text:
Systems to characterize magnetic, mechanical, optical and thermal material properties
- Very-low resistance measurements
- Systems to measure physical properties
- Magnetometers
- Magnetic field platform
- Nanoindenters - Nanohardness tester
- Photo lithography systems
- Systems for solar cell characterization
- Particle size analyzer
- Furnace for crystal fabrication
- Langmuir-Blodgett systems
- Contact angle meters & tensiometers
- Dip coater
- Spin coater
- Flexus thin film stress measurement systems
- FP profiler for large format samples
- Spectroscopic ellipsometers
- QCM-D Quartz Crystal Microbalance
Spectrometers, modular optical spectroscopy and components
- Low-temperature Raman microscope
- Hyperspectral cameras
- Hyperspectral remote sensing systems
- Hyperspectral systems
- Spectrographs
- Spectroscopic ellipsometers
- Cameras and detectors for time-resolved spectroscopy and imaging
- UV-NIR Spectroradiometer
- Carbon nanotubes
- Detectors for modular spectroscopy
- Imaging spectrographs
- Modular optical spectroscopy
Imaging systems and scientific cameras from X-ray to IR
- Cameras and detectors for time-resolved imaging and spectroscopy
- Cameras for EUV, X-ray and high-energy particle detection
- CCD, EMCCD and sCMOS cameras for imaging
- Highest speed cameras
- High-speed infrared cameras
- Mid and longwave infrared cameras
- Near infrared and shortwave infrared cameras
- Thermographic NDT and NDE
- Visible range infrared cameras
- Hyperspectral cameras
- Hyperspectral remote sensing systems
- Hyperspectral systems
- Imaging spectrographs
- Light measurement
Desktop SEM, in situ stages for EM/TEM/CT, sample preparation, detectors and accessories
- AFSEM - correlative AFM and SEM
- Accessories for SEM applications
- Cryo preparation system for scanning electron microscopy
- Detectors for SEM applications
- In situ stages for electron microscopy and µXCT
- In situ TEM solutions
- Sample preparation for electron microscopy
- Sputter & carbon coaters
Low temperature cooling systems, so called cryostats, could cool samples down to temperatures as low as a few Millikelvin. We offer closed-cycle optical cryostats with a GM cold head as well as cryostats based on pulse tube, ADR or dilution refrigerator technique. Also available are lab scale helium liquefiers and helium gas purifiers together with cryogenic temperature controller and monitors.
Broadest range of optical filters and components
- Colored glass filters & sets
- Wire-grid polarizer UV-IR
- Quartz lenses & glass lenses
- Beamsplitters
- Bandpass filters
- Filters for fluorescence and Raman spectroscopy
- Neutral density filters
- Short and longpass filters
- Astronomy/UVBRI filters
- Heat control filters
- Dichroic filters & sets
- Infrared filters
- Filter accessories
Scientific light sources and light power measurement devices
Systems and components to study magnetic, mechanical, optical and thermal biophysical phenomena


text:
Professional chartered surveyors. Uncover any potential structural faults before you buy...more
Rates are at an all-time low! Exclusive mortgages available through Countrywide Mortgage Services...more
Buildings, Contents and Mortgage Care insurance through Countrywide Mortgage Services...more
Snap up a bargain by purchasing property at auction...more
Seamless legal service helping you move as quickly as possible...more
Buy your own home with just 5% deposit...more
With over 31 property auctions planned for 2017, there will be an auction to cover your area.
Whether you're looking to buy your first home or you're taking your next step on the property ladder, considering an auction purchase could be a wise move. As well as the potential to save thousands of pounds, the speed at which you can secure your desired property is much faster than that often experienced with a traditional purchase.
Countrywide operates one of the largest regional property auctioneers in the UK selling residential, commercial, industrial, and agricultural properties, as well as land, across the UK. We currently hold National Auctions which are held in London for properties across the UK and the South. These National Auctions are supported by dedicated regional auctions held in Manchester, Sheffield and Exeter throughout the year.
Each auction covers the following locations:
London - National auction held in London covering London and the South East, as well as properties from the whole of the UK.
Held at the Le Méridien Hotel, 21 Piccadilly, London, W1J 0BX - Start time 1.00pm
Sheffield - Covering Yorkshire, the North East and the East Midlands.
Held at the Doubletree by Hilton Hotel, Sheffield Park, Chesterfield Road South, Sheffield, S8 8BW - Start time 1.00pm
Exeter - Covering Cornwall, Devon, Dorset, Somerset and South Wales.
Held at Sandy Park Conference Centre, Sandy Park Stadium, Sandy Park Way, Exeter, Devon, EX2 7NN - Start time 1.00pm
Liverpool - Covering Liverpool, the North West and North Wales
Held at Crowne Plaza, Liverpool City Centre, 2 St Nicholas Place, Pier Head, Liverpool, L3 1QW- Start time 1.00pm
South Wales - Covering South Wales and surrounding areas.
Held at Parc y Scarlets, Llanelli, SA14 9UX - Start time 1.00pm
For more information visit our dedicated Countrywide Property Auctions website.
From one bedroom apartments to Listed buildings, we have a wide variety of property types included in our sales. What's more, our venues are easily accessible, un-intimidating and friendly.
If you decide that buying at auction is an option, you'll need to ensure that you fully understand the purchasing process and that you have organised a number of key elements before attending the auction. Countrywide can help with all the related property purchase services you'll need including; mortgage advice , insurance , conveyancing and surveying
Our auctions service also offers significant value for those looking to sell. If you are a vendor we can facilitate a quick and efficient sale, visit our selling at auction section for more information.

subset: commoncrawl


text:
Michael Cuddyer sits with tight hamstring; Dexter Fowler returns to lineup
Michael Cuddyer wanted to play Thursday. He was in the original lineup. But Rockies head athletic trainer Keith Dugger and manager Walt Weiss decided to play it safe with the veteran who's dealing with hamstring tightness in both legs.
"It's my responsibility to look after guys. I know he doesn't want to be out the lineup," Weiss said.
Cuddyer played both games of the Tuesday doubleheader in miserably cold conditions. Eric Young Jr., who snapped out his slump on Tuesday, is starting in right field. Cuddyer will be available to pinch hit.
"I am good to go. I was ready to play. It's a just a little sore that nothing that could keep me from playing," Cuddyer said.
Dexter Fowler returns to the starting lineup for the first time since Sunday. He's dealing with a sore left foot.
"I need to get in there," said Fowler, who's no longer limping, clearing his way into the lineup.
The Rockies will play Thursday in arctic conditions. The temperature at noon was 27 degrees, which would mark the coldest game in franchise history. Jon Garland, who has pitched well in both his games, faces Jonathon Niese. The lineups:
Rockies (10-4)
RF Young
CF Fowler
LF Gonzalez
SS Tulowitzki
C Rosario
1B Helton
2B Rutledge
3B Nelson
RHP Garland
Mets (7-6)
LF Valdespin
2B Murphy
3B Wright
1B Davis
C Buck
CF Byrd
RF Baxter
SS Tejada
P Niese


text:
StarlaHeroic Bright And Beautiful LeaderReal Name: Gemma Starla with her pet Glorybird, can sense danger and project spells of light against her foes. Origin #1 (MOTUC Official Bios)In ancient times, an evil sorceress became jealous of the Star Sisters youth and beauty and trapped them in a shooting star. It was sent hurling through the cosmos until the three women crash-landed on Etheria. There, they remained magically confined in the side of a mountain until the day Swiftwind's hooves accidentally loosened the stone that concealed their prison. She-Ra quickly used her powers to melt away the star that held them captive. In gratitude, the sisters pledged their everlasting friendship. Together, they stand side-by-side with She-Ra in the battle for freedom.Trivia (Clawful94): Starla appearend in only one of the POP Filmation Cartoons. She was never assigned a voice actor, because she came late in the line and never moved pass prototype phase in the U.S. Was never used in the 200X Mike Young Cartoons. Starla finally recieved an action figure produced for the MOTUC line. She was packaged with Tallstar, Jewelstar and Glory Bird.
POP Filmation Cartoon Appearances:


text:
Discover Data
Share Data
In collaboration with the BJS, NACJD has created an online learning guide for those interested in analyzing data from the National Crime Victimization Survey. This guide provides step-by-step instructions on how to reproduce key results from the BJS report Criminal Victimization, 2015.
Justice Data Learning Guide: No. 1, 2017
Replicating Results from the National Crime Victimization Survey


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Andriasang: Plus, the latest gameplay details for Avlion's packed PS3 action title.
Am I the only one seeing a huge Bayonetta KnockOff here? I know i'm gonna get alot of heat from the Lames but CMON NOW just look at those everything screams Bayonetta in those Screens.
Malicious (notice the focus of this Character is her Scarf is usable as a Weapon)
VS Bayonetta
VS Bayonetta
The girl uses her black Scarf the same way Bayonetta uses her Hair to attack. The attacks even look like Wicked hair Moves! And that Scene where she'S Walking on the wall... Where Have i seen that before? oh yeah , Bayonetta.
Even this monster look like one of the ANGELS from bayonetta
vs Bayonetta Angles
Go Ahead and bash me now and call me a fanboy or wtv but Remember that We ALL AGREED that
Dante's inferno was a God Of War knockOff
And im completely fine with that :) Anything to temporary quench my ZOE 3 thirst.
When I first saw the trailer I thought it was a female. I don't mind if it's a male protagonist, but IMO, I feel this game would suit a female protagonist better.
It's very similar to Bayonetta. Now check out the track record for the dev, do you really think they can compete with Platinum? I'm sure the game will not play all too similar but don't tell me they didn't get some inspiration from Bayonetta. Fanboys..


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AUR Trusted User Guidelines
Template:Article summary start Template:Article summary text Template:Article summary heading Template:I18n entry Template:I18n entry Template:I18n entry Template:Article summary heading Template:Article summary wiki Template:Article summary wiki Template:Article summary wiki Template:Article summary end
- 1 The Trusted User (TU)
- 1.1 TU Duties
- 1.1.1 TODO list for new Trusted Users
- 1.1.2 The TU and UNSUPPORTED
- 1.1.3 The TU and [community], Guidelines for Package Maintenance
- 1.1 TU Duties
The Trusted User (TU)
The Trusted User (TU) is a member of the community charged with keeping the AUR in working order. He/she maintains popular packages, and votes in administrative matters. A TU is elected from active community members by current TUs in a democratic process. TUs are the only members who have a final say in the direction of the AUR.
The TUs are governed using the TU bylaws
TU Duties
TODO list for new Trusted Users
- Install the devtools package.
- Send your ssh public key to Loui Chang. If you don't have one, use ssh-keygen to generate. You can check the [Using SSH Keys]] wiki page for more information about creating ssh keys and setting up an ssh-agent to use them.
- Make the directory staging/community within your home directory on aur.archlinux.org. This step is important as the devtools scripts use this directory to process incoming packages.
- Remind Allan to change your account on forums
- Make sure your sponsor has given you TU status on the AUR
- Ask some TU for the #archlinux-tu@freenode key
- Add yourself to the Trusted Users page
- Read the Trusted User Guidelines.
- If you are not upgraded to a Trusted User group on bugtracker in two days, report this as a bug to Roman
- Ask Aaron for access to the x86_64 build machine if you need it (when it comes back online)
- Start contributing!
The TU and UNSUPPORTED
The TUs should also make an effort to check package submissions in UNSUPPORTED for malicious code and good PKGBUILDing standards. In around 80% of cases the PKGBUILDs in the UNSUPPORTED are very simple and can be quickly checked for sanity and malicious code by the TU team.
TUs should also check PKGBUILDs for minor mistakes, suggest corrections and improvements. The TU should endeavor to confirm that all pkgs follow the Arch Packaging Guidelines/Standards and in doing so share their skills with other package builders in an effort to raise the standard of package building across the distro.
TUs are also in an excellent position to document recommended practices.
The TU and [community], Guidelines for Package Maintenance
Rules for Packages Entering the [community] Repo
Any packages to be added to the [community] repo must meet the guidelines listed on this page.
Accessing and Updating the Repository
The [community] repository now uses devtools which is the same system used for uploading packages to [core] and [extra], except that it uses another server http://aur.archlinux.org instead of http://archlinux.org. Thus most of the instructions in Packager Guide work without any change. Information which is specific for the [community] repository (like changed URLs) have been put here.
Initially you should do a non-recursive checkout of the [community] repository:
svn checkout -N svn+ssh://aur.archlinux.org/srv/svn-packages
This creates a directory named "svn-packages" which contains nothing. It does, however, know that it is an svn checkout.
For checking out, updating all packages or adding a package see the Packager Guide.
To remove a package
ssh aur.archlinux.org /arch/db-remove community pkgname arch
Here and in the following text, arch can be one of i686 or x86_64 which are the two architectures supported by Arch Linux.
When you're done with editing the PKGBUILD, etc, you should commit the changes
svn commit).
When you want to release a package, first copy the package to the staging/community directory on aur.archlinux.org using scp and then tag the package by going to the pkgname/trunk directory and issuing
archrelease community-arch.
This makes an svn copy of the trunk entries in a directory named community-i686 or community-x86_64 indicating that this package is in the community repository for that architecture.
Note: In some cases, especially for community packages, an x86_64 TU might bump the pkgrel by .1 (and not +1). This indicates that the change to the PKGBUILD is x86_64 specific and i686 maintainers should not rebuild the package for i686. When the TU decides to bump the pkgrel , it should be done with the usual increment of +1. However, a previous pkgrel=2.1 must not become pkgrel=3.1 when bumped by the TU and must instead be pkgrel=3. In a nutshell, leave dot (.) releases exclusive to the x86_64 TU's to avoid confusion.
Thus the process of updating a package can be summarised as
- Update the package directory (
svn update some-package)
- Change to the package trunk directory (
cd some-package/trunk)
- Edit the PKGBUILD, make necessary changes and
makepkg. It is recommended to build in a clean chroot.
- Namcap the PKGBUILD and the binary pkg.tar.gz.
- Commit the changes to trunk (
svn commit)
- Copy the package to aur.archlinux.org (
scp pkgname-ver-rel-arch.pkg.tar.gz aur.archlinux.org:staging/community/)
- Tag the package (
archrelease community-{i686,x86_64})
- Update the repository (
ssh aur.archlinux.org /arch/db-community{,64})
Also see the Miscellaneous section in the Packager Guide. For the section Avoid having to enter your password all the time use aur.archlinux.org instead of archlinux.org and svn.archlinux.org.
Disowning packages
If a TU can't or doesn't want to maintain a package any longer, a notice should be posted to the AUR Mailing List, so another TU can maintain it. A package can still be disowned even if no other TU wants to maintain it, but the TUs should try not to drop many packages (they shouldn't take on more than they have time for). If a package has become obsolete or isn't used any longer, it can be removed completely as well.
If a package has been removed completely, it can be uploaded once again (fresh) to UNSUPPORTED, where a regular user can maintain the package instead of the TU.
Deleting packages from unsupported
There's no point in removing dummy packages, because they will be re-created in an attempt to track dependencies. If someone uploads a real package then all dependents will point to the correct place.
For an example of a dummy package see: http://aur.archlinux.org/packages.php?ID=23600
Moving packages from [community] to unsupported
Remove the package using the instructions above and upload your source tarball to the AUR.


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Trinity Concepts (2.15) Man's Excuses
Land (Political, Pride of Life)
Work (Economic, Lust of the Eyes)
Family (Social, Lust of the Flesh)
Jesus gave a parable, in Luke 14:16-20, of a man who gave a big dinner, inviting many to come. They began to make excuses, however, as to why they could not attend. This is an illustration of three kinds of people who make decisions not to follow Jesus and the Kingdom of God. Each of these excuses falls in line with a Trinity pattern category.
Excuse #1: "I have bought a piece of land." This correlates to the Political category of Man's Soul (society), as well as the Pride of Life category of Man's Flesh (temptations). "Their inner thought is, that their houses are forever, and their dwelling places to all generations; they have called their lands after their own names. But man in his pomp (honor) will not endure; he is like the beasts that perish." (Ps. 49:11-12)
Excuse #2: "I have bought five yoke of oxen, and I am going to try them out." This correlates to the Economic category of Man's Soul (society), and also the Lust of the Eyes category of Man's Flesh (temptations). Plowing a field to produce a crop harvest meant money and provision. In an agrarian society oxen were highly valued, as they brought much increase (financial gain). "Where no oxen are, the manger is clean, but much increase comes by the strength of the ox." (Prov. 14:4)
Excuse #3: "I have married a wife." This correlates to the Social category of Man's Soul (society), as well as the Lust of the Flesh category of Man's Flesh (temptations). "One who is unmarried is concerned about the things of the Lord, how he may please the Lord; but one who is married is concerned about the things of the world, how he may please his wife, and his interests are divided." (I Cor. 7:32-33)
Regarding excuse #1: It is not wrong to have a name, dominion and authority on the earth. "A good name is to be more desired than great riches, favor is better than silver and gold." (Prov. 22:1)
Regarding excuses #2 and #3: It is not wrong to be financially prosperous, or to have a wife, family and social well-being. "Jesus said, 'Truly I say to you there is no one who has left house or brothers or sisters or mother or father or children or farms, for My sake and the Gospel's sake, but that he shall receive a hundred times as much now in the present age, houses and brothers and sisters and mothers and children and farms, along with persecutions; and in the age to come, eternal life. But many who are first, will be last; and the last, first. (Mk. 10:29-31)
Conclusion: It is not about having any of these things, but rather about priority in our lives. "Do not be anxious then, saying, 'What shall we eat?' or 'What shall we drink?' or 'With what shall we clothe ourselves?' For all these things the Gentiles (nations) eagerly seek; for your heavenly Father knows that you need all these things. But seek first His kingdom and His righteousness; and all these things shall be added to you." (Matt. 6:31-33) Many people miss out on the wonderful 'feast' God has prepared for our lives because they are preoccupied with life's competing desires. When we seek the first thing: God in our lives, then all the rest will be abundantly supplied.


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During his many years in the restaurant business, one of my father's closest friends was a rather prominent disc jockey whose daily radio program was featured on KMPC-710, a very powerful Hollywood AM radio channel that advertised itself as – "The Station of the Stars."
For awhile, it seemed that we were very frequent visitors to this DJ's house and one of the benefits for me was time to leisurely browse through stack upon stack of LP's that he had accumulated along the living room wall while the adults drank wine and consumed large quantities of Italian food.
Since the DJ's radio show featured the likes of the popular artists of the day such as Perry Como, Eydie Gormé and Frank Sinatra [arranger Nelson Riddle was a frequent guest at these Epicurean feasts], the Jazz LPs included in these casually arrayed stacks of gratis albums would receive very little AM radio airplay and were therefore fair game for yours truly.
I usually walked out of the place with armfuls of the stuff [remember how heavy LP's were – ah, the strength of youth!].
Around the time of these visits, after a long association with Pacific Jazz Records, drummer Chico Hamilton had formed a new quintet and moved to Warner Brothers records. 'Lo and behold' - here in the stash of albums on the DJ's living room floor was a demonstration-only-copy of
's initial album for that label – The Chico Hamilton Quintet with Strings Attached [WB 1245]. Chico
Although I was never a great fan of the sound of the cello in
's earlier quintets, I had always been very fond of the woodwind players and guitarists in these groups: Buddy Collette and Paul Horn along with Jim Hall and John Pisano, respectively. Chico
And while I was familiar with Dennis Budimir,
's new guitarist on the Warners' album from the magnificent New Groove Pacific Jazz recording that he had recently made with alto and baritone saxophonist Bud Shank and trumpeter Carmel Jones, I had no idea who Eric Dolphy was, he being the latest addition to Chico 's woodwind chair. Chico
Boy, was I in for a big surprise!
While with Chico Hamilton's quintet, Eric was in the process of developing a distinctive sound and style of improvising on both the alto saxophone and flute. He would soon add the bass clarinet to create a formidable woodwind arsenal which he would use to pave the way into some new, Jazz frontiers in the 1960s.
© -Robert Gordon, copyright protected; all rights reserved.
In the autumn of 1959, the jazz world was set on its ear by a new group which appeared in
's famed Five Spot bar. The Ornette Coleman Quartet - Don Cherry, trumpet; Coleman, alto sax; Charlie Haden, bass; Billy Higgins, drums - had launched a revolution as sweeping as that of Dizzy Gillespie, Charlie Parker and the beboppers a decade earlier. But whereas bop had been incubated in New York 's New York Harlem itself, in clubs like Minton's Playhouse, the new jazz of Ornette and company had first been formulated in . Los Angeles
It would hardly be fair, of course, to credit
as the birthplace of free jazz. In the first place, pianist Cecil Taylor and her New Yorkers had been stretching the boundaries of Modern jazz to the breaking-point since the mid-fifties. More importantly, the Los Angeles musicians and jazz audience gave Ornette and his fellows little nurture during their stay in the west: Ornette's small circle formed, in effect, an underground within an underground. Nevertheless, many important steps leading to the jazz revolution of the 1960s took place on the Coast during the fifties. In fact some of the roots of that revolution may be traced back to the years before Ornette's arrival on the Los Angeles scene. Los Angeles
Some time in 1946, on one of many similar casual gigs, Charles Mingus played for a dance. The alto saxophonist that evening was a youngster from
on his first paying job, Eric Dolphy. In later years, of course, Eric would figure prominently in some of Mingus's finest groups, but this early meeting apparently left little impression on either musician. Dorsey High School
Nevertheless, the two had much in common. Both were extremely dedicated musicians with insatiable appetites for practicing, and both remained steadfastly opposed to the status! quo in music throughout their careers.
Eric Dolphy was born in
on Los Angeles 20 June 1928. He was! an only child and was brought up in a loving, middle-class home Eric demonstrated a love for music at an early age and began playing clarinet in grammar school; by the time he was a student at Foshay junior High he was playing in the Los Angeles City School Orchestra. His parents, recognizing Eric's dedication had a studio built in the back yard so that he could practice undisturbed; the room would later serve as a favorite jamming spot for like-minded musicians. He was also one of the many distinguished musicians who studied with Lloyd Reese.
After graduating from Dorsey High, Eric attended Lo Angeles City College as a music major. One of his section-mate in the LACC band was altoist Vi Redd, who had also played alongside Eric throughout grammar and high school. Vi would later remember Eric not only as an extremely dedicated and hard-working musician, but also as a thoughtful and considerate friend. As an example, she recalls the time she ran into trouble during a gig. ' ... I was playing a job in
[a suburb of LA] and I broke my own mouthpiece while taking my horn out of the case. I hurriedly called Eric and he came all the way out from town to bring me one I could use.' [Quoted by Vladimir Simosko and Barry Tepperman, Eric Dolphy, A Musical Biography and Discography, New Yor: DaCapo, 1979] Everyone agrees that the incident was typical of the man. El Monte
During this same period Eric joined the Roy Porter big band, legendary proving-ground for budding jazz musicians. Among the youthful musicians who spent time in the band during it short life (1948 to 1950) were Art and Addison Farmer, Chet Baker, Jimmy Knepper, Joe Maini, Herb Geller, Teddy Edwards, Hadley Caliman,
Bob Gordon and Russ Freeman. Eric, who played lead alto during his tenure, cut his first record with the band. Although most of the sides were not issued at the time, eight numbers recorded by in 1949 have bee unearthed and issued on the anthology Black Savoy . California
The tunes were recorded at two sessions early in 1949, just after the recording ban was lifted. (It's possible the earlier session - listed in Savoy's archives as being held in January - actually took place in late 1948, when the ban was still in effect.) The cuts are fascinating for the glimpse they afford into the early work of future jazz stars. Art Farmer takes all of the trumpet solos (his twin brother Addison is the bassist on the second session) and Jimmy Knepper handles the trombone solos. Most interesting of all, of course, are Eric Dolphy's alto solos.
There has been some disagreement over which solos may be attributed to Dolphy. Everyone connected with the band remembers that the bulk of the jazz alto solos were assigned to the second altoist, Leroy 'Sweetpea' Robinson. Roy Porter himself, according to Dolphy's biographer Vladimir Simosko, has stated that Eric was featured on only one piece (not recorded by
), 'Moods at Dusk'. However, the eight Savoy titles issued since the publication of the biography - belle that claim. To begin with, there is a chase sequence featuring both altoists on the tune 'Sippin' with Cisco'. The cha ' se reveals two good but not quite mature soloists; both are heavily influenced by Charlie Parker (naturally), but one is a bit more adventurous. Moreover, the adventurous youngster exhibits certain stylistic traits that were typical of the mature Eric Dolphy's work. It is of course possible that Dolphy was the more conservative soloist on the Savoys, and that he would later incorporate portions of Leroy Robinson's style into his own work, but it's certainly much easier to assume that the altoist who sounds like Eric Dolphy was Eric. Savoy
Only two of the titles recorded by
were released at the time, and it is easy to understand why when one listens to the entire set. The youthful crew is brash and exuberant, full of fire and spirit, but the ensembles are frequently sloppy and the intonation terrible. The trombones are painfully out of tune on ,Pete's Beat', and every performance has moments when the listener winces at the pitch. The vocals by Paul Sparks on 'This is You' and 'Love is Laughing at Me' are undistinguished and the lyrics trite. Still, the band is exciting and some of the solos are well worth hearing. Art Farmer shows promise of things to come in his solos on 'Pete's Beat', 'Sippin' with Cisco' and 'Howard's Idea', and Jimmy Knepper has a very exciting half chorus on 'Little Wig'. Clifford Solomon and Joe Howard engage in a tenor-sax chase on 'Sippin", and one of the men - probably Solomon - contributes journeyman solos on 'Pete's Beat', 'Howard's Idea' and 'Little Wig'. The best solo by far is that of Eric Dolphy on 'Gassin' the Wig', one of the two tunes originally issued. The restless lines and wide-interval leaps that would become hallmarks of Dolphy's mature style are already very evident. The alto solo on 'Little Wig', the other original release, is briefer and more conservative; the liner notes to Black California credit this one to Eric also, but it may well have Leroy Robinson's. Robinson's solos on 'Pete's Beat', 'Phantom Moon' and 'Love is Laughing at Me' are very Parkeresque, an is easy to understand that he would have been the favored soloist in 1949. At the time, most listeners probably would have agreed the assessment of Dolphy's playing given many years after by the band's leader and drummer, Roy Porter. Porter was asked by an interviewer if he had any idea of Eric's future potential. His answer: Savoy
Well, frankly speaking, no. But don't get me wrong. Everybody were youngsters - a lot of them had just come out of high school. Eric was studying music at LA
. He was very young. Because he could read so well, Eric playing first alto, and was good, but he was really a section man at the time. The heavy solos would fall on Leroy 'Sweetpea' Robinson. Eric soloed too, but he wasn't the heavy in the band. So I had no idea he would go to City College and become a legend. I'm glad he did. [Interview with David Keller, Jazz Heritage Foundation, Vol. IV, No. 5, September/October, 1983]. New York
But even if he wasn't considered a major soloist at the time, Eric's musical and extra-musical influence on the band was considerable. One friend has written that:
Clifford Solomon ... probably one of the few survivors of band, relates how giving Eric was with the other musicians. Eric was no doubt the best reader in the band and the one the best technique, but he was never too busy to help anyone. If any musician needed help, it was Eric who patiently played the passage and explained. The band was riddled with young junkies, and wine was consumed in large quantities but Eric never participated in any of this. Yet he was respected - not considered an oddball. Usually, if you don't partake with cats, then you're almost an outcast. But somehow Eric gained respect even though he had no habit of any kind. [Simosko & Tepperman, op cit., pp. 32-34].
A second recording session for Knockout records is known to have been held shortly following the
sessions, but records were distributed only locally and none is available today. The personnel given for the Knockout recordings is certainly intriguing, including - besides Dolphy - Joe Maini, Savoy Bob Gordon Jimmy Knepper and Russ Freeman. Despite all this talent, Roy Porter found it difficult to keep the band going. 'The only places we could play would be once a week gigs at the Elks, or the Avalon Ballroom downtown or maybe some club dance. The reason the band stayed together so long was pure love. On a lot of nights we wouldn't make more than $3.00 each.' [Keller, op. cit.]
From 1950 to 1953 Eric served in the army, in the company of tenor saxophonist Walter Benton, who had enlisted at the same time. He was stationed for a while at
(where he played with the Tacoma Symphony Orchestra) and later at the US Naval School of Music in Fort Lewis, Washington . His tour completed, he returned to Washington, DC and once again launched on an intense round of practicing and musical studies. Buddy Collette introduced him to Marle Young, a clarinet and woodwinds instructor, and Marle in turn introduced Eric to the bass clarinet. He also played around town with various groups led by Buddy Collette, Gerald Wilson, George Brown and Eddie Beal. And of course there were always the daily wood-shedding sessions in his practice room that Harold Land has mentioned. Clifford Brown, Max Roach and Richie Powell would become frequent guests at the sessions. In 1954 Eric also met two musicians who would play important parts in his subsequent career: John Coltrane (in town with the Johnny Hodges band) and Ornette Coleman. Los Angeles
By 1956 Eric was leading his own quintet at the Club Oasis. The personnel included Norman Faye, trumpet; Wilfred Middlebrooks, bass; Earl Palmer, drums and Ernest Crawford or Fran Gaddison on piano. He also formed a ten-piece rehearsal band to serve as a vehicle for his arranging abilities. One of the musicians in this band was his close friend trombonist Lester Robinson. All of this preparation finally paid off in 1958 when Chico Hamilton needed a replacement for reedman Paul Horn, who had just left the quintet. Buddy Collette recommended Eric, and Eric thus achieved his first national recognition.
Eric's first recording with the quintet came in April 1958, shortly after he had joined the group. Two numbers were cut for Pacific jazz, 'In a Sentimental Mood' and 'I'm Beginning to See the Light', but they were not to be issued until years later. Eric does have a brief (and apparently edited) alto solo on 'Beginning to See the Light', but there is little hint of his strongly individual style. In the summer of 1958 the Chico Hamilton Quintet was one of the groups filmed at the Newport Jazz Festival for the documentary Jazz on a Summer's Day. Eric can be seen an heard playing flute on a performance of 'Blue Sands'.
Late in the year the group - now made up of Eric, guitarist Dennis Budimir, cellist Nat Gershman, bassist Wyatt Ruther and
- recorded for Warner Brothers records. There were two sessions in October, one of which found the quintet burdened with a string section, but Eric does get in a couple of nice alto solos on the quintet date on Fred Katz's 'Modes' an 'Under Paris Skies'. A third session in December produce several superior cuts and a fine representative album. The album, Gongs East, is by far the best recording by the Chico Hamilton Quintet from this period and the first recording adequately to display Eric's developing style. Chico
There are, to be sure, some rather ornate arrangements in typically Hamiltonian style. 'I Gave My Love a Cherry' an 'Long Ago and Far Away', both arranged by Hale Smith, allowing no room for blowing whatever; Eric plays rather legit flute an clarinet on the two tunes. By contrast, two arrangements by Fred Katz - the quintet's former cellist - allow plenty of blowing room. Eric's flute solo on 'Beyond the Blue Horizon' is far from conservative, and his alto work on the ballad 'Nature, b Emerson' is impressive. Two of the album's numbers are originals by Eric's friend and former employer, Gerald Wilson 'Where I Live' is a mood piece with a somewhat melancholy air while 'Tuesday at Two' is a straight-ahead swinger. And although the title of Nat Pierce's 'Far East' suggests another mood piece, it is really a Latin number, while 'Gongs East' - although introduced by a gong - turns out to be an excursion through the blues. Of the two remaining tunes, 'Good Grief Dennis' is an up-tempo feature for Dennis Budimir's fleet guitar and Billy Strayhorn's 'Passion Flower' spotlights Eric's alto.
When Eric later emerged as one of the leaders of the new jazz of the 1960s, it was customary to suggest that the saxophonist' individualism was somehow stifled during his tenure with Chico Hamilton. To the contrary, Eric fitted in well with the quintet's disciplined approach. His solos, while conservative compared to his later recordings, suggest more that his style was not yet full formed than that he was being held back in any way. Eric's alto solos on 'Tuesday at Two' and the ballad 'Nature, by Emerson', and particularly his bass clarinet work on 'Gongs East' an completely untrammeled. All feature imaginative lines and the sort of vocal 'cry' that Eric would employ so successfully later on.
At the same time, Eric could also effectively show his awareness of the jazz tradition in his tribute to Johnny Hodges on 'Passion Flower'.
There was one more album for Warner Brothers, but unfortunately only three of the cuts were by the quintet. One of these, 'Miss Movement', was the first composition of Dolphy's to be recorded, and Eric responded with a smoking alto solo. On he ballad 'More than You Know' Eric once again acknowledges his debt to Johnny Hodges on the head, but the solo is pure Dolphy. Eric also has a fine alto solo on
Kenny Dorham's ' '. The remaining tracks on the album feature either unaccompanied drum solos by Newport News or vocals by the drummer. On the vocals Chico is backed by an expanded group which includes his former reedmen Paul Horn and Buddy Collette. None of the vocals or druum solos is particularly memorable. Chico
The quintet spent most of the following year on the road, traveling as far as
. There were some recordings for the Sesac label, but most of these seem to be extensively edited; none of the soloists is given much room to stretch out. While playing Birdland in New York the group alternated sets with the Miles Davis Sextet, and Eric was able to renew his acquaintance with John Coltrane, by now one of the leading tenor saxophonists in jazz. When the quintet did play New York , its popularity assured there would be standing-room-only crowds. By the end of the year, however, Eric felt he had gained enough experience with Los Angeles and was ready to strike out on his own. He moved to Chico where, in December of 1959, he joined the group of another former Angeleno, Charles Mingus, at the Showplace in New York Greenwich Village. From then until his tragically early death in 1964 while on a European tour, Eric would play and record often with Mingus. He also would appear on seminal recordings with Ornette Coleman and John Coltrane. At the time of his death, Eric would be recognized as one of the leading voices in jazz.
In the early 1960s, as jazz turned a new corner, four men Ornette Coleman, Cecil Taylor, John Coltrane and Eric Dolphy were acknowledged as leaders of the New Jazz. Of the four, Ornette Coleman gained the most notoriety. In part, this was a result of his sudden dramatic appearance on the national jazz scene late in 1959. The others were well-known quantities to the jazz audiences by 1959.
John Coltrane was the best-known; he had played with Dizzy Gillespie's big band in the late 1940s, and had been a sideman with two of the biggest names in jazz in the 1950s - Miles Davis and Thelonious Monk. Eric Dolphy, as w have seen, was well-known through his tenure in the Chic Hamilton Quintet. And Cecil Taylor, a native New Yorker, had made a name for himself as a leader of consistently avant-garde groups from the mid-fifties on.
Moreover, as these three began to push beyond the boundaries of 'accepted' jazz practices, they did so through a firm understanding of musical theory. Cecil Taylor had studied at the New York College of Music and had spent an additional four years at the New England Conservatory; John Coltrane and Eric Dolphy both had extensive formal training, and both had served apprenticeships with established jazz stars. Ornette Coleman, or the other hand, was almost exclusively self-taught. Where the other three eventually progressed beyond the strictures that they felt too binding, Ornette simply ignored any 'rules' that got 'in the way of his intuitive soloing. Certainly all four musicians paid a heavy price for their stubborn insistence on going their own way, but three of the four had at least been accepted initially by the jazz community during the early years of their careers. Ornette Coleman was an outcast from the start.
Ornette Coleman was born in
, on Fort Worth, Texas 19 March 1930. As a child he was, he would later tell an interviewer. 'poorer than poor'; his father died when he was seven and his mother, a seamstress, raised Ornette and a sister with no outside help. When at the age of fourteen Ornette asked his mother for a saxophone, she replied they couldn't afford it unless he got a job. He immediately found some part-time work and soon after was given his first alto. There was of course no money for professional lessons; Ornette got some help from a cousin who played sax but mainly taught himself by listening to the radio and the occasional record that came his way. His house soon became known as a good spot for jamming by the local aspiring musicians, who included such future stars as drummer Charles Moffett, trumpeter Bobby Bradford, and reedmen Prince Lasha, Dewey Redman and John Carter.
The music Ornette listened to in those years was an eclectic hodge-podge of rhythm and blues, swing, bebop and popular songs, and he would later stress that stylistic categories meant little to him. He was heavily impressed - as were most of his contemporaries - by saxophonist Red Connors, a local and reportedly advanced musician who never recorded. Most of Ornette's early jobs were of the rhythm-and-blues variety at ices and local bars. Soon after he graduated from high school, Ornette hit the road with a minstrel-show band that played the backwaters of the
Deep South. He was fired from that job while , joined a traveling rhythm-and-blues band, was beaten up outside a dancehall in Natchez, Mississippi by some disgruntled customers, and left that band at Baton Rouge . New Orleans
In New Orleans Ornette played with some of the underground modern jazz musicians - definitely a minority in that city - and found that his unorthodox solos were too far-out even for those jazzmen. After being stranded six months in
, he left town with the Pee Wee Crayton band, which was headed for the Coast. By the time the band reached LA, Crayton was paying Ornette not to play, and once again the saxophonist found himself stranded in a strange city. The year was 1949. New Orleans
Ornette's first stay in LA was brief; he moved into a downtown hotel on the fringes of skid row and - supported at least in part by money sent from home - played when and where could. Unable to land a steady job, he soon had his mother wire him some money and returned to
. But the situation there had not improved either, and most of his friends had left town. After a few desultory years he returned in 1952 to Fort Worth , which would be his home for the remainder of the decade. Los Angeles
Ornette moved to
Watts, where he stayed with a friend and 'ate and slept whenever I could'. Musical jobs were few and far between, so he took whatever menial day jobs were available; for a time he ran an elevator, studying books on theory and harmony between rides. At nights he would walk into LA and try to sit in the any bands that would let him. There were few takers. During his first stay in LA, when he was playing what writer A. B. Spellman would term 'a cross between his own brand of rhythm and blues and bebop', he had sat in with musicians like Teddy Edwards, Hampton Hawes and Sonny Criss. He had been least half-heartedly accepted then, but by now his playing was simply too far removed from the accepted norm. One of the few sympathetic musicians was drummer Ed Blackwell, whom Coleman had met earlier in . Blackwell remembered: New Orleans
Ornette sounded a lot like Charlie Parker back then, and he was still hung up with one-two-three-four time. I had been experimenting with different kinds of time and cadences, an since Ornette and I used to share together, we had reached some new grooves. Ornette's sound was changing too, and lot of the musicians used to think he played out of tune. He never used to play the same thing twice, which made a lot the guys think that he didn't know how to play. [Quoted in A.B. Spellman, Black Music: Four Lives,
: Schocken Books, 1970, pp. 107-108.] New York
The mounting rejections would surely have discouraged a man with less indomitable will. A. B. Spellman cites a typical experience of the period:
He went down to sit in with tenor saxophonist Dexter Gordon one night and found that Dexter had, characteristically, not shown up in time for the first set. Ornette went up to play with Dexter's rhythm section only to have Gordon come in and order him off the bandstand. 'He said, "Immediately, right now. Take the tune out and get off the bandstand." And Ornette made the long walk back to
Watts in the rain. [Ibid, p. 110]
Ornette also tried to sit in with Max Roach and Clifford Brown when they were in town. He wasn't let on the stand until aft Max and Brownie had already left, and when Ornette did get on the stand the rhythm section packed up their instruments and walked off. He would later tell trumpeter - Don Cherry, 'no matter how much you get rejected, you put that much more study and work into it so that you can produce more'. [Ibid, p. 111]
Nevertheless, he did manage to find a group of musicians willing to accept new ideas, and they began to practice together. Three of the musicians initially in the group were Ed Blackwell trumpeter Bobby Bradford and tenor saxophonist James Clay. When Clay was drafted, followed soon thereafter by
Bradford their replacements were George Newman and Don Cherry. Cherry, who would become Ornette's musical partner, was originally from , but had been raised in Oklahoma City . When he met Ornette he played very much in a Clifford Brown bag, and unlike Ornette he was accepted by the LA jazz establishment, having gigged with musicians like Red Mitchell, Dexter Gordon, Wardell Gray and Herb Geller. Cherry had introduced a teenaged drummer named Billy Higgins to the group. Finally two additional musicians, bassist Don Payne and pianist Walter Norris, were welcomed into the fold. There were now enough instruments for a self-contained unit; Ornette would not have to depend on hostile sidemen when looking for a job. Los Angeles
Everyone concerned stresses that the practice sessions were a co-operative affair, and that ideas were freely exchanged by all the participants, although Ornette was obviously the keystone of the group. Despite the excitement of these sessions, however, Ornette still found it next to impossible to land a club date. Finally he decided his only hope was to get a recording, session. George Newman had worked with Red Mitchell and introduced Ornette to the bassist, hoping that Mitchell in turn would introduce Coleman to Les Koenig. A meeting was set up at Don Payne's house so that Mitchell could hear Ornette and offer a professional opinion on Coleman's work. The upshot was the Mitchell liked Ornette's compositions but not his playing, and would only let his name be used in that context.
Ornette, accompanied by Don Cherry, dropped by the Contemporary studios and introduced himself to Koenig using Mitchell's name. Koenig, always ready to buy new tunes that might be recorded by his artists, agreed to listen, but things didn't go too well at first. Ornette tried to pick out some of his tunes on the piano, but he wasn't a pianist and was doing a poor job of it. Finally, in desperation, he and Cherry got out their horns and ran down some of the tunes. Koenig was impressed enough to offer Coleman a recording on the strength of their playing.
The resulting album, Something Else!, was recorded in three sessions held 10 and 22 February and
24 March 1958. The band consisted of Don Cherry, Ornette, Walter Norris, Don Payne and Billy Higgins. The record was far from a popular success, but it did introduce Ornette and his music to the jazz world at large, albeit in a slightly watered-down version. The use of the piano dictated that chord changes had to be adhered to (Ornette would never again use a piano on any of his own recordings) and the drumming of Billy Higgins was quite conservative compared to his later work. Nevertheless the essence of Ornette's music does manage to come through.
It's not surprising, however, that the album failed to attract a very large audience. Much of the music undoubtedly sounded like a slightly quirky brand of bebop to the listeners of the day. All of the album's numbers were Coleman originals, and all had been written some years before in
; most were - by Ornette's later standards - rather conservative. There are two blues, 'Alpha' and 'When Will the Blues Leave?' and two variations on the 'I Got Rhythm' format, 'Chippie' and 'Angel Voice'. Don Cherry actually quotes from a well-known Horace Silver solo from the 'Rhythm' clone 'Oleo' during his solo on 'Chippie', and the boppish theme on that tune carries strong hints of 'Anthropology'. 'Jayne', named for Ornette's wife, is based on 'Out of Nowhere'. On the other hand, 'Invisible' has a deliberately vague tonal centre (it's in D flat, one of Ornette's favorite keys); 'The Disguise', in D, has a thirteen-bar theme; and 'The Sphinx' has the sort of restless melody line and abrupt tempo changes that would soon become closely identified with Coleman. 'The Blessing', a slightly up-tempo mood piece, stands somewhere between these two extremes. On this tune, by the way, Don Cherry takes a very hard-boppish solo in Harmon mute. Nat Hentoff, in the liner notes to the album, selected some pertinent quotes by Ornette and Don Cherry that serve as a good introduction to the goals of the musicians. The most prophetic is by Ornette himself: Fort Worth
I think one day music will be a lot freer. Then the pattern for a tune, for instance, will be forgotten and the tune itself will be the pattern, and won't have to be forced into conventional patterns. The creation of music is just as natural as the air we breathe. I believe music is really a free thing, and any way you can enjoy it, you should. [Notes to Contemporary 7551]
If sales of the first album were disappointing, they failed to discourage Les Koenig, who arranged for a second recording a year later. The instrumentation for this second album would be that of most Coleman groups of the next several years: a piano-less quartet. Don Cherry was the other horn, of course, but the bass and drums were - no doubt at Koenig's insistence - Red Mitchell and Shelly Manne. Shelly remembers:
Les knew I was adaptable; he'd done so many albums with me in so many contexts, and he felt that I would be the right choice. And so did Ornette. Ornette came out to my house and we went over some of his melody lines, and I found them very intriguing, very interesting. And Red was there, Red Mitchell. Then we did the date, and Red and Ornette got into a little scuffle. ..'cause Red had some changes dictated to play and Ornette wasn't following the changes. And Red said, 'I have to play the changes,' and Ornette says 'No you DON'T have to play the changes,' and it went back and forth like that, and it got so that Percy Heath finished up the album. I remember playing the date, and it was a very free feeling, but I was almost trying to force the free feeling... to not play in the tradition, the way things had always been done. I think today I would do a better job of it; I understand a lot more about it.
This album also was done in three sessions. The first two, 16 January and 23 February, were done with Red Mitchell and produced three tunes: '
', 'Turnaround' and 'Endless'. ' Lorraine ', written for Lorraine Geller, is the first in a line of particularly moving dirges that Ornette would record. ('Lonely Woman' is the most famous.) The tune is infinitely sad yet never maudlin; at one point the alto races free for a short joyous passage, only to be brought up short by the return of the despairing theme. 'Turnaround' is a basic blues and best exemplifies the clashing musical philosophies of Coleman and Red Mitchell. Mitchell leads off with an extended bass solo that shows his mastery of modern jazz... to that point. But soon after Ornette begins his solo, it becomes evident that he is chaffing at the confinement of the unyielding chord changes. He almost breaks free once or twice, but is held in check by Mitchell's bass. The remaining tune, 'Endless', is an up-tempo AABA number that never quite resolves to a tonic. Lorraine
These three tunes were the only ones recorded at the January and February sessions, and it became evident that Red Mitchell just wasn't fitting in with Ornette's concepts. With the money from the first dates, Ornette and Don Cherry flew to
, where the Modern Jazz Quartet was appearing. They sat in with the MJQ, strongly impressing the group's musical director John Lewis, and were able to talk Percy Heath, the unit's bassist, into flying to LA for the third Contemporary session. This was held the night of 9-10 March 1959 and produced six additional tunes. San Francisco
'Tomorrow is the Question', a bright 'rejoicing-type tune', supplied the album with a title. 'Tears Inside', the tune Art Pepper would record the following year, is a much more earthy blues in Ornette's version. It's in ' D flat and is a precursor to 'Ramblin", another D flat blues that would elicit one of Ornette's finest performances on a later recording; like 'Ramblin", 'Tears Inside' is rooted firmly in the south-western blues
tradition. The remaining four tunes - 'Mind and Time,' 'Compassion', 'Giggin" and 'Rejoicing' - have in common an elastic quality that allows each performer a great amount of latitude in shaping his own lines.
Tomorrow is the Question certainly gives a truer idea of Ornette's music than does the earlier Something Else!, but lack of an empathetic bass player was still hurting the group. Actually, Ornette had already played with his future bassist before the second album was cut, but Les Koenig had wanted 'name' musicians on the album to help boost sales. The one job Ornette had landed in the year between the Contemporary recordings was as a sideman for pianist Paul Bley at the Hillcrest club in
west LA. The musicians for the date were Cherry, Coleman, Bley, Billy Higgins and bassist Charlie Haden. Haden born 6 August 1937 in , came from a far steeped in folk and country music. He had played around Shenandoah, Iowa with Art Pepper and Paul Bley; more importantly, he had tremendous ear and was quite willing to adopt the methods that would fit him for working with Ornette. Coleman told the bass player: Los Angeles
'Forget about the changes in key and just play within range of the idea. If I'm in the high register just play within that range that fits that register and just play the bass, that's all, all you've got to do is play the bass.' So he tried and he would have a difficult problem of knowing which range I was playing in and just what I meant by the whole range of playing anyway. I told him, 'Well, just learn.' So after a while of playing with me it just became the natural thing for him to do. All that matters in the function of the bass is either the top or the bottom or the middle, that's all the bass player has to play for me. It doesn't mean because you put an F7 down for the bass player he's going to choose the best notes in the F7 to express what you're doing. But if he's allowed to use any note that he hears to express that F7, then that note's going to be right because he hears it, not because he read it off the page.[Spellman, op cit, 123-124]
A recording issued many years after the fact captured the Paul Bley group at the Hillcrest and gives a better picture than either of the Contemporary albums of Ornette's development to that point. The addition of the piano, which does hold Ornette back a little, is more than made up for by the supremely empathetic bass work of young Charlie Haden. Moreover, Paul Bley's playing is quite advanced in its own right; he does not constantly feed the established chord changes as would a bebop pianist. The recording was obviously done on somebody's home equipment both the piano and bass are drastically under-recorded - although in this case it may have been a blessing in disguise, since potential clashes between the notes played by Bley and Haden are softened.
There are only four performances on the album (Live at the Hillcrest Club, 1958): two jazz standards - Charlie Parker's 'Klactoveesedstene' and Roy Eldridge's 'I Remember Harlem' and two originals by Ornette - 'The Blessing' and 'Free'. Both 'Klactoveesedstene' and 'The Blessing' run well over ten minutes, so there is plenty of room for stretching out. The addition of 'Klactoveesedstene' may well have been an attempt to answer those who complained that Ornette and company couldn't play an orthodox brand of jazz. Ornette's solo begins in a very Parkerish vein and moves only slowly to the outside. The first several minutes of the performance could have been spliced into one of the many amateur recordings of Parker's club dates of the early fifties without raising most listeners' suspicions. Paul Bley's solo on this number is actually freer than Ornette's, especially when the bass and drums lay out for an extended period. 'I Remember
Harlem' is a vehicle for Paul Bley, with Coleman and Cherry limited to background figures.
On his own two numbers Ornette evidently feels less stricture; his solo on 'The Blessing' achieves a freedom only hinted at on the Contemporary recording of the tune. 'Free' is exactly what the name implies - tempo, meters and tonal centers shift rapidly throughout the piece. On both these numbers Bley, wisely lays out during much of Ornette's and Don Cherry's solos. Cherry's playing, by the way, is the real revelation on this album; he completely sheds the hard-bop elements of his style and shows why his trumpet is the perfect complement for Ornette's sax.
Finally, in May 1959, the recording towards which all of the previous sessions had been pointing came about. Largely through the promptings of John Lewis (the MJQ recorded for the label) Ornette landed a contract with Atlantic records. The first Atlantic recording session was held in
, although the album would not be released until the autumn, after Ornette and the group had moved to Los Angeles . The Ornette Coleman Quartet was now set: Don Cherry, Ornette, Charlie Haden and Billy Higgins. Eight tunes were recorded at the initial session, but only six were issued on the first Atlantic album, The Shape of Jazz to Come. New York
'Lonely Woman' serves as an admirable introduction to Ornette's music. The drone bass and slashing drums set up a fast tempo that almost mocks the stately dirge played by the horns. The effect is to keep any trace of sentimentality from what could have been a maudlin piece. 'Eventually' is Ornette's homage to bop, complete with a unison theme and extremely rapid tempo. 'Peace', almost the antithesis of the previous number, once again shows the genius Coleman has for composing tunes that both state a mood and inspire the soloists to original improvisations within that mood. 'Focus on Sanity' allows each soloist to choose his own tempo and meter; the others follow the soloist's lead. Both 'Congeniality' and 'Chronology' are taken at a medium-up tempo, and both inspire burning performances by all the musicians. Listening to these latter numbers from the perspective of the 1980s, it is difficult to imagine the fuss originally made over Ornette's music. They sound so close to the mainstream of jazz, especially when compared to the performances of the second- and third-generation free-jazz musicians of the later 1960s. Nevertheless the initial breakthrough had been accomplished by Ornette and company.
Things moved rapidly from this point on. Neshui Ertegun, president of Atlantic records, paid for a trip by Coleman and Cherry to the Lenox School of Jazz in
that summer. There they edited the tapes from the session in May and, more importantly, were heard by critic Martin Williams. Williams liked what he heard and paved the way for an engagement at the Five Spot in Lenox, Massachusetts that autumn. With the advances from the Atlantic recordings, the group flew to New York City where they cut some additional sides for New York Atlantic in October (most would be released on the album Change of the Century) and opened at the Five Spot in November. The two-week gig eventually stretched into several months as crowds packed the club, attracted by the controversy that surrounded the group. Musicians as well as jazz fans chose sides, and if Ornette had more supporters in than he had gained in LA, he still had a large number of vehement detractors in the Apple. Ultimately, of course, Ornette was vindicated; even those who prefer a more conservative brand of jazz are forced to recognize Ornette's position as one of the major innovators in the history of jazz. And if it is true that he had to move to New York to receive his due, it is just as true that the foundations for his revolutionary work had been laid during his tenure in New York . Los Angeles


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NEW YORK — Editor's note: This article includes language some readers may find offensive.
The man who held three hostages at the Discovery Communications building before he was killed by police Wednesday told NBC News in a brief telephone conversation that he was armed with several bombs he had been working on for as long as a month.
Asked how he had learned to make a bomb, the man said that he knew how to weld and read widely but that he also picked up pointers from the TV show "Mythbusters."
Statement from NBC News
As NBC News investigated early reports of an incident at the Discovery Communications headquarters building, NBC News producers calling the company's general number were connected to a man identifying himself as James J. Lee.
An NBC News producer continued a conversation with the man while other NBC News staff informed authorities.
The call continued for approximately 10 minutes until the man apparently terminated the call.
NBC News immediately informed Montgomery County authorities of details of that conversation, but withheld public release of those details while the incident was ongoing.
The program airs on the Discovery Channel, one of the targets of the man's years-long protest campaign against what he saw as the company's failures to adequately program shows that made clear the threat to the planet from overpopulation and animal extinction. The program's producers could not be reached for comment Wednesday night.
NBC News producer Rob Rivas spoke to Lee for about 10 minutes, until the gunman terminated the call. During the call, NBC News informed Montgomery County authorities of the conversation and held off reporting it until the hostage standoff had been resolved. Police said they shot and killed the man at 4:50 p.m. ET when he pointed a gun at one of the hostages.
Gunman cites popular environmental novel
In the call, the man identified himself as James J. Lee — the same name given by numerous law enforcement authorities as police negotiated with him Wednesday afternoon at the building in suburban Washington, D.C.
NBC News producers had called the building to check out initial reports of the hostage situation, and suddenly Lee came on the line.
"I have a gun and I have a bomb," he said. "I have several bombs strapped to my body ready to go off. I have a device that if I drop it, it will fuckin' explode."
More on the Discovery hostage-taking
On the call, Lee seemed determined to get his point across, referring to a rambling statement he published on his website excoriating Discovery Communications — which, in addition to the Discovery Channel, operates the TLC, Animal Planet, Science Channel and Planet Green networks.
He made several references to the novel "My Ishmael" by environmentalist Daniel Quinn, which tells the tale of conversations between a 12-year-girl and a gorilla named Ishmael, who is seeking to hire a student to help save the world.
Quinn told msnbc.com on Wednesday that he had never been in touch with Lee.
"What his take on the book is, I don't know," Quinn said. "It's hard to imagine how he got from reading this book to his current behavior. It certainly puzzles me."
Rivas, interviewed Thursday on TODAY, said Lee appeared anxious during the call. "He wanted to have his story told," Rivas said. "He spoke the entire time. I never heard him make any direct threats to anyone in the room, if there were people in the room with him. It sounded like an average conversation between two individuals."
© 2013 msnbc.com Reprints


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Working with the Census Bureau, this work describes an interface that allows the public to dynamically interact with statistical information. As usability studies were conducted, it was realized that...
Genre: Educational
Keywords: HCIL;University of Maryland;HCI;
Duration: 00:06:02
Popularity (downloads): 419
|Talking to the Ceiling: An Interface for Bed-Ridden Manually Impaired Users
Video demonstration from the 1999 CHI conference.
Genre: Educational
Keywords: Interface; Impaired; User; CHI;
Duration: 00:07:04
Popularity (downloads): 1417
|ACM CHI 1994 Issue 97 - Iconic: Speech & Depictive Gestures at the Human-Machine Interface
We developed Iconic, a prototype interface that allows user to describe the layout of three-dimensional scenes through a free mixture of speech and depictive gestures. Interpretation of this type...
Genre: Educational
Keywords: CHI; Multi-modal interface; gestural interface; depictive gestures;
Duration: 00:07:51
Popularity (downloads): 434
|ACM CHI+GI 1987 + CHI 1991 Issue 65 - A Human Factors Guide to Computer Speech
The intrinsic properties of speech communication and the characteristics of current recognition technology pose special problems for the design of a speech interface. We are interested in understanding these problems...
Genre: Educational
Keywords: CHI; Speech Communication; System Recognition;
Duration: 00:12:31
Popularity (downloads): 469
|SILK: Sketching Interfaces Like Krazy
Video demonstration from the 1996 CHI conference. Current interactive user interface construction tools are often more of a hindrance than a benefit during the early stages of interface design....
Genre: Educational
Keywords: CHI; design; sketching; prototyping; gestures; SILK
Duration: 00:08:07
Popularity (downloads): 923
|SmartSkip: Consumer level browsing and skipping of digital video content
Video presentation from the 2002 CHI conference. In this paper, we describe an interface for browsing and skipping digital video content in a consumer setting; that is, sitting and...
Genre: Educational
Keywords: CHI: Digital video; browsing; skipping; television; user interfaces; user studies; PVR; DVR
Duration: 00:08:28
Popularity (downloads): 583


text:
The last time I wrote about kung pao chicken was almost four years ago, in July of 2008. I was living in Beijing at the time, and kung pao chicken had been designated the official dish of the 2008 Summer Olympics. It was easy to prepare, more filling than a Clif Bar, and sports venues could even sell it in the stands.
I've made the dish countless times since then, teaching it in classes, and refining it for my upcoming cookbook. Because I have an exciting announcement coming in the next couple of days related to this dish, I'm posting a revised recipe for you to try at home, with a tastier sauce and more streamlined directions. And stay tuned in the next couple of days for more news! (Update: see the Kung Pao Recipe Chicken Kit collaboration with our friends at GrubKit!)
Kung pao chicken, known by most fans as a Sichuan dish, has a much-debated origin within China. One popular theory is that Ding Baozhen, a Qing Dynasty governor in Sichuan province, tried it at a Sichuan restaurant and liked it so much that the dish was named after his official title, Gong Bao (which became "Kung Pao" in English). Others, however, dispute its origin in Sichuan, claiming the governor brought it from his childhood home in Guizhou province. Whichever the case, the important thing is that this highly addictive stir-fried chicken continues to be one of the most popular Chinese dishes in China as well as America.
The succulent, complex sauce of salty, sweet, sour, and spicy flavors is hard to pass up. One faux-pas restaurants in the U.S. sometimes make is adding tons of vegetatables like bell peppers and broccoli. The main protein, blistered chilis, and peanuts should be stars. Chunks of vegetables get in the way in terms of both flavor and appearance.
For years, Americanized versions of kung pao chicken also left out the Sichuan peppercorns because of an import ban, which is a shame since the numbing spiciness ("mala" in Chinese) is integral to the dish. Now, fortunately, Sichuan peppercorn is once again easily found in Chinatown shops and even gourmet chains like Whole Foods.
So pick up some chicken on your way home from work and try this out. This tastes better than any takeout kung pao chicken you may have tried.
Kung Pao Chicken
Serves 4
- 1 pound skinless, boneless chicken breast or thighs, cut into 1-inch cubes
- 2 tablespoons peanut or vegetable oil
- 8 to 10 dried red chilis
- 5 scallions, white and green parts separated and thinly sliced
- 2 cloves garlic, minced
- 1 teaspoon minced or grated ginger
- ¼ cup unsalted dry-roasted peanuts
- 1 tablespoon soy sauce
- 2 teaspoons Chinese rice wine or dry sherry
- 1 ½ teaspoons cornstarch
- 1 tablespoon Chinese black vinegar, or substitute good-quality balsamic vinegar
- 1 teaspoon soy sauce
- 1 teaspoon hoisin sauce
- 1 teaspoon sesame oil
- 2 teaspoons sugar
- 1 teaspoon cornstarch
- 1 teaspoon ground Sichuan pepper
- Marinate the chicken: In a medium bowl, stir together the soy sauce, rice wine, and cornstarch until the cornstarch is dissolved. Add the chicken and toss to coat. Let stand for 10 minutes.
- Prepare the sauce: In another bowl, combine the vinegar, soy sauce, hoisin sauce, sesame oil, sugar, cornstarch, and Sichuan pepper. Stir until the sugar and cornstarch is dissolved and set aside.
- You may need to turn on your stove's exhaust fan, because stir-frying dried chilis on high heat can get a little smoky. Heat a wok or large skillet over high heat until a bead of water sizzles and evaporates on contact. Add the peanut oil and swirl to coat the base. Add the chilis and stir-fry for about 30 seconds, until the chilis have just begun to blacken and the oil is slightly fragrant. Add the chicken and stir-fry until no longer pink, about 2 to 3 minutes.
- Add the scallion whites, garlic, and ginger, and stir-fry for 30 seconds. Pour in the sauce and mix to coat the other ingredients. Stir in the peanuts and cook for another 1 to 2 minutes. Transfer to a serving plate, sprinkle the scallion greens on top, and serve.


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What future do you want for you and your childrens' children? An education in the United States at Bow High School can help you get there. We offer a year of study for international students in a successful, safe and modern public high school in New Hampshire on the US east coast.
Bow High School is located 5 minutes drive south of Concord, the state capitol of New Hampshire and 1.5 hours from Boston. Teenage students from around the world can apply. Whether you are from Germany or Korea, China or Brazil, India or Italy we invite you to join us to learn and to enjoy the American way of life.
Start a year of study at Bow High School - apply here.
See which US colleges have accepted Bow High graduates in recent years.
Link to the websites of two nearby Ivy League universities.
Leadership of the school is provided by its Principal of seven years, Mr. House-Myers.
Ms. DesRuisseaux provides students with support in and out of school time.
Looking after the health of students during school time.
Bow High School, 55 Falcon Way (formerly 32 White Rock Hill Rd), Bow, New Hampshire, NH 03304, United States. Tel +001 603-228-2210
Bow High School is a partner with serveschools.org in the care and recruitment of international students.


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You never know what you're going to learn when you wander into a cell phone store, other than being hit with some fairly slick marketing slicks and rapid-fire pitched on that sweet, sweet iPhone upgrade. (Sorry, letting my Apple lust get in the way here.)
In all seriousness, this time I learned something which excited the heck out of me. While this is probably old news to some readers, I was surprised to learn that the cellphone industry is now rolling out support for new mobile protocols allowing for dramatic improvements in broadband mobile speeds.
One standard, LTE, can offer peak downlink rates of 300 Mbps and peak uplinks of 75 Mbps. LTE, which takes advantage of new digital signal processing techniques developed roughly 10 years ago, is being rolled out by more or less every major U.S. carrier. Existing 4G networks are should shoot up in capacity as well. The next revision of the family to which 4G belongs, standards-wise, should have a throughput capacity of 627 Mbps.
So let's bring this around to our ongoing EMR discussions. What are the HIT implications of these mobile nodes having the throughput to process live streaming video, download multiple imaging studies, conference effortlessly with parties across the world and more?
Well, for one thing, it's pretty clear that our idea of mHealth will have to change. It makes no sense to plan networks around data sipping apps like the current iPhone crop when you'll soon have iPads, Android devices and even Microsoft's Surface tablet drinking it in gulps.
Obviously, the whole notion of telemedicine will evolve dramatically, with roving doctors and nurses consulting effortlessly over mobile video. Skype calls will be as easy to conduct as traditional calls. And reviewing charts from the road will make much more sense, including looks at, say, CT scan results.
But all of this wonderfulness will be severely constrained if EMR makers keep forcing clinicians to use their systems via mobile-hostile devices. This is the time — this month, week and even day — to admit that desktop computers aren't the platform of choice for smart clinicians.Vendors will have to step up with native clients for remote devices, and moreover, clients that take advantage of the emerging high-speed phones and tablets. If they hang back, the whole mobile high-speed revolution won't be happpening.


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Ask your local gallery for large format limited edition prints.
Ask your local art gallery for large format limited editions.
A contemporary fine art reproduction medium that combines cutting edge ink technology, 200+ year archival media and precise scanning and proofing. Andrei's giclee limited editions are some of the closest reproductions of original artwork by any contemporary artist today. Derived from the French language and the literal translation of the word 'giclee' means "to spray ink." Adopted by modern large format printers, the process involves using advanced computerized print heads that can achieve 1440 pixels per square inch (PPI). In layman's terms, that is detail that cannot even be discerned by the human eye (Fun Fact: a person with 20/20 vision can see 876 ppi at a distance of 4 inches a number that gets smaller the further the distance*).
Resolution is incredibly important to reproducing exquisite fine art. Hence, before the artwork is even reproduced comes the most daunting, the most important and even the most time consuming task of scanning and proofing reproductions to the original artwork. The most common way artists today digitize their artwork is obviously photography. Either analog slides that are scanned or a digital camera. Although most cameras today are capable of capturing a staggering level of detail via high megapixel count, even with the smartphone in your pocket, they are not capable of editing color and detail with precision. This is because the lens and sensor or film recording the photograph is from a further distance away from the original work the documentation loses information. That is why to get the most accurate recording of original art is to get up close and personal. Thus, utilizing a large format flatbed scanner. The same scanners are used to archive masterpieces in museums around the world and allows the artist to make the most subtle adjustments to his reproductions without compromising image quality.
Andrei Protsouk is partnered with a professional team of scanning experts that use some of the most advanced large format glass scanners in the industry. These scan all his work true to size; capturing not only the most precise colors but detail as well. Andrei then proofs every print personally ensuring it captures the true essence of each original in color, detail and essence. Therefore, Andrei's reproductions are the most precise, technologically advanced and true to the original in the art industry today. This ensures that each print has the original artist's touch and often appreciates in value over time.
The video below shows the process from the conception of the original artwork to scanning and proofing limited editions.
After each print is reproduced it goes into a rigorous and involved hand embellishment process by the artist. Using ultra-violet protected acrylic mediums Andrei enhances his prints to even further bring the reproduction to life with texture and even sometimes oil paint. This process ensures that each reproduction is truly one-of-a-kind and includes the artists involvement in every piece. Lastly, before each piece is shipped, they are all signed and numbered on the front and back. This process is applied to even the smallest open edition giclee on wood that retails for $100.00; where the print is adhered to a fine piece of birch plywood. Andrei takes pride in the quality and attention to detail in his work and wants even the most casual collector to behold something that is a unique and special creation.


text:
Governments and dictators assembling in Rio de Janeiro for the United Nations Conference on Sustainable Development must adopt even more stringent policies to reduce the number of people in the world and make sure that those who remain stop consuming so much, a taxpayer-funded network of more than 100 science institutions demanded in a newly released statement.
Meanwhile, new economic models are also needed, claimed scientists associated with the IAP Global Network of Science Academies. Politics and ethics — in other words, the will and morality of the people — cannot be allowed to stand in the way of the UN "sustainability" regime any longer; at least not if the world is to be saved from its primary enemy: humanity.
"For too long, population and consumption have been left off the table due to political and ethical sensitivities," complained U.K. Royal Society fellow Charles Godfray (pictured next to IAP logo), chairman of the IAP working group, in a bizarre attack on humanity and prosperity. "These are issues that affect developed and developing nations alike, and we must take responsibility for them together."
The draft UN agreement being developed by national governments and environmental activist groups already deals with population control and reducing consumption, according to statements issued by the global body. But to the anti-population scientist coalition, whose controversial joint statement is being widely touted in the global media, more must be done.
"Increasing population growth and unsustainable consumption together pose two of the greatest challenges facing the world," claimed the IAP statement, released ahead of Rio+20 in an effort to put more pressure on governments to take drastic and immediate action. "The combination of unsustainable consumption patterns, especially in high-income countries, and of the number of people on the planet, directly affects the capacity of the earth to support its natural biodiversity."
The network demanded "urgent action" from national and global policy makers, offering a list of highly controversial recommendations to achieve the ever-elusive goal of what the UN calls "sustainability." None of the suggestions will be easy or cheap, but according to the government-funded academies, the alternatives might possibly be bad too.
Among other points, the statement urged rulers to consider ways to restrict both population and consumption through coercive policies at all levels of government. Virtually every field of policy making should be put at the service of the agenda: poverty, "gender equality," education, health, "global governance," economic development, the environment, and more.
"If the right conditions are in place, measures that reduce fertility rates while respecting human rights can stimulate and facilitate economic development, improve health and living standards, and increase political and social stability and security," the network claimed. People living in richer nations, meanwhile, need to become much poorer.
The collection of scientists also demanded that "everyone" have taxpayer-funded access to "reproductive health" and "family planning" – terms which generally refer to contraception, sterilization, and abortion. And more government "planning" on everything from economic activity to urban development will also be needed to save the earth, the network claimed.
"Everyone has a role to play: individuals, non-governmental organizations, and both the public and private sectors," stated the joint statement. "It is critical that national and international policy makers, acting individually and collectively, take immediate action to address these difficult but vitally important issues."
According to estimates cited in the statement, by 2050, there might be between 8 billion and 11 billion people on earth, up from around 7 billion today. That is simply too many humans for the planet to handle, claim anti-population extremists with no confidence in the free-market system. So governments must step in, create a planetary regime, and ensure that the UN keeps everything under control.
"If we act now, it is realistic to imagine trajectories where population growth comes to a halt, consumption becomes sustainable, human-induced global change is kept within manageable limits, and human well-being increases," offered the IAP statement. "A failure to act will put us on track to alternative futures with severe and potentially catastrophic implications for human well-being."
Much of the press – especially taxpayer-funded outlets like the BBC — praised the dubious statement, trying to create a perception that it represented some sort of compromise. According to that line of thinking, rulers of poor countries want populations in rich countries to stop consuming so much. Governments in the developed world, meanwhile, are simply seeking to eliminate the people of developing countries.
Because the scientists backing the dubious recommendations come from poor and wealthy nations, and the schemes incorporate both population reduction and less consumption, "world leaders" assembled in Rio can finally act. And the world can move forward into a progressive and utopian age of centrally planned "sustainability."
"The determination to work for the common good is encouraging," said Rio+20 summit Chairman Sha Zukang (pictured next to Rio+20 logo), a long-serving former diplomat with the Communist dictatorship ruling over mainland China — infamous for its forced abortions and barbaric "one-child" policies. "The whole world is watching us and we cannot afford to let them down."
Over a dozen respected scientists and elite university science professors contacted by The New American in recent days lambasted the environmental fear mongering ahead of Rio+20. According to those experts, much of the hysteria is based on discredited computer models, false assumptions, and flawed reasoning.
Of course, anti-human alarmists have been warning about alleged "overpopulation" or assorted catastrophes for decades – global cooling, global warming, mass starvation, and more. Across the board, however, those dire predictions of imminent doom and gloom have consistently proven to be way off the mark. The stunning implosion of the UN's hysterical "climate" theories was only the most recent example.
"This is the same Malthusian material they have been pushing for more than 20 years. Make doomsday predictions and they never happen," noted retired Georgia Tech nuclear engineering Professor Jim Rust when asked by The New American about a recent UN report calling for population control and reduced consumption. "They put them out in the future far enough that people forget the predictions or don't live long enough to see them fail."
Rust, who also serves as a policy adviser for The Heartland Institute, a respected science-oriented think tank, blasted the UN's largely discredited computer models as well. "Would you want a life-threatening operation performed upon you based upon such speculative information? This is what the UN is asking from you," he explained in an e-mail.
"Give up use of our abundant fossil fuels, the developed nations will revert back to 19th century lifestyles and developing nations have no hope of uplifting themselves from the poverty they have endured for centuries," concluded Rust, who has over 50 years of experience dealing with energy-related subjects.
But the UN and its member governments – mostly despotic regimes of different varieties – are not giving up yet. Official documents released in recent months show that the global body hopes to use the Rio+20 gathering to amass a vast array of new powers. The purpose: literally re-shaping human civilization. Even people's thoughts and lifestyles are in the crosshairs.
Also on the agenda, according to UN documents, is the erection of a worldwide regime of central planning under the guise of moving toward what the organization touts as a "green economy." "Specifically, in a transition to a green economy, public policies will need to be used strategically to reorient consumption, investments, and other economic activities," the recently released UN report explained.
Opposition to the controversial global schemes, however, is growing quickly – especially in the United States. Local and state officials across America, for example, under increasing pressure from their constituents, are scrambling to protect citizens and property rights from Agenda 21, the global "sustainability" regime adopted at the first "Earth Summit" two decades ago. Alabama just banned it. And the anti-UN outcry is only getting louder.
Related articles:
Media Hypes UN Fear-mongering Before Rio+20 Sustainability Summit
UN Report for Rio+20 Outlines Top-down "Green" World Order
UN Seeks New Powers to Remake World at Rio Sustainability Summit
UN Bosses Secretly Plot Global Govt Through "Green Economy" for Rio+20
Ambitious UN Sustainability Conference in Rio to Avoid Climate Talk
Alabama Adopts First Official State Ban on UN Agenda 21
Rockefellers Fund Global-warming Protests as Earth Cools
IPCC Researchers Admit Global Warming Fraud
Global-warming Alarmism Dying a Slow Death
UN Pushes Population Control Agenda
U.S. & U.K. Taxpayers Funding Forced Sterilization in India
Science Group: UN Rio+20 Summit Must Reduce Global PopulationWritten by Alex Newman
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Governments and dictators assembling in Rio de Janeiro for the United Nations Conference on Sustainable Development must adopt even more stringent policies to reduce the number of people in the world and make sure that those who remain stop consuming so much, a taxpayer-funded network of more than 100 science institutions demanded in a newly released statement.


text: I am a photographer and artist in the beautiful state of Idaho! I have always had a passion for art and cartoon drawing so I decided to go to school for it. It has been so much more to me than just a hobby that I would now like to share with the world what I can do. I have all original photographs available at this time!


text:
Origen AE Technology - Where to Buy
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[Software][accessories][VF210][] IR Trans Software (version 09.10.09)
name :
date :
09-11-24 16:24
hit :
IRTrans Windows Software
Complete Installer with USB Drivers.
Supported Windows versions :
- Windows 2000
- Windows XP (x86 + x64)
- Windows Server 2003 (x86 + x64)
- Windows Vista (x86 + x64)
This installation package is digitally signed by IRTrans.
Includes digitally signed x86/x64 USB drivers
The correct USB driver will be automatically preinstalled.
Includes 32 and 64 Bit Drivers and Software !
NEW: The irserver can also be installed as a service !
When irserver or irtranstray is launched the correct version (either 32 or 64 Bit) is automatically loaded.
This setup is a dynamic web setup that might load additional needed setup files from our website.
Please be downloaded, as below link...
Date : 09.10.09
irserver Version : 6.02.30
USB Driver Version : 2.02.04
VFD Driver Version : 2.6.0
Installation of the USB driver:
• Before connecting the IRTrans the software (Setup.exe) should be installed. During this process the correct USB driver (32 or 64 Bit) will be automatically preinstalled.
• Now the IRTrans USB device can be connected. The USB driver will be installed automatically.
• In case the IRTrans device is already connected or installed, the driver can be updated or installed via the Windows Device Manager..
Copyright © 2005-2015
OrigenAE Technology.
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text:
Dutch carrier KLM introduced a program this month that lets participating passengers browse each other's Facebook and LinkedIn profiles. See someone you like and you can request to sit next to them.
NYT aviation blogger Nicola Clark takes a positive view of the program:
On a flight from Amsterdam to São Paulo this week, for example, you could have chosen the director of a British answering service, who has a passion for reggae and jazz; an Italian chemical engineer fluent in Dutch, English, Spanish and Portuguese; or a Norwegian alternative-rock fan en route to visit family in Argentina.
We worry that "Meet & Seat" will be used instead for Facebook-stalking strangers and securing seats next to beautiful women.
People who find the program creepy may decline to participate.


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In 1983, over 100 antique clocks – worth millions of dollars – were stolen from the L.A.MayerMuseum for Islamic Art in Jerusalem. It took 25 years for the clocks to find their way back home. Sometimes it just takes time to solve a crime.
Have you ever been stumped by a puzzle? Admittedly, some puzzles take a long time to solve. I think you'll agree, however, it does seem to be "stretching it" to plug away at a puzzle for 25 years.
Yet, Jews are known as a "stiff-necked people (Exodus 32:9)." So perhaps this explains why Israeli police struggled for a quarter of a century to solve the puzzle of 102 (a number of media reports had stated 106) missing clocks. One spring night in 1983, these time pieces disappeared from Jerusalem's L.A. Mayer Museum for Islamic Art.
You've probably figured out that these museum clocks were not your utilitarian house or office clocks. They weren't meant to hang on your kitchen wall or to sit on your nightstand. They were classy antiques. Some were inlaid with jewels. Many had been cast from gold. One had even belonged to Queen Marie Antoinette.
Altogether, they were worth millions of dollars. So you see why the police wanted to crack the clock mystery. Given the magnitude of the theft, a special task force within the Israeli police (which is a national service) was set up to work on this case. Reportedly, Interpol was contacted and the company which had insured the collection hired private investigators.
For years, police theorized that only a group of robbers could have taken so many clocks at one time. It turned out, however, that one thief did the job.
The alleged thief was Naaman Diller/Lidor (he was known by both last names) He found out that he could play his competence off of the museum's then incompetence. For example, he realized that the museum's alarm did not work. Thus, he did not have to disable a security system. While the museum windows apparently had burglar bars, they were more for show than anything else. Consequently, the thief was strong enough to bend a few bars. Moreover, as a skinny person, he had no difficulty entering and exiting undetected with the stolen clocks and placing them in his truck outside.
Many of the clocks were physically small and relatively lightweight (i.e., pocket-size time pieces). Thus, it probably wasn't too difficult to remove them, and/or to hide them as he took most of them out of Israel. Some were hidden in Holland, some in France and the rest went to the United States. Several even ended up in the home he set up in the Los Angeles area.
But Lidor did not always live in the United States. Following the robbery, he apparently lived on and off in Tel Aviv. In fact, in the first years of 2000, he reportedly was hospitalized in Israel's Tel HaShomer Hospital with skin cancer complications. When told that the cancer had spread to the bone, however, he refused radiation. In 2004, he died in his Tel Aviv apartment and was buried at Kibbutz Ein HaHoresh, his birth place.
Ironically, because these clocks were of such great monetary value and so well-known, Lidor had found it was very hard to sell them on the open market. He had succeeded in selling less than than 10 percent of the stolen collection. So the majority of these stunning time pieces spent 25 years locked up and unseen. In the end, he willed the clocks to his wife, Israeli ex-pat Nili Shamrat.
Purportedly, within a few years of Lidor's death, an attorney representing the widow entered into a quiet, negotiated "buy-back" with the museum. According to the L.A. Mayer Museum for Islamic Art, in 2006, 39 of the original 102 stolen clocks were returned. The police caught wind of this. That's when they really started to piece together the puzzle. Two years down the road, the case further unraveled.
Again, the museum officially states that investigators located the remaining clocks in various bank safes. Various newspaper sources claim that the remaining clocks were located in France and in Holland. In any case, thanks to the plodding work of the Israeli police, the clocks and watches have since made their way back to the museum "stage." Today, even someone who is not well acquainted with modern security technology can see that the clock exhibit's security system is now sophisticated.
In the United States, the widow was charged with receiving stolen property. In 2010, however, she received a sentence of five years' probation and 300 hours of community service. In her defense, her lawyer successfully maintained that she was a victim of circumstances, that is, her new husband (although they'd been "together" for many years, they'd been married for only a year when he died) had "spilled the beans" near the time of his death, and had left her the clocks.
In hindsight, the American lawyer's claim that client Nili Shamrat had been a victim of circumstances is somewhat implausible given these points: (1) Probably, most people who inherit a unique antique clock collection would at least wonder (if not ask) about its origin, one which is all the more curious given that Lidor had been raised on a humble kibbutz (a communal living project) until he left in1959 at age 20, (2) Lidor had bank robbery convictions and had served Israeli prison time and (3) as a rule, even ex-pat Israelis remain connected to their place of birth. Thus, it is likely that Nili Shamrat had heard about the clock robbery, as at the time it was big news in Israel.
So you be the judge: With time, were all the elements of this case solved?


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Louisville Slugger TPXCH TPX
Catcher's Helmet
From the earliest days of the game, Louisville Slugger has always
employed the most powerful technology available in the bat business. Back in
the days of Ty Cobb and Babe Ruth, that meant having the most skilled craftsmen
at the lathe, handcrafting bats to the most demanding specifications of the
world's most demanding players. Today, it means applying the latest aerospace
technology to bat making, delivering high-tech aluminum and composite bats that
give new meaning to the word "performance."


text:
Giants victory parade set for Halloween
Halloween parade
Find those beards and panda hats, giraffe heads and Lincecum wigs. And get ready for what could be one of the biggest, craziest parties in the city that knows how to party.
The Giants' victory parade will begin at the foot of Market Street at 11 a.m. Wednesday. The parade ends at Civic Center. Yes, on Halloween. The city that revels in Bay to Breakers, Halloween in the Castro, and any chance to dress up (or down) and party, will throw an orange-and-black celebration to rival all others.
Giants executives were too superstitious to have announced anything about a World Series victory parade before clinching the title. But, with a three-games-to-none lead heading into Sunday's Game 4, the situation demanded that practical concerns take precedence over fears of jinxing the team. The Giants had no choice but to begin some quiet planning.