text:
With his writings in this chapter and subsequently in Chapter 7,
Bob Gordon convincingly makes the case for the Los Angeles-based Jazz that was overlooked when, for the most part, critics largely based in New York City turned the Jazz styles being played on both coasts in the 1950s into a competition by implying that somehow the styles of Jazz offered by the likes of Gerry Mulligan, Shorty Rogers and Dave Brubeck was somehow, by its nature, less-than-worthy.
They asserted that the abundant sunshine, Hawaiian shirts and healthy, outdoor-based California lifestyle was certainly no match for the smelly, dank cellars [aka "Jazz clubs"] and heavily populated, more cosmopolitan New York cityscape as a breeding ground for creating the only True Jazz.
I'll leave the obvious racial connotations out of this comparison and as to the balmy description of
, these critics obviously had not read Mark Twain's description of California to wit: "The coldest winter I ever spent was the summer I spent in San Francisco ." San Francisco
To the musicians on the Los Angeles Jazz Scene of the 1950's, such journalistic categorizations were little more than derisive slurs prompting the universally esteemed drummer, Shelly Manne, to occasionally conclude a set by announcing: "Richie Kamuca on tenor saxophone from Philadelphia, PA, Joe Gordon on trumpet from Boston, MA, Russ Freeman on piano from Chicago, IL, Monty Budwig on bass from Pender, NE and me, Shelly Manne from New York City, and we play 'West Coast Jazz!'"
Looking back, it all seems such a contrived waste as public listening tastes would soon turn away from Jazz and the surfeit of riches that was the 1950's Jazz Scene in the
would be gone forever, little helped by all of this essayistic bickering. United States
But while it lasted, and to help set the record straight, there were some other forms and styles of Jazz being played in
during the 1950s and Los Angeles Bob Gordon describes them well in the following chapter entitled:
© -Robert Gordon, copyright protected; all rights reserved.
Early in 1954, shortly before Max Roach's contract with the Lighthouse was due to expire, promoter Gene Norman approached the drummer with the offer of a concert tour if Max would form a band. Max readily agreed and his first step was to call
. He reached the man he was looking for, a talented young trumpet player named Clifford Brown, and offered him a spot as co-leader of a quintet. Clifford jumped at the opportunity and flew out to New York City as soon as he could wrap things up in Los Angeles . Thus was formed one of the most rewarding partnerships in jazz and one of the strongest jazz combos in the history of the music. New York
Clifford Brown was just beginning to come into his own when he got the call from Max. He was born
30 October 1930 in , and received his first trumpet at the age of thirteen from his father, a non-professional musician. While in high school, Clifford studied piano and arranging, in addition to playing trumpet in the school band. Following high school Brown first majored in mathematics at Delaware State College, but soon transferred to Wilmington, Delaware on a music scholarship. There he played and arranged for the fifteen-piece jazz ensemble. While still in his teens Clifford jammed with such major stars as Miles Davis, Fats Navarro and J. J. Johnson in nearby Maryland State ; it was at one of these sessions that he first met and played with Max Roach. Fats Navarro in particular encouraged and influenced the youngster. During this same period, Brown played a one-week gig with Charlie Parker, who was favorably impressed. Things came to an abrupt halt, however, when Clifford was seriously hurt in an automobile accident in June 1950. He was hospitalized for almost a year. Philadelphia
In 1952 and 1953 Brownie (as he was affectionately called by fellow musicians) toured with the rhythm-and-blues outfit of Chris Powell's Blue Flames. He played and recorded with Tadd Dameron in the summer of 1953, then joined Lionel Hampton's big band that August. During a European tour the same autumn, Clifford recorded with some French musicians and fellow members of the
band. Brownie left Hampton in December and was almost immediately hired by Art Blakey (on Charlie Parker's recommendation) for a new group the drummer was forming. Shortly after, on the evening of Hampton 21 February 1954, this group recorded an evening's performance at Birdland, and the resulting albums (A Night at Birdland, Volumes 1 & 2, for Blue Note) marked Clifford's arrival as a soloist of the first rank. These same albums convinced Max Roach out on the Coast that Brownie would be the perfect trumpeter for his new group.
The Max Roach-Clifford Brown quintet suffered a few growing pains at first. Sonny Stitt, Roach's first choice as saxophonist, flew out to LA with Clifford, but left the group six weeks later, to be replaced by Teddy Edwards. Pianist Carl Perkins and bassist George Bledsoe filled out the original edition of the quintet. These were the musicians recorded at one of the Gene Norman concerts in April 1954. Despite poor recording quality and some heavy-handed editing of the tenor-sax and piano solos, these sides give a clear indication of the excitement that the team of Brown and Roach could spark. 'All God's Chillun Got Rhythm' showcases Brownie's seemingly inexhaustible stream of ideas at a rapid tempo, and features one of Max Roach's fiery yet melodic drum solos. Unfortunately the solos of both Teddy Edwards and Carl Perkins have been edited to a chorus each. 'Tenderly' is Clifford's solo vehicle, and the mood is very similar to his already famous treatment of 'Once in a While' on the earlier Birdland albums. 'Sunset Eyes' is an original composition of Teddy Edwards, and the tenor saxophonist finally gets a chance to stretch out a little. The final cut from this concert is 'Clifford's Axe', a medium-tempo swinger based on 'The Man I Love' changes. This one is Clifford all the way, sparked by Max's sympathetic yet forceful support. 'Clifford's Axe' gives notice of exciting things to come. These sides were eventually released on a 'Gene Norman Presents' LP.
Between this concert and the group's next recording session, some important personnel changes were to take place. Teddy Edwards left the group, to be replaced by an almost unknown tenor saxophonist named Harold Land. Land, who had been born in Texas and raised in San Diego, brought to the quintet a big-toned tenor sound which complemented Brownie's silvery trumpet lines. Land's induction into the quintet was pure serendipity. He had moved to LA from
earlier the same year and was scuffling between occasional gigs in the time-honored manner. Harold spent much of his all too copious spare time jamming at informal sessions held at the house of another saxophonist, Eric Dolphy. Dolphy, a native Angelino, was the same age as Land (twenty-five) and the practice and jam sessions held at his home were already the stuff of legend among the black San Diego musicians. Harold Land remembers what happened next: Los Angeles
Eric Dolphy and I were very close friends, even before I moved to
. He'd come down to San Diego and we'd play together, and when I moved up here, we'd go over to his house and have sessions that would last from morning until night, practically - everybody loved to play so much ... one day I was over there playing and Max Roach came by - he'd heard about our all-day sessions. And the next day Max came by with Brownie; they heard me play and asked me if I'd like to be part of their group. And naturally I was just ... I thought it was the best opportunity I'd ever had to that point in my career. [Personal interview with Harold Land, Los Angeles March 10, 1983. All further unreferenced quotations by Harold Land are from this interview.]
About the same time, a new pianist and bassist were added to the group. Richie Powell, the new pianist, was the younger brother of Bud Powell and a family friend of Max Roach. Initially Richie had wanted to take up drums, and as a youth he prevailed upon Roach for help, often dropping by Max's house, before Max was even awake, for lessons. Max finally suggested that Richie take up piano, since an obvious talent for keyboards ran in the family. Richie took the suggestion and soon proved Max right. When the young pianist came through LA with the Johnny Hodges band, he was invited to join Max and Brownie and gladly accepted. The new bassist, George Morrow, was - like Harold Land - a veteran of the Eric Dolphy marathon sessions. With the addition of Land, Powell and Morrow, the classic edition of the Max Roach-Clifford Brown band was realized.
But before the group got the chance to record on its own, Clifford took part in a fascinating collaboration with some of the West Coast musicians. Dick Bock of Pacific Jazz wanted to record the new trumpet star with some of his players, and asked Jack Montrose to write the arrangements for a seven-piece ensemble. Tenor saxophonist Zoot Sims - a native Angelino who had long made his residence in
- was on one of his occasional leaves of absence from the Apple and added his distinctive voice to the proceedings. The remaining personnel were all West Coast regulars: Stu Williamson on valve-trombone, New York City Bob Gordon on baritone sax, and the rhythm section of Russ Freeman, Joe Mondragon and Shelly Manne.
Of the three tunes recorded at this session, two - 'Daahoud' and '
' - were originals of Brownie that would soon be recorded by his own quintet. The up-tempo 'Daahoud' features a potent yet relaxed solo by Clifford, who seems to fit in very comfortably with the westerners. Zoot Sims, Stu Williamson and Russ Freeman all have fine solos, no doubt inspired by Brownie's presence. ' Joy Spring ', on the other hand, suffers somewhat in comparison with the Roach-Brown version, which would be recorded less than a month later. The tune's line is rather complex, and Jack Montrose's arrangement - with numerous counter-fines - is simply too busy to let the classic purity of Clifford's tune come through. If this bothered Brownie, he didn't let it show in his solo. The third tune recorded at the session was a Jack Montrose composition, 'Finders Keepers'. It sounds more typically West Coast-ish, and perhaps for that reason the solos by Brown and Zoot Sims are quite laid-back. Joy Spring
The second Pacific Jazz session took place just a month later, on 13 August, with but one personnel change: Carson Smith in on bass. Again, Brownie contributed two originals, but this time there were also two standards. 'Gone with the Wind' features driving solos by
Bob Gordon, Zoot Sims and Brownie. Montrose's arrangement of 'Blueberry Hill' moves between 3/4 and 4/4 time, but has straight-ahead blowing on the solos by Clifford, Stu Williamson and Gordon. Brownie's two originals - neither of which was ever recorded by the quintet - are 'Bones for Jones' and 'Tiny Capers'. Both feature solos by Brownie, Zoot Sims and Russ Freeman. The arrangement and solos on 'Tiny Capers' are especially impressive (it has often been anthologized on Pacific jazz collections) and 'Capers' vies with 'Daahoud' as the best side of the collaboration.
Between the two Pacific jazz sessions, however, came the momentous first studio recordings of the Max Roach-Clifford Brown quintet. These recordings announced the arrival of one of the decade's outstanding jazz units and are basic to any library of modem jazz. Brownie and Max had signed with Emarcy, a jazz subsidiary of the Mercury label, and their first recording session took place on
2 August 1954. It would be a hectic month, with seven recording sessions (including the second Pacific Jazz date) taking place in less than two weeks. The band recorded three tunes on 2 August. 'Delilah', a Victor Young composition from the score of the movie Samson and Delilah, has Max supporting the group with mallets, in keeping with the Middle Eastern flavor of the tune. The solos, however, are straight jazz. 'Darn that Dream' is a solo vehicle for Harold Land. 'Parisian Thoroughfare', written by Richie Powell's older brother Bud, features an 'American in ' introduction and coda, but again the solos are hard-swinging jazz. Paris
Three more recording sessions followed hard on the heels of the first. On 3 August, the group recorded Duke
's 'Jordu', a version of 'Sweet Georgia Brown' entitled 'Sweet Clifford' and 'Ghost of a Chance', a solo feature for Brownie. Jordan
'Jordu' proved to be especially popular, and soon became a staple in jam sessions. The next session, on 6 August, finally saw the quintet recording the definitive versions of Brownie's '
' and 'Daahoud'; both show Clifford at his lyrical best. The third tune, 'Milama', features an awe-inspiring flight by Brownie and an intense drum solo by Max. Finally, on 10 August, the quintet recorded swinging versions of 'Stompin' at the Joy Spring ' and 'I Get a Kick Out of You', and the rhythm section taped a trio version of 'I'll String Along'. Savoy
With enough numbers on tape to fill two LPs, the quintet could afford a rest, but the Emarcy officials - no doubt impressed by the group's productivity - scheduled two additional informal sessions. The first, held the following day (11 August), was a collaboration between the two co-leaders and some impressive local talent. Altoists Herb Geller and Joe Maini and tenor saxophonist Walter Benton joined forces with Clifford and a rhythm section of pianist
Kenny Drew, bassist Curtis Counce and Max. Four extended performances were recorded; each would fill one entire side of a twelve-inch album. There were two up-tempo numbers ('Caravan' and 'Coronado') and two ballads ('Autumn in ' and 'You Go to My Head'). 'Caravan', taken at an especially breakneck speed, shows off the chops of the locals (Clifford's and Max's are taken for granted). Herb Geller is particularly impressive in a Birdlike flight, and Walter Benton and Joe Maini negotiate the flying changes with ease. There are equally strong, strong solos on ' New York ' and the two ballads. These four performances, recorded at the height of the West Coast jazz craze, gave clear notice that LA had its share of more aggressive musicians as well. Coronado
The second Emarcy date was a true jam session. It came one day after the second Pacific Jazz session (on 14 August) and featured - in addition to all five members of the Brown-Roach quintet - trumpeters Maynard Ferguson and Clark Terry, Herb Geller, pianist Junior Mance, bassist Keter Betts and singer Dinah Washington. Not all of the musicians were featured on each tune, of course. Enough numbers were recorded to fill two LPs, jam Session and Dinah jams. Particularly impressive is the trumpet duel featuring all three trumpeters on a blistering 'Move'. Dinah
more than holds her own in the fast company and manages to invest ballads such as 'Darn that Dream' with more than a hint of the blues. Washington
Finally, on 30 August, the quintet capped off a hectic month by recording one more Gene Norman concert. The group recorded four tunes from their working repertoire, 'Jordu', 'Parisian Thoroughfare', 'I Get a Kick Out of You' and "I Can't Get Started'. By this time the personnel of the quintet was firmly fixed, and the performances show the confidence that comes from working together night after night. As had been the case with the earlier concert tapes, there is some editing of solos, but Harold Land's gutsy solo on 'Parisian Thoroughfare' is here in full. All of Brownie's solos are left intact, of course, and again one can only wonder at the endless stream of ideas that flow from his horn.
Shortly following this second Gene Norman live date, the quintet moved permanently back to the East Coast. They were headquartered in
, near Brownie's Philadelphia home, although they were on the road much of the time. There were numerous additional recordings for Emarcy, but all took place in Wilmington and so are beyond the scope of this book. Two major events in the group's short-lived history need to be noted, though. In November 1955 during an engagement in New York , Harold Land was called home to Chicago on family business. Sonny Rollins happened to be in Los Angeles at the time, on one of his sabbaticals from the jazz scene, and Max invited him to fill the vacant tenor chair. This resulted in an even stronger unit, for although Harold Land was a major voice, he was still growing at the time, and Sonny Rollins was quite simply the best tenor sax in jazz in the mid-fifties. Tragically, the revamped group had only a short time left in its existence. On Chicago 27 June 1956 the car carrying Clifford Brown, Richie Powell and Richie's wife skidded off a rain-slick portion of the Pennsylvania Turnpike, killing all three. Max Roach carried on - Kenny Dorham filled in for Brownie for a time, to be followed by another rising young trumpet star, Booker Little - but it was years before Max could bring himself to play any of Clifford's tunes. Brownie's voice was stilled just as he was reaching full maturity, and we will never know what he - or the quintet could have accomplished if he had been given the time.
The Max Roach-Clifford Brown group was, while it lasted, one of the finest examples of a style that came to be called post-bop or hard bop. As the names imply, this style was a successor to bebop, and its practitioners favored a harder, more aggressive approach to jazz. In large part, hard bop was a reaction to the excesses of the cool and West Coast styles, a deliberate attempt to regain some of the fire and emotion that had been lost in the more esoteric experiments. The year 1954 proved to be seminal for this approach. As had been the case with the first statements of cool jazz in 1948 and 1949, the idea seemed to be 'in the air', and several groups, working independently, came up with similar ideas. There were the Art Blakey recordings at Birdland in February, of course, and the subsequent formation of the Roach-Brown quintet. In April (the month of the first Roach-Brown recordings) Miles Davis led a group into the Prestige recording studios in
for an historic session. There the musicians (Miles, J. J. Johnson, Lucky Thompson, Horace Silver, Percy Heath and New York Kenny Clarke) recorded extended performances of 'Walkin" and 'Blue W Boogie'. And late in the year Art Blakey recorded some equally important performances for Blue Note with his new group, the first edition of the jazz Messengers. The group had Kenny Dorham on trumpet, Hank Mobley on tenor, Horace Silver on piano and Doug Watkins on bass, and the recordings they made in November 1954 and February of the following year - including 'Doodlin", 'The Preacher', 'Stop Time' and 'Hippy' - quickly gained stature as prototypes of the new style. By the beginning of 1955 the battle lines were firmly drawn, and for the remainder of the decade it became a staple (if not cliché ) of jazz criticism to contrast the East Coast hard boppers with the more laid-back West Coast jazz musicians.
There were, however, players on both coasts who stubbornly refused to be so conveniently pigeonholed. The years 1955 to 1957 saw an explosion (albeit a rather muffled one) of harder swinging music in
, although there was little recognition of this at the time. The musicians who favored this approach were, for the most part, poorly received by club owners and recording executives, and their jobs were few and far between. When they did get a chance to record, their albums were largely ignored by the influential East Coast critics. Despite all these handicaps, these Underground musicians (as Leonard Feather would later so aptly tag them) produced a body of work whose importance is only now coming to be fully recognized. California
It would of course be wrong to think of this Underground as a monolithic body. Many of the musicians discussed here recorded with representatives of the West Coast style, and often the difference between a 'hard' or 'cool' approach to jazz was a matter of degree, not kind. Herb Geller, to cite one instance, was a member of the Lighthouse All-Stars for a time, and had played variously with such 'West Coasters' as Shorty
Rogers and Chet Baker. Nevertheless, his alto work was basically more impassioned (especially during this period) than that of players like Lennie Niehaus or Bud Shank, as his work on the Clifford Brown session mentioned above shows.
Herb Geller was a rarity among West Coast musicians: a native Los Angelino. He was born
2 November 1928, and started out on saxophone at age eight, later adding clarinet and piano to his studies. At an early age he heard and was influenced by Benny Carter, although Charlie Parker later cast his spell on the youngster, as he did with most saxophonists coming of musical age in the forties. Geller's first professional job was with violinist Joe Venuti in 1946, and he later played in the bands of Jimmy Zito, Jack Fina, Lucky Millinder, Jerry Wald and Claude Thornhill. While with Thornhill in 1950, Geller settled briefly in , where he met and married pianist Lorraine Walsh. The Gellers returned to New York in 1951, where Herb worked briefly with Billy May and then joined Howard Rumsey's Lighthouse crew in 1952. California
Lorraine Walsh Geller was also an important musician, born in
on Portland, Oregon 11 September 1928. Her first professional job was with Anna Mae Winburn's Sweethearts of Rhythm. Later she settled in , where she worked briefly with Jerry Wald and in a duo with bassist Bonnie Wetzel. Moving to New York with Herb, she played occasional gigs with Shorty Los Angeles Rogers, Maynard Ferguson and Zoot Sims. In 1954 the Gellers formed their own quartet, which they managed to keep together on an intermittent basis until 's tragically early death in 1958. Lorraine
Two albums cut by the Gellers for Emarcy in late 1954 and early 1955 showcase their styles. On the first, Herb and
are joined by card-carrying members of the LA Underground, Curtis Counce and Lawrence Marable. Counce, born in Lorraine on Kansas City, Missouri 23 January 1926, took up bass at an early age and started touring with the Nat Towles band at the age of fifteen. In 1954 he settled in , where he studied composition with Lyle (Spud) Murphy and worked with Edgar Hayes. In his early years in California Counce played briefly with Benny Carter, Wardell Gray, Billy Eckstine and a visiting Bud Powell. Counce was one of the first black musicians to break into the ranks of the largely white studio musicians, and from 1954 to 1956 he was the bassist in Shorty Los Angeles Rogers's Giants. Lawrence Marable, another native, was born on Los Angeles 21 May 1929. A distant relative of the legendary bandleader Fate Marable, Lawrence was largely self-taught on drums. From 1947 on, Marable was a mainstay of Central Avenue rhythm sections, making jazz time with Charlie Parker, Dexter Gordon, Wardell Gray, Stan Getz, Hampton Hawes and Zoot Sims, among others.
The first album of the Gellers, a ten-inch LP, stands in marked contrast to the contemporaneous albums of altoist Lennie Niehaus. This is a blowing session, plain and simple, and everyone gets a chance to stretch out. Herb Geller exhibits a penchant for picking tunes that are surprising but welcome additions to the jazz library. Leroy Anderson's 'Sleigh Ride', taken at a breakneck pace, is one such vehicle, and No& Coward's ballad 'A Room with a View' is another. Lorraine Geller would later name her solo on the album's 'Alone Together' as a personal favorite, and everybody shines on an up-tempo version of 'You Stepped out of a Dream'.
In May 1955 the Gellers returned to the Emarcy studios with a new rhythm section. Red Mitchell and Mel Lewis were just beginning to make names for themselves at this time. Keith Mitchell was born on
20 September 1927 in . His first instruments were piano and alto sax, but he soon switched to bass. He began playing professionally in the late forties, gigging around town with Jackie Paris and Charlie Ventura. In 1949 he joined Woody Herman and toured with the Herd until 1951. Hospitalized for over a year with tuberculosis in 1951, he returned to the scene with Red Norvo in 1952 and later played with Gerry Mulligan, staying behind in New York City when Mulligan left for California . Mel Lewis was born Melvin Sokoloff in New York on Buffalo, New York 10 May 1929. He was trained by his father, a professional drummer, and like Lawrence Marable, made his professional debut at the age of fifteen. He honed his trade in the big bands of Boyd Raeburn, Alvino Rey, Ray Anthony and Tex Beneke. Lewis joined Stan Kenton in 1954, touring with him until 1956, when he settled in to freelance. Los Angeles
This second Herb Geller album is every bit as swinging as the first, and the added space made available on a twelve-inch LP allows plenty of room for stretching out. Highlights include Geller's slashing Birdlike alto on 'Arapahoe' (as one would suspect, a workout on 'Cherokee' changes) and his blues-drenched work on 'Come Rain or Come Shine'.
is particularly impressive on 'Love', a tour de force for unaccompanied piano. Herb Geller's compositional abilities are evident on 'The Answer Man', 'Patterns' and 'Two of a Kind'. Each of these tunes is a true original; none uses 'standard' chord changes. All of the performances display a rhythmic thrust that is a far cry from the blandness of some of the West Coast studio recordings. Lorraine
Joe Maini, the altoist who appeared with Herb Geller on the Clifford Brown All-Stars date, was also an exponent of the Charlie Parker school. Maini in fact was one of those jazzmen who came up in the forties and patterned not only his music but, unfortunately, his whole lifestyle on Parker. Born
8 February 1930 in , Maini was playing professionally by the time he was fourteen. At the age of nineteen he left home for the Apple with his close friend trombonist Jimmy Knepper. The pair led a chaotic life, scuffling between occasional jobs. Busted on a narcotic charge, Maini spent a year and a half in the Providence, Rhode Island in Federal Hospital , then moved west to Lexington, Kentucky . There, while gigging in a strip joint, he met a struggling comedian named Lenny Bruce, whose brand of improvisational humor quite naturally appealed to jazzmen. The two hit it off immediately. For years thereafter Joe Maini and Lenny Bruce were at the centre of an in-group of musicians who shared an existential outlook deliberately at odds with the smug complacency that marked the 1950s. The group included drummers Gary Frommer, Lawrence Marable and (for a time) Philly Joe Jones, bassist Don Payne, trumpeter Jack Sheldon, and Herb and Lorraine Geller. Many of their intermittent jobs were in strip joints and third-rate nightclubs, where Lenny Bruce served as MC and stand-up comedian. Los Angeles
In late 1955 Jack Sheldon somehow managed to land a recording date for a quintet with Pacific Jazz - an unlikely label for the brand of music these musicians favored. Whether or not Richard Bock meant to do an entire album with the group remains unclear, but in any event only two selections were ever released, and these on separate anthologies. The personnel for the session, which was. held on
18 November 1955, were Sheldon, Maini, pianist Kenny Drew, bassist Leroy Vinnegar and Lawrence Marable. The two tunes, 'It's Only a Paper Moon' and Kenny Drew's boppish line 'Contour', show a definite post-bop influence. 'Paper Moon' suffers somewhat in retrospect, since it can't help but be compared with the storming
arrangement by the jazz Messengers of a few years later, but 'Contour' is given a satisfying, swinging performance. Neither tune can be accused of sounding remotely West Coast-ish.
In the meantime, even as these manifestations of a harder approach to jazz began to surface in LA, two veterans of the
Central Avenue scene returned to the jazz wars following lengthy absences. Hampton Hawes and Dexter Gordon had grown up in the same neighborhood, and although Dexter was almost five years older, the two had often worked together from their teens on. Their careers took similar detours in the early fifties: both were sidetracked for several years by drug-related problems, and both gained national attention with comeback albums recorded in 1955. Los Angeles
Hampton Hawes was born
13 November 1928. His father was a Presbyterian minister and his mother played piano for the church choir, so Hawes grew up steeped in the music of the black church. He took up piano at an early age, teaching himself to play by listening to pianists like Freddy Slack, Fats Waller and Earl Hines on the radio, picking out melodies on the parlor piano. By the time he was in high school, Hawes was playing professionally. He recalled:
In 1947, I graduated from Polytechnic High School, split out the back of the auditorium (thinking, Damn, I'm free, got my diploma and didn't fuck up, can sleep till twelve tomorrow), threw my cap and gown in the back of the Ford and made it only fifteen minutes late to the Last Word where I was working with the Jay McNeely band. A few months later I joined Howard McGhee's quintet at the Hi-De-Ho. Bird had worked his way back from the East Coast and joined us. [
Hawes and Don Asher, Raise Up Off Me, Hampton , DaCapo, 1979, pp. 12-13] New York
In the next several years Hawes made jazz time with just about all the regulars on
Central Avenue - often in the company of Wardell Gray or Sonny Criss - and began to acquire a growing, if local, reputation. He moved to for a short time, then went on the road with Wild Bill Moore's band, and later worked with Red Norvo in New York and Happy Johnson in San Francisco . By the early fifties he was back in Las Vegas , playing Sunday sessions at the Lighthouse. In 1951 he was pianist on the Shorty Los Angeles Rogers 'Popo' session, and the following year he recorded with Art Farmer and Wardell Gray ('Farmer's Market') for Prestige and Art Pepper ('Surf Ride') for Discovery. In September 1952 Hawes got his own session for Discovery, recording 'Jumpin' Jacque', 'Don't Get Around Much Anymore', 'It's You or No One' and 'Thou Swell' backed by Joe Mondragon and Shelly Manne. Then, just as things were moving into high gear, he got his notice from Uncle Sam.
Hampton Hawes was not really suited for army life. He had by this time acquired a drug habit, a fact that should have kept him out of the service, but which N-!as initially overlooked. When the army discovered its error it followed its usual practice, however, and promptly punished Hawes for being inducted by mistake. Nor did Hamp help any by going AWOL several times to play jazz gigs. The upshot was that Hawes spent a great deal of his army time in various stockades, both in the States and in
, where he was later transferred. One happy result of his trip to Japan was his meeting with a young girl who played piano with as much soul as if she'd been raised in Japan Harlem. Hawes encouraged the pianist, whose name was Toshiko Akiyoshi, and the two remained lifelong friends. Toshiko of course later moved to the States and became an international celebrity.
When he was finally released from the army in 1955, Hawes returned to LA to re-establish his credentials as a musician. His luck finally turned for the better. First, Shelly Manne introduced Hawes to Lester Koenig, who was anxious to record the pianist on his Contemporary label. Then, by sheer serendipity, the Hampton Hawes Trio was formed. As Hamp remembered it:
Next day John Bennett, owner of The Haig on Wilshire Boulevard, phoned and said if I'm available he wanted me to come in with a trio and there was a bass player standing right next to him who would be perfect for me. Things were happening-, I wasn't forgotten. I drove down there and the bass player said, 'I'm Red Mitchell and I think we might have fun playing together.' I said, 'Well let's go in and see.' Four bars into 'All the Things You are' I turned to him and said, 'I think we're going to have fun playing together.' With Mel Lewis on drums, and then Chuck Thompson who had played in the Happy Johnson band with me, we began a two-week engagement that stretched to eight months. I can't remember a happier time. [Ibid, pp. 77-78]
A few months later Hamp felt ready to record. The session was held in the gymnasium/auditorium of the Los Angeles Police Academy in Chavez Ravine, an isolated (in those pre-Dodger days) setting several miles from downtown Los Angeles, and lasted from midnight to dawn on 28 June 1955. 'They had a good Steinway there that Arthur Rubinstein used,' Hawes explained, 'and Lester [Koenig] wanted to get away from the cold studio atmosphere, experiment with a more natural sound. It was a relaxed session, the lights were low, Jackie [Hamp's wife] and Red's wife Doe sipping beer at a table behind the piano while we played ..., [Ibid, 78] Lester Koenig expanded on this in the liner notes of the resulting album:
It was agreed Hamp would just play sets as he did on the job, letting the tunes run as long as he pleased. We got a balance while he warmed up, and when he was in the mood, the recording machines were turned on. Between sets we listened to a few playbacks, had a few drinks, made additional takes on a couple of tunes, and so the pre-dawn hours passed quickly and pleasantly. [Notes to Contemporary 3505]
The album,
Hawes Trio, Vol. 1, was a best-seller for Contemporary, and established Hawes's credentials on a national level. The album opens with a blazing 'I Got Rhythm', in which Hamp sounds like a perpetual-swinging machine. On 'All the Things You are' Hawes remembers and briefly reprises his solo from the Lighthouse All-Stars Sunday session of a few years earlier. 'So in Love' is a vehicle for solo piano, and proves that Hawes is no right-hand-only pianist. There are no less than three blues on the album: slow ('Blues the Most'), medium ('Hamp's Blues') and up-tempo ('Feelin' Fine'). 'Hamp's Blues' has a line closely akin to Horace Silver's 'Opus de Funk', while 'Feelin' Fine' has a 'cycle of fifths' blues progression. In addition, there is a ballad performance of 'Easy Living', a ballad-cum-swinger, 'What is this Thing Called Love', and the Latin 'Carioca'. Hampton
In the next year Hampton Hawes recorded two more trio albums for Contemporary and went on a nationwide tour which included an extended stay in
. The new trio albums kept up the high standards of the first, but covered no new ground. Then late in 1956 came another session as good, if not better, than the original date. On the night of 12 November Hawes entered the Contemporary studios with a quartet: guitarist Jim Hall was the added starter. On this session Bruz Freeman replaced Chuck Thompson. This was the famous New York
'All-night Session', and even more than the initial trio date, this was an impromptu event. Once again a balance was set and the tapes allowed to roll, but this time there were no second takes.
The quartet recorded sixteen numbers in all, and the tunes were issued on three LPs - with no editing - in the same order in which they were recorded. (As with the Miles Davis Quintet sides for Prestige cut the same year, mistakes and fluffs were left in. The tunes were a mixture of improvised blues; bebop classics('Jordu', 'Groovin' High'. 'Woody 'n You', 'Two Bass Hit' and 'Blue 'n' Boogie'); and standards ('Broadway', I Should Care', 'I'll Remember April'). As usual, Hamp is at his best on the medium- to up-tempos, but tends to over-embellish the slower ballads ('I Should Care'). Jim Hall's guitar adds much to the proceedings, both in his solo work and rhythm accompaniment. Bruz Freeman's drumming is adequate, but he lacks the total empathy with Hawes that Chuck Thompson had.
With the release of All Night Session, Vols. 1-3, Hawes's national reputation was assured. As the decade wore on, and the terms 'funky' and 'soul' became the new catchwords of jazz, Hamp found himself lionized; the music he had been playing all his life had become the in thing, and the popularizers were soon running the fad into the ground. Through it all, Hawes remained himself, playing the mixture of bebop and church music that he had learned growing up in
south-central LA. In 1958, however, at the height of his popularity, Hawes was once again arrested on a narcotics charge, and this time he drew a ten-year sentence. Although he was released five years early (on an order of executive clemency by President Kennedy), Hamp was removed from the jazz scene for the remainder of the decade.
But back to 1955. Several months after Hampton Hawes cut his first album for Contemporary, another native Angelino returned to jazz. Dexter Gordon had also spent several years in confinement during the early fifties on drugs charges. When he was released in 1955, one of his first moves was to look up his friend and partner in the tenor-sax chases of yore, Wardell Gray. Unfortunately, Gray had just left town for
with Benny Carter's band, on what would be his final job. Several days later Gordon heard about Wardell's death and resignedly set about working as a single. Las Vegas
In September Dexter was invited to record with drummer Stan Levey on a date for
records. Levey, who had been the drummer with Diz and Bird at Billy Berg's, had come to California with Stan Bethlehem Kenton's band in 1952 and later replaced Max Roach at the Lighthouse. For his date, Levey chose a group of like-minded swingers. Trumpeter Conte Candoli and trombonist Frank Rosolino were working with the drummer at the Lighthouse; both were veterans of the bebop wars and of the same edition of the Bethlehem Kenton band in which Levey had worked. Pianist Lou Levy and bassist Leroy Vinnegar were two of LA's strongest rhythm players. The sextet thus formed was a powerful neo-bop unit.
The Stan Levey Sextet recorded seven tunes for the album on 27 and
28 September 1955. Two of the tunes are bebop standards. 'Diggin' for Diz' was first recorded by Diz and Bird at Ross Russell's first Dial session back in 1946; Stan of course was the drummer on that one. 'This Time the Drum's on Me' is Oscar Pettiford's 'Max is Makin' Wax' under a new title. Both tunes feature some fiery playing by all hands; Levey is particularly impressive in a drum solo on the latter tune that owes much to Max Roach's melodic approach to jazz drumming. There are also performances of two later additions to the jazz library, Miles Davis's 'Tune Up' and Thelonious Monk's 'Ruby, My Dear'. The latter is a solo vehicle for Conte Candoli's sympathetic trumpet. 'Tune Up' has strong solos by all the horns men, although Frank Rosolino is especially impressive in his agile trombone work. Bob Cooper contributed an arrangement of 's 'La Chaloupee' (From The Tales of Hoffman) that swings hard and avoids the cutesy tricks that one might suspect of such a borrowing. 'Day In, Day Out' is taken at a medium-up tempo and has several rhythmic twists in the arrangement. Finally, there is ' Offenbach the Steamer', Dexter's own blues line that features a steaming six-minute tenor solo at a walking blues pace. Gordon has lost none of the fire from his earlier days, and shows a growing maturity of style that acknowledges the contributions of some of his juniors, especially Sonny Rollins. Stanley
Dexter's work on the Stan Levey album led to an album of his own for
, which was released under the title Daddy Plays the Horn. (At least that's the way Dexter remembers it; the album gives the recording date as 18 September, a week earlier than the Stan Levey session.) On this album Gordon is joined by the strong rhythm section of Bethlehem Kenny Drew, Leroy Vinnegar and Lawrence Marable. Dexter of course gets to stretch out much more in the quartet setting. 'Daddy Plays the Horn' is another extended blues performance, and it is matched by the faster 'Number Four'. 'Confirmation' has Dexter acknowledging his debt to Charlie Parker. The remaining three tunes are all standards: 'Darn that Dream', 'Autumn in ' and 'You Can Depend on Me'. Dexter's playing here is authoritative and swinging, but one misses the contrast that another horn would add. New York Kenny Drew adds just the right touch both in a supporting .ole and in his solos - it's a shame his tenure on the Coast was of such a short duration.
The following year Gordon recorded for an even smaller local label, Dootone records. The rhythm section this time consisted of Leroy Vinnegar (once again), Chuck Thompson and the fast-rising pianist Carl Perkins. Perkins, who was attracting quite a bit of attention at the time, contributes substantially to the proceedings, and his blues-oriented style fits perfectly with Dexter's conception. On three numbers, trumpeter Jimmy Robinson is an added starter. Robinson's style is very much hard-bop, with staccato tonguing and a hard edge to his tone, but there is little originality to his improvisations. (He was quite young at the time.) The tunes are the usual mixture of standards and 'heads' based on the blues or AABA changes. All of the originals are simple riffs designed as launching-pads for the soloists, and Dexter does give us some meaty blowing. He is at his best on the medium blues 'Blowin' for Dootsie'.
These three albums should have been enough to have revived Dexter's waning popularity, but such was not the case. Gordon spent the remainder of the fifties playing in smaller clubs around LA, and there was no further recording until the sixties. Much the same fate befell players like Teddy Edwards and Sonny Criss. Their harder-edged styles just didn't find favor with the bulk of the LA jazz audience. By the same token, however, there were signs by 1956 that the wheel was beginning to turn, and that things were looking up for those West Coast musicians who favored a harder approach. Two significant groups were formed that year. Chet Baker, to the surprise of those who thought of him as an introverted miniaturist, formed a neo-bop quintet with tenor saxophonist Phil Urso that included a young pianist named Bobby Timmons. And bassist Curtis Counce teamed with Harold Land in a quintet that would soon prove to be a truly big-league outfit. Both of these bands will be more fully discussed in a later chapter; it is enough at this point to say that the forming of such units refutes many commonplaces about the LA jazz scene of the fifties. Certainly there were other indications as well. Shelly Manne, besides his inexhaustible work on a seemingly endless succession of studio records, formed his own working quintet - another neo-bop unit with Stu Williamson, Charlie Mariano, Russ Freeman and Leroy Vinnegar. And musicians like Dexter Gordon, Sonny Criss and Teddy Edwards, although unable to land recording contracts at this time, were at least keeping the flame lit in Southside clubs.
In the meantime, of course, the popularity of so-called West Coast jazz continued unabated, although in retrospect it can be seen that 1955 and 1956 were the peak years for the style. As a flock of independent labels - Jazz West, Mode, Tampa, Intro, to name a few - followed down the path blazed by Pacific jazz and Contemporary, a mind-boggling array of albums were made available. There was much dross, to be sure, but there were also many worthwhile LPs issued at this time. Today the original albums fetch astronomical prices among collectors, and many of these sides are being reissued. The next chapter will examine a representative sampling of these albums.


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I recently saw this great video demonstrating the value of an HIE. In this case it was created by the New York HIE, SHINY. Check out the video embedded below:
What a great video! I'm looking forward to learning even more about SHINY when I attend the Digital Health Conference in New York City next month. It was a great event last year, and this video is emblematic of the professionalism of the NYeC.
I've often said that the problem with HIE isn't that we don't see value in it. This video is something any regular patient can understand and see the value of a health information exchange. The problem is in making the exchange a reality. Seems like SHINY is making this a reality for New York state with things like the announcement of the largest New York RHIO, Healthix, Inc, joining SHINY.
I applaud the efforts of SHINY and wish that every state had something similar. We will eventually, but it's going to take some time as we worth through the processes. Scott Joslyn, CIO of MemorialCare Health System, said it well in an interview on EMR and HIPAA:
New policies and regulations need to be put in place at the Federal level for HIE to truly work. Today, providers are reluctant to consider or embrace HIE because of the financial and reputational risks associated with the idea of sharing patient information. Issues of patient consent management, opt-in vs. opt-out, and privacy create both real and imagined barriers. We need to create a legal and regulatory environment that is receptive and supportive of HIE rather than potentially risky and punitive. As an organization, we participate in local, public HIE efforts while we endeavor connect our systems to affiliated providers to safely and securely make available patient information as our physicians and patients currently demand and expect in the current environment. We're encouraged by the progress and ongoing regional and national dialog with regard to HIE though we do think it will evolve slowly and unpredictably.

subset: commoncrawl


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For the first time in 9 months, Justin Bieber opens up and gives a very raw and unfiltered interview to The Hollywood Reporter. Giving THR in depth coverage into how Justin and his team have coped with the vicious rumors & scandals that have threatened the "BIEBER" brand this past year.
Click Here to check out THR's 5 page exposé.
Click Here to view the portraits of Justin & Scooter when they posed for THR's shoot,
or click through the gallery below!
Click Here to view Justin Bieber tickets.


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|Winnebago County Sheriff's PoliceNews Media Release
|News Release Number2008 - 032
|Information: Change In Restrictions On The Rock River In Winnebago County
|Date: 07/08/08
|Time: 10:00 AM
|Page 1 of 1
NARRATIVE:The Illinois Department of Natural Resources (DNR) has lifted its restriction which closed the river, and the Rock River in Winnebago County is now open. The Sheriff's Department is concerned with this decision, as water is still out of the banks in Northern Winnebago County. Sheriff Richard A. Meyers is announcing the continuation of the "NO WAKE ZONE" effective immediately for the Rock River within Winnebago County north of the Auburn Street Bridge, due to the high water and hazardous river conditions. Although the DNR has opened the river, it is still out of its banks in many areas, and boaters are encouraged to avoid using the river for recreational purposes during this time as the presence of debris in the river creates hazardous conditions, which are difficult to detect. Additionally, the increased water flow creates a much faster current than what has been experienced over the past few months with the lower water levels. These conditions increase the likelihood of problems for boaters, which results in exposing first responders to dangerous conditions should a rescue situation develop. The public boat launches at Macktown, Hononegah, and Atwood Forest Preserves, Riverside Park in Roscoe, Harlem Road, SportsCore, and Martin Park remain closed due to standing water and inability to access the dock areas. The Sheriff only has the authority to implement and eliminate a "No Wake" order, the authority for opening or closing the river rests with the Department of Natural Resources. Any questions or comments concerning the opening or closing of the river should be directed to the Illinois Department of Natural Resources Region 1 Office in Sterling at (815)625-0086. The river is open with no restrictions south of the Auburn Street Bridge. As a reminder, recreational users of the rivers should exercise caution when using the rivers. For current river conditions, and any further updates, contact the Sheriff's Office at (815) 319-6300, or the Rock River information telephone line at (815) 316-8888.


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Reggie Bush broke a lot of personal barriers in his first season in Miami. He topped 1,000 rushing yards for the first time. He started 15 games and carried the ball 216 times. While that doesn't exactly make him Earl Campbell, Bush showed he could be a reliable starting tailback.
He's setting his sights higher this year.
"I want the rushing title," Bush said on WSVN-TV, via the South Florida Sun-Sentinel. "This offseason, I've been working toward that goal. Just being effective like I was this past season. ... Every time I rush the ball, I want 4 yards. I'm keeping my focus simple and small but at the same time helping my team progress."
(Somewhere, Sean Payton is wondering why this guy didn't show up in New Orleans).
It's hard to imagine Bush reaching this particular goal. He finished 11th in the league during a career season. The offensive scheme is changing and Bush isn't especially likely to touch the ball more in Joe Philbin's offense than under Tony Sparano a year ago.
Still, Bush's goal sounds a lot more realistic than it did a year ago. He is a lot better at taking four yards rather than going for a home run every carry.


text: A running commentary of what I get up to, get distracted by and generally end up not doing with my hobbies of wargaming, rpgs and anything else I find interesting. Key focus at the moment is Mordheim, DnD, Otherworld miniatures and rpgs. Any historical stuff (mainly colonial) I now post on a seperate blog.


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Where's our Truman when we need him?
Sometimes politicians seem to be like wives. Over and over I'm told by many of our clients who are widowed or divorced that they didn't truly appreciate their spouse when they were around. They seldom understood the value of a companion, particularly one who went about doing good things without seeking appropriate recognition.
It seems many of our presidents are the same; we have not fully appreciated their worth until long after they are gone. A classic example of this is Harry Truman. In hindsight, more and more Americans are beginning to say Harry Truman should be counted among our greatest presidents.Truman took over the presidency with no notice following the death of a revered president, Franklin D. Roosevelt. He was handed a daunting plate of problems for our country but fearlessly accepted every challenge.
Those familiar with Truman's biography will know he came from Missouri with a history of service in local government and survived the rough and rowdy politics of the Pendergast Machine in that state. After being selected as a member of Congress, however, Truman did not hesitate to take on the huge special interests that existed in his time. Contractors, particularly those with military attachments, were taking advantage of the country. They ruled the roost in Washington, D.C. Even under threat of political retribution, Truman took them on — not only took them on, but whipped them.
Unfortunately for our time, we had a president who led us into a war that was completely unnecessary and based on a false premise. His cabinet and vice-president were so beholden to private business interests that we, the taxpayers, are left with a larger war-budget deficit than that of any war in the history of the United States. Most of those private businessmen were pals or cronies of Vice President Dick Chaney. While the Republican Party, which was in control of Congress most of the Bush era, touts fiscal responsibility and condemns taxing and spending, there was more waste and unaccounted-for spending under its watch than any time in American history.
Harry Truman, in his war against waste, named names and laid responsibility for taxpayer waste at the feet of the big spenders. Unfortunately, we have no hero in Congress like Truman. Recent reports of the General Accounting Office of the United States estimate that between $31 billion and $60 billion has gone to contractors in Iraq, and yet no one has any earthly idea where it went. Accounts of plane loads of $100 bills stacked on pallets going to Iraq have been the hallmark of the lack of fiscal responsibility during the Bush era, and it seems that even now there will be no great effort to find the recipients of our taxpayer-financed largesse. Nor will anyone be branded with the blame of such blatant waste, if not corruption. Again, I ask the question, where is our modern day Harry Truman when we need him? We miss him.
Carl Parker has practiced law in Port Arthur since 1958. He is a 1958 graduate of the University of Texas School of Law. Elected to the Texas House of Representatives in 1962 and the Senate in 1976, Parker continued to practice law while writing and sponsoring hundreds of bills that became laws relating to every aspect of life in Texas.


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Obituary index
D. "Punk" O'Donoghue
Send a link to a friend
[May 07, 2014]
Phillip D. "Punk" O'Donoghue, 54, of Lincoln died at 8:43 p.m. May
5, 2014 at Memorial Medical Center, Springfield.
Rosary Service:
4:30 p.m. on Thursday at the funeral home
5:00-8:00 p.m. Thursday
p.m. Friday at Holy Family Church of Lincoln
Funeral home:
Fricke-Calvert-Schrader, Lincoln
Phillip D. "Punk" O'Donoghue, 54, of Lincoln died at
8:43 p.m. May 5, 2014 at Memorial Medical Center,
Punk was born September 6, 1959 in Lincoln, the son
of Thomas Joseph and Agnes Alexander "Ma" O'Donoghue.
He was united in marriage to Lynn Logan August 29,
1996 in Lincoln. She survives in Lincoln.
Punk is also survived by his children: Alex
O'Donoghue; Brianna (Corey McFall) Dennis of
Elkhart; Candice (Tim) Turner of Cornland;
Grandchildren: Clarissa, Xzandria, Chase, Gaige,
Raelynn and Race.
Siblings: Tom (Cyndie) O'Donoghue of Tinley Park;
Mike (Mary) O'Donoghue; Denny (Marsha) O'Donoghue;
John "Q-Ball" (Gail) O'Donoghue; Ruth (Mike)Young;
Cathy "Jinx" (Joe) Gleason; Pat (Judy) O'Donoghue;
Dan "Boone" (Marsha) O'Donoghue; Dick (Myretta)
O'Donoghue; Tim (Shirley) O'Donoghue, all of Lincoln
and nieces and nephews. He was preceded in death by
his parents and one nephew: Wes O'Donoghue.
Punk worked at Eaton Corp. for 36 years and
O'Donoghue Radiator for 30 years. He was a member
of Holy Family Church of Lincoln. Punk loved
driving his race car "84", the Chicago Bears,
Lincoln Demo Derby, NASCAR and working in his
garage. He loved his hometown friends of Burtonview.
Services for Punk will be at 2:00 p.m. Friday, May
9, 2014 at Holy Family Church of Lincoln with Rev.
Jeffrey Laible officiating. There will be a Rosary
at 4:30 p.m. on Thursday, May 8 prior to the
visitation from 5:00-8:00 p.m. at
Fricke-Calvert-Schrader Funeral Home, Lincoln.
Burial will be in St. Mary's Cemetery following the
mass on Friday. Memorials may be given in his memory
to ALS Worldwide or St. Jude's Children's Research.
Click here to send a note of condolence to the O'Donoghue family.
Did you know.....
...You can send a
condolence note to families via email?
Fricke-Calvert-Schrader, Peasley,
Quiram-Peasley and
Holland Barry & Bennett funeral homes have this option
Click on the name of the appropriate
funeral home (in the line above) and insert the family name to
send a note.
< Obituary index
Back to top


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The revenue distribution system in place for the 2010/11 UEFA Champions League will be confirmed later in the summer.
Each of the 32 clubs that featured in last season's group stage received a participation bonus of €3.8m plus a match bonus of €550,000 per group game played. On top of that, clubs benefited from performance bonuses of €800,000 for every win and €400,000 for every draw in the group stage.
The 16 teams that reached the first knockout round all collected €3m, the eight quarter-finalists €3.3m apiece, and the four semi-finalists €4m each. Winners FC Internazionale Milano pocketed €9m and the runners-up FC Bayern München €5.2m. It follows, then, that any side winning all six group-stage matches would have been entitled to €11.9m, a figure that would have risen immediately to €14.9m because that club would also have qualified for the last 16.
Last term a fixed amount of €413.1m was destined for teams in the UEFA Champions League from the group stage onwards and in the UEFA Super Cup. FC Barcelona, as winners of the 2009 UEFA Super Cup, picked up €2.5m and runners-up FC Shakhtar Donetsk €2m.
Some €55m was allocated exclusively to the UEFA Champions League play-off round, meaning each of the 20 sides participating in the play-offs earned a fixed amount of €2.1m. As in the 2006-09 cycle, €10.3m was also reserved for solidarity payments to clubs eliminated in the qualifying phase of the UEFA Champions League and UEFA Europa League.
©UEFA.com 1998-2010. All rights reserved.


text:
About the conference
Code PaLOUsa is a conference designed to cover all aspects of software development regardless of technology stack. It has sessions revolving around Microsoft, Java, and other development platforms; along with session on higher levels that are platform agnostic. The conference schedule will feature presentations from well-known professionals in the software development community.


text: Share November, 2008 Would you like to access the complete CEP Article? No problem. You just have to complete the following steps. You have completed 0 of 2 steps. Log in You must be logged in to view this content. Log in now. AIChE Membership You must be an AIChE member to view this article. Join now. Copyright Permissions: Would you like to reuse content from CEP Magazine? It's easy to request permission to reuse content. Simply click here to connect instantly to licensing services, where you can choose from a list of options regarding how you would like to reuse the desired content and complete the transaction. More in "Centennial" A New Strategic Plan Catalyzes AIChE November, 2008 Getting Here was Half the Fun November, 2008 Happy Birthday AIChE November, 2008 A Century of Triumphs November, 2008 Saluting AIChE's Centenarians November, 2008 Energy Now and Then November, 2008 Chemical Engineering in the Next 25 Years November, 2008 READER SURVEY: Where Do You Think We Are Headed? November, 2008 From Small Acorns, Large Trees Grow November, 2008 Chemical Processing Equipment on Display November, 2008 Petrochem Show a Hit! November, 2008 What's New Then and Now - Part 1 November, 2008 View all Topics: Career Planning


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Project Egret necesitaba un nuevo diseño de página web y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 62 diseños de 12 diseñadores freelance.
Project Egret (code name; actual name TBD)
Project Egret is a Mumbai, India based company that sells luxury goods at a discount of as much as 30% - 70% through limited-time "flash sales." Each day the site features a small number (around 10) of carefully selected items from well-known Indian and international brands. Sales are open to members only, and membership is by invitation. A limited quantity of each item is offered for sale, and when that quantity is ordered, the item is no longer available. This limited-time "flash sale" turns online shopping into an engaging game.
Sites with comparable functionality in the US include Gilt Groupe and Ideeli.
PE's primary target market is urban women with high disposable income. Primarily in large Indian cities, but also women of Indian origin in other countries including the US. Products are sourced from leading Indian and international designers and fashion labels. Products include clothing, shoes, handbags, jewellery and accessories.
We need designs for the main pages of the site, which are listed below. Attached are screenshots of comparable pages from Gilt Groupe, a site whose design we love.
1. Home page, featuring today's Sales. Each Sale corresponds to a designer or fashion label.
2. Sale Page for each Sale. Short bio of designer or info on label, followed by list of products and prices, and details on when the sale ends.
3. Item Detail Page for each item. Ability to view product from different angles and select color and size options, original and discounted prices, and the ability to add to shopping cart. It is possible that items become unavailable during the sale because there are limited quantities. This needs to be communicated, and users given the option to be put on a Wait List if the item becomes available later.
4. Page(s) related to shopping cart and checkout.
5. Registration page(s) to create a user account and provide payment information.


text:
Chester Leo: The Puppy Dog!
Roger Hampton: The Vet Tech Lad! Fleece Blanket (Green)
This warm, luxurious blanket is available in two amazing styles.
- Plush fleece is extra soft & lightweight with a velvet-like feel.
- Sherpa fleece is extra thick & warm, perfect for cold Winter nights.
- Both versions offer amazing comfort, warmth, and colorful artwork.
- Choose from 50" x 60", or 60" x 80".


text:
Firefox repeatedly opens empty tabs or windows after you click on a link
Firefox may repeatedly open new, empty tabs or windows after you click on a link, forcing you to close Firefox. The same untitled tabs or blank windows may open the next time you start Firefox if the previous session is restored.
This usually happens because you chose Firefox as the program to always use for a particular action, such as opening a certain type of file or launching an application to send mail.
Table of Contents
Start a new Firefox session
You may be forced to close Firefox if it is repeatedly opening multiple tabs or windows. Firefox includes a Session Restore feature that can restore your windows and tabs from the previous session after a crash or unexpected close.
The same multiple tabs or windows may start opening when you next start Firefox, forcing you to close Firefox again. If you see a Restore Session ( "Well, this is embarrassing.""Sorry. We're having trouble getting your pages back.") page when you restart Firefox, click the button to start a new session and then follow the instructions given below to fix the problem.
Change the action for a content type
You may be able to fix the problem by finding the content type that is set to use Firefox and then changing the action, using these steps:
- Click the menu button and select . .
- Select the panel.In the panel, go to the Applications section.
- If you know which item in the Content Type column is causing the problem, select it. Otherwise, in the Search box, type Use Firefox. The list will display only items that are set to "Use Firefox".
- Select each problematic content type and choose a new action from the drop-down menu in the Action column. If you're not sure which action to pick, choose
- Note: A problematic Portable Document Format (PDF) content type should be set to view PDF files in Firefox, even when Firefox is the default program to open PDF files on Windows. to
- Close the about:preferences page. Any changes you've made will automatically be saved.
For general information about content types, see Change what Firefox does when you click on or download a file.
Reset actions for all content types
If the preceding steps didn't fix the problem, or if you can't find the problematic item in the Applications list, you will have to reset the actions for all content types by manually deleting the file that stores these settings.
Open your profile folder:
Click the menu button , click and select .From the The Troubleshooting Information tab will open. menu, choose .
Note: If you are unable to open or use Firefox, follow the instructions in Finding your profile without opening Firefox.
- Under the Application Basics section, click on A window will open that contains your profile folder.Your profile folder will open. .
- Close Firefox.
Click the menu button and then click ExitQuit .
Click the Firefox menu , then click .Click the Firefox menu at the top of the screen, then click .Click the Firefox menu , then click .
- Delete the file named mimeTypes.rdfhandlers.json.
- Restart Firefox.
Check for malware
If the problem is still not solved, or if Firefox is opening multiple tabs or windows with unwanted content, consider that your system may be infected by malware. For more information, see Troubleshoot Firefox issues caused by malware.


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Some machines make light bulbs, and some machines make clothing. Some machines make our lives easier, and some make them more complicated. Some machines silently putter along, and some machines roar. As you'll see in the video above, the Jaguar XF is one of those roaring machines.
Jaguar's full model line-up is the result of a long legacy of mechanical innovation. Instinctive and strong, fast and seductive, Jaguar challenges perceptions of what machines can accomplish — especially when they are driven by humans who are truly passionate about them.
Head here for a glimpse of what makes Jaguar feel so alive, and to see it do things that other machines can't.


text:
- Ryder Cup
Montgomerie warns McGinley about captaincy hopes
Colin Montgomerie believes Tom Watson's appointment as United States captain for the Ryder Cup in 2014 should not affect who Europe appoint to the role.
Montgomerie, the victorious European leader at Celtic Manor in 2010, is aware that Watson - one of golf's all-time greats - will bring an extra stature and prestige to the American side.
But he hopes that will not affect the selection of Europe's opposite number, with Paul McGinley and Darren Clarke believed to be the frontrunners.
"Has it changed our view of who we should put up against him?" Montgomerie said of Watson's appointment. "It shouldn't because, irrespective of who the Americans have selected, we should be selecting the best man for the job.
"Surely that shouldn't change. We can't suddenly say he's no good because of what America have done. I think it will put a wee bit extra pressure on our captain, especially in all the stuff that leads up to the Ryder Cup, the year to go celebrations etc.
"Tom Watson's stature is second to none and we certainly need someone who can liaise with people, speak to them etc. They also can't be intimidated by Tom. But all that goes down to the best man for the job, whoever that might be."
Montgomerie revealed that a vote will be employed to choose the next Ryder Cup captain, hinting that McGinley - a valued assistant at the last two Ryder Cups - is not guaranteed to be elevated to the top job.
"For the first time, there is going to be a committee vote between two candidates and that will start off in Abu Dhabi next month," Montgomerie added. "Paul was very good at the Seve Trophy. He was also very good as a backroom member at the Ryder Cup. He was very good with me and I believe he was very good with [Jose Maria] Olazabal [in 2012].
"But, for me, it goes back to this best man for the job business. Just because it's your turn doesn't necessarily mean it will be you.
"There are certain people who are meant to be in charge of a team and some who are not."


text:
|UDM Academic Policies
|Course Descriptions
|List of All Programs
Admissions, Costs & Academics
UDM is a "moderately selective" university according to most college guide books, admitting freshmen students who are "above average" in their high school record and ACT or SAT college test scores. Admission for transfer students is based primarily on an applicant's record in previous college courses, a record which must demonstrate a strong probability of successfully completing the desired academic program listed on the application. For both freshmen and transfer students, special attention is paid to achievement in courses which relate closely to the intended area of study at UDM.
Admission to the University
A visit to campus is highly recommended. Visitors have an opportunity to discuss their academic plans with an admissions counselor and often are able to meet with students and faculty in the program they would like to enter. As a result, people who visit often have a much better idea of whether or not UDM is indeed the best place for them.
Admissions criteria differ depending on the educational goal at UDM and whether or not the applicant has had previous college experience. Most people will be reviewed either as freshmen (no previous college experience at all), transfers (previous enrollment at a community college or four-year institution), and international students (all applicants who are not US citizens or permanent residents). People enrolling for undergraduate courses who already hold a bachelor's degree from an accredited college or university are considered "post-degree" students. Students enrolled at other colleges who wish to take UDM courses and transfer them back to their regular institution enroll as "guest" students. Details in each of these areas are provided below.
UDM is committed to equal educational opportunity in admissions regardless of age, sex, sexual preference, race, color, religion, national origin, ancestry, handicap, military service, height, weight, marital status or political belief. UDM reserves the right to review the individual circumstances of applicants who have been convicted of criminal offenses.
To request information or make an appointment with an admissions counselor, call or e-mail the Admissions Office.
As a comprehensive urban university, UDM enrolls students of all ages in daytime, evening and weekend programs. Students over the age of 23, who have not previously attended college, are not required to take traditional college entrance exams for freshmen, but must submit high school transcripts and may be asked to complete academic placement tests as part of the admissions process to help them begin college work in the most appropriate courses.
Many academic programs offer flexible scheduling. Depending on the area of study, several courses are offered during day, evening and weekend timeslots.
Recommended High School Preparation
In making an admissions decision, the overall strength of the high school courses completed is important. Applicants who have completed advanced placement, international baccalaureate, and honors courses, for instance, are recognized for the special effort they have made to complete the strongest possible college prep program while in high school.
To receive information about academic programs at UDM and procedures for submitting admissions applications students should visit our website at www.udmercy.edu, E-mail requests to email@example.com or call the Admissions Office at (800) 635-5020. People who prefer to write should send their request to the Admissions Office, University of Detroit Mercy, 4001 W. McNichols Road, Detroit, MI 48221-3038. Applicants should request their official high school transcripts and ACT or SAT I test scores be sent directly to the Admissions Office at the University of Detroit Mercy.
Deadlines for Freshmen Applications
Enrollment Confirmation
ACT or SAT Results
Advanced Placement Program
The International Baccalaureate Diploma Programme
UDM welcomes applications from students who have begun their studies at community colleges or other four-year institutions. Admissions counselors who work only with transfer applicants provide information, advice and assistance for students considering transfer to UDM. While a 2.O GPA in previous college work is considered the minimum acceptable for admission, many academic departments require a higher performance level of at least 2.5 in previous college work. As with high school applicants, individual academic programs may also require successful completion of specific courses. Applicants whose records otherwise make them eligible for admission may complete required courses at UDM and then seek entry directly to their desired program.
Recommended Preparation Before Transferring
Community College Articulation Agreements
UDM has a number of "2 + 2'' and "articulation agreements'' with community colleges and other four-year institutions. Students enrolled in programs covered by such an agreement complete designated courses at their institution and are then assured of the transferability of all designated credits earned. Information on current agreements may be obtained from your community college counseling office or the UDM Admissions Office.
ACT or SAT Results
Transcripts and Transfer of Credit
Transcripts are evaluated and credit is granted for work satisfactorily completed at another accredited college or university if the work is equivalent in character and content to UDM courses. Only courses completed with a grade of "C'' or better are considered for credit.
UDM accepts a maximum of 63 semester hours of credit transferred from a community college or 96 semester hours transferred from a four-year institution. In some cases, articulation or 2 + 2 agreements may specifically permit a limited number of hours in excess of the 63-hour maximum.
High school or college transcripts sent to UDM for admission application and/or transfer of credit evaluation are not given back to the student. These documents can be viewed as part of your academic file but we do not photocopy or reissue them.
Applications and Information for Transfer Students
Application Deadlines
Notification of Acceptance
Special Admissions Program
Graduate students from abroad must provide evidence of completion or near completion of at least four years of university studies leading to a degree equivalent to an American bachelor's degree. Applicants are expected to present evidence of superior performance in their undergraduate work.
Students must complete the International Student Application rather than the one for U.S. students. International applications should be completed online.
University of Detroit Mercy
English Proficiency
American Language and Culture Program
Financial Support
Undergraduate students with a diploma from a U.S. high school and Canadian undergraduates may qualify for UDM academic awards. Undergraduate students transferring to UDM from another U.S. or Canadian college or university are eligible for a $2000 UDM grant, which is renewable each year. Further information on these scholarship opportunities is available from the Financial Aid Office. Graduate students may qualify for a limited number of teaching or research assistantships. Students should contact their academic department for additional information.
Transfer Students
Applicants admitted as Post-Degree include students who have a bachelor's or master's degree and wish to complete undergraduate prerequisite courses to prepare for admission to a graduate program; plan to earn a second bachelor's degree; and those seeking teacher certification. Post-Degree students follow the same application procedure as transfer students, but the only transcript required is from the undergraduate degree-granting institution. Post-Degree students must maintain the same academic standards and meet the same class requirements and course prerequisites as other students. Post degree students are not eligible to take graduate level courses.
High school students (at the junior level or higher) may apply to enroll at UDM while working toward graduation at his/her high school. Students should complete and submit a UDM undergraduate admissions applications.
Special Collegiate students may take up to a total of 12 credit hours in courses subject to approval of their UDM advisor. Course work completed at UDM by a Special Collegiate student may count toward the high school diploma if approved by the student's high school. This course work will be credited toward the UDM degree if they subsequently enroll as regular students and may be evaluated for credit toward a degree at other accredited post-secondary institutions.
If Special Collegiate students wish to enroll at UDM as a degree-seeking freshmen, they need to apply for Freshmen Admission during their senior year of high school (or home schooled equivalent).
University of Detroit Mercy welcomes home schooled students to apply for admission. Applicants should submit either ACT or SAT I scores and documentation of their academic progress (and ultimately, documentation of their completion of high school) from their affiliated home schooling agency, local school district or State Department of Education. Once the Admissions Application has been received, the Admissions Office may contact the applicant to request additional information such as (but not limited to) portfolios, essays or writing samples and grading scale information.
People who do not plan to pursue a degree program at UDM but wish to enroll in a limited number of credit classes for professional development may be admitted as Unclassified students. Unclassified students may "audit" (attend classes without receiving credit or a grade), however, tuition is at the same rate as regularly admitted students.
An admissions application must be submitted together with an employer recommendation or copy of professional licensure. Unclassified students are limited to two courses per term up to a maximum of 12 credit hours. Admission of Unclassified students and their continued registration in classes is limited based on the number of degree-seeking students in a program or course.
Students enrolled at another college or university who wish to take a course or limited number of courses to transfer to their "home'' institution may enroll as "guest students." Students apply for guest student admission by filing the Michigan Uniform Undergraduate Guest Application or a similar form from another state. Forms can be obtained from the registrar of any Michigan college or university. http://www.udmercy.edu/registrar/forms.htm Guest applicants are not required to submit transcripts or test results, but must assure that the application is completed by the dean or registrar at the home institution. Guest students must have at least a 2.0 GPA at their regular college or university as noted on the Uniform Application.
Guest student status is not continuous.
A new application must be filed with the Registrar's office for each term in which the student desires to enroll at UDM. Guest students are subject to the same academic standing policies as other UDM students. Failure to meet these standards may be cause for denial of future guest applications to UDM.
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Students may be readmitted under the transfer option only once, and are automatically considered to be on academic probation during the term of re-entry. Students readmitted under the transfer option will not be eligible to receive the repeated course option on subsequent course work.
UDM subscribes to the principles of good practice of the National Association of College Admissions Counselors (NACAC). According to these principles, applicants for admission have the right:
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Solid Hughes takes tough-luck loss vs. Texas
NEW YORK -- The Rangers spilled into the center of the Yankee Stadium infield, clapping Derek Holland on the back to celebrate his route-going effort, and Joe Girardi lingered at his dugout-railing perch for just an extra moment.
Wearing a look of disgust across his face, the Yankees manager fired a white towel into the air before retreating to his office. It was an appropriate snapshot for the afternoon as Holland fired a two-hit shutout, leading the Rangers to a breezy 2-0 victory.View Full Game Coverage
NEW YORK -- The Rangers spilled into the center of the Yankee Stadium infield, clapping Derek Holland on the back to celebrate his route-going effort, and Joe Girardi lingered at his dugout-railing perch for just an extra moment.
Wearing a look of disgust across his face, the Yankees manager fired a white towel into the air before retreating to his office. It was an appropriate snapshot for the afternoon as Holland fired a two-hit shutout, leading the Rangers to a breezy 2-0 victory.View Full Game Coverage
"If you don't score runs, that becomes an issue," Girardi said. "I believe we're capable of scoring runs.
I think we can. But time will tell."
Holland needed just 92 pitches to mow down the batting order, holding New York to a pair of singles. It marked the seventh time this season New York has been shut out, once more than all of last year, and wasted eight innings of strong two-run ball from Yankees starter Phil Hughes.
"Phil threw the ball well today and deserved a lot more than what he got," Yankees outfielder Vernon Wells said. "You only give up two runs against a team like that, that's doing your job. We just couldn't get anything going against Holland."
The Yankees suffered their third defeat in the past four games as Holland beat New York for the first time in his career. The left-hander had been 0-5 with an 8.85 ERA in eight previous regular-season contests (seven starts) against New York.
"It's huge. I haven't had great success here, so to come into Yankee Stadium and throw a two-hit shutout was a big boost to my confidence," Holland said. "I came into a great ballpark against a good team and made a statement: two hits, 92 pitches. It's huge."
The record shows that Hughes has now lost his past three starts and also five of his past six decisions since May 15, but he surely deserved a better fate on a day when he limited the potent Rangers lineup to five hits in a 106-pitch outing.
"Trust me, I've gotten plenty of run support in the past," Hughes said. "Sometimes you're going to go through stretches where it's not there. We, as pitchers, just have to a better job of keeping us in the game."
Girardi offered Hughes a vote of confidence before the game in saying that, even with Ivan Nova and Michael Pineda knocking on the door, Hughes should not be considered as pitching for his place in the rotation.
Hughes said that he felt that his last week of side work with pitching coach Larry Rothschild had helped to iron out some mechanical adjustments with his plane toward home plate, while also straightening out his mental planning for the start.
"Whenever you're trying to get through some rough stretches, it helps just to take a deep breath," Hughes said. "I felt like it did me some good."
Texas pushed its first run across in the third inning on an Ian Kinsler sacrifice fly, a frame in which a Rangers rally against Hughes was dented by a bizarre play in which David Murphy advanced to second base on a walk but then wandered off the bag, where he was alertly tagged by shortstop Jayson Nix.
"That's why you show up. You see something that amazes you," Yankees first baseman Lyle Overbay said.
Hughes pitched out of a two-on, none-out jam in the fourth to escape damage, but he allowed a home run to Jurickson Profar to right field in the fifth.
Home runs at Yankee Stadium are nothing out of the ordinary for Hughes, but aside from that one mistake, Hughes clamped the damage, walking one and striking out five.
"He was really good today. He probably should have only given up the one run, the home run, but I thought he was really good," Girardi said.
Pleased with the outing but not the outcome, Hughes said that it has not been an issue to block out thoughts of being challenged for his rotation slot, saying that he has been hearing it for so long that it has become easy to know what to expect.
"Every time you throw the ball well, you want to build off that," Hughes said. "I certainly was going through a rough patch there, so to come out and have a good start, I guess, is a platform. But at the end of the day, you want to win every time out."
That task, of course, is made more difficult when there is zero run support. The Yankees advanced just one runner to second base, on Nix's fourth-inning stolen base, and it is not out of line to wonder if the lineup as presently constituted has enough firepower to hang in the race.
"I think we get into trying to do too much, and then it kind of snowballs a little bit," Overbay said. "We've got some good hitters. If we get those timely hits, we can be effective. We're not doing that right now."
Bryan Hoch is a reporter for MLB.com. Follow him on Twitter @bryanhoch and read his MLBlog, Bombers Beat.


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Views: 374
24th of June 2037, barely 25 years since now. I do not know the reason for your optimism but I feel that there will be very little change in Muslim world in such a short time. This would be possible only if a strong liberal movement would be existing in the Muslim world, which is not there.
I always say that Muslim religion is difficult to live in and even more difficult to leave. The Quran prescribes death penalty for a muslim deserter. Despite this, there are more muslim atheists than we notice. Every society has closeted atheists who face difficulties in coming out in open and Islam is no exception.
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Undergraduate Degrees, Majors and Concentrations
COMM1030 - Intro To Communication
Fall 2019
This course is an introduction to the field of communication and focuses on understanding the breadth of the field by examining communication concepts, models, and theories. Students are also introduced to the various areas of the communication discipline: rhetoric, interpersonal communication, small group communication, organizational communication, mass communication, intercultural communication, and public speaking.
3 Credits
Schedule Book for All Active and Available Future Terms, Course starting with COMM1030
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Growing up Royal
April 3rd, 2011
"Growing up I had always heard my mother speak about the very colourful life of the royal court. She would speak about the glorious and less than glorious aspects of having a royal lineage. I would hear these rather ostentatious, colourful and often gruesome stories, taste many different types of royal cuisines and yet, I was never that interested in my ancestral past until 2006 when my sister and I decided to visit our ancestral home of Murshidabad with none other than my mother, a princess of the royal family of Murshidabad as our guide.
It was strangest and yet most wonderful experience to visit the Hazarduari Palace in Murshidabad and see my ancestors in paintings… the eyes! Yes, we all have the same heavy-lided eyes. The most precious part of the visit was my mother's commentary on our family history and what life was like in the royal court. She named each object on display and what it was used for and then the stories; the many, many stories. We went through the armoury and that was chilling… to know that all these weapons had actually been used in battle. Perhaps it was my devotion to the concept of "Satyagraha" but I almost smelled the blood. When we arrived at the "Darbal Hall", I could not help but be in awe of the majesty of it all! I looked up at the massive chandelier… the most massive chandelier I had ever seen in my life! I stared at the huge painting displayed right above the royal throne depicting a scene where my great, great grandfather was holding his court and then I looked down at the actual throne where he sat. The whole scene was being played out in my mind's eye like a stop-motion film, complete with the scratches on the film and the sounds.
I was incomplete awe and then came the shock! It was incredible how quickly our arrival there made news through out the town, even though we went conspicuously as tourists! It was the strangest experience, to have people follow us around, stare at us, point at us, some stopping to say "salaam" or "namaste" and then bow down in reverence and respect. Those gestures felt so alien, uncomfortable even and yet, I felt an intense sense of belonging.
When we visited again in 2007, the connection was more in the face… for both me and my sister. She some how almost innately knew how to navigate the streets. I would look at the rotting, dilapidated structures in complete awe. These monuments to the pomp and glory of an era gone by, remnants of power, politics, culture, history and colonialism every where I looked; each building telling its own story, speaking as if only to me. No, these were not just any remnants, each and every stone spoke and was alive, telling haunting tales, tales of my forefathers, some even asking me questions."
Do you have a story to tell about South Asian royalty? Does your family have connections to maharajas? Do you have photographs or objects related to kings and their courts? Share your stories and ideas here or by emailing us at firstname.lastname@example.com.


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So we've got this class that reflects Yes / No.
Public NotInheritable Class YesNo Public Shared ReadOnly No As YesNo= New YesNo(False) Public Shared ReadOnly Yes As YesNo= New YesNo(True) Public ReadOnly Value As Boolean Protected Sub New(IsYes As Boolean) Me.Value = IsYes End Sub Shared Operator IsFalse(YN As YesNo) As Boolean Return not YN.Value End Operator Shared Operator IsTrue(YN As YesNo) As Boolean Return YN.Value End Operator Public Overrides Function ToString() As String Return If(Me.Value,"Yes","No") End Function Shared Operator =(yn0 As YesNo, yn1 As YesNo) As YesNo Return If(yn0.Value = yn1.Value,Yes,No) End Operator Shared Operator <>(yn0 As YesNo, yn1 As YesNo) As YesNo Return If( yn0.Value <> yn1.Value,Yes,No) End Operator Shared Operator And(yn0 As YesNo, yn1 As YesNo) As YesNo Return If( yn0 = No, No,yn1) End Operator Shared Operator Or(yn0 As YesNo, yn1 As YesNo) As YesNo Return If( yn0,Yes,yn1) End Operator Shared Operator xOr(yn0 As YesNo, yn1 As YesNo)As YesNo Return If( yn0 AndAlso yn1, No,(yn0 orelse yn1)) End Operator Shared Operator Not(yn0 As YesNo) As YesNo Return If( yn0= Yes,No,Yes) End Operator End Class
And simple code to try it out.
Module Module1 Sub Main() Dim Milk As YesNo = Yes Dim Coffee As YesNo = No If Not Coffee Then Console.WriteLine( Coffee) End Sub End Module
Output No
Ok let's now add a cast operator so that class can used where Boolean can be used.
So we add the following to the YesNo class, cos I using Option Strict On, which disables implicit narrowing conversions.
Shared Widening Operator CType(YN As YesNo) As Boolean Return YN.Value End Operator
The run the code again we get False
What's going on?
The are two basic types of Casting:-
- Narrowing
Where there is a potential loss of data, this maybe because of difference in the number of bytes used.Double --> Byte
- Widening
Where there is no loss of data.
These two types of casting can be utilised in two different ways:-
- Explicit
Where the coder explicitly writes the cast.operation.
CType(myObject, Integer)
- Implicit
Where the coder does explicitly write the cast operation, but the compiler allows the conversion.
Ok so why did we get the wrong output?
This is to do with method overloads, methods the have the same identifier names but different input parameter types.
Public Sub WriteLine(value As Boolean) Public Sub WriteLine(value As Object) Public Sub WriteLine(value As String) Public Sub WriteLine(format As String, ParamArray arg() As Object)
The compiler see the boolean version first, the object can be cast to a boolean. So uses it.
A simple fix
Is to use a different overload but which one and how?
We could use another cast.
Console.WriteLine(CType(Coffee, Object))
I prefer to use the format string version.
Console.WriteLine("{0}", Coffee)
As this doesn't involve another cast.


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News look for Google Blog SearchPosted by Mark White, Blog Consultant in Blogging News , Business Uses , FAQs & Q&As
Google Blog Search has just had a bit of a facelift, though it's not so much of a 'new look' as a 'news look' given that they have essentially taken the format that they use for Google News and applied it here.
In many respects though, that's a very sensible route to take. Blogs do tend to fulfil a dual role of providing the latest news on topics where timing is critical as well as being a type of interactive website where good information is always in demand no matter when it was posted. In the case of Google Blog Search, their results are skewed massively towards the most recent information posted – even when sorted in terms of relevance rather than date. Probably better this way or we would simply be looking largely at a rehash of Google's main index and that's not what we are after here.
So what Google Blog Search is good at is letting you find the latest information appearing in blogs – does very much what is says on the tin, so to speak – and so the redesign is clearly playing to its strengths. It also benefits from Google's general uncluttered approach which I sometimes think that Technorati might like to be mindful of again. So check it out and don't forget to use the RSS feature – will save you masses of time!
A quick run through
So what do you get for your beta now and how can you use it. Well, on the homepage, you now get a pre selected set of blog posts in the main results area and, in the lefthand sidebar, you can select one of 11 other pre-ordained categories to look at. Alternatively you can of course head straight for the search box at the top.
Once you've searched on a term, you've got the chance to do some filtering, essentially on how recent you want the results to be – you can also sort the results either by relevancy or time, though this makes less difference than you might think. From a business perspective, a really important function sits rather inconspicuously at the bottom of the lefthand sidebar where you can quickly set up either a Google Alert or an RSS Feed for the search terms you've just used. Can save you loads of time and keep you up to date!
So overall, it's a change but not a revolutionary one by any means – more a shuffle forward and to the side rather than a giant leap. I do, however, find myself using it more than Technorati now for general searches, although to track links etc I still return to the Big T.
As an aside, at this time of intense political as well as economic debate over in the US, I like the fact that Google chooses to re-iterate at the bottom of the homepage "The selection and placement of stories on this page were determined automatically by a computer program". So that's all okay then …
Tags: Business Blogging, Corporate Blogging, Google Alerts, Google Blog Search, RSS Feeds, Technorati
2 Responses to "News look for Google Blog Search"
Michal says:
October 11th, 2008 at 9:48 am
I find Google Blog search a bit confusing as it mixes links from blogs and news sites – not sure it's that different from Google News.
Mark White, Blog Consultant says:
October 14th, 2008 at 10:41 am
Google News has a very specific group of sites that it takes content from. Google Blog Search takes content from blogs (unsurprisingly) but also I notice from forums occasionally which I think is less relevant personally. They are very different sets of results, though because of the nature of blogging, when it comes to current affairs you will find the topics repeated in the blogosphere of course.


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copyright, Steven Klein.
Steven Klein's work usually tends toward the dark – from his lighting to his provocative narratives. This image of a caged Amber Valletta wearing, i believe, a horse bridle (and isn't that a mountain lion I see directly behind her?) was created with 3 lights.
To get a better look at the pic, click here.
Camera: Canon Powershot G10, handheld 8 feet back. Shot at 1/125, f5.6, ISO 200.
Lighting: The key light is a white beauty dish at f5.6 with a red gel seven feet to camera right. Another white beauty dish at f4 1/2 (- .5 stops) is four feet directly above camera, serving as the fill and helping amber's skin to not look completely demonic. A standard reflector at f8 (+1 stop) is positioned high, out of frame to camera left (outside the fence), ten feet behind Amber.
Comments: Though Ms. Valletta is not afraid of oversized cats, she is allergic to them. Next to the M&Ms, Twizzlers and Cool Ranch Doritos, the person in charge of craft services had an assortment of antihistamines. The mountain lion, conversely, was allergic to sugar and went into anaphylactic shock when the third assistant unknowingly tossed him a Lifesaver.


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Apple has done an incredible job growing while remaining fiscally disciplined, SAI contributor Steve Cheney wrote in a post we published yesterday. One of data points Steve used to bolster his case is Apple's low R&D spending as compared to its rivals.
We've charted it out, and as you can see, Apple's R&D spend is the second smallest in the land of tech giants.
Follow the Chart Of The Day on Twitter: www.twitter.com/chartoftheday


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