader is just you and Dan Delaney, a pianist. When you work in duo with piano and no bass and drums, do you think or play differently than when you're working with a full rhythm section?
I think so. In a duo context it's a one on one conversation. You're not drawn out with the other players like you would be in a quartet. When I play in a quartet setting I tend to interact with all of the other musicians. As the group gets larger there are more and more interactions and as a necessity there is probably less focus on one idea or stream of thought. With Dan, he's particularly facile and has a lot of chops. We would push each other. We would try to play a lick the other couldn't, as well as toss ideas back and forth to see who would be the first to drop the ball.
You worked for a long time, 30 years, with the late pianist Tom Gallant. Can you tell the readers a little about that musical relationship?
It's interesting, because our relationship was more than musical. He was like a mentor to me. I was in high school when I first met him; he was playing up in this area. He was teaching at Berklee, had studied at Berklee, and subbed for Nat Pierce with Woody Herman's herd. He had a lot to share. One of the greatest things he did was to introduce me to Don Doane, another graduate of Woody's band. I became lead alto in Don's Little Big Band in Portland, ME, back in the middle 1970s. At that point in my career that was the best experience I could get, sitting next to other players who had been on the road and played with various bands. I learned and was able to absorb the whole lead alto tradition by working in that band. Tommy was good for me in that way. Another thing that was good was playing so many gigs with him. We would hang out before and after gigs, and I gave saxophone lessons to his stepson, who later grew up to be a professional bassoonist and played with a symphony!
You did something a bit unconventional on both of your CDs as a leader. They are full of nothing but original compositions. Many times early discs by leaders include a number of standards. Why did you choose to go the original composition route?
I know another reviewer made that same comment. In fact, many of the tunes on those discs are based on standard changes. My composition To You, From Me has the same chord changes as You Do Something To Me. It's just a contrafax of that tune. I also wrote out some basic blues tunes. One of things I wanted to do on Iridescence was to make it a tribute to my family. There is Amanda's Blues, she's my youngest daughter, My Anne is for my wife, and Georgie which is one of the nicest ballads I think I've ever written and is for my oldest daughter. It didn't bother me that many of the tunes were not standard tunes because it seems like most of the albums I pick up these days have artists playing the same standard tunes over and over and over. I thought it would be better to write some original tunes and challenge myself in that regard. Also, what is more challenging for a group to do than to do than all original material? If and when I do another album, and we've been talking about it for some time now, we will include some standards.
How does the compositional process work for you?
I can tell you there is a significant musical influence on my life, and her name is Barbara London. Barbara is a composer, pianist, vocalist and before I did Iridescence I did a number of concerts with her. She is an amazing jazz composer who does a lot of original jazz material. She played with Ariel, an all-women's jazz group in New York for a while. Long story short, I think I absorbed some compositional influences from her. I also learned a lot in school and had a real love for the 12-tone system as well as other compositional concepts. Some of that may have found its way into the harmonic and melodic concepts in my pieces. Dr. Paul Verrette, a long time piano instructor at the UNH, along with Tommy Gallant, was one of the strongest influences on my compositional background. Paul taught me to be able to look at a classical score and extract jazz harmony from it. That process, I believe, was behind a number of my tunes. I believe a number of my little motivic ideas come from that work which were then expanded into full compositions. I still study transcriptions quite a bit and use selected motivs in my writing. I guess you could say that I'm still working on writing my first symphony.
Do you ever have to deal with writer's block?
Not generally. It's funny, but if I need a tune for the students we'll just sit down and put something together. I have a whole filing cabinet full of stuff that hasn't been published. There are combo arrangements and everything. It's just a question of getting these materials up on the net. At this point there are so many ways of getting material out there, it's like I've just opened up to the fact that all of this technology is available. I'm encouraged to get my material organized and have learned to use Sibelius and Finale in order to get things notated for publication. I'm inspired by one of the gentlemen in the Seacoast Big Band, Craig Skiffington, because he's been writing for the band for about a decade now and his material is getting published for use by school bands. That encourages me to get my stuff out, work it up and get it out there.
You have a really nice full bodied tone. How have you worked to develop your sound?
I've been a Selmer person ever since high school. I was fortunate to buy a Selmer Mark VI when I was in high school, from my choral director, and there was just something about that horn and that sound that resonated with me. There is also the element of my classical training that is behind some of my sound. One of my biggest influences, when I was in high school, was Paul Desmond, as well as Bud Shank and Art Pepper. I really love that West Coast cool sound. I don't, however, play with as dry a sound as they did. I prefer a bit more lyrical or melodious sound. That's just what I hear. You know, there is also the element that you can give the same horn and set up to two different people and each one of them will have their own unique sound. This is because of the acoustical nature of the horn and each person's makeup. In the end it must just be the way I'm built that I came up with the sound I have.
Well you've being very humble, I think you've worked very hard to get that great sound.
Well, it's thanks again to Don Bravo who showed me the basic concepts of embouchure and vibrato, as well as breath support, and then I was able to add that to what Charlie Mariano brought to me. Studying with Charlie was like jumping into the deep end of the pool; he was a little over my head at the time I studied with him. I'm hoping that I'm finally starting to grow into his influence.
On a jazz gig, many times saxophonists have to move back and forth between the different saxophones. How do you make the adjustments you have to make in order to be successful on each instrument?
Again, Dr. Bravo told me that when you practice your saxophones you should start with the littlest one first, soprano, then the alto, then tenor. That way you're working on decreasing the pressure on the embouchure as you go along. When you're freshest you want to start with the tightest embouchure, and then work your way into the bigger horns. I've generally always progressed that way when I'm practicing. On the bandstand, often times I'll just pick a horn that just happens to be a good key for the piece we're playing. One of my philosophies, when I'm putting a set list together, is that I don't like to do two tunes in a row in the same key. So I'm not only thinking about tempo and style, but also key, and I'll just use the horn that happens to lie best in the key we end up playing in.
When I interviewed Jay Beckenstein about soloing in some bizarre keys, as he sometimes does on different Spyro Gyra tunes he said, "Well, you just have to know the horn."
He has a point, if it's necessary, sure, I'll play in whatever key is called for. When I was in high school I worked with a guitar band, and they did tunes in E and A, and naturally I fell into learning how to play and solo in C-sharp and F-sharp without thinking too much about it.
Freddie Hubbard told me how he came up playing with Wes Montgomery, back when Wes had moved to Indianapolis to raise his family, and at the time Freddie wasn't reading, he was just playing in whatever key Wes and the band were playing in. So when it came time to write tunes like Red Clay, Freddie had such dexterity he would write the tunes in the key that sounded best to him without regard to how the music lay.
That same situation happened to me. I wasn't that hip, theoretically, in high school, so I would just play what felt and sounded right, finding the fingerings that worked without regard to key. You are reminding me that I need to get my students to work in more remote keys. I try to get them into the harder keys as quickly as I can. I tell them jazz is a language that uses all 12 keys and you want to be comfortable in every one of them.
Here I'm thinking back to how you were made to learn to play Giant Steps in all 12 keys. What a great experience and learning moment. Maybe it wasn't fun to do back then, but now it's part of your musical makeup.
Yes, and I'm very grateful to Jerry that he made me learn that. I have a notebook of stuff I got from him that I'll be practicing for the rest of my life. It's unbelievable how much material he gave me to work on.
When you're putting together your own band, what do you look for in the other musicians?
One thing I like to look for is whether they have an affable personality; can we get along on the bandstand. I've worked with musicians who are virtuosic in nature but their personalities were that of a cold fish. To me that doesn't compute on the bandstand; you need to have folks who can get along, smile, appreciate each other and be able to listen so they can create space for each other. That's the only way to play. I'm really looking out for that, even more so than super chops or a lot of experience. A lot of time when I'm doing a gig in this area it will be a small group, maybe even just me on piano with a vocalist, or me on saxophone with a guitarist and maybe a bass player. In those circumstances I'm generally looking for people I've worked with in the past so that I know what their repertoire is, but it's always fun to meet new players, to just jump in never having met and play some tunes together. That can be a lot of fun as well.
Many times when we work with other musicians we learn things, both good and bad. There is no way we could cover all of the musicians you've worked with, but I'd like to cover a few, and have you tell the readers about what you learned in working with them. The first is the great Clark Terry.
Oh man, he is one of the warmest guys I've ever met. He is super generous. We did some workshops together, and when he was awarded an honorary doctorate at UNH, we did a couple of tribute concerts for and with him. There was a significant concert with Clark for me because the band was James Williams on piano, Milt Hinton on bass, Les Harris on drums, Clark on trumpet, and me. I was in heaven working with those cats. It was truly out of sight. Clark was very open to letting things happen on the stand. I never heard him play a bad note. Every solo was great. We did a recording session, and the other guys were fluffing this and flubbing that, but Clark, even though he was 20 to 30 years older than most of us, was right there on every solo. His concentration and dedication was very inspirational.
The next someone with is terribly overlooked in jazz history, and that's Buddy DeFranco.
A very friendly cat and very supportive. I was quite young when I worked with him and he encouraged me to expand my solos. What I liked about his playing was his harmonic exploration. For his time period he was pushing the envelope with regard to harmonic complexity. He had impeccable chops and sound on clarinet, and that was inspirational because it made me want to work harder on my clarinet chops. Most of the great players I've been able to play with during my life are also wonderful people and human beings.
The last is Natalie Cole.
I didn't actually meet her, but I did play behind her. I did a three-hour sightreading rehearsal and then played a concert at the Portland City Hall. I got the gig through Don Doane. She brought several lead players with her, including Lanny Morgan and a couple of other folks on different instruments, but a local contractor filled out the rest of the band. I got the gig because I was a doubler and played alto flute, bass clarinet, soprano, alto and tenor saxophones on that job. I know I had at least five horns in front of me. The night of the concert she was only three or four feet in of me, but I was never actually introduced to her. She would turn around to the conductor and say she wanted to do specific numbers, because she would read the audience and pick the order of the concert as we went along based on how the audience reacted. The thing that cracked me up was that we had not rehearsed her big number. At the appropriate time they rolled down the screen and projected a video of her father Nat, and then we sight-read Unforgettable to a click track while she sang it.
That really reinforces the point that as a professional musician you really have to be ready for anything at any point.
Absolutely. Things like that will keep you on your toes.
You started playing professionally at a very young age; you were in junior high. Is there some advice you can give to young musicians who are just starting out playing professionally that comes in the form of, I wish someone had told me (blank)?
You really have to appreciate your audience and never underestimate them. A lot of young musicians make the mistake of thinking that the audience either doesn't know or appreciate what they are playing. I've always found that if you keep your wits about you, look around, smile, and keep in contact with people, find out what they want to hear, you're going to do a lot better than if you just barge in and do your thing, so to speak. Don't just let the chips fall where they may. I've always tried to accommodate my audiences, try to figure out what they want to hear, and do everything I could to play it.
There are conflicting ideas when it comes to the validity of transcribing solos as a technique for learning jazz. Some saxophonists interviewed in Saxophone Journal say it's indispensible, but others say it's not so important. How do you feel regarding the use of transcribing solos as a learning technique?
I'm big on reading transcriptions and extracting material from them for your own vocabulary. If the student is at the point where they can actually benefit from doing the transcription themself, then all the better. Right off the bat, if a student says they want to do this then I suggest they start with a Miles Davis solo, a solo where there is some space and the notes won't go by too fast. Not only that, but nowadays with the new software available you can even take a John Coltrane solo and slow it down so you can hear the notes go by. I have a funny story. Back in the day when I was doing a lot of transcriptions I wanted to do Black Pearls from the album of the same name with Donald Byrd and Coltrane. I had a tape deck and I thought all I had to do was record the track at 15 ips and then play it back at 7.5 ips and everything Coltrane was doing would be easy to hear. Well, the fact of the matter was that even at 7.5 ips, the notes were flying by so fast I almost didn't have a chance!
You're currently teaching at the Philip Exeter Academy. Could you describe for the readers what that school is?
It's an interesting school because it draws people from all over the world. Right now I'm teaching summer school and we have students from 48 countries and 40 different states. I think you'd be hard pressed to find a larger group of students in the world right now that is more diverse than we have here. It is an incredible place to work and teach. They've always been very supportive. We have a faculty jazz quartet that plays concerts four times a year. I direct the stage band and have a great facility and wonderful equipment. It is definitely a privileged environment, there is no question about that. The thing is that the students are all appreciative of each other's backgrounds and diversity. This is something that is important about working here. We rarely if ever have any problems with harassment or anything close to that. It's remarkable. We're a good model for the future. I think when people graduate from here they take with them the feeling of a strong national family. When you go to a place like we have here you really feel like you're a world citizen. You learn that we are all brothers and sisters in this world.
One of the reasons I'm attracted to this place is because I'm a member of the Baha'i Faith. One of our philosophies is that it is better to have a world view than be a nationalistic person and think about just your own country. It is very important to think globally and act locally. It sounds like a cliché, but I think it can be a great value to people when you realize we are all family in a world citizenship. If that were something people grew up with on a visceral level, then it would make a big difference in what's happening in the world today. I really love the fact that this summer, for example, we have students from Palestine and from Israel, going to school together, at PEA, and getting along great. It's a remarkable thing what the founder of the school did when he made an effort to draw in people from all walks of life. The school has a great scholarship program, so a lot of kids who might not otherwise be able to attend here are able to go. I always encourage everyone to apply to go to school there; your marks have to be good, but if you get in it's an incredible experience.
As someone who has taught in the collegiate setting, what was the number one thing you wished high school saxophonists had worked harder on before they came to college?
In general when I would get a student who had some degree of accomplishment, they all felt they had to play a ton of notes at 90 miles an hour, and very few of them had done any thinking about what kind of sound they had or whether they could play in tune or not. A large part of my work as a college professor was to work with them on sound and breathing, work with them on reeds and mouthpieces. The idea was to get them to a sound that was unique to them, and not just copying somebody else. It also was important for me to help them find a sound that was acceptable and one with which they could play in tune with others. I also had to help them find a sound that allowed them to get a good response throughout the entire range of the instrument. It's ironic because when I was learning the saxophone I had a trumpet teacher, and there was nothing against this, but sonically he wasn't sure how to advise me with regard to tone production. That is usually what happens to a lot of students who come to college from a band context where the band director isn't always a saxophone player. The result is that they've developed a lot of bad habits in terms of embouchure and breathing. Tone quality is what I would say high school saxophonists who are going to go to college should work more on developing.
Who do you like to have your student jazz saxophonists listen to in order to help ground them in jazz fundamentals?
I have a little sampler that includes people like Phil Woods, Charlie Parker, Cannonball, Paul Desmond and Art Pepper. I like to give them a mix of different saxophonists and different styles to check out. I tell the students their style is going to be a unique style all its own and it's OK to copy someone else's approach in the beginning to get started. As their knowledge and experience increases, the individuality of their sound and style will emerge.
You are a great doubler. What advice do you have for your saxophonists who are thinking of moving into the area of learning other instruments like the clarinet and flute?
The clarinet, to me, is a must. If the student will spend more time practicing the clarinet it will make them a better saxophonist simply because their technical facility will be better. In terms of flute, I know that when I started to study the flute I had to put the saxophone down for a little while and just concentrate on getting a sound out of the flute. If I kept going back and forth between the two instruments I'd get confused. I wouldn't know what embouchure to use on the flute when I'd come back to it. If they can afford, time wise, to put the saxophone down and just focus on the flute for a while they may make faster progress.
What advice do you have for young saxophonists?
Learn something about the tradition of the instrument, both from the classical standpoint and from a jazz standpoint. Find recordings of Marcel Mule and Sigurd Rascher. Listen to what the saxophone did and that will give you a good foundation of what it's doing now. The whole thing about listening is important, because that's how a tonal concept is developed. Find recordings of your favorite jazz artists and absorb the material. You don't have to be technically facile to appreciate their sound and the dynamic contrast they bring to the music. You really want to get a good concept of the sound so you can duplicate it on your instrument.
I recently played piano behind one of my former UNH students, saxophonist Marc La Force, now band a director at a local high school. You know, some of my former students have made careers for themselves in the music world. It's important to know I would never claim credit for their success, they've worked hard and I'm glad I was able to help them along the way. The short list includes saxophonist Jeff Coffin, New York based virtuoso David Pietro, composer Kevin Flanagan, Travis Sullivan of Bjorkestra, Matthew Willis of the Mingus Big Band and the Dorsey Band, Professor James Pisano of Bethel College, Charlie Kohlhase of the Either/Orchestra, and Matt Langley. Trumpeters Barry Danielien and Trent Austin, who studied improvisation with me while they were still in high school, and Mark Shilansky, a Boston based vocalist and pianist, are three other noteworthy former students. Many other music education majors at UNH who worked with me have also gone on to have careers as teachers in various capacities. I consider my career to have been successful primarily because my students have also become proficient players and educators. To me there is no greater compliment that one can be paid, and I get a great deal of satisfaction of knowing I have contributed to their accomplishment in some small way. I would wish the same kind of career for all young saxophonists as the one I've had.
Soprano - Selmer Super Action 80 Series III with a J&D Hite mouthpiece (facing: Medium short, .052" tip), Rovner ligature and Vandoren Java 3½ reeds.
Alto - Selmer Super Action 80 Series II with a Ralph Morgan Excalibur mouthpiece (facing: 6E - medium chamber produces a brighter tone with more edge), Winslow ligature and Vandoren Java 3 reeds.
Tenor - Selmer Super Action 80 Series III with a Ralph Morgan Excalibur mouthpiece (facing: 6EL - large chamber produces a darker, richer and smoother tone), Vandoren Optimum ligature and Vandoren Java 3 reeds.
Bari - Yamaha YBS - 52 with Vandoren V5 Jazz B75 mouthpiece and Rico 2½ reeds.
Clarinet - Buffet BC 20 Bb dating circa 1968, Vandoren B45 mouthpiece and standard ligature, Mitchell Lurie 3 1/2 reeds.
Selected Discography
As A Leader
Iridescence (Invisible, 1999)
Shadow (Crystal Lake, 1998)
With Others
With Tom Chandler
Blue Time (Fishtraks, 1984)
With Devonsquare
Fire & Ice (CD Baby, 1987)
Nightsale (CD Baby, 1986)
With Doah
Companions Of The Crimson Coloured Ark (Philo, 1987)
World Dance (Philo, 1984)
With Edward Gerhard
Luna (Virtue, 1993)
With Tim Janis
Along The Shore Of Acadia (Tim Janis, 1996)
With Kathleen Kolman
Dreamer (Walkin' Foot, 1999)
With Barbara London
Flat Out Dreaming (1988)
Northern Portrait (1982)
With Tommy Makem
Lonesome Waters (Shanachie, 1990)
Songbag (Shanachie, 1990)
Rolling Home (Shanachie, 1989)
With Uno Mondo
Hand In Hand (Global Pacific, 1994)
With Bill Morrissey
North (Philo, 1986)
With Leila Percy
Those Sirens Of Swing (Invisibile, 1999)
With Lucie Therrien
Collage (Invisible, 1989)
With T.J. Wheeler
Smokin' (1978)
With Glenn Yarbrough
Day The Tall Ships Came (Folk Era, 2000)


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How should profits earned be divided between business partners when one leaves the business?
I'm a 50% partner in an LLC. My partner is moving out of state because his spouse got a Job offer they could not refuse. If he and I don't come to an agreement, can he legally take 50% profits until we do? We own a successful personal training facility. We're closing in on $1 million in sales every year and he thinks offering me $50,000 is a good deal… So I don't see this moving too quickly, any thoughts?
It depends on how the partnership agreement was written, You need an attorney. He does own 50%. However since he is no longer working at the partnership he deserves no salary, benefits and reimbursements. You on the other hand you should get a raise since you are now running the business. and could take on all or part of his duties.
How much your business is worth depends on the real profitability (eliminating personal & unusual write offs) and the multiple of the profits you net.
Yes you can get funding to buy out your partner especially if you are profitable.
If you need referrals let me know.
The answer is in the original Contract Agreement. Read the "Fine Print." According to the story above, you stated that you are a 50% partner in an LLC. Therefore, the answer is that when the partnership agreement comes to an end, according to my maths, each partner gets 50% - you get your 50% and he gets his 50%. Now if you are smart and has been doing your homework, you can win it all. Write to me for more details.
In general, working partners take a larger share then sleeping partners. If both partners retired, the management company who may be hired to run the business would be paid a sum too. Thus the person "working" should be receiving their fair share of the work / time they put in as opposed to the partner not adding value / contributing in the day to day operations / expansion of business / strategy etc.
Success requires sacrifice, time, effort. Without these, the "sleeping" partner should expect less. Logically. A percentage needs to be agreed upon, not an amount. This incentivizes the "working" partner to produce and grow the business. This should make sense to both partners.
Good luck.
The real question here is "what are your partners shares worth?" I would recommend you hire a Certified Business Valuator (CBV) to calculate an appropriate value for your partner's shares. The CBV can provide details regarding all the determinants used to calculate the share value.
I would also recommend you hire a lawyer for appropriate legal consultation.
The other points already made are appropriate. Can your partner continue to promote the business? Is there an opportunity to open a second location? Does your partner want to exit the business? All these issues, and others, must be considered before making an appropriate offer.
I believe as long as his name is on the legal paper work he can. He is still a partner until it's changed. It also depends what clauses were instituted into the legal contract. If its a straight 50/50, then it should be an easier deal; but if their is a clause that if one of you break the contract their may be a fee for doing so that goes to the other person. If you both agree then it would be easier, other than the money you have to spend on a lawyer.
Is it possible to go to the Bank and get funding to buy him out? Do you have an interested party to purchase his share? The next alternative is if he can do his duties and help run the business from another location and remain a partner? If so why not try that.
If the operating agreement says 50/50, then yes you may. The only other equitable solution is to have a business valuation done and him pay you 50% of the valuation.
There should be no, question that the business should be 50-50. Just because he is leaving the business does not mean he should get less than 50% of the business. What if he were wanting to start business in the area that he is moving too? Would you want less than 50% if it were you?

subset: commoncrawl


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BACKGROUND IMAGE: iSTOCK/GETTY IMAGES
How can I ensure peak cloud storage performance?
You can hold the keys to better cloud storage performance by looking at the right metrics and knowing what to expect from them, says expert Greg Schulz.
Cloud storage performance matters across all types of environments, but are we looking at performance in terms of IOPS, such as Gets, Puts and reads? Is it about bandwidth? Is performance tied to response-time latency, or is it tied to the number of transactions and amount of file movement?
Whether you're looking locally, remotely or in a hybrid cloud environment, you need to understand how your resources are being used. For example, if you use solid-state locally or in the cloud, how do you think that solid-state or regular storage is performing? Oftentimes, somebody will buy storage expecting to get the 50,000 IOPS, 100,000 IOPS or 1 million IOPS they have read about somewhere, only to find they are getting a fraction of that. The reality is that their applications might be doing much bigger, more substantial work and not the small, marketing-sized jobs that produced those benchmark numbers. They may be getting the effective results they need, but they are looking at the wrong metric. Keeping the performance in perspective, you need to decide, "Is the application actually running better as opposed to what the storage system is doing?"
The good news is that focus is shifting from cost per gigabyte to cloud storage performance availability and durability. But we have to keep in mind that with performance, there is the issue of local, wide-area and cloud networks. For example, with cloud providers now offering solid-state storage, solid-state is fast, but are you doing it over the network? If so, the speed of your network matters.
We need to keep the metrics that matter in mind. Are we looking at activity, such as the amount of data being moved, or are we looking at response time? Most importantly, consider the applications you're supporting -- how are they going to benefit and what are you getting for your given cost? You need to look beyond the price per capacity and at the effective amount of performance you are getting. That's what matters.
Next Steps
Improving the performance of large cloud deployments
Guide to cloud application performance monitoring


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Melvins: A Walk with Love and Death
There's not much reason to listen to A Walk with Love and Death.
It's inevitable the Melvins would arrive at a double album at this point in their career—the worst possible time they could make one. The group has long given up on making music for the sake of music. Every album has a gimmick: a lineup change, a hokey concept like the smirking cover album Everybody Loves Sausages. The double album is the kind of classic-rock cliché these KISS-loving pranksters can't resist. So here's A Walk with Love and Death, split into Love and Death discs.
Double albums can be a springboard for rock bands' wildest ideas, either showing off an impressive range or ending up bloated self-indulgence. The Melvins' entry is neither, and is really just two separate albums. Death is 39 minutes of the same sludge they've been churning out since they put their experimental period to bed with 2006's A Senile Animal, while Love is an ambient score to a film that, if the snippets of dialogue are any indication, is mostly about tough guys getting really, really mad. It's only a double album because cool, a double album.
The songs don't show any newfound ambition. The Melvins haven't switched up their sound much since A Senile Animal, and the differences are so infuriatingly subtle that you'll only notice them if you're looking for them. The mix is less murky than usual, and the bass has more room to breathe, leading to some beguiling textures on opener "Black Heath." Buzz Osbourne's echoing lead on "Sober-Delic" reminds us of the debt post-metal bands like Isis owe to the Melvins. But these differences aren't so substantial that you'd know right away what album these songs were on if you heard them out of context.
A few Eric Andre-tier guests show up. Teri Gender Bender from Le Butcherettes sings on "Cactus Party," and That Dog's Anna Waronker appears on the obligatory power-pop throwback "What's Wrong with You." The Pixies' Joey Santiago is apparently on this thing, too. But guests are so commonplace on Melvins albums these days that they don't allow the songs to stand out; instead, they blend into the monotony of latter-day Melvins.
Love is musique concrete in the vein of their great 1994 one-off Prick, though without the sense of humor. It barely registers while it's on. Though ambient music should be both ignorable and interesting, this stuff's really only the former, and it would be calming if not for all the yelling yahoos. That this is actually the more interesting half of the album should say just about everything you need to know about the Melvins in 2017.
Why do the Melvins sound so uninspired? They're still one of the best touring bands in America, playing shows relentlessly and culling gems from more than three decades of music. Melvins tickets are a reasonable investment even if their records aren't. It may not matter if their albums suck, and perhaps they know that and use studio appointments to toss off songs like so many beer cans.
It's possible the revulsion that greeted their late-'90s experimental period discouraged them from straying from their signature sound. This would be unfortunate. Their wilderness period was far from consistent, but it yielded wonderful music, especially on the underrated and immersive Honky—which, despite running only 45 minutes, is a better double album than this. For that matter, so is Stag. There's not much reason to listen to A Walk with Love and Death. It will be remembered mostly as their first double album—and what's worrying is that might be just how the Melvins want you to remember it.


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The use of controlled substances in research at Cornell University requires complying with state and federal regulations including New York State Department of Health (NYSDOH) licensing and the federal Drug Enforcement Agency (DEA) registration.
Environmental Health and Safety is prepared to assist researchers in meeting the requirements for obtaining, using, storing, securing and disposing of controlled substances.
Contact Environmental Health and Safety for any work involving controlled substances prior to applying for NYSDOH license and DEA registration.
In the News - Click here to see the latest SCAM Warning Issued by the DEA


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Designers - Deadly Ponies - Shoulder Bags
Deadly Ponies
Mr Florin, Ink
Soft Deer skin bag with a detachable shoulder strap and draw string closure. Features internal zip pockets, twp internal patch pockets and an adjustable shoulder strap. Black cotton lining.
Made in New Zealand
Dimensions: W30 x H30 x D14 cm
Colour: Ink
View more


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- Publish date:
Sleeper Sellers
This much we know about this year's trade deadline: There will be no shortage of buyers. And as July 31 nears, it's no mystery what the most eager buyers covet. The Indians, in third place in the AL Central and 24th in the majors in OPS against lefthanded pitching, need a righthanded masher. The NL Central--leading Reds, whose leadoff hitters rank second to last in on-base percentage, need a table setter. The Dodgers, second in the NL West and last in the league in homers and OPS since the start of June, need Mike Piazza circa 1997. And everyone always needs starting pitching.
But where are the sellers? "Usually around now, the phone's ringing—but not this year," the G.M. of an American League contender said last week. "It's as dead as I've ever seen, because no one wants to sell yet. Everyone thinks they're still in it."
With two wild-card slots up for grabs in each league this year, almost any team can convince itself that it's a contender. When the second half began, all but three AL teams (Kansas City, Minnesota, Seattle) were within 2½ games of a playoff spot. In the NL eight clubs were within six games of the wild-card lead. Even if the races weren't so tightly bunched, more teams might be inspired to stay in the chase this year after seeing the Cardinals win the World Series in 2011 despite being 8½ games out of the wild-card lead as late as Sept. 5.
Another twist adds to the uncertainty of this trade season: Under the new collective bargaining agreement, a club that acquires a player at the deadline will no longer receive draft-pick compensation if that player leaves as a free agent the following off-season. This makes potential two-month rentals such as starters Cole Hamels (Phillies), Zack Greinke (Brewers) and Ryan Dempster (Cubs) less attractive than they might have been. Fewer good options in the trade market, in turn, drives up the value of such players as Cubs starter Matt Garza and Diamondbacks rightfielder Justin Upton, who are under team control through 2013 and '15, respectively.
Many executives believe that in this seller's market, as the AL G.M. says, "the asking price for an elite player is going to be high." But, he adds, "that doesn't necessarily mean we're going to see fewer deals. If you're leading your division, you'll be more motivated than ever to improve and win the division because you don't want to play a one-game playoff [in the wild-card round].
"It's dead now, but that could change in a hurry. One thing I've learned: This time of year, nobody knows anything."
Photograph by CHRISTIAN PETERSEN/GETTY IMAGES
SHADOW OF HIMSELF? Upton's numbers are way down, but his age and club-friendly deal raise questions about why the D-Backs are so eager to move him.


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Multi-sport Coaches Clinic
Clinic Info:
July 29 – 31, 2020 at C M Russell HS – Great Falls, MT
Clinic registration will open May 1st, 2020. Online Pre-registration cost is $100. Registration by mail is $105. Onsite registration is $115. We hope to see you all there.
The MCA Coaches Clinic is one of the last "all-sport clinics" in the country, providing professional development for coaches in 10 MHSA sanctioned sports. Staged at CMR High, over 50 outstanding presenters, including state, national and world champions, will be on deck. It is a tremendous opportunity for athletic personnel to come together and hear from some great presenters, while gearing up for the coming school year. Motivation, AD, sports medicine and strength and conditioning sessions round out a full 2 ½ days of education, encouragement and camaraderie. Among the 2019 headline speakers were:
Spencer Wood, a nationally known motivational speaker from Icebox Athletic will head up 3 general sessions. Spencer spoke in 2015 and many have asked to bring him back.
Jim Boone – Delta State, a long time college coach and one of the most sought after clinicians in the nation will head up the basketball portion of the clinic. Kenny Harrison, Olympic triple jump Gold Medalist and Tony Holler, highly successful and innovative track coach from Illinois will highlight the T&F sessions. Bob Gaddis, one of the winningest coaches in Indiana history will have great insights for Football. Terri Neujahr, outstanding volleyball coach from Nebraska will lead the Volleyball line-up and Jon Steenekamp will be back to headline the Tennis portion.
The 2019 Clinic Brochure has been published and can be viewed below!
2019 Clinic Brochure
An exceptional lineup of exhibitors will be on hand as well. To learn more about our exhibitors, or if you are interested in becoming an exhibitor- click here
Clinic attendees come from all across Montana, as well as neighboring states, and we always welcome our Canadian friends.
We are grateful for our MCA Clinic Sponsors:
Other Links of Interest:
Great Falls Chamber of Commerce
Great Falls Tourism Business Improvement District
DrySpark Web Presence and Design


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For Sale: SWAN 40
|Enroute to USA in October 2019
|Hull Number
|40 ft
|12 ft 10 in
|5 ft 4 in
|19400 lb
I challenge anyone to find a better kept Swan 40, on or off the brokerage market, anywhere in the world at this time! This Centerboard version of the very popular Swan 40 had a total refit under the present owner in 2010. This refit included, in part, new teak decks, new engine, new sails, new cushions throughout, new electronics, a rigging over haul and a lot more. Another electronics refit occurred in early 2019. Since 2010 this Swan 40 has been captain maintained and used for day sails only in the summers. During the winter months, since 2010, she has been hauled and covered. Highly recommended.
Solid fiberglass hull with white gel coat.
Blue sheer and double waterline stripes (painted 2017/2018).
Spade rudder.
Hull sand blasted to fiberglass and re-coated with Seahawk barrier coat (2017/2018).
- 2 cockpit deck plan with a companionway from the mid cockpit.
- The bridge-deck allows for headroom on the aft cabin.
- Teak deck (2010) glued down.
- Stainless steel stem head fitting with single anchor roller
- Solid aluminum toe rail
- Stainless steel bow rail with teak seat
- Stainless steel stern rail with outboard bracket
- Stainless steel stanchions with 1 x 19 double lifelines
- Lifeline gate port and starboard and in stern rail
- Fold down transom boarding stair with swim ladder
- Stainless steel handrails on coachroof, port and starboard
- Stainless steel handrail at companionway
- Lewmar Concept 2 electric windlass with chain gypsy and rode winch
- Up and down foot switches for windlass
- Turning blocks at base of mast (new 2018)
- 45lb CQR anchor
- Fortress FX18 anchor
- Wheel steering
- Stainless steel wheel with elkhide cover
- Outboard bracket on stern rail
- Stainless steel Kato dinghy davits (2000)
- Large lazarette locker in cockpit
- Port and starboard cockpit seat lockers
- Main sail traveler and track
- Harken genoa tracks with 2 cars on each
- 2 x screw in guy stand up blocks
- Fwd companionway dodger
- Aft cockpit dodger
- Bimini (2008)
- Awning for aft end of deck
- Awning for foredeck
- Cockpit table
- 1 x pair mooring cleats with fairleads fwd
- 1 x pair fairleads midship
- 1 x pair mooring cleats with fairleads aft
- 1 x pair padeyes midship
- 1 x pair Alpine, aft cockpit speakers
- All running rigging led aft to mid cockpit
- 2 x winch handle pockets mid cockpit
- all by Lewmar
- 1 x pair, #48, ST, gray anodized, secondaries
- 1 x pair, #64, ST, gray anodized, primaries
- 1 x pair, #44, ST, gray anodized, halyard and utility
- Winches services (2017/2018)
Sleeps a total of 7. 2 in each of the 2 sleeping cabins and 3 in the main saloon. 2 heads. Interior finished with hand rubbed varnished teak veneer over marine ply. Teak and holly cabin sole. White leather upholstery in the main saloon with cloth cushion covers in the sleeping cabins. All locker latches and door handles renewed (2017/2018). Some interior varnish work touched up from time to time to maintain top quality appearance. All cushions, throw pillows, curtains, custom bedding and lee cloths replaced (2010).
"V" berth with ample storage under. Extra storage lockers over the bunks port and starboard. Seat aft of starboard bunk. Hanging locker aft to starboard.
Located aft and to port of the forward cabin. Fiberglass unit to half height. Lockers outboard. Jabsco head (new 2010) with "Y" valve and holding tank. Mirror. Sink with hot and cold pressure water. Telephone type shower.
Straight settee to port and starboard. Pilot berth over port settee. Lockers and TV over starboard settee. Table on centerline with folding leaves port and starboard.
Located in the walkway through to the aft cabin. 3 burner Alpes propane stove with propane and electric oven. Air extractor fan over stove. Coolmatic refrigeration air cooled. Frigoboat 12volt freezer water cooled under aft bunk. Double stainless steel sinks on the centerline. Pressure hot and cold fresh water. Foot salt and fresh water pumps. 3 water tank vents.
located on the starboard side aft of the saloon. Forward facing. Surrounded with navigation and communication instruments as well as breaker panel.
Accessed via the galley on the port side. Offset double bed on the starboard side. Seat with vanity on the port side. Lockers port and starboard.
Located fwd and to starboard of the aft cabin. Fiberglass unit to half height. Sink with pressure hot and cold water. Telephone type shower. Jabsco manual head (new 2010) with "Y" valve and holding tank
Yanmar 2010
PLUMBING and VENTILATION
- Salt water deck wash
- Hot and cold fresh water shower at transom
- Stainless steel fresh water tanks
- Par manual heads with "Y" valves
- Stainless steel Holding tank for each head
- Sea water spigot at galley
- Water accumulator tank (new 2017/2018)
- Electric automatic bilge pump
- Manual bilge pump
- Manual pump for anchor chain locker
- 8 x opening ports
- 5 x deck hatches (lenses replaced with new 2017)
- Dorade vent fwd of mast with 2 cowl vents and stainless steel protection bar over and mushroom vent
- 110 volt AC shore power
- 110 volt outlets throughout the interior
- 12 volt DC ships power
- 12 volt outlets at fwd dorade and in aft cockpit
- DC breaker panel (2006)
- 105 amp alternator for house batteries
- Alternator for engine start battery
- Freedom inverter/battery charger (new 2019)
- Link 1000 battery monitor(2006)
- House batteries (new 2019)
- Battery parallel switch
- 12 volt Hella turbo fans throughout the interior
- Interior lighting replaced with LED (2017/2018)
- Dimmer for saloon overhead lights
- Red lights in galley, navigation station and saloon
- Indirect lighting in bookshelves in saloon
- Steaming light on front of mast
- Tricolor mast head light with cable (new 2019)
Mast head wand replaced (2019)
Raymarine transducer/knot meter paddle (2019)
Raymarine wind display in cockpit (2019)
Raymarine MFD in cockpit (2019)
Raymarine Axiom 7 display at helm (2019)
Raymarine Axiom 7 display at nav station (2019)
Icom HM-157B VHF at helm
Icom IC M802 SSB
RIGGING and SAILS
- Aluminum mast with triple spreaders
- Aluminum boom
- Aluminum spinnaker pole stored on deck
- Spinnaker pole track on front of mast
- Stainless steel Navtec rod rigging (fully inspected and serviced 2010)
- Checkstays
- Babystay (new 2018)
- Harken headsail roller furling
- SSB insulated backstay
- 2 x pennant halyards under lower spreader
- Fine tune mainsheet system
- Traveler lines (new 2018)
- Boom vang rebuilt (2018)
- 3DL North 860 Marathon mainsail (2011) with full battens and 2 reefs
- 3DL North 140% genoa (2011) with UV leech and foot protection
- Fenders
- Mosquito screens
- 2 x propane tanks under helm seat
- Indicator lights for centerboard position
- Centerboard emergency stop button
- Centerboard up and down switches
- Suunto compass at wheel
- Lifesling 2 overboard rescue system
- Cockpit cushions (2019)
- Custom made china and glassware
The Company offers the details of this vessel in good faith but cannot guarantee or warrant the accuracy of this information nor warrant the condition of the vessel. A buyer should instruct his agents, or his surveyors, to investigate such details as the buyer desires validated. This vessel is offered subject to prior sale, price change, or withdrawal without notice.


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- Product Description
1. USAGE - A tilt switch is to detect an inclination.
2. BIDIRECTIONAL CONDUCTION - Use a ball switch as bidirectional conduction.
3. ANTI-REVERSE PORT - Provides a firm connection.
4. INDICATORS - With an indicator for digital signal output.
5. Working voltage: 3.3-5V; PCB size: 2.0 x 2.0 cm
For more information, please refer to http://wiki.sunfounder.cc/index.php?title=Tilt_Switch_Sensor_Module
The tilt switch module uses a ball tilt switch as bidirectional conduction. When it tilts towards either side, as long as the tilt degree and force meet the condition, the switch will be energized; thus, it will output low-level signals.
Package Included
- 1 x Tilt Switch Module
- 1 x 3-Pin anti-reverse cable
- Review
- Average Rating: 1 customer reviews
- Get double review points if you are one of the first 3 reviews published!
- Write a Review
1 Item(s)


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Glyn espadrille sandal
Iconic Glyn espadrille sandal in suede calfskin with a smooth leather ankle strap and laser-cut flowers on the upper. The adjustable buckled ankle strap ensures a comfortable fit, while the original jute sole is reinforced with a micro outsole for durability and sporty contrast.
Product details
Shipping & Returns
In line with recent government guidelines, and for the health of our community, we have taken the decision to temporarily close our warehouses and pause delivery and return services.
We have decided to extend our return period to 60 days for all orders placed starting from March 1st, 2020, to ensure that you have enough time to decide whether to keep or return your items.
Please consult the dedicated section for more information. Return Service:
We also provide an easy return service: just ship your items back to us with a shipping service of your choice within 30 days from delivery. Read more in the Return Center.
May we help?
Call us at +44 (0)2078113950
Contact us by filling out our form


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by Paul Peck, Buffalo Sports Page
Do you still have March Madness fever? There is still a Buffalo team alive in the Big Dance. The UB Women play Monday, in the second round of the NCAA Women's Tournament. They are in Tallahassee, FL to play the hometown Florida State Seminoles. The game tips at 6:30pm. It can be seen on ESPN2, the Watch ESPN App, and heard on ESPN 1520 radio in Buffalo.
If you want to continue cheering on some hometown hoopness, but don't know much about the Bulls, I'm here to help.
The Season
The Bulls are 28-5. That's school record for wins in a season. Three of those losses are to teams that are still alive in the NCAA Tournament. UB finished 16-2 in the MAC, and lost to Central Michigan in the MAC Championship Final. The Chippewas just beat LSU in the first round of the tournament.
The Coach
Felisha Legette-Jack is in her 6th season as the Bulls boss. The Syracuse native is one of the alltime greats at Syracuse University. She is an engaging, passionate and enthusiastic supporter of her team and her sport. You'll know when she doesn't like a call, or if one of her players doesn't do what they're supposed to do. But she demands that her team plays hard, and plays good defense. Those are the two biggest keys to the team's success
The Team
Point guard Stephanie Reid is the heart and soul of the Bulls. She is one of the best players to ever wear a UB uniform. Reid, from Australia, holds the school record for career assists and ranks in the top ten nationally in dishing out dimes. She is also a relentless defender.
If Reid is the heart and soul, Cierra Dillard is the flash and dash. A Rochester native who transferred in from UMass, Dillard leads the team in scoring, three point shooting and celebrating. Her career-high 36 points in Saturday's upset of 5th seed and 19th ranked South Florida had as much celebrating, strutting and smiling as it did shooting. Dillard is also one of the nation's leaders in steals and that's a big reason why the Bulls are one of the best teams in the nation at forcing turnovers.
Hometown Buffalonians Cassie Oursler & Summer Hemphill provide rebounding and scoring from the low post. Down Under defender Katherine Ups does the dirty work. Fellow Aussie mate Courtney Ups hit five three's off the bench in the win over the other Bulls.
The Style
The Bulls like to run and score. They topped 80 points 17 times, a school record. The 102 points they scored against South Florida was the first time a double-digit seed topped the century mark in the NCAA's. The only teams to top 100 in the first round were Connecticut, Tennessee…and UB.
The Opponent
The Bulls hammered the 19th ranked USF Bulls. Now, it's the 11th ranked Seminoles. The game will be played on FSU's home court. The 'Noles are making their 13th NCAA Tournament appearance in the last 14 years, and are going for their 3rd straight trip to the Sweet 16. They average over 80 points a game, and they're one of the top rebounding teams in the nation. Leading scorer Shakayla Thomas will be playing in her 13th NCAA Tournament game.
Keys to the Game
It's certainly going to help if the Bulls shoot 53% again like they did Saturday. Another 51% effort from three point distance will also go along way to another upset. Becuase FSU is so good down low and rebounding, Oursler & Hemphill will need to have very good games. If Dillard can dazzle again, and Reid is the best player on both ends of the court, the Bulls can certainly send the crowd home disappointed. The Bulls play with so much heart and desire, they always have a chance to win. Sure, they'll have to overcome a team that's bigger, faster and stronger. But haven't we seen that happen throughout the NCAA Tournament, especially from the other UB team.


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Today's group picture at INFN School of Statistics in Paestum, Italy.
International Training Network of Statistics for High Energy Physics and Society
Today's group picture at INFN School of Statistics in Paestum, Italy.
Insights ITN has now a Facebook page. All blog posts will be automatically forwarded to the Facebook page and to Twitter.
by Tommaso Dorigo
As a coordinator of the outreach work package of the INSIGHTS EU ITN, I welcome you to this blog! To address the chance that you casually come by, I feel I need to explain from the outset what a EU ITN is, and what we are in particular.
The European Commission has a program called Horizon2020 within which several initiatives have been funded to foster research, innovation, and training to improve our society. In particular one of these initiatives is called "Marie Curie Actions". Within these actions the ITN (for "innovative training networks") is a scheme Continue reading "INSIGHTS ITN Blog – Post Zero"


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RemoteDesk (powered by Verificient Technologies, Inc.) is the only automated monitoring solution that continuously secures the identities of remote work-at-home agents and delivers the Clean Desk Environment. Remotedesk's elegant and simple AI technology securely monitors remote workers while providing clear transparency, accountability, work-at-home policy compliance and risk management for outsourcing initiatives.
Verificient is Continuous Online Identity Verification for Automated Monitoring - The Products: Proctortrack - Online Proctoring Exams, FreshHire - Pre-Employment Testing of Quality Job Canadidates, RemoteDesk - Remote at Home Worker Management Proctortrack is remote proctoring software that uses webcams to track student activity during test-taking and flag any suspicious activity for instructor attention. According to Verificient, the makers of Proctortrack:


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- Home Page
- Company Profile
- Our Products
- Contact Us
Owing to our group of experienced experts, we as a prominent exporter, manufacturer, and service provider have possessed the capacity to supply Top Loading Calibrator. This calibrator is used for the calibration of displacement sensors, eddy current sensor, inductive sensor, LVDT uprooting sensor and link augmentation dislodging sensor, vortex sensor, and so on. Our customers can avail this Top Loading Calibrator from us at the most affordable price. The offered sensor calibrator is designed and produced with abnormal state of accuracy using top notch raw material and forefront innovation.


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Oar Cabinet
This is one of my own Green Folk Art furniture creations. This cabinet can go in a boathouse, cabin or any were it brings joy to its environment.
Dimensions: The oars stand 5' to 6' tall other dimensions are determined by what choices are made in building the cabinet. It is up to you.


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Mammoet increases customer satisfaction by empowering their employees
"Feeling a strategy has so much more impact than reading about it."
Tell me more
Pharmaceutical organization improves business performance
"Can you support us in determining a clear change strategy, pin-point which elements are most crucial in our change, design a change plan and support in the associated interventions to improve our business performance?"
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Panalpina embeds global thinking and synergistic collaboration using a joined experience
"InContext really got in depth in trying to understand our business."
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Interxion increases employee and customer satisfaction
"The core values came to life. It was no longer only a corporate thought, but a new way of working."
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DBPposted a net income of P5.1-billion in 2017 showing a 21.43% increase from the P4.2-billion recorded in 2016 spurred largely by a steady growth in its loan portfolio.
In a press briefing held today at the DBP head office in Makati City, DBP president and chief executive officer Cecilia C. Borromeo said the bank achieved significant milestones in 2017, adding that DBP's overall financial performance reflects the positive sentiment of the market to the resiliency and robustness of the economy.
"There are a lot of positive things going on in our institution. We are experiencing robust growth in our financials. Our development side is kicking into high gear. We have tailored our programs to make us more relevant in the National Government's scheme of things," Borromeo said.
DBP's gross loan portfolio last year stood at P293.47-billion, a 21.82% increase from the P 240.9-billion recorded in 2016. Total assets expanded by 11.43% to P597.41-billion. Deposits also grew from P356.24-billion to P412.36-billion, with government deposits accounting for about 74% of this total amount.
Borromeo said that DBP is eyeing to become a one trillion bank by 2022 when it celebrates its diamond jubilee anniversary through the expansion of its deposit base and aggressive lending activities.
She said DBP is taking firm steps to improve its financial indicators such as portfolio quality, liquidity and capital ratios in order to be comparable with its counterparts in the ASEAN region.
DBP will beef up its acquisition activities by aggressively targeting one million new depositors in the next five years, especially small depositors residing in underserved areas of the country.
"This is an integral part of our advocacy to introduce more unbanked Filipinos into the financial mainstream," Borromeo said.
Updates on DBP lending programs
Borromeo reported that DBP lent a total of P76.23-billion to infrastructure and logistics projects, representing nearly 35% of its total loan portfolio amounting to P219.93-billion.
"We are very excited to have been appointed to help usher in the 'golden age for infrastructure' in the country," Borromeo said. "We are intensely looking forward to helping bridge the country's infrastructure gap, and to help fund ongoing and proposed major infrastructure projects, which are vital for sustaining high and inclusive growth," Borromeo said.
DBP has approved a total of P7-billion for 132 projects under its flagship Infrastructure Contractors Support (DBP ICONS) Program to address the funding gaps in infrastructure development in line with the "Build, Build, Build" program of the National Government.
The bank has also ramped up support for the micro, small and medium enterprise (MSME) sector with a P57-billion funding assistance for this critical sector anchored on two recently launched initiatives -- the DBP Small Business Puhunan Loan Program and the Broiler Contract Growing Program.
"In 2017, DBP was named SME Bank of the Year in the prestigious The Asian Banker - Philippine Country Awards 2017 for the significant growth of its SME lending business and for creating value to its customers," Borromeo said. "These new programs serve as our tangible response to calls for a more liberalized credit access to small borrowers owners and poultry growers," she added.
Borromeo said DBP has increased funding support for projects that enhanced the delivery of social services in the country, such as hospitals and medical institutions. Last year, the bank helped build 120 hospitals, through its P25.6-billion funding assistance to the social services sector while financing 15 hospital projects in Davao del Sur, 11 in South Cotabato, and five in Zamboanga del Sur.
"We also supported the construction of 2,486 schools and 12,831 classrooms through our assistance in school building projects," Borromeo said.
DBP has also allocated P 21.87-billion in loans to environment-related projects such as water sewerage and management projects, and power generation projects.
Plans for 2018
Aside from aggressively targeting new depositors, DBP revealed it will also expand its branch network with the opening of 10 new branches in La Trinidad, Benguet; Alaminos, Pangasinan; Gapan, Nueva Ecija; Angeles City, Pampanga; Dolores, Eastern Samar; Lapu-Lapu City, Cebu; Oroquieta, Misamis Occidental; Panabo, Davao del Norte; Buhangin, Davao City; and Matina, Davao City.
The bank will also open eight new extension offices this year in Tumauini, Isabela; San Jose del Monte, Bulacan; Tayabas, Quezon; Placer, Masbate; Naga City, Cebu; Municipality of Siaton; Banga, South Cotabato; and M'lang Municipality, South Cotabato.
Borromeo said DBP is also set to install 200 more ATMs in key areas nationwide to enhance its services to underserved communities and in line with the objective of promoting financial inclusivity in the countryside. "These new ATMs would bring the total number of DBP ATMs to 648 by the end of 2018," she said.
Borromeo said DBP is determined to meet new and greater challenges in 2018 and establish its imprint as a dynamic, responsive and solid development institution.
"DBP will firmly work to accomplish its set directions for 2018, maximize the potentials of its human resources, and seize every opportunity for growth and progress," she said.
DBP wins award for promoting countryside development
October 23, 2018
DBP partners with Metrobank Card for e-payment of real property tax
October 12, 2018
DBP bankrolls Cebu skyscrapers
October 08, 2018
DBP boosts CSR initiatives with P500 million scholarship, Palawan Reforestation project
September 21, 2018
DBP extends P2-B assistance for relending to uniformed personnel
September 14, 2018
DBP net income rises 4% in first half of 2018
September 07, 2018
DBP installs first ATMs in unbanked island in Romblon
August 29, 2018
DBP inks P2 billion loan deal with RE firm
August 24, 2018
DBP funds low-cost housing project in Batangas
August 02, 2018
DBP extends P1.7-billion to Cabanatuan infra projects
July 24, 2018


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Screw DIA 51cm Pots Plust + Base
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Screw DIA 51 cm pots Plust + base at PlustBrushed stainless steel base prétrouée for attachment to the soil
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When it comes to measuring a credit union's financial stability, capital is useful. It acts as a buffer against losses and provides protection for members when a credit union is experiencing economic trouble. From a safety and soundness perspective, more capital is preferred.
NOVATION received a score of 6 out of a possible 30 points on our test to measure capital adequacy, below the national average of 15.65.
NOVATION's capitalization ratio of 6.00 percent in our test was lower than the average for all credit unions, suggesting that it could have a harder time weathering financial trouble than its peers.
This test's purpose is to try to understand how the credit union's reserves set aside to cover loan losses, as well as overall capitalization could be affected by problem assets, such as past-due mortgages.
A credit union with a large number of these types of assets may eventually have to use capital to cover losses, shrinking its equity buffer. It also means that there are likely to be many assets that are in non-accrual status and thus aren't earning interest for the credit union, diminishing earnings and increasing the risk of a future failure.
On Bankrate's test of asset quality, NOVATION scored 40 out of a possible 40 points, beating the national average of 38.09 points.
A lower-than-average ratio of troubled assets of 0.00 percent in our test was potentially indicative of superior financial strength compared to other credit unions.
A credit union's profitability affects its long-term survivability. A credit union can retain its earnings, increasing its capital buffer, or use them to deal with problematic loans, likely making the credit union more resilient in times of trouble. Credit unions that are losing money, however, are less able to do those things.
NOVATION scored 16 out of a possible 30 on Bankrate's earnings test, better than the national average of 10.11.
One indication that the credit union is outperforming its peers in this area was its earnings ratio of 0.00 percent in our test, above the average for all credit unions.
Bankrate.com's Safe & Sound Ratings provide a star rating system to evaluate the current financial status of financial institutions. The information gathered about banks, credit unions and thrifts is updated as set forth in the Terms of Use of Safe & Sound Ratings and Reports. The Safe & Sound Ratings information is grouped by categories of banks, thrifts and credit unions.
Bankrate.com evaluates the financial condition of institutions and assigns a one- to five-star rating for each with five stars representing the highest rating. Institutions with satisfactory performance will generally receive a rating of three or more stars. The majority of institutions fall into the three- to four-star range. An institution with an "NR" rating may be too new to rate or may have limited the publicly available information in their regulatory filings. The "NR" is not an indication of financial strength or weakness. The Safe & Sound rating is believed to be reliable, but the information is not guaranteed. In addition, events since the information was collected may have altered the institution's financial condition.


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In case you hadn't heard.
I think I should start putting these daily roundups online, instead of keeping them to myself.
AIDS is cured!
Two years after a stem cell transplant from a donor with AIDS immunity,
HIV remains undetectable for this guy. Sure it's impossibly expensive,
very dangerous, and not necessarily complete. So are all first steps.
Boy instinctively play with trucks, Girls with dolls. Even chimpanzee boys and girls. It's hardwired – not learned from our upbringing.
Cooties: an essentially part of relating to the opposite sex.
Why you sleep to remember: the first real direct insight into how the brain, changes the strength of its connections during sleep
You aren't getting enough vitamin D. I'm definitely not.
THC is as effect as Claritin in reducing allergenic response. Is there anything it can't do?
The Economy
How the crash will reshape america
The Goldbug variations. Paul Krugman explains why gold is not where you want your money in this depression
Obama calls in the cops on the big banks across the nation And about time too.
Toilet paper. It's like money in these places.
2 Responses to "In case you hadn't heard."
alice Says:
February 16th, 2009 at 9:36 pm
Ha! I've already been taking vitamin D tablets! And didn't we already decide that Margaret Mead was an idiot?
Alice Says:
February 19th, 2009 at 10:21 am
Didn't we already decide Margaret Mead was an idiot?


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64-year-old woman dies after car veers off I-43 in Grafton
A 64-year-old Port Washington woman was pronounced dead after her car veered off I-43 Saturday afternoon, the Ozaukee County Sheriff's Office said in a news release Sunday.
The woman was driving an Oldsmobile minivan northbound on I-43 just north of the state Highway 60 on-ramp in Grafton when the car veered to the right and left the road, the release said.
Authorities responded to the crash about 4:40 p.m. The car was about 30 yards east of I-43 on its roof. The woman was the only occupant.
The crash is under investigation. The Sheriff's Office asks that anyone who witnessed the crash call (262) 284-7172.
Read or Share this story: https://www.jsonline.com/story/news/2019/02/17/64-year-old-woman-dies-after-car-veers-off-43-grafton/2899770002/


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Ladbrokes free bet deals – Do you need a Ladbrokes free bet code?
Last updated & tested: 2020-03-08
OUR TIP: Three reasons for Ladbrokes!
Ladbrokes are one of the UK's longest running bookmakers, and they are encouraging all punters to join them with some great Ladbrokes free bet offers. We are going to show you what kinds of Ladbrokes free bets are available at the moment, and we will see whether you need any kind of Ladbrokes free bet code to claim these special offers.
Having been in existence for well over 100 years, Ladbrokes are one of the most trustworthy betting brands around. They are renowned for their competitive odds on classic sports like football, horse racing and greyhound racing, but they have been quick to provide odds for many newer sports betting options like esports and MMA fighting too.
In the evermore competitive sports betting domain, we have seen plenty of interesting offers from Ladbrokes. As well as the popular Ladbrokes 100 free bets deal for existing customers, the bookie also puts on plenty of promising Ladbrokes free bet offers for new customers. So keep reading to see whether any of these offers are a true Ladbrokes free bet no deposit deal.
Use a Ladbrokes free bet code to get the Ladbrokes free bets for new customers
Bet £10 Get £30
Important info: 18+. UK+IRE only. Min first bet £10 a odds 1/2 or more. Tote and Pool excluded. Must be placed within 14 days of account reg. £30 credited as 3 x £10 free bets. Not valid with CashOut. Free bet valid for 4 days. Free bet stake not returned. T&Cs apply.
Bet £10 Get £30
New William Hill online customers only. Must use promo code P30 on sign up. Min. unit stake of £10/€10 at odds of 1/2 or greater. Only the "win" part from EW bets will count. Free bet terms, payment method & country restrictions apply. Free bets credited as 3 x £10/€10. Free bet stakes are not returned as part of the settlement of successful free bets. All Free Bets must be wagered within 30 days.
Bet £5 Get £20
Promo Code: 20FREE. 18+ New UK+IRE customers. Paypal and certain deposit types and bet types excluded. Min £5 bet within 14 days of account reg at min odds 1/2 = 4 x £5 free bets. Free bets valid for 4 days on sports, stake not returned, restrictions apply. T&Cs apply.
Bet £10 Get £30 Free
New Customers only - £10 minimum deposit using promo code 30f - First bet must be placed on any market - Minimum stake £10 at odds of 1/2 (1.5) - Free bets credited upon qualifying bet settlement and expire after 7 days - Free bet stakes not included in returns - Deposit balance is available for withdrawal at any time. General deposit method & withdrawal restrictions apply & Full T&C's apply
Matched Deposit Bonus up to £30
Open a new account with Betway and they will match your opening deposit with a free bet up to £30! T&Cs apply, see site for details.
Bet £10 Get £30
Only available to new customers from UK & Northern Ireland. You must stake £10 or more at single / cumulative odds of Evens (2.0) or greater on your first bet. Free bet balance of £30 credited within 48 hours of your first bet being settled. Free Bets expire after 7 days. E-Wallet restrictions apply. Minimum 5 game rounds. Game restrictions apply. Maximum 30 Free Spins on selected games. Free Spins expire after 7 days. Full T&Cs apply.
£100 Matched Bet Offers
The bonus sign-up offer at www.betfair.com promises you £20 in extra bets for making five bets of £10 or more. This can be repeated five times in order to get a maximum bonus of £100. You will have to make qualifying bets on odds of at least 1.50 and this can be made anywhere on the sportsbook with the exception of exchange bets. New Customers only. 18+. T&Cs Apply.
£30 Bonus Offer If Bet Loses
Only bets of at least GBP/EUR5 on the odds of 1/2 (1.50) and above (if a combination bet fully loses, the total odds must be more than 1.50). Further T&Cs apply, visit site for details.
£20 Bet Refund If First Bet Loses
New customers only, place a bet in any of Paddy Power\\\\\\\'s sportsbook markets and if it loses, the bookie will refund your opening bet by up to £20. T&C apply, 18+.
£20 New Customer Offer
New customers only. 18+. Stake £10 on any Sportsbook market for the first time, at odds of evens (2.0) or greater and get a £10 Free Bet within 24 hours of settlement, 7 day expiry. Stake £10 on any Totepool bet for the first time, and receive £10 back in cash within 24 hours of settlement. Full T&Cs Apply.
£25 Bonus Offer
18+ T&Cs apply. Cash stakes only. Min £10 stake required for initial £5 free bet. Min odds ½. Max £25 in free bets. Subsequent free bets equal 50% average of each 3 qualifying bets. 13 bets required to receive full £25 free bet. Qualifying bet must be placed within 30 days of opening account. Free bet expires after 7 days. Payment method restrictions apply
£10 Matched Bet Refund
For new customers only. Get opening bet refunded in extra bet tokens up to £10. Opening bet must be made on odds of 1/1 (2.00) or higher. Minimum deposit £10. Maximum stake £10. Terms and conditions apply, 18+.
£40 Money Back Bonus Refund
New customers only. 18+, BeGambleAware.org. Min deposit £10. Money back as bonus. Wagering requirements: Sportsbook 3x at min. odds of 1.40 (2/5), Casino 25x. Only one bonus can be used at a time, Sportsbook bonus must be wagered before using the Casino, unless the bonus has been forfeited. Bonus will expire after 7 days of opt-in.
If you haven't already signed up to Ladbrokes, then the current Ladbrokes free bet offer could be well worth taking a look at. This special offer is willing to give you £20 in Ladbrokes free bets just for making a simple £5 sports bet. As a result, it cannot be considered to be a true Ladbrokes free bet no deposit deal, but it could still give you a big boost on your sports betting profits.
In order to get this special offer, you will have to be resident in either the UK or Ireland and it must be your first time opening a Ladbrokes account. Don't forget that you will need to enter the Ladbrokes free bet code 20FREE whilst you sign up to the brand otherwise you could miss out on the extra bets.
After you have verified your account, you will have to make a qualifying bet of £5 or more. This means that you will have to make an opening deposit, but remember that your first deposit cannot be made with payment methods such as Moneybookers, PayPal, Skrill, Neteller or Paysafecard. Once you have done this, then your qualifying £5 sports bet will need to be made on odds of 1.50 or greater. Just bear in mind that this will only apply to the win part of an each-way bet, and that each selection in an acca bet needs to be on odds of 1.50 or higher.
From here, you will get £20 in extra betting funds that will be granted in four £5 bet tokens. These tokens must be used within seven days, and you cannot cash them out or withdraw the extra bets, only the extra profits generated from them. Terms and conditions apply, 18+.
Three reasons to pick up the Ladbrokes welcome bonus
There are plenty of reasons why you should sign up to Ladbrokes, and their welcome bonus is one of the best. Here are three further reasons why we think the bookie's sign up offer could work out to be a great deal.
Very simple to put into action
The Ladbrokes sign up offer might not be the biggest betting promotion, but it's remarkably simple to use and could be a great option for those new to sports betting. Just sign up, use the Ladbrokes bonus code, place a simple £5 bet on the qualifying odds, and then you can enjoy up to four times your original deposit amount.
Fair qualifying procedure
We've seen many sports betting promotions that ask an awful lot from their customers, but Ladbrokes appear to be in a generous mood at the moment. Not only can you claim this special offer with a very modest £5 sports bet, but the fact that the qualifying odds are a very respectable 1.50 or higher means that you aren't require to jump through too many hoops to claim this deal.
Refreshing lack of tough wagering requirements
The current Ladbrokes free bet bonus for new customers is also mercifully free of too many annoying wagering conditions. Plenty of sports betting promotions will require customer to bet the value of their bonus countless times on tricky odds, but the Ladbrokes sign up offer doesn't have too many wagering requirements for their extra bet tokens.
The best way to use your extra bet bonus at Ladbrokes
We've unfortunately seen way too many punters make a real mess of sign up offers like the one currently available at Ladbrokes. So here are three simple tips to making sure that you make the most of the Ladbrokes extra bets promotion.
Time signing up carefully
You get just seven days to use your extra bet tokens with the Ladbrokes welcome bonus. So make sure that you only sign up to this deal when you know that you have a good week's worth of sports betting options ahead of you. Whether it's a full weekend of football, a Test match, or even an entire tennis tournament, it will make it so much easier to make use of your extra bets.
Get your opening deposits right
Claiming the Ladbrokes special offer is easy as you just have to enter the promo code and make a deposit of £5 or more to make your qualifying bet with. But remember that opening deposits made with payment methods like PayPal, Skrill, Neteller, Moneybookers and Paysafecard won't qualify for your Ladbrokes welcome bonus. But don't worry as you can always claim the deal with a Visa or MasterCard opening deposit and then top up your account balance with other payment methods later on.
Understand the qualifying odds
Similarly, you aren't going to get the extra bets from Ladbrokes if you fail to understand what qualifying odds you need to wager on. As a basic rule, you will need to make your first sports of £5 on odds of 1.50 or higher. Just bear in mind that this wager cannot be placed on Tote or Pools, and if it's an each-way bet, then only the win part will qualify for the Ladbrokes welcome bonus.
Other ways to get extra bets at Ladbrokes
Ladbrokes don't just treat new customer to extra bet deals, as there are plenty more sports betting promotions for existing customers that can give you a decent profit boost. Here are just some of the brand's latest bonuses that could see you rewarded with plenty of extra bets.
The Ladbrokes 1-2-Free offer
This isn't the easiest of promotions, but if you manage to predict the correct score in three football matches, then you could be rewarded with Ladbrokes 100 free bets. You will need to make your predictions before the kick off in each of the three football matches, and the offer isn't open to those making deposits with PayPal, Skrill, Neteller, Paysafecard or Moneybookers. Even if you don't manage to predict three out of three correct scores to get the £100 extra bet top prize, then Ladbrokes will still give you a £5 extra bet token for two out of three correct scores, or even £2 in extra bets for just predicting one correct scoreline. Just remember that your extra bets must be used within seven days and they cannot be cashed out. Terms and conditions apply, 18+.
Five team acca insurance
Trying an acca bet is a lot of fun, but these bets can be very difficult to get right. Thankfully, Ladbrokes have come to the rescue as they have put on a great 5 Team Acca Insurance deal. This could give you £10 in extra bets if just one selection in your accumulator bet lets you down. Each selection must be on odds of 1.10 or higher, and the overall acca odds must be at least 3.00. You can't cash out your acca bets to claim this deal, and once you get your extra bets, you have to use them within four days. T&C apply, 18+.
Virtual sports welcome offer
Virtual sports might not be to everyone's taste, but if you fancy giving virtual football or virtual horse racing a try, then Ladbrokes are willing to match your first virtual sports bet up to £10. Just remember that this wager must be made on odds of 2.00 or higher. In addition to this, your extra bet tokens will only last for three days and you won't be able to withdraw the extra bets themselves. We should also mention that there's a virtual sports Racing Weekender offer that gives you £5 in extra bets to use on real horse racing events for placing £20 on virtual horses on odds of 2.00 or higher. Terms and conditions apply, 18+.


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Ameritool EFSS-16M Stainless Steel 16mm Ball Socket
Intended for use with the 1165 Series gas springs
Minimum order (2)
Ordered in quantities of (2)
Delivery: Average 2 Business Days (Maxum will email a tracking number when shipped).
Ships from: Central Square, NY 13036
Weight: 0.10
Maxum firstname.lastname@example.com
P.O. Box 1495
Southampton, PA 18966
All credit card orders are to be placed online.
Copyright © 2020 Maxum HardwarePowered by osCommerce


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Recently, I sat in on a TalentNet Interactive Radio show. The selected topic was Employment Branding, but much of what we talked about had to do with the candidate experience, and all that begins with the career site.
While blogs and micro-blogs, social recruiting and stealth sourcing, get all the attention, the career site (often the baby of HR and IT, maybe….marketing) that dominates much of the applicant's brain space.
Attracting applicants is no longer about simply having a functional career site or portal. In a nutshell, the "if you build it, they will come" mindset, left a long time ago…
It used to be that companies needed to post a link to their openings and give candidates the opportunity to apply, but career sites have a higher bar to reach in today's crowded market. Getting your career site together requires:
Simplicity rules: People know what they want to do and where they want to do it. The company homepage acts as a beacon to folks looking for a specific gig. If the homepage is where they naturally gravitate, you need to ensure that your careers page is front and center, figuratively speaking. If your careers page is tough to find or takes forever to get to, fuggedaboutit!
Get current: If your openings are out of date, your jobseekers will be frustrated. Period. Rather than put a generic email address out there or jobs that have long been filled, fill that space with consistent needs (evergreen reqs) and company culture promoting stuff. Then let candidates get to know the different departments before giving them the option of sending in their resume. And for heaven's sake, make the openings easy to search by department, location and title!
Experience matters: With job titles a veritable morass of ego and culture-specifics duties, it's up to the employers to make it obvious how much experience you need for a certain level of position. A director level in a startup may look very different even in a medium sized company. Make it easy for job seekers for figure out where they belong.
Invite them back: Making sure that you capture pertinent information when potential applicants visit your site is paramount. Hopefully, there are more than just current opportunities at your company and knowing where your talent pipeline is when the time comes to reach out will help both your applicants and your internal recruiting team.Many sites are using retargeting, talent community platforms and CRM to capture this information.
Make it a hub: How do people find your career site? Do you advertise? Link to it from your job advertisements? Add it to your company LinkedIn? Think of the ways you can make the career site a central location from all other avenues to your brand.
Hello?: If you aren't giving your applicants a way to reach you (meaning integrated email) you are missing out! Not only will it frustrate potential candidates, it will double up on work for you. Career sites and platforms that allow email integration are crucial to creating an efficient career site.
Go Mobile: If your applicants are users of mobile (duh, everyone is), you need to make sure that your site is responsive and offers a way to apply on the go. Many offer one-click apply by LinkedIn, but a link emailed to the email address on file is a way that the application can be picked up later from a desktop.