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This year marks a historically momentous anniversary: It has been exactly sixty years since the phrase "rock and roll" entered into the popular lexicon.
1955 was the year that:
- Bill Haley's "Rock Around the Clock" reached #1 on the Billboard charts
- Chuck Berry debuted on Chess Records with the epochal "Maybelline"
- Bo Diddley's signature syncopated rhythm hit the R&B charts
- Little Richard, Fats Domino, Johnny Cash, and Carl Perkins stormed the nation's jukeboxes
- Elvis Presley left Sun Records for a then-unheard-of $35,000 buyout from RCA
The popular conception is that rock and roll was born in that year.
But, of course, nothing is created in a vacuum. Before there could be Elvis, Little Richard, or Chuck Berry—before the Class of '55—there is a whole and rich history.
Skip to The 50 Firsts of Rock and Roll
No. That's not accurate. There are a thousand rich histories, a thousand strands of American music, each with its own separate course of evolution, its own geographical idiosyncrasies, its own heroes and villains.
Rock and roll is the bastard child of every American form that came before it. Its explosion into popular consciousness in the mid-50s is prefigured by a half-century of raw, rebellious, provocative, antagonistic, and downright dirty songs—the kind that would make the genre so revolutionary.
To say that rock and roll was born in 1955 is a convenient way of packaging the impossible. Truly, rock and roll was born over decades, its primordial elements separately gathering in backwoods juke joints, Southern gospel churches, main street county fairs, smoky downtown jazz clubs, and muddy Delta hamlets.
Rock and roll wasn't suddenly born. It came to be over time. So, from the outset, I admit that we're not intending to name the first rock and roll song here. To attempt to do so would be an exercise in futility.
Roll and roll is a musical mutt, a point of musical confluence when the dividing lines between country, bluegrass, jazz, blues, R&B, gospel, and boogie ceased to be, and where the resulting amalgamation was something entirely novel.
But in order for that confluence to occur, each of those genres had to produce landmark recordings, songs of seminal importance whose crossover appeal, musical ingenuity, and sheer attitude do more than just hint at rock and roll.
To be sure, those songs tell us that rock and roll existed long before it had a name.
Skip to The 50 Firsts of Rock and Roll
The Big Bang and the Singularity
If Elvis was the Big Bang, some might call Jackie Brenston and His Delta Cats' "Rocket 88" the singularity. This is the tune most frequently pegged as "the first rock and roll song."
But identifying the first rock and roll song is pointless. This is mere trivia. By its lonesome, "Rocket 88" will tell you as much about the birth of rock and roll as a matchbook will tell you about the discovery of fire.
Like I said, identifying the first rock and roll song is pointless. But compiling candidates for the first rock and roll song—now that is another matter altogether. This is a discussion worthy of great consideration because, ultimately, when you gather together these musical moments from across a broad spectrum of pre-Elvis American music, a picture of rock and roll prior to its infancy becomes quite vivid. That is to say, when you hear it, you won't be able to miss it. R&B shouters from the early '50s, Country barn-burners from the mid '40s, swinging floor-stompers from the late '30s, even boogie woogie boozers from the late '20s all capture the fire, the abandon, the sexual frankness, and the rollicking primacy that we think of as having magically burst from Elvis Presley's loins on Ed Sullivan in 1956.
In particular, songs like Wild Bill Moore's "We're Gonna Rock, We're Gonna Roll" (1947), Wynonie Harris's "Good Rocking Tonight" (1947), and Goree Carter's "Rock Awhile" (1949) should put that notion firmly to rest.
In a 1992 text by Jim Dawson and Steve Propes called "What Was the First Rock Song?," the authors point out that "[m]any critics have likened the search for a 'first' rock 'n' roll record to the medieval clerical debates on what day the world was created. First of all, what is rock 'n' roll? Where does rhythm and blues or hillbilly boogie leave off and rock 'n' roll pick up? When does an R&B vocal cross over into doo-wop, or are they both the same? On a larger scale , where does rock 'n' roll begin to appear on the long rhythm road stretching from ragtime to the present?"[1]
As the authors concede, we simply don't know the answers to these questions. More succinctly: There are no answers. The only way to perceive these things is through the music itself.
Outside the neat mythology of rock and roll is a fascinating sonic quilt, a patchwork of sounds that defies any simple or single story of origin, and a tapestry that, taken together, tells a history of both American music and of America itself. Below, I'll do my best to sum up that story in 50 songs.
There are no specific criteria for inclusion here. This is not a matter to be debated. Beyond the candidates here are, admittedly, many thousands of other songs that could have just as easily been included. While some here, like Big Mama Thornton's "Hound Dog" or Muddy Waters's "Hoochie Coochie Man" are of obvious historical importance and must therefore be mentioned, there are other songs here that could be readily traded out for others of equal historical pertinence.
In some cases, the songs used here will be familiar, if not in their included incarnation, then in the countless variations that they would eventually spawn, like Sugar Boy Crawford's "Jock-A-Mo" or Sunny Dae's "Rock Around the Clock." In other cases, recordings like Lionel Hampton's "Flying Home" or Lloyd Price's "Lawdy Miss Clawdy" are included as musical template-setters. Others still, like Tiny Bradshaw's "Train Kept 'A Rollin,'" are just here because I really like them.
What is important—and what ties together all the songs included here—is not just that they predate the emergence of "Rock and Roll," but that they foretell its arrival. In doing so, the records dissected here also tell the story of American life during the Great Depression, hint at the sweeping socioeconomic changes surrounding World War II, anthologize America's history of racial segregation, and in some cases predict the coming of the Civil Rights era. In addition to coding rock and roll's DNA, this collection of songs gives us a glimpse into an America now long gone, for better and worse.
Skip to The 50 Firsts of Rock and Roll
Race Records and the Dirty Deed
Before we jump into it, a quick history on the term "rock and roll," just so we understand the power of semantics.
Plain and simple, "rock and roll" was parlance for sex among black singers, and persisted in many permutations from the 1920s onward. This usage was something of a conceptual far cry from the original usage of "rock and roll," largely reserved for gospel settings and meant to imply that one was passionately moved by the spirit of the Lord. Though this impassioned movement would remain essential to the meaning, the source of movement had become a very different matter altogether.
It was actually during World War II that the terminology began to reach white audiences. With the onset of hostilities in the Pacific and the deployment of soldiers to Europe, America's jazz orchestras and swing bands saw their ranks slashed, often by as much as two-thirds of their original rosters. This meant that combos of 11 to 14 musicians were suddenly reduced to sound-tracking nightlife with just five or six players.
By the 1940s, musicians were compensating by amplifying guitars, shouting their vocals, ratcheting up the drums, and wailing on their saxophones. Thus was born the R&B (Rhythm & Blues) combo. Their sound typifies the jumping, swinging, rollicking excitement that we think of as early rock and roll. At the time though, these recordings were called "Race Records," the implication being that black music was inherently its own genre and, as such, was segregated to its own Race Records Billboard chart.
As Race Records grew increasingly popular with black and white audiences alike, early radio pioneers led a charge toward desegregation, both in their programming and in the dance parties they sponsored. Notable among them was Alan Freed, who, by 1954, "was referring to his nightly 'Moon Dog House Party' as 'a rock and roll session with rhythm and blues records.'"[2]
By January of the next year, Freed had dubbed his first superstar concert lineup the "Rock and Roll Jubilee Ball." In spite of what the famously egomaniacal Freed might have told you, he did not invent the genre. He was merely among the best and most perceptive at co-opting the hepcat lingo of R&B culture and using it to brand the gathering cultural phenomenon. Regardless, this was the start of rock and roll's subsequent half-century of cultural dominance.
The songs included in the narrative hereafter tell the story of that which came before this dominance, that which made it possible, and that which suggests that the spirit of rock and roll is far older than the genre itself. A companion Spotify playlist is included at the end of this account for your listening enjoyment. Though you may be tempted to jump around, reading in sequence will help to reveal a rich, chronological, and deeply interconnected series of concurrent histories.
50 Firsts of Rock and Roll
Readers also like: "The 50 Most Important Living Musicians."
1. "My Daddy Rocks Me With One Steady Roll"
(Trixie Smith, 1922)
By most accounts, Atlanta native Trixie Smith uttered the first lyrical reference to "rock" and "roll" in a secular recording. And there's little question that she didn't mean it in a church-going way.
Born in 1895, Smith relocated to New York in 1915 and joined the vaudeville circuit. After winning a blues contest at the Manhattan Casino, Smith earned a recording contract with Black Swan. Her cabaret training translated into this bawdy 1922 recording.
Sonically speaking, Trixie's performance is not dramatically different from the bevy of recordings from this era that effectively encapsulated vaudeville's droopy and titillating quirkiness. It is even evocative of more famous songs like the traditional "St. James Infirmary Blues" and Cab Calloway's later smash hit, "Minnie the Moocher" (1931).
What distinguishes Smith's song for our purposes is the refrain, which says:
My man rocks me, with one steady roll
There's no slippin' when he wants take hold
I looked at the clock, and the clock struck one
I said now, Daddy, ain't we got fun
Oh, he was rockin' me, with one steady roll.
In its time, Smith's recording was more than just a footnote. By invoking in song the common vernacular usage of rock and roll as euphemism for sex, Trixie Smith (and the song's author, J. Berni Barbour) planted the seed for its eventual proliferation in popular music.
Smith continued to record and perform into the 1930s, making the transition from stage to screen, and working closely with legendary clarinetist Sidney Bechet toward the end of the decade.
In spite of her role in its earliest stages of evolution, Trixie Smith would not live to see the genre that she helped to coin. She died in 1943 at the age of 48.
2. "Pinetop's Boogie Woogie"
(Pinetop Smith, 1928)
Alabama-born Clarence Smith was better known as Pinetop, a nickname earned by way of his childhood propensity for tree-climbing. A frenetic ragtime style piano pounder, Pinetop waxed the definitive boogie woogie recording, placing his genre on the map before promptly shuffling off this mortal coil.
Born in 1904, Pinetop ventured north of the Mason-Dixon line in 1920, ultimately landing in Pittsburgh and joining a touring vaudeville company. His travels even saw the young singer and pianist backing the influential and imposing barrelhouse blues belter, Ma Rainey.
Just two days before New Year's Eve, Smith recorded "Pine Top's Boogie Woogie," a boisterous ivory-banger that placed its titular genre on the map. Indeed, the breathless pace and Pinetop's own gruff vocal exhortations embody a reckless juke-joint spirit as abandoned and danceable as any recording three decades thence. In fact, the tune's authorship is often incorrectly attributed to Pinetop Perkins, a Delta contemporary who ultimately re-recorded a hit version of the song in the 1950s.
Pinetop Smith's crackling performance would also forge the lyrical and sonic palette from which future staples like Ray Charles's "Mess Around" (1957) and "What'd I Say?" (1959) would draw. Co-opted for recordings by popsters Tommy Dorsey and Bing Crosby, it was redubbed "Boogie Woogie" and in that form would far outsell the original in the post-war era.
As for Pinetop Smith, he found himself on the wrong end of a gun during a dance hall brawl in Chicago, dying at age 24, just one day shy of his next recording session.
3. "It's Tight Like That"
(Tampa Red & Georgia Tom, 1928)
Thomas Dorsey–not to be confused with the above-mentioned swing giant Tommy–is often referred to as the father of gospel music. The guitarist was recognized as among the first to incorporate the hymnal spirituals of black Southern gospel churches with the cadences of rhythm and blues. Of course, you wouldn't know he was a man of God from his earliest recordings.
Before becoming the musical director for the Pilgrim Baptist Church in Chicago (a post he would hold from 1932 to the late '70s), before he became a catalyzing spiritual influence on the great Reverend Martin Luther King, Jr., and before he wrote the definitive 1937 gospel composition, "Peace in the Valley," Dorsey was better known as Georgia Tom.
Born in 1899, Georgia Tom journeyed to Chicago in the 1920s, where he teamed with the likewise-transplanted Tampa Red (né Hudson Woodbridge). As a duo—and sometimes as a trio with Frankie "Half-pint" Jaxon—Tampa Red and Georgia Tom pioneered the blues subgenre called hokum.
Distinguished by its shuffling rustic rhythms and its humorous sexual double entendre, the hokum championed by the young Georgia Tom brought him into communion with the likes of Ma Rainey, Sonny Boy Williamson, and Memphis Minnie, but did little to hint at his divine musical reinvention soon thereafter.
"It's Tight Like That" is a representative tune of its genre, a strumming novelty with country blues tuning and tawdry content. Hokum blues is an elemental genre in modern American music, a farcical style of sex-punning that actually predates jazz, ragtime, and even most forms of country music. Some choice representative titles include Bo Carter's "Please Warm My Weiner" (1930) and Lil Johnson's "Press My Button (Ring My Bell)" (1935).
Descended from the blackface minstrel and medicine shows that toured from town to town as early as the 1830s, hokum might well have reached its peak importance in the considerable body of work produced by Tampa Red and Georgia Tom.
A genre often dismissed in high culture during its time for its connection to deeply racist, misogynistic, xenophobic, and downright vulgar portrayals of American life, hokum (and minstrelsy in general) occupies an important part in our musical evolution. The endless cycle of racial appropriation that has defined popular music from Elvis Presley to Pat Boone to Vanilla Ice can trace its musical, theatrical, and sociological roots to the minstrel show's interplay of white business principles, black cultural tropes, and musical ingenuity from both sides of the color barrier.
Selling no fewer than seven million copies, "It's Tight Like That" amply demonstrated the appeal of black music and culture to white record buyers. Moreover, its emergence as a hit would give hokum a degree of survivability beyond vaudeville and the burlesque houses.
Georgia Tom and Tampa Red would split in the late '30s, with the former going on to achieve towering status in gospel and the latter enjoying R&B chart success in the 1940s before descending into alcoholism and dying penniless at the age of 77. Georgia Tom, by contrast, lived to the ripe age of 93 and enjoyed adulation and enshrinement in the Nashville Songwriters Hall of Fame—the first African American to receive the honor.
Every dirty double entendre to hit a record from Big Joe Turner to Snoop Dogg owes a debt to hokum.
4. "Crazy About My Baby"
(Blind Roosevelt Graves, 1929)
Let's deal with one matter first. Why are so many blues singers blind? Blind Lemon Jefferson. Blind Blake. Blind Boy Fuller. Blind Willie Johnson, Sonny Terry. I could go on . . .
The first and simplest explanation is that playing the blues was the occupation most accessible to post-slavery/pre-Civil Rights southern black men who lacked the ability to work in the fields.
Onward to Mr. Graves, who was born sightless in Meridian, Mississippi, in 1909. Partnering with his brother Uaroy, also half-blind, Roosevelt cut 15 sides of secular and spiritual music for Paramount in 1929. With country blues records suddenly proving commercially powerful, Paramount paired the Graves brothers with a crack team of studio musicians. The amalgam of guitar, tambourine, piano, and cornet imbues "Crazy About My Baby" with a touch of the boogie woogie.
Borrowing heavily from Jim Jackson's template-setting "Jim Jackson's Kansas City Blues" (which would itself evolve into Wilbert Harrison's standard-bearing "Kansas City"), "Crazy About My Baby" outfits Graves's rural performance with a contemporary arrangement. The result is a convergence of backwoods and downtown (albeit recorded in a makeshift studio in the Hotel Hattiesburg). In many ways, the relatively obscure Graves would be among the first—even if unconsciously so—to merge country and city, creating a hybrid that would one day help define rock and roll.
After recording a few more sides in the '30s—increasingly prototypical rock and roll songs in their own right—the brothers departed music. Roosevelt died in Gulfport, Mississippi, in 1962.
5. "It Don't Mean a Thing (If It Ain't Got That Swing)"
(Duke Ellington, 1931)
It doesn't get much more prophetic than this. Swing is not rock and roll, to be sure, but it is an absolutely essential chapter in the genre's pre-evolution. The great Duke Ellington saw it coming—so says a tune that is not just important for its commercial enormity, but for its philosophical underpinning. Its repeated declaration is a phrase attributed to Ellington's trumpeter Bubber Miley, then dying of tuberculosis.
Written in collaboration with Irving Mills, "It Don't Mean a Thing (If It Ain't Got That Swing)" suggested that much of the jazz ensemble music which came before it was quickly going out of style. The Washington, D.C.–born Ellington (1899) had already made his reputation at Harlem's legendary Cotton Club by the time of this 1931 recording. But with "It Don't Mean a Thing," Ellington predicted and blueprinted the next big thing.
This was hardly his intention, according to most accounts. Ellington meant only to emphasize the importance of rhythm in the music of his Harlem Renaissance. The word "swing" had not yet been incorporated into the popular lexicon of jazz. This was the moment that would change this.
Moreover, its insistence that rhythm is the very thing that makes the music is a premise that would gain increasing importance in the drum-heavy swing boom a few years on. It would also mark an encompassing departure in American popular music, the beginning of the movement away from classical European musical convention and into something more African in origin. Though Ellington often balked at over-analysis of his own foresight, this composition would clearly become both a recording of consequence and a statement of purpose, not just for the swing movement that would immediately follow, but for the rocking and rolling that descended therefrom.
It should go without saying that when Duke Ellington died at the age of 75, he was largely regarded as one of America's greatest musical treasures.
6. "Tiger Rag"
(Washboard Rhythm Kings, 1932)
Damn, this track is nasty. If part of rock and roll's appeal is its dangerous attitude and inchoate wildness (and I like to think that it is), this 1932 recording has pretty much everything you're looking for. Based on its title, we know that this tune descended from the Scott Joplin–pioneered ragtime genre. And by the band's name and the arrangement here, we can also identify the Washboard Rhythm Kings as the kind of jug band that was omnipresent in pre-war blues.
This is where the predictability ends, however. Though they sound like a jug band, the Rhythm Kings were actually skilled jazz musicians who recorded for Victor and Vocalian in a heyday that persisted across the first five years of the Great Depression. It's hard to say exactly where these guys came from since they were at one time known as the Georgia Washboard Stompers and, at another time, the Alabama Washboard Stompers. In any event, it was their performance on the Dixieland standard "Tiger Rag" that produced this immortal recording.
From the skiffling washboard syncopation to the frenetic horn breaks to the shouting vocals to the background hooting, "Tiger Rag" sounds like a party you wish you were at. The musicians here play with spectacular looseness, undermining any assumptions you might have about the formality of ensemble playing during the Depression. Straight up, these guys get down; the horns stepping all over each other, blurting out missed notes; the frontline vocals scatting furiously, the background bleeding with riotous encouragement; percussion driving forward like a locomotive and barrelhouse piano making a late solo entry. This was music that rocked, and fairly hard at that.
In structure, attitude, intensity, and flat-out wildness, the Washboard Rhythm King's "Tiger Rag" is everything you'd expect from a prototypical rock and roll record.
7. "Good Lord (Run Old Jeremiah)"
(Austin Coleman, with Joe Washington Brown, 1934)
This recording is dated to 1934, but in reality it sounds like something much older. And realistically speaking, that's exactly what it is.
Many of the forms that we've discussed so far—blues, gospel, boogie woogie—share common ancestry in the American slave trade. With the mass arrival of African slaves in the West Indies and the United States, so too arrived a rich and varied musical tradition. Among the features which most differentiated it from the traditions of Western classical music were its emphasis on rhythm over structure, on passion over formality, on unbridled vocal exchange over carefully orchestrated choral arrangements.
Many of these features crossed the Atlantic and became what we refer to in retrospect as slave spirituals. A particular tradition called the "ring shout" is endemic to the transplanted West African slaves who labored in the West Indies and the American South. During time away from the fields, slave communities would steal into the woods, gather in circles, and perform these sacred, ecstatic, and highly musical rituals, typically for many hours.
These traditions persisted even as the primary religious medium for most American slaves became Christianity. The content of spirituals turned toward the Bible and the context became the church. Chanting also remained an important and therapeutic part of life for cotton sharecroppers, chain-gang inmates, and other post-emancipation laborers. But there are few recordings that capture the frenzied and otherworldly intensity of the ring shout like this 1934 recording from Austin Coleman, accompanied by Joe Washington Brown.
Part of a collection procured by crucial musicologists and field recorders John and Alan Lomax (father and son), this recording is a window into the tradition in as pure a form as is perhaps available to our ears. Indeed, the recording itself not only closely mirrors the likely musical presentation of the form in the days of slavery, but its furious rhythmic pace and insistent chanting tell of its African origins.
Take away its anthropological implications, and this recording, which is attributed to two otherwise unknown musicians, is one of the rawest, most raucous, and most unhinged musical performances this side of the Sex Pistols, let alone early rock and roll. Moreover, its embodiment of the call-and-response traditions of the African ring shout prefigure the very same in the Southern gospel tradition and, thereafter, rock and roll floor-shakers like the Isley Brothers' "Shout" (1959) and Ray Charles "What'd I Say" (1959).
8. "Baby Please Don't Go"
(Big Joe Williams, 1935)
The number of Delta blues songs that could have just as easily filled this slot is countless. Robert Johnson's "Cross Road Blues" (1936) and Bukka White's "Parchman Farm Blues" (1940) immediately come to mind. But "Baby Please Don't Go" earns inclusion here because the themes and lyrical tropes upon which it draws are effectively representative of its genre and because the composition itself, once unleashed, never left the vocabulary of popular music.
Big Joe Williams was born in Crawford, Mississippi, in 1903 and earned his way playing the unusual nine-string guitar for the Rabbit Foot Minstrels touring show, and thereafter as a member of the Birmingham Jug Band. He signed with Bluebird Records in 1935 and recorded "Baby Please Don't Go."
The song's narrator pleads with his love, begging her to wait for him while he serves out his time on a prison farm. Its lyrical roots are said to extend directly from slave-era oral tradition. And because it was a massive hit for Big Joe, many of these same lyrical conceits became essential to popular blues songwriting thereafter.
As Big Joe Williams emerged to greater fame, he re-recorded the song in the later '30s and '40s, bringing an increasingly contemporary and metropolitan touch to the dusty Delta relic. By the early '50s, Muddy Waters and company added Chicago flair and by the late '50s, B.B. King electrified it.
In 1964, it crossed the Atlantic and earned a young Van Morrison and his Belfast Invasion band, Them, their first hit. Over the ensuing decades, it has remained an absolute requirement for those studying the blues songbook—a fact evidenced by its appearance on recordings by everybody from rockers like Tom Petty and Aerosmith to zydeco king Clifton Chenier and country popster Vince Gill.
To be sure, "Baby Please Don't Go" is not, in its first incarnation, rock and roll. Pure and simple, it is Delta blues. But if you follow this piece of music as it transforms over time, the shared bloodline between blues and rock becomes a vivid thing to behold.
9. "Shave 'Em Dry"
(Lucille Bogan, 1935)
Soooo . . . do not listen to this at work . . . or around children . . . or in the company of your local clergy.
Lucille Bogan's "Shave 'Em Dry" is among the most sexually explicit recordings you'll ever hear. And maybe it's just me, but something about this kind of language on a recording that's older than your grandmother is a little bit shocking. Bogan's recording is more vulgar and confrontational than Miley Cyrus could ever dare to be.
Born in Mississippi in 1897 and raised in Birmingham, Alabama, Bogan got her start making vaudeville records for the Okeh label in the early '20s. As the decade wore on, Bogan found that her most popular material was also her dirtiest.
Themes of drinking and sex permeated her music. "Shave 'Em Dry" was of particular note for its lurid lyrical variations, which tended toward an extremely graphic nature as the performance hour got later. Indeed, the title itself means . . . how shall we put this . . . it means to grind the gears without greasing them first.
Though the original recording is generally attributed to the equally bawdy Ma Rainey, Lucille Bogan recorded two versions in 1935 that capture the song's true potential for ribald specificity. Such is to say that where hokum blues peddled in innuendo, Bogan's vocal blues told it exactly as it was.
On the infamous alternate take included here, the explicitness of "Shave 'Em Dry" is not even thinly veiled. Seriously, don't listen to this song in mixed company. I can't stress that enough.
After this 1935 recording, little would be heard from Lucille Bogan, who died at age 51 in 1948.
Her blues number is included here for its prescient lyrical boldness. For those who believe that hip hop—or rock 'n roll before it—represents a vulgarization of American public decorum, give a listen to "Shave 'Em Dry."
10. "Rock Island Line"
(Lead Belly, 1937)
Like many of the traditionals that solidified into permanent recordings in the pre-war Delta, "Rock Island Line" is inspired by real life, and its origin is traceable to those who actually lived it. That is to say that the first known version of "Rock Island Line" was actually composed by a member of the Rock Island Colored Booster Quartet, whose members were all employed at the Little Rock, Arkansas, freight yard for the Chicago, Rock Island and Pacific Railroad. Indeed, it doesn't get much more authentic than that.
The earliest existing recording of the song comes from another recording by aforementioned folklorist John Lomax, who traveled to an Arkansas state prison in 1934 to commit chain-gang chanting to posterity. Lomax was accompanied to the prison by one Huddle Ledbetter, a 12-string guitarist better known as Lead Belly. The 1888-born Louisiana native had, himself, spent multiple stints in prison. In fact, on two separate occasions, the man convicted of homicide in a fight over a woman, earned pardons by gifting songs to sitting governors.
The second time, he did it with the help of Lomax. Subsequently, when the two heard "Rock Island Line," they produced what is by all accounts the seminal modern version of this song. The humorous story of smugglers moving slot machines over the rails under the guise of transporting livestock has been recorded in every decade since, perhaps most importantly by British skiffle-godfather Lonnie Donegan (1954). It was this song that brought Donegan to the attention of young Britons everywhere, launching the early aspirations of the future Beatles, Kinks, and Stones.
In spite of his checkered past and a famously explosive temper, Lead Belly would enjoy considerable recognition during his lifetime, though never a great financial fortune. Through the next several decades, Lead Belly would be the subject of high-profile newsreels and magazine articles for his unusual path to freedom and fame, as well as an eventual fixture in folk circles, where he played alongside other luminaries like Josh White, Pete Seeger, and Woody Guthrie.
Lead Belly passed on in 1949, at age 61, leaving behind a treasure trove of recordings that constitute one of the most generous historical canons available to modern ears.


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Its was back in Spring 2013 when I first heard Sophie May Williams sing. She was busking in Ossett Town Centre, and it stopped me in my tracks. I invited her to sing at Eller Coffee and was delighted when she accepted. With that voice it was no surprise that within a few months we […]
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You can now treat your friends and family to a great coffee and cake with our gift vouchers. Our Coffee and Cake for Two covers any kind of coffee and any cake for two people and is just £6.95 A nice little gift for any time of year. Available in the shop now. Eller Coffee […]
Ossett Beer Cart Photos 29th to 31st May 2015
What a great time was had at the three day beer festival on May 29th to 31st in Ossett. Morris dancers from all over the country came and made it a memorable occasion. The event organised by Wakefield Morris raised approximately £2,500 for Wakefield Hospice too. We look forward to seeing them next year on […]
Afternoon Teas at Eller
Are you ready to treat yourself? Eller are now doing traditional afternoon teas. A selection of sandwiches, a selection of cakes and tea or americano, with the vintage touch. Afternoon tea is just £9.95 per person available by pre booking on 01924 272006. We only require one day's notice for a booking We also do […]
Interview with Loz Campbell
This coming week is the Warm Wintery Words event, a Christmas celebration at Eller Coffee, Station Road, Ossett. Alongside Yew Tree Youth Theatre and Gawthorpe Junior Brass, we are delighted to welcome back Loz Campbell to sing for us. Here's a brief interview which she kindly fit into a busy schedule. When did you decide […]
Coffee at it's best!
Quite a few things have changed in that time, but one thing I'd like to think you would be certain of is a consistently great cup of coffee…and as we are all professional baristas, we'll make it just as you like it. If you are new to Eller Coffee, drop by and say hello and […]
Interview with Sophie May
Following her success on BBC's The Voice, singer Sophie May Williams from Wrenthorpe is about to perform to a sell out crowd at Ossett's Trinity Church. Two hundred people have tickets to see her alongside Voice finalists Georgia Harrup and Chris Royal. Sophie made time in her busy schedule this week for a quick interview. […]
Eller Coffee at the Centre of Ossett – MAP
Hi Everyone! We'd like to consider Eller Coffee to be at the heart of the community, and here is our map to show us at the centre of the town. We've highlighted parking, cash machines and other useful places for you when you visit Ossett. Click on the image for the large version. Do […]


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This one won't follow the recent trends of people who've been writing about Gmail. Apologies for the back-to-back Mac posts, but I'm finding my situation interesting enough that everyone could probably share in both its humor and its pity. Enjoy.
Prior to last year, I'd been an old-school Eudora user for a very long time, on both Windows and Mac. That's the email client the HotWired IT department installed for Mac users in 1996. I just kept using it, and never tried anything else. When I switched back to the Mac last year, I decided to start anew with email and to give Apple's Mail.app a good try. (I won't go into issues with the name, others have already covered the topic, but I will refer to the application as simply "Mail", with a capital M, from here on out.) Unbeknownst to me, I somehow ended up importing seven years worth of email into Mail, with no idea how many messages that actually represented. continued


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Sarod Facts
The sarod is a lute-like stringed instrument of Indian origin. Like the sitar, it's a popular and prominent instrument in Hindustani classical music. The instrument is known for its deep, introspective sound, which contrasts nicely with the sweet texture of the sitar. The absence of frets allows players to glide easily from one note to another. This is known as meend, which is essential in the performance of Indian music.
Here are a few more interesting sarod facts. It's likely the sarod descended from the Afghan rubab, a similar instrument with roots in Central Asia and Afghanistan. The word sarod means "beautiful sound" or "melody" in Persian, one of many languages spoken in Afghanistan.
Sarod Construction
How many strings are there? On a conventional instrument there are 17 to 25. Four to five main strings are used for playing the melody. There are also one or two drone strings, two chikari strings, and nine to eleven sympathetic strings. The strings are made of steel or phosphor bronze, and are usually plucked with a triangular hand-crafted coconut shell plectrum called a Javva. Some players prefer plectrums made of ebony, cocobolo wood, horn, or cowbone.
More Sarod Facts
Fun Fact
A person who performs on this string instrument is called a sarodist.
Notable sarodists include Amjad Ali Khan and his sons Amaan Ali Khan and Ayaan Ali Khan, Abhisek Lahiri, Sharan Rani, K. Sridhar, Aditya Verma, and James Whetzel.
Indian Classical Ragas
Amjad Ali Khan
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Indian Classical Ragas – Amjad Ali Khan
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Performed by Amaan Ali Khan
Indian classical musician and composer Amaan Ali Khan explains the construction, techniques, and performance of the sarod. He's a seventh generation Sarod Master, and was just eight years old when he gave his first public performance. Amaan is the son of Amjad Ali Khan and often performs with his younger brother Ayaan Ali Khan, with whom he hosted the music talent show Sa Re Ga Ma. He's widely considered one of the finest players in the world, with fans on many continents.
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Maharaja Sarod with Tumba – Ali Akbar Khan Style
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Keep an eye on this automatically updating gallery of sarods and accessories available on eBay. Find bargains on all kinds of Indian stringed instruments including sarods.
NYC's Limulus Hand-crafted Indian Solid-Body 11-String Electric Oud / Sarod
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- 9 Shop for Sarods and Accessories
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- 12 NYC's Limulus Hand-crafted Indian Solid-Body 11-String Electric Oud / Sarod
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- 15 SAROD WITH TOOMBA MAHARAJA™/LATEST Ed/SUROD/SARUD/INDIAN SAROD/PRO QUALITY/DJ-01
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- 17 Explore String Kings Music


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Why Isn't Manifesting Working for Me?
By Margaret Nash
Do you ever wonder why something you really, really want hasn't manifested in your life? You want it, it's good for you and all concerned, you are motivated, and you've taken action. Yet, after you've just read an awesome book about it and feel fired up, ready to make this happen after a few days, or maybe weeks, you just forget about it or give up because nothing at all has shifted? You're still overweight, still smoking two packs a day, still haven't got that new online business earning money. You fill in the blanks.
A Workshop for the Pragmatic Mystic
Manifesting Made Simple—how to use your mind to create what you want
Sat, Jun 25, 10am–2pm
San Miguel location
US$60 or 1000 pesos, discount for prepay
Email email@example.com for reservation
With me it's learning Spanish. I've been here in San Miguel ten years and counting, and my Spanish is still awful. I faithfully put it in my New Year's resolutions every year, periodically join a class, decide yes, this is the year, and nothing much improves. Oh, I can order in a restaurant with flair, but try speaking to me on the phone in Spanish and you're dead to me.
Why is this? Why can't we get what we really need and want? It's because the goal solves a big problem and there is too much negative emotional charge around the problem and not enough positive charge around the goal.
Let me explain. A goal solves a problem; otherwise it's not a goal. It's just a wish. The more serious the problem is, the more negative emotion you will attach to it. And that will affect how you act. There is nothing esoteric about this. It's practical and explicable. Many self-help gurus will couch it in language that makes it sound mysterious. "The Universe is blocking your goal because you are not aligned with your desires," they croon. "You are preventing your goal from manifesting on this plane because of unconscious karma."
Well, OK, but a more pragmatic way to put it is that we naturally pull away from and avoid things that make us feel bad. If it makes us feel bad, then it's not fun, and we don't do it.
I have hugely negative stuff going on about not knowing Spanish. I feel embarrassed, terribly un-politically correct, and I apologize a lot. If I'm going to have any chance of improving, I need to lower the negative emotional charge and relax, chill, and be a little easier on myself.
Join us, Margaret Nash and Sarah Powers, both certified Life Coaches, at our workshop and find out more about how to get manifesting to work for you. Explore your goals, the emotions involved and how to lower them, and discover how you can use your mind to create whatever you want in your life.
See you there! It will be fun and practical, we promise!


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Introducing the Integral
Unit 6: The Integral
Lesson 1 of 9
Lesson 1 of 9
Objective: SWBAT integrate polynomial, power, and basic trig functions using the power and chain rules.
Big Idea: What is an integral? How are integrals related to derivatives? Today we begin connecting these seemingly unrelated ideas in Calculus.
Math, Integrals, Precalculus and Calculus, antiderivatives, AP Calculus AB, integration, Power Rule, calculus, AP Calculus, calculus ab
60 minutes
Warm-up and Homework Review
30 min
Resources (2)
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Setting the Stage
3 min
expand content
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Closure + Homework
1 min
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Goofy music video "Where is the ocean?", recorded by my students a few years ago...
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Earlier in the chapter you saw an example of the Model 1 architecture, in which each JSP must know where the user should be sent next, and from ... A popularly used MVC implementation is the Struts framework (http://struts.apache.org/), which was introduced in Chapter 1. ... In thisdiagram, you can see thatthe single Controller selects thecorrect logic to execute, andthen forwards the result to the View, anbsp;...
|Professional Apache Tomcat 6
|Vivek Chopra, Sing Li, Jeff Genender
|John Wiley & Sons - 2011-01-21
You must register with us as either a Registered User before you can Download this Book. You'll be greeted by a simple sign-up page.
Once you have finished the sign-up process, you will be redirected to your download Book page.How it works:


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Wesley Kimler`s exhibition of paintings and drawings at the Frumkin & Struve Gallery, 309 W. Superior St., proclaims a larger scale of ambition than usually is encountered in Chicago. Where the best-known local painters concentrate on the personal and the hermetic, Kimler seeks to break into an arena where a historical abstract painting style can be brought to bear on universal subject matter.
The synthesis he attempts is between the improvisatory force of Abstract Expressionism and the heroic content usually lacking in contemporary painting. Earlier works shown at the Peter Miller Gallery imperfectly stated his intention. Here he comes closer to carrying it out.


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Published: 2002/05/21
by Jesse Jarnow
Throwing Down With The Upper Crust (On The Fate of Some Guitars)
The auction of two of Jerry Garcia's guitars – Tiger and Wolf, both built by
Doug Irwin – at New York's Studio 54 on May 8, 2002 was an event so
positively rich in metaphor, so absurdly overflowing with cosmic
coincidence, that it's hard to know exactly where to begin. Facts? Sure.
After Garcia died, there was some controversy as to the ownership of his
guitars. He willed them to Doug Irwin, the Bay Area luthier who designed and
built them. Meanwhile, the Grateful Dead organization claimed that they
weren't Garcia's to give. The Dead had paid for them and, therefore, owned
them. A protracted court battle ensued. In the end, two of the guitars
(Tiger and Wolf) went to Irwin, and two (Rosebud and Headless) went to the
Dead. Irwin, in turn, promptly put his two guitars up for auction by way of
the Guernsey's auction house. And so things were put in motion.
The guitars were in New York at least as early as April 11th, when they were
put on display at Theater 99, on the lower east side, for a benefit held by
Relix Magazine. For $100 a pop, one could gaze at the guitars, sip wine, throw back
booze, poke at cheese with toothpicks, and cavort with Wavy Gravy. (In the
interest of honesty, I did three of the above five things, though didn't
pay.) The proceeds from the evening were directed towards Jim Greene, a
Deadhead electrician paralyzed from the neck down in a tragic accident. This
was a fine, noble cause.
Something seemed inherently weird about the whole affair, though I couldn't
quite pinpoint what. The first thing I could put my finger on was the
wording of the benefit's advertisement. Tiger and Wolf would be there, it
said, as well as other "rare and desirable" Grateful Dead memorabilia.
Something about the way that was said – mostly the "desirable" part – creeped me out thoroughly.
I got to look at the guitars from up close. Shit, they really were beautiful
creatures. I don't think it would spoil the ending to say that they ended up
going for $850,000 (Tiger) and $700,000 (Wolf). They made Doug Irwin a
(pre-taxes) millionaire. "Which, incidentally," my friend Bill wrote, "he
deserves to be for making those instruments". While that may be true, the
guitars didn't command that money because of Doug Irwin's fine craft. They
got that money because Jerry Garcia played them.
It is an interesting chain of logic that led to that value, that fetish. Why
were they valuable? Well, Garcia played them. What was good about Garcia? He
was an incredible musician; and the guitars were how he made his music. But,
he was such a good musician (in the eyes of some) that he became a cult
legend. It's not the guitars, then, that made them valuable, but – rather – an abstraction of them. Their historical purpose. Okay, fine. To me, that's
weird. But it leads to the inevitable question of just what should
happen to the guitars.
Should they be played? After all, that's what they were intended for. Maybe.
Like it or not, they were Garcia's guitars. More importantly, they
are incredible instruments — ones that – regardless of whether or not
Garcia ever laid hands on them – would probably go for well over $15,000 on
the open market. (According to Steve Silberman and David Shenk's Skeleton
Key, Garcia paid Irwin "around $13,000" for Rosebud, when it was built
in 1990.) If they should be played, then, they should be played by someone
who deserves to play them. And, shit, how does one determine that? Does that
turn Garcia's guitars into something akin to prized violins, passed from
master to student? Definitely not a feasible solution, especially in this
day and age. Any decision made would be a political one, and therefore a
cynical one — a result of jockeying and taste.
Like it or not, the placement of Jerry Garcia's guitars on an auction block
was the most genuinely honest, stripped bare way to deal with the situation.
To that end, Relix wasn't to blame at all — or even to credit. No, both
belonged to Doug Irwin and Guernsey's.
The disco ball – the fucking disco ball (and the most splendid I've
ever seen) – still hung from the middle of the ceiling. Like Theater 99,
Studio 54 is an old-time New York vaudeville theater reappropriated for more
contemporary purposes. It's a very New York kind of place — the modern city
co-existing with the old city like an overlaying, mostly transparent leaf.
Outside, a sharply dressed bouncer – in finely tailored suit, as opposed to
the usual rock club muscle shirt – verbally harassed folks waiting behind
the velvet rope. A Studio 54 tradition, I s'ppose.
Inside, potential bidders filled out a form and presented major
identification and a bank reference. Those interested in competing for Tiger
and Wolf were required to establish Guernsey's credit. (I'm not sure what,
precisely, that means.) Others (like us) could fork over $30 for a
catalogue, which became our ticket to the cheap seats in the balcony.
Walking up the stairs, into the theater, one was immediately met with
decaying reliefs of debauchery, which decorated the theater in an arch all
around the room. Other than a few scant clumps up front, the vast majority
of the balcony's faux-leopard skin covered seats were empty.
The balcony enclosed the theater like branches of a tree, catwalks and
ladders shooting out like odd roots. From upstairs, we had a perfect view of
the stage. Enclosed in brightly lit, upright glass coffins were Tiger and
Wolf. Later, as more of Garcia's personal effects were wheeled out onstage
for sale – including his leather jacket ($23,000) and a couple of his black
tee-shirts ($6,000, $3,500) – it felt as if a seance might suddenly break
out. More, though, the guitars seemed to be on trial. It was sad, too. In
all likelihood, it was probably the last time those two guitars would
probably ever be on the same stage, let alone in the same room.
At least as far as I know, there is no record of Jerry Garcia's singing the
old folk song "No More Auction Block". As a dutiful folkie, he had to have
known it, though. Dylan sure did. "When Bob Dylan sang the antebellum song
of runaway slaves," Greil Marcus wrote in Invisible Republic, "or
when he took its melody to fashion his own tale of repression and
resistance, 'Blowin' In The Wind', a tale for the present and future, he
symbolized an entire complex of values, a whole way of being with the world.
But while he symbolized a scale of values that placed, say, the country over
the city, labor over capital, sincerity over education, the unspoiled
nobility of the common man and woman over the businessman and the
politician, or the natural expressiveness of the folk over the self-interest
of the artist, he also symbolized two things more deeply, and these were
things that could not be made into slogans or summed up by programmatic
exposition or romantic appreciation.
"He embodied a yearning for peace and home in the midst of noise and
upheaval, and in the aesthetic reflection of that embodiment located both
peace and home in the purity, the essential goodness, of each listener's
heart. It was this purity, this glimpse of a democratic oasis unsullied by
commerce or greed, that in the late 1950s and early 1960s so many young
people began to hear in the blues and ballads first recorded in the 1920s
and 1930s… That was the folk revival." (Marcus, 20-1)
With that, it is interesting to note number items 43 and 44 in the
catalogue. The latter is a transcription, made by Jerry Garcia while working
as a folkie guitar and banjo teacher in a music shop, of "Little Moses"
($2,750), an old folk tune. The former – from the same batch – is a
transcription of Bob Dylan's "Blowin' In The Wind" ($7,000) — a song
adapted from "No More Auction Block". Yes, one could hear Garcia moaning the
song from somewhere beyond. Of course, one could also probably hear his
smoker's laugh wheezing and cackling just after he finished the tune, like
all that now familiar banter on his myriad recordings with David Grisman.
Yeah, Garcia was a folkie. More, he was a hippie, a downright, out-and-out
hippie (at least for a time). He was a member of the Grateful goddamn Dead.
He lived with Owsley Stanley, survived on red meat and LSD, and wanted to
turn on the masses. (There are, of course, many other aspects to Garcia's
voluminous character but we're allowed to be choosy in such circumstances.)
Somewhere along the line, something happened. Who was responsible for
it is another question entirely.
Another interesting item in the catalogue – one which might point us in the
answer of the question – is #40, titled simply "Concert Tapes". And, as the
name suggests, it was a big honkin' batch of Dead tapes — 1800 of 'em, if
you trust the catalogue (which also says next to a picture of Donna Jean
Godchaux [$300], ahem, "[she] mesmerized the crowd with her soaring
vocals"). The tapes were expected to fetch between $6,000 and $8,000 — or
somewhere between $3.33 and $4.44 a tape. The Dead were (and are), of
course, in favor of show taping, but firmly against the sale of the
material. The sale of Grateful Dead concert tape by Guernsey's auction house
is not, however, the same thing.
These tapes are unique. They are their own entity. They are no
longer merely mechanical reproductions of other, superior quality, sources.
As an entire collection they are, in a word, an artifact. They are a piece
of Americana. And they are a piece of Americana because Jerry Garcia is a
piece of American history. And the reason Jerry Garcia is a piece of
American history is because he was an extraordinary man — or, if one isn't
willing to grant that, he simply existed in extraordinary circumstances. He
is a folk hero, somehow beyond mere celebrity, one who belongs to a freakish
cast of characters. One who, I might add, fits right in with such company.
The tapes were ultimately pulled from the auction, however. It is possible, I suppose, that
the seller came to his senses. Or, maybe the Dead organization threatened
suit (I'm sure they're none too happy about Tiger and Wolf falling into
private hands). Perhaps the auction made the seller reminiscent to hear some
of the tapes he was about to unload. Possibly, just possibly, he wanted an
anniversary gander at 5/8/77 – the legendary Cornell show – which happened
to be celebrating its 25th birthday on the very day of the auction. (Another
acceptable suggestion to honor the show would have been, of course, to bid
on the rare poster for the show [$9,000].)
A custom job Grateful Dead motorcycle was wheeled to the front of the stage,
ready to go. Doug Irwin took the platform, cigarette in hand, to say a few
words. "It's good to know that rock and roll is still a tool of freedom," he
said with a straight face. One could hear him around the theater for the
rest of the evening, cackling as he signed autographs.
The auctioneer lost me somewhere in the stating of the ground rules, so much
that I didn't realize they were about to start the auction. It was no
matter. There was a palpable energy rush the moment the auction began.
Literally within seconds, people were bidding far more money than I will
make this year, bids leap-frogging $25,000 and then $50,000 at a time.
People gasped. The auctioneer was strangely musical, delivering things in a
sing-song monotone. She would remain on the same note for all syllables
except one, where she would raise her voice and pitch slightly. "We're on
THIS side of the room," she said, pointing like an air traffic controller.
"Six-hundred-fifty-THOW-sand dollars," she would say.
Soon, the two serious contenders made themselves known. One of them was
somewhere beneath the balcony, out of our view. The other was a slight man
in a baseball cap, sitting alone at a table on (appropriately, I suppose),
Jerry-side. With one hand he operated the sign he used to signify continued
reentry into the fray. With the other, he cupped his mouth. He listened
intently to the cell-phone piece placed in his ear. Whenever a milestone was
achieved – $700,000, for example – the crowd would erupt into cheers. There
was great dramatic tension, and the bidders seemed pretty aware of it. Once,
the man in the hat let the count work its way down before – at the last
possible second – chiming in with a bid. It was, I will say, rather exciting
to watch.
When the man in the hat finally won Tiger for $850,000, there was a
monstrous ovation. He tipped his hat and smiled. Who was he? All parties are
still officially mum on the subject. He was obviously somebody's
proxy. Who was on the other end of that phone? Wolf went much the same way.
I was hoping – given that it was used to make far more adventurous music
than Tiger – that it would fetch a higher price, but I guess there's no
accounting for taste. (And, I will admit, Tiger is probably the prettier
Yes, Tiger and Wolf and Jerry are all pieces of Americana, but they are so
in a loose way, at least in the sense that many of the people who made them
as such are still alive. I haven't been to many other auctions, but I'd
venture a guess to say that the crowd at this particular event related to
the items on the block in a fairly unique way. "This guitar strap," the
auctioneer announced, "was signed by members of the Grateful Dead; Jerry
Garcia and so forth." With that, the crowd erupted in deep jeers. "Tough
crowd," the auctioneer said, sounding a bit like a bemused Kindergarten
teacher. When the boos didn't subside, she looked around in a minor panic.
She couldn't read off the names of the rest of the band members. She didn't
know 'em. She pressed on. It went for $5,500.
Nobody won the motorcycle. Nobody met the reserve place. That really crushed
me. When it came up, the crowd screamed at the auctioneer to start it up to
prove that it worked. She came back with answer about how it would be
illegal to start it up indoors. "Bullshit," somebody cried back.
"This chopper…" she started.
"It's not a chopper, it's a bike!" somebody shouted, in a reverse of Bruce
Willis's famous line from "Pulp Fiction".
Regardless, nobody won the thing.
I will admit that I did have a fantasy for what would happen to the guitars,
one whose logical impossibility I am not prepared to admit. Someone, I
hoped, would win one of the guitars. He would also snatch up the signed
guitar strap, the leather jacket, the motorcycle, and the (possibly real)
sheet of acid signed by Tim Leary. He would casually stroll up to the stage,
don the leather jacket, strap the guitar onto his back, munch down some of
the acid, hop on the bike, rev the fucker up, and charge it down the aisle
of Studio 54, out onto 54th Street, over to the West Side Highway, up and
out of the city…
Jesse Jarnow is still creeped out


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With a population just barely under 13,000, Solana Beach is one of the smallest cities in San Diego County, yet remains an active member of the North County Coastal area. The small beach town is nestled between Encinitas to the north, Del Mar to the south and Rancho Santa Fe the east, with over two miles of gorgeous coastline to the west. The name Solana Beach really does describe this coastal community to a T; Solana means "sunny" in Spanish, and the city is best known for its year-round mild climate and its many beautiful beaches. Reap the benefits of living in San Diego, and find stunning Solana Beach real estate with the help of a Solana Beach REALTOR® or real estate professional from Sandicor today.
With incredible views of the Pacific Ocean, luxurious white sandy beaches, private coves and majestic bluffs, Solana Beach real estate continuously offers residents resort style living day in and day out. The community offers a wide variety of real estate choices for upscale living, with great residents who will share your laid back beach loving lifestyle. The most famous beach in Solana Beach is Fletcher Cove where you can find harbor seals and other intriguing sea life, followed by Tide Beach Park a little up the coast. When not enjoying the beach, many residents choose to go south and enjoy the world famous Del Mar Racetrack or hit the links at Torrey Pines golf course.
As the only city to offer homes along the majestic coastline bluffs of San Diego, Solana Beach real estate and Solana Beach homes for sale are coveted. Solana Beach offers a premium selection of town homes, condominiums and other properties with ocean and golf course views that make it easy to see why this picturesque town is so popular. Learn how you can enjoy the small town beach community feel of Solana Beach with Sandicor today!
If you are a REALTOR® or real estate professional who is interested in exploring your professional opportunities in Solana Beach real estate and Solana Beach property, we can help!
Founded in 1991, Sandicor is San Diego County's regional Multiple Listing Service (MLS). Sandicor is owned by four Associations of REALTORS® including the East San Diego County Association of REALTORS®, North San Diego County Association of REATORS®, Pacific Southwest Association of REATORS®, and San Diego Association of REALTORS®. These Associations of REALTORS® make available a variety of services including membership, lockboxes, keycards, and continuing education to qualified licensees, Solana Beach REALTORS® and real estate professionals.
Sandicor is one of the largest and most active Multiple Listing Services in the United States, providing over 20,000 subscribers with an online database of active residential listings, history of non-active listings and comprehensive tax records for San Diego County as well as all of the counties in California (including Solana Beach real estate, Solana Beach homes for sale and Solana Beach property). All services are provided through our four local Associations of REALTORS®. Please contact one of these establishments regarding membership, applicable fees and supplemental services.
Additional services provided to Solana Beach REALTORS® and real estate professionals as part of Sandicor membership include access to neighboring MLSs, participation in the California Reciprocal Agreement, listing syndication tools, free TEMPO™/FUSION™ training classes, software that functions as an integrated platform of client management, sales productivity and direct marketing tools, Value Map (automated valuation module), as well as plans for the addition of those products and services centered around our members' marketing efforts.


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As someone who recently succumbed to the minivan (a Sienna), I can't resist sharing this video. Could it be that this ad campaign might re-brand the minivan as a bastion of ironic coolness? Like the mustache, or Member's Only jackets, or listening to Erasure? Could my minivan actually be giving me street cred?
What do you muthafathas think?


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OXM UK: "Anarchy Reigns is a brash, scrappy runt in a litter of spectacular action games, but in making online brawling just about work it still offers something of its own."
N4G is a community of gamers posting and discussing the latest game news. It's part of NewsBoiler, a network of social news sites covering today's pop culture.


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Three endings to the Jan. 14 episode of Hawaii Five-0 have been taped and it's up to the audience to pick the one they think is the right one.
According to The Hollywood Reporter, the episode is about the the murder of a University professor and there are three suspects. When they've been investigated, the viewers will be able to chose which one — the boss, the teaching assistant or the student — is the culprit by tweeting #TheBoss, #TheTA or #TheStudent or voting at CBS.com.
For absolutely no reason I've been able to figure out, I kinda like Hawaii Five-0. I know. It makes no sense at all, but there it is. And I would like to vote on a perfect ending. But, sadly, it doesn't look like "Steve and Danny finally kiss" is an option.


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24 December, 2015
OctaFX welcomes one more round winner of our Supercharged real contest! This contest is an exciting opportunity for both the beginners and the advanced traders. Mr. Wagiri from Indonesia was skilful and lucky enough to leave other participants behind. He was glad to share his strategy and trading tips that helped him to win:
Q: How do you feel about OctaFX Supercharged real contest?
A: I was very happy to be a part of the Supercharged real contest by OctaFX. I felt quite stressed when my points had a little difference at the end of the contest, but that's the art, the contest makes us more excited.
Q: How involved in the contest were you – was it taking all of your time?
A: No, I would just do an analysis, open a position and then put a Take Profit. Then I would leave to check it in a few hours later and so on. So, I didn't spend too much time in front of the chart.
Q: What is the key factor to your success? Why are you better than everyone else?
A: The key to my success is simple. I make a plan about my trade and I follow it. Of course, any plan may fail, but when something goes wrong, I look for the most appropriate solution to the problem and apply it as soon as I can.
Q: What was your strategy? Have you developed a perfect plan?
A: I use a strategy that most people use. I just focus on one technique and always learn from my mistakes. Then I stick to this experience until it becomes a part of my instinct. In trading, the most important factors are instincts and timing. I've been trading for almost 3 years, and I'm sure: to be a good trader, you always have to learn from your mistakes and to try to fix them, even though you may experience the same failure up to hundreds or even thousands of times.
Q: Have you encountered a considerable loss?
A: Yes, I had substantial losses. However, I consider everything a lesson and motivation to survive and restore the profits in the future.
Q: Do you plan to win Tesla?
A: Yes! I will strive to win Tesla which is a very attractive prize.
Q: What advice can you give to your fellow participants of OctaFX Supercharged real contest?
A: My advice is to keep struggling to achieve what you want and not be too focused on your position: instead, focus on your trading. Then the victory will come to you.
If you haven't participated in the Supercharged real contest yet, it's high time for you to take the chance!
Register in the next round now and trade to win!
Time flies, so here are another week's results of OctaFX cTrader Weekly demo contest. Let's welcome five more winners and five more valuable prizes that were given to the most skillful traders of Round 41 of cTrader Weekly demo contest:
We are glad to inform you that starting from today you can deposit your euro trading accounts with Skrill! OctaFX introduces direct deposits and withdrawals for Skrill in euro currency.
Round 40 of OctaFX cTrader Weekly demo contest showed the outstanding skills and ample experience of Indonesian traders: this time, all the winners happened to be from Indonesia...
There's only one month left till the very end of OctaFX Supercharged real contest, and soon the ultimate winners will be unveiled. Stay tuned to learn who gets Tesla Model S and a whole lot of other outstanding prizes...
OctaFX welcomes five new winners of cTrader Weekly demo contest. In Round 39, traders from all over the world competed to share the prize fund of $400.
New OctaFX champions are here with the exciting tips for those who want to become the best of the best in trading! The winners of Round 49 of OctaFX Champion demo contest were happy to share their keys to success and secret techniques...
OctaFX together with our English Premiere League football partner Southampton FC are calling you out on a challenge! Blind Soccer Challenge from OctaFX is aimed to raise funds for visually impaired sportsmen across the globe...
OctaFX would like to inform you of the changes in the trading schedule for XAU/USD and XAG/USD instruments for Easter Holiday Period. Friday, March 25, trading on XAU/USD and XAG/USD is closed. Trading on metals reopens Monday, March 28, with Market opening (01:00 EET)...
OctaFX is ready to present our traders with everything they need to know: Education section is now released! Having a question? Want to learn more about Forex? Mastered easy techniques and ready for more...
|FIBO Group


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Homeland Security Market Analysis By Type (Aviation, Maritime, Border, Critical Infrastructure, Cyber, CBRN and Mass Transit) And Segment Forecasts To 2024
|Grand View Research, Inc.
|英文 84 Pages
商品交期: 最快1-2個工作天內
|國土安全保障市場分析:各類型 (航空,海上,國境,重要基礎設施,電腦網路,CBRN,大量運輸),各市場區隔的預測 Homeland Security Market Analysis By Type (Aviation, Maritime, Border, Critical Infrastructure, Cyber, CBRN and Mass Transit) And Segment Forecasts To 2024
|出版日期: 2016年05月17日
|內容資訊: 英文 84 Pages
※ 本網頁內容可能與最新版本有所差異。詳細情況請與我們聯繫。
The global homeland security market size is expected to reach USD 452.46 billion by 2024 according to a new report by Grand View Research, Inc. Technological advances in homeland security across the globe are expected to drive the market over the forecast period. Asia Pacific is anticipated to witness considerable growth owing to the advancements across emerging economies such as China and India. Currently, police modernization along with tackling terrorism is the largest growing segments in India with the increasing annual spending.
Manufacturers in the homeland security market are increasingly adopting mergers & acquisitions as a part of their growth strategy. For example, in 2015, Harris Corporation acquired Exelis Inc., which brings a strong portfolio of complementary technologies. The acquisition also significantly enhances the company's position as one of the primary provider of mission-critical solutions while expanding channels and product offerings to the growing customer base.
The Homeland Security Advanced Research Projects Agency (HSARPA), established by the Homeland Security Act of 2002, supports fundamental research to create revolutionary changes in new capabilities, technologies and risk & threat assessments for the Homeland Security Enterprise (HSE). It uses modernization and innovation for scientific progress and produces front-line products. These products support DHS components such as the U.S. Secret Service, U.S. Customs and Borders Protection, the U. S. Coast Guard, and the Transportation Security Administration.


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Netanyahu defends Gaza blockade as Israel deports activists
Latest update : 2010-06-02
Israeli Prime Minister Benjamin Netanyahu has defended Israel's blockade of Gaza as essential to its national security and stated that it will remain in force, as Israel deports all 600 foreign activists detained aboard a Gaza-bound aid flotilla.
REUTERS - Defending Israel's enforcement of its blockade of Gaza, Prime Minister Benjamin Netanyahu said on Wednesday it was vital for the country's security and would stay in place.
In a televised address after world outrage erupted over nine deaths in Monday's seizure of a Turkish ship bound for Gaza, a defiant Netanyahu said easing controls would put long-range Iranian missiles into the hands of the Palestinian enclave's
Hamas rulers.
This threatened not just Israel but Europe too, he said.
Turkey, a Muslim country that had been Israel's strategic ally, accused it of "state terrorism" and has recalled its ambassador from Tel Aviv and demanded it lift its blockade.
Those calls have been echoed by European leaders and the United Nations, who also want an inquiry into the incident.
"Once again, Israel faces hypocrisy and a biased rush to judgment," Netanyahu said of his international critics, as he defended the actions of Israeli marines who, he said, fired in self-defence after boarding Turkish cruise liner Mavi Marmara.
"The international community cannot afford an Iranian port on the Mediterranean...The same countries that are criticising us today, should know that they could be targeted tomorrow."
His key backer the United States has been less outspoken and has called for calm between its Turkish and Israeli allies.
Dismissing complaints from the United Nations and other agencies on which Gaza's 1.5 million people depend for aid, he said Israel was letting in civilian goods but must halt weapons.
He noted Israel's previous capture of ships carrying arms to its enemies -- Lebanon's Hezbollah and Palestinian groups.
Israel said it was deporting all 682 activists from more than 35 countries detained after the assault in international waters on the six ships it commandeered. All but nine wounded prisoners were expected to be gone by the end of the day.
Israel said the marines who rappelled onto the Mavi Marmara, fired in self-defence after activists attacked them with clubs, knives and two pistols snatched from the boarding party.
Deputy Defence Minister Matan Vilnai told parliament that two of the activists killed during the takeover were shot after they used the two handguns to wound two commandos.
The captain of the Turkish-flagged Gazze, a freighter carrying the bulk of the aid, said the convoy was 68 miles (110 km) outside Israeli territorial waters when he saw lights in the sea and sky and helicopters approaching.
Israeli commandos then boarded his ship and subdued his crew.
"They pointed two guns to the head of each of us," Captain Huseyin Tokalak told a news conference in Istanbul after Israel released him. There were no casualties on his vessel.
Vilnai said warnings were issued by radio to the six captains that they were entering a "blockaded area" and could instead dock in Israel and unload their aid for transfer to the Gaza Strip. He said the navy had recordings of the captains swearing in response.
"I didn't know there were so many curse words in foreign languages," Vilnai said.
Ahmed Brahimi, an Algerian who said he was on board the Mavi Marmara, told Reuters by telephone from Jordan: "We were not armed. We did not go there to fight."
He added: "We used sticks and all what we could find to defend ourselves to stop the assault."
Turkey said three of the nine dead had been identified as Turks and a fourth had a Turkish credit card. Israel has not named publicly any of those killed.
An opinion poll in Israel's Maariv newspaper showed that more than 60 percent of Israelis believed the interception was flawed operationally. But few question the Gaza blockade.
Israeli military affairs experts have described the assault as a blunder because the strength of the resistance on board was underestimated. Israeli Defence Minister Ehud Barak visited commandos who took part in the raid and told them: "I came in the name of the Israeli government to say thank you."
Another attempt to bust the blockade loomed on the horizon: The MV Rachel Corrie, a converted merchant ship bought by pro-Palestinian activists and named after an American woman killed in the Gaza Strip in 2003, set off on Monday from Malta.
It is carrying 15 activists, including a Northern Irish Nobel Peace laureate, and expects to be at the point of Monday's interception between Friday evening and Saturday morning, crew member Derek Graham told Irish state broadcaster RTE.
Asked how Israel planned to deal with any new attempt to steam into Gaza, Tzachi Hanegbi, head of parliament's Foreign Affairs and Defence Committee, said: "We cannot let them blur the red line Israel has set. Letting them in to help Hamas is
not an option."
Egypt, which has kept its own Gaza border largely closed since Hamas, an offshoot of the opposition Egyptian Muslim Brotherhood, seized the territory in 2007, reopened the frontier crossing on Tuesday.
The move was widely seen as an attempt to deflect criticism of its blockade, and hundreds of Palestinians flocked to the frontier terminal at Rafah on Wednesday. It is the only Gaza crossing not controlled by Israel.
Date created : 2010-06-02


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This paper contains major short-range and long-range predictive validity studies of the Torrance Tests of Creative Thinking. ... It includes an array of subjects, including: gifted 4th graders, 2-6 graders, 5-6 graders, ages 9 to 12, high school business teachers, graduate ... The samples of subjects included here are: junior elementary education majors, I2th graders, 7th graders, 2-4 graders, 7-12 graders.
|Gifted, talented, and creative young people
|Morris Isaac Stein
|Education-Garla - 1986-06
You must register with us as either a Registered User before you can Download this Book. You'll be greeted by a simple sign-up page.
Once you have finished the sign-up process, you will be redirected to your download Book page.How it works:


text: This delicious fish dish uses Asian spices to create a flavoursome burger, made with fresh salmon fillets, zesty lime and fiery red chilli. Rustle it up in under an hour for a tasty midweek meal for the family. In the large bowl of a food processor, blitz the salmon fillets to create a coarse-textured mixture. Transfer to a bowl and set aside. In a separate bowl, mix together the lime zest, chopped chilli, cashew nuts, grated ginger, tamarind paste, fish sauce and coriander. Mix well. Add to the bowl containing the salmon along with the breadcrumbs. Combine the ingredients, allowing the mixture to 'come together' for 3-4 minutes. Divide into 4 even-sized pieces and shape each one into a round patty, gently flattening in your hands. Put the flour on a plate. Add each burger and turn to coat lightly in the flour, then set aside. To make the pickled cucumber, cut the cucumber into long ribbons using a using a vegetable peeler. Put the cucumber, red onion, vinegar and salt in to a bowl. Mix, then leave to marinate. Preheat the grill to medium. Heat the sunflower oil in a large, heavy based frying pan on a medium heat. When the oil is hot, carefully add the burgers to the pan. Fry on each side for 5-7 minutes, until the burgers turn a golden brown and are cooked through. Lightly toast the halved brioche buns under the grill. Spread a little mayonnaise on the bottom half of each bun, top with the burgers and pickled cucumber and a sprinkling of nigella seeds. Sandwich with the top halves of the brioche buns to serve. See more Salmon recipes


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|Message view
|« Date » · « Thread »
|« Date » · « Thread »
|Lucas Nodine <lucasnod...@gmail.com>
|Large File Storage
|Wed, 15 Sep 2010 15:03:22 GMT
Hello Users, I am planning a system where both metadata and data will be stored. Usually it will be small file such as word documents along with some specific data about the file. Sometimes, there will be a large file, possibly a few hundred meg - a gig such as video. I have read a lot about suggested methods for large file storage within Cassandra, but I want to verify my thoughts on the method of implementation before I start working on it. On June 29, 2009 Jonathan listed the task on JIRA ( https://issues.apache.org/jira/browse/CASSANDRA-265) - but closed it stating that it was not on anyone's roadmap On April 26, 2010 there was a posting to this group stating "During compaction, as is well noted, Cassandra needs the entire row in memory, which will cause a FAIL once you have files more than a few gigs." Shuge Lee. Currently, the Wiki has an entry explaining the handling, or more appropriately, workaround to handle Large BLOBs ( http://wiki.apache.org/cassandra/FAQ#large_file_and_blob_storage). Seeing as native support for large files is not expected, and the Wiki states that files <= 64MB can easily be stored within the database and knowing that during compaction, the entire row will be loaded into memory... 1) Is the appropriate way to handle files that greatly vary in size (1KB to a few GB) to break the data into smaller "chunks" and then store those chunks each into a seperate row? A) If so, how should it be done to accomplish the best read/write results? B) Is there a row size that should be considered a "sweet spot" or should it be able to be modified on a per cluster basis? 2) Does anyone forsee large blob support in the coming future? Thanks, - Lucas
|View raw message


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From exploring different emotions to adopting performance techniques other than the ones they applied the first time, Uncle Ben and Ms. Ige let the contestants know that the goal is to raise the bar higher than they had set it. It was important to surpass the expectations of the fans that chose to have them perform the songs again by putting in extra hard work.
Ms. Lovette's class on the other hand featured a recap of the past classes. She wanted to know the major choreography knowledge the contestants will take away from the competition. The contestants in turn shared various testimonials of their learning and growth experiences.
Click Academy Day 58 to watch.
Voting for the season will end in a couple of days (3PM, September 24th), but just before it ends, the contestant embarked on their last trip to The Beat 99.9FM as contestants to plead for votes.
Make sure you heed their plea by voting as many times as possible to secure your favourite contestant's spot as the winner or runner-up.
To vote on the website, text PF to 303 at N100. Watch your favourite contestant's probation video on the website and vote up to 6 times daily. To vote google.com.ng or google.com.gh, search for Project Fame and sign in with your google account to vote up to 7 times weekly.
Sending PF to 303 to get the PF Super Subscription not only allows you to watch exclusive Academy moments/vote for your contestants, you also stand a chance to win amazing prizes. Don't miss out!


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Pink Underwear Protest
The Consortium of Pub-going, Loose and Forward Women is a Facebook group formed to protest the actions of an Indian group called Sri Ram Sena (Army of Lord Ram). Members of the group were arrested for attacking women in a bar in Mangalore last month. The attack was caught on video.
Pramod Mutalik, who heads the little known Ram Sena and is now on bail after he was held following the attack, has said it is "not acceptable" for women to go to bars in India.
He has also said his men will protest against Valentine's Day on Saturday.
The Facebook group urges its over 28,000 members to send pink chaddis (underpants) to Mutalik's office on Valentines Day in protest. Link to story. Link to website. -via Arbroath
Newest 2 Comments
Now I'm not much of a joiner, but that's one facebook group I might have to get with.
Abusive comment hidden. (Show it anyway.)
Too bad their symbol is a giant pair of pink GRANNY PANTIES and not a smart pair of bikinis!
Abusive comment hidden. (Show it anyway.)


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Sign up for the Alpha Stamps Newsletter
(FREE Giveaways every Sunday and Thursday)
A great way to add dimension to posters, costumes, wall art and more. Also a great way to add dimension snow effects. Use it to write or draw on wood, plastic, paper, glass, resin, foam, fabric and more. Quick and easy to use, and comes with a handy plastic bottle with a protective seal and cap.
Allow to dry overnight. Dries hard, not tacky, is acid-free, non-toxic and cleans up with water.
Helpful hints: sprinkle with glitter while wet to make the snow looks glistening (or dab with Stickles Glitter Glue after dry). Also, as you can build up layers (and the "snow" dries rock hard) you can use this for caulking or sculpting on small collages.
2 fl. oz
Teri Calia made Shaker Ornaments (see the wide photo below). More info in the blog and/or see
the supply list.
- Art Projects
- Children's Book History:
- Grimms' Fairy Tales
- Mother Goose
- Graphic Design History


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In The News › New Orleans' reserve fund stands empty for second year in a row
Oct 26, 2011
Source: New Orleans City Business
Filed under: City Government, Governance, Orleans Parish
New Orleans' reserve fund stands empty for second year in a row
October 25, 2011
By Ben Myers
New Orleans City Business
For the second consecutive year, the New Orleans City Council is dissecting a budget proposal containing no reserves, leaving the city vulnerable to catastrophes and weakened bond ratings.
City budget policies aim for a cushion equal to 10 percent of expenses, a portion of which is meant to safeguard against emergencies. Landrieu's 2011 proposal envisioned meeting that goal by 2015 starting with a $2 million general fund balance in 2012.
Now the forecast shows 2017 as the earliest date to meet the 10 percent goal and a fund balance of $10.2 million next year.
The administration announced in June that last year's budget deficit was $25.1 million greater than previously known, forcing a series of mid-year cost reductions that wiped out hopes of creating reserves in the 2012 budget. That resulted primarily from higher-than-expected health care costs, Chief Administrative Officer Andy Kopplin said.
The mayor has presented the council with a $494.9 million spending plan for 2012. A reserve goal based on that budget would be nearly $50 million.
That fund balance currently stands at zero.
"If you don't have a fund balance, if you have an emergency, if you have terrible flooding or something like that, you don't have money on hand to deal with it," Bureau of Governmental Research CEO Janet Howard said. "Ideally you would have one in place, but when you are coming out of a $25 million hole, you have an issue of how fast you can rebuild."
Kopplin said the city is in better position now to manage emergencies because the city is living within its means. The health care costs amounted to a fiscal emergency, he said, albeit one that unfolded over months as opposed to a sudden natural disaster.
"The hangover from overspending habits was still present in (the 2011) budget," Kopplin said. "We've got the flexibility (to respond to emergencies) now because we have revenues and expenditures in balance."
The city's fund balance stood at $35.8 million at the beginning of 2009, but city spending that year under then-Mayor Ray Nagin exceeded recurring revenues by $120.5 million. Nagin made up a little more than half the difference with one-time sources, including federal disaster assistance, and the fund balance was wiped out.
That's partly why Standard and Poor's continues to rate the city's creditworthiness at "BBB," which is the weakest investment grade. Any future upgrades will depend on the city's ability to "restore and maintain sound financial operations," according to the agency's March report when it last affirmed its rating for New Orleans.
"We don't want a city to continually rely on (reserves) to balance their budget because obviously that shows there's some structural weaknesses," Standard and Poor's analyst Sarah Smaardyk said.
Many other cities are relying on reserves in an era of strained government finances, Smaardyk said, but they also tend to hold stronger reserves than what their policies require. On the upside, she said, maintaining zero dollars in the general fund balance for two straight years at least means the city is not ending the year in a deficit.
Kopplin said this is the first year since Hurricane Katrina that New Orleans will close out the year on budget.
Smaardyk said BBB is rare among cities, but that New Orleans has done well not to dip below investment grade, considering post-Katrina challenges. She also praised the Landrieu administration for being forthcoming with information on how it plans to build reserves in accordance with city policy.
"As long as we have open communication with the issuer and we know what's going on, we can feel comfortable," Smaardyk said.
Oct 26, 2011
Source: New Orleans City Business
Filed under: City Government, Governance, Orleans Parish
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Lady Gaga NOT "At War" With Super Bowl Halftime Show Producers, Despite Claim
Lady Gaga is NOT "at war" with Super Bowl Halftime Show producers over her decision to include specific lyrics from the song, "Born This Way," despite a new report. Gossip Cop can exclusively debunk this claim. We're told it's "untrue."
According to the repeatedly discredited RadarOnline, Gaga's performance during the Super Bowl 51 Halftime Show caused a "huge uproar" with the show's producers, after the star chose to sing a particular verse from her hit track, "Born This Way." The reportedly "controversial" lyrics included, "No matter gay, straight or bi. Lesbian, transgendered life. I'm on the right track, baby. I was born to survive." A so-called "source," however, tells the outlet, "She was not supposed to include that entire segment in the song. The producers were absolutely mortified."
The website's questionable insider further contends, "Lady Gaga was given strict instructions not to make any political statements during the show." "Gaga knew that she had to give something to her fans and to the world that would make her performance stick out. And it did," concludes the tipster.
But Gossip Cop investigated, and a rep for the singer exclusively assures us the report is 100 percent "untrue," as Gaga is not "at war" with Super Bowl producers over her song choices for the show. In fact, producers of the iconic halftime show were well aware of what Gaga intended to sing during her performance, and any reports claiming otherwise are simply false. Once again, the often disproven webloid has seemingly concocted yet another fake news story.


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Spiders are identified by their various physical, behavior and environmental attributes as well as their bites. By carefully observing the spider and comparing its characteristics to a database of likely spiders in the area, it is possible to identify it.Continue Reading
There are many types of indigenous spiders in Michigan. A good reference is essential to properly determining the type of a spider. The U.S. Spider database classifies spiders by region and state and has pictorial references.
Take a picture if possible. The colors, patterns and markings are important in identifying the spider. Spiders have four, six or eight eyes. Some spiders have thick hairy legs, but others do not.
Habitat and web shape can help to identify the spider. Other behaviors, such as whether the spider is aggressive, can also help determine the type of spider.


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Ever look at those fabulous outfits during a performance at the Metropolitan Opera and dream of taking them home? Or just marvel at the opulence of the curtains and chandeliers and find your imagination taking flight?
Dreams have become reality in an unexpected way. The Met has teamed up with Clara Kasavina, the beloved fashion house that has called New York City home for over thirty years, painstakingly crafting every luxurious handbag and piece of jewelry by hand in their Long Island City factory and showroom.
The Met handed over costumes in storage from productions of Don Carlo, The Merry Widow, and other operas. They added sections of the famed gold curtain of the Old Met, formerly at Broadway and 40th street, which was torn down in 1966.
And what did they get in return? A series of stunning handbags and clutches made from these materials in astonishing configurations, laden with crystal from the Old Met's magnificent chandeliers, all personally designed by Clara Kasavina and assembled lovingly by hand.
The "Olga" evening bag, for example, was made from the costume worn by mezzo-soprano sensation Sandra Piques Eddy in the Met's production of The Merry Widow. Then there is a series of bags from Verdi's Don Carlo, one a minaudière in brick red velvet adorned with gold braiding, another a small red velvet clutch with a crystal-encrusted frame.
It's time for another opportunity to witness the extraordinary partnership between the Metropolitan Opera and Clara Kasavina in action. On November 27th and 28th, come to the Met Shop between 12 pm and 8 pm to witness this collection of remarkable handbags and jewelry—and maybe meet the designer herself. Come see fashion and opera meet in an exceptional way!


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Sponsored By
LI Community Rallies Around Veteran Who Lost Both Hands Working At Penn StationThe volunteer firefighter, medic and coach survived more than a dozen surgeries, kidney failure and cardiac arrest.
Dealer Pleads Guilty To Manslaughter In Long Island Man's Opioid DeathA manslaughter conviction for selling drugs could be a precedent setting weapon in the war on opioids.
No Jail Time For Suffolk County Officer In Hit-And-Run That Seriously Injured MotorcyclistIt was a day of reckoning Wednesday for a Suffolk County police officer who now admits to a hit-and-run two years ago, and the victim was furious that the officer received no jail time.
Family Surrenders Illegally Bought Wolf After Animal Becomes AggressiveWild animals are for sale on the black market, and hundreds of people in the New York area buy them over the internet, drive out of state to pick them up, and illegally raise them as domestic pets.
2 Skimming Devices Found At Ronkonkoma Gas StationSuffolk County police were investigating late Tuesday after two skimming devices were found at a Ronkonkoma gas station.
Long Island Pizzeria Worker Allegedly Sold Cocaine In Parking LotA Long Island pizzeria employee is accused of selling more than pepperoni pies during his shift.
Ronkonkoma Subway Shop Latest Target In String Of Knifepoint Robberies On LI, Police SayPolice said a man armed with a knife walked into the Subway shop Tuesday and demanded cash. Investigators believe it's the same suspect who is wanted for other robberies in Suffolk and Nassau counties.
Pedestrian Killed In Suffolk County CrashPolice say Cynthia Chorzempa, 62, of Holbrook, was crossing Ronkonkoma Avenue in front of 132 Ronkonkoma Ave around 8:00 pm when she was struck by a 2011 GMC Yukon.
LIRR Service Restored After Train Derailment In New Hyde Park"I thank all of the employees who worked around the clock to restore train service so commuters can get where they need to go as easily and efficiently as possible," Gov. Andrew Cuomo said.
Service Restored With Delays On 3 LIRR Branches After Person Hit By Train Near Mineola StationLong Island Rail Road commuters are facing a messy morning commute after service on three branches was snarled Thursday morning.
Long Island Residents Say LIRR Project Damaging HomesNeighbors in one Long Island neighborhood said the double-tracking project by the Long Island Rail Road has caused major damage to their homes.
Arson Unit Investigates After Couple Narrowly Escapes House Fire In RonkonkomaA Long Island couple barely escaped a fire that some are calling suspicious.


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Break dancing has become very popular amongst teens and youths. The robotic movement is also so exciting and entertaining to watch. However it can be difficult to learn if you don't put in enough practice.
Do you want to learn how to break dance?! These tutorial videos listed in this post are one of the best break dance videos ever. They will show you all the secret moves and techniques to break dancing that you never knew. This video will also simplify the dance move for you. The break dance tutorial videos in this post are compiled from some of the best break dance choreographers in the world. Enjoy!
Download Break Dance Training Videos
LEARN THE ROBOT DANCE: Robot Stop by ElasticIllusion | Download HERE
Robotic POPPING Lesson by TheRussianTiger | Download Here
WAVING | How To Arm Wave by TheRussianTiger | Download HERE
How to Do the Robot aka Botting | Street Dance by HowCast| Download HERE
ROBOT DANCE TUTORIAL – FOR BEGINNERS | Download HERE