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Each spring at NOTY, we experience the Five Stages of Name.
First is anticipation. The mere prospect of moniker upon magic moniker triggers paroxysms of delight: Tis the night before Dionte Christmas. But then fear sets in. What if this is the year without a Barkevious Mingo, a Destiny Frankenstein, a Vanilla Dong? What if this year's NOTY doesn't live up to the glory of the past?
The fear subsides when we crack open the inbox -- it used to be a manila folder -- and peruse the names we've stored and ignored for months. Relief. We are Columbus sighting land. Armstrong setting boot on moon. Prometheus discovering fire. And if Prometheus's last name is -- well, if it's anything, really -- we are stoked.
Panic is next. How many emails? Five hundred? Six hundred? A thousand? How many names to verify? Price and Waterhouse, it turns out, are unavailable during tax season. (Send applications for 2011 NOTY Intern to firstname.lastname@example.com.) It seems an impossible task, clearing the onomastic Augean Stables, separating the DeJuan Wheat from the Rick Chaff.
But we click and click. And chortle and guffaw. And finish. Earlier we mentioned 278 nominees. Well, we accepted another five; good to have you, ShaMiracle Johnson. Four others were excised. Nicknames are out, Tiny Gallon and Munchie Legaux. And you, Gelo Orange? Fourteenth place in 2007 wasn't good enough?
And then we took the final 279 and we gathered -- this year, sadly, only two of us -- just blocks from the Supreme Court, in the event of an emergency cert petition for ballot inclusion. For three hours, we laughed and cried and dinged and whittled the field first down to 120 or so and then to the final 64 you're probably reading instead of this.
Pride. Joy. Accomplishment. Anticipation again: Who will be the 2010 Name of the Year?
Yes, we know, that last stage included four emotions. Whatever. Here's the ballot in printable form. It's part Pennsylvania Quakers, part David Letterman, all retro, all Bulltron Regional No. 5 seed Dirk Kool. Study. Analyze. Enjoy. Prepare to exercise your democratic freedom.
Online voting begins shortly.
A round of applause for twoeightnine design for this year's brilliant logo and ballot.


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"Coronation Street" actor Michael Le Vell charged with child sex offenses
London police have charged Michael Le Vell, a longtime star of the British soap opera "Coronation Street," with child sex offenses.
Le Vell, who has played mechanic Kevin Webster on the show for 30 years, faces 19 charges including rape and indecent assault. Police say the charges relate to offenses against a child between 2001 and 2010.
The 48-year-old actor, whose real name is Michael Turner, released a statement Friday saying he would vigorously contest the charges.
"I will now put all my efforts into clearing my name and proving my innocence," he said.
He was originally arrested and questioned in 2011, but released without charge. Prosecutors said Friday they had overturned that decision.
Le Vell is due in court on Feb. 27.
"Coronation Street," set in a fictional working-class district in northwestern England, is one of the most popular programs on British television.
Broadcaster ITV said Le Vell would not appear in any episodes of the soap opera pending the outcome of his trial.

subset: commoncrawl


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jaybearman needed a new logo design and created a contest on 99designs.
A winner was selected from 79 designs submitted by 33 freelance designers.
The goal is modern, corporate and professional with economics related icon. We are an agency, and thus we don't have time to provide feedback to those contestants who are beginners and whose designs that have no chance to get to the level we are looking for. We are looking for top-notch designers, and prefer those who have won contests before.
see scope in attachment
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Desired Color Scheme:
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Desired Style:
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Accepted File Formats:
Vector Formats (.eps, .pdf or .ai)
Files and scope document with full details can be downloaded at
 www.brainoverload.com/harris/logoscope.zip
Find out how a design contest works or learn more about our logo design services.


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Hi all. I've lurked around the pfhorums for a while now, after discovering the awesomeness of Marathon last year. After starting a network game club with Durandal maps at my school, and losing all my doom fan friends over which shooter is better, I'm thinking of working on a full scenario, though my toolkit probably needs some extras.
I'm running Windows 8.1 (gaming rig), and I have Sheepshaver with MacOS 9.0.4, and Basilisk II with OS 8.1. Forge for me gives an error and crashes if I try using M2 shapes file, idk why, different downloads still have that error. Weland doesn't work for me either, even with the dependencies, and Obed plain sucks. (Plus M295 doesn't work for me)
Am I able to make a full scenario with my setup? I dunno of anything other than Weland. I've got the misc editors for terminals and that on my MacOSes too. - Neon


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Anne Hathaway's drastic Les Mis diet left her starving at night
ANNE HATHAWAY was so hungry while she attempted to lose 14 pounds (6.3 kilograms) in 14 days while filming LES MISERABLES she couldn't sleep.
The dedicated actress lost a total of 25 pounds (11.3 kilograms) during filming so she could authentically portray desperate prostitute Fantine, who sells her hair and her teeth to survive.
She tells EW.com, "Before we started filming I lost 10 pounds and from the beginning of filming to when she (Fantine) is arrested, I had 14 days to lose 14 pounds, and I ended up losing 15. I lost 25 pounds total.
"I couldn't sleep. I was so starving, my body was keeping me awake at night, like it was telling me, 'Go look for food!' I was kind of in this otherworldly, slightly ecstatic manic state all the time.
"I had nothing else going on in my life, so there was no way to distract myself. At the end of a long day, I couldn't go home and comfort myself with a drink or with food. It was all Les Mis, all the time."


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You are here
Before and After: Bethenny Frankel's Remodeled TriBeCa Loft
Tour the remodeled Manhattan home of Skinnygirl Bethenny Frankel
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A 3,400-square-foot luxury apartment in Manhattan's tony TriBeCa neighborhood is a testament that dreams can come true. For Bethenny Frankel, it began with an inspiration book and culminated in the home—and ultimately the life—of her dreams.
The reality star turned Skinnygirl creator, business mogul, and soon-to-be five-time author cataloged a collection of favorite furnishings and design ideas when living as a single woman in a one-bedroom apartment long before her career-changing appearance on television's The Apprentice: Martha Stewart. "I made this book 15 years ago of things I wanted but never could afford," she confides.
The collage of ideas proved beneficial when she renovated her new three-bedroom, three-bath digs last spring on her Bravo reality show Bethenny Ever After. Fans watched the trials and tribulations of the design process play out on weekly episodes covering everything from selecting the perfect powder room tile to dealing with prickly contractor situations.
The old saying "all the world's a stage" is not a new concept for Bethenny; her life has been an open book for the past several years. A stint as one of the original Real Housewives of New York City (sans husband) led to her show as a mother (daughter Bryn is now 2) on Bethenny Ever After.
She hired New York designers and mother-daughter duo Mariette Himes Gomez and Brooke Gomez after seeing their work in a design book. The "Gomez Girls," as Bethenny affectionately calls them, are known for sophisticated and serene interiors filled with clean lines and neutral tones in comfortable and contemporary settings. "I loved the film Something's Gotta Give, which reminds me of their style," says the 42-year-old entrepreneur. "They are very high-end. I think I may have taken them out of their comfort zone!"
"It all started with the [starburst living room ceiling] light fixture," explains Brooke. "The inspiration book was the bible. It is very helpful to have clients know what they like. Bethenny wanted calm and a 'less is better' approach. She knew what she wanted, and there was no hesitation. And that truly drove the process as a whole."
Designing with a camera crew in tow was no doubt challenging, but the seasoned designers took it in stride. "We worked as a team and had fun. There were a lot of moving parts with the contractor, architect, etcetera—but at the end of the day we all worked well together," Brooke concludes.
The cream-and-beige palette in the open living and dining space is accented with pops of orange-red—a favorite color for Bethenny and the signature color for Skinnygirl. "Red is my lucky color and a power color," she says.
Furnishings are a mix of designer fabrics, custom wallpapers by Ted Tyler, and upholstery from Mariette's line at Hickory Furniture coupled with Bethenny's finds at Ikea, Restoration Hardware, and CB2. Many became plot points of the show—such as the purchase of the jewel-toned tile for the powder room and the American flag artwork, bought on the street in Soho. "I knew I wanted something from a vendor who was a New York artist," Bethenny says. Lack of clutter and practicality is the order of the day. "I am a use-what-you-have type. I am all about not having a lot of stuff I don't need."
Her pièce de résistance? The to-die-for den-turned-master-closet. A cloverleaf-backed chair and mirrored dressing table vie for attention with an enviable collection of Manolos, Jimmy Choos, Valentinos, and Birkin bags. ("Every girl has her vice," Bethenny says.) Clearly, it's her favorite room. "I wanted a closet like this my whole life, and finally, I don't have to shove things under the bed."
The epicenter for Bethenny's burgeoning Skinnygirl empire (ranging from wine and margaritas to skincare products) and her books (including The Power of Yes, health and fitness volumes, and her novel Skinnydipping) is the streamlined home office. Walls of off-white laminate with signature red accents (again, Skinnygirl colors) house hidden storage at the touch of a fingertip. With three work-stations and a makeup center, the office mirrors Bethenny's work ethic. "Every single inch is utilized, and it's very organized," she notes. "It's one of the most alive places in the apartment." Plus, there's the whimsy of a Skinnygirl surfboard and oversize gifts from pals Anderson Cooper (microphone) and Andy Cohen (martini glass).
Taking a page from Martha Stewart, her first TV boss, she sold her Skinnygirl line to Fortune Brands' Beam Global, landing her a cover on Forbes magazine as "one of the new celebrity money-makers." She also envisions a home collection one day, "with pieces that would be unique, limited, and affordable."
Next up? A daytime talk show—a natural for a woman who is a born talker. Produced by Ellen DeGeneres, "the show offers a fresh perspective and consists of topics [like] what women talk about when men are not around," she says. Her dream guests include Facebook founder Mark Zuckerberg and singer Pink; shows on her pet passions—healthy food and children's schools—are on her topic list.
How does she do it all? "I'm very organized and require everyone around me to be," says the type-A Bethenny. "My schedule is intense, and I am a multitasker. I do not procrastinate, and it's all about checks and balances. I just do it!" An accomplished woman for whom the word "yes" is a mantra, Bethenny's dreams shine brightly.
Photography: Joe Standart
Produced with Jo Ann McVicker
Architect: Marc B. Spector, Spector Group, 220 Crossways Park W., Woodbury, NY 11797; 516/365-4240, spectorgroup.com.
Interior design: Mariette Himes Gomez and Brooke Gomez, Gomez Associates, 504 E. 74th St., Suite 3, New York, NY 10021; 212/288-6856, gomezassociates.com.
Contractor: Stephen Fanuka, Fanuka Inc., 59-49 56th Ave., Maspeth, NY 11378; 718/353-4518, fanuka.com.
Dressing room design: Andrea Gary, Custom Closet Designer and Professional Organizer, 914/582-9225, andreagary.com.
BEFORE Living Room
Bethenny Frankel's empty living room before the "Gomez Girls" (as Bethenny calls the designers) brought it to life.
AFTER Living/Dining Room
A starburst chandelier from Bethenny's inspiration book was the starting point for the apartment's designs. Bethenny purchased the American flag painting that hangs by the dining table from a vendor in SoHo. The spiral diptych, seen on the opposite wall, is by Chuck Soldano.
Flag painting: by Brian Josselyn, 617/584-0864. Spiral diptych by Chuck Soldano, chucksoldano.com. Dining table ("Mercer Dining Table" #2445-76 and #2444-76); host chairs ("Flare Back Dining Arm Chair" #7651-10); side chairs ("Flare Back Dining Side Chair" #7652-10); chair fabric: Hickory Chair, 800/349-4579, hickorychair.com. Wall paint ("Cloud Cover" #OC-25); trim paint ("Simply White" #OC-117); column paint ("Hazy Skies" #OC-48): Benjamin Moore & Co., 888/236-6667, benjaminmoore.com.
Living Room Towards Sofa
Red-orange—the favorite color of homeowner Bethenny Frankel and a signature accent of her Skinnygirl line—can be found throughout the interiors of her New York City apartment.
Sofa ("Foster Sofa" #7644-51): Hickory Chair, 800/349-4579, hickorychair.com. Ottoman (custom design studio): The Shop, 212/288-4971, theshopnewyork.com. Pillows on sofa: Quadrille, 212/753-2995, quadrillefabrics.com. End tables ("47 Table" #20754): Design Within Reach, 800/944-2233, dwr.com. Club chairs ("Foster Chair" #7644-24):
Living Room Towards Bike
The loft's neutral palette is offset by colorful artwork in the form of a diptych by Chuck Soldano.
Carpet: Beauvais Carpets, 212/688-2229, beauvaiscarpets.com. Divan ("Porter Divan" #7657-86); club chairs ("Foster Chair" #7644-24): Hickory Chair, 800/349-4579, hickorychair.com. Pillow on divan ("Criss Cross"/Shrimp on Tint #AC403-17, by Alan Campbell); red pillow on chairs: Quadrille, 212/753-2995, quadrillefabrics.com. End table ("47 Table" #20754): Design Within Reach, 800/944-2233, dwr.com. Chandelier ("Black Nickel-Plated Tear Drop Sputnik" #6119): Venfield, 212/588-9436, venfieldnyc.com. Spiral diptych by Chuck Soldano, chucksoldano.com.
Missoni Bike
A Missoni bicycle, scored by Bethenny at an early-morning Target sale, is a conversation piece in the living room.
BEFORE Kitchen
There was plenty of open space to make use of in the kitchen and dining area.
AFTER Kitchen
The designers added a built-in banquette for casual seating in the open-plan kitchen.
Light fixture ("Clemson"): Restoration Hardware, 800/910-9836, restorationhardware.com. Banquette ("Bistro Banquette" #7635-56); banquette fabric; dining table ("Campagne Dining Top and Base" #9843-40 and #9844-10): Hickory Chair, 800/349-4579, hickorychair.com.
The white laminate office is the epitome of organization. A custom laminate cabinet displays Bethenny's Skinnygirl logo and beverage collection.
Desk chairs ("Aeron"): Herman Miller, 888/798-0202, hermanmiller.com. Carpet: Beauvais Carpets, 212/688-2229, beauvaiscarpets.com.
BEFORE Child's Bedroom
The walls in daughter Bryn's room were plain and lifeless before the designers took charge.
AFTER Child's Bedroom
With a whimsical monkey-patterned custom wallpaper by Ted Tyler and a plush pink chair and ottoman, this bedroom is fit for a princess.
Bed ("Jonah"); bedside table: Bellini, bellini.com. Wallpaper ("Monkey Business," custom): TylerGraphic, tylergraphic.com. Bedding: Annette Tatum, 888/655-1359, annettetatum.com. Upholstered glider and ottoman: Angel Song, 866/502-7582, angelsonggliders.com. Carpet: Beauvais Carpets, 212/688-2229, beauvaiscarpets.com. Window-shade fabric: Hickory Chair, 800/349-4579, hickorychair.com.
Child's Closet
Bryn's closet reflects her mother's penchant for organization. Colorful hooks provide hanging storage.
Master Bedroom
A soft-blue tufted headboard from Mitchell Gold + Bob Williams set the tone for the master bedroom. Rose-patterned custom wallpaper designed by Ted Tyler adorns the walls in shades of muted gray.
Bed ("Helaine Bed"/King #1269-075T-K): Mitchell Gold+Bob Williams, mgbwhome.com. Wallpaper ("Rose de Roi," custom): TylerGraphic, tylergraphic.com. Ottoman ("Bobbin Stool," Gomez Private Label): The Shop, 212/288-4971, theshopnewyork.com. Linens: owner's collection. Love seat ("Boudoir Loveseat" #7605-59); love-seat fabric: Hickory Chair, 800/349-4579, hickorychair.com. Bedside tables ("Berkeley Side Table" #BER-130-97): Bungalow 5, 212/947-1500, bungalow5.com. Carpet: Beauvais Carpets, 212/688-2229, beauvaiscarpets.com. Swing-arm lamps: Gracious Home, 800/338-7809, gracioushome.com.
Bethenny's Closet
Bethenny's favorite room in the apartment is a den-turned-closet, which houses an incredible collection of designer shoes.
Vanity ("Collette Writing Desk" #T1267-913): Bassett Mirror, bassettmirror.com. Vanity chair ("Alexandra Side Chair" #1516-23): Hickory Chair, 800/349-4579, hickorychair.com. Mirror ("Octagon Mirror"): Pier 1 Imports, 800/245-4595, pier1.com. Ottoman ("Tufted Victorian Pouf" #5018-89): Hickory Chair, 800/349-4579, hickorychair.com. Ceiling fixture ("Muse"/White #7864D22WH): Elegant Lighting, 888/388-3390, elegantlighting.com. Closets and storage: Andrea Gary, Custom Closet Designer and Professional Organizer, 914/582-9225, andreagary.com.
DETAIL Jeweled Bag
A jeweled bag on display in the spacious closet bears the eponymous Skinnygirl logo.
DETAIL Shoe
"Every girl has her vice," Bethenny says of her enviable collection of Manolos, Jimmy Choos, Valentinos, and Birkin bags.
Master Bathroom
Beautiful turquoise in the master bathroom gives it a spa-like feel.
Bethenny Frankel
With the loft redesign checked off her list, busy Bethenny Frankel now has plans to host a daytime talk show. How does she do it all? "I just do it!" she says.
Bar cabinet (custom lacquer "Skinny Girl" bar): Fanuka Inc., 718/353-4518, fanuka.com.
Interested in more great loft spaces? Click here to see a loft that got a lift.


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This website, created jointly by the Delius Trust and The Delius Society, is dedicated to providing resources and information relating to the composer Frederick Delius (1862-1934). Delius composed operas, works for chorus and orchestra, instrumental pieces, concertos, chamber music and songs.
The Delius Trust was set up in 1935 under the will of the composer's widow Jelka Rosen Delius. The Trust, which is funded by royalties from public performances of Delius's works, promotes the music of Delius and of British composers born since 1860 by giving help towards the cost of performances, publications and recordings.
The Delius Society was formed by a group of enthusiasts in 1962, the centenary year of the composer's birth. All members receive The Delius Society Journal, published twice-yearly, which carries articles about Delius, his life and his music. Branches in London and the Midlands organise talks, recitals and other events which feature the music of Delius and his contemporaries. With the aim of encouraging young musicians to investigate the composer's music, the Society organises an annual Delius Prize competition at a musical academy.
We hope you find this website interesting. If you have any comments, why not send us an email?
Delius Trust email: email@example.com
Delius Society email: firstname.lastname@example.com
Latest News
Northern Opera Group is planning a production of Delius's first opera Irmelin ...
Delius Society, email@example.com
Delius Trust, 13 Calico Row, Plantation Wharf, London, SW11 3YH. Tel: 0207 924 4250
Copyright © Delius Trust and The Delius Society 2010


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This isn't fun anymore. We thought we knew the games Girls played, and the rules, and in turn we played rulekeepers. For the first four episodes of this second season, we kept score: Would it happen? Would it never? Worst, did it happen to us? We did this because Girls had led us to believe in its believability and/or verisimilitude as organizing principle.
Well, now all we can say is: Nice move, Lena. The fifth episode feels not like television, but like a short, bittersweet film. We follow Hannah through two days in her life that are, perhaps, not in her life at all. We can't imagine them in ours. These are the unlikeliest, loveliest days, days that feel like she is always about to wake up, and if we're not wrong, what happens in these days will never be acknowledged on the show. But we might be wrong. We know that now.
Girls didn't change the game, but maybe, maybe it changed the rules. Let's play.
(Don't forget to click "next page" to scroll through the full recap. Four pages. We know you love us that much.)
by Sarah Nicole Prickett
It feels like yesterday I was saying that Girls makes me never want to be a girl again, but really it was four or five days ago, and in those days I spent a lot of time thinking about how to write myself older. Could I be wise, decisive, unafraid, terrifying, beautiful in my work? Would I then be all that in my life? But then how could my work and my life co-exist without this total millennial convergence? I'll end up a woman married to my work, and so then my work has to have its own shape, distinct from my self. Else it's not intercourse, just masturbation.
All these things I thought about, alone, and then I watched Girls, not alone, and twenty minutes in I thought finally I've caught this fucking city flu. But no. It's only that I relate to Hannah for the first real time and, to flip and reverse that Icona Pop song: I DO CARE. I HATE IT.
We begin at Grumpy's, outside, Hannah and Ray bantering sunnily. Hannah believes she has invented the word "sexit," as in, an exit made for the purposes of getting some… I think. I don't know. I don't much like defining words or having them defined, so I didn't listen to Hannah, just picked up her meaning in the context of the ep.
We go inside. Enter Patrick Wilson, handsome and chagrined. I surmise from the first Hannah-reaction shot that she's going to fuck him. Actually, for all this episode's one-off oddness, very little surprised me—and that's a common thing with Girls, and possibly, its one great trick. To think: Is the show predictable, or are we?
What happens next to Hannah, in this curiouser and curiouser trip into happiness, a trip plotted like the romantic comedies—from meet-cute to rescue to the twist—that Lena Dunham so loves? A frightening thing: She gets what she wants. Except, she didn't know she wanted it. How would she? We say "got what she wanted, didn't want she got," but that isn't true. What is true is a hard paradox: Nobody knows what she wants until she gets it.
"Don't tell anyone this," says Hannah, but—she wants to be happy.
"Everybody wants to be happy," says Patrick Wilson's character Joshua (not Josh).
Joshua is a 42-year-old doctor with a barbecue and a brownstone and those perfect, ever-full bowls of fruit that rest on gleaming surfaces. He's very handsome and exquisitely dull. He plays ping-pong. When Hannah talks, his expression is professional, and when she descends into rank confessionalism, it's while (because) he is stroking her wet hair as she lays curled in his lap, on his bed, underneath a large photograph of a more conventionally beautiful woman.
"I know that," says Hannah, and maybe I'm paraphrasing, forgive me, "but I thought I was different." She's not. "I want what everyone wants, I want what they want, I want all the things."
If there is anything I believe about "my generation" it is that we're more depressed than the generation before us, and that we're more depressed, in significant part, because we were conditioned to believe we were special. Depression is inter alia a failure to identify, is the dark side of individualism. Once you graduate from school, from arts programs, from first love, from whatever, how quickly "specialness" oxidizes into "isolation." And, how accelerated is this change when you decide to be, to become, a writer.
When at 20 I was hospitalized for three days (I've written a longer explanation of this here, but it doesn't really matter), I emerged with this fully formed mantra: My depression is not more special than anyone else's. I repeated it over and over, not understanding it was a contradiction in terms, or knowing that years later—fun!!!—I'd be found to have been misdiagnosed.
Hannah seems more like… self-diagnosed. She explains to a patient Joshua that she feels compelled to take on bad, painful experiences, in order to share them with the world, to save others. She tells him she read that Fiona Apple profile and—here I knew exactly what she was going to say, and curled into a ball on Dana's couch to escape it, but alas—like Fiona, just wants to "feel it all." Ooooooouuuuuuuch. Then, Hannah says that whether bad things happen to her, or whether she makes them up, the cause is the same. There's something broken inside.
And here is a thing you can't admit, there is no sense in admitting, until you're presented with a fix. With a doctor from a short story you wrote when you were eleven, maybe, or from a sublimated episode of your mom's soap opera.
With so much money that nothing ever gets dirty.
I loved Hannah's vulnerability here, the quick hard way she melted from precious unique snowflake into single pathetic tear. That was, in this least verite, most cinematic Girls ep, the REALEST THING.
And, too, I hated that Hannah's just been dressing up in nakedness this whole time. Some people have never had a choice to be clothed. Some people don't, like, choose to feel more, to suffer. I am not saying I'm one of them (although I often think that and so do the doctors!), but I am saying they exist and live and die hard, and it's unfair for Lena Dunham to sell them out so easy.
I hated also what Hannah took for happiness, though again I was not surprised. I've often felt this show to be secretly conservative, and here we see it, plain: Hannah's artistic bent is revealed to be pretension; her struggle, a ruse. What she's really about is this Nancy Meyers life. Aren't we all?
When Hannah walks away from these wish-fulfilling, fear-reifying two days, she walks alone. Yes, that "subverts" the romantic comedy model, and yes, she looks good doing it. But the feeling I got stuck with is that she is determined to be happy, if not in marriage, at least in a brownstone she'll own. Is this far enough from Sex and the City feminism, you know, the feminism that replaces a man with The Man? Is this any closer to… freedom? I think not. I think, never mind "happy" or "normal" or "safe." I just want to not have to own anything. I really wish.


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The Accounting Historians Journal Vol. 12, No. 2 Fall 1985 John H. Engstrom NORTHERN ILLINOIS UNIVERSITY and Randolph A. Shockley UNIVERSITY OF GEORGIA FINANCIAL REPORTING FOR THE GEORGIA COLONY Abstract: Stewardship reporting was an important tool in the establishment and development of the American Colonies. In 1732 the King of England created the Colony of Georgia as a haven for England's "worthy poor." A corporate trust was established to implement this purpose, and it was necessary for the trustees to account for the many private contributions to the cause as well as the grants from the crown. This article discusses the early history of the Georgia colony, presents a thumbnail sketch of Harman Verelst, the Trust's accountant, and illus-trates by example the financial reporting he developed for the Georgia Colony. King George II signed the charter for the new colony of Georgia on June 9, 1732, thereby creating a corporation unique in the history of the American colonies. It had been more than a hundred years since England had used a corporation as a colonizing device.1 However, events, public sentiment, and the founders' objectives combined to make the choice effective and practical. Three primary motives led to the establishment of the Georgia colony. The notion with which present-day Americans are probably most familiar is that Georgia was to serve as a haven for English debtors. Unfortunate debtors in English prisons were to be given a new chance in the colony. This idea proved very popular in England of 1732, for concern over prison reform was prevalent, and it was expensive to maintain the debtors in prison. James Oglethorpe, often honored as the "father" of Georgia, was a lead-ing critic of prison abuses and advocate of reform. There is little doubt that these sentiments created great public support for the colony. However, research has shown that few if any debtors actually sailed to Georgia.2 Instead, most of the early settlers given free passage to Georgia were either poor townsmen from England (not debtors) or European religious refugees who were carefully


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Posted: Oct 21, 2011
CAMBRIDGE, Mass.--The Harvard Gazette has profiled Newell Boathouse as part of its Hidden Spaces series. The piece includes a profile article and slideshow about Newell, home of the Harvard heavyweight and lightweight crews.
"Possibly nowhere on Harvard's campus is as untouched and nostalgic as Newel," Rose Lincoln writes. "Bridging the centuries, Newell's men impart a sense of ageless camaraderie, a perception of a torch passed. The longevity of Parker, the legacy of Newell, and the bar created by the Rude and Smooth team are just part of the history that is Newell."
Click here for the full feature.


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Notice of
Public Hearing
Lincoln to hold public hearing on possible closing of Pekin Street
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[June 13, 2014]
LINCOLN – The City of Lincoln
will hold a public hearing Monday, June 16, 2014, at 6:00 p.m.
to discuss the design plans for the Lincoln Depot grounds and the
possible closing of the Pekin Street railroad crossing downtown.
Architects and planners engaged by the Illinois Department of
Transportation (IDOT) will be on hand to explain conceptual designs
for the grounds and the process that would be followed if the City
determines it is interested in closing the crossing.
The City of Lincoln has been cooperating with
IDOT in their implementation of the high speed rail project along
the Chicago to St. Louis Union Pacific/Amtrak line. In the interest
of providing the best possible travel experience for Amtrak riders,
the City recently acquired the Lincoln Depot from private owners for
the purpose of restoring it to its 1911 glory and using a portion of
the building as a waiting station for high speed rail travelers.
Federal high speed rail funds will be used to finance the project.
IDOT has engaged architects, engineers, and consultants to assist
Lincoln in the planning of the Depot restoration.
At the City Council workshop meeting this past
Tuesday, Mayor Keith Snyder recommended that the City initiate the
process of closing the crossing for four primary reasons:
[to top of second column]
"According to the Illinois Commerce
Commission," Snyder said, "Pekin Street has the smallest number
of daily vehicle crossings of any of the seven Amtrak crossings
in Lincoln. We don't want to impede anyone's ability to cross
the tracks, but Pekin Street seems to be a logical candidate for
closure. The closing will benefit the restored Depot and access
to it. We will also continue to have four crossings in each of
the four blocks immediately to the south as well as a crossing
two blocks to the north."
The public is invited to attend the hearing
Monday evening to voice comments, pose questions, or simply gather
< Top Stories index
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text:
IUCN experts are joining forces with the oil and gas industry to tackle the risks associated with biofuel production, particularly the added stress it can put on dwindling global water supplies.
Biofuels—fuels derived from renewable biological resources such as plant crops—are gaining much public and scientific attention, driven by factors such as high oil prices, the need for energy security, and concern over greenhouse gas emissions from fossil fuels. But they can carry significant environmental and social risks, including impacts on food and water security. Well-planned and managed biofuel production can however contribute to a more sustainable energy future while providing opportunities for conservation farming, climate change adaptation and rural livelihoods.
For several years, IUCN has been involved in efforts to ensure that biofuels are produced sustainably and took part in a recent workshop aimed at developing global standards. Organized by the International Petroleum Industry Environmental and Conservation Association (IPIECA), the meeting, held in Rome, examined the implications of increasing biofuels use for water use and quality. It brought together representatives from the United Nations, academia, civil society, and industry to promote, debate, and assess the implications of biofuel standards for the fuels industry, and improve knowledge sharing and coordination.
Water is a critical input to biofuel production. As with many agricultural crops, water concerns for biofuel production includes the volume needed for feedstock production and processing. But other concerns including the impacts of effluents, such as nutrient-rich agricultural runoff and wastewater from processing, have to be considered. The extent of water impacts from biofuel production depends on feedstock type, geography, irrigation method, farming system, as well as the characteristics of the watersheds within the production and processing zones.
"Water use is an important consideration when developing sustainable biofuels, and should be considered in the context of optimising all natural resource uses so that biodiversity and ecosystem services are valued and protected," says Deviah Aiama, IUCN Bioenergy Programme Officer.
The European Union's Renewable Energy Directive requires biofuel producers to report on excessive water usage in regions of water scarcity. Existing voluntary certification schemes for sustainable biofuels appear to address water use and quality issues appropriately, however practical experiences of the implications for water quantity and quality remain to be seen. IUCN is involved in water and biofuel issues through its participation in the multi-stakeholder Roundtable on Sustainable Biofuels which is developing a certification system for biofuels sustainability standards, including for water use.
IUCN's Water Programme presented its experiences in engaging local communities and creating the background for good governance from an integrated water resource management perspective.
"Competing priorities and uncertainties make water allocation decisions a complex matter. With no shared commitment or legitimacy of decisions over water, people are less likely to comply and the risk of water shortages increases, including for biofuels producers," explained Stefano Barchiesi, IUCN Water Programme Project Officer while presenting the newest publication from IUCN's Water and Nature Initiative 'Negotiate, Reaching Agreements over Water'.
For more information please contact:


text:
jsquires needed a new logo design and created a contest on 99designs.
A winner was selected from 170 designs submitted by 64 freelance designers.
I'm looking to brand my photography business, Jason Squires Photography. I'd like a nice clean, sleek logo that is crisp and sharp.
Desired Color Scheme:
Nice solid colors would be great
Accepted File Formats:
Vector Formats (.eps, .pdf or .ai)
I've been shooting professionally for seven years, focusing primarily in the entertainment industry. I've started to expand what I shoot, and I want to come up with a new brand for myself, encompassing everything I shoot.
I shoot a lot of concerts, parties and red carpet events, but also: sports, weddings, kids, families, model portfolios, senior portraits, etc, etc. I don't need or want all of this worked into a logo, but I wanted to give you an idea of what I do. You can see a temp page up at my site currently, jasonsquires.com, with a couple samples of my work. My current entertainment porfolio exists at liveconcertpics.com.
I'm looking for a nice and simple logo with clean lines and edges. I'd like to incorporate my name, or simply my initials, JS. The name of the business is "Jason Squires Photography"
Find out how a design contest works or learn more about our logo design services.


text:
I know it's wrong to wish bad luck for any company that hasn't done anything wrong, but it can't be helped.
What's happened stinks like the rotten-egg smell of the sulfurous Warner hot springs my grandmother used to love to soak in back in the '50s.
If poetic justice is to be served, Pacific Hospitality Group, which recently bought Warner Springs Ranch at auction, will back out of the deal before escrow closes April 30.
Then the property will be awarded to the rightful owner (who just happens to be offering the most money).
Nothing against the hotel development company.
For all I know, Pacific is ready, willing and able to take the unpretentious backcountry resort, which so many families, including my own, have enjoyed through the years, to new heights of glory.
May Pacific make a killing … on their next deal.
Yes, money should talk, but so should North County's history.
Granted, it's romantic, but in my view the ideal stewards of Warner Springs Ranch are the offspring of Indians who were rounded up like criminals in 1903 and forced to leave the only homes they knew. With the stroke of a pen in Washington, the tiny Cupa tribe was turned at gunpoint into a procession of tearful refugees.
Legally branded trespassers in their own homes, the Cupans were marched to Pala, home of the Luiseno, the first time tribes were forced to share reservation land, an uneasy melding at best.
In the 19th century, many tribes shed tears on the trail to alien Oklahoma. In the third year of the 20th century, North County bore witness to its own Trail of Tears.
The blending of two tribes, Luiseno and Cupa, created the Pala Band of Mission Indians, for nearly a century a poor community along a remote section of state Route 76.
And then came the discovery of the equivalent of oil — Indian gaming. Money gushed into the reservation. Those who had been poor were now rich. The meek were inheriting the Earth.
Sadly, the Pala Indians have had to face the hard fact that money does not necessarily buy the source of their spirituality, ancestral lands.
Though Pala has spent millions fighting the planned Gregory Canyon landfill, located on a what Indians say is a sacred Luiseno site next to the San Luis Rey River, the dump keeps marching through the permitting process.
Meanwhile, Riverside County contemplates leasing landfills to Los Angeles County or a private company, a reminder that business conditions can change, offering new opportunities
How cool would it be if Gregory Canyon Ltd. were to realize that its financial model no longer worked next to Pala? The company could cut its losses and sell its property to Pala, which could keep its holy land for eternity.
Pipe dream of peace? Maybe.
The deep pockets and the political muscle of a trash giant may prove decisive in the landfill war.
Galling as Gregory Canyon is to Pala, however, an outside observer can understand how, over the last 20 years, it happened.
North County, it was widely assumed in the '80s, needed a landfill. Lobbyists worked the political system by putting Gregory Canyon on the ballot and winning countywide approval. The Indians appealed to Sacramento, came close, but ultimately failed to block Gregory Canyon on religious grounds.
Warner Springs Ranch, however, is a whole other matter. Bankruptcy is all about dollars and cents. It's about who has the money and who has the wherewithal to deliver the goods.
Pala had an offer of
$13.4 million on the table that exceeded Pacific's bid by nearly $2 million. In addition, it has a track record of running a North County resort.
For reasons buried deep in technical briefs, the bankruptcy judge awarded the prize to Pacific.
David Gee, one of 1,000 "owners" of Warner Springs Ranch, favored a sale to Pala. In retrospect, he finds the whole process mind-blowing.
"It's without a doubt in my 35 years of practicing law the most bizarre ownership relationship and challenging dissolution of that relationship that I have ever seen," Gee told a U-T San Diego reporter.
Bottom line, the spiritual claim of Indians upon ancestral land — and the offer of more money — did not sway the bankruptcy judge. The rationale is obscure and, one assumes, untainted by racial bias or hostility toward gambling.
At this point, the only obvious remedy is Pacific's failure.
That might be a short-term shame for the company, but it would go a long way toward absolving a long-term shame.
One of North County's saddest stories should have, 110 years later, a happy ending.


text: "The Next 48 Hours With B.o.B" is an original 2 part web series that goes behind the scenes during the album release week of "Strange Clouds" (buy it now). Part 1 follows B.o.B during the day before his album release. He visits "The View," BET's 106 & Park, Associated Press, Power 105.1 with DJ Clue and Hot 97's Funkmaster Flex. The Next 48 Hours is an original production by AllHipHop.com, JumpOff TV and Tantrum Productions.


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text:
Tigers Fall Flat In 4th Straight Finale
Clemson Team Notes (CU SID) * Clemson Athletic Director Dr. Terry Don Phillips dotted the 'I' before tonight's game. * Tonight's meeting between Clemson and South Carolina was the 110th of the series. * Clemson received the opening kickoff for the 11th time in 12 games. The only game that Clemson did not receive the opening kickoff this season was the Furman game. * The game-time temperature for tonight's game was 48 degrees. That is the coldest game-time temperature for a Clemson-South Carolina game since 2005 when the game-time temperature was 47 degrees. * Clemson finished the regular season with a 1000-yard rusher, a 1000-yard receiver and a 3000-yard passer. Tajh Boyd has thrown for exactly 3,550 yards, Andre Ellington has rushed for 1,031 yards and DeAndre Hopkins has 1,214 receiving yards this season. * Clemson recorded four sacks in tonight's game. That is the most since the Florida State game this season when Clemson had five sacks. It is also the third time this season that the Tigers have had at least four sacks in a game. *Clemson set the school season record for total offense tonight. Clemson needed 280 yards to reach the record and gained 328. Clemson now has 6220 for the year. *Tonight's Clemson vs. South Carolina game was the longest in history in terms of time. The game took 3:32 and the previous high was 3:28 in 1999. *Clemson did not score in the second quarter this evening for the first time all year. Clemson has scored 194 points in the second period this year, most in school history in any quarter. *South Carolina had possession of the ball for 23:19 in the second half. Clemson Individual Notes * DeAndre Hopkins caught a touchdown pass from Tajh Boyd in the first quarter of today's game. With that touchdown reception, Hopkins has had a touchdown reception in nine straight games, an ACC record. The previous record was eight games by Virginia's Herman Moore in 1990. *Hopkins established an ACC mark for most games catching at least one touchdown pass. Tonight was the 11th game he has had caught at least one touchdown. The previous ACC mark was 10 set by Herman Moore of Virginia in 1990, Peter Warrick of Florida State in 1998 and Leonard Wilkerson of Miami in 2010. * Hopkins finished the regular season with a school-record 16 touchdown receptions this season and 25 touchdown receptions for his career. He needs just one touchdown catch to tie the ACC record, 17 by Clarkston Hines of Duke in 1989. He was coached by Steve Spurrier that year. *Hopkins will enter the bowl season needing just six receiving yards to break Sammy Watkins season receiving yardage record. Watkins had 1219 last year and Hopkins has 1214 this year. * Tajh Boyd threw a touchdown pass in the first quarter to give him 34 touchdown passes on the season. That is a Clemson single season record for touchdown passes in a season. Boyd broke his own record of 33 touchdown passes in a season that he set last season. He also extended his touchdown responsibility record. He has 34 passing and nine rushing for 43 total. *Boyd's nine rushing touchdowns are the most by a Clemson quarterback in a season since Woody Dantzler had 10 in 2001. * Andre Ellington rushed 15 times for 72 yards in tonight's game, which gives him 1031 rushing yards for the season. He now has back-to-back 1000-yard seasons. He is just the fourth player in Clemson history with two 1000-yard seasons. The others are James Davis, Woody Dantzler and Raymond Priester. * Xavier Brewer recorded a career-high 12 tackles, including one sack and two tackles for loss, and recorded his second interception of the season. The last Clemson player to record an interception and a sack in the same game was Rashard Hall, who did it against Boston College in a game at Clemson in 2009. *Jadaveon Clowney set a Memorial Stadium record this evening with 4.5 sacks and tackles for loss. He broke the opponent record in both categories. The previous record for tackles for loss was four by Ross Browner of Notre Dame in 1977 and Bruce Smith of Virginia Tech in 1984. Both of those players are in the College Football Hall of Fame.


text:
David Matthews needed a new logo design and created a contest on 99designs.
A winner was selected from 80 designs submitted by 19 freelance designers.
Spreadsy is a local deal site that features one amazing deal to be used in your city everyday. Our deals are primarily focused around social activities but range from discounts off food and beverages, to spas, massages and skydiving. So basically anything!
Unlike other group buying websites (townhog.com, groupon.com, socialbuy.com) we incentivize our customers to sign up for new deals by guaranteeing them a 100% discount if they share the deal with five others who end up purchasing it. In essence, we're trying to get people to "spread" the word and we're rewarding them in the process.
Our target audience is mostly men and women ages 20-35.
Here at Spreadsy we like to keep things simple. We much prefer simple and seamless to flashy and in your face. The logo will most likely be placed in the top left-hand corner of the page (see mint.com/townhog.com/groupon.com) and will be the first thing that viewers see when they visit the site.
Also, please provide the following tagline somewhere within the logo: "Local Deals Worth Spreading"
I've included an image of what I refer to as a "Web 2.0" logo (but really what do I know, I'm a business dude). I particularly like how the words appear to be suspended in air.
Please be as creative as your wish and good luck!
Find out how a design contest works or learn more about our logo design services.


text:
wastedpapiers wrote: A small tribute on my audio blog for those of you who know where to find it. Michael
If you don't want to tell us where the hidden treasure is, Michael, I don't need to know that it is there. It sounds as though the initiates will have the map.


text:
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text:
© - Steven A. Cerra, copyright protected; all rights reserved.
Very few people have done as much for Jazz or have been as important to the music and its makers as Norman Granz.
Many of the reasons why this is so are explained and recounted in the following essay by
Gene Lees which is excerpted from his biography Oscar
Peterson: The Will To Swing [ : Macmillan, 1988] London
It is a privilege and an honor to have
Gene Lees and Norman Granz – two of our enduring heroes – features on these
© -
Lees, copyright protected; all rights reserved.
From the time they first met, Oscar Peterson … never made an important career decision without consulting Norman Granz. With the possible exception of the long association of Louis Armstrong with Joe Glaser, there has never been an instance in jazz of so long a relationship between an artist and manager, and certainly not one involving so close a personal friendship.
In 1955, noting that jazz had achieved in a short time a notable degree of acceptance as an art form, with a jazz course instituted at North Texas State University, the appearance of Oscar Peterson at the Stratford Shakespearean Festival in Canada, performances by Dizzy Gillespie in Yugoslavia and by Louis Armstrong in Africa's Gold Coast (later Ghana), Leonard Feather wrote in Esquire magazine:
"That jazz, which a decade ago was hardly ever heard in a concert hall, far less recognized by the U.S. government, could have reached this summit of prestige and propaganda value was astonishing to some, incomprehensible to others. To many observers, however, it may have seemed like nothing more or less than a logical outgrowth of the efforts on the part of one man to launch jazz as an international commodity. The man in question is Norman Granz, an irascible, slangy, expensively-casually-dressed, impulsive, epicurean, much-hated and much-loved man who, at 38, is not only the world's foremost jazz impresario, but also can claim to have made more money exclusively from jazz than anyone else in its relatively short and turbulent history.
"Granz, who has often stated that his objectives are, in the order of their importance, to make money, to combat racial prejudice and to present good jazz, is an enigma whose many-sided character is known only to a few friends, mostly musicians who have worked for him over an extended period."
He has been described as a tight man with a dollar and bearer of grudges. His relations with the press have sometimes been abrasive. Ted Williams, the great jazz photographer who was then on staff at Ebony, recalls that once in
, angry for some reason at press
photographers, Granz imposed the ingenious punishment of covering the
spotlights with red gels, knowing that black-and-white film will not register
red light. So the cameramen were effectively barred from photographing the
concert. Many people, however, cite examples of Granz's generosity,
particularly to musicians whose work he values. Chicago
Oscar once said, "
is shy. People mistake this for arrogance." Norman
Granz is tall - six feet - and good-looking. His hair had thinned by his thirties. His eyebrows, which have repeatedly been described as Mephistophelean, curl up at their outer ends. Leonard Feather, in his Esquire portrait, noted his expression of "aloof disdain" and the succession of "pouting blondes" in Granz's life.
Granz was born in
Los Angeles August 6, 1918, which makes him, like Oscar, a Leo. His
family at the time lived near the Central Avenue area. They moved down the coast to , where his father owned a department
store, and later to the Long Beach district of central Boyle Heights , a lower-middle-class area, where the
family knew straitened circumstances after his father lost the store in the Depression. Los Angeles
Granz reminisced about
to Feather, saying it was "predominantly a Midwestern community in its
thinking. We were one of about half a dozen Jewish families in the whole city.
I remember there used to be a gag about all the retired businessmen from Long
Beach settling in Iowa . And I think I remember the Ku Klux Klan
used to parade there in their nightshirts. But I don't recall that it had any
influence on me at all at the time. I suppose that the reason I can mix so
easily with minority members arose from my playing with the kids on Central
Avenue, when it was a heterogeneous district with all minorities represented.''
Granz says of the later part of his youth, "Mickey Cohen and I came from
the same area in Long Beach . Mickey Cohen became a gangster; I didn't.
Nobody forced him to become what he became." Boyle Heights
Granz was graduated from Roosevelt High in
in 1935. He went to work in a brokerage
office to earn the money to study at UCLA. "There was never enough money
for a car," he told Feather, "so I spent the better part of my life
in buses and streetcars. During daylight-saving time, with a three-hour time
difference (between Boyle Heights and Los Angeles ) and Wall Street opening at ten, I'd have
to be at work at to get the board clean for a opening. In those days the clerks worked
with chalk and chamois; we had no automatic boards. And during that time I
played basketball at UCLA and stayed up at nights studying." Granz picked
up invaluable financial insights during his days in that brokerage house. New York
Granz joined the United States Army Air Corps some months prior to
Pearl Harbor. "The war was already on in Europe," he told me in 1987. "And I
felt we would be drawn into it. They were putting out notices on the campus
that if you enlisted, you could choose your branch of service. So I enlisted.
It was obvious in the days after Pearl Harbor that I wasn't going to become a pilot. They gave you a choice. You
could become a bombardier or get out of the Air Corps and wait for your draft
"So I took my discharge. I went to
and discovered New York 52nd Street."
At the time,
52nd Street was like some kind of incredible fermentation
vat for jazz. It was possible for Granz to walk from one club to another to see
one great jazz player after another - many of whom he would later produce on
"Then I came back to
," he continued, "and began to book my jam sessions at
the Trouville Club. I got drafted about May, and I got Basie and Nat Cole to
play for the draftees. Then I got shipped to Los
Angeles . I applied for officer's training. They
did an IQ test on you and another for mechanical aptitude. I proved to be not
very mechanical, but I apparently got a good score on the IQ and it looked like
I was going to go to officer's training. The army was very segregated in those
days, and I had begun to mix with a lot of the black GIs. My reputation for
that had already begun with the night-clubs. And I found out I wasn't going to
officer's training. Texas
"As a company clerk, I had access to a lot of literature. I came across a regulation that said if you had applied for officer's training and been rejected, you could apply for a discharge on the grounds that if you weren't good enough to be an officer you weren't good enough for the army, which I thought was extremely strange reasoning. But I applied for it and got my discharge in 1943 and started my things in
." He was twenty-four years old. Granz had been a
big-band fan until he heard the famous Coleman Hawkins record of Body and Soul in 1939. This remarkable
recording was one of the harbingers of the bebop revolution that would arrive
within five years. In any case, it was Granz's introduction to small-group jazz
at its most creative. Los Angeles
But his reason for becoming an impresario, he has repeatedly said, was less a love of music than a sense of social outrage. Though black jazz musicians were playing all over
, they were doing so largely before white
audiences - many places would not let blacks enter as customers. This condition
existed in Los Angeles City, and most American cities. In Chicago, Kansas , the discrimination was as fully
institutionalized as it was in the American South: it was the firm and simple
policy of night-clubs not to admit black patrons. And, as we have noted, the
same policy often applied in Canadian clubs and dance halls. Los Angeles
Granz had been presenting occasional jam sessions at the Trouville Club, in the Beverly-Fairfax area of
. He was particularly disturbed by the
tears of Billie Holiday after its management refused to let some of her black
friends come in to hear her. Los Angeles
Finally, Granz went to Billy Berg, a well-known night-club operator, with a proposal. Granz was aware that a new union ruling required that regularly employed musicians be given one night a week off. "Give me Sunday nights when the club is dark and the house band is off," he told Berg, "and I'll give you a jam session and a crowd of paying customers." Berg expressed interest.
Granz attached three conditions to the deal. First, rather than use drop-in musicians playing for pleasure, he wanted the players to be employed and paid, which would allow him to advertise them in advance; second, tables were to be placed on the dance floor, which would make it impossible to do anything but listen; third, the club would be opened to black as well as white patrons, and not only on Sunday night but all week. Berg agreed.
"I think the cats got $6 each," Granz recalled. "And those were good days for getting musicians in
. Duke Ellington's band was around town; Jimmie Lunceford's
men were available; Nat Cole, who had the trio at the 331 Club, was my house
pianist; Lester Young and his brother Lee were regulars." Los Angeles
Drummer Lee Young described Granz at that time as "a real Joe College type, with the brown-and-white shoes, the open collar, the sweater and the general Sloppy Joe style; he was just a guy that was always around, and at first we wondered what he did for a living. He was a lone wolf. We'd drink malteds together - neither of us ever drank liquor - and before long I'd be going over to his side of town and he'd be visiting mine, and we'd be playing tennis."
The late Nat Cole knew Granz as far back as 1941. "He'd bring a whole bunch of records over and we'd listen to them together and have dinner," Cole told Leonard Feather. Cole's stature as a singer has completely overshadowed his importance as a pianist. Cole was to have an enormous influence on Oscar Peterson, and on Bill Evans as well, which fact alone defines him as one of the substantial formative forces in jazz history. He had not begun to sing when Granz first knew him. Cole said: "He had that sloppy Harvard look, and even in those days he wouldn't knuckle down to anybody. A lot of people disliked him, but I understood his attitude; he just knew what he wanted and exactly how he was going to get it. I remember when the booking agents used to call him a capitalistic radical, which of course wasn't right."
Sunday became Billy Berg's most lucrative night of the week, a success that was not unnoticed by other club owners. Other clubs had different dark nights, and Granz set up a circuit of them for his musicians, putting himself in an advantageous situation with owners, for whom he made money, and with musicians, whom he was able to offer four or five nights of work a week.
In early 1944, Granz initiated a series of jazz concerts at a place called
in Music Town South Los Angeles. He presented, along with his regulars,
musicians from visiting bands, including the tenor saxophonist Illinois
Jacquet, at that time known chiefly for his work with Lionel Hampton and Cab
At this time, twenty-one young Chicanos had been arrested after what the press called the "Zoot Suit Riots," charged with murder, convicted, and imprisoned in San Quentin. The case became a cause celebre in southern
, and a defence fund was established. Granz
remembered: "There were so many kids accused that it smacked of a
prejudice case. Orson Welles and Rita Hayworth and a lot of other California Hollywood people were involved in the thing, which
was called the Sleepy Lagoon Defense Committee. I didn't even remember where
Sleepy Lagoon was, and I didn't know what the hell was going on with the case,
but it did seem to be a prejudice case, and this was a chance to try out one of
my ideas, which was to put on a jazz concert at the Philharmonic."
The concert was held at Philharmonic Auditorium on a Sunday afternoon in July. The cast of musicians included Nat Cole, who was on the verge of enormous commercial success; Les Paul, then known as a jazz guitarist, who would later sell his highly commercial overdubbed guitar-and-vocal records in the millions; pianist Meade Lux Lewis, one of the great boogie-woogie masters; and saxophonist Jacquet, whose screaming high notes, according to Down Beat, sent the audience of young people wild. The concert raised $500 for the Sleepy Lagoon Defense Fund.
For the rest of that year Granz presented Jazz at the Philharmonic as a monthly event. The following year, as World War Two approached its end, he took his company of players on a tour of the West Coast, which got as far as
- and heard Oscar for the first time, on a
juke-box. "But it broke me," Granz said. "I had to hock everything
I owned to get the musicians back." It should be noted that other
impresarios in similar conditions have been known to leave their artists
stranded. It is also notable that Granz by now had something to hock. Victoria, British Columbia
His reverses were temporary. He was about to become a significant factor in the record industry.
Granz had tried to sell various companies on releasing material recorded in his Jazz at the Philharmonic (JATP) concerts. Experienced record men thought the idea was ridiculous - you didn't put out "live" recordings of concerts complete with applause and other audience noises.
Granz went to
carrying a stack of his JATP recordings.
This was before the general use of electromagnetic tape in the record industry,
and the music was on bulky twelve-inch acetate discs. He opened the Yellow
Pages of the telephone directory at record companies, the first one of which,
in the alphabetical sequence, happened to be Asch Records, owned by the late
Moses Asch. Granz telephoned him and made an appointment. He was trying to sell
records from another session he had supervised, this one by singer Ella Logan.
Asch had no interest in this material but, as Granz was about to leave his
office, asked about the other batch of records he was carrying under his arm.
Granz unwrapped and played How High the
Moon from one of his JATP concerts. "Asch flipped," Granz
recalled to Feather. "He put the records out as Volume One of Jazz
at the Philharmonic, and it was incredibly popular. I imagine it sold
about 150,000 albums, but I never got an accounting, because Asch eventually
not only lost the rights, he lost his whole company." New York
The record, which featured a long solo by Illinois Jacquet and the drumming of Gene Krupa - billed as "Chicago Flash" because he was under contract to another label, though most young jazz fans knew who it was - had an enormous impact. This was the first jazz-concert recording ever issued. (The recording of the famous Benny Goodman 1938 concert at Carnegie Hall was not released until 1950.) And How High the Moon became for a time a sort of national anthem of jazz.
The period saw the sundown of the big bands and rising interest in small-group jazz played by veterans of those bands. Granz was the right man at the right place at the right time to take advantage of the situation. One of the main causes of the decline of the big bands was the spreading business failure of the ballrooms and dance pavilions that operated on the outskirts of cities all over North America, which in turn was caused by the conspiracy of automotive, tire, and road-building interests to buy up and dismantle the superb interurban trolley systems that, among other things, carried young audiences to those locations. Jazz had to take to the night-clubs in small-group formats: there was nowhere else for it to go, excepting concert halls.
And it was Granz who opened their stage doors for jazz musicians. He was the first producer to present small-group jazz with the emphasis on improvisation, as opposed to the orchestrated big-band form of it, in a touring company. After the success of How High the Moon, Granz's players began criss-crossing the continent.
In 1947, when he was twenty-nine, Granz met a tall blonde girl named Loretta Snyder Sullivan, who was passing out leaflets at a JATP concert in
. Granz proposed to her the next night.
They were married almost a year later, and in 1949, in Saginaw, Michigan , she became the mother of his daughter.
They were divorced in 1952. Loretta later complained that he never took his mind
off his business. Detroit
"Moreover," she told Feather, "I was ill-advised enough to tell him I disliked some of his records."
From the very beginning, Granz was criticized for appealing to the lowest level of jazz-audience taste, with emphasis on the high-note tenor of Illinois Jacquet and, later, drum battles between Gene Krupa and Buddy Rich.
"The critics used to review the audience as harshly as the musicians," Granz told writer John McDonough in an interview published in Down Beat in 1979. "They criticized them for cheering too loud, whistling too much and so on. And they accused the musicians and myself of soliciting this kind of behavior from the crowds.
I used to answer reviews like that, because they ignored so many other aspects of the presentation. They said Illinois Jacquet and Flip Phillips played differently in the jam sessions than they did with [Lionel] Hampton or Woody Herman. That was nonsense. Critics would ignore a set by Lennie Tristano, hardly a panderer to public tastes; a set by Ella Fitzgerald, who did mostly ballads; or a set by Oscar Peterson or the Modern Jazz Quartet."
Granz would sometimes stride angrily onstage and tell an audience the concert would not continue until they became quiet. The jazz fans of
are notoriously unruly, and Granz had one
of his most memorable confrontations with a crowd there, at the Theatre des Paris Champs Elysees.
Clarinetist Buddy de Franco was performing with the Oscar Peterson Trio. "The French felt that no white man could play jazz anyway," Granz said as he recalled the incident. "Buddy got into a solo on Just One of Those Things" - Granz always remembers what tune was being played at the time of any given incident - "and just couldn't get out of it. That happens to people sometimes. It was a very fast tempo, and Buddy just kept going. The trio started to exchange glances. The audience began to get restless, then they started whistling and throwing coins. I don't know how they stopped it, I think Oscar just went clunk on the piano and ended it. Buddy came offstage just shaking, he was very hurt. And I got mad.
"I got out a chair and went out onstage and sat down. First of all, I told them I wasn't going to speak French to them. And then I said, 'Okay, and I'll tell you something else. You paid me a certain amount of money for two hours of music. I already have your money in my pocket, and I am not going to give it back. This concert ends at . Whether you want to listen to this yelling or to music is up to you.' And gradually they began to shush each other up, which is the way it had to be done, and the concert went on.
"I had a number of friends at that concert. One of them was the screenplay writer Harry Kurnitz. He said to me afterwards, 'I've never seen anything like it. That's the first time anybody ever got the best of a French audience.'"
In 1955, Granz said, "I don't like to talk about exciting an audience, because it always implies melting. Jazz has always been, to me, fundamentally the blues and all the happy and sad emotions it arouses. I dig the blues as a basic human emotion, and my concerts are primarily emotional music. I've never yet put on a concert that didn't have to please me, musically, first of all. I could put on as cerebral a concert as you like, but I'd rather go the emotional route. And do you know, the public's taste reflects mine - the biggest flop I've ever had in my life was the tour I put on with some of the cerebral musicians like
Dave Brubeck and Gerry Mulligan."
That statement takes on a certain irony when read today: not long thereafter the
Dave Brubeck Quartet became so hugely successful
that it made the cover of Time and
fell under criticism for "being commercial." And Gerry Mulligan would
become comparably popular; Granz would himself record Mulligan.
In earlier times, jazz was kept firmly segregated: white players never appeared onstage with black players, except in after-hours clubs where they could go to jam. The first integrated orchestra was organized in 1937 in Scheveningen,
, by Benny Carter, who used white European
and black American and Holland Caribbean jazz players. Within a few years, Benny Goodman was featuring
Lionel Hampton, Teddy Wilson, and Charlie Christian with his band, Artie Shaw
hired Hot Lips Page, and Tommy Dorsey hired Sy Oliver - all examples of black
players joining white bands. Finally, Count Basic hired Buddy Rich, an early
example of a white player in a black band, and Dizzy Gillespie from his early
days as a leader manifested indifference to color in his hiring practices.
Granz perceived that integrating the performers was not enough: audiences had to be integrated as well. And he used the economic power that JATP gave him to do it. Promoters seeking to book his concerts were presented with contracts forbidding discrimination at the door. JATP played the first concert for an integrated audience in the history of
. Granz cancelled a Charleston, South
Carolina concert when he learned that while blacks
were being sold tickets, they would be segregated from the white audience. He
put his artists up at the best hotels, often hotels that had previously been
barred to blacks, and moved them from one engagement to another by airline,
rather than the long dreary bus rides that are among the many ordeals of the jazz
life, and on at least one known occasion he chartered a plane to get his
company out of a southern city after a concert rather than let it spend a night
under Jim Crow conditions. New Orleans
In 1947, Granz set up the first of what would prove to be a series of record companies, Clef Records, which was distributed by Mercury Records, a
company. He commissioned the brilliant
graphic artist David Stone Martin to design the album covers of the new label.
Martin turned in a memorable series of pen-and-brush drawings in his
distinctive spidery line style, which had a curiously improvisatory quality
that suited it well to the subject matter and made him as famous among jazz
fans as the musicians he portrayed. Martin's vivid drawing of a trumpet player
in the throes of creation, seen from a low left angle, became the logo of Clef
Records. And Granz too became as famous as any of his artists. Chicago
This, then, was the formidable figure, a tall, good-looking, very famous self-made millionaire at thirty-one, who came to hear Oscar Peterson at the Alberta Lounge, and took him off to Carnegie Hall in September 1949.
In the aftermath of the Carnegie concert, Granz, already Peterson's manager, had many offers for the pianist's services. He passed them up, urging Oscar to return for the time being to
. Canada
He said, "I think you've done it now, but let's just cool it. Let's do this properly. I want to find out first what direction you want to go in. Then we'll sit down and talk sensibly about the things I think you should be thinking about doing. There's plenty of time. You've done it now, you've garnered the attention."
And Oscar went home to
- with a partner. Ray Brown." Canada


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Hampton Inn Duck properties are listed below. Search for cheap and discount Hampton Inn hotel rooms in Duck, NC for your upcoming meeting or individual travels. We list the best Hampton Inn Duck properties so you can review the Duck Hampton Inn hotel list below to find the perfect place.
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text: The Strides for Hope Marathon Team recently raised over $25,000 for The Wellness Community of Delmarva. Each participant ran or walked in the 2009 Country Music Marathon held in Nashville, Tenn. Members included Lisa Layton, Rachel Cherrix, Tracy McMenamy, Madison O' Leary, Mark Shipley, Cassie Anderson, Kelly Messick, John Anderson, Ivan Barkley, Harlan Eagle, Tom McMenamy and Bill Harman. Submitted Photos


text:
Thrive1 needed a new logo design and created a contest on 99designs.
A winner was selected from 48 designs submitted by 22 freelance designers.
Although the product is targeted to high stakes exam takers (i.e. bar exam, medical boards, GMAT, LSAT, MCAT, etc.), the logo I am looking for should focus on the "thriving" aspect of the name, NOT the "exam" aspect.
Desired Color Scheme:
something bright, soothing and inviting--think Success!
Desired Style:
I leave that to your very capable creative minds!
Accepted File Formats:
Standard Web Formats (.jpg, .gif or .png); Vector Formats (.eps, .pdf or .ai); Layered Formats (.psd or .tiff)
Thanks to the great design ideas received in my first contest posting, I have figured out that the message I am looking for the logo to convey is that the product helps students reach their goals. I would like a design that is clean and uncomplicated--all the materials that make up the product are concise and simple to implement into a study routine, and the logo should visually convey a message of success. It should be bright, soothing and focused--think " thriving" i.e. exuberance, success, reaching one's goals, growth, suns, mountain tops, reaching for the stars, etc. I am NOT looking for motar boards, pencils, notebooks or other images traditionally associated with "exams." This is an on-line based product, so cool cutting edge works as well, but still must be "inviting." I am looking forward to round two--thanks in advance!
Find out how a design contest works or learn more about our logo design services.


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3 decomposed bodies found inside Orlando home
Orange County deputies investigate deaths
ORLANDO, Fla. – Orange County deputies continue to investigate Monday after three decomposed bodies were discovered inside an Orange County home.
The bodies of a man, woman and child were found Saturday inside a house at 10675 Mere Parkway in the Eagle Creek Golf Community. Deputies said they were called to the home around 11 a.m. Saturday to conduct a well-being check on the residents.
The home's owner Gerald Mastro told Local 6 he rents out the home and for the last five years a family, originally from Brazil, lived there. Mastro believes the victims deputies found are his residents Marcio Luiz Ferraz do Amaral, his wife Cledione and their young daughter.
Deputies have not confirmed the bodies match those of the family yet, and say they may have to do further DNA testing. But investigators have said the bodies do resemble the family.
Mastro says Ferraz do Amaral is a pilot for a Brazilian airline. He described the family as "happy and seemingly perfect."
He says the family had recently gotten behind on rent. He'd been in contact with them via e-mail on Nov. 9 to arrange payment and that was the last he'd heard from the family.
According to Mastro, he recently received complaints from neighbors about a smell coming from the home. He had a property manager check on the family and then Saturday deputies found their bodies.
"One of the things that we would be looking at is to determine if it was a murder-suicide inside the garage. Again, that's all preliminary at this point," said Orange County Sheriff's Captain Angelo Nieves. "There is decomposition that we're dealing with. The medical examiner will have to conduct their follow-up with toxicology tests and their medical examination."
The company that rents the house told Local 6 that a 50-year-old man and 34-year-old woman lived with a young child at the home.
Stay with Local 6 and ClickOrlando.com for more on this story
Copyright 2013 by ClickOrlando.com. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.


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The Daily 202's James Hohmann analyzes the biggest political stories of the day and gives a brief rundown of headlines you should know. Available every weekday morning.
The Republican congressman from Iowa questioned how the term "white supremacist" came to be considered offensive.
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Use our patient tools for secure, convenient, 24/7 access. Learn more
This facility is a member of
An acoustic neuroma is a slow-growing benign tumor associated with hearing loss. The treatment options are observation, surgical removal or radiation. Continued tumor growth can be life threatening.
The stereotactic and functional neurosurgery program uses computer-assisted navigational techniques to treat selected neurological diseases.
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Cervical laminectomy is a procedure to treat spinal stenosis, which is the narrowing of the spinal canal and often the neural foramen, causing compression of the spinal cord and/or nerve roots. The procedure relieves pressure on the spinal cord to stop the progression of damage and allow for as much recovery of function as possible.
Spinal stenosis is caused by numerous factors, including bone spurs, degeneration of the intervertebral disks and facet joints, and thickening of the ligaments. Symptoms include pain and/or numbness in the arms, clumsiness of the hands, and gait disturbances.


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Solar Workshop: Everything You Always Wanted To Know About Solar EnergyPosted by Charlie Stark, May 4th , 2012
But Were Afraid, Or Didn't Know Who To, Ask
A workshop on residential and commercial solar energy opportunities will be held at the Just Food Community Room (Just Food Co-op, 516 Water Street South, Northfield) from 1:00 to 4:00 pm Saturday, May 19th. The workshop, sponsored by RENew Northfield and the Southeast Clean Energy Resource Teams (SE CERT), will cover currently available active solar technologies, the economics of solar installations, and the experiences of local homeowners and business owners with recent solar projects.
Presenters include representatives of three solar energy vendors, who will discuss solar air heating, solar water heating, and solar electric systems for homes and businesses. The head of the Minnesota Solar Energy Industry Association will present an overview of solar energy opportunities in the state, and a Minnesota Division of Energy Resources representative will discuss current solar rebates and financial incentives. A panel of local homeowners and small business owners will talk about their experiences in selecting and working with solar contractors, and the performance of their systems.
The solar vendors will have informational displays, and will be available for one-on-one discussion after the formal presentations. Attendees will also be invited to view a nearby solar installation after the workshop.
The workshop is free. Pre-registration at http://northfieldsolar.eventbrite.com is encouraged, but not required.
For more information, contact SE CERT at mailto:firstname.lastname@example.com.


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A federal judge seems likely to cut Apple's $1 billion jury verdict for the company won over Samsung Electronics in a patent infringement trial.
"I think it's time for global peace," U.S. District Judge Lucy Koh told lawyers for the two electronics giants, in a court hearing Thursday in San Jose, the Associated Press reported.
Koh is reviewing the $1.05 billion award and seems likely to cut some of the cash, such as the $58 million award for using Apple's "tap-and-zoom" technology on Samsung's Prevail smartphone. Koh said that the patent violation doesn't merit such a high cost, and it would likely be about $8 million.
U.S. & World
News from around the country and around the globe
Koh's review isn't about patent violation, simply that the cash award was too high for the violation. This means the judge could drop the award by hundreds of millions of dollars. This is a great idea to Samsung, whose lawyers have been arguing the award was too high and should be reduced by half. Samsung is also asking for a new trial and for the judge to erase any previous decision.
Of course, Apple lawyers are fighting any cuts, saying that they deserve more money and the judge should ban the sales of eight Samsung smartphones.
Koh, however, isn't letting on what she plans to do and isn't taking sides -- she is a judge after all -- but whatever her decision, it will be an important one but perhaps not permanent. Legal analysts believe that whichever way she rules, her judgment will be appealed and possibly sent all the way to the Supreme Court.


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CLERMONT, Fla. – In the final doubleheader of the spring trip, softball dropped a hard fought 4-3 loss to the University of Scranton and pulled out a 7-2 win over St. Joseph College (Conn.) to earn a split Thursday afternoon at the National Training Center in Clermont.
With Thursday's split the Beacons will fly back to Boston with a 5-2 record as they prepare for the bulk of their 2012 schedule.
In the opener against the Royals of Scranton, UMass Boston managed to cut an early 3-0 lead down to a one-run game after putting up a pair of runs in the bottom of the second. They then tied the score at 3-3 on an RBI single by Lisa Polsonetti (Revere, Mass.). Unfortunately, Scranton was able to drive in the game-winning run in the top of the sixth to steal the win.
Polsonetti finished the opener 2-for-4 at the plate with the one RBI. Sue Killilea (Abington, Mass.) also went 2-for-4 with an RBI to help the Beacons rally in the bottom half of the second. In the circle Kara Willis was solid for all seven innings, despite the loss, as she retired four batters while only allowing five hits.
The nightcap saw the Beacons combine for 10 hits as they cruised past St. Joseph. Maria Nasta (Andover Mass.), Samantha Hemstock (Northford Conn.), and Lyndsey Capra (Lowell, Mass.) each went 2-for-4 in the win. Along with her two hits, Hemstock also drove in one run and recorded one run scored.
After three scoreless innings for both teams, the Beacons got on the scoreboard in a big-way as they tacked on two runs in the top of the fourth. St. Joseph cut that lead down to one, but with a three-run top of the fifth the Beacons secured control of the contest. Another run in the bottom of that inning would be all that St. Joseph would get for the afternoon.
The Beacons tacked on one more run in the sixth and in the seventh to secure their fifth win of the 2012 season. Michelle Zullo (Everett, Mass.) went all seven innings and struckout three batters. Of the two runs scored only one was earned on seven hits.
Softball will begin their regular season doubleheaders on Thursday when they travel to Salem State University for a 3:30 p.m. non-conference contest.


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Your Local's Hangout
Poorhouse is downtown Ft. Lauderdale's favorite place for great beer selection, music, and atmosphere.
We are proud to offer a unique venue for live music Thursdays-Sundays. Our outdoor patio is the perfect place to relax, unwind, and people watch. Locals often visit Poorhouse just to escape the typical scene found throughout most of Ft. Lauderdale. Come to where we may not know your name but we know what you drink! Check out our Events page. We look forward to serving you at the Poorhouse!
Monday and Friday Happy Hour drink specials .
Monday Night "Jay's Night"
Wednesday & Sunday Fright Night with Tommy
Thursday, Friday, and Saturday Night
Photos & credits courtesy of : Romy / Jessica / Billy Vasquez
Music credit for MP3 is Dave Shelley go to: http://www.davidshelleyband.com/music.html to download
110 SW 3rd Ave
Ft. Lauderdale, FL 33312


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Century 21 Heritage Group Ltd.
would like to present a Career Night on
Monday April 15th in Newmarket
Wednesday April 17th in Richmond Hill
905-883-8300 or 416-798-3600 ext. 5100
Success in real estate sales requires proper training and
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to the top at our next CENTURY 21® Career Session. ...