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I am a thirty-something from the west coast who got her first glimpse of Twilight at Comic Con in 2008. At the time I did not know what I was looking at but simply accompanying a 13 year old friend who at the time was a huge fan. I had never heard so much screaming at a comic con panel before. She was telling me all about the books and characters. I had a film camera that had about 8 pictures left so I took what I had, not realizing how important they would become. I remember poor Rob looked so nervous, he barely said two words, and we all know when he gets nervous he runs his fingers through his hair, which of course just made the screaming worse. A few months later I was taken to the first movie by a male friend who has an obsession with vampires and thought it looked interesting. I had not read the book yet so I was a little confused about what happened in the movie. A little while later he gave me the first book after he had read it, and then the movie started to make a whole lot more sense. Needless to say he decided quickly it was not a series for him and he has regretted the monster he created ever since. I was also at the last comic con panel in 2012. It was different scene, much more calm as only about half the hall was filled with twilight fans( since the panel right after was for Tim Burton), but much like Harry Potter (which I am also a huge fan of), I believe the hard core fans will never go away.
I love how twilight fans always stick together. I don't have any local friends who are interested so I end up going to a lot of events alone. However, I always end up finding someone to talk to, whether it is at a convention or standing in line waiting for a midnight DVD release. Maybe it is because we feel we have to band together due to the reaction we get from a lot of the rest of the world, especially us "older" fans.
I first discovered fanfiction in 2010 and have been totally addicted ever since. I am strictly a reader. It is a great escape and being the hopeless romantic that I am, I tend to read HEA stories, although I don't mind if there are some challenges along the way and I am totally Team Edward. I read stories on two different sites since I followed one of my favorite authors to another site and I have two different screen names since it didn't occur to me to coordinate. I am looking forward to the meeting in Chicago, partly because it has been a long time since I was around a large group of twilight fans, and also because I am getting to see some family I have not seen in a long time. In fact my half sister was the one who first told me about this convention and I am looking forward to sharing it with her. But being from a mild climate I am not looking forward to the hot Chicago weather.


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Publication Date: October 3, 2013
Deborah Givenchild was taken from her parents when her mother fled and given to a family without a daughter. She has been reviled, but has grown up not to cave as her gender is supposed to do but to fight back. At the age of 15, she's about to be married off to the man of the elder's choice. He's a purposeful brute meant to put her in her place and Deborah simply isn't going along with the plan. When she's taken to the House of Corrections she meets Zacariah, a boy with dreams. He wants to be an engineer but career path is at the whim of the elders and he knows that things simply aren't right. Can Deborah escape her fate and find her mother; the one woman who knows what Earth was like before everyone lived his or her bleakly planned lives in a dome?

subset: commoncrawl


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Staff writer
Gorillas were no match for Bluebirds as the Goessel girls stayed perfect on the season with a 57-24 drubbing of Solomon on Friday.
The Bluebirds played a steady first half on offense, and the defense allowed Solomon just 2 points in the second quarter as Goessel held a 28-12 lead at half time. Brittney Hiebert totaled 13 points in the first half and Eden Hiebert tallied 11.
Solomon did not have an answer for the taller Bluebirds as Goessel marched to a 20-point lead at the end of three quarters. Goessel forced the Gorillas into 30 turnovers. With a commanding 49-23 lead, Coach Hoopes put in the reserves and the starters cheered from the bench as Stephany Meyer, Savanna Wuest and Maddi Smith all connected on baskets to finish a 57-24 win.
Brittney Hiebert led the scoring with 21 points. Eden Hiebert scored 14 points and collected 10 steals, 9 rebounds, and 7 assists.
The boys dug a hole too deep with frigid third quarter shooting and dropped the nightcap to the Gorillas 48-37.
Goessel was plagued with turnovers and cold shooting percentage in the first half, but was within 16-12 when Solomon scored 10 unanswered points to take a 26-12 lead. Goessel trailed 28-16 at the half.
The Bluebirds scored just 4 points in the third quarter, and trailed by 19 points with 2 minutes to play. With their backs to the wall, the Bluebirds put together a flurry of points. Senior Rhett Makovec scored 9 fourth quarter points and Carson Sterk added 3, as Goessel pulled back to within 11 points by the end of the game. The Bluebirds shot a disappointing 30 percent from the field.
Makovec led Goessel scoring with 13 points, Dylan Lindeman added 9, and Jordan Griffin scored 8 points and collected 9 rebounds.
Goessel girls defeated Canton-Galva on the Eagles' home court Tuesday, 38-35.
Several weeks ago the Bluebirds beat the same team at home by 21. Turnovers plagued both teams as Goessel escaped the Eagle gym with a 3-point win.
Eden Hiebert tallied 14 and Jenn Meysing scored 9. Goessel girls remain undefeated at 8-0 and 4-0 in league games.
The boys won their first league game with a 39-33 victory. Goessel trailed early and remained behind 20-19 at halftime.
Goessel surpassed the Eagles in the second half, leading by as many at 10 points with 2 minutes to play. Canton Galva cut into the lead late, but the Bluebirds held on for the win.
Dylan Lindeman scored 17 and Rhett Makovec dropped in 11. The boys are 3-5 overall and 1-3 the in league.


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After turning around the women's basketball program at Jacksonville University, Yolett McPhee-McCuin has been tabbed the ninth head coach in Ole Miss history. McPhee-McCuin spent the previous five seasons transforming Jacksonville into a perennial power in the Atlantic Sun Conference. During her tenure as head coach, McPhee-McCuin led the Dolphins to a 94-63 record (50-24 in ASUN play) and postseason appearances in each of her last three seasons. McPhee-McCuin, who also serves as the national team head coach for her native Bahamas, took over a program at Jacksonville that had only won 20 or more games in a season twice in its entire history and proceeded to march the Dolphins to three-straight 20-win campaigns in her final three years. In 2015-16, McPhee-McCuin and the Dolphins made history, capturing the program's first ASUN Tournament title and NCAA Tournament berth with an upset in the conference championship game over two-time defending champion Florida Gulf Coast. The victory snapped FGCU's seven-year, 71-game home streak against ASUN opponents and boosted Jacksonville to a 22-11 record.
McPhee-McCuin's team followed that up with two more 20-win seasons and the first two WNIT appearances in JU history in 2016-17 (23-9, 11-3 ASUN) and 2017-18 (24-9, 12-2) with the final season seeing the Dolphins break the school record for single-season wins. In 2016-17, Jacksonville was the lone ASUN program to receive votes in the USA Today Coaches Poll and earned the first WNIT at-large ever given to an ASUN team. Prior to her time at Jacksonville, McPhee-McCuin was an assistant at Clemson from 2011-13, where she was recognized as one of the top assistants in the nation by National Women's Basketball Insider. While with the Tigers, McPhee-McCuin solidified her reputation as one of the best recruiters in the country, spearheading the No. 16 class in the nation in her final year at Clemson, which included five McDonalds All-America nominees. Before her stint at Clemson, McPhee-McCuin was on staff at Pittsburgh for two seasons in 2009 and 2010. She was part of a pair of postseason appearances with Panthers, who rose to No. 14 in the national rankings and advanced to a Sweet 16. Her coaching career also includes stops at Portland, Frank Phillips College, and Arkansas-Pine Bluff, where she earned her master's degree in physical education with a perfect 4.0 GPA.
McPhee-McCuin received her bachelor's in business management and administration from Rhode Island in 2004, playing in 56 games over her junior and senior years at URI and helping the Rams advance to the 2003 A-10 title game. She played her first two seasons at Miami-Dade Community College. In addition to her collegiate coaching duties, McPhee-McCuin has served as the head coach for Bahamian national team since 2013. Her crowning achievement was the first Caribbean Basketball Confederation title for the Bahamas in 10 years after a 55-51 win over Jamaica to qualify for the 2016 CentroBasket Championship. The success capped a very successful tournament outing with a perfect 5-0 record, and McPhee-McCuin became the first female coach to win a CBC title. McPhee-McCuin was the first Bahamian woman to sign a Division I letter of intent to play basketball, becoming a trailblazer in the process for other aspiring athletes from her home country. She is the first Bahamian woman to coach at a Division I program and was the first black female head coach at Jacksonville before now becoming the first black female head coach in Ole Miss women's basketball history. McPhee-McCuin is also part of two Halls of Fame across both her playing and coaching career. In 2016, she was inducted into the Bahamian Athletic Hall of Fame alongside Buddy Hield (of the NBA's Sacramento Kings) and Jonquel Jones (of the WNBA's Connecticut Sun). In 2013, she was inducted into the New England Basketball Hall of Fame and was one of 10 recipients of the Pathfinder Award for their distinguished achievement outside of New England. An active member of the coaching community, McPhee-McCuin is a member of the "So You Want to be a Coach" program through the WBCA, and she holds membership in the Women of Color Association. In 2013, McPhee-McCuin joined the Center of Coaching Excellence's yearly class. Throughout her coaching career, McPhee-McCuin has had a large impact in every community in which she has coached. She developed a foundation in the Bahamas called Back2Basics, which helps the development of children through education and athletics. Additionally, she was involved in numerous community service projects at her other coaching stops. The former Yolett McPhee and her husband, Kelly McCuin, have two daughters: Yasmine and Yuri.


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Diabetes Drug May Reverse Alzheimer's Memory Loss
Once again, diabetes and Alzheimer's are sharing headlines. A study conducted by researchers from Lancaster University in the U.K. has shown that a commonly used diabetes drug, liraglutide, may reverse memory loss in the late stages of Alzheimer's.
The drug, from a class known as GLP-1 (Glucagon-like peptide-1) analogue, is prescribed to diabetes patients because it stimulates insulin production. The new study found that liraglutide passes through the blood-brain barrier where it could prevent the build-up of toxic plaques in the brain that contribute to Alzheimer's disease. Liraglutide may also improve memory function that was previously lost.
In the study, liraglutide was injected into mice that had late stage Alzheimer's disease. During the two-month trial period, the mice performed significantly better on object recognition tests than before, and their brains showed a 30 percent reduction in the build-up of toxic plaques.
According to an article on Medical News Today, Professor Christian Hölscher, of the University of Lancaster and lead study author said that liraglutide ""activates receptors on neurons that set a growth-factor type of signaling cascade in motion. Oxidative stress is reduced and growth and replacement of neurons is improved."
The study findings from the mouse model showed that the key biomarkers of Alzheimer's disease were significantly reduced. The markers affected were memory impairments, loss of synaptic activity, aggregation of beta-amyloid to form plaques in the brain, and chronic inflammation in the brain.
Liragultide is now being tested in a major clinical trial the will be headed by Dr. Paul Edison of Imperial College London. The team will test how human clinical participants will progress when compared to a control group that will receive a placebo.
Other insulin drugs used in Alzheimer's trials
Intranasal insulin has been tested and shown to be helpful for people who had Mild Cognitive Impairment (MCI) or or early stage Alzheimer's disease. A short term study by researchers at the VA Puget Sound Health Care System/University of Washington-Seattle showed that treating the participants with intranasal insulin had a positive effect on slowing or reversing their cognitive decline. As with liragultide, intranasal insulin will need more testing to see if the earlier promising results will show consistency.
While preventing or delaying the development of diabetes has been shown to lower one's risk for developing Alzheimer's disease, even keeping blood sugars low for non-diabetics has been shown to help. A University of Arizona study showed that a pattern of lower metabolism in the brain of diabetics was noted in diabetes-free participants with high blood sugar levels, as well. It appears that regulation of insulin could mean lowering the risk of Alzheimer's. If insulin regulating drugs are proven to prevent or reverse cognitive damage for people with Alzheimer's disease, we'll have one more weapon in what could be a multi-faceted approach to preventing or treating the disease.
For more information about Carol visit _ www.mindingourelders.com _or www.mindingoureldersblogs.com_. _
Whiteman, H. (2013, September 16) Diabetes drug enters clinical trial for Alzheimer's treatment. MedicalNewsToday.com. Retrieved from http://www.medicalnewstoday.com/articles/266081.php
Bardi, J. (2012, June 21) Preventing or Better Managing Diabetes May Prevent Cognitive Decline, According to UCSF Study. University of California San Francisco. Retrieved from http://www.ucsf.edu/news/2012/06/12216/preventing-or-better-managing-diabetes-may-prevent-cognitive-decline-according
Yaffe, K. et. al. (2012, June) Diabetes, Glucose Control, and 9-Year Cognitive Decline Among Older Adults Without Dementia. Archives of Neurology. (Retrieved from http://archneur.jamanetwork.com/article.aspx?articleid=1183076
HealthDay. (2013, May 8) High Blood Sugar May Add to Alzheimer's Risk: Study. Retrieved from http://health.usnews.com/health-news/news/articles/2013/05/08/high-blood-sugar-may-add-to-alzheimers-risk-study
Marcus, B. (2010, July 14) Insulin via nasal spray shows benefit in Alzheimer's patients. USA Today. Retrieved from http://usatoday30.usatoday.com/news/health/2010-07-15-insulin15_ST_N.htm


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Q. What brought about the decision to become a Peace Corps volunteer?
It seemed like a no brainier to me. Who wouldn't want to live and work abroad for 27 months, especially after realizing how ironically unproductive and stifling the 40-hour U.S. workweek can be?
I love learning languages, and I wanted to possibly learn a new language through the Peace Corps. I didn't learn Spanish in Nicaragua, since I've spoken it all my life, so knowing Spanish has allowed me to integrate and get right to work in my community more easily.
I've also enjoyed learning the differences between Nicaraguan and Mexican Culture.
Mexican Spanish is very different from Nicaraguan Spanish. The food is quite different. Nicaraguans don't like spicy food, which was strange for me, since I'm used to pouring hot sauce over everything that isn't dessert!
This excerpt is from an interview with E. Manville.
Featured image of myself with my Host Grandmother, Santos.


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Nowadays the internet has made it so easy to finance or refinance cars, and just about anything else, come to think of it. The Web offers choices, opportunities, and alternatives as never before in history. Easy application and even approval can benefit the bad credit consumer without ever leaving the comfort of home or office. No more will you have to deal with unsavory face-to-face encounters, be surprised by your bad credit scores, or wade through lengthy approval processes.
Online Applications and Approvals
By turning to the internet, you can easily fill out applications and get approval, often within hours, or even minutes. Thanks to car financing websites, folks who would never have been approved for a car loan can now get the financing they so desperately need. Even with a poor credit score, a modest income and a stable job could put you in the drivers seat quickly. Yes, even if you have declared a bankruptcy or have other blemishes on your credit reports.
Credit Scores and Credit Costs
Shopping around is always a good idea when seeking car financing, especially if you have a poor credit history. The internet makes the shopping easy. You should try to get at least five bids before you accept any. Shopping online, nine times out of ten, you are going to get a better deal than any bank, credit union, or other traditional lender can offer. You will most certainly do better than the loan officer at a new or used car dealer. Understand though, because of a poor credit history, you are going to be paying higher interest rates for auto financing than those with good credit. But, with the internet, you are not going to have much trouble finding and getting approved for auto financing. Just be wise and use all resources possible get the best possible interest rates and terms you can live with.
Search Engines
Your preferred search engine (Google for instance), is an outstanding place to begin. You can specifically search the kind of auto loan financing you desire, usually within minutes. Of course, always be cautious about divulging personal or financial interest online. Some unscrupulous hackers have set up amazingly real loan sites that are nothing more than information theft sites to abet identity theft. Just be careful, but also understand that most lenders offer secure websites that encrypt all personal info. If you are unsure about a lender, check the Better Business Bureau or state agencies to weed out the scofflaws.
Breathe a Sigh of Relief
Some other benefits of online loan shopping make the undertaking more than worthwhile. No longer will you be faced with the uneasiness or embarrassment of being turned down at a dealership. Internet shopping, application, and approvals are the easiest they have ever been. If you have a reliable lender, you can be assured all your personal and financial information is protected, unlike it would be in the hands of a salesman at a dealership. A website you may want to check out is Open Road Lending, there you will find answers to any questions unanswered here; it even gives you tips on negotiating price with a dealership salesperson.


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Short Sequence Randomisation™
Biotangents introduce sequence variability into double-stranded DNA by using Short Sequence Randomisation™. This allows expression levels to be modulated through alterations in promoter and ribosome binding site sequences and allows target saturation mutagenesis in coding sequences. By the same process we can also uniquely tag or barcode DNA libraries of high sequence complexity.
Key features of our Short Sequence Randomisation™
Multiple locations – Regions of randomised DNA sequence can be introduced into one or several locations within the DNA construct
Single step – The insertion of a randomised DNA sequence into multiple DNA regions occurs in a single reaction
No amplification – A PCR-free approach preserves the uniqueness of each specific randomised sequence within a DNA library
Highly controlled randomisation – Regions of different lengths of randomised sequence are inserted at user-defined positions
High complexity sequences – Introduction of randomised sequences generates high complexity DNA libraries
Barcoding DNA constructs
As part of a collaboration with a leading synthetic biology company specialising in customised promoters, Biotangents developed a DNA barcoding approach utilising Short Sequence Randomisation™, allowing individual DNA constructs within complex libraries to be uniquely tagged and identified.
For more information on how Short Sequence Randomisation™ could be of use in your bespoke application, or for further details of any of our technologies, products or services, please contact us.


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Maybelline Expression Colour Tattoo 24hr Eyeshadow
At least one part of my body will be bronzed and beautiful
Me and (I'm getting my American on here) drugstore makeup aren't the best of friends. Every few months I get a bit of a shock at the purse crippling, hide the receipts from my boyfriend, cost of my makeup and skincare and trundle down to Boots or Superdrug in an attempt to find a cheaper alternative. I nearly always leave disappointed. I have so many unused drugstore products that it probably would have saved me money to just buy one high-end product I know would work.
However, Maybelline Colour Tattoo has been slowly but surely changing my mind. I shoved on my Urban Decay naked palette last week without their primer potion underneath, and by the end of the day my lids resembled the state of my boyfriend's shirts in their crease-i-ness.
Since them I have been wearing my Maybelline On and on Bronze daily. I am rather (read: incredibly) lazy when it comes to applying my makeup in the morning. I want to spend as long as possible in bed but at the same time I don't want to scare small children on my way to work. On and on Bronze is a breeze to apply and a be-ay-utiful colour to boot. I apply the colour onto my lids with my fingers, and if I'm feeling especially snazzy I blend with a brush. The pigment pay off is amazing, it blends like a dream, and it stays on for as long as I can stay up.
I wear it daily as a wash of colour over my lids, and in the evening as a base for other eyeshadows. Purfection.
A tattoo I guarantee you won't regret getting.
Highstreet maybe there is a place for you in my heart after all. I'm keen to try other colours, what do you recommend?
Get it here


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Bank of Communications Jobs
Private Banking and Wealth Management
Currently No Job Openings.
Bank of communications, also known as "BoCom", is the first nationwide state-owned joint-stock commercial bank in China with head office located in Shanghai.
Today, we remain one of the major financial services providers in China. At BoCom, we offer a vast range of services including commercial banking, securities services, trust services, financial leasing, and more…
In 2016, we have proudly been ranked in the top 20 global banks for the third time.
Joining us in BoCom, you will have to prove your "Proactive, Dedicated and Innovative" side…that are our core values!


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Lindzee and Baby Folgate at 12 Weeks
2010 July 10
Here's a few pics of the baby bump at 12 weeks. Not too much going on just yet, except for feeling bloated and like my clothes don't fit. We actually went for our Nuchal Translucency testing this week. A NT test is where we do an ultrasound to test the thickness of the baby's neck and bloodwork to determine if there are any possible chromosomal abnormalities. Our baby's nuchal thickness was 1.7mm (anything less than 3mm is great) and of course we got to see our little one again and get some new pictures. It truly is amazing to see the difference between 8 weeks and 12 weeks. It looks like a fully formed baby in there with a profile instead of just a little peanut. So AMAZING!
Baby's Stats from 2nd US at 12 weeks 3 days
Heartbeat at 12 weeks 3 days: 165 (boy vs girl!?)
Measurement: exactly 12 weeks and 3 days
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When taking into account the length and level of difficulty of the season's most important races, these saved watts will prove to be most precious in the final sprint. The shorts of the suit are made with LGneer fabric, developed in collaboration with European experts. It offers 3 compression zones of varying thickness to improve blood flow in specific areas of the leg. If you're looking for the highest standards in terms of aerodynamics, comfort, ventilation and compression, the Course LGneer Skin Suit is at your service.LGneer: The most technical engineered fabric in the lineup that we have developed to help you beat your personnal best as a racer or weekend warrior. CB M-2 : Developed in collaboration with the Canadian Cycling team, this fabric is THE most aerodynamic you can get. Grid 70 Air: This lightest woven mesh is super soft and stretchable. CB Mondo RF: Four-way stretch micro-filament known for its softness and comfort. Reflective pattern for additional safety. CB Lazer Rev: Its construction is developed to never shred. Its compressive quality maximizes muscular performance and recovery. Fabric technologies: Engineered (bottom) and aerodynamic Compressive Moisture management 4-way stretchability. Zipper: 17''/43 cm detachable. Garment features: Inseam : 10.5''/26.5 cm Aerodynamic and pre-shaped shoulders Ergonomic 3 different compression zones and weights Laser-finished at arms and thighs Thighs integrated grips''Nature calls front panel Reflective logos.
Pocket system: 2 floating at back 1 sweatproof with headphone cable exit. The item "Louis Garneau Course Lgneer Skin suit Men's Medium Black/Red/Blue Retail $399.99" is in sale since Monday, April 30, 2018. This item is in the category "Sporting Goods\Cycling\Cycling Clothing\Other Cycling Clothing".
The seller is "ellynandbill2hh1" and is located in Berthoud, Colorado. This item can be shipped to United States, Canada, United Kingdom, Denmark, Romania, Slovakia, Bulgaria, Czech republic, Finland, Hungary, Latvia, Lithuania, Malta, Estonia, Australia, Greece, Portugal, Cyprus, Slovenia, Japan, China, Sweden, South Korea, Indonesia, Taiwan, Thailand, Belgium, France, Hong Kong, Ireland, Netherlands, Poland, Spain, Italy, Germany, Austria, Israel, Mexico, New Zealand, Philippines, Singapore, Switzerland, Norway, Saudi arabia, Ukraine, United arab emirates, Qatar, Kuwait, Bahrain, Croatia, Malaysia, Brazil, Chile, Colombia, Costa rica, Dominican republic, Panama, Trinidad and tobago, Guatemala, El salvador, Honduras, Jamaica.


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Living in a very little house generally can cause you to feel bored. for a few individuals, it's caused by the tiny size of sleeping room. Absolutely, you wish to seem for a few ideas to bring you out from this downside. One issue that may be done by you is applying the new plan to refresh the appearance of your sleeping room. though you have got restricted house, you'll be able to still embellish it with some selections of sleeping room ideas for tiny rooms. Before doing this project, confirm you have got the mature plan to vary the appearance of your sleeping room.
There area unit some sleeping room ideas for tiny rooms for women to be applied, like little finger theme, shabby stylish and pastel ideas. Those area unit straightforward and simple to be applied. little finger plan means you'll be able to repaint the wall of your sleeping room with pink and red colours. Then, replace your previous bedding set with pink cowl. For the article of furniture like cabinet, table, and chair, they'll be painted by DIY coloring in neutral colours. If you wish a girly look, simply apply white for the article of furniture. Basically, you'll be able to do an equivalent steps for the pastel sleeping room theme likewise.
Meanwhile for the shabby stylish plan, you only have to be compelled to get some ornate wall stickers with girly color like pink, soft red, purple, etc. select the tiny ornate motif to finish sleeping room ideas for tiny rooms decoration. Next, paste the stickers in some sides of the wall. For the right appearance, you'll be able to get the ornate ornaments and install them on the top components of bed, or use it to brighten your book shelves. don't forget to vary conjointly the bed cowl with shabby stylish them. Well, it's not that onerous right? you'll be able to bring the various refinement by applying straightforward ideas.


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It's hot out there. To help remember that it can be cool, here's one of those shots that was hiding from me in the library.
Back in February we went to Quebec City for the Winter Carnaval. It was great fun.
One of the things that greets you almost immediately is the Cabane à Sucre. Having not grown up in a maple forest, this was a new one for me. Here's how it works. Make a big snow bank. Pack it down and smooth off the top. Then get a pitcher of maple syrup and heat it, reducing until it is more concentrated will set up when it cools. Then ladle it out in striped on top of the snow. Hand a wooden stick — regulation tongue depressor works fine — to eagerly waiting child. Get aforementioned child to wait until the syrup cools enough to be wound up like a lollipop. Like the song says, the waiting is the hardest part. Good, maple-y. Very sweet. You will not need two.


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Welcome To AlbumLinerNotes.com
"The #1 Archive of Liner Notes in the World"
Your Subtitle text
Home Page
Artist List
Thelonious Monk
Brilliant Corners
Monk's Dream
Monk With Coltrane
At Carnegie Hall
Monk Plays Ellington
Monk - Ken Burn's Jazz
At Carnegie Hall
To download this recording via iTunes, click below:
Thelonious Monk Quartet with John Coltrane at Carnegie Hall
To purchase this recording from Amazon.com, click below:
Thelonious Monk Quartet with John Coltrane at Carnegie Hall
Thelonious Monk Quartet
with John Coltrane at Carnegie Hall
Early Show
1. Monk's Mood
(Thelonious Monk)
Embassy Music Corp (BMI)
2. Evidence
(Thelonious Monk)
Thelonious Music Corp (BMI)
3. Crepuscule With Nellie
(Thelonious Monk)
Thelonious Music Corp (BMI)
4. Nutty
(Thelonious Monk)
Thelonious Music Corp (BMI)
5. Epistrophy
(T. Monk/K. Clarke)
Embassy Music Corp (BMI)/Music Sales Corp (ASCAP)
Late Show
6. Bye-Ya
(Thelonious Monk)
(Thelonious Monk)
Thelonious Music Corp (BMI)
7. Sweet And Lovely
Anne Rachel Music/Harry Tobias Music/Jerry Leiber Music/Mike Stoller Music/Range Road Music (ASCAP)
8. Blue Monk
(Thelonious Monk)
(Thelonious Monk)
Thelonious Music Corp (BMI)
9. Epistrophy (Incomplete)
(T. Monk/K. Clarke)
Embassy Music Corp (BMI)/Music Sales Corp (ASCAP)
Thelonious Monk – Piano
John Coltrane – Tenor Saxophone
Ahmed Abdul-Malik – Bass
Shadow Wilson – Drums
A Thelonious Records Production
Produced for release by T.S. Monk and Michael Cuscuna
Executive Producer: Bruce Lundvall
Recorded on November 29, 1957
By Voice of America at Carnegie Hall, New York City
Original recording engineer: Harry Hochberg
This concert was produced by Kenneth Lee Karpe for the benefit of the Morningside Community Center.
Tape preserved and provided from the collections of the Library of Congress 24-bit/192 kHz digital transfer from the original 15 ips mono analog tape, Sonic Restoration, Forensic EditingTM and Pre-Mastering by Transfer Master
Engineer: GrandMixer DXT
Assistant Engineer: James Dellatacoma
Mastered by Michael Fossenkemper at Turtletone Studios
A&R administration: Chris Cofoni
Product Manager: Perry Greenfield
Creative direction by Gordon H. Jee
Art direction & design by Burton Yount
Cover illustration: Felix Sockwell
Quartet photograph by: Don Schlitten
Individual photographs by: Francis Wolff ©Mosaic Images
Legal representation for Thelonious Records and the Monk Family: Alan Bergman
Legal representation for Jowcol Music and the Coltrane family: Bill Kaplan
At the time of this concert, Thelonious Monk was under contract to Riverside Records and John Coltrane was under contract to Prestige Records.
Alice Coltrane, Ravi Coltrane, Gale Monk, Kurt Lundvall, to Larry Appelbaum and Lewis Porter for discovery, to Douglas Garn and to Rob Hudson and Gino Francesconi of Carnegie Hall for archival concert materials, to Peter Grain and Doug Yoel of Thelonious Records, and to Bob Clarida, Robert Dudnik, Russell Frackman and Don Passman for legal assistance.
In 1957 I had just come from USAF Base Ramey, Puerto Rico, A/ 2c E. L. Jones, B-36 Weather-Gunner and Night Librarian. A pit stop in Newark and then to E. 3rd Street a couple of blocks from the original Five Spot. Hence every night of that historic triumph I was there to dig Monk, Trane, Shadow Wilson, and Abdul-Malik. So wonderful, mind opening, revelational was that five months; the music, whoever heard it, that scene, and a sizeable part of the world, could never be the same.
Monk was one of my original culture heroes, from the old Blue Note, Blue covers, mystery Shades, the High Priest of my generation's first revolution. BeBop. Trane then was walking the bar in Philly and later part of the great Dizzy Gillespie Big Band, then the early Prestige sides.
By the time I got to NYC, Emmett Till's murder had stampeded Black America into enraged conflict with America the Ugly, as the Civil Rights Movement. The young MLK had risen in the victorious Montgomery Boycotts, responding to Rosa Parks's act of resistance and rushed into the eyes and ears of the US a Black and Actual American leader.
So '57 was a launching pad in our minds for what was to come in the popular sweep of the good; the music, was given the wheels, the will, to be not just defiant, but, you dig, Hip! Which meant, whatever ugly whatnots of the wherever you confronted, they were, at best, Corny! That is, unworthy of further contemplation.
The music and its Diggers had armed defiance with a sense of its own aesthetic grace. Malcolm X & John Coltrane were part of a torrent of fire readying in the late-'50s to burst loose from the American Slave nation, one openly political, but both also liberated from the deadly funk of spiritual paralysis that endangered the self-righteously hip ... if there was no Up to their being so Down.
Monk, from the endangered species confines of having had his cabaret card taken away by the Bushmen of the time. Trane, from the slick doped out space of "Miles Davis's funnytimery." So the late-'50s began a period of intense struggle which was the foundation for a profound art.
In Later Trane I wrote of the context of their meeting: "Who watched Trane enter the monastery of His Outness, Thelonious, the High Priest of Gone. Then checked John struggling to possess Monk's deepness. It's Dignataria and thus lay for Serious, 'I'd go by his house and get him out of bed. He'd get up and go over to the piano and start playing. He'd play one of his tunes and he'd look at me. So I'd get my horn out and start trying to find out what he was playing.'
"Who checked all this understands how Monk invented Break Dancing once Trane was loaded with the vonze ('dug the arrangements') and so released T. Sphere to conduct the band & the whole Five Spot universe that season while autochoreographing the Beyond ... COL-trane, COL-trane, the dancer calls to hear his teaching."
What is so grand about the Carnegie tapes is that those tunes Trane was struggling with (the first couple of weeks he was near-pitiful, with the heads, but Monk pounded away at the chords) – say, "Evidence," "Monk's Mood," "Epistrophy," which grew steadily more finished and exquisite during that Summer of wonder – by time of the concert a few months later, not only was Trane peerless with the heads, but now sailed off into his own furtherness and the band itself was tight as Dick's hat band.
Of even more curious delight is that one can see now how Trane's residency with that great band influenced the teacher as well. Check Monk's expansive backup arpeggios on "Monk's Mood," matching Trane's multi-noted zoom. "Epistrophy" shows the exactness the wellhoned match that playing together over an extended period can produce. (Dig Duke!)
So this concert is a stunning find, not only for the purely aesthetic pleasure that truth and beauty can give, but as a profound volume of scholarship perhaps showing the denouement of a particular time, here just before this perfectness turns into the searching uncertainties of the next period, in which both these artists are battle flags.
– AMlRI BARAKA
Newark, July 13, 2005
Setting The Scene
As one of the only two of the six writers involved in the notes for this historic recording who could possibly have attended the concert that produced this music, I am still wondering why I not only wasn't there, but why I've no memory of the event nor do friends of mine, such as Dan Morgenstern, who have been in and around jazz for a long time.
I've stopped scratching my head, helped by immersing myself in the two sets by Monk and Trane and their Five Spot regulars of the time, Ahmed Abdul-Malik and Shadow Wilson. In the 1955-57 period there were two clubs that were particularly favored: Cafe Bohemia and the Five Spot Cafe. The Bohemia got hot quickly when it opened in 1955, especially after Cannonball Adderley, fresh up from Florida, created a stir when he sat in with Oscar Pettiford's group. In 1956, I was there three times a week when the Miles Davis Quintet was in residence.
I had been to the Five Spot before 1957, but when Coltrane joined Monk I was there three times a week. Joe Termini began a music policy because he was bored with merely playing Scrabble every night from behind his beer taps with his clientele, painters who were soon to become famous in the area of Abstract Expressionism. Many of them were into jazz and encouraged Joe. Dick Wetmore, talented on both violin and cornet (shades of Ray Nance), was one of the early players at the club. In '56 David Amram and Cecil Taylor began gigging – Steve Lacy was in the picture, too – and this carried over into '57. Esquire covered the scene and new audiences drifted downtown to check it out.
Monk with Trane really put in on the map – 5 Cooper Square (3rd Avenue) between 4th and 5th Streets, to be exact. It was an elemental place; store front where you might see a Bowery bum mugging if you looked out through the plate-glass window; tables to your left as you walked in, until you arrived at the bandstand; more tables in front of the stand, an aisle, and a bar against the right wall, its stools also facing the bandstand; then tables curving right to the back. There was nothing fancy: low-wattage lighting and a funky men's room to the right of the bandstand. The music was all. After a theme was introduced, Monk would comp for Trane for a couple of choruses and then get up from the piano and turn him loose while dancing his elbow-led stutter-steps near the stand before returning to the piano for his solo. J. J. Johnson, in 1961, told me, "Since Charlie Parker, the most electrifying sound I've heard in contemporary jazz was Coltrane playing with Monk at the Five Spot ... It was incredible, like Diz and Bird."
When the half-year of collaboration ended, many lamented that the quartet had not been documented. Then came the Riverside studio recordings of July '57 with Wilbur Ware and Wilson, released on its Jazzland label a couple of years later; and the September '58 taping by Naima Coltrane at the Five Spot with Trane, Abdul-Malik, and Roy Haynes, first issued as a single CD on Blue Note in '93; and then, with speed corrected, in the complete Monk Blue Note box.
Now, almost miraculously, we have these two Carnegie Hall sets, when that august hall's acoustics were all-purpose. Coltrane soars, Monk is in top form on a fine piano (notice his quick insert of "52nd Street Theme" in the melody statement of "Crepuscule with Nellie" and a snatch of "Off Minor" in his "Bye-Ya" solo); Abdul-Malik supplies a steady bottom; and Wilson, a musician's musician, does what he always did: apply his great skills, aptly, for any group of which he was a part – in this case a very special one.
52nd Street, Class of '46
Nine Months of Monk and Coltrane
1957 was the year Coltrane truly became Coltrane – on a number of levels – and Thelonious Monk had more than a little to do with it.
During that twelve-month period, Coltrane's penchant for compulsive practice on his horn yielded the first phase of his signature style: slaloming through harmonic changes, playing and replaying scalar patterns, in a creative outpouring critic Ira Gitler famously dubbed "sheets of sound." Coltrane's workaholic nature also yielded a bumper crop of recordings, including his debut as a leader (Coltrane on Prestige), the classic Blue Train album (his sole session for Blue Note), and as a sideman on seven other recordings. His return to free agent status after his firing from Miles Davis's quintet in April of that year allowed him to pursue any and all projects at will, to envision life as a leader in his own right, and – most significantly – to bring his drug addiction to a cold-turkey end.
In Coltrane's eyes no event in '57 was more personally significant than his trading junk and booze for the spiritual and musical reawakening (of which he later wrote on A Love Supreme) that set the stage for the ten-year creative explosion that followed. No event, that is save for the nine-month residency with an equally generous and iconoclastic spirit.
"I think Monk is one of the true greats of all time. He's a real musical thinker," the saxophonist told Down Beat magazine in 1960. "I learned from him in every way – through the senses, theoretically, technically."
The two had bumped into each other for years. In October of '56, Monk was outraged when he saw Miles strike Coltrane backstage at Cafe Bohemia, and immediately offered the saxophonist a sideman gig. Their first chance to play together occurred the next April on a Monk session for Riverside Records – which led to ad-hoc instruction in Monk's apartment.
"We'd already recorded one song, 'Monk's Mood,' and I liked it so well," Coltrane recalled. "So he invited me around, then I started learning all of his tunes ... I'd go by his apartment, and get him out of bed [laughs] he'd wake up and roll over to the piano and start playing ... he would stop and show me some parts that were pretty difficult, and if I had a lot of trouble, well, he'd get his portfolio out show me the music ... sometimes, we'd get just one tune a day. Maybe."
Monk's patience helped Coltrane grasp material unusual and refreshing. Where Davis had favored blues, ballads, and bebop workhorses, Monk's songbook of originals "Epistrophy," "Ruby, My Dear," "Trinkle, Tinkle" – was riddled with strange melodic leaps and unexpected rhythmic shifts. It was challenging territory that intrigued the saxophonist and appealed to his sense of order. As Coltrane's playing reflected a love of musical logic, blowing solos based on repeated and reconfigured patterns, so the pianist's compositions revealed a passion for internal structure that followed precise and playful rules. Monk's structures laced with Coltrane's frenetic delivery sounded a good match.
In Monk, Coltrane found "a musical architect of the highest order." In Coltrane, Monk found an analytical brother – a musician who shared in his intellectual approach and remained true to the sound and structure of his music. "Monk's music had been played already before Trane with different saxophonists, but I think Trane was more precise," pianist Tommy Flanagan once noted. "He was more careful about learning things exactly like Monk meant."
It was July of '57 when the partnership went public. Monk's long-lost cabaret license had been renewed, and he began an extended residency at 5 Cooper Square – with bassist Wilbur Ware, drummer Shadow Wilson, and his new student at his side. "As soon as he got the job at the Five Spot," Coltrane remembered, ''we went right in."
Even after the home study sessions, Coltrane still seemed – to one witness at least – unprepared for their live debut.
"When [Coltrane] played with Monk I was there every night I think," Steve Lacy told radio producer Steve Rowland. "It started out... very clumsy, very obscure, very maladroit, and then each night it got a little more relaxed." Coltrane had little choice but to find his place in the mix. He was the sole melody instrument on the bandstand. "Yeah, I felt a little lonesome up there!" Coltrane later recalled with amusement.
Being the lone horn player supplied the saxophonist the chance to extend his solos further than ever before – as well as an opportunity to hear himself progress in a quartet setting (soon to become his favorite and most famous context). By the end of Monk's Five Spot run in December, "it got into a kind of security," Lacy reported. "Into a freedom and into a wild abandon. To watch that unfold was a revelation."
Equally revelatory – for generations who never witnessed Monk and Coltrane together is the recently unearthed tape of their November 29, 1957 performance at Carnegie Hall.
Talk about a rare moment within an all-too brief overlap! Coltrane was weeks away from rejoining Miles, with whom he would soon pursue modal pathways and record the masterpiece Kind of Blue. Bassist Ahmed Abdul-Malik had replaced Ware. In the mere 51 minutes of the group's two sets that evening, one can glean the inevitability in the Monk-Coltrane union: their appetite for reinventing old with new, shifting rhythms (check "Sweet and Lovely"!). Their adoration of Art Tatum arpeggios. Their complementary solo styles – breathless vs. halting, fluid vs. staccato – and both melodically inventive to an extreme.
We may never know whether this music marked the pinnacle or merely a high point in their relationship. By all reports, it was one of many. What we can know in hearing these performances is that together they achieved a rare balance of precision and passion. Enough to propel the saxophonist on a journey to stellar regions, and to make 1957 a banner year for both.
June 2005
Ashley Kahn is author of Kind of Blue: The Making of the Miles Davis Masterpiece (Da Capo Press) and A Love Supreme: The Story of John Coltrane's Signature Album (Viking).
The High Priest and the Budding Innovator
When Walter Davis, Jr. asked Bud Powell whom he should listen to after Powell himself, the biggest influence on bebop piano players answered, "Monk. If I had Tatum's technique and Monk's mind, there would be no other piano players. Wait. Forget Tatum. If I had my technique and Monk's mind, there would be no other piano players. Listen to Monk. He has the mind."
It was always like that. Thelonious Monk was the grand thinker of the World War II generation that invented bebop, but he was not a bopper though his knowledge had been essential to what both Charlie Parker and Dizzy Gillespie, the twin fountainheads of that age, brought to the bebop style. While Monk made marvelous recordings for Blue Note at the end of the forties and in the early fifties, his importance was beyond that of a signal composer for small bands and a piano player second to none in his originality. I submit that Monk was also the greatest influence on the thinking of most major jazz musicians since Charlie Parker.
It seems very obvious, in reflection. His sense of abstraction, of reducing things to their startling essences was fundamental to Miles Davis, who began to believe that less is more, which was quite a rejoinder to the bebop idea that more is more. Sonny Rollins has referred to Monk as his guru and we have no doubt that Rollins gathered the thematic conception of improvising from him. John Coltrane's vision of modality might well be rooted in the fact that Monk would provide him with hours of examples of what could be done with a single chord if a question about one chord was asked by the saxophonist. It is also obvious that the learning of Monk's "Trinkle, Tinkle" so revolutionized Coltrane's rhythmic and phrasing style that its impact remained with him until the end of his life. Deep students of the music say that Wayne Shorter's harmony is built upon Monk's, and there is little doubt that the thematic way in which Ornette Coleman approaches his music is another variation on Monk's decided use of thematic elements in his improvising as opposed to chord-running arpeggios that make no references to the theme at hand. I think that settles the question.
All of that adds up what you have in your hands, which is the second discovery of Monk and Coltrane in performance that Blue Note has presented to the world. When Coltrane joined Monk for the summer of 1957 at New York's Five Spot, the quartet engagement, which included bassist Wilbur Ware and drummer Shadow Wilson, rumbled the jazz world. Many felt that something new was taking place because the brilliance of Monk's playing had become more apparent over the last fifteen years, the stark and startling beauty of his compositions sprayed pungency and steel shavings into the air, and John Coltrane, from whom few had ever expected so much, was coming forward as an intellectual and intensely passionate force while redefining the way the tenor saxophone was played. J. J. Johnson, one of the supreme intellectuals of the bebop generation, found the combination the most exciting thing he had heard since Parker and Gillespie appeared in the middle forties, and the critic Martin Williams was ecstatic about the quality of the playing. Many bemoaned the fact that the group was not recorded, though a few selections appeared years later that were done in the studio but, some said, lacked the spark of the evenings at the Five Spot. Then a set of the band at the Five Spot in September of 1958 appeared. Coltrane was subbing for Johnny Griffin who had replaced him when he returned to Miles Davis's band. That set was profoundly exciting and had the new rhythm section of Ahmed Abdul-Malik on bass and the drums of Roy Haynes. Now we hear three quarters of the original band at Carnegie Hall in the winter of 1957.
After almost five months of work, playing three or four sets a night to listeners, musicians, writers, artists, and aesthetes in the little bar room on 5th Street and the Bowery, everyone was technically assured and the pianist and the saxophonist are almost brazenly adventurous. Monk sounds especially happy to be playing a piano beyond the saloon keyboards that jazzmen were faced with for most of the music's life. It is also clear that he and his men are not there to toy around because the opening piece, "Monk's Mood," has a somber, elevated seriousness equaled only by the dark, gloomy, and inscrutably high-minded lyricism sometimes heard in Duke Ellington and Billy Strayhorn. The piece is as perfect for Monk as it is for Coltrane, who was never less than ardent. "Monk's Mood" is one of the most striking ballad statements ever made in the music and it is wonderfully recorded.
I have long thought that there must have been a special affinity between Monk and Coltrane since both were from North Carolina and represented in very different ways, as have almost all important jazz musicians, the combination of high intellect and country soul. Nearly all of the greatest are men and women from the country, either below the Mason-Dixon line or from the midwest if not the southwest, which is why the blues and blues feeling have always been so essential: they are connectives that speak to the rural and urban underpinnings of the art. The complex mystery of the urban night of concrete and artificial light meets the enigma of the arcadian darkness, where tales true or tall of dragons beneath white sheets, ghosts and spirits seem to loom as strongly as the legends shielded from view by the architecture of the big city.
In Monk and Coltrane we also have an oddly fruitful combination. Monk had always been a natural, superior talent, often winning talent contests at Harlem's Apollo when he was a youth. Though Benny Golson and Jimmy Heath would strongly disagree, the early Coltrane of legend seemed to most a journeyman at best. What gives his tale particular heroism was Coltrane's discovery that his talent was much harder to reach than that of pure naturals like Armstrong, Young, Parker, and Rollins, all of whom had to work hard but each of whom found his gift much more quickly, not that far below the surface. Coltrane is absolutely unique in jazz history. He had to dig deeper, and only a man of radiant will could have achieved what he did. Coltrane's determination demanded that practice become an ongoing obsession. That constant practicing and studying is not legend. It so formidably reshaped his skills and his understanding that the saxophonist appeared to almost suddenly stand up to the best men of his moment.
The thoroughness of Monk's self-confidence on the levels of melody, harmony, timbre, and rhythm combined with Coltrane's fervor created a monumental fusion of intellect and soul that was paced and abetted by the swing of Malik and the superior style and dynamics of Wilson, which is a revelation it itself. Here they address all of the fundamental moods and grooves of jazz: the blues, 4/4 swing, the ballad, and Afro-Hispanic rhythms. Through them, once again, we are made witness to the epic contribution that jazz made to Western musical performance. We hear that the present moment of improvisational creativity can be as timeless and as refined as any polished creations from the great past. As this recording proves, Thelonious Monk and John Coltrane, above all else, are as central to that fact as every other titan of the jazz idiom.
author of The Artificial White Man
Thelonious Monk
Thelonious Monk was in a good mood this night. Even if we knew nothing of his life up to that point, anyone with ears could tell the music came from a place of joy. The band was remarkably tight, after having played regularly at the Five Spot since July of 1957, and they were simply having a ball. (Coltrane and Wilson joined Monk on July 18, 1957; Abdul-Malik replaced Wilbur Ware, who was part of the original quartet, a month later.)
Thelonious had other reasons to be happy.
Here he was, playing his music before an enthusiastic crowd in Carnegie Hall, when just a year ago he was scuffling for work. Indeed, his Five Spot engagement marked Monk's "return" to the jazz club scene after a six-year hiatus. In August of 1951, he was falsely arrested for narcotics possession and deprived of his cabaret card, a police-issued "license" required to perform in New York clubs that served alcohol. The truth of the matter is that his last steady gig was with Coleman Hawkins back in 1945-46!
The occasion for the concert, a fundraiser for the Morningside Community Center, also made the evening especially gratifying for Thelonious. Located on West 122nd Street in Harlem, the Morningside Community Center served some 4,000 mostly black, low-income youth, providing a range of programs including a summer camp, a day nursery, and a mental hygiene clinic. Thelonious had a soft spot for these kinds of institutions, having spent most of his youth at the Columbus Hill Neighborhood Center, a youth center located just across the street from his house on West 63rd Street. Thanks to the hard work of the "Friends" of the Morningside Community Center and promoter Kenneth Karpe, the group had put together several star-studded fundraisers employing the talents of artists like Lena Horne and Marian Anderson. This night was no different. Monk shared the stage with Billie Holiday, Dizzy Gillespie and his orchestra, Ray Charles, Chet Baker and Zoot Sims, and "the brilliant Sonny Rollins."
When it is all said and done, however, the music really speaks for itself. For so long, this particular band has been the stuff of legend because, in spite of their long engagement at the Five Spot, they only recorded three songs together in the studio (with Wilbur Ware on bass). The rapport between the whole band is astonishing in and of itself, but what makes these performances so historic are the surprises. "Monk's Mood," for example, is a startlingly beautiful dialogue with Coltrane, with Monk playing these sensuous arpeggios and runs underneath Coltrane's interpretation of the theme. And they are not the "whole tone" runs we've come to expect from Monk.
The arrangement of "Blue Monk" is another nice surprise, with Coltrane playing the melody a minor third below (except for the first note, which begins on Bflat, a major third below). This changes the sonority significantly, setting up a different kind of exploration of the blues.
It is a sheer pleasure to listen to the interaction between Monk and Wilson. Just check out Wilson's cymbal work on "Epistrophy" and the surprising moment when Monk mimics a little five-beat lick Wilson pulls out of his snare drum.
Everything they play is exciting, dynamic, sometimes adventurous, and very much in sync. Monk is having such a good time at the piano that he hardly gets up from the bench. The stories from the Five Spot in this period always portray Monk as dancing around or heading toward the bar while Coltrane blows with the rhythm section. But what Monk is playing underneath Coltrane is pure brilliance; to call it "comping" simply does not do justice to the creative dialogue Thelonious is having with the entire band.
This remarkable recording confirms, for me at least, that the Monk-Coltrane quartet was one of the most important ensembles of the 1950s, if not the century. Let's hope there are more discoveries to be made.
- Robin D. G. Kelley
author of Thelonious Monk: A Life
(forthcoming, The Free Press)
John Coltrane
Coltrane had already performed at Carnegie Hall with Dizzy Gillespie (1949) and Miles Davis (1955); Monk might not have played there before, but he had been at other halls. Still, both were far from jaded, and in this evening of sharing the bill with Gillespie, Rollins, et al, the excitement is evident. At the start, Monk is flying all over the keyboard on "Monk's Mood." When Trane enters, his tone is captured beautifully, and one can hear the ambience of the hall. The second set, by contrast, has a real "late show" quality - there is an audibly smaller audience, and the quartet stretches out with longer solos and a more relaxed feel. (There are no bass or drum solos in either set, so as to keep things within the allotted time.) This is a working band, comfortable together (they had been at the Five Spot, with just a few weeks off, since July 18, and would be there for a few more weeks). Notice how John comes in with the theme during Monk's solo on "Evidence" – Monk probably gave him a visual cue. Trane plays harmony to the melody on "Blue Monk." "Sweet and Lovely" is the most arranged piece of the night, going in and out of double-time.
Trane enthusiasts will know that the other recordings of Monk and Trane are all undated - the studio session (Riverside) is believed to be from the summer of 1957, and the Five Spot tape (Blue Note), originally assumed to be from 1957, most probably documents a one night reunion on September 11, 1958. (There are two additional undated tracks at Monkzone.com under "Webcasts.") It's nice to have a firm date for the present concert, since that enables us to place it in context among other recordings from the time – for example, it followed Blue Train from September 15, 1957 and preceded Davis's Milestones LP from February and March 1958. Coltrane, who felt liberated playing with Monk, double-times incessantly (the "sheets of sound" noted by Ira Gitler), often playing fast scales. The runs would become more complex throughout 1958, after which he dropped the "sheets" and moved on to other things. Two of his favorite patterns appear in nearly every solo here. One, his descending diminished pattern (p.l34 in my book), forms the basis of his opening cadenza on "Monk's Mood" (1:56) and appears, for example, three times between 1:46 and 2:00 on the first "Epistrophy." The other, which Jimmy Heath pointed out (p.67), appears often in "Bye-Ya" (1:20, 1:26, 1:29, 1:47, 1:49, 2:56). Bits of Coltrane's past survive here: few people realize that Coltrane absorbed some ideas from Paul Gonsalves when both were with Gillespie, and perhaps that influence can still be heard in two places ("Bye-Ya" 1:35; the second "Epistrophy" 1:46) – by 1958 it was gone. The future is coming through here, as well. At 2:27 on "Nutty," Trane plays a striking lick that would turn up again in 1958, and at 1:58 in the same solo he briefly plays pentatonic patterns, which would become a major focus of his in 1959 and beyond. On the second "Epistrophy," Trane begins his solo with little rising arpeggios (0:44), and he brings in a similar idea later (1:35) - nice stuff! And as was always the case, Coltrane drew inspiration from the blues – past, present, and future.
About Monk – I wonder if it ever has been so clear just how outrageous he was – check out "Crepuscule with Nellie," especially the ending, and try to imagine how it would have sounded to you, in that hall, almost 50 years ago. Also dig how Monk fits in a lick from "52nd Street Theme" just after Trane enters (2:28)! And how about his 5-bar intro to "Sweet and Lovely"?! Since I first came across references to this taped event in 1996, I'd been inquiring at the Library of Congress in hopes that it would turn up – and it fully lives up to expectations!
Jazz professor at Rutgers-Newark, author of John Coltrane: His Life and Music and one of five authors of the forthcoming Coltrane reference book (Routledge, 2007)
The Discovery
The Library has been systematically processing, cataloging, and preserving the Voice of America Collection for many years. In February of 2005, while thumbing through some VOA acetate tapes awaiting digitization, I noticed several reels labeled "Carnegie Hall Jazz 1957." One of the tape boxes had a handwritten note on the back that said "T. Monk" with song titles. When we played it, I recognized both Thelonious Monk and John Coltrane and my heart started racing. I confirmed with Lewis that these tapes had never surfaced or been released in any form. They were indeed the tapes he'd been searching for all these years.
We've discovered many rare recordings here over the years, but this one is special. It reminds us once again why it's so important to preserve these unique materials. It's why we do what we do, and why we love this work.
There's always more.
Recording Lab Supervisor
Library of Congress
The Library of congress holds the nation's largest public collection of sound recordings and radio broadcasts, with some 2.5 million recordings representing nearly every sound recording format.
A grant from the Carnegie Corporation in 1940 helped create the Library's Recording Laboratory, which now works to preserve and provide access to endangered and historically significant audio collections held by the Library of Congress.
In 1963 the Library acquired the Voice of America Collection, which includes more than 50,000 tapes and discs of musical and other cultural events. Of further interest to jazz researchers, LC has the collections of Ella Fitzgerald, Charles Mingus, Milt Hinton, Gerry Mulligan, Carmen McRae, Billy Taylor, Charlie Barnett, and Louie Bellson, as well as the famous 1938 Jelly Roll Morton oral histories.
For more information about the Library's Recorded Sound collections, contact the Recorded Sound Reference Center: http://www.loc.gov/rr/record/.


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This beautiful print of Robert Torrens (1780 - 1864) comes in four sizes 12" x 16" or 16" x 20" or 20" x 24" and Poster size 24" x 36" with two different finishes, Gloss or Parchment and will be delivered to your home or business within 14 days. For a small additional charge you can have a short biography of Robert Torrens printed beside the portrait.
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text: Portugal's Cristiano Ronaldo lays claim to the title of world's best footballer, though there are Lionel Messi fans who passionately disagree. But what's sports without passion anyway? And Ronaldo sells some extra passion on the side — as a sex symbol and underwear model/designer and businessman and all-around handsome super-rich guy. During most of his air time, Ronaldo's sporting his Real Madrid jersey. But he makes up for it on Instagram, where he likes to prove he's been working out.


text:
Official website of the Department of Homeland Security
DETROIT—U.S. Customs and Border Protection officers at Detroit Metropolitan Airport seized nearly 2.5 pounds of Heroin from a Nigerian citizen arriving from Frankfurt, Germany whose travel had begun in Nigeria.
Sherifat Lamidi, 32, arrived Sunday at Detroit Metropolitan Airport on board a Lufthansa Airlines flight and presented herself for inspection by CBP. She was designated for additional inspection and escorted into CBP's secondary inspection area. While being interviewed by CBP officers Lamidi admitted to swallowing pellets containing narcotics but wasn't sure of the contents or how many.
Lamidi was transported to a medical facility and under medical supervision finalized the expulsion of 91 pellets of suspected narcotics on Monday. The suspected narcotics tested positive for heroin and were seized. The seized heroin has an estimated street value of $125,000.
"Our officers are committed to the CBP mission of securing the nations borders," said Donald Conroy, Port Director. "It is through the efforts of dedicated CBP officers that we were able to stop these drugs from reaching the streets."
Lamidi was arrested by U.S. Homeland Security Investigations/Immigration and Customs Enforcement agents for further investigation and prosecution has been accepted by the U.S. Attorney's office.
U.S. Customs and Border Protection is the unified border agency within the Department of Homeland Security charged with the management, control and protection of our nation's borders at and between the official ports of entry. CBP is charged with keeping terrorists and terrorist weapons out of the country while enforcing hundreds of U.S. laws.


text:
I know why you did it, Sylvia,
When the world becomes too painful to bear,
And seeking help means you'll be returned to the chair,
And it's all turned black & white and lost its flavour,
And each new mouthful is one less to savour,
Suddenly your mind has wandered back into the lair,
The clothes hurt so you don't dress, but remain bare.
I know exactly why you did it!
The passing seasons are out there but don't register in here,
And each new day – such work – you're overcome with fear,
And your hands do naught but are prone to fidget,
And you're invisible so no-one or thing can relieve it.
Suddenly you see the sickness has stolen months, nay years,
It's only when you make the plan, you can allay the tears.
I know also what you were feeling at the end,
That past innocence and future happiness have both gone underground,
And that the awful, wooden hollowness is all that can be found,
And there's no hidden bank of trust of hope from which you can lend,
And night's are long and days are empty with no trusted friend,
Suddenly you only feel relief when you are still and there's no sound,
The world mocks those with this as weak and feelings aren't allowed.
I know only too well how you felt,
You decided to get it down and so wrote the Bell Jar,
And overwhelmed with womanly duties it didn't get you very far,
And eagle talons ripping open your chest every day as you knelt,
And convinced yourself with wrong thoughts the evil hand that you'd been dealt,
Suddenly, they love your name but you're gone by then, by far.
You only know relief from suffering when you're away from the tar jar.
I know it's all too much too late,
To tell you that I'm feeling better and maybe you would have too,
And marriage to a philanderer can send your mind askew,
And who cares that I see your and my interwoven fate,
And how we wished he'd be struck down and delivered to hell's gate,
Suddenly I saw that it's okay to try a different pair of shoes,
Let him go – good riddance, I say – your children could not lose!
I know you don't want to hear about,
My years of therapy and immense love affair with nature,
And how I sing with that old razzle dazzle now that I'm mature,
And that I made new friends and to the world, I often did rowdily shout,
"… and thanks for putting up with me and not letting me check out!"
Suddenly I can flit about – the whole world is there to tour,
And those dark thoughts – those wrong thoughts – are no longer a lure.
I know I want to spread my joy:
It's the Creatives; we all have dark nights of the soul,
And I say, "look up, ask for help – don't fall into the hole,"
And take it out into the world with my words and life buoy,
And life – it's so precious – don't discard it like an old toy,
Suddenly you see, tomorrow is a new day without a toll,
We get to clutch what is left of life but only if our story is told.
©LMM – written October 2016


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||| Angie Gregoria | Facebook |||
The usual tradition when it comes to high school prom involves a guy asking a girl to accompany him and sometimes the girl will even ask the guy.
But at Alexandria High School, two girls were given in-school suspension after one girl asked another girl to go to prom with her during a talent show Tuesday.
Both the girl who initiated the prom proposal and another girl who helped her were sent to in-school suspension Wednesday according to Ashley Fadely, a senior at the high school.
Fadely says the girlfriend who was asked to prom was also performing at the talent show but was not disciplined. The girl who initiated the proposal and the girl who helped her were both suspended.
School officials labeled the stunt as a "disruption" and school was dismissed soon after the prom proposal but the girls were not disciplined until Wednesday. The school has to shut down and everybody's life put on hold because a girl asked another girl to prom?
Fadely went on to say, "I was there when it happened. It was right after her performance. No words were spoken by them. They just got happy, hugged and that was it."

Alexandria High Principal Anthony Mack Holley did not issue a statement, neither did the Calhoun County Schools Superintendent.
Fadely also noted the obvious bias against homosexuals saying, "If it was a male and a female student, nothing would have been done." The punishment of the two girls sparked outrage among former and current students who posted about the incident on social media.
"I don't think it was right that they might not be allowed to go to prom. I've decided…I'm not going to prom," Fadely said. "Some students have been trying to get refunds for prom (fees already paid)."
On Twitter:
@ErvinProduction
Tips? Info? Send me a message!
Source: http://www.al.com/news/index.ssf/2018/01/2_students_suspended_after_sam.html


text:
Blair accepts Link to Iraq
'He acknowledged Iraq was being used to recruit terrorists, but insisted the roots of extremism were much deeper.'
more Here
If we accept that the foreign Islamist terrorists in Iraq follow the same ideology as the London bombers, how does it follow that Iraq was a cause?
Even though the quote you used explicitly distances Iraq as a motivating factor for the London bombings, you jump to the typical pseudo-left, pro-fascist conclusion.
There is no basis for your claim at all. I could as justifiably say that intervention in Iraq has prevented bombings in London. Like you, I would be speculating meaninglessly based on a political agenda rather than facts.
Lots of factors motivate the Islamic terrorists. Fear of democracy. Hatred of homosexuality. Disgust at the thought of unveiled women driving cars. Avarice. Arrogance. Fascism. Racism. And yes, infidels standing in the way of Islamic imperialism. But that last item in the list is one motivating factor amongst many.
'If we accept that the foreign Islamist terrorists in Iraq follow the same ideology as the London bombers, how does it follow that Iraq was a cause?'
well if you are watching the news every day and people who share your faith are being murdered , by 'terrorists' by 'insurgents and by foreign troops with the misplaced use of weapons such as cluster bombs and depleted uranium can you no see how that can make the moderate muslim angry !
do not forget that however evil saddam was (and nobody doubts that) terrorists did NOT exist in iraq previous to march 2003
for people like president bush to say "we are fighting them there so we dont have to fight them at home" give me the impression that he views the life of an iraqi child less then he does an american one , that in it self stinks of racism
what the hell does any of this have to do with the poor people of iraq ?
'you jump to the typical pseudo-left, pro-fascist conclusion.'
with respect that i wont answer and would suggest you take this prejiduce up with a therapist . to claim that anyone who is to the left of you is a fascist tells me you have a very limited understanding of politics
'There is no basis for your claim at all. I could as justifiably say that intervention in Iraq has prevented bombings in London. Like you, I would be speculating meaninglessly based on a political agenda rather than facts.'
i would suggest that the facts are 1700 american dead , 25,000 iraqi dead , 200 billion american dollars spent and by looking at the draft constitution in iraq and there planned supression of women for just one example we are moving towards an iraq that is going to be more religious more extreme then we had under saddam .. so you tell me what was the point ?
over the last century the british have had a huge role in shaping iraq and have always prevented the creation of a shia power bass that transends national borders as it has always been accepted that this would be more dangerous then even saddam
i do agree that lots of things motivate the terrorists and i dont think you will ever find me defending there actions . but to refuse to look at our own actions in this is absurd
when 56 people die in the tragic events in london and we all stop for 2 mins to reflect . but every day more people then that die in iraq (an they were not dying this way under saddam) and we dont even blink ..we should question this 'moral highground' we think we are in
You sound like you want Saddam back! Maybe you ought to join up. You could be a ripe recruit yourself.
Just remember that if you don't die on the battlefield (that would be Iraq), then maybe you will be taken prisoner and you can go to Cuba. Just think, nice 80 degree temp all year long, your very own prayer rug, a nice view of the ocean. Granted, it's not virgins in paradise, but it is a nice pause from the everyday stress of modern jihad.
Buddy, what makes a difference if there is this link you are worried about? So what. We are still faced with the same choice. Go and fight them or not. If you don't want to fight, stay out of it. And you are so sure there was no terrorism in Iraq before we got there? Really? And I don't need the Galloway, Howard Dean, Jane Fonda, Michael Moore, Noam Chomsky B.S. answer, I'm asking you!
am i sure .. yes i am .. why . because i have studied Al-qaeda since the attack on the US cole , i dont require others to speak for me i speak for myself
on that list of names you have missed "the united nations" ,"france" "germany" "china" , Russia" holly moses .. thats almost the entire security council
yes we are in this mess , we all know that .. but to live in a fantasy so far apposed from the intellectual world rather then stopping and looking at our own actions does seem a little odd
richard clarke a terrorism export for the united states for 4 presidents has said that IRAQ was a huge mistake that has made the world alot more dangerous
anyone who wishes to look into the reasons for this war have to look no further then the web site of "the project for a new american century"
18 people worked on those documents , in 1998 they wrote to president clinton and asked him to invade iraq -- why ?? --- to create a middle east power base
were are those 18 people now ? -- well 10 of them are in the american government , they include dick cheney and donald rumsfield and even jeb bush
as i have before i draw the comparison to what you are saying and the words of Hermann Goering (the nazi)who said
"Naturally the common people don't want war; neither in Russia, nor in
England, nor in America, nor in Germany. That is understood. But after all,
it is the leaders of the country who determine policy, and it is always a
simple matter to drag the people along, whether it is a democracy, or a
fascist dictatorship, or a parliament, or a communist dictatorship. Voice or
no voice, the people can always be brought to the bidding of the leaders.
That is easy. All you have to do is to tell them they are being attacked,
and denounce the pacifists for lack of patriotism and exposing the country
to danger. It works the same in any country"
think long and hard about those words
have you been suckered ?
Michael, are you there? That movie studio is a calling again, they said something about 911 cooking temperature, or something like that. Oh I guess you are busy.
Who has been suckered?
i havent even seen the film :O)
it looks like you are running out of facts and resorting to humour
is very good .. thankyou i needed a laugh today
suspiciously lacking in any documented facts though .. thats a shame
The first anonymous post was from me - the others were from someone else but he or she raises some important questions about your motives.
I've seen your blog a few times but this is this is the first time I've commented - it was largely due to frustration with your apparently limited understanding of the language you are quoting, which leads you to write things like:
"to claim that anyone who is to the left of you is a fascist tells me you have a very limited understanding of politics"
We could have a long, complicated argument about the right and left in politics, but I'd rather clarify my position by saying that I consider you to be a pseudo-leftist, i.e. a fascist sympathiser masquerading as a socialist.
you can consider me as you wish . what i present here on this site are facts that are presented in both the left and right wing of the media
if you wish to "have a long complicated argument" on the rights and lefts then please do
dont just state that you could ?
it is a very strange opinion to think that my views are in secret far right winged so i hide them by being extreme left ..
once you double checked your definition of a fascist in the dictionary i invite you to come back and post the evidence you have of my fascist tendancys ..
it is a lovely word to use . but it does help if you can support your claim with facts
as an after thought for the small minority of readers that do need a dictionary
Fascism (sometimes better known as Nazism) is the extreme RIGHT. Communism is the extreme left. I know, they called it National Socialism, but that was merely euphemism, something dictators and min-control experts are good at. We know it better these days as "spin".


text:
4 years ago
Sunday, August 10, 2008
Cat Safe Plants??
We want/need some house plants to spruce up our living room project but we don't want anything that will make the cat sick. I found this list today and thought it might be useful to others.
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text:
In the United States there are many different care options for the elderly; there is family assistance, home care services, assisted living facilities, full time nursing care and residential centers. These options offer a variety of options to the various needs of elderly individuals and their families. How does the care offered in the United States differ from the care offered in different countries? Here are some things to consider when comparing senior care between the United States and other Countries:
- It is commonly heard that in foreign countries the elderly are more revered and better cared for than in the United States. There are cultural differences between the U.S. and other countries with how the elderly is treated in their society. It is often heard that the elderly family members live in the homes of another family member. Some countries have multiple generations living together, all supporting one another and taking on the care of all members of the family. While this type of living situation is more common in many cases around the world many elderly everywhere are living on their own, without the in-home assistance from their family members. In the United States especially more and more elderly adults are choosing to live on their own, with less care than you would expect. Welfare of the elderly continues to be a growing concern.
- Within the United States there is rising health care costs that is higher than what is seen by other countries. The levels of services available to the elderly as well as their substantially is higher in the U.S. than in other areas of the world. In the United States elderly patients have better access to doctors, referral options to specialists and other long term care options for their health concerns. The cost of these health care options is higher than what other countries tend to spend on their healthcare programs.
- Health care that is given by members of the family can have a dramatic impact for the benefits of the elderly. It is a misconception that in order to provide in home care for an elderly member that it has to be in the same home. It is not necessary to move an elderly relative into your home to be part of a care support system for them. Families are working together and dividing responsibilities for the care and well-being of an elderly family member. This is a common occurrence within other countries as well as the U.S. In addition to family care there are government agencies, social workers, health care professionals, and other authorities that are continuing to find ways to provide better assistance families be able to care for their elderly family. As services and options increase in availability and quality, the life expectancy of the growing population is increasing throughout the world.
- One of the most significant differences between senior care in the United States and other countries is the lifestyles that the population adheres to. In other countries the elderly continue to live a more active lifestyle based on having healthier habits in younger years. With things like healthier eating habits and more active lifestyles. The United States continues to fight a battle with obesity and poor health habits with all ages of the population. To benefit the seniors in our communities it is important to address global ideals of proper nutrition and an active lifestyle early in life.
As we continue to look at an aging population in the United States and around the world it is important to continue to look for options and solutions to aid in the aging process. All around the world people are living longer and the society they live within needs to be able to keep up with their gaining, and provide care for them. The United States leads the way in the variety of services that are offered through home care, assisted living, and full time care facilities. But, it is always good to compare with other counties to improve upon and adapt new ways to provide the best possible care to our elderly.


text:
Become More Prominent at Work
Some employees try to conform and not to stand out at work – they fulfill all the tasks but not to come up with new ideas, reject initiative and never do more than is expected of them. They feel safe when hiding in the crowd. Others are more ambitious, they are not scared of being paid attention to and want to move forward. If you belong to the latter group and if you are eager to grow professionally, this article contains perfect strategies right for you.


text:
Snapshots, Second Edition
eBook (PDF), 88 Pages
Price: $3.00
An amazing and eclectic collection of photographs by Martin Pinker.
Available in PDF Format
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Product Details
- Copyright
- Standard Copyright License
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- Second
- Publisher
- Martin Pinker
- Published
- October 1, 2011
- Language
- English
- Pages
- 88
- File Format
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- Product ID
- 17549769
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text:
Vankoji Foods produces homemade Koji products. Owner Tonami van den Driesen lives in Burnaby with her family and loves to cook. She started making kome koji a few years ago when making homemade miso paste. The re-discovery of Shio-Koji in Japan and its wonderful addition to the cooking pot has inspired Tonami to introduce this and other products to the Vancouver area. 自家製の麹食品。
On the Menu: Shio-koji, Shoyu-koji, Garlic-koji, Kome-koji, BBQ (yakiniku) sauce 塩麹、醤油麹、ニンニク麹、米麹
Location: Jackson Marketplace (on west side of Jackson towards Alexander Street)


text:
June 2018: Publishing Path
~ Adriana Kraft ~
~ Adriana Kraft ~
CTR asked:
QUESTION: Which path did you take: Trad, Indie, or Hybrid? And what led you to that choice?
Adriana Kraft said:
Definitely Hybrid! My husband and I co-write together under our pen name. When we first tried our hand at writing romance nearly two decades ago, the only option appeared to be the traditional New York print publishers. We used up reams of papers and spent a lot of postage sending queries, partials, and even full manuscripts out to agents and publishing houses. We could tell we were getting close with nibbles, positive feedback, and requests for more, but never an offer.
Meanwhile our local RWA chapter, in addition to being a resource for honing our skills, kept us abreast of the everging electronic publishing phenomenon – in the days when e-publishing meant creating a pdf document that people could read on their computers. Does anybody even remember that era? We subbed to a reputable company (now sold to a larger house), and they contracted our first romantic suspense in 2005. Huge celebration!
Fast forward – we also loved writing spicier material, which that house didn't handle, but they referred us out to a new startup, ushering in an era for us of lots of contracts, lots of royalties not paid, and lots of failed e-pubs.
It took us a while to find the publisher we're now mostly with (Extasy Books), which has successfully navigated the e-pub waters almost since the beginning and is still a great place to be.
But in 2013 we also dipped our toes into indie-pubbing, releasing some of our edgier erotic romance and a few romantic suspense stories through Amazon's KDP program.
Why do we stick with both? It never hurts to have a broad base and a range of options in what continues to be a turbulent and highly competitive publishing genre. We love the stability, reliability, and full services we get from our publishing house. And we love the total control we have – covers, pricing, flexibility to offer our indie books for free or on sale, as well as the steady income we receive from our KU readers.
– Website – https://adrianakraft.com
– Twitter – @AdrianaKraft
Detour Ahead (Riders Up, Book Four)
[Romantic Suspense]
Threatened race horses, city slicker attorney, sexy California wrangler—what can possibly go wrong?
Hot-shot Chicago prosecuting attorney Traci Steele works tirelessly keeping rapists off the street to prevent other women from suffering the hell she's endured, so she resists her friends' insistence that she take a two month R&R in their California Live Oak condo—until they persuade her to help their rancher friend as a private investigator.
Though he runs the stables at Live Oak, well-muscled mustached wrangler Scott McCord much prefers working with the race horses he trains at his ranch, and he can't believe his old friends have sent a greenhorn female to help him with horse troubles.
The improbable dance between this mismatched pair barely fits in around the escalating suspense of whoever's after Scott's horses. Traci is as tenacious in her sleuthing as she is terrified about her inability to ever love a man. Can Scott succeed in gentling her – like he does his horses – before she flees in panic?
Each book in this series can be read as a Stand-Alone.
Available in Ebook:
– Kindle – https://www.amazon.com/dp/B00RPT6YJA/
More Authors Dish about their debut novel inspiration.
– Read the authors of Day One: https://coffeetimeromance.com/CoffeeThoughts/ad2018-jun-pub-day1/


text:
KATIE FOX has been editing and publishing since 2010. She attended the State University of New York at Fredonia, where she studied communications and philosophy, and more recently completed UC Berkeley Extension's Professional Sequence in Editing. Before becoming a freelance editor, she worked as a music recording studio professional in the Bay Area for 20 years. When not visiting her pond in Chautauqua County, New York, she lives in San Francisco.
Some favorite current editing clients include:
Gryphon Agency, San Francisco
Cultural Strategies Council, Sausalito
Neil Young Archives, Los Angeles
Chaminade University, Honolulu
IFACCA, New South Wales, Australia
A recently published book:
More Wonders of the Invisible World;
or, The Wonders of the Invisible World Display'd in Five Parts
Robert Calef, 1700
2018 Classic Reprint Edition
Edited & designed by Katie Fox, published by Fox Editing
This publication burst like a bomb-shell upon all who had been concerned in promoting the witchcraft prosecutions. Cotton Mather was exasperated to the highest pitch.
—Charles W. Upham, Salem Witchcraft Vol II, 1869
Originally published in 1700 and rarely found in print, Robert Calef's "More Wonders of the Invisible World" provides a more readable and empathetic view of the events of 1692 Salem than the better-known Increase & Cotton Mather book from which its title is adapted.
This unabridged edition has been newly typeset and edited, retaining some of the look and feel of the 1700 original while also prioritizing legibility for the modern reader. Text based primarily on the Salem 1823 edition. Includes footnotes by editor S.P. Fowler and header illustrations from the Salem 1860 edition.
Calef's work collects his correspondence with Cotton Mather and other interested parties in debate over the then-recent Salem witch trials. It also discusses the misgivings of some parishoners of Salem Village regarding their minister, Mr. Parris, and contains transcriptions of some Salem Witch Trial documents and testimony.
Available at Amazon and Lulu,
and at Etsy & The Supernatural Fox Sisters store as part of the Witchfinder Pack.


text:
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The Team Behind the Scenes of an Experience
It takes a lot to execute services each weekend at our campuses. But no matter the size of your church, you will need a mix of skilled technical people and teachable volunteers to run your experience. We have a few skilled contractors on the weekend: a front-of-house (FOH) engineer and light...Read More


text:
Local students, Joshua Black, Michael Ward, Andrew Mitchell, Jason Price and Una Hobson all scored at Stranmillis University College's annual Awards Ceremony, picking up top awards for academic excellence and achievement.
Joshua was the joint winner of the Danske Bank Mathematics Prize, awarded to the student who, having taken Mathematics as the main subject of the BEd degree, achieves the highest marks in maths in their finals.
Joshua was also awarded the The Ronnie Barron Science and Maths Cup which is awarded to the Maths and Science post-primary student who has demonstrated excellence in the classroom and laboratory, whilst showing high academic standards throughout the four years of the BEd course. Joshua is a former pupil of Moyallan Primary School, Killimaine Junior School and Banbridge Academy.
Michael, who attended St Francis Primary School and St Ronan's School, Lurgan won The Gail Addison Memorial Prize for the graduating B.Ed. (Post Primary) student who has shown particular notable promise as a classroom practitioner.
The J.C. Davidson (Memorial) Cup is awarded to the student recognised as having made the most significant contribution to the subject of Physical Education by a graduate. The Cup was presented to Craigavon's Andrew Mitchell, an ex-pupil of Waringstown Primary School, Lurgan Junior High School, Craigavon Senior High School.
Jason, a former pupil of Hardy Memorial Primary School in Richhill, Clounagh Junior High School and Portadown College won the The Mahon Prize, awarded to the student who obtained the highest percentage marks in the final examinations on the B.Ed Primary Education course.
Making up the quintet was Una, who picked up The Foundation Degree Early Childhood Studies Prize for Excellence. The award is made to student with the highest level of academic achievement on the course. Una was a pupil at St Teresa's Primary School and St Ronan's School.


text:
17March 2017
We also run at Stralang
As you know, the countdown for the famous Paris Marathon has begun. It will take place on April 9, 2017, in one of the most beautiful cities in the world: Paris. Schneider Electric Marathon de Paris takes off at the Champs-Elysées on the mythical distance of 42.195 km.
This year, Stralang Institute is particularly concerned with it as one of our students, Julien, will participate. Julian has been a student in Stralang since September 2016. Julian arrived at Stralang in September 2016, beginner on his arrival in France, he currently has an intermediate level. He is a serious and very disciplined student. We have no doubt that he will show the same seriousness during the marathon.
That is why, all the students and teachers of Stralang wishes to Julian and to all the participants, good luck and a lot of courage!
Run Julian run!