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A Computational Framework Enhancing Jazz Creativity
- Evelyn Houston
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1 A Computational Framework Enhancing Jazz Creativity Robert M. Keller and David Morrison and Stephen Jones and Belinda Thom and Aaron Wolin 1 Abstract. A computational approach is described for helping jazz improvisors create solos. Initial facets of the approach have been embodied in a freely-available software tool called Impro-Visor ( Improvisation Advisor ) which we developed. The paper describes the rationale and some of the computational challenges and issues associated with designing and implementing such a tool. 1 INTRODUCTION Conventional wisdom toward educating jazz musicians in improvisation involves having them transcribe note-for-note recorded solos of famous artists. While this approach is no doubt contributory to the goal, it lacks an element of student ownership in that, regardless of how good it may sound, the student is ultimately parroting another soloist. The branching-off point, where the student begins inventing his or her own phrases to construct a solo may still pose challenges. There is also the issue of cost/benefit ratio, as transcription takes a great deal of time to get right, even if aided by software tools. We have been exploring an alternative approach over the last several years in teaching a jazz improvisation course: have students compose solos off-line and expect them to be able to play them in class. How much of what the student composes is ultimately used in performance is up to him or her, but is expected that at least some fragments would likely be used, if from nothing more than latent memory. Moreover, composition requires a greater understanding of tune harmonic changes than does transcription, and performing such composition on-line is what improvisation is all about. Therefore being forced to understand harmonic aspects of a tune by composing a solo compatible with its harmony is expected to contribute a great deal to the ability to improvise on the tune. The rest of the paper describes several technical aspects of a software tool, called Impro-Visor [3] intended to help musicians construct solos. We discuss some of the musical underpinnings and how they are used in the tool, followed by a discussion of issues currently being addressed in our research and development. Notable other work includes Biles GenJam [1] and the work of Papadopoulos and Wiggins [8] using genetic algorithms, which require some kind of fitness function to perform genetic selection, and Thom s BoB [9], which uses a statistical learning approach. 3 SOFTWARE SUPPORT FOR CREATIVITY A jazz solo consists of a melody composed over a given chord sequence (known as the changes to the musician). The changes are chords chosen to support the original melody of a song, and usually are somewhat standardized, although not necessarily unique for that song. Common practice would be for the group to play the original tune (called the head ), then each soloist would improvise some number of choruses over the changes, then the group would typically play the head a final time. The challenge for the soloist is to have sufficient creative ideas to be able to play one or more choruses. Good preparation for this kind of creation entails knowing the melody and changes, as well as the theoretical underpinnings of the changes. The educational tool that we have developed is designed to assist the budding soloist, who may not yet have a strong theory background, in the process of creating solos. Our intention is to provide this as a practical end-user tool, not simply a research vehicle, so we have included niceties such as MIDI-playback for usability. For context, Figure 1 provides a screen-shot of Impro-Visor. 2 RELATED WORK A widely-used commercial software tool is Band-in-a-Box [7]. It can generate complete jazz solos, but does not engage the user in their construction, other than as the provider of the chord changes. Consequently, the user does not learn from the process of solo generation. The methods employed by Band-in-a-Box are proprietary, but experience suggests that a preset database of melodic sequences is involved, rather than an algorithmic method for the generation of such sequences. 1 Harvey Mudd College, Claremont, California, USA, Figure 1. Screen shot of Impro-Visor
2 3.1 User Interaction We want the user to be able to move freely through a chorus, filling in melodic parts as knowledge or inspiration dictate. Our approach to providing this ability is to display the full chorus as a lead sheet, the term for a single melody line with chord symbols above. The user can then select any focal point and include notes by point-andclick. We have also developed an easy-to-use textual notation that combines both melody and chords, which provides an alternate form of entering melodic information. While the user is free to enter notes based on his or own devices, the tool provides various types of assistance on request, based on the chord that is in force at the selected insertion point (shown to the left of the dialog box in Figure 1). The categories of assistance include: 1. Spelling of the current chord. 2. Color tones for the current chord. These are tones that are not in the chord, but which are individually sonorous with it. They are also often called tensions. 3. Approach tones: non-chord tones that make good transitions to chord-tones. When a second chord follows sufficiently closely, say within the current or next measure, there is an additional option available: tones within the current chord that approach tones in the next chord. (See Voice Leading in the next section.) 4. Scales that are compatible with the current chord, and the notes of any selected scale. 5. Chords that substitute for the current chord, so that comparable information can be accessed as for this chord as an alternative. Figure 2 shows the advice menu of Figure 1 opened to a particular scale option. Figure 2. An expanded advice menu 3.2 Teacher/Administrator Support As can be seen, there is quite a lot of relevant information that goes with a chord. One of the challenges faced was providing this information in a form that was easily changed or extended by the teacher or administrator. Another was to have as little redundancy in the information specification as possible. Accordingly, here are some of the ideas we used to meet these challenges: 1. The spelling for each chord and scale is given only with C as the tonic. The tool automatically translates them to other tonics as needed. 2. With each chord may be identified zero or more extensions, chords that include the same tones as the given chord, but add other tones. The notes that are added in extensions automatically become color tones of the given chord, but additional color tones can be specified. Information regarding chords and scales is part of a single vocabulary file with entries in the form of S-expressions [5] so that the file can be easily read and modified outside the tool if desired. Figure 3 provides a glimpse at how this information is encoded. The sub-expressions under approach have the chord tone followed by the tones approaching it. Normally these are regarded as the tones one half-step below and one or one-half step above. The priority attribute is used to suggest the relative importance of tones in the chords, which is theoretical knowledge. We also use priority to automate voicing in the played-back chord accompaniment. Voicing entails determining a sonorous stacking order for the chord (chord (name CM7) (pronounce C major seven) (family major) (spell c e g b) (priority b e g c) (approach (c c# d) (e eb f) (g f# g#) (b bb c)) (extensions CM9 CM7#11 CM7add13) (scales (C major) (C lydian) (C bebop major) (C major pentatonic) (G major pentatonic) (E harmonic minor) (B augmented) ) (substitute CM69 Em7 Am9) ) (scale (name C major pentatonic) (spell c d e g a c)) Figure 3. Vocabulary chord specification
3 tones. It is also intimately related to voice-leading in harmony. We do not have space to expound on the harmonic aspect, but discuss voice-leading for melody in the next section. A simple but effective algorithm developed is to stack the first so many notes (say four or five, which may be specified by the user) from the priority list in the first octave beginning a certain distance above the root. This has the nice feature of automatically creating voice-leading on the inner voices of the chord progression. In addition to the basic information listed above, we provide sets of pre-constructed melodic segments that the user can use as is or modify. These segments are provided by the administrator or teacher, but can be augmented by the student herself. They are classified into the following categories: 1. Cells are the most basic category. They are sequences of notes, usually of the same duration and associated with a single chord. 2. Idioms are like cells, but are identifiable sequences that have been recorded. Consequently, their use is cautioned if novelty is desired.the notes don t necessarily have the same duration. 3. Licks are coherent melodic sequences over one or more chords. 4. Quotes are melodic sequences from familiar songs or famous jazz solos. Using a quote within ones solo is regarded as a form of humor by the jazz musician and knowledgeable listener. If there already is a note at the selected position, the tool restricts the sequences offered to ones that contain that note at the indicated position. As with the chord and scale repertoire, the melodic segments are entered only relative to one first chord, then automatically translated to others by the tool. As with chord and scale definitions, sequences are also part of the vocabulary file, represented as S-expressions. An example is: (lick (notes ab-8 c8 f8 d8 e8 ab8 c+8 e+8 bb8 a8 ab8 g8 f#8 f8 eb8 b-8 d8) (sequence Dm7b5 G7b9) (name minor 2-5)) This defines the lick, as it would be rendered in the key of C minor, as shown in Figure 4. the notes of the melody align with chord tones in the underlying changes. A very common example of voice leading can be seen in the chord sequence known as II-V ( two five ), meaning the chord built on the second note of the scale followed by the chord built on the fifth note. In the key of C major, for example, the II would be a Dm7 (D minorseven) chord and the V would be a G7 (G seven) chord. To illustrate voice leading, it is common in jazz to extend those chords to a Dm9 (D minor-nine) and a G13 chord. Setting aside the bass notes for the moment, the essential notes of these chords can be closely aligned to illustrate voice leading: Dm9 : F ACE (1) G13 : F ABE (2) (In the G13 the 5th, D, is often omitted from the voicing, but typically is still heard as part of the overtone series of the root G.) As can be seen, the only difference between (1) and (2) is C vs. B. Hence in exploiting voice leading in the solo, one might choose a melodic line in which the C appears, followed by B. In musical terminology, this is termed resolution of the dissonance between the root D and C in the Dm9 chord, since the D-C interval of a minor seventh is more dissonant than the D-B interval of a major sixth. (A stronger F-B dissonance is introduced consequently, and that would normally be resolved in a separate step after the G13 chord, e.g. by changing to a C chord.) Figure 5 illustrates this type of resolution in a jazz melody. Figure 5. Resolution of the D-C interval (D is not shown, but implied as the root of Dm9) by a C to B transition This succession could be intermediate or one or more notes could be interposed between them, as shown in Figures 6 and 7. Figure 4. Example of a vocabulary lick To give a little more explanation to the notation for notes, the first letter, possibly followed by # for sharp or b for flat, gives the pitch class. Any immediately following + or - characters raise or lower the actual pitch from the octave above middle-c. The number 8 indicates an eighth-note, 4 would indicate a quarter-note, etc. Duration values can be added together using further + characters, and there is a notation for dotted notes and triplets as well. 4 THEORETICAL ASPECTS 4.1 Voice Leading One of the main examples of such a theoretical basis is the concept known as voice-leading. This entails creating a melody in which Figure 6. Resolution by C-B, delayed by one note In both the direct and deferred resolution cases, the chosen notes resonate with the underlying harmony, which is usually being articulated by the accompanying rhythm section while the soloist is playing. 4.2 Modularity Impro-Visor exploits modularity, by which we mean that melodic lines can often be broken into parts, then mixed or matched with parts from other to form new lines. This is similar in some ways to
4 Figure 7. Resolution by C-B, delayed by more than one note children s mix-and-match books that make silly faces, creatures, or stories by combining segments of normal pictures or stories that are offered in parallel (cf. [6]). An early musical equivalent can be found in Mozart s dice game [2]. A benefit of modularity is combinatorial economy. If M different cells over one chord can be combined with N cells over another chord, we can obtain MN melodic segments using storage space of just M + N. At the present time, we have not fully exploited this benefit, insofar as the repertoire of licks over two chords is not currently represented as combinations of sub-licks. However, the user is constantly exploiting modularity in focusing on providing melodies for a small number of chords, typically one or two, at a time, some of which can be constructed from cells. Figure 9. A product of nine licks generated from the six cells in Figure 8 1. A chord in the tune might not exactly equal a chord in the vocabulary segment, but rather imply it or be a discretionary alternative. For example, a Dm7 in a stored melodic segment would usually work with any of Dm7, Dm9, Dm11, Dm13 in a tune. Fortunately, these are extensions of the chord, and this information is represented in the vocabulary and thus is available for use in the matching algorithm. 2. A chord in the tune might have the chord in the vocabulary segment as its proper extension, or just be a cousin of the other chord. This case is not as straightforward as the above, because the tones assumed in the vocabulary chord might not work well in the context of the more limited chord in the tune. For this reason, we separate the two types of match when providing advice to the user, as follows: (a) with same first chord type (or having this type as an extension) (b) with related first chord type (or extending this chord type) Figure 8. Three cells over each of two chords Figures 8 and 9 illustrate this form of modularity. Figure 8 shows three cells for Dm9 on the left and three cells for G13 on the right. If the ending note of the Dm9 cell has the right interval in relation to the starting note of the G13, we can juxtapose the two cells to get a lick. In present example, we may be able to get as many as nine good-sounding licks from those six cells, and in fact we do get this many, the Cartesian product shown in Figure 9. The main issue to resolve here is what constitutes an acceptable interval connecting two cells. A half-step apart is very common and desirable in jazz. But other intervals such as two, three, or four half steps generally sound fine as well. Further research is needed to determine whether we can simply restrict to certain connecting intervals or that additional context is needed to establish connectability. 4.3 Pattern Matching Pattern matching between chords occurring in the tune and chords indexing stored melodic segments is one of the major problems in developing this software, for the following reasons: Here the concept of related currently means having the same family, where the latter is optionally given for each chord in the vocabulary. For example, dominant is the family to which G7, G9, G13, G7b9, etc. belong. Complications are introduced by the possibility of some chords, in principle, being able to be in more than one family. For example, G7b9 could also be regarded as part of a diminished family, because the part above the root forms a diminished-seventh chord. A chord with no family specified defaults to a family of itself alone. At the moment, we assume only one family per chord, but plan to extend the matcher to multiple families in the future. 3. Chords are often used to embellish a chord sequence, in a non-essential way. The presence of embellishing chords gets in the way of pattern matching, because it may be unclear that they are serving an embellishing function. It is not hard for an experienced jazz musician to recognize this use, but it is another matter for software. Our plan for dealing with this problem is to design a non-intrusive annotation to the chord specification for tunes, which will enable embellishments to be stripped off in layers. For example, in Dm7 G7, the Dm7 can be regarded as an embellishment approaching the G7 chord. It is also common for a chord to be preceded by its relative V chord as an embellishment. So if Dm7 is present, there could be an A7 before it. Thus the notation might read {{A7} Dm7} G7,
5 meaning: Dm7 can appear before G7, and if it appears, an A7 can appear before that. Pattern matching in the presence of this kind of embellishment is yet to be worked out, but the concept is familiar in computer science for syntax specification. For a more detailed musical explanation, please refer to chapter 2 of [4]. 4. Inter-chord timing is a major issue. A segment designed for a 1-measure Dm9 G13 won t generally work for a 2-measure version of the same chord sequence. This issue is complicated by the fact that chords are not always placed on beat boundaries in the published versions of songs. The chords themselves can be syncopated, sometimes at the level of half-beats, to align with the original melody. 5 ON AUTOMATING MELODY GENERATION We would like our tool to provide a very large repertoire of melodic segments. Up until recently, our approach was to construct these by hand or transcribe them from recorded sources. By-hand construction is enjoyable, and turns out to be as educational, if not more educational, than using the segments to construct complete solos. However, by-hand construction is a slow process. It would be much better if we could automate the generation of these segments, either on-line while the tool is being used, or off-line, saving the segments in the vocabulary file in which such segments currently reside. On-line generation is somewhat risky. Unless one has a very reliable algorithm for doing it, the results can be poor and therefore misleading to the student. Of course the ear can be used as the ultimate selection device, and it is easy to backtrack to a different sequence, but the beginner s ear is often not sufficiently developed, so it would be better to have every generated segment sounding good. Creation of a melody generator is a topic of current research. We have been considering a variety of machine learning approaches. However, one associated problem is that there needs to be a corpus of segments available to train the learning mechanism. Moreover, there has to be a training set for each commonly-occurring chord sequence, which is a lot of sets. So in a way it is a chicken-and-egg problem. We are aware of the success of genetic approaches, but would like to find something different. two-chord sequences, although the idea could easily be extended to more chords. The preferred tones are essentially scale tones and color tones, information that is already available, as described earlier. Minimum and maximum duration for notes are set by the user. When triggered by the user, the tool generates a random sequence of pitches within the realm of the parameter settings. The user can then indicate good or bad, and this indication is saved in the vocabulary along with the sequence itself. Our intention was to use the resulting corpus to train a machine learning method. One surprise that resulted is that, when we specified avoid repeated notes and used a uniform duration of eighth-notes, most of the segments were acceptable, at a level above 90 percent. When the duration was not uniform, say a mixture of eighth and quarter notes, the acceptance rate was not as high, but still encouraging. Some interesting syncopated melodies were observed, consistent with the intended use for jazz. The acceptance rate also deteriorated when longer licks were stipulated. This suggests that rhythmic aspects are at least as important as pitch aspects when characterizing acceptable jazz melodies, which is perhaps not so surprising in retrospect. Figure 11. A lick generated by the device We are encouraged by the results from fairly simple technology, and believe that it will be possible to develop a fairly proficient melody generation tool by algorithmic techniques. This will be the subject of future research. Options would include means of specifying the preference of certain intervals, such as fourths, which are generally regarded as modern-sounding by jazz musicians, for example, or the avoidance of certain intervals. Enforced pairing of notes of small duration is another trait that is probably desirable. A grammatical approach to melody generation is being considered in this regard. Figure 10. Lick generation and triage device 6 EVALUATION A fair number of solos have been constructed by the first author as demonstrations, and these are available for viewing and listening on the website [3] currently. At the time of writing, we have not had the opportunity to evaluate the approach fully in a course setting, since the author who teaches improvisation has been on sabbatical since the inception of the project. However, we plan to use the tool throughout the academic year at Harvey Mudd College, and will be reporting on the usefulness of our tool in a future publication or on the Impro-Visor website. 7 CONCLUSION As a step toward creating a corpus, we constructed a lick triage device as part of Impro-Visor, as shown in Figure 10, from which we learned some things about the problem, as we now describe. The tool allows one to specify (unordered) sets of preferred tones over We have described some of the motivation and workings behind a software tool for assisting students to learn jazz improvisation or for assisting intermediate players in becoming more proficient. We have also indicated future approaches toward automating the generation of useful melodic sequences to be made available in the tool.
6 ACKNOWLEDGEMENTS This work was supported by a Faculty Enhancement grant from the Mellon Foundation. REFERENCES [1] J. A. Biles, Genjam: A genetic algorithm for generating jazz solos, in Proc. of the 1994 International Computer Music Conference, pp , Aarhus, Denmark, (1994). [2] Mozart s Dice Game. [3] Impro-Visor. keller/jazz/improvisor/. [4] Henry Martin, Charlie Parker and Thematic Improvisation, Scarecrow Press, Lanham, Maryland and London, [5] John McCarthy, Recursive functions of symbolic expressions and their computation by machine, Communications of the ACM, , (1960). [6] Norman Messenger, Famous Faces, Dorling Kindersley Publishing Inc., New York, [7] PG Music. [8] George Papadopoulos and Geraint Wiggins, A genetic algorithm for the generation of jazz melodies, in Proceedings of STeP 98, Jyvskyl, Finland, (1998). [9] Belinda Thom, BoB: An interactive improvisational music companion, in Proceedings of the Fourth International Conference on Autonomous Agents, eds., Carles Sierra, Maria Gini, and Jeffrey S. Rosenschein, pp , Barcelona, Catalonia, Spain, (2000). ACM Press.
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British charity pledges to make powerful and effective change in poverty-stricken Bangladesh
The move was announced at a high-profile event in London which recognised the achievements of the British Bangladeshi community.
A Manchester-based charity has announced the tripling of its budget with a series of new, innovative initiatives to combat poverty in Bangladesh.
The pledge by Human Appeal, a charity established in 1991, comes after the organisation sponsored the annual British Bangladeshi Power and Inspiration awards, which has been growing since its inception 4 years ago.
The BBPI celebrates the outstanding contribution of the British Bangladeshi community in various professional fields, such as: business, entrepreneurship, politics, administration, judicial service, sport and politics. Many notable dignitaries attended, including Alan Johnson, Labour's Home Secretary from June 2009 to May 2010; William Hague, former British Foreign Secretary; Dame Tessa Jowell, MP, among others.
Human Appeal is now drawing up plans to triple its budget in Bangladesh and announced this significant milestone at the BBPI awards ceremony. Othman Moqbel, Human Appeal's Chief Executive, said: "Bangladesh is one of our 5 priority projects in the world. In 2015, we plan to create huge, lasting change in the country. Our main work will be in sustainable development projects. Instead of giving someone a fish, we will teach them how to fish. One of the main things we'll be working on is providing clean, safe water," he said.
"We will also help lift women out of poverty, allowing them to become self-sufficient. We are currently planning on tripling our budget to help those in desperate need in Bangladesh."
The Person of the Year Award went to Her Honour Judge Khatun Sapnara for her outstanding achievement as the first person of British Bangladeshi origin in a senior judicial position.


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19 June 2006
Londoners voted 30 St Mary Axe (the Gherkin) best new building in the capital, in a poll for the London Architecture Biennale last week. The result was announced on Saturday 17 June, at St Bartholomews Fair, one of the main public events during the first weekend of the week-long celebration of architecture in London.
Developed on the precedents of green architecture for which the practice is renowned, 30 St Mary Axe is the capitals first ecologically progressive skyscraper, and its uncompromising quality has set a benchmark for an emerging generation of tall buildings.
An award for a London Hero was also given jointly to Roger Madelin of Argent and Richard Rogers Urbanism Unit. The public was asked to nominate the individual who has done the most in the past year to improve the quality of the environment in the capital. The winners were then selected by the London Architecture Biennale committee.
London Architecture Biennale will run as part of the 10th Architecture Week www.architectureweek.org.uk
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Civic Trust Awards win / 31.03.2006
Roman girl's remains return to City of London resting place / 17.04.2007
30 St Mary Axe wins the 2004 Stirling Prize / 18.10.2004
30 St Mary Axe wins Best Built Project Five Years On at London Planning Awards / 31.03.2010
30 St Mary Axe to appear on new 1st class stamp / 20.06.2006
'Building the Gherkin' wins Prize at Montreal Festival of Films / 03.04.2006
30 St Mary Axe and Bexley Business Academy shortlisted for the 2004 Stirling Prize / 18.10.2004
30 St Mary Axe, London / 27.04.2004
Steel superstructure starts on Swiss Re London headquarters / 12.10.2001
30 St Mary Axe Awarded Major Prize at MIPIM / 06.03.2003
Topping out of 30 St Mary Axe celebrated with light display / 29.11.2002
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Birthdays can say which character flaws someone had in their past life, which determines the focus of this life's actions. There are four karmic numbers of 13, 14, 16 and 19 which, if found in a birthday, point to particular flaws.Continue Reading
Samantha Fey, a numerologist and a crystal worker, follows the Pythagorean tradition of reading someone's birthday to learn his purpose in this life. She teaches that there are four karmic numbers, which can be gleaned from the birth date, that shed light on a person's mission.
These numbers, Samantha Fey states, are 13, 14, 16 and 19. Each points to a particular mistake the person made in their previous lives which now needs to be rectified through positive actions. First, check if the date of birth — the day of the month — is one of those numbers. Second, add the birthday to the birth month to arrive at the personality number — this is the identity a person assumes in society. And thirdly, find out the life path number, which indicates the person's higher self, by adding all the birth numbers. For instance, for 15 November 1986, do the sums 15+11+19+86=131, then 1+3+1=5. The life path number is five.
People with the karmic number 13, found among these 4 numbers, were lazy in the previous life, and have to work hard in this one. The karmic number 14 points to someone who restricted other people's freedom, so he must make amends by fighting for liberty. People with 16 in their birth date held on too tight to their egos in the past life, so they should aim to be selfless. Finally, 19 in someone's birthday means that the person abused power in the past. He must learn to connect with others.Learn more about Zodiac


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BBB File Opened: 03/28/2012
Business Started: 01/01/2010
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Business Management
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BBB reports on a business's bankruptcy as long as the business remains in bankruptcy.
Mail Returned
BBB reports when mail sent to the business was returned by the Postal Service.


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Tabitha James Kraan
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Officials from Rowan University's College of Education and Willingboro's Benjamin Banneker Preparatory Charter School (BBPCS) have entered into an agreement to collaborate to support scholars from the charter school who are considering careers in the field of education.
Rowan's College of Education, Banneker Preparatory Charter School to collaborate to assist students, aspiring teachers
December 23, 2016
Off to China: For Rowan junior, prestigious Boren Scholarship is a critical step toward a career in international relations
December 21, 2016
Tyler Jiang is the first Rowan student to land a prestigious National Security Education Program David L. Boren Scholarship to study for eight months in China.
December 19, 2016
If you're looking for kind, generous hearts, look no further than the students, faculty, staff and administrators in the Rowan University community.
December 19, 2016
December 15, 2016
The Board of Directors of the South Jersey Technology Park has appointed Jeanne Nevelos as managing director of Rowan Innovations, a technology and economic development arm of Rowan University.
December 15, 2016
Be weird.
December 13, 2016
A dozen students from Kingsway Learning Center, Moorestown, and 18 students in the Rowan University Teaching Concepts of Adapted Physical Education class will participate in a Unified Dance Performance using the children's book "Big Al" by Andrew Clements on Thursday, Dec. 15, from 11 to 11:30 a.m. in Esby Gymnasium 3-4 on Rowan's Glassboro campus.
December 8, 2016
Three dozen students from Rowan University's Sophomore Engineering Clinic and their carefully constructed paper helicopters will compete for their final grades, extra credit points and department bragging rights in a flight-time tournament on Monday, Dec. 12, at 4:30 p.m. in the atrium of the Henry M. Rowan College of Engineering building off Bowe Boulevard, Glassboro, New Jersey.
December 8, 2016
December 7, 2016
Rowan University has been named a 2017 Military Friendly School.


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Looking for objectivity,integrity
December 26, 2012
What journalism standards do you use to determine which opinion pieces to run? The recent column on Obamunism is paranoid rant unsullied by a single fact.
I'd rather read an editorial from any point of view that follows basic guidelines of objectivity and integrity.
Jenny Warden
Nevada City
Recommended Stories For You
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- HOMICIDE: Friends say Penn Valley murder suspect appeared to be deteriorating, kept guns in home
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- Update: Juvenile smoking near the brush, arrested in connection to Auburn fire


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Target: Parliament of Canada
Goal: Outlaw the hunting of hybrid polar/grizzly bears
As animals adapt to the continuing effects of climate change, wildlife legislation must also be adjusted to protect evolving and emergent species. A new bear hybrid spotted in Canada reveals an environmental loophole that urgently needs to be closed. The new offspring of grizzly and polar bears–dubbed "pizzly bears"–may be extremely rare, but no legal protections exist to prohibit hunters from shooting them. Urge the Canadian government to protect this new hybrid species of bear.
Grizzly bear populations have been shifting north due to rising global temperatures at the same time that polar bears are being forced to abandon their melting sea ice habitat. The mingling of these two bears in northern Canada has led to unusual–yet viable–hybrid offspring. Because grizzly and polar bears share a common ancestor, pizzly bears aren't sterile like many human-bred hybrids. According to early reports, pizzly bears can mate with polar bears and produce offspring.
Unfortunately, there are no protections in place to prevent the hunting of these new bears. Without restrictions on poaching, bear hunters may wipe out the pizzly bear before scientists have a chance to study the hybrid. With the future of the polar bear already in jeopardy, any strategy for the species' survival needs to be examined thoroughly. The extreme hunting pressure that this new species faces is a threat to science–and to the bears themselves.
The pizzly bear shouldn't be hunted to death before scientists can study the species. Urge Canada to close this legal loophole and protect this hybrid bear.
Dear Parliament of Canada,
A new kind of bear has been appearing in the Canadian wilds. This hybrid polar/grizzly bear emerges as both parent species struggle to survive amid warming global temperatures. While the result of an unfortunate global trend, the new bear nevertheless deserves the respect and protection of humans.
Currently, no laws prevent the hunting of this "pizzly" bear. Because it is not registered as an endangered species–or indeed as a species at all–bear hunters are free to shoot pizzly bears on sight. Any threat to this new and unique species will hinder scientific efforts to understand the bear, and may endanger the long-term survival of both polar and grizzly bears. I urge you to close this needless loophole and grant pizzly bears the same protection from hunters that both polar and grizzly bears enjoy.
[Your Name Here]
Photo credit: Brocken Inaglory via Wikimedia Commons


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Need a Chicken Pox Titer in Hamtramck, MI? Simply order online 24/7 and get a fast, affordable Chicken Pox Titer at a lab near you (Find More Locations):
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Single Family Residence, Cape - East Sandwich, MA
Short Sale.. This custom built Cape is a great opportunity. The first floor features an open living area with wood floors, brick fireplace, kitchen with center island, granite countertops, gas range, and French triple door to deck, formal dining room with built-in china cabinet, bay window and wainscoting, full bath with tile floors and laundry and great pantry closets. Upstairs offers a master bedroom suite with full bath featuring oversized whirlpool tub and separate shower, cathedral ceiling, palladium window, French door to Juliet balcony, skylight and fireplace, two more bedrooms, one has skylight and third full bath. There is a two car garage under and a lovely landscaped yard. Septic has failed, central vac and first floor A/C is not working properly.
Data Provided by Cape Cod & Islands Association of Realtors, Inc.More Information for this listing


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Madonna's Eyes - Jayne Collins 1985 ( 12"Extended Mix ) MP3
Madonna's Eyes - Jayne Collins 1985 ( 12"Extended Mix )
Madonna Spanish Eyes (Dubtronic Extended Version) MP3
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Another Disco Classic 1985.
Naked Eyes feat. Madonna - Promises Promises (Jellybean 12'' Mix) MP3
David Guetta - Hey Mama (Official Video) ft Nicki Minaj, Bebe Rexha & Afrojack MP3
Download new album #Listen and new single Hey Mama on iTunes http://smarturl.it/guettalistendeluxe Download the remixes on iTunes: ...
Hey Mama
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Shift 1 - Lies In Your Eyes (Extended Mix) [Fake Madonna demo] MP3
The infamous "left-out Vision Quest Madonna demo", which is really a 7'' from the band Shift 1, released on the French label Carrere. This is an unofficial mix, ...
Madonna - Sanctuary (Extended Vocal Demo) MP3
"Sanctuary" written by Madonna/Dallas Austin/Herbie Hancock/A Preven/S Cutler | produced by Madonna & Dallas Austin | from the album Bedtime Stories ...
Madonna Spanish Eyes (Stone's Extended Mix) MP3
Madonna - Frozen (Extended Version) MP3
With no intention to infringe any copyright. Warner Music - All rights reserved. Frozen is the name of a song that is part of Madonna's album Ray of Light (1998).
Madonna - Angel (Album Version) MP3
Lyrics: Why am I standing on a cloud Everytime you're around And my sadness disappears Everytime you are near You must be an angel I can see it in your ...
The Black Eyed Peas - My Humps MP3
Music video by Black Eyed Peas performing My Humps. (C) 2005 Interscope Records.
My Humps
The Black Eyed Peaswill.i.am What you gonna do with all that junk? All that junk inside your trunk? Fergie I'm a get, get, get, get you drunk Get you love drunk off my hump My hump, my hump My hump, my hump, my hump My hump, my hump, my hump My lovely little lumps Check it out I drive these brothers crazy I do it on the daily They treat me really nicely They buy me all these ice's Dolce & Gabbana Fendi and that Donna Karan they be sharin' All their money got me weari[...]
Madonna - Like a prayer (Extended 12" Maxi single) Full HD MP3
Madonna - Like a prayer Life is a mystery Everyone must stand alone I hear you call my name And it feels like home Refrain: When you call my name Feels like ...
Jayne Collins - Madonna's Eyes - Montreux - 1985 MP3
Jayne Collins - Madonna's Eyes - Montreux - 1985.
Madonna Oh Father (Bucabeach Extended Mix) MP3
Madonna - Into The Groove [You Can Dance Extended Remix] MP3
And you can dance for inspiration Come on, I'm waiting Get into the groove Boy you've got to prove Your love to me, yeah Get up on your feet, yeah Step to the ...
Madonna The Look Of Love (Extended Mix) MP3
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I hope so you like it...
Madonna - Give It 2 Me (Paul Oakenfold Extended Remix) MP3
Official remix of Give It 2 Me from Hard Candy (2008)


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Platform-independent, highly scalable NAS information access
Unstructured data is experiencing phenomenal growth due to the proliferation of computing devices and operating systems, IoT, and other applications that fuel the rising tide of "big data." This massive, unrelenting growth is causing challenges for IT in addressing storage needs for both transactional and analytic workloads with very different performance and capacity requirements. Veritas Access enables your organisation to offer easily managed data access regardless of where it resides — on-premises, off-premises or in the cloud, with resulting application performance, cost-effectiveness and scalability gains.
Turn your unstructured data into a performance advantage
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- Get an ideal storage solution for serving multiple different unstructured data use cases, mixed I/O workloads and billions of files with differing attributes
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- Integrate with OpenStack Cinder and Manila (NFS V3, V4)
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New in Veritas Access 7.2
Veritas Access 7.2 is a software-only, scale-out network-attached storage (NAS) solution for unstructured data that can be installed on any x86 commodity server and can provide access to storage via multiple network protocols for on-premises and cloud ecosystems.
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Veritas Access enables high-performance, cost-optimised, software-defined storage for unstructured data workloads. For on-premises workloads, use Veritas Access to provide AWS S3 storage as a low-cost storage tier, meeting performance requirements for unstructured data workloads and optimising the policy-driven migration of that data to AWS.
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Veritas Access is the ideal storage solution for serving large numbers of small files with low latency, meeting telecoms workload performance requirements.
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The integration of NetBackup and Veritas Access allows you to backup Access NAS file systems and also select Access shares as back-end target storage to leverage cost-effective, long-term data retention.
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- Eliminate the need for time consuming tape management


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Financial Consultant
Bloomer, Hayward, Rice Lake, St. Croix Falls, Stanley
Office phone: 715-635-8701
Email: firstname.lastname@example.com
Todd O'Flanagan is a financial consultant serving the investment, insurance, and wealth management needs of clients in northwest Wisconsin.
Todd has nearly 15 years in the financial services industry, with five years of banking experience. He provides solutions to his client's financial questions by helping them obtain a better working knowledge of their current financial situation and future financial needs.
Todd is an avid bow hunter and participates in handgun target shooting. He also enjoys spending time with his wife and grown children.
FINRA Registrations held through LPL Financial.
Securities and advisory services offered through LPL Financial. Member FINRA/SIPC. Insurance products offered through LPL Financial or its licensed affiliates. The investment products sold through LPL Financial are not insured Bank Mutual deposits and are not FDIC insured. These products are not obligations of Bank Mutual and are not endorsed, recommended or guaranteed by Bank Mutual or any government agency. The value of the investment may fluctuate, the return on the investment is not guaranteed, and loss of principal is possible. Bank Mutual and Mutual Financial Group are not registered brokers/dealers and are not affiliated with LPL Financial.
The LPL Financial Registered Representatives associated with this site may only discuss and/or transact securities business with residents of the following states: Wisconsin and Minnesota.
Check the background of investment professionals associated with this site on FINRA's BrokerCheck.


text:
Question about 1994 Ford Thunderbird
When i plugged in the obd2 it said something about the air intake was running to hot or what does that mean i just bought it with 166,000 miles 1994 t bird lx 4.6 v8
Posted by george369777 on
SOURCE: I have freestanding Series 8 dishwasher. Lately during the filling cycle water hammer is occurring. How can this be resolved
a 6ya expert can help you resolve that issue over the phone in a minute or two.
best thing about this new service is that you are never placed on hold and get to talk to real repairmen in the US.
the service is completely free and covers almost anything you can think of (from cars to computers, handyman, and even drones).
click here to download the app (for users in the US for now) and get all the help you need.
Posted on Jan 02, 2017
Tips for a great answer:
Mar 31, 2015 | 2000 Chevrolet Cavalier
Dec 16, 2013 | Cars & Trucks
Aug 05, 2012 | GMC Envoy Cars & Trucks
Oct 06, 2011 | 1992 Buick LeSabre
Verify coolant strength & level
Verify proper cooling fan operation (check if it's running more than it should). Replace if necessary.
Verify proper engine coolant temperature (ECT) sensor operation, replace if necessary.
Verify proper intake air temperature (IAT) sensor operation, replace if necessary.
If the above items check out good, replace the thermostat
Aug 13, 2011 | Volkswagen Jetta Cars & Trucks
May 30, 2010 | 2002 Saturn VUE
May 18, 2010 | 1999 Nissan Maxima
Dec 30, 2009 | 1997 Ford Taurus
Aug 03, 2009 | 1996 Lincoln Mark VIII
Jul 24, 2009 | 1995 Ford Ranger Supercab
Mar 05, 2017 | 1994 Ford Thunderbird
Nov 01, 2016 | 1994 Ford Thunderbird
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Hwy 5 at Otter Creek Court, Little Rock, AR 72210Request info Add to list
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Matt C.
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Approximately 1.11 acres for sale. Ready for development with all utilities available.View Details
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Hwy 5 at Otter Creek Court is aland property for lease in Little Rock, AR. The property currently has 1 land for lease and is marketed by .
Located in the Otter Creek Business Park, Hwy 5 at Otter Creek Court, Little Rock, AR.
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text:
Neon Genesis Rebuild For those who don't learn the first time
Posted 07 June 2010 - 01:51 AM
I didn't see a lot of anime growing up, I didn't even know anime was called anime until I was 12, and before that I had only seen a small number of series, Dragon Ball, Speed Racer, Robotech, and one a young child should never EVER watch on VHS, Neon Genesis Evangelion. So there I was, not even in middle school yet watching Neon Genesis Evangelion over at a friends house, I saw the opening and thought "Oooo robots!" Then after the first couple of episodes I went "This isn't about the robots! It's about some whiny kid with daddy issues!" And yet still the Evangelion engine is still running as Gainax keeps it going with merchandising, spin offs and now the Evangelion Rebuild series.
I was somewhat psyched about them remaking the series with new animation and dialogue, finally a good way to redo Eva I thought. Now I love the original series, its great for being different in its time, a time when because of Eva Spike Spencer was cast as the main voice of the pilot in Martian Successor Nadesico ( The english casting for that series will all be met with untimely deaths... ). It was different, it threw ethics and morality all over the place, and I liked it, not because it was an outstanding series but because it was different.
With Rebuild I can say I love it because not only is it different from the norm, but it is also outstanding. I would recommend anyone who even remotely liked NGE to give Rebuild a chance.
My only real bone to pick is Funimation picking it up and screwing our chances of ever hearing the entire original english cast... with good chances that Tiffany Grant won't be picked to play Asuka again.
Phew now I can write in orange text...didn't want to make the whole topic make people's eyes bleed
Cosplays: ACen 2013
Persona: Pyro Jack
Posted 07 June 2010 - 07:54 AM
Visit my MAL and let me know you're from the forums~
Posted 07 June 2010 - 12:50 PM
I am psyched for 3.0 already after finishing 2.22
Cosplays: ACen 2013
Persona: Pyro Jack
Posted 07 June 2010 - 02:11 PM
Elrond's angry face when the hobbits crash the party
Honoka-Dead or Alive Last Roumd
Kongou- Arpeggio of Blue Steel
Rise- Persona 4 Dancing all Night
Posted 08 June 2010 - 04:44 PM
Posted 09 June 2010 - 05:53 PM
Animexcel, on 08 June 2010 - 04:44 PM, said:
Because NO ONE does Shinji's trademark pants-wetting fear like Spike Spencer. When Spike is doing Shinji's voice, you can really feel the unbelievable terror that Shinji is experiencing. I'd love to see what he could do if they give Shinji the same sort of sarcasm that he gets in the manga. (One of the reasons why I like the manga. Ever so occasionally Shinji gets to shoot back at Asuka, and when he shoots, he scores.)
I haven't seen all of Rebuild yet, but I like what I've seen so far. They took out a lot of the extraneous crap and "slimmed down" Eva. I watched part of the first series with my dad, and he was so confused he just got up and left. Rebuild, however, captivated his interest--and definitely mine.
That said, I love the manga far more than the series. The manga just makes more sense. Shinji is less whiny, less "woe is me," less wimpy. (He takes a swing at Gendo for getting Toji killed--in the manga, Toji dies.) Kaworu is not sympathetic. He's insidiously evil. Rei is more well-rounded than Asuka, though I think Asuka is stronger in the manga as well. Asuka is supposed to be the best of the Eva kids, but in the anime, she never proves that--she always has to have Shinji backing her up. In the manga, she's a powerhouse in her Eva and outside of it. It doesn't make her more likeable (less, actually), but at least she walks the walk. Despite being an unrepentant witch, Asuka is my favorite character.
The Shinji Ikari Raising Project is great if you want a good laugh. They're keeping it lighthearted, and hopefully it stays that way. The part where Rei and Asuka team up to "keep Shinji straight" (having completely misinterpreted Kaworu and Shinji's friendship) is awesome, and portraying Gendo as a henpecked, over-the-top mad scientist was similarly great. I've rarely read anything funnier than Vol. 3's Parent-Teacher Conference--with Gendo as the parent, Misato as the teacher, and Shinji in hell. Angelic Days wasn't bad, but the artwork was lacking and the story sort of went off the tracks.
The best Eva manga, IMHO, is actually the Evangelion Retake doujinshi. It provides a much more plausible ending for the series, and it's one doujin where the sex scenes actually add to the story and are peripheral to it. Shinji and Asuka start a relationship, and it's believable--as is Rei's rather horrifying reaction to it. (Remember Glenn Close in Fatal Attraction? Now think of that character as Rei.) Everything goes to hell, of course, but it's done in a matter that fits in well with the series.
Ben Da Mad Irishman
"Yes, it sucks to be Shinji"
This post has been edited by sentinel28a: 09 June 2010 - 05:54 PM
Read my fanfiction. NOW. You'll thank me later.
First Place, Yahoo ACen League, 2006
First Place, NFL.com Otaku Amefuto League, 2012
Those who stand for nothing will fall for anything.
Posted 09 June 2010 - 06:23 PM
This is exactly why I added that option, Spike Spencer has always been my Shinji Ikari. The manga truly was great and I need to finish it ( I have odd placed volumes of it with gaps in between them ), I liked how Shinji was more normal and able to stand up for himself more than in the anime where all he did was get pushed around.
2.22 was great, I watched it in Japanese and that took some getting used to the Japanese voices since I have always watched it in English. I suggest watching it or making sure to watch it the moment it hits state side on DVD, it was amazing and it has me yearning for 3.0 to come out sooner.
I've actually read that series, it is a great one and I've read it a few times. Rei's reaction was great and totally put her on a level other than "Emotionless" doll that most people who have only seen the anime seem to know her as. I especially like this one and the Rebuild series and RSIP because Rei with a personality ( Not having one is not considered one people ) is much more amusing.
( Posted in Black for easy reading )
Asuka fans 4 Life!
Cosplays: ACen 2013
Persona: Pyro Jack
Posted 09 June 2010 - 08:19 PM
TaiyakiOni, on 09 June 2010 - 06:23 PM, said:
Finish it? You mean catch up? The original manga series is still not complete from what I've read (though it's "close").
Visit my MAL and let me know you're from the forums~
Posted 09 June 2010 - 09:25 PM
wrexness, on 09 June 2010 - 08:19 PM, said:
No, I'm pretty sure the series ended with Volume 11 in 2008... I have Volumes 1, 2, 4, 5 and 7.
This post has been edited by TaiyakiOni: 09 June 2010 - 09:26 PM
Cosplays: ACen 2013
Persona: Pyro Jack
Posted 09 June 2010 - 09:35 PM
TaiyakiOni, on 09 June 2010 - 09:25 PM, said:
They're up to 12. If they ended at 11, it would've been no more satisfying than the anime. Wiki lists the manga as being in hiatus though as the author works on the rebuild.
This post has been edited by wrexness: 09 June 2010 - 09:38 PM
Visit my MAL and let me know you're from the forums~
Posted 09 June 2010 - 09:50 PM
wrexness, on 09 June 2010 - 09:35 PM, said:
Interesting... Well I can put up with Hiatus so I can catch up on getting all the manga. Not to mention I am looking forward to 3.0 and can't wait for it to come out.
The reason it's taking me time to get the Eva manga is I am collecting the original graphic novel release by viz media
Cosplays: ACen 2013
Persona: Pyro Jack


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Ed Sheeran - + (Plus)
Ed Sheeran is the young Yorkshire folk-pop artist who was signed to Atlantic after taking himself off to LA and playing countless open mic nights, where he was discovered by Jamie Foxx.
Many apologies but this item is now out of stock. Go to the Maximiles catalogue


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Research Facilities
Research Facilities located on Science Hill
The Science Hill Imaging facility provides optical and electron imaging services.
Cell Sorter Facility (Science Hill) This resource runs one high-speed 9-color cell sorter and a 4-color flow cytometry analyzer.
Center for Medical Informatics The Center applies computational methods to medicine and biomedical research and provides support to numerous projects at Yale. The Center is very active in the training of Computational Biology and Bioinformatics students.
DNA Analysis Facility on Science Hill This facility provides DNA Sequencing of PCR, Plasmid, BAC's and Fosmid Templates as well as Fragment Analysis of Microsatellites, AFLP's, t-RFLP's, SHAPE Experiments. A new service added this year is Cell Line Authentication using Promega's GenePrint 10 system.
HHMI Biopolymer/Keck Foundation Biotechnology Lab From bioinformatics data analysis to DNA sequencing, from microarray reading to peptide synthesis, the Keck facility offers an extensive range of genomic and proteomic services to Yale scientists.
Marsh Botanic Garden offers space, supplies and growing expertise for plant biology to research laboratories from any department at Yale.
Peabody Museum World-class collections (numbering over 13 million specimens and growing), are a major component of the research and teaching activities of the Peabody and Yale.
Positron Emission Tomography Research Center The 22,000 sq. ft. PET Research Center not only houses state-of-the art imaging facilities for viewing organ function but also provides training opportunities to students interested in incorporating PET into their research.
Richards Center for Structural Biology The CSB is home to X-ray crystallography equipment and computational tools for macromolecular structure determination.
Additional cores available at Yale in the medical school, at West campus and in Engineering.