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It's sad in a way, yet the fact remains that most drummers under the age of 25 probably aren't all that familiar with the name Kenny Clarke. The truth of the matter is, Kenny Clarke is perhaps more responsible for the evolution of modern jazz drumming than any other single individual. The man is, in fact, the ultimate pioneer.
It's understandably difficult for a young drummer to imagine that the various components of the drumset were ever utilized in a manner unlike the way they are today. In actuality, the approach was, at one time, considerably different, and Kenny Clarke had a whole lot to do with changing it all. His drumming led the way towards usage of the bass drum for accentuation as well as timekeeping; the establishment of a jazz-time rhythm for the ride cymbal, and freedom from a strictly metronomic role, forcing the bassist to share in the responsibility of timekeeping.
Kenny Clarke can also be credited with freeing the left hand so it could interact with the soloist—the obvious reason why thousands of young student drummers still sweat over Jim Chapin's Advanced Techniques For The Modern Drummer, a classic text which captured the elements of "bop-style" drumming and documented it for us all. Most importantly, Kenny Clarke is primarily responsible for giving jazz drummers an opportunity to fully express themselves on the instrument, and un leashing the chains that bound them up to that point.
Born in Pittsburgh in 1914, Kenneth Spearman "Klook" Clarke began his career as a swing band drummer, enjoying a moderate degree of success with the likes of Roy Eldridge, Claude Hopkins, and The Edgar Hayes Orchestra. However, dissatisfied with the relentless press roll, and four-to-the-bar bass drum style so prevalent at the time, Clarke began to venture off in new directions, often losing gigs as a result of these daring rhythmic experiments. That is, until 1940, when he took his jazz drumming concepts to a place called Minton's, a smoky little club on 118th Street in New York City. The rest is history, for it was here that the new style of drumming began to mesh with the musical ideas of Dizzy Gillespie, Charlie Christian, Thelonius Monk and Charlie "Yardbird" Parker in the formation of a new music soon to become known as "bebop. "It was a drumming style which would have an immediate impact on people like Max Roach, Art Blakey, Tiny Kahn, Stan Levy and Shelly Manne, a group of young drummers who would ultimately take the style to even greater heights.
To say that Kenny Clarke was "important," or "influential," or even "a key musical figure," does not do his contribution justice. To state, unequivocally, that he was drumming's all-time Great Emancipator, a man to whom every jazz drummer who's ever lived owes a debt of gratitude, is perhaps a much more honest appraisal.
ET: I'd be interested to find out how you started. Did you start on drums?
KC: Well, not really. My father played trombone and my brother was also a musician. I was in a school where they had all kinds of instruments. We had a little parade band, and we used to parade all the time, sometimes for the Masons if they wanted a band. I actually started on peck horn. That was the easiest way, you know. Then I started playing the baritone horn, which was a little bigger, and then the trumpet. My mother also started me on piano and she taught me how to read music. She really instilled a love of music in me. In high school, I studied piano, trombone, vibes, theory and finally drums. I was working gigs in and around Pittsburgh as a drummer when I was in my teens. After I finished high school, I started hanging out with all the people who were in bands, and learning to improvise and spread out a little bit.
ET: What happened after that?
KC: I went to Cincinnati. We had a very hip band with Leroy Bradley. The young cats were so hip in that band. We were using stock arrangements, but sometimes we would invent things. I also worked the Cotton Club in Cincinnati and played all the shows.
ET: You once mentioned that, in order to play shows in those days, you had to play all the percussion instruments. Drummers really had to be percussionists in order to get work.
KC: Oh yeah, sure. And bass players had tubas; a big tuba sitting right on the stand. I had vibes; I always had vibes.
Anyway, on the weekends, all of the great big bands would come in: Duke, Don Redmond, Earl "Fatha" Hines. And that's where I got to meet all of the great musicians of the day. After that I worked for a short while with Roy Eldridge. Roy was really chief of the trumpets at that time, you know. He could blow everybody out. Man, he was fantastic.
When I came to New York, I started working in the Village with some small groups, and then I got the opportunity to go to Europe with the Edgar Hayes band. We toured Finland and Sweden—all over—and I made my first recording with that band.
After the tour, I moved on to work with Claude Hopkins and then Teddy Hill. I worked at the Savoy with Teddy's band, and that was great because that's when I first got the chance to work with Dizzy. Diz had already been with the band in Paris and that's when I first heard him.
ET: Who do you remember as being your very earliest drumming influences?
KC: Well, there weren't that many really good drummers then. There was a guy named "Honeyboy" who did all kinds of tricks and stuff, but he wouldn't settle down and keep the thing together. He'd be playing and singing, and sparks would be flying. He was a fantastic showman.
But there was one cat who taught me everything about cymbal playing. His name was Jimmy Peck. He was a pilot and he had fought in the Spanish-American War. Later he became one of the directing engineers at Bell Aircraft in Philadelphia. He was mean, baby—a smart player.
Of course, there was Baby Dodds, and though I had heard about him, I never got a chance to see him because he never came to my town. Anyway, I never liked that style of playing; that heavy, rolling type of drumming. It took too much time. I didn't like it, but I played it to get into the clique. But through all of it, I was always thinking, there must be another way, you know. To "dig coal" all night long, man, you got so tired that you couldn't pick up your bag the next morning. I used to say, "There must be an easier, simpler way to get the same effect and keep the band together without straining your arms." I thought about it for many years. I was still basically playing the old way, but every once in a while I'd go up there and do that cymbal thing. Ding-ding-a-ding. The other guys would say, "What are you doin', man? Get back on the snare drum."
ET: You were actually moving the time feeling up to the cymbal.
KC: Yeah, yeah. I figured you could hear it better than on the snare drum. "Diggin" coal" would cover it all up.
ET: You once mentioned that you were quite tuned in to melody and harmony, and it seemed as though you wanted to complement that more.
KC: Sure. A lot of people said, "Klook, when you play drums, it sounds like a melody." Well, that's just what I was trying to do. When they'd say, "Take a solo," I'd just hum "Sweet Sue" and keep on playing. And it would always come out right. They all knew when I'd taken a chorus. You knew when the 32 bars were up. That was my little trick for solos.
ET: After you got to New York, and you were playing with swing bands more, I imagine it was acceptable to be playing that ride rhythm on the cymbal, right?
KC: No, not in a big, organized band. They didn't go for it even up to 1937 or 38. When I went to Europe with Edgar Hayes, I was playing a mixture.
ET: But it was still mostly on the snare drum?
KC: Yeah, and I'd say, "Oh man, I gotta do something to drive out the monotony." Some guys would say, "Yeah man, pretty hip." I'd say, "Look man, I can't dig coal all night. I gotta do something." So I'd play the figures with the brass, but then I'd have to start diggin' that coal again. I was always trying to get away from that.
ET: Those press rolls?
KC: Yeah. You see, we didn't really have a ride rhythm. I was trying to perfect that. I figured if I could perfect it, it would be a feather in my cap.
ET: When did the ride rhythm finally become more or less acceptable?
KC: It wasn't accepted until we went up to Minton's in 1940. I had gotten everything I was trying to do together by that time and my style was pretty well set.
ET: Tell me about the scene at Minton's during those great days.
KC: Oh man, those were the days. When Teddy Hill became the manager at Minton's, he turned the whole back room over to the musicians, and we could pretty much do as we pleased. I organized the first house band for the place with Monk, and Joe Guy on trumpet. All the great musicians in town would show up to sit in. That's where the bebop movement was born. Teddy never told us what to play, or how to play. We just played whatever we felt. Work was pretty scarce at that time, so Teddy just wanted to do something for the guys who had worked for him.
Cats used to come from all over to listen to what we were doing and to sit in. Musicians from all over the country—Dizzy, Hot Lips Page, Georgie Auld, Roy Eldridge, and even Lester Young—would come around a lot. Lester loved what we were doing. All the musicians from whatever bands were working in town would come up after work. Jimmy Blanton, Duke's bass player, was always dropping in. There was a lot of sitting in.
ET: I'd be interested to hear what you recall about some of the pioneers of the movement who would come up to Minton's to sit in, like Charlie Christian, for example.
KC: Charlie was a very quiet, very reserved little guy, and we used to really look forward to him coming up. He usually came in every night after he finished working downtown with Benny Goodman. Charlie talked about the place and what we were doing so much that even Benny came up once in a while. He sat in too.
Charlie contributed a tremendous amount to the new music and we were always swinging hard when he came up. He wrote some really great tunes as well. At the time, we didn't even have a name for the music we were playing. It wasn't even called "bebop" at that time. We just called it modern music.
ET: Dizzy?
KC: Diz was the most advanced of all of them as far as harmonies and rhythms went—very progressive. Roy Eldridge and Diz would always have these cutting contests, and at the time, Roy was always the favorite. People understood what he was doing more. But as time went on, the musicians started to catch on to what it was Diz was doing, and after a while, everybody kind of forgot about Roy. Then Diz became the trumpet player at Minton's. But Roy never stopped coming up, though he never really did change his style. I owe a lot to Roy actually, because he always encouraged me when I was working out my ideas for a new style of drumming.
ET: Tadd Dameron?
KC: Tadd really impressed all of us. He was using flatted fifths in chords back as early as 1940, and though it sounded very odd to us at first, he was definitely a forerunner of the movement. He was also one of the first people to play full, 8th-note patterns in that real legato style.
ET: Charlie Parker?
KC: Bird first came to New York with Jay McShann's band. He was working at a place called Monroe's. The sessions were always either at Monroe's or Minton's. Well, Monroe's used to open up after Minton's closed, about four in the morning. So, we'd leave Minton's and then go there.
We first went to hear Charlie at Monroe's because the word was out that he sounded like Pres. Actually, Pres was the pacesetter at the time, so everyone was really interested to see what this young cat named Charlie Parker was doing with the music. Well, when we first heard him, we realized that this was a man with a whole lot more to offer. He'd play things that no one ever heard before—incredible stuff.
Bird was a very, very quiet guy. He was not talkative at all. He'd never talked much about what he was doing with the music. He'd just get up there and do it. I don't think he ever realized himself the changes he was bringing about.
ET: What about the drummers who would come in?
KC: Well, when I was at Minton's, nobody had really caught on to what I was doing with the instrument. I remember Sid Catlett came up one night, and he listened and listened. Finally he said, "Are you still playing the bass?" I said, "Yeah, but I make the accents off the four beats." I couldn't give that up and play with no bass drum. The accent wouldn't have come in right.
Big Sid said, "Yeah, that's it." I looked around, and he and Jo Jones were both playing like that. Of course, Jo was a hi-hat man. But, I couldn't make that hi-hat thing. I wanted my arms free.
ET: So you moved over to the ride cymbal.
KC: Yeah, I just moved over from the hi-hat to the ride and played the same thing that I'd been playing on the hi-hat. The hi-hat then became another instrument I could play with my left hand. It opened up the whole set, you know.
Before that, cats didn't use the cymbal except for accents, endings and stuff like that. I wanted to use it all the time. But, I was always getting fired. I knew after the first night that I was out, so I would just pack up and move out. The boss would come over and say, "Look, we've got to get another drummer for tomorrow night." And I'd say, "Okay man, I was just leaving. I've got my stuff packed." And I'd split.
ET: But you persevered, which is what an innovator has to do.
KC: Oh, I did believe I was on the right track; that what I was doing was right. If nobody else liked it, the hell with them. I'd just keep playing like that anyway.
ET: Well, fortunately, not everyone closed their ears to what you were doing.
KC: No. They used to come to Minton's. I'd look out there and it would be all drummers. Art Blakey used to hang out there a lot and he got the style down real good. And Max too.
But it took a long time to figure out what to do with my left hand. A lot of cats helped me. They saw it was a usable style coming into action. Jim Chapin, cats like that, would hang around all the time. He'd never leave me to see what I was doing with my left hand. And, of course, he wrote the book on it. He wrote down all the stuff we did. But I didn't care. As long as it got to the cats, I was happy.
ET: Your whole approach has always been from the standpoint of playing the drums as a musical instrument.
KC: Yeah, it was to integrate them into the music. I thought that approach would give the soloists more freedom, rather than fencing them in with, "boom, boom, boom, boom."
Actually, the bottom never changed. I just put it up on the cymbal to kind of ease the weight of the bass drum which I played very softly. It was always four beats, but I would syncopate the bass drum. Whatever accent the band was playing, I would make it, but they could always feel it. I'd just say to the guys, "Put the time in your head and play. Don't listen for the drums because the drums are not working for you. They're working for everybody." The best thing to do was to feel the beat and not listen for it, you know. Once they got it in their heads, then I went upstairs to stay. I played ding-ding-a-ding up there and it gave my left hand freedom to do other things.
It was another way to play. I wasn't try ing to be hip, but I wanted to make it easier than diggin' coal all night. I was just figuring it out for me.
ET: What other bands were you able to work with prior to the bebop era?
KC: Claude Hopkins, Teddy Hill. Hill was just beginning to accept my style of playing. But they all still wanted to hear the bass drum. They'd stop playing if they didn't and there would be all kinds of confusion. I'd say, "Why don't you just feel it the way I want to play?" They'd say, "No man, we have to know where the beat is."
ET: What about the bass players?
KC: Most of them were slap bass players until Jimmy Blanton came on with Duke. Sonny Greer's drumming was mostly for color, more or less. Jimmy carried the pulse. That was his job.
When I started playing up on the cymbal, the bass players would say, "Man, when I hear that bass drum going all the time, I can't concentrate on my solo. Just play that cymbal." So I started playing the bass drum real soft and just making accents. The four beats were there, but it was real soft. I still play like that today.
When I played with Oscar Pettiford, I would be in the background going ding-ding-a-ding with a real soft bass drum, and he'd get out in front of that mic' and shine. He'd say, "Man, just keep that rhythm on the cymbal and that soft bass drum, and everything will be cool." So I began to practice with just a cymbal—no bass drum. I just played from hand to hand. Oscar would say, "That's it. That's what I want!" I had to work with him all the time because no other drummer played like that. Then I started playing it with the big bands. The cats would say, "Yeah man, that's hip." I remember one time with Mingus' band, I sat down and started to play. The whole reed section stood up and said, "Yeah!" So I figured I was on the right track.
ET: Years ago, when I first saw you, you used a big, thick felt beater.
KC: Well, that's because I was trying to play very soft. I knew if I played soft, I could just say "Boom," and it would be loud. I didn't have to go too far to play loud. But if I played, "BOOM, BOOM, BOOM, BOOM," there wouldn't be any accents. The accents would have to be louder and that would mess up the whole band. I'd play soft for the most part, and the accents would come out better.
ET: Your time beat was almost like a straight four, but it wasn't. It was right on top, almost like a 64th note, or closer, on the second and fourth triplet.
KC: Well, this cat I was telling you about, named Jimmy Peck, he just sat me down and said, "Look, if you're going to play it up there, make it sound pretty. It's all in here, in the wrist, and you kind of throw it out." When you throw it out, it changes the sound. There are so many things you can do when you get the idea.
Actually, a guy named Joe Garland, a tenor player with Edgar Hayes, would write things for me. He'd write out a trumpet part, and he'd leave it up to me to play whatever I felt would be most effective. I'd play the figures over the regular beat. That's how I first got the idea to play that way. Then I developed the idea further with Roy. Most of the guys who'd played with Roy didn't do anything with their left hands. Almost everybody was just copying Jo with that hi-hat thing. I was looking for something new. When I started to play that way, the guys in the band would always kid me about not playing the hi-hat like Jo, but I didn't want to copy anyone. I wanted to be an original.
ET: Could you trace your career after the Minton's years?
KC: Well, I went on to work with Louie Armstrong, and then Ella Fitzgerald's band. I spent a year with Benny Carter in 1942, and then I worked with Henry "Red" Allen in Chicago. I came back to New York right after that and went into the Army in 1943. I was in Europe during the war.
When I came out in '46, I was a little fed up with the music business and I was actually considering doing something else, but that idea didn't last very long. I went with Dizzy's band later in '46 and stayed for a year before joining Tadd Dameron's band. I went back with Diz in '48 for a tour of Europe, and I stayed on in Paris after the tour to do some teaching and recording. Then I came back to the United States in '51 to tour with Billy Eckstine.
ET: Just to backtrack for a moment, didn't you once spend some time with the great composer, Darius Milhaud, in Paris?
KC: Oh yeah. That was in 1949. A trumpet player by the name of Dick Collins was living in Paris and he was a student of Milhaud. He told him about me and Milhaud wanted to meet me. Well, Dick and I played for him, and he was taking notes. He'd stop us and take notes. Then we'd play again and he'd stop us again. He was very interested in the ride cymbal beat and in what I was doing with my left hand. He really knew a lot about jazz and he was very enthusiastic.
ET: Many people don't realize it, but you were involved with the original Modern Jazz Quartet before you moved to Europe permanently.
KC: We did that in 1952. That was with John Lewis and Milt Jackson. That was some quartet; made a hell of a racket. It was so beautiful, you know. And Bags, he could hear around the corner. He had the power to do anything he wanted to do.
ET: Before you moved to Paris permanently in 1956, you did a lot of recording in New York.
KC: I did most of the work for Savoy, and I also worked as an A & R man for them. We recorded people like Cannonball, Donald Byrd, Lee Konitz and Lennie Tristano.
I went to Paris in '56 to work with this big band over there. The band eventually broke up, but I stayed on in Paris. I did some work with Quincy Jones and I worked at this club in a rhythm section that backed up most of the great American jazz players that came through. I also did a lot of studio work. I liked it better over there. It was a peaceful life, and I could always work. I'd always say, "I'm gonna go back home," but I never got around to it.
ET: In 1960, you were co-leader of the Clarke-Boland Big Band, until it disbanded in '73. How did that come about?
KC: Oh, that was weird. We started out with a duo—piano and drums—just Francy [Boland] and me. Gigi Gryce had an ice cream parlour in Cologne, and he would clear the tables in one part of the place so Francy and I could play. Then, Jimmy Wood came in, and he looked up and didn't see any bass. So he went out and got his bass. Then we had a trio. And that's the way it went. The band just kept growing and growing.
Then some cat from Blue Note came over and we recorded it. We were eight pieces at the time. Well, the record sold so well that we decided to make another one with 13 pieces. We added the saxes and we started recording again. Gigi would record everything when we got together. We did the Jazz Is Universal album with 13 pieces, and it turned out pretty fair.
ET: That was an international band, wasn't it?
KC: Oh, yeah. We just picked cats up from everywhere.
ET: You had two drummers there for a while; you and Kenny Clare.
KC: Well, what happened there was, I had an engagement in Morocco for the Moroccan Red Cross, and I had booked it months in advance. Gigi had a transcription date in Cologne, so Ronnie Scott said, "I've got a good drummer to bring in. He can fill in for Klook." So they brought in Kenny Clare. When I got back from Morocco, they played the tapes for me and I said, "When did I do that? I don't remember doing that." It sounded like me all through the thing; sounded like everything I did. They said, "Kenny Clare did that while you were away." I said, "Who is this guy? Bring him over." There was no use in him being over there and me being here when we played alike. So we brought him to Cologne and tried a couple of tunes. He would always follow me. He'd say, "Klook, you're the leader." When I'd take sticks, he'd take brushes. He didn't want to get in the way.
ET: He's very simpatico, isn't he?
KC: He's a great drummer—a fantastic player.
ET: It's very difficult to get two drummers synchronized properly in one band.
KC: Well, we started getting things together, you know. We'd play different patterns, because if we both played them, it would be too pronounced. But we figured out the patterns and it worked out.
ET: I'd like to touch on your activity in education for a moment. I have the original series of books that you and Dante Augustini collaborated on. Both of you worked seven years on developing the Dante Augustini Methods, didn't you?
KC: Yeah. I had the ideas and he had the bread. He paid for everything. He was very quick with transcribing. He could write almost as fast as you could play. Then we'd go over it and see if everything was correct. He had all these connections and a printer. He knew everybody, so he took care of all that.
ET: You know, I'm still working with these things. It's such a wealth of stuff.
KC: Unlike most syncopation studies, everything swings so hard; there's so much stuff that just swings. We even had the things we worked out with drumset choirs.
ET: I've written some suites off some of the things you've done in those books with five or six drummers. I understand that he had things with up to 15 drummers.
KC: Yeah. We'd check out the best students— the hippest students. Dante would be on one side and I'd be on the other to kind of keep things together. It was beautiful, man.
Some cat from television caught wind of it, and he called to ask if we would do something on one of the big shows. So, we picked out the best students who could really make it, and we did a hell of a TV show. People were asking, "When are those drummers coming back?"
ET: Well the things are so musical. It's amazing what you can do with drums; the limitless possibilities. What's your feeling on technique as it relates to musicality?
KC: I always tell people, don't slough off the technique. I mean, it's important, but only when you need it. You don't really need a whole lot of technique to play drums. As far as soloing goes, if you hum the melody, the solo will come to you automatically.
You have to learn how to use your technique and how to apply it to the music. It's like those people who walk into a million dollars. Okay, you've got a million dollars. Now, your next problem is you have to learn how to spend it wisely. It's the same thing in music. You've got this technique, but you have to learn how to use it in places where it's going to sound beautiful. You don't just put it anywhere. You pick your spots.
ET: That takes a great deal of discipline.
KC: Yeah, that's right. But if you get the stuff down to where you play it at the right time, then it comes out beautiful. But, if you mix it in with everything, the people get tired of listening to it. It's not supposed to be like that. My idea of a drum solo is that you play like you sing. It comes from different things you listen to. And the beauty is always in the simple things.
I see young musicians with all kinds of equipment up there who hardly know how to play half of it. If you're going to take all the stuff, then learn how to use it all. I never used more than two cymbals throughout my entire career.
Most young drummers I hear play too much. I say, just play what's required of you; whatever's necessary for that piece of music. Don't overdo it. You have to be sensitive to the situation you're in at the moment. If you really know your instrument, you can fit in with anybody.
ET: What's your feeling about how the drums have evolved over the past 40 years or so?
KC: Well, the innovators always change the direction. Jo, Max, then Elvin, and then Tony Williams turned everything completely around. Now Jack DeJohnette is going on even further.
If you can reach a point where you can say, "Yeah, I found it," then you'll be able to show someone what you're doing. You have to come to some conclusion. It's like writing a piece of music. It has to have an ending. You can write a million pages, but it has to come to a conclusion. At some point, you have to say, "Well, this is what I've reached; this is my conclusion." Then somebody can take it out and say, "Okay, let's look over it." Not that you're running back every ten minutes saying, "Yeah, but I got this too." No man, this is what you've contributed. Now give us a chance to study it and figure it out. Then you can go on further with it, because now we know what you're doing.
You have to bring it all together, make one thing out of it, and come to some con clusions about what this is supposed to do and what that's supposed to do. Don't just wander out in the fields, searching and searching. Put it all together and draw some conclusions. You put it all in the sack and go on to work, you know. But, if the cats keep "jig-jagging" around, they will never get to the idea of why they're doing it.
My idea was to make drumming easier for me. I didn't like the way other drummers were playing. I wanted to be able to say, "Look, this is the way I play. Here it is." I had to get it down to fine points, and it took a lot of work. I wanted something I could use all the time, no matter where I was, so I could do my gig. That's what I was working on—something for me—something conclusive.
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Scripture Allusions in Hymns
Scripture Allusions in Hymns - Index:
Holy, Holy, Holy! Lord God Almighty!
My Hope is Built
O Little Town of Bethlehem
There is a Balm in Gilead
Go to Bible Verses About Music page - A list of over 200 Bible verses about music, choir, and hymns orgaganized by topic: Praise, Joy, Thanksgiving, Proclamation, Singing a New Song, Choir, etc. Useful for choir devotions and for research about music in the Bible.
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Below, you can read more about heart health risk factors that concern you. You can also save and/or print this PDF to share with your doctor as you work together to manage and reduce heart attack and stroke risks.
This tool is intended for informational purposes only. It is not intended to provide a medical diagnosis, medical advice, or medical treatment. Contact your healthcare provider after using the tool to discuss your heart health or if you have any health concerns.


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Danny Seth Signs Worldwide Publishing Deal with Cutcraft Music Group
Posted & filed under News.
Cutcraft Music Group is pleased to announce the worldwide signing of London based rapper Danny Seth.
With his debut breakthrough mixtape "Perception", the British rapper/producer immediately established himself as a visionary. Bridging the sonical gap between his home town London, and second home Los Angeles, Danny's music has global appeal and has taken him all over the world to perform live; most recently he was hand picked to support Post Malone on his "Stoney" European tour. Earning respect from the music, film and fashion industries alike with co-signs from the likes of Virgil Abloh and No I-D.
"Extremely excited to be working with Cutcraft to bring the vision I've been working on the past couple of years to life I've been missing for a minute..but the British are returning…" Danny Seth, TBAC
"Danny has it all… the talent, intelligence and vision that is an absolute pleasure to support and expand upon." Katrina Sirdofsky, Cutcraft Music Group's Founder and CEO.


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All Your Matchmaking Woes End Here
Marriage is serious business and you cannot leave the important responsibility of finding a spouse for yourself or your children on an amateur matchmaking service that is onlygoing to keep on taking money from you and not get you the results you want. Besides that, most matchmakingservices cannot find a suitable spouse for you or your children from any country in the world you name. Also, you cannot expect them to provide you a perfect match from every religion, caste, nationality and language.
If you are feeling down and out of luck then we have great news for you! Our online matchmaking portal is a 100% professional and secure service for those who are looking for a spouse for themselves or for someone they know. Joining is very easy. You just need to fill in our registration form, giving your name, country, age and gender. Your profile will be instantly created and it is completely free! You can then immediately start looking at different profiles of users from around the world belonging to different religions, countries, and castes. Send an interest to those you like and start talking to them. You can have a video, phone or a simple internet chat with them to get to know them better.
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text: Use this third party tool for recover and restore quickbooks instanty without any hassle. this quickbooks file recovery tool can easily recover and repair all corrupted quickbooks file in just few mouse clicks. So, financial means quite important and very useful data to store..so there are number of possibilities of QBW file or QuickBooks database corruption. In order to fix corrupt QuickBooks file in such situations, you can use the inbuilt utility of QuickBooks application. It can successfully recover all types of company information from the corrupt or damaged QBW file. It recovers the QBW file after having all the corruption cases like virus attack, improper shutdown of system, application malfunctioning, and manual mistakes. this tool Repair QuickBooks Files tool enables you to do safe and easy recovery of QBW files in all the scenarios of database corruption. It features minimalist user interface with which you can easily follow all the guidelines while reducing your efforts in doing recovery. This reliable software supports QuickBooks- 2019, 2018, 2017, 2016, 2015, 2014, 2013, 2012, 2011, 2010, 2009, 2008 and 2007 editions.


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Wednesday, December 25, 2013
Robert Wyatt "`68" (Cuneiform 2013) (part 2)
One of the really nice surprises in 2013, was the release of Robert Wyatt´s old stuff on "`68" (Cuneiform)!
We had a blog post on the album back in October, and here is just a follow-up, so you may see and compare the CD and vinyl versions. There are different pictures on the sleeve (back) and in the CD booklet versus the LP inlay, with Aymeric Leroy´s interview with Robert Wyatt from December 2012.
The radio edit of the track "Rivmic Melodies" is not on the vinyl album, but you get it by using the download code. The track is not listed on the sleeve of the CD either, but it´s there for sure.
The white vinyl album (500 copies) is sold out, but you may buy CD or downloads, or pre-order a blue vinyl version (500 copies) on Cuneiform´s Bandcamp site.
Labels: Robert Wyatt
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Treat your little princess to afternoon tea in central London
Children can live the high life at Dukes in London, with its new Mini Dukes and Duchesses package. Young guests will be greeted by a concierge who will offer cookies, Belgian chocolate milk and swish dressing-up outfits. An afternoon tea then awaits in the drawing room.
From £390 for two adults and two children until January 13, 2013. Visit www.dukeshotel.com
Posted: 14/08/2018 at 16:36
© Immediate Media Company Ltd. 2020 This website is owned and published by Immediate Media Company Limited. www.immediate.co.uk
Version 2016.9.3.0


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Generating alpha is the name of the game in investing, but where to find it?
That question is explored in a report by Richardson GMP, in which the authors explain that alpha must be taken from someone else. After all, when you buy a stock, someone else—with a different viewpoint—has to sell it.
"To take alpha from others, best we know with whom we are dealing," says the report, which breaks the equities market down by ownership.
Generally, owners consist of active and passive traders. The former aim to buy undervalued assets and sell overvalued ones (price discovery). The latter aren't as price sensitive, and trade based on flows and their basket portfolios.
A decline in active traders' market share (or a rise in passive traders' market share) may have implications for market pricing efficiency, and on where and how to find alpha.
Read: What's next for PMs if the mutual fund heydays are over?
For example, it's possible that the rise of more passive trading increasingly causes distorted asset prices. That's because "fewer dollars are at work bidding up undervalued assets and bidding down overvalued assets," says the report.
Read: ETFs contribute to market risk: IIAC president
To generate alpha in such an environment, you need an edge over other participants to find misplaced assets, plus you need the market to agree with you and fix the mispricing.
"Finding instances where investors are behaving irrationally, causing an asset to be mispriced, may prove to be a long-term source of alpha," summarizes the report.
That means capitalizing on the mistakes of both active and passive traders, respectively—when, for example, earnings are released or when ETF flows push the price of some companies artificially higher.
For more details, read the full report.
Also read:


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Jeep Wrangler: A History of an Off-Roading Icon
Jeeps transitioned from rugged wartime vehicles to civilian vehicles, and then finally to the hardy, multipurpose Wranglers we know today. Here, we explore the history of this instantly recognizable vehicle. Models through the Years Prior to the Wrangler hitting the road, Jeep vehicles had already started employing features that would eventually make their way to the Wrangler. As new models were released, they continued to build on previous historic styles and added newer, modern features. Nevertheless, the following features found in previous Jeeps made their way to the distinctive look of the Wrangler: Boxy body style Two-door design Removable cloth top Instantly recognizable front Round headlamps Tall, seven-slot grille From the models that preceded the Wrangler to the various changes made in the last few decades, here are the models that make up the heritage of this beloved SUV. Before the Wrangler – Precursors (1940s – 1980s) The Wrangler is … Read More


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I cover the waterfront. Recommended reading, links galore, plentiful screenshots, occasional commentary, line and column graphs, photographs, and color-coordinated PowerPoint slides. Not to mention Update City.
Wednesday, October 12, 2011
Walker Sez "We're Broke" but GAB Could Spend $600,000 on Voter ID Public Education Plan
New state voter ID law faces snags. (Oshkosh Northwestern, 10/11/2011)
Excerpt: Republicans feel it is a matter of election integrity. To Democrats, it's a solution to a problem that doesn't exist, and one they fear will disenfranchise people without IDs.
But to election officials tasked with enforcing the new law, the more important issues deal with public education and poll worker training.
To help prepare the public, the Government Accountability Board, the state's election watchdog, is moving forward with a public education plan that could cost upwards of $600,000. The agency has hired an advertising firm and plans a media blitz beginning in January.
Tuesday's mock election was arranged by Madison City Clerk Maribeth Witzel-Behl, who wanted to see which changes would trouble poll workers most.
Absentee and early voting.
Posted by Retiring Guy at 7:12 AM
Labels: absentee voting, early voting, voter ID
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Call for Interns, Instructors and Seniors in Outdoor Education
with Ecoventure
|Activity Instructor Watersports Paddlesports Management
|United Arab Emirates, Dubai
|Competitive and position based
|Accommodation included
|Training provided
Ecoventure is the market leader in the region due to;
- Our high standards, be it in training or implementation and delivery of our programmes.
- The opportunities afforded to our staff in variety of work and location, training and assessments and pastoral care
- An ability to adapt and evolve over time to always be the best we can be
A Typical Day in the Job
Days at Ecoventure can vary wildly, ensuring that no day is boring!
At one of our centres you could find yourself running sessions in the following areas;
- Watersports including; Kayaking, Canoeing, Snorkelling, Windsurfing and SUP
- High Ropes including; Climbing, Abseiling, Leap of Faith and Jacobs Ladder
- Field Studies including; Animal Encounters, Palaeontology, Environmental Awareness and Squid Dissection
- Land Activities including; Sandboarding, Orienteering, Archery, Survival and Problem Solving
A variety of these sessions are run with our guests on a daily basis to give them a rounded and unique experience.
Ecoventure also runs day trips in AbuDhabi, the White Water course in Al Ain, to mangrove and wadi sites and multi day trekking and canoe trips
Who are we looking for?
Experience and qualifications vary by position. Go to www.ecov.co/jobinfo for more information.
What we can offer you
Package includes monthly salary, flight allowance, accommodation, meals, visa, health insurance, paid leave and a training allowance for returning staff


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flibco.com operates economical transfers between the cities and its airport. Book your bus online: choose the stop, date, number of passengers and desired direction. You will enjoy the best fares on flibco.com: The more you are, the less you pay!!
Got a question about a journey, a comment? Contact customer service.
flibco.com guarantees you a top-of-the-range bus service for your journey between the city centre and Tenerife-South Airport. Purchase your ticket via the online booking module and enjoy the best fares on flibco.com. Several of you travelling? The more you are, the less you pay!
Got a question? Our customer service will be pleased to help you.


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Ingredients Edit
- 2¾ cup water
- 2 tsp olive oil
- ¼ tsp salt
- 1¼ cup brown rice
- 2 lbs lean ground turkey
- 1 medium onion, chopped
- 2 cloves garlic, finely chopped
- 2 x 28-oz cans peeled tomatoes, chopped with juice
- 1 x 16 oz can tomato sauce
- 1 tsp hot red pepper sauce, or to taste
- ½ tsp dried oregano
- ½ tsp black pepper
Directions Edit
- In a medium saucepan, bring cups water, the oil, and salt to a boil over high heat.
- Add the brown rice, reduce the heat to low, and simmer covered for about 50 minutes, until the rice is tender.
- Drain the rice if necessary, and set aside.
- Meanwhile in a large nonstick skillet, cook the ground turkey, chopped onion, and garlic over medium heat for about 7 minutes, stirring occasionally, until the turkey loses its pink color.
- Stir in the tomatoes and their juice, tomato sauce, hot pepper sauce, oregano, and black pepper.
- Bring to a simmer, reduce the heat to low, and cook, uncovered, for about 45 minutes.
- Stir in the cooked brown rice, simmer an additional 5 minutes, and serve immediately.
Nutritional information Edit
Per serving: calories: 225, protein: 25 g, carbohydrates: 28 g, fat: 2 g, cholesterol: 58 mg, sodium 700 mg, fiber: 4 g, 8 percent calories from fat.
Community content is available under CC-BY-SA unless otherwise noted.


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Compliance Overview
Cybercompliance has become a hot topic item - especially around banking. The utilization of government guidelines such as FFIEC CAT and 20 Critical Security Controls have become industry standards, required for customer confidence. To decrease the required workload, the DefenseStorm GRID contains policy sections for the FFIEC CAT, 20 Critical Security Controls, and custom policies. While the 20 Critical Security Controls and the custom policies are good options, completing the FFIEC CAT provides a strong foundation for all network compliance.
The Compliance homepage displays a dashboard with useful graphs and insightful information into your network security and its relation to your policies. Incident Statistics gives information on the number of Active and Triaged incidents, as well as ones immediately closed and the average length of time before they are closed. Incidents is a customizable donut graph that shows comparison and percentage information for incidents within your specified criteria.
Creating a Policy
To create a policy, select Policies from the top navigation, and choose from one of the following,
- FFIEC (recommended)
- Custom Policies (internal policies not tied to the FFIEC)
- Critical Security Controls for Effective Cyber Defense (extra defense)
The FFIEC CAT has two main sections, Risk Profile and Maturity Evaluation. The risk profile section determines your risk (high or low). The maturity section determines how ready you are to deal with those risks. While you can complete the FFIEC in any order, the guidelines are written with the Risk Profile being completed first.
Risk Profile
This section of the FFIEC CAT determines your network infrastructure's risk. It is much shorter than the Maturity Evaluation, and the UI results are displayed instantaneously on the Results page.
Completing the Risk Profile Assessment
- Select Risk Profile to display the overview and begin your assessment.
- Select Category 1 > answer all questions. Repeat for categories 2 - 5.
- View your results. The profile count is the raw number of answers per category.
Maturity Evaluation
The Maturity Evaluation is more complex than the Risk Profile. Here are some helpful tips for completing it efficiently, accurately, and with the ability to provide stellar reporting.
Answering Statements
The following options are available for each statement:
- Yes
- No
- Yes (C) - which means not exactly, but you do something to compensate. This option is best if used in conjunction with adding evidence, as described below.
Every answer in a maturity level has to be YES or YES (C) to be compliant. For example, if you have all baseline marked as YES or YES (C), and then have 4 out of 5 in Evolving, you are considered Baseline compliant.
Add proof to your statements. There are three forms of evidence that can be combined or used alone. All methods of evidence can selectively be shown in reports.
- Comment
Statement relevant information. For example, if you select YES (C), you can explain, "I do x, y, and z instead."
- Tasks
Ability to assign a one-time job to somebody in order to comply with a statement.
- Task Schedule
A reoccurring task necessary to comply with a statement. For example, you can create a task schedule to create a report every quarter.
Adding Evidence
To add evidence, select the statement you want to add evidence for, and then chose to add/edit evidence. From the drop-down, select the type of evidence you would like to add: Comments, Tasks, or Task Schedules.
- Comments: Select Comments > insert comments > click Save.
- Tasks: Select Tasks > enter a title, owner, and description > click Create.
- Task Schedules: Select Task Schedules > Fill out relevant information > click Create.
Name: Your name
Owner: Responsible party
Description: What you want done
Query: Search query that monitors events related to this policy.
Schedule: When you want it done
Policies: Current statement is added by default. You can add additional policies if desired.
Tags: Terms you would use to search and/or organize.
Viewing / editing evidence
All evidence can be viewed, edited, and reported on. For auditing purposes, no tasks can be deleted, but they can be closed or marked invalid.
Viewing individual statement evidence
To view all evidence associated with a specific statement, navigate to the statement, and select Show Evidence from under the statement. This displays a drop down list of all evidence added to the statement. To view specific evidence, click on the line item with the evidence name.
Viewing Comprehensive Evidence
To view all tasks and task schedules, go to Tickets > Tasks (or Task Schedules). When you open a task or schedule created through FFIEC, you'll see the domain and control added as a policy to the task.
When the time comes for a task schedule to be completed, a task is created and displays in the task page.
Completing the Maturity Evaluation Assessment
- Select Maturity Evaluation to display the overview and begin your assessment in Domain 1.
- Answer each statement for all five domains and their subsequent factors.
- View Results.
Results are separated by domain. To view comprehensive results, generate a Maturity Evaluation report.
FFIEC Reports
Generating FFIEC Reports
A major part of compliance is being able to prove it to external auditors. We assist by providing two different report options, FFIEC Report and the FFIEC Evidence Report.
FFIEC Report
This report provides detailed charts and graphical representations of your FFIEC results as well as an overview of the sections and what the charts represent. This works great for board meetings because it provides a good foundation of information and explanations plus critical security statistics.
FFIEC Evidence Report
This report is great to show auditors proof of your compliance via added evidence. We know that security is key, and have provided the ability to select which sections are populated with evidence. The level of customization is as granule as providing evidence for a single control or as expansive as evidence for the entire report.
When you select to download the evidence report, it displays in your download list as a zip file with all evidence added as well as a Word file of the entire report.
Within the report, it lists all evidence associated with each control. It does not provide overview information, explanations, graphs, or charts. It is a list of evidence.
Custom and Critical Security Control Policies
Custom and Critical Security Control Policies
The option to create custom policies and to enable policies for the top 20 Critical Controls is available through the UI. These are good options for extra security, or for creating policies that are specific to your office only, and not tied to government regulations.
Create a custom policy
- Click the + sign at the top right side of the Policies page.
- Insert Name and Description.
- Click Add Policy.
- Once the policy is added, the following window displays with the option to add Triggers, Incidents, Documents, and additional Control lines to the Policy.
Activate / Decativate Critical Controls Policy
- Go to Compliance > Polices.
- Scroll down to the Critical Security Controls for Effective Cyber Defense section.
- Select the desired policy.
- Chose either Active or Inactive status.
Adding a Trigger
- Go to Alerts > Triggers
- Find and click the desired trigger
- Click the pencil icon to edit the trigger.
- Scroll down to the Policy section. Click the drop-down arrow and add the desired policies.
Adding an Incident
- Go to Tickets > Incidents.
- Find and click the desired incident.
- Scroll down to the Policy section. Click the drop-down arrow and add the desired policies.
Adding a Document
- Go to Policy > Policies and click the desired policy.
- Select Documents to view a list of already added documents and the option to upload new ones.
Adding a Control
- Go to Policy > Policies and click the desired policy.
- Select Add control, insert a title and description, click Add Control to save addition.


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Famous sportsperson who switched sides
As loyal as we're to our nations, there are some who have changed their country for reasons ranging from lack of opportunity, parents being of different nationality or just good ol' immigration for obvious reasons but turned out to be a big plus for the adopted nation achieving laurels in their sport. Today we look at few such players.
- Miroslav Klose
The second most capped player for Germany and record holder of most goals in world cup history was actually born in the Polish city of Opole to Polish parents. His father played for a local club but went on to play for Auxerre, Little Klose decided to join him. By the time he was permanent in Kaiserslautern side in 2001. He drew attention of Polish and Germany national sides. Polish tried their best but Klose chose Germany and went on to win the 2014 FIFA World cup.
- Eoin Morgan
Irish cricketer who captains English cricket team. Quite a introduction he has got on his Wikipedia page. Morgan holds the record of having scored centuries for two nations; he played for Ireland between 2006-2009 and for England since 2009. Skillful middle order batsman, he averages around 40 in ODI and is known for explosive batting towards the end of inning.
- Martina Navratilova
Former world number 1 who also holds a record for being No.1 for over 200 weeks was born in Czech Republic during communist regime. She started her career in Czech Republic as an amateur and went on to win almost all singles and doubles grand slam. After losing to Evert in the semifinals of that year's US Open, the 18-year-old Navratilova went to the offices of the Immigration Services in New York City and informed she wants to defect the communist regime. Americans heard 'communist' and she had a green card within a month. My driving licence took one and a half month to be issued.
- Patrick Vieira
This famous gunner was born in Dakar, the capital and largest city of the African nation Senegal. Thanks to his grand father having served in French army, he moved to France aged 8. After making his debut for the national side in 1997, he went on to represent France 107 times including when they won World Cup in 1998 and EURO cup twice.
- Dirk Nannes
Now pretty know thanks to IPL and Delhi Daredevils, Dirk Nannes has played for Netherlands and Australia. A useful T20 bowler, known for his consistency and pace variations, he's currently playing for CSK.
Oh yeah, he was a skier before 1999 when he finally zeroed it down to cricket.
- Marcel Desailly
With their sassy streets, upscale cafe and awesome accent, french always attracts the best. Yet another member of their world cup winning squad, Marcel was born in Accra, Ghana. His mother married the head of the French consulate in the city of his birth, and he headed to France at the age of just four.
He had the option to play for Ghana but chose France. Don't judge.


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This is an excerpt from Two Fifteenth-Century Cookery-Books
(England, 1430)
The original source can be found at the University of Michigan's "Corpus of Middle English Prose and Verse"
Cxxiij - Strawberye. Take Strawberys, and waysshe hem in tyme of 3ere in gode red wyne; than strayne thorwe a clothe, and do hem in a potte with gode Almaunde mylke, a-lay it with Amyndoun other with the flowre of Rys, and make it chargeaunt and lat it boyle, and do ther-in Roysonys of coraunce, Safroun, Pepir, Sugre grete plente, pouder Gyngere, Canel, Galyngale; poynte it with Vynegre, and a lytil whyte grece put ther-to; coloure it with Alkenade, and droppe it a-bowte, plante it with the graynys of Pome-garnad, and than serue it forth.
Links to modern interpretations:
Daniel Myers
Medieval Cookery
Home : Recipes : Menus : Search : Books : FAQ : Contact
© Copyright 2020 Daniel Myers


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Aly Rodger
Water Challenge Ambassador
Arlington, MA
Aly Rodger is a 10th grader who cares deeply about the effects of human activity on animals and ecosystems, specifically aquatic ones. In addition, she is a cross country runner, musician, actor, and member of Model UN. Science has always been a favorite subject of hers, especially biology and life sciences. She spends her free time cooking, hanging out with friends and family, and doing art. Some of her favorite bodies of water are: a lake near her grandma's house in Maine, the reservoir near her house, and the Atlantic Ocean off the coast of Cape Cod.


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1609 Mercator and Hondius Map of Ceylon or Sri LankaCeilan-mercator-1609
1609 Mercator and Hondius Map of Ceylon or Sri LankaCeilan-mercator-1609
A map of Sri Lanka during the time of Portuguese rule.
1609 (undated) 14 x 20 in (35.56 x 50.8 cm) 1 : 980000
Beautifully illustrated, the exotic stereotypes about Sri Lanka of 17th century Europe are apparent, as forests and mountains cover the island. Several different animals are illustrated on the map as well: a stag, a boar, a fox, and an elephant being ridden by a man. Numerous different cities and towns are labeled throughout, including several that have crowns drawn above them, indicating that they are Kingdoms. A decorative compass rose is situated along the right border, along with a decorative scale cartouche. A decorative title cartouche is located in the upper left corner, along with a sailing ship, with a third cartouche bearing a short Latin text in the lower right corner. Known as Portuguese Ceylon by 1609, the Portuguese maintained a presence in Sri Lanka from 1505 until 1658. Direct rule of the island by the Portuguese did not begin until after the death of Dharmapala of Kotte in 1580. Because he died without an heir, he bequeathed his kingdom to the Portuguese monarch. Portuguese rule of Sri Lanka was ceded to the Netherlands in 1658.
This map was drawn by Gerard Mercator, engraved by Petrus Plancius, and published by Jodocus Hondius in 1609.
Gerard Mercator (1512 - 1594) is a seminal figure in the history of cartography. Mercator's calculations and map designs redefined the 16th century concept of cartography and were the first to break away from the Ptolemy model. Many of his systems of measurement, such as the Mercator Projection, are still in use today. Despite his prominence as a cartographer, he started his career as a crafter of scientific instruments. He did not construct his first map until 1540, when he made two maps, one of Flanders and another of Palestine. These two impressive works earned him the patronage of the Emperor Charles V, for whom he construed a globe and several large scale maps. Despite this imperial patronage, Mercator was accused of heresy and in 1552 fled to Duisburg. In Duisburg he set himself up as a cartographer and began work on his revised edition of Ptolemy's Geographia. This three volume work was the first book to be called an "Atlas", after the Titan and King of Mauritania. Following Mercator's death his descendants took over his firm but languished because of heavy competition from the Ortelius firm. It was not until Mercator's plates were purchased and republished ( Mercator / Hondius ) by Henricus Hondius and Jan Jansson that Mercator's position as the preeminent cartographer of the age was re-established.
Jodocus Hondius (October, 14 1563 - February 12, 1612) was an important Dutch cartographer active in the late 16th and early 17th centuries. His common name, Jodocus Hondius is actually a Latinized version of his Dutch name, Joost de Hondt. He is also sometimes referred to as Jodocus Hondius the Elder to distinguish him from his sons. Hondius was a Flemish artist, engraver, and cartographer. He is best known for his early maps of the New World and Europe, for re-establishing the reputation of the work of Gerard Mercator, and for his portraits of Francis Drake. Hondius was born and raised in Ghent. In his early years he established himself as an engraver, instrument maker and globe maker. In 1584 he moved to London to escape religious difficulties in Flanders. During his stay in England, Hondius was instrumental in publicizing the work of Francis Drake, who had made a circumnavigation of the world in the late 1570s. In particular, in 1589 Hondius produced a now famous map of the cove of New Albion, where Drake briefly established a settlement on the west coast of North America. Hondius' map was based on journal and eyewitness accounts of the trip and has long fueled speculation about the precise location of Drake's landing, which has not yet been firmly established by historians. Hondius is also thought to be the artist of several well-known portraits of Drake that are now in the National Portrait Gallery in London. In 1593, Hondius returned to Amsterdam, where he remained until the end of his life. In 1604, he purchased the plates of Gerard Mercator's Atlas from Mercator's grandson. Mercator's work had languished in comparison to the rival atlas, Theatrum Orbis Terrarum by Ortelius. Hondius republished Mercator's work with 36 additional maps, including several which he himself produced. Despite the addition of his own contributions, Hondius recognizing the prestige of Mercator's name, gave Mercator full credit as the author of the work, listing himself as the publisher. Hondius' new edition of Mercator revived the great cartographer's reputation and was a great success, selling out after a year. Hondius later published a second edition, as well as a pocket version called the Atlas Minor. The maps have since become known as the "Mercator/Hondius series". Between 1605 and 1610 Hondius was employed by John Speed to engrave the plates for Speed's The Theatre of the Empire of Great Britaine. Following Hondius' death in 1612, his publishing work in Amsterdam was continued by his widow and two sons, Jodocus II and Henricus. Later his family formed a partnership with Jan Jansson, whose name appears on the Atlasas co-publisher after 1633. Eventually, starting with the first 1606 edition in Latin, about 50 editions of the Atlas were released in the main European languages. In the Islamic world, the atlas was partially translated by the Turkish scholar Katip Çelebi. The series is sometimes called the 'Mercator/Hondius/Jansson' series because of Jansson's later contributions. Hondius' is also credited with a number of important cartographic innovations including the introduction of decorative map borders and contributions to the evolution of 17th century Dutch wall maps. The work of Hondius was essential to the establishment Amsterdam as the center of cartography in Europe in the 17th century.
Petrus Plancius (1522 - May 15, 1622) was a Dutch-Flemish cartographer, astronomer, and clergyman. Born in Dranouter, he studied theology in Germany and England. He became a minister in the Dutch Reformed Church at the age of 24. In 1585, fearing religious prosecution by the Inquisition after Brussels fell into Spanish hands, Plancius fled to Amsterdam. It was in Amsterdam that he became interested in navigation and cartography and soon became a recognized expert on the shipping routes to India. Plancius published his best known world map in 1592, entitled 'Nova et exacta Terrarum Tabula geographic et hydrographica'. Plancius was also one of the founders of the Dutch East India Company, for which he drew over 100 maps.


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Add Quantities to a Timesheet
To add quantities to a timesheet that can then be tracked in the Production Quantity Report.
Production quantities are the finished product that the team installs on site, such as square feet of concrete wall, number of light fixtures, or linear feet of piping. Quantities that are entered on a timesheet can then be tracked against the uploaded budgeted quantities in the Production Quantity Report.
Things to Consider
Required User Permission:
- 'Admin' level permission on the project's Timesheets tool.
- 'Standard' level permission on the project's Timesheets tool AND creator of the timesheet.
- 'Admin' level permission on the project's Timesheets tool.
Now that you have filled out your timesheet, perform the following actions before you submit:
Click Submit and Add Quantities.
Note: This button will be disabled if quantities have not been uploaded in to the project. See Set Up a Production Quantity Report.
This reveals the Add Quantities page.
Note: Only cost codes that have an imported budgeted quantity associated with it will be added.
Enter an amount in the Units Installed field.
Note: The Unit of Measure and Percent Complete fields will be pre-filled from the data entered in the Budgeted Production Quantity import.
Click Submit.


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FARMINGTON – Farmington discovered what Berlin learned last week.
Those in line to challenge for a Northwest Conference volleyball title this season can file in behind RHAM.
The Sachems turned in a nearly flawless performance Tuesday in cruising past the Indians, 3-1 (25-17, 24-26, 25-17, 25-17), at the Farmington High Gym. Setter Mallory Mangan set the tone for the unbeaten Sachems (6-0) with 39 assists. The senior with the soft hands hung well-placed balls for her hitters all over the floor. Shelley O'Keefe led the way with 20 kills, many coming from the back row. Molly Rathbun had nine, and Kelsey Welling and Tessa Smolinski carded six each.
"Our strongest attribute is great outside hitting and the ability to hit from any spot on the court," said Mangan, who refined her skills by setting to herself incessantly while watching movies on television.
The victory provided a degree of revenge for RHAM, which finished third in the NWC behind Farmington and Berlin a year ago.
"Farmington was the only team to beat us twice last year and I know they're capable of playing well," RHAM coach Tim Guernsey said. "We only lost one senior and we have six seniors who are gung-ho."
Farmington coach Laura Arena would have liked to borrow a little of that gung-ho. Disappointed with the effort turned in by some of her seniors, Arena substituted liberally in the fourth game.
"We came up short in positions where I expect more from," she said. "We made far too many unforced errors."
The first game was nip-and-tuck but the Sachems pulled away after Farmington evened the score at 13. Kills by Rathbun and O'Keefe helped bury the Indians (5-1).
Farmington won the second game but never led by more than three points. A five-point rally with RHAM leading 16-15 featured Dani Piendak and Jess Frankowski taking care of business at the net and Amy Johnson knocking down serves.
RHAM tied the game at 24 but a net violation and a very rare miscommunication on a pass resulted in its lone game setback of the season.
A nine-point service run by Rathbun (25-for-25 serving, 17 digs) sank Farmington in the third game. The Indians stayed close halfway through the final game but the unforced errors piled up against a team tht makes very few.
"We're just scrappy," Mangan said. "That's our philosophy, be scrappy."
©The Herald 2008


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The first quarter of 2012 has seen the fine wine market enter "calmer waters", according to Liv-ex's Fine Wine 100 Index, which is broadly flat.
The first quarter of 2012 has seen the fine wine market enter "calmer waters", according to Liv-ex's Fine Wine 100 Index, which is broadly flat.
Looking back at the first three months, first growths and other top labels moved up and down, while market breadth continued to widen and exchange turnover grew 16% on February.
Renewed interest in Bordeaux's 2009 vintage, thanks to the release of Parker's in-bottle scores, boosted its share of turnover by 4% to 90%; Burgundy generated 4%; Rhone accounted for 1.3% and Italy 1.4% of trade. La Las and Sassicaia pushed their respective regions forward.
The Liv-ex Fine Wine 100 was mainly neutral - it hit 294 on March 31 ? up 2.5% YTD but down 18.2% year on year. The Liv-ex Fine Wine 50, which tracks the value of the 10 most recent vintages of the first growths, also saw limited movement. The benchmark ended the month at 345, up 3.1% year to date.
Bordeaux 2009 accounted for more than a third of trade by value, with Haut Brion, Latour and Ducru Beaucaillou taking 9% of 2009 trade each. There was sustained demand for 2008, with Mouton finding support at £4,350-£4,400.
With the release of the Parker scores Smith Haut Lafitte became the cheapest 100-point Bordeaux wine, and prices rose rapidly. Other 100-pointers, such as Leoville Poyferre and Pontet Canet, followed a similar trajectory while Pichon Baron and Duhart Milon were both upgraded.


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Blog and news
Orthopedic for an ACL Injury
The ACL is the anterior cruciate ligament located in the knee. This ligament helps to prevent the tibia (shin bone) from sliding in front of the femur (thigh bone). It also provides rotational stability to the knee.
An ACL strain or tear is a common sports injury. This kind of injury most commonly happens during a sudden stop, jumping or changing directions. It can also occur during a direct contact collision. Many people hear a "popping" noise and feel their knee give out when injuring their ACL. Other symptoms can include swelling, loss of full range of motion or discomfort while walking.
To help with swelling rest, ice, compression and elevation should be done to the injured knee. Several weeks of physical therapy can be prescribed to help further reduce swelling and work on range of motion. For many cases, ACL surgery will need to be performed to regain full range of motion in the knee, primarily if you're an athlete wanting to return to your sports. After knee surgery, more physical therapy will be done to restore stability and function of the knee. Click here to download a PDF about the ACL Reconstruction procedure.
If you have experienced your knee giving out and heard a popping noise, call to make an appointment with Sports Medicine Specialists Dr. Larose or Dr. Atteberry.
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Community Notice
25 results
Truth Matters Event To Raise Awareness About Disinformation in the News
Limestone Post
Fake news masquerading as journalism? Truth Matters, an event at the Buskirk-Chumley Theater on October 19, features two films and a panel of media experts that will help people detect disinformation in the news and on social media platforms. (Limestone Post is one of 14 sponsors of this event.)
Click here to learn more about Truth Matters.
Read More
October 11, 2019
Hoosier Lawyers, Voters Owe Debt to Antoinette Leach
Diane Walker
Since Antoinette Leach began her career as Indiana's first female lawyer 126 years ago, "the power and presence of women lawyers have increased exponentially, mostly in the past 30 years," writes Diane Walker, who adds that "both women lawyers and women voters — and, one could argue, all Americans — owe a debt to Antoinette Leach."
Click here to see why.
Read More
May 10, 2019
Community Notice
Guest Column: Protecting Indiana Forests, the Bad News and the Good
Anne Laker
Since 2012, the Indiana Division of Forestry has increased logging of state forests by 400 percent, says Anne Laker of the Indiana Forest Alliance. In this guest column, Laker talks about the dangers facing our publicly owned forests and an Indiana Senate bill that could protect them. She also previews the upcoming Wild & Scenic Film Festival in Bloomington.
Click here to read the full story
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February 12, 2019
City Needs 'Push' From Public To Improve Bike Infrastructure
Sean Starowitz
"Bloomington is at a crossroads — culturally, civically, and economically," says writer Sean Starowitz, assistant director of the arts for the City of Bloomington. Touching on all of these is our bicycle and pedestrian infrastructure. While many people say they want a friendlier biking and walking town, "the car dominates its urban fabric and infrastructure."
Click here to read the full story.
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December 6, 2018
Big Mike's B-town: Vauhxx Booker, 'Fortune Favors the Bold'
Michael G. Glab
"Everything inside me — starting with my name, Vauhxx — spoke to me and said I had to speak up," says Vauhxx Booker, spokesperson for Bloomington's Black Lives Matter. He also spoke with writer Michael G. Glab about his family's deep-rooted American history, his shy childhood, and his potential plans for public office in Bloomington.
Click here to read the full story.
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November 29, 2018
Community Notice
Statehouse Rally: 'Let Voters Choose Their Legislators, Not the Other Way Around'
Tomi and Jim Allison
Letting one political party define election districts has converted our representative government into a plutocracy, write Jim and Tomi Allison. The result of gerrymandering is legislators choosing their voters instead of voters choosing their legislators. Next week, several groups are convening in Bloomington to organize a rally later this month at the state capitol.
Click here to read the full story.
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November 8, 2018
Guest Column: 'The Antidote to Healthcare Despair Is Activism'
Rob Stone
The premise of our healthcare system without the Affordable Care Act? If you can't afford healthcare, you don't deserve it, writes Rob Stone, a local physician, healthcare activist, and one of the founders of Hoosiers for a Commonsense Health Plan. Stone and others are fighting to protect Hoosiers from this "medical caste system."
Click here to read the full story.
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October 23, 2018
Organizing the Left Through Strategy and Solidarity
Alexandria Hollett
How do people with similar values unite when their methods of action conflict with each other? Writer and organizer Alexandria Hollett says this question is illuminated by "the difference between organizing campaigns on the one hand and symbolic activism on the other." Hollett speaks to several local activists about "building the world we all deserve."
Click here to read the full story.
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September 18, 2018
Community Notice
Letter of Response: 'The Public's Need for Clean Water'
Friends of Lake Monroe
Advocacy group Friends of Lake Monroe wrote a letter to Limestone Post in response to the article "Property Rights, Public Good, Campaign Contributions" by Susan M. Brackney. In the letter, they argue that the article did not go far enough to address the public's need for clean water, among other issues.
Read the entire letter here.
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June 11, 2018
Indiana Democrats and the Politics of White Nativism
Luke Wood
Last year, IU research associate and policy analyst Luke Wood wrote an article in LP about a potential clash between Indiana's moderate Republicans and the Trump administration. Now, with the Indiana primaries over, he looks at how the Trump era has affected Democratic politicians and voters in Indiana ahead of the 2018 midterm election.
Click here to read the full story.
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May 10, 2018
Behind the Curtain: Jewish Theatre of Bloomington's 'Church & State'
Jennifer Pacenza
Chaz Mottinger
Politics, like theater, relies on the relationship between the stage and the audience, writes LP columnist Jennifer Pacenza in her Behind the Curtain preview of
Church & State
. The latest production of Jewish Theatre of Bloomington puts this relationship center stage in a "funny and heartrending play with a powerful message about God, guns, and politics."
Click here to read the full story.
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May 3, 2018
850 Hoosier Scientists and Allies Oppose EPA Proposal
Limestone Post
Concerned Scientists @ IU, a group of 850 local scientists and allies, has submitted a public comment to oppose the EPA's proposed repeal of the Clean Power Plan. The EPA's case for repeal, the scientists say, is based on "unconvincing legal arguments, without appropriate consideration of the scientific evidence for human-induced climate change."
Read their comment, as well as the proposed repeal, here.
Read More
April 24, 2018
Community Notice


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James Turk interviews regular KWN-favourites Jim Sinclair, John Embry, and Eric Sprott about the current financial situation in the world, at the recent GATA conference.
I won't trouble you by reviewing what they say, as you can probably guess most of that yourself already. However, all three interviews are still well worth the time spent watching them, to educate yourself about how to protect yourself from the oncoming financial storm that will wipe away most of the middle class of the western world.
The first one, with Jim Sinclair, is particularly interesting, as he explains how he called $1,650 for gold ten years ago, and why $1,764 was so significant to him, and why it means the welfare/warfare democratic emperors of the western world have so visibly lost their fiat currency clothes.


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With a history dating back to 1821, Heriot-Watt University have a long tradition of excellence and a proven track record in educating, inspiring and challenging the professionals of tomorrow. They are one of the top UK universities for business and industry and have an established reputation for world-class teaching and practical, leading-edge research.
Read more key facts about Heriot-Watt University.
Download the latest Malaysian prospectus.


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Florence Divorce Lawyers & Florence Divorce Attorneys
If you and your spouse are in complete agreement about all marital issues, then you should be able to get a quick and easy divorce in Florence, Alabama. Our Florence divorce lawyers are charging a low flat fee to handle your uncontested divorce.
An uncontested divorce is where the two of you negotiate on your own and come to an agreement without having attorneys negotiate for you. Then you just tell us what you have agreed to and our law firm prepares the paperwork and does the filing for you for a low flat fee, saving you thousand of dollars in attorney fees. If you are seeking a cheap divorce in Lauderdale County, Alabama, then give us a call today at (256) 686-5532.
- $290 for uncontested divorces without minor children of the marriage.
- $390 for uncontested divorces with minor children of the marriage.
If you live in Florence or the surrounding areas of Killen, Rogersville, Bailey Springs, Elgin, or Anderson, then you will likely be filing your divorce in Lauderdale County. Florence is the county seat of Lauderdale County and the county courthouse is located downtown.
Many counties have local requirements for all divorces and Lauderdale County is no different. This is why it is important to retain a local attorney that is licensed to practice law in Alabama and regularly files divorces in your county, since they will be familiar with the local rules. Each county charges a fee to file your divorce. The filing fee in Lauderdale County is about $203. Call our Florence divorce attorney for more information about the filing fee in your county.
Cheap Divorce in Florence
Before you can file a cheap uncontested divorce in Florence, Alabama, you and your spouse must have discussed and agreed on all marital issues which may include the custody of the children, child support, visitation, property division, and other important issues. As soon as you have reached such an agreement, you can contact our Florence divorce lawyers to file your uncontested divorce for a low cheap rate.
Uncontested divorces mainly involve our Florence divorce attorney preparing the requisite documents for both spouses to sign and return to us to file with the court electronically. When the documents, including your agreement, are properly executed and filed in the Lauderdale County Court, then the judge will usually approve the agreement and sign your divorce decree without any hearings. This makes it the best and cheapest way to obtain a fast and easy divorce in Florence or the surrounding areas of Lauderdale County, Alabama..
If you want to get the uncontested divorce process started then you can fill out our Divorce Questionnaire online today. When we receive the questionnaire and the payment then our divorce lawyer in Florence will prepare your documents. You and your spouse will need to sign the paperwork, which includes a Settlement Agreement that states the terms of your divorce, and have your signatures notarized by a notary. Once signed and properly executed you will need to mail the originals back to our office (along with the filing fee) and we will file your uncontested divorce with the Lauderdale County Circuit Court.
Once filed by our local divorce lawyer, then because you have already signed an agreement and there are no contested issues the judge just has to sign your decree and there are usually not any hearings. We receive the divorce decree electronically (usually about a month or two after filing) and send it to you and your spouse. Many of the courts no longer send out paper originals in the mail but instead only send out the electronic copies. If you have any questions about this then feel free to call our Florence divorce lawyer today.
Quick and Easy Divorce in Lauderdale County
If you and your spouse cannot reach an agreement then you would have to file a contested divorce. These are much more expensive and time consuming with divorce attorneys usually requiring a few thousand dollars up front for a retainer. They then bill hourly from this retainer as they perform work for you, so that the longer they work on your case the more expensive it is. There are multiple court hearings and it can take a year or more in many cases to get a trial in front of the judge to resolve your contested issues.
If you and your spouse are in agreement then you can usually get a cheap and easy divorce. The best possible way to acquire a quick and easy divorce decree in Florence, Alabama is by filing an uncontested divorce, which mainly involves the preparation of documents without having to go to court. To get this paperwork done, our divorce lawyer in Florence can prepare all you need for a cheap rate, for you and your spouse to sign and return to us to file with the court. As long as the judge approves your agreement, then there should be no hearings or court dates. If you reside in Florence or the surrounding areas of Lauderdale County, call our office now for this low cost divorce.
Florence is the county seat of Lauderdale County and the county courthouse is located downtown. In an uncontested divorce, you don't necessarily have to come into the office and meet with the divorce attorney in person. Since it is mostly paperwork and you and your spouse have already done the hard work of reaching an agreement, a phone discussion or two can usually answer all of your questions before and during the process. If you have questions about filing for divorce in Lauderdale County then give our Florence divorce lawyers a call today.


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So it turns out all those places online telling you NOT to order a cheap practice chanter are pretty much right. The one I got was $15.99 CAD, mentions some Pakistani manufacturer in included papers, and is an utter piece of junk. It's not a musical instrument you can actually, you know, make music on. One of the two included reeds won't even sound… So I took the plunge and ordered direct from mfg a Dunbar Poly Long – formerly called the Millenium 2000.
Bagpipes and goats
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Have you ever started a job and realized that it was not what you thought it would be? Or have you ever hired someone who seemed like a perfect fit in the interview and then was a total dud when they were on the job? Most of us have. But in a novel approach, some companies have taken charge and started to pay their employees to quit. Continue reading
Category Archives: Policies
Change to Educator Discipline: An Update to Title 14 Chapter 12 of the Delaware Code
On July 11, Governor Carney signed a bill that changes Title 14, Chapter 12 of the Delaware Code and updates how educators in Delaware are reprimanded in certain instances. State employees who are involved in discipline of teachers, and teachers themselves, should become familiar with the slight, but important, changes that have gone into effect. Continue reading
Big Legislative Takeaways for Delaware
Saturday June 30 (and into the wee hours of Sunday July 1) saw the end of the fiscal year and with it came midnight and last minute (literally) deals in the Delaware General Assembly. Here were some of the biggest takeaways that will affect employment law: Continue reading
Tell Me Lies, Tell Me Sweet Little Lies
Everyone fudges the truth on occasion. But lies in the workplace should not be tolerated. A failure to address affirmative falsifications and lies of omission can lead to a culture where secrets, misrepresentations, and self-preservation are regularly placed above the company's best interests. Continue reading
You're Fired! Is Flipping Off the Presidential Motorcade Grounds for Termination?
Juli Briskman, a Marketing Analyst for Akima LLC, was forced to resign from her position in October 2017 following her flipping off a Trump Motorcade. Ms. Briskman thought she was legally exercising her civil disobedience, but when the picture when viral, the situation became much more complicated. Continue reading
Vaccinations and Religion: The Limits Are Set
The anti-vaccination movement has been gaining traction in the United States for several years, much to the chagrin of safety-minded employers. While businesses offer ever broader benefits to limit the business impact of nationwide pandemics, including on-site flu clinics, many employees are refusing to participate and lowering the efficacy of vaccinations for those who do. In an effort to protect their decision-making, anti-vaccination employees are claiming that their decisions are motivated by "sincere and strongly held beliefs" that are tantamount to a religious conviction. The U.S. Court of Appeals for the Third Circuit, the appellate court responsible for reviewing all federal trial court decisions in Delaware, Pennsylvania, and New Jersey, has rejected this argument. Continue reading
Is It Time to Rethink Your Zero Tolerance Drug Policy?
In my practice, drug and alcohol issues came to the forefront in the 90's. There was a lot of publicity then about transit workers and big rig drivers causing accidents when they were high.
The Department of Transportation ("DOT") responded by adopting regulations requiring CDL drivers to be tested for drugs under various scenarios. These scenarios included pre-employment, post-accident, and at random. Every employer with at least one CDL driver had to adopt a pretty comprehensive drug and alcohol policy. I drafted a lot of them.
Once the CDL drivers were covered, employers started expanding the scope of these policies to cover other employees. The stated purpose was to have an efficient and productive workplace and to protect the public. Continue reading