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MIDDLETOWN, R.I. – The Endicott football team scored 21 points in the second quarter to hold a 21-20 lead over the second-ranked team in New England, Salve Regina, but the Seahawks responded by outscoring the Gulls 21-3 in the second half to win 41-24 in the NEFC Boyd Division opener for both teams.
Endicott, now 2-2 (0-1 NEFC Boyd) on the season, looks forward to their Homecoming Weekend on Saturday, September 29th as the Blue and Green host rival Curry with noon kickoff at Endicott Stadium. Curry is also 2-2 but edged out their week four match up with MIT 31-28 to move to 1-0 in divisional play.
Against Salve Regina, Endicott fell behind 20-0 just 16 seconds in the second quarter after a Drew Frenette (New Bedford, Mass.) pass was intercepted and returned 52-yards to the end zone by Seahawks sophomore Phil Terio (Trumbull, Conn.). The Gulls, however, responded with 21 unanswered points to take a one-point advantage going into halftime.
On their first possession following the interception return, Endicott drove deep into Seahawk territory down to the one-yard line before sophomore quarter Ryan McLaughlin (Tomkins Cove, N.Y.) punched it into the end zone for the Endicott's first points of the day.
The Gulls defense forced a three-and-out on Salve Regina's next offensive possession and on the punt attempt, Endicott's Curtis Manuel (Beverly, Mass.) blocked the punt and the Gulls and Eric Dwinell (Amherst, Mass.) recovered at the Seahawks five yard line. Two plays later, McLaughlin scampered for his second rushing touchdown of the game to pull the Gulls to within six at 20-14 with 9:23 remaining in the first half.
With 2:26 remaining in the half, Salve Regina faced a 4th-and-1 situation on their own 41-yard line but their conversion attempt was stopped behind the line of scrimmage by junior Andrew Lawson (Framingham, Mass.) which turned the ball over on downs to Endicott. On 2nd-and-6 on the Salve Regina 13-yard line, Frenette connected with senior wide receiver Mike Murphy (Chelmsford, Mass.) in the end zone to give Endicott their first lead of the game at 21-20.
At the start of the third quarter, the Seahawks needed just two plays to regain the lead as Salve Regina quarterback Steven Wilken (Ringwood, N.J.) passed to Dan Buonocore (Mahwah, N.J.) for a 21-yard touchdown reception. Salve Regina went up 27-21 and went on to score two more times on a three-yard touchdown run by Buonocore and 65-yard bomb from Wilken to Trey Scales (Boston, Mass.) to cap off the scoring in this game.
Endicott managed only a 27-yard field goal by junior placekicker Dylan Rushe (Palos Verdes, Calif.) with 1:06 left in the third quarter to pull within 10 at 34-24. Scales' touchdown catch came just 48 seconds later on Salve Regina's next possession.
Defensively for the Gulls, junior linebacker Andrew Holfinger (Sterling, Mass.) led Endicott with 11 tackles, seven of which were solo takedowns. Holfinger and defensive lineman Brian Kalosky (Plymouth, Conn.) tied with a team-high three tackles for a loss. Kalosky finished with 10 tackles in the game. Sophomore defensive back Mike Lago (Newtown, Conn.) and senior linebacker Peter Kallas (Beverly, Mass.) each added nine tackles in the loss.
Junior defensive back Davas Wright (Fall River, Mass.) turned in a strong defensive effort with an interception, three pass break ups, a forced fumble, and seven tackles.
Endicott's running game was led by senior tailbacks Jared DiBiase (Cranston, R.I.) and Mike Wheeler (Hanover, Mass.) who combined for 146 yards rushing on 31 attempts. Senior receiver Cameron Lett (Waltham, Mass.) had a team-high 82 yards through the air on four catches. Murphy added 78 yards receiving on eight catches and the lone touchdown pass by Frenette. Frenette finished the game 22-of-46 with 248 yards throwing with one touchdown, but three picks.


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Product Profile: Spark Plasma Sintering System Fitted with Glove Box
Thermal Technology recently shipped a 25-ton, 10,000-amp spark plasma sintering (SPS) system to Idaho National Laboratory's (INL) Center for Space Nuclear Research (CSNR). The SPS model 25-10 is fitted with a glove box for handling materials in a controlled environment and will be integral to the CSNR's study of advanced high-temperature fuel and structural materials fabrication.
"This system represents another milestone for our SPS product line," says Matt Mede, president and CEO of Thermal Technology. "Our open component design philosophy lends itself well to such a project. Only relatively minor engineering adjustments are required to accommodate a glove box that is fully flexible per the user's requirements."
Robert O'Brien, Ph.D., of the INL's Center for Space Nuclear Research is the principal investigator for its cermet fuels and radioisotope encapsulation research programs, and serves as the Radiological Spark Plasma Sintering (RSPS) facility lead. "Located at the INL's Center for Advanced Energy Studies, the RSPS facility will allow the CSNR to conduct pioneering research into advanced fabrication methods for future high-performance nuclear fuels while creating a truly unique facility that will be open for collaborative use by the international research community," O'Brien said.
SPS has multiple commercial applications. The technology is in a class of non-conventional sintering techniques, because heat is generated internally, as opposed to conventional methods of materials densification such as hot pressing, wherein the heat is external to the sample. While traditional methods of materials processing require hours to reach peak temperature, SPS takes only minutes. This can provide significant time and energy savings, as well as the ability to retain material grain structures, which can be an important feature when processing nano-structure materials.
Thermal Technology's SPS systems are designed with highly rigid four-post press frames, an extra-large working chamber and large access doors. The flexible footprint can accommodate users' spatial limitations, while the advanced power supply provides adjustability and heat rates greater than 1500°C per minute. Digital servo valve-controlled hydraulics ensure ultra-fine force control, while programming and data acquisition are accomplished using an on- or off-line PC system.
About the Company
Thermal Technology is a global provider of advanced thermal processing systems, including crystal growth technology, hot presses and SPS systems, and high-temperature vacuum and controlled atmosphere laboratory and production furnaces for the advanced processing of metals, ceramics, glass, quartz and crystal growing applications. The company has more than 60 years of experience and more than 3,000 installations in 40 countries.
For information, contact firstname.lastname@example.com or visit www.thermaltechnology.com.

subset: commoncrawl


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It is with great pleasure and excitement that PMAANZ invite you to attend our annual national conference on the 12th, 13th and 14th September
Conference 2019 is being hosted in Hamilton nestled on the banks of the mighty Waikato River. Supporting our conference are a Conference Committee who are committed to bringing you a conference that is innovative, uplifting, inspiring and worthy of your attendance. This is my second year as Conference Co-Covenor and I have been privileged to be supported by the amazing Nelson team and now the equally impressive Hamilton team.
The venue this year is Claudelands Event Centre and we believe Claudelands will prove to be an amazing venue for our comprehensive conference programme which will focus on a number of key "knowledge and development" streams.
Also, we listened to your feedback and have re-integrated the Receptionist Day which will be on Saturday 14.
A Welcome Function, quiz evening and the ever-popular Gala Dinner and Awards Night will be features of the conference.
Our Practice Manager of the Year Award is the pinnacle of acknowledgement for our sector; so we would encourage you to start thinking about this now and potential nominations.
We are mindful that our conference is a financial and time commitment that practice managers make; to support this commitment there will be no increase in registration fees in 2019.
We are looking forward meeting you, talking with you, sharing ideas and broadening our collective professional development.
Some key dates for you
• Conference Registrations still open
• Conference Programme has been updated during August
• Early bird registrations closed 20 July
• Conference begins Thursday 12 September afternoon with a Master Class.
We encourage you to lock this date into your calendar early and for attendees travelling from the provinces to start looking at flight options.
We look forward to seeing YOU at Conference 2019!
Sue Taaffe
Conference Chair
Latest News
Sponsorship prospectus Quick link
Registration OPEN
Pre-conference Masterclass
"So you wanna make some changes?"
Planning, leading & making change
Jo Henson
Limited spaces - now FULL
Now a breakfast session
7.45am Saturday 14 September
Spread the word
Promotion flyer (1)
E-Blast (26 June)
Join PMAANZ


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LEOPOLD - Perry Central' s boys basketball team got outshot from the field, committed 20 turnovers, only tied its opponent in rebounding, and had three key players in foul trouble most of the game Saturday.
Yet the Commodores found a way to beat North Posey 43-39.
The Commodores led 21-19 at halftime but committed five turnovers before scoring a point in the third quarter. They fell behind 37-29 with five minutes left in the game.
If you currently subscribe or have subscribed in the past to the Perry County News, then simply find your account number on your mailing label and enter it below.
Click the question mark below to see where your account ID appears on your mailing label.
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|August 30, 2013
Education Dept. Releases Draft Language for New Gainful-Employment Rule
By Goldie Blumenstyk
The U.S. Department of Education released draft language on Friday for a proposed new "gainful employment" rule that in some ways would be stronger than an earlier version that was thrown out by a federal court in June 2012, but in others ways would be weaker.
The draft regulation, which will be subject to three days of formal negotiation beginning on September 9, could cover more than 11,000 programs at for-profit and nonprofit colleges—nearly twice as many as the old rule would have covered. That's because the draft calls for including programs with as few as 10 students; the earlier rule counted only career-focused programs with 30 or more students. (See a comparison of the two versions prepared by the Education Department.)
The old rule also would have cut off federal student aid to programs where too few students were repaying their loans or where graduates' debt-to-earnings ratios, based on two measures, were too high. In blocking the earlier rule, the court said that the thresholds for the student-loan-repayment criteria were "arbitrary and capricious" because the department had not shown a reasoned basis for them.
The new rule would omit the loan-repayment criteria altogether.
That's an omission that consumer advocates like the Institute for College Access and Success have said would create a "loophole for schools to ignore the debt burdens of students who do not complete or create incentives for schools to discourage completion by students with high debts." The group has said the two-pronged test is a better measure of how well a program i
s serving all of its students because the debt-to-earnings test applies only to those who have made it through.
'Tougher and Leaner'
The draft language for the proposed rule also calls for applying the debt-to-earnings tests in a way that could make it harder for some programs to pass the test. Under the old rule, the calculation would have been based on all students who completed the program, no matter how they had paid for it. The draft regulation proposes basing that calculation only on students who receive federal student loans and Pell Grants. The calculation would exclude students who attend college using federal veterans benefits or military tuition-assistance funds, as well as students who pay their own way.
That approach could be seen by some as excluding from the calculation students who are more likely to succeed, but since the test is designed to ensure that federal student-aid funds are being used effectively, basing the criteria solely on those using federal student aid may be just the point.
The Association of Private Sector Colleges and Universities said the draft language seemed designed to limit access to students who need it the most. The "draft regulation raises doubts on the level of interest at the department for working with all of postsecondary education to create meaningful change that puts the interests and outcomes of students first," said a statement from the group, which advocates for the for-profit-college industry.
Earlier this week, Steve Gunderson, president of the organization, sent a letter to Education Secretary Arne Duncan asking him to abandon the negotiated rule-making process for the gainful- employment rule or to expand the membership on the rule-making panel "to include a fair representation" of private- sector institutions. He said only four of the 28 negotiators represent the interests of for-profit colleges.
Ben Miller, a policy analyst at the New America Foundation and a former senior policy adviser at the Department of Education,
called the draft regulation "tougher and leaner" than the original. It would rely on two measures—debt-to-earnings ratio and debt-to-discretionary-income ratio—instead of three and would "remove a lot of unnecessary tweaks and concessions made during the last regulatory process," he noted in a news release from the foundation.
Programs would fail if their students' debt-to-earnings ratio was greater than 12 percent or the students' debt-to-discretionary- income ratio was greater than 30 percent, the same ratios as in the original rule.
A program that failed the measures twice in any three-year period would be ineligible for federal student aid. As the New America Foundation said, "this is faster than the fail-three-out-of-any-four approach taken in the previous rule."
The draft regulation would also add a so-called zone where students would receive warnings about debt if the annual debt-to- earnings ratio was 8 percent to 12 percent or if the debt-to- discretionary-earnings calculation was 20 percent to 30 percent.


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Community college students in NC will soon have a new option in paying for their education. BeginningJuly 1st colleges will be required to offer student loans. Some schools feel that's risky.
Some community colleges in the east got out of the student loan business because they saw their loan default rates rising. They say that hurts the students and the school. Legislation has gone back and forth on the issue, and a recent veto from democratic Governor Bev Perdue all but seals the deal, forcing community colleges back into the loan business.
Victoria Tyson is a single mom and a first time college student, hoping to make a difference for her and her family.
"I wanted to show my son at any age you can get a degree, you can still be whatever you want to be," said Tyson
It's not cheap and Tyson needs help. She has Pell grants which are federal funds she won't have to pay back. She says she'd like to get a student loan to cover some of her living expenses and allow her to remain a full time student. She's thrilled her school has to start offering loans. Her school, Beaufort County Community College is not.
Dean of Administrative Services Phillip Price said, "Once our default rates get above a certain percentage we stand to lose federal funding."
Price says if 30% of their students defaulted on their loans, the school wouldn't be able to offer Pell grants anymore. The majority of their students, including Tyson, rely on those grants.
"If we weren't able to award Pell grants you could almost assume 60% of the people at the college wouldn't be here. That's pretty much closing the doors," said Price.
In 2007 their default rate jumped from 0 to 6.4% in just one year. It was down a couple percentage points in 2008 according to the most recent numbers released by the Department of Education. Price says in order to stay competitive, many lenders stopped screening applicants through credit checks, and default rates started rising.
The problems at Beaufort County Community College pale in comparison to the ones at Martin Community College where the default rate is a staggering 20.8 %."
MCC's President Ann Britt said "We were 12.8 in 2005 and we have not given a loan since then and we're currently at 20.8."
Again, 2007 numbers, the more recent numbers show them at 23-percent. Britt can only imagine how that number could jump when they're required to start offering loans again. She says students should think twice before taking out student loans, because the only way out of them is to pay them off. Even bankruptcy doesn't forgive student loan debt.
"That is the worst loan you can have. It never goes away, they'll take it out of social security, it will go to your estate," said Britt.
She says she knows some students feel it's the only way they can afford their education, but says student loans should be a last resort. Victoria Tyson says no matter how she computes it, she's already trimmed her budget about as far as she can.
"The loan is going to make or break the deal in being a full-time student to a very low end part-time student," said Tyson.
Unless lawmakers override the governor's veto, community colleges will have to offer loans starting in July. So Ann Britt says her school will go out of their way to counsel students about the risks involved.
Other colleges in the east are working out plans to keep their default rates down. Craven Community College is just 1.7%. Pitt Community College is at 7%, and they never stopped offering loans. Lenoir Community College has a default rate just over 11-percent.


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WHO Research Into Global Hazards of Travel (WRIGHT)
Project on air travel and venous thromboembolism
The WRIGHT project, which was set up on 21 June 2001, is a comprehensive research programme developed by the WRIGHT group under the auspices of the World Health Organization.
The project consists of a series of research studies to fill the key information gaps in available knowledge on the suspected link between air travel and venous thrombosis. The studies which cover epidemiological, clinical and physiological areas, will provide key information on the frequency of venous thrombosis, the magnitude of its association with air travel, and the caused mechanisms to possible prevention strategies for air travellers.


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HOPE Week ends with poignant anti-bullying message
NEW YORK -- Kirk Smalley has a story to tell. It can be hard to get through it, but it's an important one nonetheless.
Smalley's son, Ty, was small for his age. He was always smiling, but he was repeatedly bullied. On May 13, 2010, he fought back. Provoked into a fight and suspended, he was left alone at his home in Perkins, Okla., when his mom had to come back into work.View Full Game Coverage
NEW YORK -- Kirk Smalley has a story to tell. It can be hard to get through it, but it's an important one nonetheless.
Smalley's son, Ty, was small for his age. He was always smiling, but he was repeatedly bullied. On May 13, 2010, he fought back. Provoked into a fight and suspended, he was left alone at his home in Perkins, Okla., when his mom had to come back into work.View Full Game Coverage
Then, the 11-year-old Ty committed suicide.
Smalley read the letters he received from Ty's classmates and teachers. Everyone remembers his laugh. Everyone remembers his smile. No one could have seen it coming.
Now Smalley wants to make sure it never happens again.
He said he delivers a similar speech four or five times a day as part of "Stand for the Silent." And on Friday, he came to Yankee Stadium to tell his story to children gathered from across the tri-state area for the final day of HOPE Week.
"I'm not a public speaker," Smalley told the crowd. "I am a construction worker."
On Friday, it didn't matter. The speech he did deliver tugged at the heartstrings not only of those in attendance, but of the members of the Yankees' organization who circled the stage in front of which Smalley spoke.
On the stage were five chairs, left for the photos of five children who had been bullied to the point of suicide, including Ty. Around those chairs sat Andy Pettitte, Boone Logan, Joba Chamberlain, Lyle Overbay, Austin Romine, Travis Hafner, general manager Brian Cashman, general partner Jennifer Steinbrenner Swindal and the professional wrestler "Big Show," each visibly moved by Smalley's message.
Chamberlain, whose jersey Smalley wore as he spoke, fought to hold back tears. Pettitte choked up when speaking about Smalley's story after the speech. One child in the front row began to cry, and Smalley personally went over to hug him.
"That happens all the time," Smalley said. "That young man had something on his heart that was bothering him."
"Stand for the Silent" came about from hearing Smalley's story. That summer, local high school students participating in the Oklahoma State University Upward Bound program began the initiative to stop bullying.
As Smalley read the letters about Ty, he turned to address Pettitte, specifically. In that moment especially, the starting pitcher had to fight to hold back he tears.
"It's tough," Pettitte said. "You try to hold the tears back. That's what it is. You see a man's pain."
With a handlebar mustache and tattoos covering his forearms, Smalley doesn't look like the typical face of anti-bullying.
He seemed almost as out of place as Big Show, who was at Yankee Stadium to represent the WWE and its strong anti-bullying efforts. He's sat through many speeches like this one, but Smalley's message in particular stood out.
"This was one of the most powerful speeches I've ever been a part of," Big Show said.
After Smalley spoke to the crowd, he talked about the experience in a hushed tone. He's grown accustomed to delivering the speech. When he gives that, though, he's bursting with emotion. His passion for the message is clear and resonates with every word he speaks.
After the speech, the child he embraced during his speech returned to Smalley. The message had gotten across, and he would do his best to spread the message.
"We get that kind of an impact from the kids everywhere we go, which tells you that bullying touches hearts and lives and ruins hearts and lives everywhere," Smalley said. "You never know when this can happen to someone you care about, someone you love. It truly can happen to anyone."
David Wilson is an associate reporter for MLB.com.


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On Tuesday, Samsung announced that it would acquire Quietside, a manufacturer of air conditioners, heaters, and other HVAC appliances, for an undisclosed sum. This follows Samsung's purchase of smart home all-in-one solution SmartThings last week, an acquisition that had been hinted at in July, and the combination points to Samsung's desire to take over American homes by controlling their every device.
At first blush, the 100 percent acquisition of Quietside appears to merely streamline Samsung's operations, since the company already produces its own line of air conditioners—and has relied on Quietside to distribute those offerings in North America for over 15 years. Yet the Samsung announcement went so far as to hint at more to come: "[Samsung] also plans to unveil an enhanced HVAC product lineup that better reflects the needs of North American customers," it stated, though no timeline was attached to that sentence.
We can only assume that such a statement hints at the company's dreams of Samsung device interplay, with phones, watches, alarms, heaters, TVs, and more communicating with each other. As of now, Samsung's home appliance portfolio puts it in better position than its peers to consider taking over every corner of a home's electronics; where Google has Nest, Samsung has ovens and dryers. However, based on Samsung's "only Galaxy devices" compatibility track record, particularly with its Galaxy Gear offerings, we worry that Samsung will devour SmartThings' all-in-one home automation system and kill off compatibility with third-party products and protocols (a feature that, admittedly, was already thin enough when we reviewed the SmartThings hub earlier this year).


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During a routine flight to Minneapolis, Rob Young noticed swelling in his ankle and a trip to the emergency room revealed he had a blood clot.
During a routine flight to Minneapolis, Rob Young noticed swelling in his ankle and a trip to the emergency room revealed he had a blood clot.
A sales consultant who routinely flies for work, Young wasn't overly concerned, chalking it up to his many miles in the sky.
"So they discharged me and I came back home and got checked out by my local doctor," said Young, 45.
"I wasn't overly concerned. We were a little puzzled because somebody of my age and health shouldn't be getting DVT," or deep-vein thrombosis, Young said.
His family doctor assured him there was no cause for distress.
But further sleuthing on the Internet gave Young pause: One of the causes of DVT was lung cancer.
After a battery of tests -- and a long, anxious wait over the holidays -- his worst fears were confirmed.
He was diagnosed with non-small cell lung cancer.
"I'm a pretty practical guy," said Young, who lives on the East Side.
"I gave myself about a day to be sad and think the worst."
Then he started his therapy, which was aggressive at first and has since eased to maintenance chemotherapy administered every three weeks.
Dr. David Carbone, a professor of medicine at Arthur G. James Cancer Hospital and Richard J. Solove Research Institute, said lung cancer kills about 160,000 Americans per year -- more than breast, prostate and colon cancers combined.
Furthermore, the five-year survival rate is about 15 percent.
Young said he remains optimistic and refuses to hear a prognosis, choosing to take his disease one day at a time.
"I have to be positive," he said.
"One of the tricks when you have advanced serious cancer is -- we kind of joke about it -- stay alive as long as you can with the medicine that's out there," Young said.
One of the reasons it's difficult to diagnose is the usual symptoms, such as chest pain, are nonspecific, Carbone said.
"And when the symptoms become worrisome, they represent metastatic disease and it's too late to cure it," he said.
"Tumors on the lung can get to be melon size before they cause any particular symptom," Carbone said.
"The lung itself has no nerve endings. If you had a melon-sized tumor on your breast you would notice it pretty quickly."
Up until recently, there were no effective screening procedures, even for high-risk patients, Carbone said.
However, just in the last year, a very large study showed that a special type of low-radiation CT scan reduced the death rate by 20 percent, he said.
Carbone said he's upbeat about the new technologies, such as robotic surgery that uses a minimal size incision in the chest wall and stereotactic body radiation therapy, or SBRT, which delivers a high dosage of radiation to a precise target.
There also have been discoveries in the genetic makeup of lung cancer that effectively guide the use of oral medicines.
"It is very frustrating to treat, but in the last decade there's been a lot of excitement in the treating of lung cancer," Carbone said.
Naturally, smoking is discouraged, Carbone said.
Yet, roughly 16,000 people a year who haven't smoked are diagnosed with lung cancer.
"If you are a smoker, stop," he said.
"If you were a smoker and over the age of 55 you should enroll in the CT screening program."
Young, who is being treated at the James but not by Carbone,said he was a non-smoker and an exercise enthusiast before the cancer was detected.
"I was absolutely, definitely, in the best shape in my life when I was diagnosed," he said.
Exercise always is encouraged, although it's difficult to determine whether it prevents the disease, Carbone said.
"I think staying healthy is important and people who are in good shape and healthy in other respects definitely live longer than people who aren't," he said.
"But I don't know exactly the magnitude of the benefits."
As November, which is National Lung Cancer Awareness Month, comes to a close, the discrepancy in cancer funding is worth noting, said Jose Rodriguez, spokesman for Columbus Public Health.
In 2011, the two federal agencies providing most of the research money funded breast cancer research at a rate of $21,641 per death while spending $1,489 per lung cancer death, according to the news agency FairWarning.
"There are great advancements being made, but clearly more research dollars have to go into making a significant difference," Rodriguez said.


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Senate GOP cheers NLRB ruling
Senate Republicans cheered a court victory Friday striking down appointments President Barack Obama made to the National Labor Relations Board.
"The D.C. Circuit Court today reaffirmed that the Constitution is not an inconvenience but the law of the land, agreeing with the owners of a family-owned business who brought the case to the Court," Senate Minority Leader Mitch McConnell (R-Ky.) said in a statement.
Story Continued Below
( PHOTOS: Obama's top 20 jabs at the GOP)
At the root of the case was Obama's decision in January 2012 to appoint two NLRB members, after Senate Republicans made clear they would block any effort. Obama argued they were recess appointments — permissible under the Constitution — since the Senate was between sessions. But Senate Republicans disagreed, making the case the Senate had consistently remained in session.
A business owner sued over a decision the board made requiring his company to engage a union, contending that the appointments were invalid and therefore the board lacked enough members to issue rulings.
"It's a very big win," said Noel Francisco, the attorney who represented the plaintiff. "Presidents of both political parties for years have been using the appointment power in ways that are contrary to the Constitution."
The ruling can impact both the previous decisions of the NLRB and the future of other appointees named in a similar fashion, Francisco said.
"These principles are not meant to protect the president, they're not meant to protect Congress," Francisco said. "They're meant to circumscribe the power of government to protect individual rights."
Forty-two Republican senators hired a lawyer to help fight the appointment.
"The appointments that the court invalidated here are only the latest in a long-running campaign by the executive to encroach on the Senate's constitutionally prescribed role in the appointments process and to transform appointments into a one-man show," said Miguel Estrada, the attorney who represented Senate Republicans.
The D.C. district court sided with the business owner, saying that Obama's appointments didn't qualify as recess appointments and therefore the board lacked a quorum and was unable to make any decisions.
"[T]he President made his three appointments to the Board on January 4, 2012, after Congress began a new session on January 3 and while that new session continued," the court wrote in its decision. "Considering the text, history, and structure of the Constitution, these appointments were invalid from their inception."
At the same time, Obama appointed Richard Cordray to the Consumer Financial Protection Bureau, but the court did not rule on the validity of his appointment.


text:
copyright, Professional Photographer Magazine.
I'm a sucker for a list. Especially one that comments on the most influential photographers of all time. You can see the full PP list here. I'd love to hear what you think. Any glaring omissions? People too high or low? I'd also be willing to guess lighting on any of these photographers (many of whom are already on the pages of GTL), so if you have a fave or two, send them my way.


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Hello All,
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text:
Not long ago, Esperanza Spalding, the prodigiously gifted bassist, singer, and composer, performed at Yoshi's, a posh sushi restaurant and jazz club in downtown Oakland, California. Spalding, twenty-five years old, was playing bass with the pianist McCoy Tyner, who, as part of the John Coltrane Quartet in the early sixties, helped create some of the most influential jazz music ever recorded, including the 1965 album "A Love Supreme." For the Yoshi's gig, Tyner had enlisted Coltrane's son, Ravi, on saxophone, and a brilliant young musician named Francisco Mela on drums. But it was clear from the buzz that attended Spalding's arrival onstage that a considerable percentage of the audience of three hundred and thirty had come to see her.
Female instrumentalists have been a rarity in jazz, and Spalding looked incongruous amid the standard tableau of the jazz concert: dudes in boxy blue suits. A slender, light-skinned black woman with a natural Afro and a serenely beautiful face, she was dressed in a frilled-front sleeveless blouse, black vest, and black pants. When the band began to play, her left hand swarmed the neck of her upright bass, spidering out speedy arpeggios and dashing upward in chromatic runs. When she took a solo, mid-set, on the 1957 Coltrane tune "Moment's Notice," she started slow, mapping out the quick-shifting chords with a comfortable walking bass line high up the neck. Suddenly she was leaning over the instrument, her left hand darting down toward the sound holes, the index and middle fingers of her right hand blurring as she plucked out a furious barrage of sixteenth notes; then she returned to the neck, her head thrown back, eyes closed, as she produced bursts of booming fragmented notes that drew smiles from Tyner at the piano and gasps from the crowd.
After the performance, the last of six nights that the group played there, a line of twenty or so well-wishers crowded a door at the side of the stage to get Spalding's autograph, snap pictures, and talk to her. One tongue-tied middle-aged man commented on her hands. "They're small for a bassist," he said. Spalding looked into her open hands, which, apart from the thick white calluses on her fingers, might have belonged to a ten-year-old. "They're just small for a person," she said.
When she returned backstage to collect her paycheck, Coltrane hugged her and said, "You sounded beautiful every night." Mela kissed his fingertips, banged a fist against his heart, and pointed at her. A few minutes later, in the greenroom at the end of the hall, Tyner told me that Spalding "understands how to play with this kind of group. She understands the form, where the verses and choruses come, how solos work. She's the real thing."
Jazz thrives on apprenticeship and anointment; before Charlie Parker died, he is said to have told the saxophonist Sonny Stitt that he was giving him the "keys to the kingdom." But, when I repeated Tyner's praise to Spalding a few days later, in Austin, Texas, where she recently set up house, she smiled and said, "Wow, that's great," and then qualified her enthusiasm. While playing jazz standards with the seventy-one-year-old Tyner was "fun and intense," she said, it did not represent her ultimate goals as an artist. "In no way is this meant to discredit or to make him seem less significant for what he's contributed," she said, "but it kind of reaffirmed my understanding of the music—that the most important artist and the most important time is, like, right now. It's the people who are learning now, and creating new things right now. Idol worship doesn't help this music in any way."
In 2008, Spalding released her major-label début, "Esperanza," which she recorded as a twenty-three-year-old instructor at the Berklee College of Music, in Boston. While the music was indisputably jazz, it suggested an almost bewildering array of influences—fusion, funk, soul, rhythm and blues, Brazilian samba and Cuban son, pop balladry, chanted vocalese—with lyrics sung in Spalding's three languages: English, Portuguese, and Spanish. An ebullient mash-up of sounds, styles, and tongues, the record seemed like something new—jazz for the iPod age—and it rose quickly to No. 3 on the Billboard jazz chart, and stayed on the chart for sixty-two weeks. The freshness and the excitement of her approach have led, inevitably, to her being called the "new hope for jazz."
Spalding belongs to a growing movement of young musicians (among them Chris Potter, Kurt Rosenwinkel, Brad Mehldau, and Jason Moran) who have taken a less traditional approach to the music. For years, young jazz musicians adopted a near-slavish devotion to sounding like players from jazz's golden age (anywhere between the nineteen-twenties and the arrival of the Beatles in America, in 1964), rejecting the pop, rock, and fusion experimentation that came in the nineteen-seventies and eighties. The members of the Young Lions movement, with Wynton Marsalis the most visible among them, fetishized staunchly noncommercial "pure" jazz.
Though the movement gained some early attention—in 1993, the saxophonist Joshua Redman was sponsored by DKNY, and appeared in GQ—it proved not to be a prescription for the long-term health of the art form. Attendance at jazz concerts has been declining for years; a hit jazz album today might sell forty thousand copies worldwide. "Esperanza" has so far sold more than a hundred thousand. This is, in part, because Spalding hews closer to dance rhythms than many of her contemporaries do. (Jazz has become increasingly complicated, piling on odd meters and abstruse melodies.) It is also because she sings; for audiences put off by the cerebral rigors of instrumental improvisation, her pliant alto voice gives them something to hang on to. But her original songs sacrifice none of the melodic sophistication and harmonic interest of jazz; and, as her gig at Yoshi's showed, she is as technically adept, and as serious a student of the music's history, as the most dutiful of the Young Lions.
Spalding has a complicated relationship with Marsalis, whom she professes to admire, but whose philosophy of jazz is, she acknowledges, diametrically opposed to her own. When I asked her about him, she shrugged and said that she'd met him only twice—in passing, at a New York club, and, more formally, when he arrived, unannounced, with his entire big band at a gig she was playing last year in Minnesota. "But he didn't come to enjoy himself," she said. "He was checking out if I was legitimate." Marsalis has never commented publicly on Spalding—a surprising omission for a man who, as the artistic director of Jazz at Lincoln Center, is the leading promoter of the art form in America. (He declined, through a spokesperson, to comment on Spalding for this story, citing his busy schedule.)
But beyond jazz circles Spalding has attracted considerable notice. Prince invited her to Los Angeles to jam and write with him; she was photographed for a Banana Republic advertising campaign; she appeared on the "Late Show with David Letterman" and "Jimmy Kimmel Live." She recently signed on to co-star in a crime movie—making her one of the first jazz artists since Louis Armstrong to be taken up by Hollywood.
Spalding is passionate about bringing fresh influences, voices, and idioms to the music, to prevent jazz from becoming merely "a museum piece," as she put it. She found encouragement in the work of Wayne Shorter, the jazz saxophonist and composer who left Miles Davis's quintet in 1970 to found Weather Report, an electric band that abandoned the verities of straight-ahead jazz—standards, acoustic instruments, swing—for an experimentalist music that combined rock, funk, and world-beat rhythms with dark, sophisticated chords and melodies. She also drew inspiration from a book she read on the return flight from Oakland to Austin after the Tyner gig—"The Rest Is Noise," the New Yorker writer Alex Ross's history of twentieth-century classical music. In particular, she was galvanized by something that Richard Wagner wrote in a letter to Franz Liszt. She dug out the Kindle that she'd been given for Christmas and read aloud: " 'I have felt the pulse of modern art and know that it will die! This knowledge, however, fills me not with despondency, but with joy.' " She read on to the end of the passage: " 'We shall live only in the present, in the here and now and create works for the present age alone.'
"I relate that to how I feel about jazz music," she said. "Music is intended to be for people. And circumstances and people change with the decades, and that's O.K. And I think that's what Wagner was saying, too. It was, like, 'Let it go, let it breathe, let it move, you know? We're trying to make music for the people.' "
Spalding was born in 1984 in Portland, Oregon, to a single mother of African-American, Asian, Native American, and Hispanic ancestry. (Her mother asked not to be identified by name for this article.) Spalding spent her childhood, with her mother and brother, who is seven years her senior, in the King neighborhood of northeast Portland. Made up mostly of lower-middle-class black and Hispanic families, the neighborhood declined sharply in the nineteen-eighties, when members of the Crips and the Bloods moved up from Southern California and began fighting for control of the local drug trade. After a child was killed by a stray bullet that entered a neighboring house, Spalding's family began sleeping on the floor. Eventually, they fled across town. "There we found the same thing but with a white face on it," her mother said, "and instead of heroin and crack it was meth."
Spalding's mother worked several jobs—carpenter, security guard, dishwasher, day-care worker—but there was never enough money. The family was reduced to near-homelessness many times, and on at least one occasion was forced to live in the attic of a friend. Yet Spalding says she was largely unaware of the difficulty of their situation. "You can grow up with literally nothing and you don't suffer if you know you're loved and valued," she told me. "A lot of people I grew up with, by the time they were eight they were completely disillusioned with the world. They already felt this system is wrecked and it's hopeless." Spalding's mother, convinced that the local public schools fostered such disillusionment, removed her in the middle of fifth grade and successfully applied to have her homeschooled. Because her mother worked full time, Esperanza effectively educated herself from sixth grade through eighth, checking books out of the library, completing lesson plans, and taking tests. "We had to do that, legally," she said, "so my mom could keep 'homeschooling'—quote unquote."
Spalding was drawn to music early and listened to the oldies radio station: Sam Cooke, Stevie Wonder, Smokey Robinson, the Monkees, the Carpenters, Earth, Wind and Fire. "That's the most influential stuff because you're little, you're not 'assessing' it, it doesn't have a value beyond if you like it or not," she said. Her mother had a piano in the apartment, and when Spalding was four she heard her struggling with a simple piece by Beethoven. Afterward, Spalding climbed onto the bench and played the piece by ear. Soon she was writing her own songs on the piano. When she had a completed melody, her mother said, "she'd arrange it in every style of music you could imagine, from bluegrass to classical to jazz. She'd call me over, and say, 'Look, I can play it this way. And I can play it this way, and then I can play it this way and this way.' ''
At the age of five, she saw Yo-Yo Ma play cello on "Mister Rogers' Neighborhood" and told her mother she wanted to do that. Her mother had enrolled her in a free community-band program that offered loans of donated used instruments, but there were no cellos available. There was a violin, which Spalding took up. Though lax about practicing (for several years, she feigned sight-reading and learned her parts by ear), she earned a spot in an advanced youth orchestra, the Chamber Music Society of Oregon, and by fifteen was the orchestra's concertmaster. She also earned a full scholarship to the Northwest Academy, a private arts high school in downtown Portland. There she caught the attention of Brian Rose, who taught jazz-improv classes and electronic music. Rose recalls once coming upon her when she was writing out a symphonic score for strings and horns while listening, on headphones, to Latin music. "I said, 'You can't do that!' " Rose recalls. "She said, 'Oh, the stuff I'm writing is all in my head. I don't need to hear it—I already know what to write.' "
By this time, Spalding was playing an array of instruments—piano, oboe, clarinet, guitar, violin—but Rose urged her to pick one and concentrate on it. One day, he heard her play a few notes on a cheap plywood standup bass in his classroom. "I could just tell: O.K., that's the instrument," Rose told me. "She just had that look in her eye. The connection was obvious." Rose taught her a simple blues progression, and Spalding was fascinated. She returned daily to fool around on the bass. "It's like waking up one day and realizing you're in love with a co-worker," she once said.
Rose put together a jazz group with a few Northwest Academy students, including Spalding on bass, and they began gigging around the city. Within a year, she was playing jazz, blues, pop, funk, and hip-hop on the local club circuit, absorbing knowledge from some of the most seasoned players in the city—often men three times her age. One important early mentor was Thara Memory, a jazz trumpeter who had played with Natalie Cole, Joe Williams, and James Brown. Memory taught classical music in Portland's community-band program, and had begun teaching Spalding when she was eight years old. "You've got to learn what is music and what is not music—what is cacophony," Memory told me about his teaching method. "She learned at a very young age what is and what ain't."
In the course of a year, Spalding plays a hundred and fifty concert dates around the world; in 2009, she played three times for President Obama, including, at his request, at the Nobel Peace Prize ceremony, in Oslo. The schedule has constrained her private life (she says that she is now too busy to have romantic relationships), and it sharply limits the time she has for writing new material and practicing. She moved to Texas last fall in part because it offers seclusion for working and writing.
She lives in what she calls the "rich hippie" neighborhood of southwest Austin, where she rents a large one-bedroom apartment in the house of a musician friend, Lian Amber. Spalding's apartment is a quiet, comfortable place with Japanese fans as lampshades, papier-mâché masks on the wall, a divan draped in exotically patterned African fabric, and shelves crammed with books and CDs. A drum set is assembled in one corner; a fabric-draped upright piano that Spalding bought for two hundred dollars on Craigslist sits in another. On a nearby music stand was a two-page handwritten list of "To Do" items, which included the injunctions "When I do practice bass, practice things directly related to my show"; "Little lyric writing everyday"; "Voice work and agility technique."
I sat with Spalding one day in early January. She was on a tight deadline to finish the string arrangements for a song she had written for a new record to be released this summer, which she calls "Chamber Music Society." The song, "Apple Blossom," was a ballad, sung with the Brazilian musician Milton Nascimento. Using her Mac laptop and the GarageBand application, she played it back—a spare, melancholy tune featuring just her voice and Nascimento's over a Spanish-inflected guitar. Spalding had written the lyrics to fit precisely into the rhythm, but Nascimento had sung his part rubato—a speechlike tempo, slowing slightly and speeding up—and Spalding, in singing her part, had followed his lead. She now decided that the song could use something to tie down the rhythm. "I thought it would be nice—since it's kind of unpredictable where things are going to land—to just spice the song with these inhales and exhales with the strings," she said. She had written out string parts on staff paper, but the lines had seemed too emphatic. She decided to try improvising them with her voice. She replayed the song on her computer, and, in the pauses between her and Nascimento's singing, she leaned toward the Mac's built-in microphone and sang a series of notes—"La leee-laa-laaaa"—then fell silent when the melody returned. She made five or six passes through the song, overdubbing, creating unexpected harmonies that tugged the mood into deeper melancholy. "What I'll do is continually go back and listen to the ideas I threw out so far," she said. "I'll go 'Mmm, that's exactly the kind of thing I need.' Or 'That's almost it, maybe I'll try another pass at that one section'—try to sing toward it until I nail the idea I want."
When I asked Spalding about the rarity of female instrumentalists in jazz, she said, "It's tricky. It's programming. Jazz is kind of like a boys' playground." She pointed out that women began to be accepted into orchestras only a few decades ago, and believes it is only a matter of time until the jazz world is as integrated. "When a woman musician can really play, people are, like, 'Man, she's a monster, she sounds like a dude!' Something is wrong in the mind right there. Because actually that quality of power and strength and quickness—and a wittiness that's necessary—that's not a masculine trait. It's just that it's such a boys' club that when a woman comes in and exhibits those qualities it's automatically associated with her having more testosterone."
She picked up a fretless five-string electric, sat on the edge of the divan, and set an alarm on her watch to go off in half an hour. Then she hit the play button on her iPod, and the Stevie Wonder song "Boogie On Reggae Woman" began to play, its compulsively funky rhythms filling the room. The bass line, which on the original recording was played on a Moog synthesizer, is baroque in its complications. It begins with a series of slipping, grunting notes that Spalding reproduced by repeatedly sliding her finger on the neck, before exploding into a finger-tangling series of speedy turns and riffs. Her head bobbed, and the fingers of her left hand fluttered and moved on the neck in synchrony with the recording—until about thirty seconds in, when she encountered a passage that repeatedly stumped her. "Aacch!" she screamed. She poked the iPod button, reversed the song a few seconds, and tried it again.
From the time she started playing bass, teachers have enjoined her to learn by transcribing bass lines from classic jazz recordings, but Spalding has resisted. "Ideally, they were made in the moment for what was most appropriate for that music, for that groove and that group of musicians making that music," she said. "I'm trying to come at the bass from every other angle." Accordingly, she has spent hours transcribing horn solos, and lately has taken up drumming. "Listening to drummers, I heard how percussive it is, it sounds so natural," she said. "They're toying with this natural bounce and interplay of movement and momentum with the tension of the skin on the drum and the inertia they've put into the drumstick—and I wanted to be able to emulate that natural rhythmic sound on the instrument." She says that practicing simple drum patterns on the set in her living room has evened out her bass playing. She has also taken to adapting piano inventions by Bach, playing one of the melodies on the bass and singing the other with her voice, working to produce divergent melodic and rhythmic lines with the voice and fingers.
Her watch alarm went off. She hit the iPod stop button and shook the cramp out of her left hand. "I just love everything about that bass line," she said. "It's super-funky—they're playing really interesting notes of the chord scale. I'm kind of training my hand to make those kinds of shapes—and training my ear. If I'm hearing a kind of groove like that, and I'm hearing those shapes like that, my hand knows how to find it." She laughed. "You won't learn that from playing scales."
She reset her watch timer and began again.
There are eleven thousand eight hundred and fifty-seven songs on Spalding's iPod, ranging from classical music to Jimi Hendrix, from Joni Mitchell to Deee-Lite, from Stevie Wonder to Nirvana. After her practice session, she played me a song that she wrote and recorded when she was sixteen, as a member of a Portland indie band called Noise for Pretend. The song featured churning fuzz-distorted electric guitars over which Spalding, in a low, deadpan voice distinct from her current style, sang about a children's go-cart race. When it ended, she checked her laptop, then said, "On iTunes, the category is 'Rock'—so I guess I used to be in a rock band!"
She joined Noise for Pretend during her final year at the Northwest Academy. She was introduced to the band's founding members, Ben Workman, a guitarist and singer, and Christian Cochran, a drummer, by her teacher Brian Rose, who had recorded a CD of their material in his home studio. "They needed a bass player," Rose told me, "and I said, 'There's this girl you ought to try out.' " At her audition, Spalding was asked if she could play bass and also sing background vocals. Though she sang casually at home, Spalding did not consider herself a professional vocalist and had never sung along to the bass. She told Workman and Cochran that she could do it. "And then I had to figure it out," she said.
Once hired, Spalding showed her new bandmates some songs she'd written. Influenced in part by such indie rock bands as Cibo Matto, the songs had twisty, unexpected melodies and spare arrangements that lent a haunting edge to Spalding's lyrics about childhood and the recurring theme of escape through art and imagination. The band promptly incorporated her songs into their live set.
"We really kind of took off quickly once that happened," Workman told me. "We were getting a lot of attention and getting really good shows." But there was a downside to playing with a bassist and singer who was only sixteen. "Most of the press we got at that time was really focussed on her age, which really took away from what we were doing—like a novelty thing," Workman said. Nevertheless, Chad Crouch, the owner of a small independent record label, Hush, saw one of Noise for Pretend's shows and the next day offered them a record deal, but he suggested that Spalding, and not Workman, fill the role of lead singer on most songs. "It must have been really painful for him in a way," Spalding said, "though he never took it out on me or anything."
The band released its only full-length LP, "Happy You Near," in 2002, but broke up soon thereafter. Thara Memory had told Spalding that in order to reach her potential she needed to get out of Portland, so in the fall of 2002 she moved to Boston to attend Berklee College of Music, where she had been accepted on full scholarship. She drove herself hard, graduating in just three years while gigging constantly, first with the singer Patti Austin's band and later with the saxophonist Joe Lovano. In her second year, she was chosen to play a concert with the guitarist Pat Metheny; later, he said that Spalding was "unlike any musician I had ever run across before. Her unique quality is something that goes beyond her pretty amazing musical skills; she has that rare 'x' factor of being able to transmit a certain personal kind of vision and energy that is all her own." Berklee hired Spalding after she graduated from the school at the age of twenty, making her one of the youngest instructors in the college's history.
That year, she wrote and recorded a jazz album, "Junjo." Though released by a tiny label in Spain, the record caught the ear of aficionados. In the hope of wider distribution for her next album, she submitted a new demo to Blue Note Records, home of many top jazz musicians, including Cassandra Wilson and Bobby McFerrin, as well as another racially mixed female singer, songwriter, and instrumentalist with jazz roots—Norah Jones. But Bruce Lundvall, then the president of the label, passed on signing Spalding. "They wanted the next Norah Jones," Spalding told me. "And he decided I wasn't the next Norah Jones." Lundvall says that he "goofed" in not signing her, but says, "I really try to look for original artists. I'm looking for someone that's not another Norah Jones or a sound-alike." He added, "The demo just wasn't good—but what a mistake I made, that's for sure."
She signed, instead, with Heads Up, a label based in Cleveland, and in late 2007 began recording "Esperanza." From the opening seconds of the record, it is clear that this is the product of an omnivorous sensibility. A chorus of women's voices lightly chanting over a syncopated percussion section of crotales and hadgini drums gives way to Spalding's swinging bass and Leo Genovese's piano, before Spalding breaks into singing, in Portuguese, the Milton Nascimento number "Ponta de Areia." Later, "I Know You Know," an original, begins with a stuttering funk bass line that would not sound out of place on a James Brown record. "She Got to You" starts with what sounds like a rock drum fill, before morphing into a samba in which Spalding dresses down a lover who spurned her, singing, "Damn—that's cold!" Some critics thought the record was an almost too exuberant display of Spalding's gifts. A reviewer for the Web site All About Jazz wrote, "There is a lot of ground covered here; and while she's brimming with ideas, this album is crying out for some judicious editing." Others specifically praised the eclecticism of Spalding's approach.
"She is one of the most pure and more sterling representations of what jazz should have developed toward," Greg Osby, a jazz saxophonist who has toured through Europe sharing a bill with Spalding, said. "She's saying, 'I'm a young person, I'm coming up in the so-called "post hip-hop" generation.' She's informed by music videos, the Internet, and digital immediate global access. Her music is representative of that, as opposed to somebody her age trying to sound like they were at their peak in 1945 or 1959."
Bennett Studios, in Englewood, New Jersey, is a state-of-the-art recording facility housed in an abandoned train station just off the town's main strip. In mid-January, Spalding spent a few days there, overseeing the recording of the string arrangements that I had watched her sketch out a couple of weeks earlier. Present at the sessions was Gil Goldstein, a jazz accordion player and Grammy-winning arranger and producer who has worked with Paul Simon and Bobby McFerrin. Hired as an arranger for Spalding's "Chamber Music Society" album, Goldstein had tweaked Spalding's string parts for "Apple Blossom," the tricky Nascimento duet. Although the two had worked smoothly through most of the session, Spalding balked at the changes to the song.
"Your string parts are too busy," Spalding told him, as they sat on a sofa in the studio's control room.
"Busy?" Goldstein echoed, laughing. "No way!"
"It's so delicate—I don't want it to get too dense."
Spalding insisted on reverting to her earlier, simpler arrangement. Goldstein assented, then went into the soundproofed studio and began conducting the trio of violin, cello, and viola. But Spalding was not hearing what she wanted. She took the baton from Goldstein, who surrendered it without complaint. (He later told me that he likes it when a musician knows what he or she wants, and that it makes for a better recording.) She put on headphones and, following the sheet music spread out in front of her on the conductor's podium, guided the musicians through the session. At one point, she demanded a retake when she wanted the violinist to play a certain note with an upward bow motion, rather than a downstroke. Later, she asked the violinist to play a series of notes by plucking the strings. She was unsatisfied with the sound.
"Maybe make that plucking more like bells—ting, ting, ting," she said.
The violinist mimicked the motion she had mimed at the podium and brought out a bell-like sound.
"Yes!" Spalding said.
A few weeks later, at the end of January, she played a show with her band at the Grand Opera House, an ornate theatre in downtown Wilmington, Delaware. Nothing seemed to be going right. Spalding's regular drummer had broken his arm, and she was using a sub, her friend Terri Lyne Carrington. Also, a few days earlier, one of Spalding's wisdom teeth had erupted through the gum and become infected. She had not had time to see a dentist, and it was excruciating for her to open her mouth to sing.
Onstage, though, she projected an almost incandescent joy in playing and singing. With her Afro teased out to a giant nimbus and wearing a halter top, high-waisted gray pants, and high heels, she wielded her big-bellied acoustic bass like a dance partner, swaying, eyes closed, as she plucked out rhythms and melodies on the strings and threw open her mouth to sing ecstatic high notes. Between songs, she kept up a steady, intimate patter, at one point telling the audience, "This is a transitional period for me. I'm going to gain a lot of insight—I'm getting my wisdom teeth pulled." Musically, the set was like a declaration of Spalding's new-jazz philosophy: along with her own songs, she played the chestnut "Body and Soul," but rendered it nearly unrecognizable by stretching the melody over a Latin 5/4 rhythm. At one point, she announced to the audience that she was going to play "Endangered Species," a Wayne Shorter song—"probably my favorite song in the world." When the crowd failed to respond with sufficiently vigorous clapping, Spalding mock-admonished them, "That's not nearly enough applause for Wayne Shorter!" For one of her two encores, she strapped on her electric bass and played "I Can't Help It," the Stevie Wonder song made famous by Michael Jackson on his 1979 album "Off the Wall." The crowd roared.
After the show, in the hall's basement greenroom, Spalding looked drawn and tired. She used a microwave to warm up a plate of food, then sat at a table with her bandmates, eating gingerly, barely able to open her mouth to insert the forkfuls of food. Talk turned to the large group of fans who had greeted Spalding when she got offstage.
"What did you think of Wynton's manager?" Carrington asked.
"What?" Spalding said. "Marsalis's manager?"
"Yeah," Carrington said. "That guy who just left—that was Wynton's manager."
"Don't fuck with me," Spalding said, chewing carefully.
"Yeah," Carrington went on. "Wynton's manager drove two hours to hear you play."
"Whoa," Spalding said. "He say why?"
"I asked him," Carrington said. "He told me, 'Hey, I'm still a music lover.' "
Spalding thought about this for a moment, then said, "That's cool." ♦


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Obama: 'Lives have been saved' by surveillance
President Barack Obama took office with a "healthy skepticism" of national security surveillance programs, but has scrutinized them to a point where he is confident his administration has "struck the appropriate balance," he said Tuesday.
"This applies very narrowly to leads that we have obtained on issues related to terrorism or proliferation of weapons of mass destruction," he said in Berlin at a joint press conference with German Chancellor Angela Merkel. "This is not a situation where we are rifling through, you know, the ordinary emails of German citizens or American citizens or French citizens or anyone else."
Story Continued Below
Germans have been particularly concerned about the PRISM program — which involves surveillance of non-U.S. citizens outside the United States — and the infringement of their privacy rights. But Obama offered assurance that his government's uses of surveillance have been limited, and always approved by a court.
Ultimately, he said, "lives have been saved" because of the cautious execution of the surveillance systems. "We know of at least 50 threats that have been averted" not just in the United States, but in countries around the world, including Germany. That number, which the administration has been using in recent days to defend its actions, includes plots thwarted by PRISM and by the National Security Agency's scrutiny of phone metadata.
When he returns home, Obama said will turn his attention to "trying to find way to declassify" more information about the programs without compromising their effectiveness, and sharing that information with the American people.
Merkel said her conversation with Obama has "brought us forward" toward a greater understanding of the programs and their value. But "the question of balance and proportionality is something we will continue to discuss," she said.
( PHOTOS: Pols, pundits weigh in on NSA report)
Pressed on whether the United States is now providing weapons to Syria's rebels, Obama declined to comment, as others in the administration have since announcing more support last week. "I cannot and will not comment on specifics of our programs related to the Syrian opposition," he said.
Media reports have been "a little over-cranked" on the idea that the United States is "preparing to go all in," to engage in a full-out war in Syria. What the United States wants to do, he said, is to end the war and to replace President Bashar al-Assad with a political leader who will bring the fractured country back together.


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About HIPAA compliant email
If you're using a free email service for your practice, odds are it's not HIPAA compliant. The HIPAA Privacy Rule and the HIPAA Security Rule require covered entities, like your practice, to obtain written assurances that their business associates will appropriately safeguard electronic Protected Health Information (ePHI). Failure to comply with these rules can result in civil and criminal penalties.
Office 365 HIPAA compliant email works just like regular email. All security features run behind the scenes. Plus, our specially trained HIPAA support team will walk you through the setup process, step-by-step, and assist you with any future questions.
You must have at least one Business Premium Office 365 account to be eligible for HIPAA compliant email.
Next steps
- If you already have a Business Premium account, set up your HIPAA compliant email.
- If you don't have a Business Premium account, and need to upgrade, read more about the Office 365 plans.
- If you have already set up HIPAA compliance for your Office 365 email, then all additional mailboxes that you add will also be HIPAA-compliant.
After signing the Business Associate Agreement (BAA), the mailboxes you add are automatically HIPAA-compliant.


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Darien wins tension-filled clash with Danbury
DARIEN -- With both teams entering Tuesday night's showdown on lengthy losing streaks, the Danbury and Darien boys basketball teams both needed a win.
And they both wanted it bad.
In a clash featuring several momentum swings, the game's final 14 points all came via the free throw, but it was the Blue Wave which managed to hold off the Hatters, picking up a 54-52 win, snapping a seven-game losing streak in the process while running Danbury's to four.
With Darien protecting its two-point lead and five seconds remaining, the Hatters inbounded from under their own basket and got the ball in the hands of CJ White, but his 3-pointer missed and Darien hung on for the win.
"Guys did some great things when they needed to do great things," Darien coach Kyle Marian said. "I put four things on the board before the game: Box out which is toughness, foul shots which is aggressiveness, layups which is focus and turnovers which is poise. I said if we can put all four things together, we're going to get a win."
The fourth quarter was especially physical, as evidenced when Matt Staubi was grabbed and knocked to the floor by a Danbury defender. A technical foul was issued and Staubi sank both free throws to extend his team's lead to 47-43.
"It's almost like revenge making both shots; it's like `what's up,'" said Staubi, who returned from an ankle injury. "It's all about pushing through, and not just me, the entire team. We look at this as if we're 1-0 in a new season, and we have five more to get to states and that's our goal."
With 30 seconds remaining, Darien's George Phillips sank a pair of free throws to boost his team's lead to 54-51. Danbury's Dannyjoel Harris scored the game's final point with seven seconds remaining to cut Darien's lead to 54-52.
"I thought we didn't play well in the first half," Danbury coach Casey Bock said. "We gave them a 10-point lead and we battled back and did a good job getting back in the game. We need to play with that intensity for 32 minutes and not just 16."
Darien's Kyle Green missed twice from the foul line with five seconds left, but the Blue Wave held on for the victory.
"Five seconds left and we have to take it the length of the court, and we got a decent look at it," Bock said.
After ending the first quarter tied 8-8, Darien went on a lengthy run to eventually increase its lead to 24-14 at halftime.
On the strength of a stellar third quarter by Harris, who dropped a dozen points in the frame en route to a game-high 22, Danbury managed to close Darien's lead to 35-34 by the end of the frame.
Danbury tied the game once at the start of the third quarter on a free throw by Harris, but a 3-pointer by Staubi put Darien on top to stay.
"We're trying to make a final push here," Marian said. "Our coaching staff has full confidence in this team, and it's their job to get it together. For us, this is a building block."
email@example.com; Twitter: @jchik17
George Phillips 2 7-8 14, Matt Staubi 2 6-8 13, Liam Naughton 4 0-0 11, Bobby Fitzpatrick 2 1-2 5, Ames Murray 2 0-0 4, Henry Baldwin 1 1-2 3, Charlie Travers 1 0-0 2, Ian Burgoyne 1 0-0 2. Totals: 15 15-24 54.
Dannyjoel Harris 6 7-13 22, CJ White 4 4-6 18, Kline 1 0-0 5, Donovan Trimandilis 0 3-4 3, Marquise Marrero 1 0-0 2, Jalen McCallum 1 0-0 2. Totals: 13 14-23 52.
3-pointers: DAR-Staubi, Naughton, Phillips; DAN-White 2, Kline, Harris


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Week 36 of 52:
Cascade Brewing Barrel House
939 SE Belmont Street
Portland, OR 97214
(503) 265-8603
Rank: 4.5/5
Type of Establishment: Barrel house, blending facility, taproom, house of sour…
Visit: A Sunday day trip to Beervana, U.S.A. Our very first of many beer related stops of the day.
Beers on Tap (at time of visit):
Funk III
Beck Berry
The Vine
Sang Rouge
Sang Noir
Bourbonic Plague
Vlad the Imp Aler
Fresh Hop Porter
Mid Summer's Pale
Summer Gose
Winter Gose
Razberry Wheat
Bottles (available to go): Apricot, Kriek, The Vine, Sang Rouge
Food Options: Small plates/appetizers/soup/salad/sandwiches. The owners wanted the Barrel House to be open to families with children, so local law states that food must be served to allow for those under 21 to enter. The menu is fairly small and simple, but if you need a nibble whilst sampling the stellar brews, the option is there for you. Considering that almost all of the sours are in the 8% to 12% range, a little substance in the belly is highly recommended. Our visit did not include food, so we are not able to comment on the quality.
BAR OPINION: About a year ago, when Beer Blotter first heard that one of our favorite sour brewers in America would be opening a brand new tasting room in Portland, we all just sort of looked at each other with wide eyes and growing smiles and knew that we would be there as soon as it opened. The simple reason: Cascade Brewing is just downright exciting.
This brewery exists in a niche of State Side breweries that is occupied by a very elite few. An elite few that have the know-how and brewing facilities to allow for mass production in purposely infected beers. Sours. This art is not for the faint of heart, especially for those that also brew "traditional" ales and lagers that could easily be tainted with all those hazardous bugs crawling around.
If you'll allow me to speak for all North-westerners for one moment, it feels really good to have a brewery that is unafraid to tackle this challenging but incredibly rewarding style of production in our own backyard. An Oregon brewer that can be spoken in the same breath as Russian River, Jolly Pumpkin, Avery, Allagash, New Belgium. It feels good…a pleasant sigh of relief. Cascade Brewing's brewmaster is Ron Gansberg. That name should be remembered.
The Barrel House opened its doors to the public on September 27th, and less than a week later, all three of us were inside. Let me tell you, we had the highest of hopes for this place, and we were not disappointed in any way.
From the outside, the building, which used to be a produce warehouse, looks a bit like one of those newfangled fire stations. Very sharp-looking indeed. There is a very sizable outdoor area that offers both picnic tables and high-top tables fabricated from steel and actual wood barrels (see picture).
The seating is fairly similar inside, consisting of picnic tables, traditional booths, small circular tabletops resting on top of large barrels, and brushed metal bar stools. If you are able to peel your eyes away from the alluring bar back for just a moment, you will notice the three flat-screen T.V.s strategically placed around the room.
Naturally, we wanted to be as close to the beer as possible, so we pulled up a few stools at the bar and got acquainted with the menu. We were quickly greeted by one Cody Bottorff, Pub Keeper/Blender. This was my first time meeting Cody, but the rest of the crew had met him a little while back when he was still at The Horse Brass. He was expecting us, so after a short bit of banter and the choosing of beer number 1, we had the distinct pleasure of getting a tour of the facility.
Our first stop was the beer cooler, directly behind the bar back. This little gem has been meticulously constructed to make your beer experience as good as it possibly can be. To put it simply, the temperature and CO2 pressure regulation is painfully exacting. You can always be assured to get a perfect glass of beer. One small example of how much care went into the development of the cooler is that they went as far as to assure that the water used to clean the glassware prior to the pour is the same temperature as the beer.
The most fascinating element of this leg of the tour was the sight of the two barrels that have been inserted directly through the cooler wall. Yes, that's right, they cut two circular holes in the wall and stuck barrels in them. This allows for two special beers to be served to the public directly from the barrel. This is freakin' sweet! They used the tube of a bike tire to insulate the space between the wall and the barrel. That's some real deal MacGyver action right there.
The next stop of the tour was the space that will soon act as the fruit infusion/secondary fermentation site. Remember, this place is still really new and there is still work to be done behind the scenes, thus my use of "soon".
We then ventured to the small side room that is currently housing the fruit infusion/secondary fermentation. Though this room was fairly boring to actually look at while we were there (just a few barrels and a few recycled dairy fermenters), it was captivating to imagine what it must look like when they are filling the containers with outrageous amounts of fresh fruit. Or even, what it must smell like when there are hundreds of pounds of Bing and sour pie cherries, apricots, raspberries, blackberries, dates, etc. being generously dumped into oak barrels. I very much wished that I had x-ray vision and could see what wonderful fruity delights existed within those vessels.
The final stop in the tour was the barrel room. This was a sight to see. I can't even tell you how much this room reminded me of Belgium, specifically the attic at Cantillon in Brussels. Oh man, I'm getting emotional just thinking about it again. All I can really say is, there is a little piece of one of the greatest beer cultures on the planet hidden in the back room of the Cascade Barrel House in Portland, OR.
From here it was back to the bar for more beers, but first, further reflection on our first round choices. For me, the Funk III was an absolute must. This was the one 'straight from the barrel stuck in the wall' option. Naturally, it was still un-carbonated, but it was chilled just as much of the rest of the beers. For me, this had a very strong traditional Belgian gueuze like quality. Maybe the lack of suds brought this thought on, but it was damn good and again, sent my memory reeling with thoughts of the Belgium trip. Any beer that causes that to happen is a winner in my book.
Nightfall and Noyeaux were also sampled in round 1. Nightfall is an oak aged sour blonde wheat beer with blackberries added. If that doesn't sound good to you, you probably should have tuned out a long time ago. If you aren't into fruit beers, it doesn't matter, there is so much more to it than that. But, if you really want to talk about complexity, Noyeaux can pretty much be used as a synonym.
Noyeaux: 8.5% ABV / 13 IBU / $6 Glass
This one-of-a-kind NW sour is a blend of Belgian strong blondes aged in white port barrels with raspberries, then blended with select barrels of strong blondes that were aged on the toasted meat from the apricot nut, or Noyeaux.
Noyeaux has so many layers of brilliance that I don't know where to begin. I'm not going to allow this article to turn into a Notes of a Beer Nerd so you'll just have to trust me when I say that it's breathtaking and that you must go get one for yourself.
Our next round saw us order four beers to be sampled amongst the three of us — Beck Berry, the one and only Brett beer that they make/will ever make (apparently Ron gave it a whack and decided that once was enough, he uses Lacto), and the three bourbon barrel aged beers: Bourbonic Plague, Vlad the Imp Aler, and Sang Noir.
I have, ever since it won gold at GABF in the wood and barrel aged sour beer category in '09, been hoping to try Bourbonic Plague. It is a very hard one to get a hold of. Well, it finally happened and it did not disappoint. Truthfully, none of the beers disappointed, but Bourbonic Plague, of all the beers sampled, most played to my tastes. It's essentially a sour imperial porter with strong bourbon wood notes and some spicing. Just plain insane.
Just before we made our way to our next destination we realized that it was completely dumb of us to leave without tasting the Fresh Hop Porter. You know, because it's a fresh hop porter…who makes that?! Guess what? It was delicious. Go figure.
Seriously people, Cascade Brewing Barrel House is well designed, comfortable, and full of mind numbingly unique, complex and delicious beers. If I lived in Portland, I have little doubt that I would go completely bankrupt because of this place. No matter where you live in the world, consider it an absolute, 100% can't miss beer location. Go there, you will thank me.
I'd also be insane if I didn't mention that the staff is crazy knowledgeable and super nice. The world's biggest high-five and a heart-felt THANK YOU goes out to Cody for EVERYTHING that he did for us.
Filed under: 52 Weeks: 52 new places, in the 52 weeks of 2010., Portland, US, The Grog Spot Tagged: Allagash, Avery Brewing Co., Barrel House, Cascade Brewing Company, Cody Bottorff, Jolly Pumpkin, New Belgian, Ron Gansberg, Russian River Brewing Co, Sour beer, The Horse Brass


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Home >> Course Descriptions >> College of Education
Collaboration and Consultation in Educational Settings
Three semester Hours.
This course is designed to develop the knowledge and skills needed to effectively collaborate and consult with families, school personnel and community members in educational settings. Other topics include team memberships, co-teaching, supervision of paraprofessionals, partnerships with families and development of interagency agreements to address the needs of individuals with disabilities.
Home - General Information - Student Services -
Academic Undergraduate Regulations -
Undergraduate Degrees - Academic Graduate Regulations -
Graduate Degrees - Course Descriptions - Faculty -
Appendix A - Appendix B - Appendix C - Appendix D


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The Long Beach State 49ers played five teams in the RPI's top 25 this season in their out-of-conference schedule. They lost all of them, sure, but at least in this instance the burnishing of losses to quality teams prepared Dan Monson's squad for the tangled mayhem of Big West rivalries.
That's evident in the 25-8 49ers' 77-64 dismantling of UC Santa Barbara in the Big West final, in which LBSU star Casper Ware poured in 33 points. State's going dancing, and don't be surprised if they aren't finished collecting wins on this season. [ESPN2]


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I thought it would be helpful to collect the links to all 5 tutorials so you can bookmark and find them easily for future crafting. Do let me know if you make any of these - or the whole set! :)
The fruit would look awesome displayed together in a bowl, and individual pieces would make cute ornaments or pincushions. You could also adapt the tutorials to make fun stuff like kiwi slice brooches.
Please note that the finished felt fruit is intended for decorative use only - it is not a toy and should be kept well out of reach of young children.
1. Apple & Pear.
2. Apple & Orange Slices.
3. Strawberries.
4. Watermelon Slice.
5. Kiwi Fruit.
Want more free tutorials? Visit my crafty tutorial archive.
For even more crafty goodness, check out my books: Super-Cute Felt and Super-Cute Felt Animals.


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From Middle English in kenebowe, in kene bowe ("in a keen bow", i.e. "in a sharp bend or angle"), from in ("in") + keen, kene ("brave, keen, sharp") + bowe ("bow, bend"). Alternately, possibly from Old Norse keng ("bent") + bogi ("a bow"), compare Icelandic kengboginn ("bow-bent").
akimbo (not comparable)
- With a crook or bend; with the hand on the hip and elbow turned outward.
- 1892, Sir Arthur Conan Doyle, The Adventure of the Blue Carbuncle:
- "Now, then, mister," said he, with his head cocked and his arms akimbo, "what are you driving at? Let's have it straight, now."
- 1921, Lydia Clark, Physical Training for the Elementary Schools: Gymnastics, Games, and Rhythmic Plays, page 66:
- Girls take hold of the skirts; boys place the hands akimbo, bend forward from the waist, and bow.
- 2004, Zirka Z. Filipczak, "Poses and Passions: Mona Lisa's 'Closely Folded' Hands", in G K Paster, et al. (eds.) Reading the Early Modern Passions: Essays in the Cultural History of Emotion, page 83.
- Men preferred one pose above all others, namely, the elbow akimbo.
Usage notesEdit
- Almost always used after the noun modified.
with a crook or bend; with the hand on the hip and elbow turned outward
akimbo (not comparable)
- Into, in, or of the position where the arms are akimbo.
- The man was standing akimbo.
- 1903, Emily Constance Baird Cook, Highways and byways in London, page 430:
- Otherwise, it is likely that she may be accosted as "dear" or "Sally,"—invited to take "a drop o' tea," or otherwise chaffed by rough women standing akimbo at street doors.
- 1978, Padma Upadhyaya, Female Images in the Museums of Uttar Pradesh, page 272:
- ...and the other end window bearing the figure of a woman standing akimbo with her right hand touching her right temple.
Related termsEdit
with arms akimbo
Further readingEdit
- "Akimbo" in Michael Quinion, World Wide Words[1], 1996–.
- "akimbo" in Douglas Harper, Online Etymology Dictionary, 2001–2019.