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Miles Dewey Davis III (May 26, 1926 – September 28, 1991), better known as Miles Davis was an American jazz musician, trumpeter, bandleader, and composer. Widely considered one of the most influential and innovative musicians of the 20th century, Miles Davis was, together with his musical groups, at the forefront of several major developments in jazz music, including bebop, cool jazz, hard bop, modal jazz, post-bop and jazz fusion.
In 2006, Davis was inducted into the Rock and Roll Hall of Fame, which recognized him as "one of the key figures in the history of jazz". In 2008, his 1959 album Kind of Blue received its fourth platinum certification from the Recording Industry Association of America (RIAA), for shipments of at least four million copies in the United States. On December 15, 2009, the U.S. House of Representatives passed a symbolic resolution recognizing and commemorating the album Kind of Blue on its 50th anniversary, "honoring the masterpiece and reaffirming jazz as a national treasure"
Miles Dewey Davis III was born on May 26, 1926, to an affluent African American family in Alton, Illinois. His father, Miles Dewey Davis, Jr., was a dentist. In 1927 the family moved to East St. Louis, Illinois. They also owned a substantial ranch in the Delta region of Arkansas near the city of Pine Bluff, where Davis's father and grandfather were from. It was in both East St. Louis and near Pine Bluff that young Davis developed his earliest appreciation for music listening to the gospel music of the black church.
Davis's mother, Cleota Mae Davis (née Henry), wanted her son to learn the piano; she was a capable blues pianist but did not tell Miles. His musical studies began at 13, when his father gave him a trumpet and arranged lessons with local musician Elwood Buchanan. Davis later suggested that his father's instrument choice was made largely to irk his wife, who disliked the trumpet's sound. Against the fashion of the time, Buchanan stressed the importance of playing without vibrato; he was reported to have slapped Davis's knuckles every time he started using heavy vibrato. Davis would carry his clear signature tone throughout his career. He once remarked on its importance to him, saying, "I prefer a round sound with no attitude in it, like a round voice with not too much tremolo and not too much bass. Just right in the middle. If I can't get that sound I can't play anything." Clark Terry was another important early influence.
By age 16, Davis was a member of the music society and, when not at school, playing professionally first at the local Elks Club. At 17, he spent a year playing in Eddie Randle's band, the Blue Devils. During this time, Sonny Stitt tried to persuade him to join the Tiny Bradshaw band, then passing through town, but Davis's mother insisted that he finish his final year of high school. He graduated from East St. Louis Lincoln High School in 1944.
In 1944, the Billy Eckstine band visited East St. Louis. Dizzy Gillespie and Charlie Parker were members of the band; they invited Davis to play third trumpet for a couple of weeks because their regular member, Buddy Anderson, was ill. Even after this experience, once Eckstine's band left town, Davis's parents were still keen for him to continue formal academic studies.
In the fall of 1944, following graduation from high school, Davis moved to New York City to study at the Juilliard School of Music. Upon arriving in New York City, he spent most of his first weeks in town trying to get in contact with Charlie Parker, despite being advised against doing so by several people he met during his quest, including saxophonist Coleman Hawkins.
Finally locating his idol, Davis became one of the cadre of musicians who held nightly jam sessions at two of Harlem's nightclubs, Minton's Playhouse and Monroe's. The group included many of the future leaders of the bebop revolution: young players such as Fats Navarro, Freddie Webster, and J. J. Johnson. Established musicians including Thelonious Monk and Kenny Clarke were also regular participants.
Davis dropped out of Juilliard after asking permission from his father. In his autobiography, Davis criticized the Juilliard classes for centering too much on the classical European and "white" repertoire. He also acknowledged however that, in addition to greatly improving his trumpet playing technique, Juilliard helped give him a grounding in music theory that would prove valuable in later years.
Davis began playing professionally, performing in several 52nd Street clubs with Coleman Hawkins and Eddie "Lockjaw" Davis. In 1945, he entered a recording studio for the first time, as a member of Herbie Fields's group. This was the first of many recordings Davis contributed to in this period, mostly as a sideman. He finally got the chance to record as a leader in 1946, with an occasional group called the Miles Davis Sextet plus Earl Coleman and Ann Hathaway—one of the rare occasions when Davis, by then a member of the groundbreaking Charlie Parker Quintet, can be heard accompanying singers. In these early years, recording sessions where Davis was the leader were the exception rather than the rule; his next date as leader would not come until 1947.
Around 1945, Dizzy Gillespie parted ways with Parker, and Davis was hired as Gillespie's replacement in his quintet, which also featured Max Roach on drums, Al Haig (replaced later by Sir Charles Thompson and Duke Jordan) on piano, and Curley Russell (later replaced by Tommy Potter and Leonard Gaskin) on bass.
With Parker's quintet, Davis went into the studio several times, already showing hints of the style he would become known for. On an oft-quoted take of Parker's signature song, "Now's the Time", Davis takes a melodic solo, whose unbop-like quality anticipates the "cool jazz" period that followed. The Parker quintet also toured widely. During a stop in Los Angeles, Parker had a nervous breakdown that landed him in the Camarillo State Mental Hospital for several months, and Davis found himself stranded. He roomed and collaborated for some time with bassist Charles Mingus, before getting a job on Billy Eckstine's California tour, which eventually brought him back to New York. In 1948, Parker returned to New York, and Davis rejoined his group.
The relationships within the quintet were growing tense however. Parker was behaving erratically due to his well-known drug addiction. Davis and Roach caused friction in the group by objecting to having Duke Jordan as a pianist and would have preferred Bud Powell. By December 1948, Davis's claims that he was not being paid began to strain the relationship even further. Davis finally left the group following a confrontation with Parker at the Royal Roost.
For Davis, his departure from Parker's group marked the beginning of a period when he worked mainly as a freelancer and sideman in some of the most important combos on the New York City jazz scene.
In 1948 Davis grew close to the Canadian composer and arranger Gil Evans. Evans' basement apartment had become the meeting place for several young musicians and composers such as Davis, Roach, pianist John Lewis, and baritone sax player Gerry Mulligan who were unhappy with the increasingly virtuoso instrumental techniques that dominated the bebop scene. Evans had been the arranger for the Claude Thornhill orchestra, and it was the sound of this group, as well as Duke Ellington's example, that suggested the creation of an unusual line-up: a nonet including a French horn and a tuba (this accounts for the "tuba band" moniker that became associated with the combo).
Davis took an active role in the project, so much so that it soon became "his project". The objective was to achieve a sound similar to the human voice, through carefully arranged compositions and by emphasizing a relaxed, melodic approach to the improvisations.
The nonet debuted in the summer of 1948, with a two-week engagement at the Royal Roost. The sign announcing the performance gave a surprising prominence to the role of the arrangers: "Miles Davis Nonet. Arrangements by Gil Evans, John Lewis and Gerry Mulligan." It was, in fact, so unusual that Davis had to persuade the Roost's manager, Ralph Watkins, to word the sign this way. He prevailed only with the help of Monte Kay, the club's artistic director.
The nonet was active until the end of 1949, along the way undergoing several changes in personnel: Roach and Davis were constantly featured, along with Mulligan, tuba player Bill Barber, and alto saxophonist Lee Konitz, who had been preferred to Sonny Stitt (whose playing was considered too bop-oriented). Over the months, John Lewis alternated with Al Haig on piano, Mike Zwerin with Kai Winding on trombone (Johnson was touring at the time), Junior Collins with Sandy Siegelstein and Gunther Schuller on French horn, and Al McKibbon with Joe Shulman on bass. Singer Kenny Hagood was added for one track during the recording.
The presence of white musicians in the group angered some black jazz players, many of whom were unemployed at the time, but Davis rebuffed their criticisms.
A contract with Capitol Records granted the nonet several recording sessions between January 1949 and April 1950. The material they recorded was released in 1956 on an album whose title, Birth of the Cool, gave its name to the "cool jazz" movement that developed at the same time and partly shared the musical direction begun by Davis's group.
For his part, Davis was fully aware of the importance of the project, which he pursued to the point of turning down a job with Duke Ellington's orchestra.
The importance of the nonet experience would become clear to critics and the larger public only in later years, but, at least commercially, the nonet was not a success. The liner notes of the first recordings of the Davis Quintet for Columbia Records call it one of the most spectacular failures of the jazz club scene. This was bitterly noted by Davis, who claimed the invention of the cool style and resented the success that was later enjoyed—in large part because of the media's attention—by white "cool jazz" musicians (Mulligan and Dave Brubeck in particular).
This experience also marked the beginning of the lifelong friendship between Davis and Gil Evans, an alliance that would bear important results in the years to follow.
The first half of the 1950s was, for Davis, a period of great personal difficulty. At the end of 1949, he went on tour in Paris with a group including Tadd Dameron, Kenny Clarke (who remained in Europe after the tour), and James Moody. Davis was fascinated by Paris and its cultural environment, where black jazz musicians, and African Americans in general, often felt better respected than they did in their homeland. While in Paris, Davis began a relationship with French actress and singer Juliette Gréco.
Although many of his new and old friends (Davis, in his autobiography, mentions Clarke) tried to persuade him to stay in France, Davis decided to return to New York City. Back in the USA, he began to feel deeply depressed. He attributed the depression to his separation from Gréco, his feeling under-appreciated by the critics (who hailed his former collaborators as leaders of the cool jazz movement)—and to the unraveling of his liaison with a former St. Louis schoolmate who lived with him in New York City, with whom he had two children.
Davis blamed these factors for the heroin habit that deeply affected him for the next four years. During this period, Davis supported his habit partly with his music and partly by living the life of a hustler. By 1953, his drug addiction began to impair his playing ability. Heroin had killed some of his friends (Navarro and Freddie Webster). He had been arrested for drug possession while on tour in Los Angeles, and his drug habit became public in a Down Beat interview of Cab Calloway.
Realizing his precarious condition, Davis tried several times to end his drug addiction, finally succeeding in 1954 after returning to his father's home in St. Louis for several months and locking himself in a room until he had gone through a painful withdrawal. During this period, he avoided New York City and played mostly in Detroit and other Midwestern towns, where drugs were then harder to come by. A widely related story, attributed to Richard (Prophet) Jennings was that Davis—while in Detroit playing at the Blue Bird club as a guest soloist in Billy Mitchell's house band along with Tommy Flanagan, Elvin Jones, Betty Carter, Yusef Lateef, Barry Harris, Thad Jones, Curtis Fuller and Donald Byrd—stumbled into Baker's Keyboard Lounge out of the rain, soaking wet and carrying his trumpet in a paper bag under his coat, walked to the bandstand and interrupted Max Roach and Clifford Brown in the midst of performing "Sweet Georgia Brown" by beginning to play "My Funny Valentine", and then, after finishing the song, stumbled back into the rainy night. Davis was supposedly embarrassed into getting clean by this incident. In his autobiography, Davis disputed this account, stating that Roach had requested that Davis play with him that night, and that the details of the incident, such as carrying his horn in a paper bag and interrupting Roach and Brown, were fictional and that his decision to quit heroin was unrelated to the incident.
Despite all the personal turmoil, the 1950–54 period proved to be a fruitful one for Davis artistically. He made quite a number of recordings and had several collaborations with other important musicians. He got to know the music of Chicago pianist Ahmad Jamal, whose elegant approach and use of space influenced him deeply. He also definitively severed his stylistic ties with bebop.
In 1951, Davis met Bob Weinstock, the owner of Prestige Records, and signed a contract with the label. Between 1951 and 1954, he released many records on Prestige, with several different combos. While the personnel of the recordings varied, the lineup often featured Sonny Rollins and Art Blakey. Davis was particularly fond of Rollins and tried several times, in the years that preceded his meeting with John Coltrane, to recruit him for a regular group. He never succeeded, however, mostly because Rollins was prone to make himself unavailable for months at a time. In spite of the casual occasions that generated these recordings, their quality is almost always quite high, and they document the evolution of Davis's style and sound. During this time he began using the Harmon mute, held close to the microphone, in a way that became his signature, and his phrasing, especially in ballads, became spacious, melodic, and relaxed. This sound became so characteristic that the use of the Harmon mute by any jazz trumpet player since immediately conjures up Miles Davis.
The most important Prestige recordings of this period (Dig, Blue Haze, Bags' Groove, Miles Davis and the Modern Jazz Giants, and Walkin') originated mostly from recording sessions in 1951 and 1954, after Davis's recovery from his addiction. Also of importance are his five Blue Note recordings, collected in the Miles Davis Volume 1 album.
With these recordings, Davis assumed a central position in what is known as hard bop. In contrast with bebop, hard bop used slower tempos and a less radical approach to harmony and melody, often adopting popular tunes and standards from the American songbook as starting points for improvisation. Hard bop also distanced itself from cool jazz by virtue of a harder beat and by its constant reference to the blues, both in its traditional form and in the form made popular by rhythm and blues. A few critics go as far as to call Walkin' the album that created hard bop, but the point is debatable, given the number of musicians who were working along similar lines at the same time (many of whom recorded or played with Davis).
In this period, Davis gained a reputation for being distant, cold, and withdrawn, and for having a quick temper. Factors that contributed to this reputation included his contempt for the critics and specialized press, and some well-publicized confrontations with the public and with fellow musicians.
A near fight with Thelonious Monk during the recording of Bags' Groove, received wide exposure in the specialized press.
Davis had an operation to remove polyps from his larynx in October 1955. Even though he was not supposed to speak at all for ten days, he had an argument with somebody and raised his voice. This outburst damaged his vocal cords forever, giving him the characteristic raspy voice that came to be associated with him. "... in February or March 1956, that I had my first throat operation and had to disband the group while recovering. During the course of the conversation I raised my voice to make a point and fucked up my voice. I wasn't even supposed to talk for at least ten days, and here I was not only talking, but talking loudly. After that incident my voice had this whisper that has been with me ever since."
The "nocturnal" quality of Davis's playing and his somber reputation, along with his whispering voice, earned him the lasting moniker of "prince of darkness", adding a patina of mystery to his public persona.
Back in New York City and in better health, in 1955 Davis attended the Newport Jazz Festival, where his performance (and especially his solo on "'Round Midnight") was greatly admired and prompted the critics to hail the "return of Miles Davis". At the same time, Davis recruited the players for a formation that became known as his "first great quintet": John Coltrane on tenor saxophone, Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones on drums.
None of these musicians, with the exception of Davis, had received a great deal of exposure before that time; Chambers, in particular, was very young (19 at the time), a Detroit player who had been on the New York City scene for only about a year, working with the bands of Bennie Green, Paul Quinichette, George Wallington, J. J. Johnson, and Kai Winding. Coltrane was little known at the time, in spite of earlier collaborations with Dizzy Gillespie, Earl Bostic, and Johnny Hodges. Davis hired Coltrane as a replacement for Sonny Rollins, after unsuccessfully trying to recruit alto saxophonist Julian "Cannonball" Adderley.
The repertoire included many bebop mainstays, standards from the Great American Songbook and the pre-bop era, and some traditional tunes. The prevailing style of the group was a development of the Davis experience in the previous years—Davis playing long, legato, and essentially melodic lines, while Coltrane, who during these years emerged as a leading figure on the musical scene, contrasted by playing high-energy solos.
With the new formation also came a new recording contract. In Newport, Rhode Island, Davis had met Columbia Records producer George Avakian, who persuaded him to sign with his label. The quintet made its debut on record with the extremely well received 'Round About Midnight. Before leaving Prestige, however, Davis had to fulfill his obligations during two days of recording sessions in 1956. Prestige released these recordings in the following years as four albums: Relaxin' with the Miles Davis Quintet, Steamin' with the Miles Davis Quintet, Workin' with the Miles Davis Quintet, and Cookin' with the Miles Davis Quintet. While the recording took place in a studio, each record of this series has the structure and feel of a live performance, with several first takes on each album. The records became almost instant classics and were instrumental in establishing Davis's quintet as one of the best on the jazz scene.
The quintet was disbanded for the first time in 1957, following a series of personal problems that Davis blames on the drug addiction of the other musicians. Davis played some gigs at the Cafe Bohemia with a short-lived formation that included Sonny Rollins and drummer Art Taylor, and then traveled to France, where he recorded the score to Louis Malle's film Ascenseur pour l'échafaud. With the aid of French session musicians Barney Wilen, Pierre Michelot, and René Urtreger, and expatriate American drummer Kenny Clarke, he recorded the entire soundtrack with an innovative procedure, without relying on written material: starting from sparse indication of the harmony and a general feel of a given piece, the group played by watching the movie on a screen in front of them and improvising.
A performance of Les Ballets Africains from Guinea in 1958 sparked Davis's interest in modal music. This music, featuring the kalimba, stayed for long periods of time on a single chord, weaving in and out of consonance and dissonance. It was a very new concept in jazz at the time, then dominated by the chord-change based music of bebop.
Returning to New York City in 1958, Davis successfully recruited Cannonball Adderley for his standing group. Coltrane, who in the meantime had freed himself from his drug habits, was available after a highly fruitful experience with Thelonious Monk and was hired back, as was Philly Joe Jones. With the quintet re-formed as a sextet, Davis recorded Milestones, an album anticipating the new directions he was preparing to give to his music.
Almost immediately after the recording of Milestones, Davis fired Garland and, shortly afterward, Jones, again for behavioral problems; he replaced them with Bill Evans—a young white pianist with a strong classical background—and drummer Jimmy Cobb. With this revamped formation, Davis began a year during which the sextet performed and toured extensively and produced a record (1958 Miles, also known as 58 Sessions). Evans had a unique, impressionistic approach to the piano, and his musical ideas had a strong influence on Davis. But after only eight months on the road with the group, he was burned out and left. He was soon replaced by Wynton Kelly, a player who brought to the sextet a swinging, bluesy approach that contrasted with Evans' more delicate playing.
In the late 1950s and early 1960s, Davis recorded a series of albums with Gil Evans, often playing flugelhorn as well as trumpet. The first, Miles Ahead (1957), showcased his playing with a jazz big band and a horn section arranged by Evans. Songs included Dave Brubeck's "The Duke," as well as Léo Delibes's "The Maids of Cadiz," the first piece of European classical music Davis had recorded. Another distinctive feature of the album was the orchestral passages that Evans had devised as transitions between the different tracks, which were joined together with the innovative use of editing in the post-production phase, turning each side of the album into a seamless piece of music.
In 1958, Davis and Evans were back in the studio to record Porgy and Bess, an arrangement of pieces from George Gershwin's opera of the same name. The lineup included three members of the sextet: Paul Chambers, Philly Joe Jones, and Julian "Cannonball" Adderley. Davis called the album one of his favorites.
Also in 1958, he married his first wife Frances Taylor. Their marriage lasted 10 years, despite his persistent domestic violence.
Sketches of Spain (1959–1960) featured songs by contemporary Spanish composers Joaquín Rodrigo and Manuel de Falla, as well as Gil Evans originals with a Spanish flavor. Miles Davis at Carnegie Hall (1961) includes Rodrigo's Concierto de Aranjuez, along with other compositions recorded in concert with an orchestra under Evans' direction.
Sessions with Davis and Evans in 1962 resulted in the album Quiet Nights, a short collection of bossa novas that was released against the wishes of both artists: Evans stated it was only half an album, and blamed the record company; Davis blamed producer Teo Macero, to whom he did not speak for more than two years. This was the last time Evans and Davis made a full album together; despite the professional separation, Davis noted later that "my best friend is Gil Evans."
In March and April 1959, Davis re-entered the studio with his working sextet to record what is widely considered his magnum opus, Kind of Blue. He called back Bill Evans, months away from forming what would become his own seminal trio, for the album sessions, as the music had been planned around Evans' piano style. Both Davis and Evans were acquainted with the ideas of pianist George Russell regarding modal jazz; Davis from discussions with Russell and others before the Birth of the Cool sessions, and Evans from study with Russell in 1956. Davis, however, had neglected to inform current pianist Wynton Kelly of Evans' role in the recordings; Kelly subsequently played only on the track "Freddie Freeloader" and was not present at the April dates for the album. "So What" and "All Blues" had been played by the sextet at performances prior to the recording sessions, but for the other three compositions, Davis and Evans prepared skeletal harmonic frameworks that the other musicians saw for the first time on the day of recording, to allow a fresher approach to their improvisations. The resulting album has proven both highly popular and enormously influential. According to the RIAA, Kind of Blue is the best-selling jazz album of all time, having been certified as quadruple platinum (4 million copies sold). In December 2009, the US House of Representatives voted 409–0 to pass a resolution honoring the album as a national treasure.
The trumpet Davis used on the recording is currently displayed in the music building on the campus of the University of North Carolina at Greensboro. It was donated to the school by Arthur "Buddy" Gist, who met Davis in 1949 and became a close friend. The gift was the reason why the jazz program at UNCG is named the "Miles Davis Jazz Studies Program."
In August 1959, the Miles Davis Quintet was appearing at the famous Birdland nightclub in New York City. After finishing a recording for the armed services, Davis took a break outside the club. As he was escorting an attractive blonde woman across the sidewalk to a taxi, Davis was told by a patrolman to "move on." Davis explained that he worked at the nightclub and refused to move. The officer said that he would arrest Davis and grabbed him as Davis protected himself. Witnesses said that the patrolman punched Davis in the stomach with his nightstick without provocation. While two detectives held the crowd back, a third detective approached Davis from behind and beat him about the head. Davis was arrested and taken to jail where he was charged with feloniously assaulting an officer. He was then taken to St. Clary Hospital where he received five stitches for a wound on his head. The following October, he was acquitted of the charge of disorderly conduct and was likewise acquitted the following January of the charge of third-degree assault.
Davis tried to pursue the case by bringing a suit against the New York City Police Department, but eventually dropped the proceedings in a plea bargain so he could recover his suspended cabaret card – entertainers awaiting trial were automatically deprived of their cards – and return to work in New York City clubs. In his autobiography, Davis stated that the incident "changed my whole life and whole attitude again, made me feel bitter and cynical again when I was starting to feel good about the things that had changed in this country."
Davis persuaded Coltrane to play with the group on one final European tour in the spring of 1960. Coltrane then departed to form his classic quartet, although he returned for some of the tracks on Davis's 1961 album Someday My Prince Will Come. After Coltrane, Davis tried various saxophonists, including Jimmy Heath, Sonny Stitt, and Hank Mobley. The quintet with Hank Mobley was recorded in the studio and on several live engagements at Carnegie Hall and the Black Hawk jazz club in San Francisco. Stitt's playing with the group is found on a recording made in Olympia, Paris (where Davis and Coltrane had played a few months before) and the Live in Stockholm album.
In 1963, Davis's longtime rhythm section of Kelly, Chambers, and Cobb departed. He quickly got to work putting together a new group, including tenor saxophonist George Coleman and bassist Ron Carter. Davis, Coleman, Carter and a few other musicians recorded half the tracks for an album in the spring of 1963. A few weeks later, seventeen-year-old drummer Tony Williams and pianist Herbie Hancock joined the group, and soon afterward Davis, Coleman, and the new rhythm section recorded the rest of Seven Steps to Heaven.
The rhythm players melded together quickly as a section and with the horns. The group's rapid evolution can be traced through the Seven Steps to Heaven album, In Europe (July 1963), My Funny Valentine (February 1964), and Four and More (also February 1964). The quintet played essentially the same repertoire of bebop tunes and standards that earlier Davis bands had played, but they tackled them with increasing structural and rhythmic freedom and, in the case of the up-tempo material, breakneck speed.
Coleman left in the spring of 1964, to be replaced by avant-garde saxophonist Sam Rivers, on the suggestion of Tony Williams. Rivers remained in the group only briefly, but was recorded live with the quintet in Japan; this configuration can be heard on Miles in Tokyo! (July 1964).
By the end of the summer, Davis had persuaded Wayne Shorter to leave Art Blakey's Jazz Messengers and join the quintet. Shorter became the group's principal composer, and some of his compositions of this era (including "Footprints" and "Nefertiti") have become standards. While on tour in Europe, the group quickly made their first official recording, Miles in Berlin (September 1964). On returning to the United States later that year, ever the musical entrepreneur, Davis (at Jackie DeShannon's urging) was instrumental in getting the Byrds signed to Columbia Records.
By the time of E.S.P. (1965), Davis's lineup consisted of Wayne Shorter (saxophone), Herbie Hancock (piano), Ron Carter (bass), and Tony Williams (drums). The last of his acoustic bands, this group is often referred to as the "second great quintet".
A two-night Chicago performance in late 1965 is captured on The Complete Live at the Plugged Nickel 1965, released in 1995. Unlike their studio albums, the live engagement shows the group still playing primarily standards and bebop tunes. Although some of the titles remain the same as the tunes played by the 1950s quintet, the quick tempos and musical departure from the framework of the tune are dramatic. It could be said that these live performances of standards are as radical as the studio recordings of new compositions on the albums listed below.
The recording of Live at the Plugged Nickel was not issued anywhere in the 1960s, first appearing as a Japan-only partial issue in the late 1970s, then as a double-LP in the U.S.A. and Europe in 1982. It was followed by a series of studio recordings: Miles Smiles (1966), Sorcerer (1967), Nefertiti (1967), Miles in the Sky (1968), and Filles de Kilimanjaro (1968). The quintet's approach to improvisation came to be known as "time no changes" or "freebop," because they abandoned the more conventional chord-change-based approach of bebop for a modal approach. Through Nefertiti, the studio recordings consisted primarily of originals composed by Shorter, with occasional compositions by the other sidemen. In 1967, the group began to play their live concerts in continuous sets, each tune flowing into the next, with only the melody indicating any sort of demarcation. Davis's bands would continue to perform in this way until his retirement in 1975.
Miles in the Sky and Filles de Kilimanjaro,—which tentatively introduced electric bass, electric piano, and electric guitar on some tracks—pointed the way to the subsequent fusion phase of Davis's career. Davis also began experimenting with more rock-oriented rhythms on these records. By the time the second half of Filles de Kilimanjaro was recorded, bassist Dave Holland and pianist Chick Corea had replaced Carter and Hancock in the working band, though both Carter and Hancock occasionally contributed to future recording sessions. Davis soon began to take over the compositional duties of his sidemen.
Davis's influences included 1960s rock and funk artists such as Sly and the Family Stone and Parliament/Funkadelic, many of whom he met through Betty Mabry (later Betty Davis), a young model and songwriter Davis married in September 1968 and divorced a year later. The musical transition required that Davis and his band adapt to electric instruments in both live performances and the studio. By the time In a Silent Way had been recorded in February 1969, Davis had augmented his quintet with additional players. At various times Hancock or Joe Zawinul were brought in to join Corea on electric keyboards, and guitarist John McLaughlin made the first of his many appearances with Davis. By this point, Shorter was also doubling on soprano saxophone. After recording this album, Williams left to form his group Lifetime and was replaced by Jack DeJohnette.
Six months later, an even larger group of musicians, including Jack DeJohnette, Airto Moreira, and Bennie Maupin, recorded the double LP Bitches Brew, which became a huge seller, reaching gold status by 1976. This album and In a Silent Way were among the first fusions of jazz and rock that were commercially successful, building on the groundwork laid by Charles Lloyd, Larry Coryell, and others who pioneered a genre that would become known as jazz fusion. Throughout 1969, Davis's touring band included Shorter, Corea, Holland, and DeJohnette; as the group never completed a studio recording, it has been subsequently characterized as the "lost quintet" by many critics. The quintet's repertoire included material from Bitches Brew, In a Silent Way, and the 1960s quintet albums, along with an occasional standard.
Both Bitches Brew and In a Silent Way feature "extended" compositions (more than 20 minutes each) that were never actually "played straight through" by the musicians in the studio. Instead, Davis and producer Teo Macero selected musical motifs of various lengths from recorded extended improvisations and edited them together into a musical whole that exists only in the recorded version. Bitches Brew made use of such electronic effects as multi-tracking, tape loops, and other editing techniques. Both records, especially Bitches Brew, were big sellers. Starting with Bitches Brew, Davis's albums began to often feature cover art much more in line with psychedelic art or black power movements than that of his earlier albums. He took significant cuts in his usual performing fees in order to open for rock groups like the Steve Miller Band, Grateful Dead, Neil Young, and Santana. Several live albums (with a transitional sextet/septet including Corea, DeJohnette, Holland, percussionist Airto Moreira, and saxophonist Steve Grossman that expanded to encompass Keith Jarrett on electronic organ by June 1970) were recorded at these performances: Live at the Fillmore East, March 7, 1970: It's About That Time (March 1970), Black Beauty (April 1970), and Miles Davis at Fillmore: Live at the Fillmore East (June 1970).
By the time of Live-Evil in December 1970, Davis's ensemble—though retaining the exploratory imperative of Bitches Brew—had transformed into a much more funk-oriented group. Davis began experimenting with wah-wah effects on his horn. A new sextet including DeJohnette, Jarrett, Moreira, Gary Bartz and erstwhile Stevie Wonder bassist Michael Henderson—often referred to as the "Cellar Door band" (the live portions of Live-Evil were recorded at a Washington, D.C., club by that name)—is documented in the six-CD box set The Cellar Door Sessions, which was recorded over four nights in December 1970 (and included one night with John McLaughlin); however, the ensemble disbanded before recording a studio album. Earlier in 1970, Davis contributed extensively to the soundtrack of a documentary about the African-American boxer heavyweight champion Jack Johnson. Himself a devotee of boxing, Davis drew parallels between Johnson, whose career had been defined by the fruitless search for a Great White Hope to dethrone him, and Davis's own career, in which he felt the musical establishment of the time had prevented him from receiving the acclaim and rewards that were due him. The resulting album, 1971's Jack Johnson, contained two long pieces that featured musicians (some of whom were not credited on the record) including guitarists John McLaughlin and Sonny Sharrock, Herbie Hancock on a Farfisa organ, and drummer Billy Cobham. McLaughlin and Cobham went on to become founding members of the Mahavishnu Orchestra in 1971. In 1972, Davis was introduced to the music of Karlheinz Stockhausen by Paul Buckmaster, leading to a period of new creative exploration. Biographer J. K. Chambers wrote that "the effect of Davis' study of Stockhausen could not be repressed for long... Davis' own 'space music' shows Stockhausen's influence compositionally." His recordings and performances during this period were described as "space music" by fans, by music critic Leonard Feather, and by Buckmaster, who described it as "a lot of mood changes—heavy, dark, intense—definitely space music."
During this period, Davis was committed to making music for the young African-American audience drawn to the more commercial, groove-oriented idioms of popular music that dominated the epoch; by November 1971, DeJohnette and Moreira had been replaced in the touring ensemble by drummer Leon "Ndugu" Chancler and percussionists James Mtume & Don Alias. On the Corner (1972) blended the incipient influence of Stockhausen with funk elements in a trenchantly improvisatory milieu. The album was highlighted by the appearance of saxophonist Carlos Garnett. Critics were not kind to the album; in his autobiography, Davis stated that critics could not figure out how to categorize it, and he complained that the album was not promoted to the right crowd. Columbia tried selling the album to the old jazz generation who didn't really understand it instead of the younger crowd that Miles intended the album for. After recording On the Corner, Davis put together a new group, with only Henderson and Mtume returning from the Jarrett-era band. It included Garnett, guitarist Reggie Lucas, organist Lonnie Liston Smith, tabla player Badal Roy, sitarist Khalil Balakrishna, and drummer Al Foster. It was unusual in that only Smith was a major jazz instrumentalist; as a result, the music emphasized rhythmic density and shifting textures instead of individual solos. This group, which recorded in Philharmonic Hall for the album In Concert (1972), was unsatisfactory to Davis. Through the first half of 1973, he dropped the tabla and sitar, took over keyboard duties, and added guitarist Pete Cosey. The Davis/Cosey/Lucas/Henderson/Mtume/Foster ensemble would remain virtually intact over the next two years. Initially, Dave Liebman played saxophones and flute with the band; in 1974, he was replaced by Sonny Fortune, who was eventually supplanted by Sam Morrison during the band's final American engagements in 1975.
Big Fun (1974) was a double album containing four long improvisations, recorded between 1969 and 1972. Similarly, Get Up With It (1974) collected recordings from May 1970 to October 1974. Notably, the album included "He Loved Him Madly", a tribute to Duke Ellington, as well as one of Davis's most lauded pieces from this era, "Calypso Frelimo". It was his last studio album of the 1970s. In 1974 and 1975, Columbia recorded three double-LP live Davis albums: Dark Magus, Agharta, and Pangaea. Dark Magus captures a 1974 New York City concert; the latter two are recordings of consecutive concerts from the same February 1975 day in Osaka. At the time, only Agharta was available in the USA; Pangaea and Dark Magus were initially released only by CBS/Sony Japan. All three feature at least two electric guitarists (Reggie Lucas and Pete Cosey, deploying an array of Hendrix-inspired electronic distortion devices; Dominique Gaumont is a third guitarist on Dark Magus), electric bass, drums, reeds, and Davis on electric trumpet and organ. These albums were the last he recorded for five years. Davis was troubled by osteoarthritis (which led to a hip replacement operation in 1976, the first of several), sickle-cell anemia, depression, bursitis, ulcers, and a renewed dependence on alcohol and drugs (primarily cocaine), and his performances were routinely panned by critics throughout late 1974 and early 1975. By the time the group reached Japan in February 1975, Davis was nearing a physical breakdown and required copious amounts of alcohol and narcotics to make it through his engagements. Nonetheless, as noted by Richard Cook and Brian Morton, during these concerts his trumpet playing "is of the highest and most adventurous order."
Although the Japanese performances have been lauded as the apogee of Davis's experimental period, Pete Cosey would later assert that "the band really advanced after the Japanese tour." Following his return from Japan, Davis undertook an arduous tour of the American Midwest opening for Herbie Hancock—who had commercially eclipsed his onetime bandleader with such efforts as Thrust (1974) and Man-Child (1975)—culminating in a series of club performances at the Bottom Line in New York City and Paul's Mall in Boston throughout the spring and summer. However, his precarious health was compounded by an ulcer-related hospitalization in March 1975 and the diagnosis of a hernia in August 1975. After a hometown performance at New York City's Schaefer Music Festival on September 5, 1975, Davis withdrew almost completely from the public eye for six years, enabled by an unprecedented special retainer issued by Columbia Records.
Of Davis's retreat from music, Gil Evans said, "His organism is tired. And after all the music he's contributed for 35 years, he needs a rest." In his memoirs, Davis is characteristically candid about his wayward mental state during this period, describing himself as a hermit, his Upper West Side apartment as a wreck, and detailing his drug and sex addictions. In 1976, Rolling Stone reported rumors of his imminent demise. Although he stopped practicing trumpet on a regular basis, Davis continued to compose intermittently and made three attempts at recording during his self-imposed exile from performing; these sessions (one with the assistance of Paul Buckmaster and Gil Evans, who left after not receiving promised compensation) bore little fruit and remain unreleased. In 1979, he placed in the yearly top-ten trumpeter poll of Down Beat. Columbia continued to issue compilation albums and records of unreleased vault material to fulfill contractual obligations. During his period of inactivity, Davis saw the fusion music that he had spearheaded over the past decade enter into the mainstream. When he emerged from retirement, Davis's musical descendants—most notably Prince—would be in the realm of new wave rock.


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According to Notebook Review, the upcoming Asus U3 series will not only be another leather clad model from Asus, but it should also feature a wide range of cool features.
For starters, this 13.3in notebook will have built in GPS and it has a built in GPS antenna with the option to use an external one.
It also has discrete graphics in the shape of a GeForce 8400M, but this can be switched off and you can use the integrated graphics instead if you want to save some power. The U3 also has HDMI for connecting it to HD TV's.
The U3 is also one of the first notebooks we've seen that features integrated eSATA, which makes it easy to attach high-speed external storage devices to it.
It won't be cheap though, as it'll start at around $2,000, but it looks like you do get quite a lot of laptop for your money.
More here

subset: commoncrawl


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(Masterpieces of American Literature)
In the epigraph to Morte d'Urban, a quotation from J. M. Barrie, Powers sets forth the central ironic theme of his novel: "The life of every man is a diary in which he means to write one story, and writes another." Father Urban (Harvey Roche), a clever, manipulative speaker and organizer dedicated to making the Church a prospering and efficient social institution, comes to discover in the eleventh hour that what really counts in the religious life is one's spiritual well-being.
Acknowledged by many critics as Powers's best book, Morte d'Urban was originally written from the point of view of its hero, Father Urban. Powers recast his novel, employing a third-person narrative while skillfully retaining Father Urban as the central intelligence of the story. This shift in point of view enabled Powers to develop the important ironic perspective that shapes the entire novel. Funny, ironic, satiric, and compassionate, Powers brings a Chaucerian tone to the modern novel.
A middle-aged member of the fictitious Order of St. Clement, Father Urban travels out of Chicago, raising money, preaching dynamic sermons to standing-room-only crowds of admiring listeners. His charm, energy, and go-getting spirit would have made him an outstanding success in business, but the Clementines are run by and constituted of priests who are largely conservative, fumbling, and doddering fellows. As far as religious orders go, the Clementines are losers: Their vocations are down, some of their houses have been taken over by more aggressive diocesan priests, and none of their members but Father Urban seems to understand their problem.
By wooing a wealthy benefactor named Billy Cosgrove, an egotistical son of Mammon, Father Urban manages to obtain new quarters for the Clementines. Instead of nurturing Father Urban's enterprising spirit, however, the provincial sends him, along with Father John (Jack), to the order's failing retreat center in the remote community of Duesterhaus (meaning "house of gloom"). Father Wilfrid, the rector, obsessed with the petty details of maintaining the retreat house and with asserting his dominance over Father Urban, sets Fathers John and Urban to the task of painting walls and varnishing floors (with the cheapest materials) in order to make the house more attractive to retreatants.
Having spent more than a month wasting his talents at St. Clement's Hill (so named by Father Urban), Father Urban is sent by Father Wilfrid to replace a vacationing pastor at St. Monica's Church. During the next month and a half, Father Urban manages to convince the cautious and ailing pastor, Father Phil Smith, to build a new church. When he later discovers that Father Smith has died during his vacation, Father Urban thinks that he may be chosen to be the new pastor. The bishop, however, offers him an Indian mission, which he rejects in favor of returning to St. Clement's Hill.
Father Urban persuades Billy Cosgrove to buy a tract of land adjoining St. Clement's Hill, have it developed as a golf course, and donate it to the order. Hearing that the Bishop is interested in taking over the Hill as the site for a new seminary, Father Urban invites the bishop to play a round of golf with him in the hope of convincing him of the Hill's productive future. During the course of the game, however, the bishop's ball strikes Father Urban in the head, sending him to the hospital. After he regains consciousness at the hospital, Father Urban learns that the bishop, feeling guilty for striking him in the head with his golf ball, has decided not to take over St. Clement's Hill.
Nevertheless, after being struck by the ball, Father Urban moves into a series of adventures that totally changes his life. He goes to live at the estate of the wealthy benefactor of St. Clement's, Mrs. Thwaites, in order to recuperate from his trauma. While there, he attempts to help out Mrs. Thwaites's servant, a young Irish woman named Katie, who has lost most of her...
(The entire section is 1644 words.)


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kinsey family migration routes - and why??
I have been searching for info on my line of the Kinsey family which ended up in Ontario Canada.Edmund -then Joseph - his daughter (I don't think I've missed anyone I'm not anywhere where I can access my records) Tacy Kinsey (which I believe may be short form for Anastasia (but everything but one letter I have mentions 'Tacy') who married Lincoln Wetherall (who was already married by the way and the creep apparently left his first wife destitute in the States somewhere....); their daughter Mary married Charles Wesley Lundy.I believe the Kinsey's came to Canada in 1802-3 (there is a note in the Family Bible I have) but I don't have any idea where they originally arrived in Canada and with whom????Did Tacy come with Lincoln who served in the American Revolution I believe....anyway in reviewing the messages on this forum it appears there are Kinsey's in almost all the States and some of the Provinces in Canada but I am curious if anyone out there has any details....
More Replies:
Re: kinsey family migration routes - and why??
Myfanwy Elliott 6/16/08


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Having problems with your Electrolux Pronto 2-In-1 Stick/Hand Vacuum - Cayenne ?
Not charging. Lights up momentarily, then goes out
\015 I've been having the same problem where when I plug it in, the blue charging light momentarily goes on, maybe for a maximum of 5 seconds, then goes out. Do I need a new battery?\015
Answers :
I have the same problem with 3 of my vacuums, fixed it by using my rc charger.
Sounds like it. How long have you had the vacuum? That's one of the draw backs of wireless vacuums. On top of providing less than adequate suction, the batteries have poor life spans. I suggest you go back to where you purchased it from and see if they can help you with a new battery
Repair Help & Product Troubleshooting for Electrolux Pronto 2-In-1 Stick/Hand Vacuum - Cayenne
Tips for a great answer:- Provide details, support with references or personal experience .
- If you need clarification, ask it in the comment box .
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Suggested Questions/Answers :
Not charging. Lights up momentarily, then goes out
I have the same problem with 3 of my vacuums, fixed it by using my rc charger. ... Electrolux Pronto 2-In-1 Stick/Hand Vacuum - Cayenne
I want to recharge my Philips PET741 D/05 portable DVD Player. But when I push the plug into the charging point on the side of the player,at one point, as the plug goes in, there is a quick flash of red - but no more. The red charging light does not light up, and the player does not charge. The plug cannot be held at the point where the sudden momentary flash takes place
1.With the AC power unit plugged in to the wall plug into your dvd player and wiggle it a little bit and see if the light goes on or off. If so the the power port is bad. \015\0122.Try a different wall outlet to see if it helps.\015\0123.Ensure there ... Philips Vacuums
When I place the entire pronto 2 in 1 on the charging base, the blue light comes on as if it is charging. After only a few seconds the blue light goes off. I have tried unplugging it, hoping that may "reset" things but it didn't change anything. Any ideas?
Take the small vac. out of the main unit. Check the contacts on the inside of the main unit and also on the back side of the small vac. Be sure they are all clean and that none are bent. Check also the back of the main unit to the base contacts; same ... Electrolux Pronto 2-In-1 Stick/Hand Vacuum - Cayenne
My 400 series Discovery Roomba will no longer charge. It shows a green "charged" light, but when I hit clean, all lights/vacuum, etc just go out and it stops. Irobot says that the entire unit needs to be replaced, but it has to have something to do with the charging mechanism. Any Ideas? I've tried the system reset, and removing/replacing the battery. No effect. The robot doesn't give me the "uh-oh" beeps to be charged. It just stops and goes dead.
... Roomba Robotic Floor Bagless Vacuum
ZB2803, charging light on, then it goes off but there is no power. What is the problem
... Electrolux Zb2803 Unirapido Rechargeable Stick Vacuum Cleaner, Fresh Yellow
My Electrolux Pronto is not charging. When I put the Vacuum stick on the charging stand, the purple light goes on for about 5 seconds and then it will be off. I tried to clean both the terminal (Vacuum stick and the charging stand) but the same thing happens. What can I do to make it work?
Call electrolux there was a battery recall ... Electrolux EL1000A2 Pronto Bagless Stick Cyclonic Vacuum
Won't charge I just bought the Electrolux Pronto today and plugged it in and the blue indicator light comes on for a split second and then goes out and will not charge. I have tried reassembly and different outlets and it won't charge. Very disappointing and not sure what to do.
... Electrolux EL1000A2 Pronto Bagless Stick Cyclonic Vacuum
Charge light comes on for about 15 seconds then goes out. Vac won't work.
... Dyson DC31 Bagless Handheld Vacuum
My roomba mounts up to the charger the light blinks red then after a time it goes green but when I dismount it and push the green button it immediately goes red. It doesn't beep or do anything. It is that the battery is not charging?
You have dead nimh (nickle metal hydride) batteries. You\012will need a replacement. You can test for this by removing the battery\012and holding the power button for 15 seconds. This will restart the\012charging cycle as if the battery were new. ... iRobot Roomba 560 Robotic Vacuum
Roomba Schedular I have a Roomba Scheduler and it has worked great until recently. Suddenly it quit working. When it is charging the power light goes from red to green as it should, showing it is ready to use. When we turn it on to use, it will only go on for a few seconds then it shuts off like it is out of power. It is like it isn't really charged. Is there something I can try to make it work?
Let it charge for a full 24, or even 48 hours, regardless of the green light. If it still dies you probably need a new battery.. or worse. ... Roomba Robotic Floor Bagless Vacuum
My Roomba will not charge, the light on the charger is on and when you plug in the roomba the light goes out and nothing happens. Can anyone help. It is a Discovery Model 4210
Are you using the home base or are you plugging the charger directly into the Roomba? If you are using the base, give plugging directly into the unit a try.You might also try resetting the battery. With the battery out of the unit, pres ... iRobot Roomba 4210 Bagless Robotic Vacuum
Hi, my roomba560 goes one foot straight ahead, then turns right for halv a foot. stops, beeps four times, and the light goes red. I charged it up, measured the voltage to 16.6 on the battery.. same thing every time. Is it battery? i have cleaned it, gearbox, everything..
... iRobot Roomba 560 Robotic Vacuum
My electrolux stick vac EL 1000 suddenly doesn't even light up to show it's charging! Is it a battery? A wire? As I try different outlets it will light up momentarily and then go out.... What do you think?
Had the same problem with 3 of my vacuums, tried using my rc charger and it fixed the problem. ... Electrolux Pronto 2-In-1 Stick/Hand Vacuum - Cayenne
I have a multifunction robotic auto vacuum cleaner model number XR210. It doesn't seem to be charging when at the docking station. The light is flashing on the docking station as if it was charging, but then I am getting intermittent noises like the vacuum is about to start up, then it beeps and goes silent again. I have emptied the machine. The display does not read 88 as if there is a malfunction, so I'm really not sure what's wrong with it. If I put the vacuum to the docking station the displ
... Vacuums
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Hello : \015\012\015\012Your battery life is ended . It can't be recharged any more . You need to replace it . \015\012\015\012good luck ... Roomba Vacuums
After full charge ,the robot works only about 1 minute then stop,red light goes ON
Hello. Typically when this happens the only fix is to replace the battery. Joe ... iRobot Roomba 500 Series Virtual Wall Lighthouse 80201 Robotic Vacuum
Err5 When charging the battery, it starts out flashing amber, but after several minutes it turns red and the err button flashes five times. The troubleshooting says to hold the buttons above and below the power button for ten seconds and this may resolve some software issues. I tried that but it goes back to the amber light then red again. I replaced the battery hoping that was the issue, but it still does the same thing.
... iRobot Roomba 530 Robotic Vacuum
I have a Roomba 560 (it's still in warranty !!) and, after my summer vacation, it has a problem. When I'm charging Roomba, the orange light blinks (and this is normal!) but this orange blinking continues forever.... the light doesn't change to green. If I detach Roomba from the charger, the light become green and it works normally until the light changes to red and I have to charge it again. WHY, DURING THE CHARGING PHASE, THE LIGHT DOESN'T CHANGE FROM ORANGE-BLINKING TO GREEN? HAVE I
The problem is not with the charger itself but it is with the battery inside the Roomba. It sunds like one or more of the cells has gone bad so its not holding the same charge as it did. I would recomend sending it in while the warranty is still vali ... Roomba Robotic Floor Bagless Vacuum
While charging, why does red light come on?
... Electrolux EL1030A Stick Vacuum
I have a clarke bench grinder model 1002. I have a light that I would like to attach into the wiring though the grinder wiring in it's base. The light has two wires, and the grinder has a ground that is grounded to the base, a black that goes to a switch then to the motor. The white goes directly to the motor. where would I have to splice in the two wires from the light? I have a switch that I would like to put in for the light on off also.
Attach the white wire on your lamp to the white wire on the grinder.\012Attache the black wire on your lamp to the black wire on the motor side of the switch.\012This will give the lamp power any time the grinder is turned on.\012Yo ... Vacuums
Hi, my Dyson DC16 works fine but after removing from charge base following recharge the red and green lights remain lit and the unit will not operate until i remove the battery and reconnect to vacuum,this extinguishes the lights and now can use with no problem.I guess that the charge control within the vacuum is not recognising that the unit has been removed from charge,is there a solution? Thanks
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... Euro-Pro S3325 Handheld Steam Vacuum
The unit is charged, the charge indicator light is green, and the three lights on the top are lighted and steady but nothing happens. What am I doing wrong?
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My braun 's 5510 charging light was blinking and never reach fully charged(steady green).I was able to use it as long as its pluged in. but now, no green light at all.and completly dead. is my battery dead ? or the charging circuitry bad ? i do have the skill to solder a pair of batteries on to it.
... Vacuums


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Religon encourages ignorance and narrow mindeness
and is a severe mental disorder that results in delusions, schizophrenia, and other mental problems and disorders.
Religon should be treated as a mental disorder and cured with eletric shock aversion therapy. Religous people are scum who deserve to be exterminated.
WebMD has an article about it here


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Hi Everyone
My name is Emma and I live in Australia. I'm quite new to the forum experience and looking forward to joining the fun
We haven't set a wedding date yet, but looking at getting married next July in Las Vegas.
I'm wondering if anyone has any suggestions for wedding ceremony's and receptions in Viva Las Vegas? We have a guest list of around thirty people and a budget of 7-8k. We would like to keep it intimate and romantic....
Love to hear from you.
Started by emmajane, Jul 09 2010 07:01 PM
10 replies to this topic
Posted 09 July 2010 - 07:01 PM
Posted 10 July 2010 - 03:46 AM
Hi, Emma --
CONGRATULATIONS on your engagement & WELCOME to BDW!!!
I think you will find that this site will become the single *most* important tool available to you during your wedding-planning process -- I KNOW it was for me!
Very best wishes as you're planning your way,
toward walking down the aisle on your Big Day!!
~ Christie
Posted 10 July 2010 - 08:07 AM
Congrats and welcome to the forum. Happy planning!
Posted 10 July 2010 - 11:51 AM
Hello, congratulations and welcome, EVERYONE here are so helpful and friendly, Im sure any questions you have or advice you need will be fully answered before you know it!!!!
Happy Planning x
Happy Planning x
Posted 10 July 2010 - 01:02 PM
Hi Emma! Welcome to the forum- there's an entire thread about Las Vegas under the United States section. The search function is also helpful for finding answers to your questions. Good luck and enjoy your planning!!
Posted 10 July 2010 - 02:10 PM
Hey Emma,
Welcome to the forum and happy planning~ You will find amazing information on this forum and the ladies are amazing.
Welcome to the forum and happy planning~ You will find amazing information on this forum and the ladies are amazing.
Posted 10 July 2010 - 02:24 PM
welcome and congrats on your engagement!! you've found the right place for helpful ideas and support!! good luck and happy planning!!
Posted 12 July 2010 - 09:49 AM
Welcome and Congratulations!!! You will find this site filled with amazing ideas. Happy planning!
Posted 12 July 2010 - 11:35 PM
Hi. Congrats and welcome to the forum. Happy planning!
Posted 14 July 2010 - 11:29 AM
Congrats Emma and Welcome to the forum!!
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Ome Henk lyrics— 9 lyrics total Lyrics → Artists: O → Ome Henk lyrics
About Ome HenkOme Henk ("Uncle Henk"), is the main character of a Dutch CD, DVD and comic series of the same name. The Ome Henk CDs consist of stories which depend on dialogue and sound effects, and songs, some of which are parodies. Ome Henk is a character created and performed by actor Frank van der Plas. Read more...
Ome Henk lyrics
|Als De Zonnebloem In Bloei Staat lyrics
|Arie En Bastiaan lyrics
|Ik Gaat De Vullusbak Buite Zette lyrics
|Mambo Nr. 6 lyrics
|Ome Henk - Lekker Wijf lyrics
|Opblaaskrokodil lyrics
|Sambal Bij lyrics


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get social with RNM
MUMBAI: In week 17, Radio Mirchi consolidated its top position in three metroes- Mumbai, Kolkata and Delhi, making considerable strides while maintaining the second position in Bangalore. Last week's gainer Big FM had a mix bag, losing out in Bangalore and Kolkata but maintaining the pace in Mumbai and Delhi.
Bangalore - Big FM slipped a little losing 0.3 points with a market share of 19.2 per cent but locked its top position. Radio Mirchi maintained a steady second position with a share of 17.3 per cent followed by Fever lost 0.1 points. Radio City which gained momentum last week lost a considerable 0.4 points this week ending with a share of 12.2 per cent. AIR Rainbow FM was fifth in row gaining 0.3 points.
Delhi - Radio Mirchi continued to grow in the capital in week 17 gaining 0.2 points and maintaining a lead with a market of 24.8 per cent. Fever and AIR Rainbow FM maintained status quo at second and third spot respectively with a share of 18.6 per cent and 17.8 per cent followed by Red FM which gained 0.1 points to end with a share of 9.6 per cent. Radio City in the fifth position lost a considerable 0.3 points.
Kolkata - Week 17 looked rosy for Mirchi as it gained 0.4 points maintaining the numero uno position with a market of 20.6 per cent. Big FM lost 0.3 points with a market share of 17.3 per cent followed by Friends which gained 0.1 points and Amar FM which maintaining a steady position at 10.8 per cent market share. At fifth and sixth place came Red and Fever both of which lost 0.2 and 0.5 points respectively ending with a share of 8.1 and 7.4 per cent
Mumbai - Mirchi surged in the 17 week gaining 0.2 points with a market share of 17.2 per cent followed by Red FM in a steady second position at 14.1 per cent. Radio City saw a downfall losing 0.4 points with a share of 14.1 per cent. Big FM and Air Rainbow shared the same spot with a share of 11.6 per cent followed by Fever which lost 0.1 points. Radio One soared with a gain of 0.2 points with a share of 6.2 per cent.


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- Residents
- Visitors
- Businesses
- Departments
- Government
APNET—the Auburn Police Narcotics Enforcement Team—identifies, investigates and arrests individuals found using, possessing, manufacturing, selling or distributing illegal drugs in DeKalb County. Our investigators and resources are 100 percent dedicated to eradicating illegal drug activity.
While our APNET members remain largely undercover due to the sensitive nature of their work, they are all residents of the area who care about protecting and safeguarding our communities against those who threaten to destroy them.
APNET is funded through grants and the generous donations of residents and businesses in our community. All donations are tax-deductible and directly support the work of APNET task members.
To contact APNET, or to make a donation, call or email us.
c/o the Auburn Police Department
P.O. Box 506
Auburn, IN 46706
Phone: 260-920-3200 ext. 1990
Many of our leads—and resulting arrests—start from tips from concerned citizens. Any and all information puts us one step closer to identifying individuals involved in illegal drug activity. To report any suspected drug activity, call 260-920-3200 ext. 1990, or complete the brief online form below. If you wish, you can remain anonymous and your name will not be used in any police reports. However, even if you wish to remain anonymous in police reporting, consider providing your name and number in case the investigating detective needs additional information or clarification.
Taxpayers have the ability to view budget notices in one central online location at BudgetNotices.IN.Gov. A new email subscription option is provided to taxpayers to stay informed of submissions by their local units. Taxpayers will be able to view all local government units in DeKalb county, search by their address, or use an interactive map tool. This website has been designed to promote the importance of budget notices and the role that they play in the daily lives of Indiana taxpayers. Taxpayers that do not have Internet access or have difficulties with the website may contact the Indiana Department of Local Government Finance at (888) 739-9826 and request a paper copy of the notices for their local government units.


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Norwegian Escape Forward facing Penthouse suite
Remarkable cruise on the Escape. Although the ship is very large and very crowded, With the Haven penthouse suite areas you can avoid all the hustle and bustle and be treated like royalty. The Haven lounge, pool, hot tubs, private deck and Restaurant make this experience well worth the cost. Teri Teramae at Cruise Only was excellent in helping us have the trip of a lifetime. Cabin 14106 is unbelievable in space and view. The butler Marie and the steward spoiled us rotten.


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Award-Winning Cancer Care
The Mount Sinai Comprehensive Cancer Center is a nationally recognized, award-winning facility that utilizes a collaborative, multidisciplinary approach to diagnosing and treating cancer. We provide quality care, leading innovation and personalized treatment plans for each patient to treat a broad range of cancers. Our patient-centered focus ensures access to convenient, timely appointments, clinical trials and a host of support services all aimed at helping patients heal.
Mount Sinai is the first hospital in Florida, and one of only 36 in the U.S., to receive its third consecutive Outstanding Achievement Award from the American College of Surgeons Commission on Cancer (CoC). The CoC created this award to recognize programs that strive for excellence in providing quality cancer care.
In addition, our radiation oncology program was the first in South Florida to earn accreditation from the American College of Radiology. This accreditation represents the highest level of quality and patient safety, and is awarded to facilities meeting specific practice guidelines and technical standards. As a recognized radiation safety provider, Mount Sinai has strict safety measures in place to ensure that patients receive radiation only when it is necessary and in the smallest possible dosage.
Cancer Research
The Mount Sinai Comprehensive Cancer Center offers one of the most integrated cancer research programs in the state. The Mount Sinai Cancer Research Program gives patients the opportunity to participate in innovative clinical trials that offer new cancer treatment options before they become available to the general public. Our program is currently engaged in more than 65 active clinical trials, placing Mount Sinai at the forefront among the nation's cancer research institutions. Many of our protocols have resulted in cutting-edge cancer treatments.
Advanced Technology
Mount Sinai is committed to applying major technological advances in the diagnosis and treatment of cancer. We are among a select few hospitals in the nation to acquire the SPECT-CT, a state-of-the-art imaging system for the diagnosis and treatment of cancer, cardiac and orthopaedic conditions. SPECT-CT uses advanced molecular technology to produce highly detailed 3-D anatomic images. This system gives physicians the best available visual information to precisely plan therapy, radiation or surgical procedures. SPECT-CT also aids in tumor staging and in determining efficacy of treatment.
Mount Sinai was the first Florida hospital with the Evident™ ablation system, which destroys tumors in the kidneys, liver, lungs and other soft tissues using microwave energy.
The Lila and Harold Menowitz Comprehensive Breast Center
Breast cancer is the leading cause of cancer death among women of all races in the United States, with one of every eight women susceptible to the disease. Mount Sinai's Lila and Harold Menowitz Comprehensive Breast Center gives patients access to a full range of screening, diagnostic, counseling and support services. Mount Sinai offers comprehensive breast cancer services at two convenient locations, Miami Beach and Aventura.
The Menowitz Breast Center is the first facility in Florida to receive accreditation from the National Accreditation Program for Breast Centers and has been recognized as a Breast Imaging Center of Excellence by the American College of Radiology.
New Treatments for Prostate Cancer
Our oncologists offer a wide array of technologically advanced treatment options for prostate cancer patients with the objective of providing the most effective responses, the greatest amount of patient comfort and the swiftest recovery times. This includes RapidARC™ radiation therapy, radiation seed implants, brachytherapy and PROVENGE®, a new therapeutic drug for patients with advanced prostate cancer.
Oncology Conferences
The doctors at Mount Sinai participate in ongoing conferences that bring together a diverse group of specialists to analyze and review individual patient cases, all in an effort to enhance the safety and effectiveness of each patient's treatment. Participants include oncologists, surgical oncologists, radiation oncologists, pathologists and other specialists.


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Brett Kauten capped a seven-run fourth inning with his nation-leading 13th home run and No. 6 Lubbock Christian University went on to beat University of the Southwest 19-5 Tuesday in a game shortened to seven innings by the 10-run rule.
LCU (28-8) led 1-0 before the big fourth inning which featured a three-run homer from Jason Fisch, a two-run double from Marshall Williams and Kauten's homer, a two-run shot.
The Chaps upped the lead to 13-1 with a five-run fifth, which started with back-to-back homers from Joel Lutz and Williams. Brent Leslie and Christian Vazquez added run-scoring singles and Kauten a sacrifice fly.
Dalton Silva (1-0) pitched a scoreless first three innings for the Chaps, allowing two hits to the Mustangs (11-19).
Vazquez finished 4 for 5 with three runs batted in. Williams finished 3 for 4 with three RBIs and four runs, and Rainey was 3 for 3 with three runs.
Earlier Tuesday, LCU's Wigberto Nevarez was named the NAIA national player of the week after he hit .571 with five homers and 11 RBIs last week, helping the Chaps to three wins in a four-game Sooner Athletic Conference series against St. Gregory's. The junior from Bayamon, Puerto Rico, had a nine-RBI game in which he became the first LCU player to hit four home runs in a game.
LCU has another SAC series this weekend, hosting No. 17 Oklahoma Baptist in doubleheaders at 3 p.m. Friday and noon Saturday.
Game ended by 10-run rule.
Silva, McCasland (4), Fry (6), Flake (7) and Fisch, Powe (5); Pacheco, Martinez (4), Parsley (5), Johnson (7) and Martinez, Lewis (5). W-Silva (1-0). L-Pacheco (0-3). 2B-LCU, Smith, Lutz, Williams, Powe, Rainey 2; USW, Hernandez, Ramirez. HR-LCU, Kauten (13), Lutz (7), Williams (2), Fisch (4); USW, Madero. Records: LCU 28-8, USW 11-19.
� Wayland baseball
PORTALES, N.M. - Luis Quinones drove in two runs with a sacrifice fly and a double and Daniel Binz had two hits and an RBI as Eastern New Mexico beat Wayland Baptist 6-4 Tuesday in a non-conference game.
Down 6-2 going to the eighth, Wayland closed the gap on an RBI single from Gabby De La Cruz and a Josh Chinni triple.
Craig Cook (0-5), the first of seven pitchers for Wayland (13-22), took the loss. He was charged with three runs in two innings.
Wayland hosts St. Gregory's in Sooner Athletic Conference doubleheaders at 3 p.m. Friday and noon Saturday at Wilder Field in Plainview.
Cook, Doolittle (3), Evans (5), Dicarlo (7), Bradley (7), Weldon (8), McClintock (8) and Padilla; Blanco, Humphries (6), Boydstun (7), Shergill (8), Pruitt (9) and Creamer, Rogers (8). W-Blanco (1-0). L-Cook (0-5). Sv-Pruitt (1). 2B-Wayland, Veneklasen; ENMU, Quinones. 3B-Wayland, Chinni. Records: Wayland 13-22, ENMU 18-13.
� Tech golf
AUSTIN - Hannah Arnold shot a final-round even-par 70 to tie for 10th individually, leading Texas Tech to a fourth-place finish out of 13 teams Tuesday in the Challenge at Onion Creek.
Tech finished the 54-hole event at 32-over 872, 10 shots behind tournament winner Gonzaga. Texas State and Kennesaw State took second and third with team scores of 865 and 870, respectively.
Arnold's 70 was her best round of the tournament after she posted 74 and 73.
Tech's Kim Kaufman (70-72-77-219) tied for 15th and Elin Arvidsson (69-77-74-220) tied for 19th. Right behind them were Gabriella Dominguez (74-78-69-221) and Beverly Mendoza (73-79-73-225).
Tech's Kimmy Hill, playing as an individual, tied for 12th with a 2-over 72 final round making her 8 over for the tournament.
� LCU golf
ARLINGTON - Anna Schopp and Shelbye Hill shot 1-over 73s in the final round, each finishing in the top 10 and helping Lubbock Christian University place fifth of nine teams in the Southwest Classic.
Schopp and Hill carded 77 and 78, respectively, in the first round of the two-round tournament Monday and Tuesday.
Sinae Montoya (78-77-155) tied for 17th. The Lady Chaps' other scores were, Mariah Montoya (83-77-160) and Kelsey Garcia (90-82-172).
LCU finished at 616. Tournament host Dallas Baptist won with a 599, followed by Midwestern State at 606, Northwood at 608 and Oklahoma Christian at 610.
Dallas Baptist and Midwestern State are ranked No. 11 and No. 12, respectively, in NCAA Division II, and LCU and Northwood are ranked No. 2 and No. 9 in NAIA.
� LCU track
Lubbock Christian University's Isacc Placencia qualified for the NAIA outdoor track and field championships with his performance last week at the Texas Relays in Austin.
Placencia finished 18th in the 3,000-meter steeplechase, but his time of 9 minutes, 24.16 seconds met the NAIA B standard and is the eighth-best qualifying time for NAIA runners.
The NAIA outdoor meet is May 23-25 in Marion, Ind. Placencia, a Lubbock High and South Plains College graduate, qualified for the NAIA outdoor meet for the first time after previously competing in the NAIA cross country and indoor track and field championships.


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Tierra Lee is a Adult Model from United States. She was born in Chautauqua County on March 4, 1992. She is listed on FreeOnes since 2010 and is currently ranked 17272th place. She currently has 6 gallery links in her own FreeOnes section.
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Nora Schultz, New Scientist contributor
Next time a new small-scale ecological problem grows into a larger one, the internet may give us a chance to stop it from blowing out of proportion. So says Tim Daw from the University of East Anglia in Norwich, UK. He proposes that software be designed to crawl the web and hunt for early warning signs of ecological change, so we can react before it is too late.
The concept has been proven to work for human health, says Daw. For example a web crawler called GPHIN picked up the beginnings of the 2002 SARS outbreak three months before the World Health Organisation confirmed it.
With surging interest in ecological topics and more people sharing their experiences and knowledge on blogs, social networks and elsewhere online it seems plausible that there's enough environmental information out there to feed a similar system.
Daw gives the example of outbreaks of coral bleaching. "It's easy to imagine how reports of light-coloured corals would pop up from different sources like tourist blogs or online dive club discussions," he says.
A web crawler could combine that information with other sources like news stories, official reports and even market data on fish stocks to provide a comprehensive report on an area in trouble.
It's easy to see the potential of this idea. Even without a web crawler programme, I could easily use the internet to track, say, how the mysterious collapse of frog populations around the globe is proceeding. Real time information is posted online not only by scientists in the field, but also by citizens turned frog-watchers, environmental organisations, newsmakers, frog bloggers, frog tweeters and many more.
Daw is appealing for further suggestions on his own blog. Can anyone think of an unusual web-based resource that could provide a novel way to monitor environmental change?


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Are You Being Served?
The ridiculous goings-on at Grace Bros. have kept audiences laughing since 1973. This tongue-in-cheek farce, by top writers Jeremy Lloyd and David Croft, is one of BBC's classic comedies.
Are You Being Served? Previous Broadcasts
The Agent (Episode #145)
KQED Plus: Wed, Sep 19, 2012 -- 8:30 PM
Mr. Goldberg runs an agency to get the staff better jobs. After Captain Peacock and Mr. Rumbold become aware of this, Mr. Humphries and Mrs. Slocombe are given raises, and decide to stay with the store.
Repeat Broadcasts:
- KQED Plus: Thu, Sep 20, 2012 -- 2:30 AM
Anything You Can Do (Episode #144)
KQED Plus: Wed, Sep 5, 2012 -- 8:30 PM
The standard of the canteen food at Grace Brothers is going from bad to uneatable. When the staff voice the opinion that they could do better, the canteen manageress brings the catering staff out on strike and tells the Ladies and Gents departments to get on with it.
Repeat Broadcasts:
- KQED Plus: Thu, Sep 6, 2012 -- 2:30 AM


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We recently had the fuel pump and filter replaced and now a week later when we pull up to stop while driving the motor almost stops or quits altogether but when you turn the key on again it will start again almost like th car isn't gettin enough gas. The mechanic says the sending unit is the problem. So when they replaced the fuel pump why did it not show up then or could they have messed it up while replacing the fuel pump and filter.
have the same problem?
Friday, February 15th, 2013 AT 7:19 PM


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Ask a Neurologist and Get an Answer ASAP
You find no studies on this! Birmingham city council provide flats rather than houses parents with one child. A child with autism needs space but here I am practically answering my own question. I came on-line to obtain some detailed information so that I could include it in my appeal letter. I basically need back-up on the fact that a house would be more beneficial daughter. I currently live in Coventry where there is no family support system. I am endeavouring to move to Birmingham to be near my elderly parents and siblings. My daughter and I live in a house at present and we have never lived in a flat. I don't have much time this is why I was looking on-line. Can you help!
Is this what you do take vulnerable peoples money and opt out. shark!


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Holiday Inn Madrid Bernabeu
Plaza Carlos Trías Bertrán 4, Tetuán, 28020 Madrid, Spain –
|Room Type
King Junior Suite - Non-Smoking
King Suite - Non-Smoking
Deluxe Double or Twin Room
Max adults: 2
Max children: 2 (up to 0 years of age)
Family Room with Two Double-Beds - Non-Smoking
5 Reasons to Choose Holiday Inn Madrid Bernabeu
Why book with us?
Prices you can't beat!
Manage your bookings online
The staff speaks English
Booking is safe
One of our top picks in Madrid
Area Info – Guests loved walking around the neighborhood!
Closest Landmarks
- Torre Picasso 0.1 miles
- AZCA 0.2 miles
- Convention Center 0.2 miles
- Santiago Bernabeu 0.2 miles
- Santiago Bernabéu Stadium 0.2 miles
- Torre BBVA 0.3 miles
- Nuevos Ministerios Metro Station 0.3 miles
- Alvarado 0.5 miles
- Estrecho 0.5 miles
- Cuzco Metro Station 0.5 miles
Most Popular Landmarks
- Chamartin Station 1.5 miles
- La Paz Hospital 2.1 miles
- Puerta de Alcalá 2.2 miles
- Puerta del Sol 2.4 miles
- Retiro Park 2.5 miles
- Plaza Mayor 2.6 miles
- Museo del Prado 2.6 miles
- Casa de Campo 2.7 miles
- Atocha Train Station 3 miles
- Parque de Atracciones de Madrid 4.2 miles
Restaurants & Markets
- Restaurant 0 miles
Closest Airports
- Adolfo Suarez Madrid-Barajas Airport 6.8 miles
Shopping Nearby – All Within 500 Yards!
- Centro Comercial Moda Shopping Mall
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Food: Local
Facilities of Holiday Inn Madrid Bernabeu
Most Popular Facilities
Pool and Spa
- Swimming Pool
- Outdoor Pool (seasonal)
- Fitness Center
Pets are not allowed.
Food & Drink
- Snack Bar
- Bar
- Restaurant
Free! WiFi is available in all areas and is free of charge.
Public parking is available at a location nearby (reservation is not possible) and charges apply.
Front Desk Services
- Concierge Service
- Baggage Storage
- Tour Desk
- Currency Exchange
- 24-Hour Front Desk
Cleaning Services
- Daily Housekeeping
- Ironing Service
- Dry Cleaning
- Laundry
Business Facilities
- Meeting/Banquet Facilities
- Air Conditioning
- All Spaces Non-Smoking (public and private)
- Heating
- Car Rental
- Safe
- Elevator
- Family Rooms
- Hair/Beauty Salon
- Facilities for Disabled Guests
- Non-smoking Rooms
- Newspapers
- Room Service
Languages Spoken
- French
- Spanish
- English
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From 3:00 PM
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Cancellation and prepayment policies vary according to room type. Please enter the dates of your stay and check what conditions apply to your preferred room.
Children and Extra Beds
All children are welcome.
There is no capacity for extra beds in the room.
Pets are not allowed.
When booking more than 9 rooms, different policies and additional supplements may apply.
Holiday Inn Madrid Bernabeu accepts these cards and reserves the right to temporarily hold an amount prior to arrival.


text: tag:blogger.com,1999:blog-7983520193229114152.post7468990707329217181..comments2017-07-11T08:33:44.572-04:00Comments on 100 Years in America: C is for Cars: The love of fine cars, it's in the genes!Lisa / Smallest Leafhttp://firstname.lastname@example.com:blogger.com,1999:blog-7983520193229114152.post-82832011893498572872012-08-30T16:26:58.169-04:002012-08-30T16:26:58.169-04:00Glad you enjoyed reading. I'm so thankful to h...Glad you enjoyed reading. I'm so thankful to have these great photos. Wish I had more!Lisa / Smallest Leafhttps://email@example.com:blogger.com,1999:blog-7983520193229114152.post-66407209703664198162012-08-30T16:17:38.537-04:002012-08-30T16:17:38.537-04:00Awesome post. I love really the photos, as well as...Awesome post. I love really the photos, as well as the anecdote about your other side of the family, and how "in the process of introducing it to his wife and children, he somehow managed to plow into the fence with it." Love that kind of stuff!Gould Genealogyhttp://email@example.com


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Seattle passes landmark campaign finance initiative
Don't miss stories. Follow Raw Story!
Seattle residents voted Tuesday night on a campaign measure that was publicized as a national model for campaign finance reform. The measure, based on votes counted around 11 p.m. local time Tuesday, had garnered 60 percent of the votes, local media reported. "Seattle leads the nation … We look forward to seeing more cities and states…
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