text:
Best of the Big Bands, Volume 2 - 10 hours [Download] #RA042D
10 hours - Digital Download
The Best of the Big Bands
"From the beautiful Garden Room of Hotel Claremont, high atop the Oakland-Berkeley hills overlooking San Francisco Bay, it's the music of Russ Morgan and his Orchestra!"
From the late 1920s through the late 1950s, radio helped popularize a time of dance bands and popular music that has become known as the big band era. Though their influence would continue to be felt for decades to come, this time of sweet bands, swing bands, hotel and society orchestras, and their personable leaders and unique styles was remarkably brief, lasting only about a dozen years.
But in their time...oh, the music they made!
Many factors contributed to the popularity of the big bands -- and first and foremost were the songs of the time. The 1930s and 1940s were truly the era of the songwriter, as composers, lyricists, and their agents and publishing companies heavily promoted every new melody written for radio, the Broadway stage, or the movies for recording and broadcast by the bands and their distinctive vocalists. "Song pluggers," as they came to be known, knew that the success of their product depended on both popularity and familiarity - and there was no way that a song could become better known faster than by having it played on the radio over and over again. Second in importance were the bands themselves -- musical aggregations of anywhere from twelve to over thirty musicians who played arrangements meant for dancing, romancing, listening, humming, singing along, or - when the leader or a talented sideman played a thrilling solo - swooning with admiration. Third - and no less significant - were the vocalists of the era, talented performers who, through a combination of style, experience, and personality, could take a simple tune and turn it into a massive hit. It's no wonder that many of the superstar vocalists of the 1950s received their first professional experiences by singing with the bands, for it was their voices that brought the lyrics of so many wonderful tunes into the ballrooms, nightclubs, and living rooms of America for the first time.
World War II played a significant part in the popularity of the big bands as well. While many depression-weary Americans saw their income rising thanks to the booming economy of the war years, they found little to spend their money on due to wartime shortages and rationing. Spending an evening out dancing to the music of the big bands became a regular habit of many between 1942 and 1945. For less than $5.00 (in the big-time ballrooms, tickets were usually priced at $1.50 for women, $2.00 for men), a couple living in Southern California could see and dance to Harry James or Henry Busse playing their trumpets at the gleaming new Hollywood Palladium or the Trianon Ballroom, fronting large bands that could be heard in nightly live remotes over CBS, NBC, the Blue Network, or Mutual. Those in Northern California could dance to sweet music at the Mark Hopkins Hotel or (if they had a car and could get the heavily rationed gasoline) visit the scenic Garden Room of the Hotel Claremont, nestled in the Oakland/Berkeley hills. New Yorkers, with a wide range of night clubs, hotels, and ballrooms to choose from, had their pick of the bands -- everything from Vincent Lopez and his piano in the Grill Room of the Hotel Taft (where, for shift workers, afternoon dancing sessions were a regular feature) to Shep Fields and his New Music at the Hotel New Yorker. People who lived between the coasts also had their pick of entertainment, as most of the popular bands traveled on tours of one-nighters throughout the country. Regional and even local bands held sway in small ballrooms, school gymnasiums, and lodge halls - often playing everything from polkas to waltzes to country swing.
If you lived in a rural part of the country - as so many did both before and during the war - the music of the big bands could still reach you via radio. Many a bandleader, recognizing the publicity that a series of live radio shots could provide, agreed to play for break-even wages or was even willing to lose money in order to gain that kind of exposure. The networks, recognizing that band remotes were an inexpensive way to fill broadcast time in the late night hours, usually aired bands live from nightspots throughout the country. NBC, CBS, and the Blue Network concentrated mostly on the bigger cities and aired the quarter- and half-hour programs between 11:00 PM and 1:00 AM; Mutual, with its many outlets in smaller markets, carried all sorts of bands from all sorts of places and continued their broadcast day until 2:00 AM.
By the end of the war, despite many of the top musicians being drafted and shipped overseas, there was a glut of big band entertainment stateside. With service men and women returning to their homes and starting families, attendance at ballrooms began to dwindle and, by the fall of 1946, many of the top bands of the war years had either downsized or disbanded completely. The sweet bands, with their wider appeal to various age groups, lingered a little longer than their swinging counterparts - and some even lasted through to the end of the decade and into the next - but it just wasn't the same as it had been...and it never really would be again.
The focus of this collection is on the sweet bands of the big band era and offers live performances by a dozen of its best bands. The majority of these broadcasts were recorded off network lines by the Armed Forces Radio Service and rebroadcast to military personnel under the series title "One Night Stand." From 1943 on, the AFRS was given carte blanch to record as much material as it wanted as often as it wanted - and it's a great service to history that so much of what they preserved featured the fine musicians of the era. Since all of these programs would have been aired live and never recorded, let alone rebroadcast, collectors and big band enthusiasts have long understood and accepted the minor editing which was done to almost all AFRS network-based programs. Without their efforts, after all, we might never have had the chance to hear these delightful performances ever again -- capturing, as they do, the bands in their prime, playing for enthusiastic audiences in the country's best and most elegant nightspots.
Freddy Martin and his "Music By Martin"
Freddy Martin was probably the most respected tenor saxophonist of his time, projecting a warmth and richness of tone that impressed even the most ardent of jazz performers and earning him the nickname "Mr. Silvertone." Though he never pretended to be a jazz or swing musician, Martin's talent, technique, and personal good taste in both musical selections and in full, lush arrangements made his orchestra one of the most musical of the era, propelling him on a career that would span four decades.
Throughout its history, Martin's orchestra featured many top performers and even a few future bandleaders, including pianists Claude Thornhill, Barclay Allen, and Jack Fina, as well as guitarist Alvino Rey. Star vocalists included Buddy Clark, Helen Ward, Stuart Wade, and future talk show host and millionaire entertainment mogul Merv Griffin. A multi-talented trombonist named Russ Morgan was an early fixture of the band (though he played piano for most of his stay) and he and Martin worked together to develop the "wah-wah" plunger mute technique that would soon become the signature sound for Morgan's own band.
Martin's biggest hit, which shortly thereafter became his theme song, was "Tonight We Love," based on the primary melody of Tchaikovsky's Piano Concerto. The first recording, with a piano solo by Jack Fina, promptly sold over one million copies in 1942 and a vocal version, released later that year, was equally as popular, leading Martin to spend much of the next few years seeking out other classically based melodies to arrange for dancing. As one of the top bandleaders in the country, his group was featured on several radio programs during the 1940s and early 1950s, and he eventually supplanted the Waltz King, Wayne King, on the long-running "Lady Esther Serenade" over CBS. An early television pioneer - he hosted a weekly series in 1951 - Martin's career continued well into the 1970s, when he not only toured with a big band revival show but also fronted the house orchestra at Los Angeles' fabled night spot, the Cocoanut Grove at the Ambassador Hotel.
This collection offers two live remotes from the Grove, as rebroadcast by the Armed Forces Radio Service. Dating from Saturday, August 12, 1944 and Sunday, January 27, 1946, the broadcasts feature vocals by Artie Wayne, Clyde Rogers, Glen Hughes, Gene Cochran (who also solos on trumpet), and the Martin Men, with piano solos by Jack Fina and Jack DeShine.
Frankie Carle and his Orchestra
Pianist Frankie Carle began his seventy-plus year career in 1916 at the age of seven, when he first played in his uncle's band in Providence, Rhode Island for the princely sum of $1.00 per week. Displaying an early interest in the keyboard, Carle's factory worker father could not afford a piano, so his uncle set him up with a jury rigged keyboard that allowed him to practice regularly, if not particularly musically. A beat-up dance hall piano was soon found, though, and by the age of seventeen, Carle was fronting his first band.
Going out on his own the following year, Carle's creative skill at the keyboard came to the attention of a variety of bandleaders, including Edwin McEnelley in the early years and, in 1936, the Mal Hallett band, where he performed with such stars as drummer Gene Krupa and trombonists Jack Teagarden and Jack Jenney. After Hallett's band broke up in 1937, Carle returned with his own regional band that played primarily in New England -- but his greatest professional break was still to come. In 1939, he was hired by bandleader Horace Heidt, providing Carle with a national radio audience via Heidt's various coast-to-coast broadcasts. Carle's fame grew quickly, as his unique piano style and talent for musical composition brought increased success to Heidt's Musical Knights. (In his career, Carle composed such well-known songs as "Carle Boogie," "Lover's Lullaby," "Sunrise in Napoli," "Oh, What It Seemed to Be," and his biggest hit, "Sunrise Serenade.")
Frankie Carle might have left the Heidt organization in 1941, when fellow pianist Eddy Duchin, who was about to enlist in the US Navy, offered Carle the opportunity to take over his popular orchestra in exchange for 25 percent of the gross profits. But when Carle mentioned the proposal to Heidt, Heidt offered Carle a thousand dollars a week plus five percent of the gross to stay on -- a deal which Carle quickly accepted.
By 1944, however, Heidt had decided to retire from the band business and helped his piano virtuoso with generous financial assistance as he began to form his own orchestra. The new band was an immediate success, featuring arrangements by Al Avola and Frank DeVol and vocals by Paul Allen, Lee Columbo, Betty Bonney, Phyllis Lynne, and Frankie's own daughter, Marjorie Hughes. Thanks to numerous hits for Columbia Records and regular national exposure via radio band remotes, Frankie Carle and his Orchestra remained a top attraction well into the 1950s.
As both a solo attraction and as the leader of a small combo, Carle carried on throughout much of the 1960s, playing small but classy venues and recording for RCA. He came out of semi-retirement in the 1970s, revitalizing his career through various tours with big band revival shows. (At the time, he joked that he was out to "get some of the money they're giving to rock 'n' rollers.") After finally retiring to Mesa, Arizona in 1984, he passed away in 2001 -- just 18 days shy of his 98th birthday.
This collection contains two outstanding and previously unavailable broadcasts from Carle's lengthy career. The first, dating from Sunday, June 13, 1948, is from the CBS series "The Summer Electric Hour" and features vocals by Marjorie Hughes, Greg Lawrence, Billy Williams, and the Starlighters, with announcer John Heaston as host. The second, first heard over NBC on Sunday, September 2, 1951, is a live remote from the Cocoanut Grove and offers vocals by Joan Haas, Peggy Barrett, and Don Maddox.
Swing and Sway with Sammy Kaye
Sweet bands frequently relied on catchy tag lines to describe their musical styles -- and probably none is more famous or better remembered today than "Swing and Sway with Sammy Kaye." The fact that Kaye's band could never, ever be accused of playing swing music didn't enter into it; dancers tightly packed into a crowded ballroom could indeed sway to his music, and that seemed to be enough to justify the billing.
The son of Czechoslovakian immigrants, clarinet player Sammy Kaye spent the early years of his band leading career imitating many of the techniques of the more successful band of Kay Kyser - including "the old professor's" singing song titles, audience participation stunts, and to a certain extent, even his theme song. ("Kaye's Melody," Sammy's rather tuneless theme, bears more than a slight resemblance to Kyser's more melodic theme, "Thinking of You.") After leaving Ohio State University in the early 1930s, Kaye was soon leading his own orchestra at the Statler Hotel in Cleveland, which led to engagements at many of New York's best hotels. Unlike most bands which featured instrumental soloists, Kaye focused primarily on vocalists - including, over time, Don Cornell, Johnny McAfee, Maury Cross, Marty McKenna, Tommy Ryan, and Arthur Wright. He also formed vocal groups, including the Kaydettes and the Kaye Choir.
An excellent and detail-oriented businessman, Sammy Kaye was well known to the members of his band for his strict attitudes and demanding nature. Though his orchestra seldom boasted any memorable or well-known musicians, those who served under him frequently spoke of his non-nonsense discipline and rather dictatorial nature - especially during his often-lengthy rehearsal sessions. For the audience, this regimen meant that his orchestra usually performed flawlessly - though, with such precision required by the leader, it was generally a pretty stiff outfit. (To his credit, Kaye was financially generous with his musicians and, unlike many a bandleader that refused to pay for the cost of food and accommodations on the road, Kaye's men always traveled and stayed first class.)
The Sammy Kaye band was a fixture on radio, appearing frequently in a variety of commercial formats on all of the major networks between 1937 and 1956, including memorable stints on the Chrysler-Plymouth "Sammy Kaye Showroom" and his long-running "Sunday Serenade" series. Kaye's career continued long after the big band era was over, ending only with his retirement to Southern California in the late 1960s. Even today, dancers are still listening to his music, as the Sammy Kaye orchestra continues to perform under the direction of trumpeter Roger Thorpe -- but, truth to tell, the band still doesn't swing.
This collection offers you the chance to swing and sway yourself (or not), as we offer two of the band's live band remotes, both emanating from the roof of the elegant Hotel Astor in New York City. The first, broadcast on Monday, August 27, 1945, features vocals by Billy Williams, Arthur Wright, Sally Stewart, and Nancy Norman and the second, a newly discovered CBS broadcast from the Summer of 1951, offers vocals by Don Burke, Barbara Benson, Tony Alamo, and the Three Kaydettes.
Vincent Lopez and his Orchestra
It would be hard to think of a more successful or diverse bandleader than Vincent Lopez. Seated behind a gleaming grand piano on the bandstand of his twenty-year home base, the Grill Room of the Hotel Taft in New York City, Lopez fronted a band that offered swing, dance music, Dixieland jazz, country-western tunes -- and, in the late 1950s, even a few rock and roll numbers.
Lopez had originally studied to become a priest, but soon decided to go into music and formed his first orchestra in 1917. Featuring his own flamboyant and florid piano style - a technique that would later inspire such performers as Eddy Duchin and Liberace - Lopez was extremely successful and gave important breaks to such future stars as Artie Shaw, Xavier Cugat, Jimmy and Tommy Dorsey, Tony Pastor, Rudy Vallee, and Glenn Miller. The Lopez orchestra was also the first dance band to broadcast live on the new fangled "wireless," offering the first of his thousands of radio broadcasts over radio station WJZ on November 27, 1921. ("Lopez Speaking," the signature announcement that opened each program, began with that first show and continued on for over forty years of broadcasting.)
The Lopez band practically defined the style of popular hotel orchestras of the time. Playing primarily for dancing and light entertainment, Lopez was also an innovator when it came to the audience participation stunts that generated publicity. Wednesdays through Fridays, for instance, Lopez would have everybody in stitches at the Grill Room with his "Shake the Maracas" show, in which people came great distances to demonstrate their personal skill with the maracas and compete for such prizes as miniature piano cigarette lighters and autographed photos of the bandleader. On many an afternoon, tourists (and hooky-playing office workers) would head off to the Taft for an hour-long 1:00 PM dance session, often broadcast as "Luncheon With Lopez" over the Mutual Radio Network. He even sponsored "Fashions in Music," a weekly afternoon fashion show in which models would display the latest in day and evening wear to the instrumental melodies of the band.
Such novelties may have diminished the impact of his music, but it never affected his pocketbook - or his ability to hire the best musicians in town. For many years, a spot in the Lopez band was a real plum for a musician who also desired a stable family life; the show at the Taft always ended at 9:00 PM sharp, giving a sideman ample time to change into street clothes and be home in time to kiss the kids goodnight and watch the eleven o'clock news.
Vincent Lopez and his Orchestra are represented here by two 1959 broadcasts from the Grill Room, featuring vocalists "Texas" Teddy Norman, Barbara Barrie, Johnny Messner (himself a former bandleader and, at this time, the musical co-director of the Lopez band), and the Lopezians.
Chuck Foster and his "Music in the Foster Fashion"
Emulating the style of Guy Lombardo's successful and popular Royal Canadians, reed player Chuck Foster began his career as a bandleader in 1938, bringing the sweet (and sometimes syrupy) sounds of his band to such sizeable venues as San Francisco's Mark Hopkins Hotel and the Los Angeles Biltmore Hotel's famous Biltmore Bowl. With radio remotes routinely being broadcast from both locations, the band hit its stride early and quickly achieved popularity with the help of talented pianist Hal Pruden and vocalists Dorothy Brandon, Jean Gordon, Dotty Dotson and Jimmy Castle. Appearances on the popular "Victory Parade of Spotlight Bands," a radio program sponsored throughout the war years by the Coca-Cola Company, led to a number of coast to coast tours, with one nighters in hotels throughout the country and lengthy stays in Chicago's staid Aragon and Trianon Ballrooms. After the band's success in the Windy City, Foster decided to make his home in the Midwest, leading the band into successful engagements at the Peabody Hotel in Memphis, the Muehlbach Hotel in Kansas City, and New Orleans' Roosevelt Hotel.
Though Foster was proficient on both the clarinet and saxophone, for some reason he never played these instruments with his band. Instead, he would simply hold his clarinet as he conducted. He also sang the vocal on the band's theme song, "Oh You Beautiful Doll," always singing directly to one of the more attractive women in that night's audience - a trademark that undoubtedly thrilled some and embarrassed others. Foster was an attractive and personable leader, always ready with a handshake, a smile, and an autograph when requested; even if his band wasn't the most innovative of outfits, dancers could be sure of a pleasant tuneful evening when his orchestra was on the stand.
During World War II, Foster was drafted into military service and first trumpet player Ray Robbins took over the band until he returned. (Robbins would later use this experience to form his own sweet band, with a style similar to that of his former boss.) After the war, the band continued to tour throughout the Midwest well into the 1960s, but it finally relocated to the west coast in the early 1970s, eventually finding a long-time home at Myron's Ballroom in Los Angeles.
Heard today, "Music in the Foster Fashion" offers little to distinguish it from other similar sweet bands of the time. But it always succeeded in accomplishing exactly what it set out to do: play entertaining music for dancing, quiet conversation -- and perhaps a bit of romantic cuddling as well.
Chuck Foster and his Orchestra can be heard here in two live band remotes from the Terrace Room of New York City's Hotel New Yorker. Broadcast on Monday, August 13, 1945 and Saturday, September 8, 1945, the programs feature vocals by Judy Tremaine, Shirley Richards and Dick Roberts.
The Shuffle Rhythms of Henry Busse and his Orchestra
Born in Germany, trumpeter Henry Busse came to the United States in 1916 and soon obtained an east coast job in a pit orchestra, playing accompaniment for silent movies and stage shows. Rapidly tiring of the repetitive work, he started his own quintet and eventually headed west to California. His specialty, his muted trumpet playing six-eight time numbers in a tempo he would later dub "Shuffle Rhythm," caught the ear of Paul Whiteman - the then-reigning "King of Jazz" - who hired Busse to play a variety of specialty numbers with his popular band.
Busse's greatest hit - and, in fact, his band's theme song - was "Hot Lips," a novelty number that he himself had composed along with Harry Lange and Lou Davis. With Whiteman, he co-wrote another hit, "Wang Wang Blues," which Whiteman used as the audition piece that secured his band their Victor recording contract in 1919. By all reports, Busse was happy with Whiteman, but still yearned to be independent. He went out his own in 1928, and soon found a home at the Chez Paree nightclub in Chicago.
The Busse orchestra spent much of the 1930s playing in and around Chicago, his music changing and keeping up with the new trends toward swing and "hot" music, but it's leader always understood the need for good dance tempos, with his own muted trumpet solos lending a unique sound to the arrangements. By 1938, the band was appearing at the Hotel New Yorker, where its "Shuffle Rhythm" arrangements gave popular tunes of the day a drive and appeal that was similar but different than the other popular bands. The fact that Busse had to play his signature hits - "Hot Lips," "Wang Wang Blues," and "When Day is Done," another number he had made popular with Whiteman - practically every day of his life was of no concern to him; the public enjoyed his band, liked him, and liked the music they made together.
Henry Busse remained in the band business throughout the 1940s, even making a few movie appearances, and was still leading a somewhat smaller band when he suddenly died of a heart attack in Memphis, Tennessee in April of 1955, just before he was scheduled to make an appearance at a local hotel. Busse's mid-1940s band, a dynamic organization that played both sweet and swing equally well, is represented here in a live broadcast from "the world famous Hollywood Palladium, on Sunset Boulevard in the heart of America's film capitol." First broadcast on Thursday, September 21, 1944, "Shuffle Rhythm" is well represented with a variety of delightful instrumentals, with Elaine Bower, Wyatt Howard, and Phil Grey singing the vocal numbers.
Horace Heidt and his Musical Knights
Bandleader Horace Heidt led one of the largest and most commercially successful orchestras of the big band era, even if it relied primarily on the showmanship of its soloists to entertain the audiences. However, with featured performers like guitarist Alvino Rey, pianist Frankie Carle, the King Sisters vocal group, baritone Gordon MacRae, and blind whistler Fred Lowery, there were few if any complaints from the crowds that inevitably attended their many theater and ballroom appearances or tuned in their radio shows.
Heidt himself was something of an enigma, even to those who knew him intimately. He led the band with a curious half-smile on his face and a rather stiff and stilted appearance that reminded some people of a high school principal keeping a close eye on his unruly students. This may have partially been because Heidt himself was, unlike most other leaders, not really a musician himself; he had studied piano as a youth, but his greatest skills were as a producer, promoter, and talent scout. The combination of the three, plus an outstanding business sense, brought fame and considerable financial gain over the course of his career.
Horace Heidt's musical career began in 1923, when a back injury diverted his hopes for a football career and led him instead into music. Originally called "Horace Heidt and his Californians," his band grew in both size and popularity throughout the decade and eventually led to tours of Europe and with the Fanchon and Marco vaudeville circuit throughout the United States. It was on these tours that Heidt's sense of showmanship really hit its stride, as his band began featuring everything from musical novelties to a trained dog act!
The Californians broke up in the early 1930s and Heidt formed a new band in 1932. This time called "Horace Heidt and his Brigadiers," the band was successful enough to obtain a regular radio program in 1936, broadcast from the Drake Theater in Chicago. It was on this program, and in its stage appearances, that Heidt came up with the concept of a give-away contest involving phone calls to listeners -- and thus was the highly successful "Pot of Gold" show born, one of the first big-money radio game shows to capture the public's interest.
By the late 1930s, Heidt's band had changed names again - it was ever after known as "Horace Heidt and his Musical Knights" - and, to the surprise of his critics, his musical style changed as well. He retained his most popular soloists but set out to hire such outstanding swing musicians as trumpeters Bobby Hackett and Shorty Sherock, sax player/arranger Frank DeVol, the great Dixieland clarinet player Irving Fazola, and bass sax player Joe Rushton. For the first time, Heidt's band played real authentic swing music -- and remarkably well, too.
By 1945, Heidt decided to leave the band business and focus his attentions on his many investments in real estate - including the vast and popular Trianon Ballroom in Southgate, California. He also opened "The Horace Heidt School for Stammering," an institution designed to help those afflicted with a condition which he himself had overcome at an early age through sheer strength of will. For the next forty years, aside from a brief return to band leading in 1947 and an occasional foray hosting radio and television programs, Horace Heidt managed his growing empire well. When he passed away in 1986, he died a very wealthy and, from all reports, a very happy man.
Horace Heidt and his Musical Knights are heard here in an opening night broadcast from his own Trianon Ballroom, originally aired on Tuesday, January 23, 1945, and featuring vocals by Gene Walsh, trumpet solos by Shorty Sherock (soon to depart to form his own band), and whistling solos by Fred Lowery.
Joe Reichman and his Orchestra
Billed as "The Pagliacci of the Piano," Joe Reichman is best remembered today for his captivating theatrical skill at the keyboard. Employing an expansive and flowery style similar to that of his contemporaries Eddy Duchin and Carmen Cavallaro, Reichman led a band that typified the "society bands" of the time.
The Reichman band was an elegant and highly successful outfit, playing the large hotel ballrooms that frequently hosted cotillions, wedding receptions, and coming out parties for wealthy debutantes. It helped that Reichman himself was a handsome and tuxedoed romantic figure, with a pencil thin mustache, aquiline features, and a ready wit. (Band members knew his other side, though; when particularly upset at rehearsals, it was not uncommon for him to pick up his piano bench and throw it forcefully across the room!)
Reichman's wit is evident in this live remote, broadcast in July of 1944 from the Biltmore Bowl of the Biltmore Hotel in Los Angeles, California and featuring vocals by Maureen O'Connor and Ray Foster. Note in particular Reichman's smooth and captivating arrangements, his interplay with a rather hapless announcer, his encouragement to the audience to "show a little enthusiasm" in their applause, and, in an example of the hazards of live radio, Reichman's verbal recovery as he accidentally knocks over a music stand while introducing a vocalist.
Bob Chester and his Orchestra
To many, the distinctive clarinet lead arrangements of the Glenn Miller orchestra bring back the sound and feel of the big band era like noting else -- so much so that, in the late 1940s, a number of bands were formed solely to take advantage of this early nostalgia. Miller's own "ghost" band, led by sax player/vocalist Tex Beneke, toured well into the 1950s and other orchestras (including that of Miller's former arranger, Jerry Gray, and also one headed by Ralph Flanagan) found success in mimicking the "boo-wah boo-wah" trombone riffs and other sounds of the Miller band. But only one band intentionally chose to imitate Miller while he was still *alive* -- and what's more, record on Bluebird, the same RCA subsidiary label that first released Miller's biggest hits.
Tenor sax player Bob Chester began his career playing with a variety of successful bands, including stints with Irving Aaronson's Commanders, Ben Bernie, and Ben Pollack. Born and raised in Detroit, Michigan, Chester was the wealthy stepson of the head of General Motors' Fisher Body Works. He formed his first band in the late 1930s and secured an engagement at the Detroit Athletic Club. From all reports, this first engagement was a fiasco and Chester was considering a return to sideman status when he met up with successful bandleader Tommy Dorsey. Dorsey, known for both co-financing bands and the habit of nursing a grudge for years, saw something in the saxophonist (some say he reminded him of himself) and took him under his wing - even inviting him to live with his family in New York until something could be put together for him.
Whether it was Chester's idea or a Dorsey inspiration is open to debate, but what the two of them came up with surprised everyone in the business: the new Bob Chester band was a virtual imitation of the Glenn Miller orchestra, then rising rapidly in popularity, complete with the clarinet leads, 'killer diller' instrumentals, and clean-cut vocalists upon which Miller had built his reputation. In retrospect, it seems likely that Dorsey was angry with Miller at the time and decided to get even by simply recreating the Miller band in his own way. Chester worked with Dorsey to hire some of the best musicians in the business, which over time included trumpeters Alec Fila and Conrad Gozzo, saxophonists Herbie Steward and Peanuts Hucko, and trombonist Bill Harris. The band also featured excellent vocalists, including the jazz-tinged Dolores "Dodie" O'Neill and a former Miller vocalist, Kathleen "Kitty" Lane.
Despite early success - and despite being booked at many of the same ballrooms and nightspots that had earlier boosted Miller to prominence - Chester soon found that copying the Miller sound required more than just playing similar arrangements. It also required the same discipline, lengthy rehearsals, level of talent, and virtual perfection that Miller sought from his musicians -- something that Chester just couldn't consistently duplicate. So, in 1942, Chester broke away from the Miller mold and, with the help of arranger Dave Rose, decided to concentrate on creating a more individual style. Focusing on swinging instrumentals and popular ballads, the Bob Chester band achieved a decent degree of success - though this was as much due to personable vocalists like Betty Bradley, Bob Haymes (brother of singer and Hollywood star Dick Haymes), Hall Stewart, Gene Howard, David Allen, and future "Hollywood Squares" host Peter Marshall as to the inconsistent quality of his music.
By the end of the war, economics and an overstocked musical marketplace forced Chester to disband his orchestra, whereupon he returned to his native Detroit to accept a job as a disc jockey. The band business beckoned again in 1947 and Chester headed up a Dixieland combo that featured vocalist Alan Foster, which survived through the early 1950s, after which Chester decided to leave the music scene for good. He returned once again to Detroit, where he accepted a job in the automotive industry and remained prosperous until his death in 1977.
Bob Chester and his Orchestra are heard here in a live performance from the Panther Room of Chicago's Hotel Sherman, originally broadcast on Sunday, October 8, 1944. Though this program is something of a departure from the other shows in this collection (by 1944, Chester was focusing on some pretty driving arrangements), we think that the presence of ballads featuring vocalists Dave Allen and Betty Bradley and a nice collection of wartime numbers makes it fit in quite nicely.
Russ Morgan and his "Music in the Morgan Manner"
Best remembered for the "wah-wah" trombone style that became his trademark, Russ Morgan was born in the coal-mining town of Scranton, Pennsylvania. His father and mother, both former professional musicians, encouraged their young son to learn an instrument, leading young Russ to seek work in the mines at an early age in order to pay for his piano lessons. By age fourteen, he was earning extra money by playing piano at a local movie theater and, with the profits, bought his first trombone. At seventeen, he spent a year playing with the Scranton Sirens, a band which also featured future bandleader Jimmy Dorsey, before heading off to New York in 1922, where the eighteen-year-old soon found work as a musical arranger for Victor Herbert and John Philip Sousa. He toured Europe with Paul Specht's orchestra in 1923 and, a year later, was invited to Detroit to serve as the arranger for Jean Goldkette's popular band.
Morgan was an extremely talented musician whose ability bordered on genius; he played trombone, piano, sax, guitar, vibraphone, and organ and successfully arranged music for many diverse orchestras. By 1927, the burgeoning field of radio broadcasting beckoned, and Russ Morgan left Goldkette's employ to serve as musical director at station WXYZ in Detroit, Michigan, where he sidelined as arranger and musician with the Detroit Symphony. A serious automobile accident in 1929 put him in the hospital and the stock market crash later that year caused a downturn in the fortunes of WXYZ, so back to New York he went, finding steady work writing arrangements and playing in studio orchestras.
Another automobile accident sidelined Morgan in 1933. Still recovering from his injuries and temporarily unable to play his trombone, he went to work for Freddy Martin as a pianist in 1934. It was with Martin's band that he first experimented with his soon to be famous "wah-wah" trombone style; played as something of a joke on quiet nights when the band outnumbered the customers, the savvy Morgan soon realized that this odd but appealing little gimmick was just the thing he needed to distinguish himself as a leader. Borrowing liberally from Martin's library of arrangements (and appropriating Freddy's tag line "Music in the Martin Manner" for himself as well) he formed his own orchestra in 1936 with the financial help of his friend and fellow musician Rudy Vallee.
The band was immediately successful, playing a lilting and well-blended mixture of vocal and dance tunes which, though loose and easy going, were actually very tightly arranged -- often by Morgan himself. Morgan also served as part-time vocalist for the band, composed it's theme song, "Does Your Heart Beat For Me," and contributed his trademark "wah-wah" trombone riffs to most every number it played. His style always leaned primary toward the commercial, so one was seldom likely to hear any of the "killer dillers" played by the more swinging bands, but he always had a knack for knowing just what the public liked -- and gave it to them over and over again.
As musical tastes changed with the turn of the decade, the Russ Morgan orchestra suffered a few downturns in the early 1940s. He kept his group together, though, and survived to experience his greatest popularity after the war and beyond. (His orchestra could be heard playing Las Vegas showrooms as late as 1965.) Morgan's sons, Jack and David, joined the band in the early 1950s and it remained a source of great pride to their father that his organization would be passed from father to sons. After Morgan's death in 1969, this is precisely what happened; Jack Morgan continues to lead the Russ Morgan band to this very day.
"Music in the Morgan Manner" is represented here by two live broadcasts from one of the most elegant nightspots of all time: the Garden Court of the Claremont Hotel in Berkeley, California. The programs, originally aired on Thursday, December 14, 1944 and Thursday, June 28, 1945, feature vocals by Al Jennings, Marjorie Lee, and Russ Morgan himself.
Shep Fields and his "Rippling Rhythm" Orchestra
It may be difficult to believe, but the foundation of Shep Fields success rested on his ability to blow through a straw and make bubbles in a bowl of water. As Fields himself told it, his orchestra was playing a one-night stand in Rockford, Illinois where he and his wife stopped by a soda fountain for a drink. While sipping, Fields' wife happened to blow into her soda -- and Shep knew right away that the bubbling was the trademark sound needed to open each of his many broadcasts.
"Ripping Rhythm" was more than just hot air, though; it was a unique blend of styles and instruments, brought together to create an off-center sound that was immediately appealing and extremely danceable. Playing for dancing came second nature to the bandleader, as he had began his professional career as the sax playing leader of the house band at New York's Pierre Hotel in 1934. Opportunity knocked a few months later when Veloz and Yolande, the nation's top dance team, hired his band to travel with them as part of their stage show. Known as "The Veloz and Yolande Orchestra under the direction of Shep Fields," the band and their dancing bosses had their first booking in Chicago, and it wasn't long before Fields began to experiment with new and different sounds and orchestrations. With a limited budget and only stock arrangements to work with, Fields and his arrangers took bits and piece that they liked from other popular orchestras of the time - Hal Kemp's trumpet triplets, Eddy Duchin's free-flowing right hand embellishments, Ted Fio Rito's use of temple blocks, and so on - and assigned them to various sections of his band. Soon a unique style began to emerge - one so different and distinctive that audiences hearing it responded enthusiastically every time they gave the new arrangements a trial run. A contest was soon held to name the new sound and, out of the thousands of entries, a catch phrase was born: "Rippling Rhythm."
When his Chicago engagement ended, Fields and the orchestra traveled to Los Angeles with the dance team for an engagement at the Cocoanut Grove, but soon decided to try it on their own, paying for the trip back to New York by playing a series of one nighters and split weeks at various venues along the way. It was on this trip that the bubbling opening trademark came into being, putting a final touch on the polish of the orchestra and leading to a series of radio remotes. Soon after he reached New York and returned to the bandstand of the Pierre, Fields' band signed with RCA's Bluebird label and produced a string of successful hits that eventually led to a radio series, "The Rippling Rhythm Revue," which also featured the comedy of a brash young Broadway comedian named Bob Hope.
"Rippling Rhythm" was a major financial success -- but Fields was too good a musician to remain satisfied with blowing bubbles forever. So, in 1942, he put together another unique orchestra, this time consisting entirely of reed instruments and percussion. Billed as "Shep Fields and His New Music," among the members of this critically acclaimed and beautifully blended band were such future television stars as comedian Sid Caesar on saxophone and Ken Curtis ("Festus" on "Gunsmoke") as male vocalist. But, despite the excellent reviews Fields received for this new organization, the band never seemed to capture the public's fancy the same as his "Rippling Rhythm" had done. So, in 1947, the creative gave way to the practical and Shep returned to his previous sound -- and previous success, as well.
The bubbles rippled into 1955 and, when most of the ballrooms had closed, Fields put away his straw and became a disc jockey for a radio station in Houston, Texas, his band leading days over for good. His business skills and show business contacts stood him in good stead, though, and he and his brother - high-powered personal agent Freddy Fields - formed a Los Angeles-based talent agency called Creative Management Associates (CMA) in 1963. Fields died of a heart attack in 1981, richer and even more successful than he had been when his "Rippling Rhythm" filled the airwaves.
Shep Fields and his "Rippling Rhythm" are heard here in two live broadcasts. The first, from the Glen Island Casino in New Rochelle, New York, dates from 1947 and the second is as broadcast on March 6, 1948 from the Ice Terrace Room of the Hotel New Yorker. Both feature vocals by Toni Arden, Bob Johnstone, and The Three Beaus and a Peep.
Guy Lombardo and his Royal Canadians
Probably no orchestra leader of his time suffered more ribbing - good natured and otherwise - than Guy Lombardo. Parodied for the distinctive vibrato of his sax section, his often pedantic rhythms, and the familiar nature of his band's personnel (the band boasted all four Lombardo brothers, as well as a vocalist brother-in-law), Lombardo early on adopted a philosophy that might best be described as "crying all the way to the bank."
Guy Lombardo was more than just a bandleader; he was a virtual institution. Thanks to broadcasts on both radio and television, it was his Royal Canadians who, for decades, welcomed in each and every New Year with their theme song, "Auld Lang Syne." (Writer and humorist Garrison Keillor once reported that, as a child hearing Lombardo on the radio, he mentally pictured the Royal Canadians dressed in official RCMP red uniforms ala Nelson Eddy, playing their instruments on horseback!) Lombardo himself was a consummate leader who, even in his last years, hated a night off from conducting because he didn't know what to do with himself. From the very beginning, Guy Lombardo believed in the music his orchestra made -- and it was his belief, along with the talents of his musicians, that made "The Sweetest Music This Side of Heaven" a popular success for over fifty years.
One of four sons of an immigrant tailor, Guy Lombardo grew up in a family filled with music. Brother Carmen played flute and saxophone, brother Liebert played drums and trumpet, brother Victor played clarinet and sax, and Guy himself played violin. Forming their first band in 1916, the group became popular around their hometown of London, Ontario and, in November 1923, they chanced a trip to Cleveland, Ohio to see if they could break into the American music scene.
Times were tough, though, and the Lombardos found themselves just another band among the hundreds recording and playing hotel ballrooms at the time. In order to survive, they knew they would have to find a new and distinctive sound - one that would be both unique and immediately identifiable to the listener. Focusing almost exclusively on melody, playing simple but highly danceable arrangements, and featuring the soulful vibrato of brother Carmen's saxophone, their big break finally came in Chicago in 1927 when Lombardo paid radio station WBBM to broadcast a fifteen-minute portion of their performance at the Granada Cafe. By the end of the evening, the ballroom was jammed and the radio station had received so many calls that they extended the broadcast further into the evening.
Guy soon gave up his violin and traded it for a baton, fronting the band and enhancing its image with his bright and outgoing personality. He made it a habit to chat with audience members as they danced by the bandstand, laughing and joking with them to put everyone in a happy and festive mood. By this time, the Lombardo band had also adopted the moniker "the Royal Canadians" - a compromise to their booking agent's suggestion that they dress as Mounties to draw attention to themselves. Radio continued to play a major role in their success and, when they accepted a booking at New York's Roosevelt Grill in October 1929, their remotes over station WABC helped draw a considerably large crowd to the venue. Newly-formed radio networks CBS and NBC both vied for the exclusive right to broadcast the band and, unable to reach a decision, Lombardo suggested a well-received compromise: CBS aired the Royal Canadians from 11:30 PM to midnight and NBC took over between midnight and 12:30 AM.
The Lombardo organization continued to be influential throughout the 1930s and 1940s, consistently scoring high ratings on network radio and drawing huge crowds of dancers. It seemed that people of all ages and races loved Lombardo's music - even trumpeter Louis Armstrong, who modeled the style his own band after the Royal Canadians. Through the years, vocals were provided by Carmen and Leibert Lombardo, Kenny Gardner (who became Guy's brother-in-law when he married Guy's sister, Elaine), singer/comedienne Rose Marie, Bill Flannigan, Cliff Grass, Don Rodney, Tony Craig, Stuart Foster, Jimmie Brown, "The Incomparable Hildegarde" - a talented pianist/singer/chanteuse who later became a prime supper club attraction - Edie Adams (before she found Broadway success and married comedian Ernie Kovacs), Kenny Martin, and Billy Leach.
When most of the other big bands had filed away their arrangements and disbanded, the Royal Canadians carried on right through the 1950s, 1960s, and into the 1970s - their bookings and popularity undaunted by changing times. It seemed to many that Guy Lombardo would live forever -- but, alas, in November of 1977, while playing an engagement in Houston, Texas, Guy suffered a massive coronary and died shortly thereafter. Victor Lombardo, who had briefly fronted his own band in the late 1940s, briefly carried on in his stead, but found that he couldn't maintain the pace. Finally, after Leibert Lombardo decided to retire in 1979, the group was disbanded -- but not for long. The Lombardo estate reorganized the band in 1989 and, to this day, it continues to entertain under the direction of pianist and arranger Al Pierson.
The band that played "The Sweetest Music This Side of Heaven" can still be enjoyed today, either in person or in the thousands of recordings, radio broadcasts, and television programs the Royal Canadians made through the years -- including the two offered here, both from "Musical Autographs," a weekly series heard over the Blue Network in the summer of 1945. These two programs, rather heavily edited for rebroadcast by the Armed Forces Radio Service, feature announcer Dan Seymour introducing the (supposedly) favorite songs of a variety of celebrities and movie stars of the time. The concept may be a little contrived - but the music of the Royal Canadians remains as timeless as New Year's Eve.
I Loved the Write Up May 20, 2022
Reviewer: Archie Hunter from Canada
I loved the write up on the "The Best of the Big Bands Volume 2" set! Well done. Thank you for a wonderful year of great memories.
Thanks For Your Great Work May 20, 2022
Reviewer: Larry Thomas
I'll be giving the Big Band set to my brother as a birthday gift. He doesn't know it yet, but he's got a real treat in store for him. Thanks for your great work. I truly miss radio like it was, but you let me enjoy it all over again.
Reviewer: Anonymous Person from United States


second, Vicpas have immedialtey reply sales team, no matter earlier morning or deep night.
Third, Vicpas always care about customer's feeling, provide immedialtey solution.
last. good quality, fastest shipment, and best service are our goal.
Thanks very much for select Vicpas.
Previous: Switzerland! Vicpas touch faster shipment and good quality, customer from Switzerland want to re-order again.


text:
Rhonda M. Stroud (born 1971) is a materials physicist and planetary scientist at Arizona State University, where she serves as Director of the Buseck Center for Meteorite Studies.  From 1998- 2022, she was a Research Physicist at the United States Naval Research Laboratory, where she led the Nanoscale Materials Section. She is known for her research on nanostructures, including quasicrystals and aerogel, and on the materials that make up comets and cosmic dust. She pioneered the use of focused ion beam technology in the study of meteorites.

Education and career
Stroud graduated from Cornell University in 1991 and completed a Ph.D. in 1996 at Washington University in St. Louis. She joined the Naval Research Laboratory in 1996 as a postdoctoral researcher, and two years later obtained a permanent position there as a Research Physicist.

She served as president of the Microanalysis Society for 2018–2020.

Recognition
Stroud was elected as a Fellow of the American Physical Society in 2010,  of the Microscopy Society of America in 2021., and of the Microanalysis society in 2022.
She is also a fellow of the Meteoritical Society. Asteroid 8468 Rhondastroud was named after her in 2012.

References

External links

1971 births
Living people
American physicists
American women physicists
American nanotechnologists
Planetary scientists
Women planetary scientists
Cornell University alumni
Washington University in St. Louis alumni
Fellows of the American Physical Society
Washington University physicists

redpajama_set_name: RedPajamaWikipedia


Many translated example sentences containing "Quellensteuertarif" – English- German dictionary and search engine for English translations. Here you can find the present withholding tax monthly tariffs. 9 Dec Next year not only change the tariffs in itself but also its structure.
The keyword to search for is "Quellensteuertarife" [source tax rates]. Look for a document with tables of figures headed A, B, C, etc. The reason. Quellensteuer-Tarife · Fernwartungssoftware (TeamViewer) · Onlinepartner Parallels config Datei Jobs. Lehrstelle als Kauffrau/Kaufmann (Profil E). Email format and list of 4 email addresses of people working at Sage Schweiz Ag . Contact and general information about the website rosariojermano.com Sign in to.
Quellensteuertarife? Mein Mann arbeitet und wohnt seit ca 5 Jahren in der rosariojermano.com und Kinder wohnen weiterhin in Deutschland. Bei der Einstellung legte. We are happy to announce the official TelerikUI for Silverlight () CTP. Get access to the download bundle by signing up today! TelerikUI for Silverlight () . Rick Steves is Americas leading authority on European travel. Plan your own trip or take one of Ricks value-packed European tours and vacations. Everything.


text:
Tom Wilkes (* 30. Juli 1939 in Long Beach; † 28. Juni 2009 in Pioneertown nahe Los Angeles) war ein US-amerikanischer Designer und Fotograf.

Leben und Wirken
Tom Wilkes studierte in den 1950er und 1960er Jahren am Long Beach City College der University of California, Los Angeles, und dem Art Center College of Design in Pasadena. Er hat seine erste bedeutende Leistung als Art Director des Monterey Pop Festivals 1967 erbracht und bekleidete dieselbe Position auch 1971 beim Konzert für Bangladesch. Seine Bedeutung für die Musikgeschichte hatte er jedoch in erster Linie als Designer diverser Plattencover, darunter für Alben, die Musikgeschichte schrieben. So zeigte er sich für die Cover des Roten und Blauen Albums der Beatles ebenso verantwortlich wie für Neil Youngs Harvest. Hinzu kamen auch Coverarbeiten für die Rolling Stones, Janis Joplin und Eric Clapton, aber auch die Veröffentlichung des Concert for Bangladesh.

Er war dabei unter anderem Photograph, Art Director, Graphic- und Logo-Designer, Illustrator und Konzeptionator. Wilkes war nicht auf eine Stilrichtung festgelegt; neben Covern im Bereich der Rock- und Popmusik schuf er auch viele Artworks im Bereich des Countrys und der klassischen Musik, aber auch für Comedians wie George Carlin und Cheech & Chong. Mit seinen Einfällen prägte er die Gestaltungsweise der Albencover nachhaltig. Für das Cover-Design zur LP Tommy performed by the London Symphony Orchestra and Chamber Choir with Guest Soloists wurde Wilkes 1974 mit einem Grammy ausgezeichnet.

Er starb an einem Herzinfarkt und hatte bereits zuvor an einer progressiven neuromuskulären Erkrankung gelitten. Er hinterließ eine Tochter.

Mitwirkung an Albencovern
1967: Flowers: The Rolling Stones (Original Graphics)
1967: Present Tense: Sagittarius (Cover Design)
1967: Safe as Milk: Captain Beefheart and the Magic Band (Grafikdesign)
1968: Beggars Banquet: The Rolling Stones (Design, Konzept für das Originaldesign)
1968: Carnival of Life: Lee Michaels (Künstlerischer Leiter)
1968: Christmas Album: Herb Alpert & the Tijuana Brass (Künstlerischer Leiter)
1968: Colours: Claudine Longet (Künstlerischer Leiter)
1968: Family That Plays Together: Spirit (Künstlerischer Leiter)
1968: Fantastic Expedition of Dillard & Clark: Dillard and Clark (Künstlerischer Leiter)
1968: Fool on the Hill: Sérgio Mendes & Brasil '66 (Künstlerischer Leiter)
1968: I Wonder What She's Doing Tonite?: Tommy Boyce und Bobby Hart (Künstlerischer Leiter)
1968: Love Is Blue: Claudine Longet (Künstlerischer Leiter)
1968: Roger Nichols & the Small Circle of Friends: Roger Nichols and the Small Circle of Frie (Künstlerischer Leiter)
1968: Song Cycle: Van Dyke Parks (Illustrationen)
1968: Spirit: Spirit (Künstlerischer Leiter)
1968: Tape from California: Phil Ochs (Künstlerischer Leiter)
1968: Tarantula: Tarantula (Design, Photographie)
1969: Accept No Substitute: The Original Delaney & Bonnie (Grafikdesign)
1969: Any Way That You Want Me: Evie Sands (Künstlerischer Leiter, Photographie, Cover Photo)
1969: Clear: Spirit (Design)
1969: Crystal Illusions: Sergio Mendes & Brasil '66 (Künstlerischer Leiter)
1969: Dylan's Gospel: The Brothers and Sisters of L.A. (Photographie)
1969: Gilded Palace of Sin: Flying Burrito Brothers (Künstlerischer Leiter)
1969: Happy Heart: Nick DeCaro & Orchestra (Künstlerischer Leiter)
1969: It's Never Too Late: The Montgomery Brothers (Design, Photographie)
1969: Love Is All We Have to Give: The Checkmates Ltd. (Grafikdesign, Photographie)
1969: Make It Easy on Yourself: Burt Bacharach (Künstlerischer Leiter)
1969: Rehearsals for Retirement: Phil Ochs (Künstlerischer Leiter, Photographie)
1969: Robin Wilson: Robin Wilson (Künstlerischer Leiter)
1969: Rock Salt and Nails: Steve Young (Künstlerischer Leiter)
1969: Through the Morning, Through the Night: Dillard and Clark (Künstlerischer Leiter)
1969: Ticket to Ride: Carpenters (Künstlerischer Leiter)
1969: Venus in Cancer: Robbie Basho (Design, Photographie)
1969: Ye-Me-Le: Sergio Mendes & Brasil '66 (Künstlerischer Leiter)
1969: Signs of the Zodiac: Mort Garson (Künstlerischer Leiter)
1970: A Bad Donato: Donato (Design, Photographie)
1970: Alone Together: Dave Mason (Design, Photographie)
1970: Buddy and the Juniors: Buddy Guy und Junior Wells & Junior Mance (Design, Photographie)
1970: Burrito Deluxe: The Flying Burrito Brothers (Künstlerischer Leiter)
1970: Close to You: The Carpenters (Künstlerischer Leiter)
1970: Contribution: Shawn Phillips (Künstlerischer Leiter)
1970: Eric Clapton: Eric Clapton (Design, Photographie)
1970: Greatest Hits: Phil Ochs (Künstlerischer Leiter, Photographie, Back Cover)
1970: Leon Russell: Leon Russell (Design)
1970: Mad Dogs & Englishmen: Joe Cocker (Design)
1970: On Tour with Eric Clapton: Delaney & Bonnie & Friends (Design, Photographie)
1970: To Bonnie from Delaney: Delaney & Bonnie (Design, Photographie)
1970: Wonderful World Beautiful People: Jimmy Cliff (Künstlerischer Leiter)
1971: Cello Quartet: Roger Kellaway Cello Quartet (Design, Photographie)
1971: Concert for Bangladesh: George Harrison (Design, Photographie)
1971: John Prine: John Prine (Design, Photographie)
1971: Live at Fillmore West: King Curtis (Design)
1971: Minnows: Marc Benno (Design, Photographie)
1971: Motel Shot: Delaney and Bonnie (Photographie, Jacket Design)
1971: Off the Shelf: Batdorf & Rodney (Design, Photographie)
1971: Pearl: Janis Joplin (Design, Photographie)
1971: Someday Man: Paul Williams (Design, Photographie)
1971: Stoney End: Barbra Streisand (Design, Photographie)
1971: Thirds: The James Gang (Cover Design)
1971: Watcha' Gonna Do?: Denny Doherty (Design, Photographie)
1972: Dinnertime: Alex Taylor (Design, Photographie)
1972: Dr. John's Gumbo: Dr. John (Design, Photographie)
1972: FM & AM: George Carlin (Künstlerischer Leiter)
1972: Harvest: Neil Young (Design)
1972: Jo Jo Gunne: Jo Jo Gunne (Design, Cover Photo)
1972: Steamin': Rastus (Cover Photo)
1972: Big Bambu: Cheech und Chong (Jacket/Poster Design)
1972: Ululu: Jesse Ed Davis (Design, Photographie)
1973: Tommy: As Performed by the London Symphony Orchestra (Design, Photographie)
1973: Witness: Spooky Tooth (Design, Photographie)
1974: Stop All That Jazz: Leon Russell (Design)
1975: Mysteries: Keith Jarrett (Künstlerischer Leiter)
1975: Those Southern Knights: The Crusaders (Künstlerischer Leiter)
1976: Groove-A-Thon: Isaac Hayes (Künstlerischer Leiter)
1976: I Hope We Get to Love in Time: Marilyn McCoo & Billy Davis, Jr. (Artwork)
1976: Illusions: Jimmy Ponder (Künstlerischer Leiter)
1976: Long May You Run: The Stills-Young Band (Design)
1976: Rose of Cimarron: Poco (Art Direction, Design)
1976: Shake Some Action: The Flamin' Groovies (Künstlerischer Leiter)
1976: Texas Rock for Country Rollers: Sir Doug & the Texas Tornados (Künstlerischer Leiter, Photographie)
1976: Together Again... Live: Bobby Bland & B. B. King (Künstlerischer Leiter)
1977: Sail Boat: Jonathan Edwards (Grafikdesign, Photographie)
1978: You Can Tune a Piano But You Can't Tuna Fish: REO Speedwagon (Künstlerischer Leiter, Design, Photographie, Cover Design)
1979: Blue Kentucky Girl: Emmylou Harris (Design, Photographie)
1981: Strait Country: George Strait (Photographie)
1989: Roadrunner: Smith Sisters (Design, Photographie)
1989: Starr Struck: Best of Ringo Starr, Vol. 2: Ringo Starr (Künstlerischer Leiter)
1994: Hugh Masekela & Union of South Africa: Hugh Masekela (Design, Photographie)
1995: Strait Out of the Box: George Strait (Photographie)
1996: Loneliness & Temptation/A Heart Full of Song: Clarence Carter (Photographie)
1996: Persimmons: Jim Lauderdale (Artwork, Künstlerischer Leiter, Design, Photographie)
1996: Portraits: Emmylou Harris (Photographie)
1996: Victim of Life's Circumstances/Genuine Cowhide: Delbert McClinton (Künstlerischer Leiter)
1997: Farewells & Fantasies: Phil Ochs (Photographie)
1999: Box of Pearls: The Janis Joplin Collection: Janis Joplin (Design, Photographie)
1999: Little David Years: 1971–1977: George Carlin (Design, Photographie)
2000: Asylum Recordings: Jo Jo Gunne + Bite Down Hard: Jo Jo Gunne (Design, Photographie)
2000: Collection: Janis Joplin (Design, Photographie)
2000: Lone Star Beer & Bob Wills Music/For All Our Cowboy F: Red Steagall (Künstlerischer Leiter, Photographie)
2001: Notice to Appear/A Banquet in Blues: John Mayall (Künstlerischer Leiter)
2001: Fantastic Expedition of Dillard & Clark [Fantastic Ex]: Dillard and Clark (Künstlerischer Leiter)
2001: Stained Glass Reflections: Anthology, 1960–1970: Scott McKenzie (Design, Photographie)
2002: From the Inside/A Good Feelin' to Know: Poco (Design, Photographie)
2003: Child of Clay/Windmills of Your Mind: Jimmie Rodgers (Künstlerischer Leiter, Photographie)
2004: Blue Kentucky Girl [Bonus Tracks]: Emmylou Harris (Design, Photographie)
2004: Jackie... Plus: Jackie DeShannon (Design, Photographie)
2004: Pieces of the Sky [Bonus Tracks]: Emmylou Harris (Design, Photographie)
2005: Alone Together/Headkeeper: Dave Mason (Design, Photographie)
2005: Beat of the Brass [Deluxe Edition]: Herb Alpert & the Tijuana Brass (Künstlerischer Leiter)
2005: Chronicles: The Carpenters (Künstlerischer Leiter)
2005: Concert for Bangladesh [DVD]: George Harrison and Friends (Photographie, Konzept für das Originaldesign Concept)
2005: Don't Fight the Feeling: Aretha Franklin/King Curtis (Design)
2005: You Can Sing on the Left or Bark on the Right [Bonus]: Dirk Hamilton (Künstlerischer Leiter)
2006: Bust Out at Full Speed: The Sire Years: The Flamin' Groovies (Künstlerischer Leiter)
2006: Flowers [Japan]: The Rolling Stones (Grafikdesign)
2006: Home [Bonus Tracks]: Delaney and Bonnie (Cover Design)
2006: Live at Fillmore West [Deluxe]: King Curtis (Design)
2006: Live at Fillmore West: Aretha Franklin (Design)
2006: Misty Roses/The Wonder of You: The Sandpipers (Künstlerischer Leiter)
2007: Monterey Pop Festival: Various Artists (Logo)

Weblinks
 Homepage

Belege

Designer
Konzertfotograf
Grammy-Preisträger
US-Amerikaner
Geboren 1939
Gestorben 2009
Mann


We have an extensive history of manufacturing and exporting flexible packaging materials to various markets worldwide. To serve our customers worldwide, we offer products manufactured in Asia with the security of paying through the United States. However, for our North American customers, we offer the flexibility of products manufactured and purchased directly in Asia, or manufactured and purchased in the United States.
Provide first article samples, press checks, etc.
Although our plants in the USA and Asia offer a similar range of products – some products are exclusively made in Asia due to lower costs of labor (hand applied slider buttons and hand strung shoulder tote and backpack bags). Please contact your local representative for more details.


text:
Sunday, September 7, 2014, Bhadra 23, 1421, Zilqad 11, 1435 Hijr
BNP fails to catch up with any of many issues AL men face guns of both goons and law Tarique, Fakhrul sued for defamation Legal experts urge govt to reconsider move Putul nominated for WHO award
Self-determination key to overcoming Middle East crisis
Jeffrey D Sachs
Publish Date : 2014-09-07, Publish Time : 00:00, View Count : 105
It is time for the United States and other powers to let the Middle East govern itself in line with national sovereignty and the United Nations Charter. As the US contemplates yet another round of military action in Iraq and intervention in Syria, it should recognize two basic truths.
First, US interventions, which have cost the country trillions of dollars and thousands of lives over the past decade, have consistently destabilized the Middle East, while causing massive suffering in the affected countries. Second, the region's governments - in Syria, Saudi Arabia, Turkey, Iran, Iraq, Egypt, and elsewhere - have both the incentive and the means to reach mutual accommodations. What is stopping them is the belief that the US or some other outside power (such as Russia) will deliver a decisive victory on their behalf.
When the Ottoman Empire collapsed at the end of World War I, the great powers of the day, Britain and France, carved out successor states in order to ensure their control over the Middle East's oil, geopolitics, and transit routes to Asia. Their cynicism - reflected, for example, in the Sykes-Picot Agreement - established a lasting pattern of destructive outside meddling. With America's subsequent emergence as a global power, it treated the Middle East in the same way, relentlessly installing, toppling, bribing, or manipulating the region's governments, all the while mouthing democratic rhetoric.
For example, less than two years after Iran's democratically elected parliament and prime minister, Mohammad Mossadegh, nationalized the Anglo-Iranian Oil Company in 1951, the US and Britain used their secret services to topple Mossadegh and install the incompetent, violent, and authoritarian Shah Reza Pahlavi. Not surprisingly, the Islamic Revolution that overthrew the Shah in 1979 brought a wave of virulent anti-Americanism in its wake. Rather than seeking rapprochement, however, the US supported Saddam Hussein during Iraq's eight-year war with Iran in the 1980s.
Iraq fared no better with the British and Americans. Britain ruthlessly created a subservient Iraqi state after WWI, backing Sunni elites to control the majority Shia population. After oil was discovered in the 1920s, Britain assumed control over the new oil fields, using military force as needed.
The US supported the 1968 coup that brought the Ba'ath Party - and Saddam - to power. With Saddam's invasion of Kuwait in 1990, however, the US turned on him, and has been entwined in Iraq's politics ever since, including two wars, sanction regimes, the toppling of Saddam in 2003, and repeated attempts, as recently as this month, to install a government that it considered acceptable.
The result has been an unmitigated catastrophe: the destruction of Iraq as a functioning society in an ongoing civil war, fuelled by outside powers, that has caused economic ruin and collapsing living standards. Hundreds of thousands of Iraqis have died in the violence since 1990.
Syria endured decades of French dominance after WWI, and then alternatingly hot and cold relations with the US and Europe since the 1960s. During the past decade, the US and its allies have tried to weaken, and then, starting in 2011, to topple President Bashar al-Assad's regime, mainly in a proxy war to undermine Iranian influence in Syria. The results have been devastating for the Syrian people. Assad remains in power, but more than 190,000 Syrians are dead and millions have been displaced as a result of an insurrection supported by the US and its allies (with Assad backed by Russia and Iran). Some US officials are now reportedly considering an alliance with Assad to fight the militant Islamic State, whose rise was enabled by the US-backed insurrection.
After decades of cynical and often secret interventions by the US, Britain, France, Russia, and other outside powers, the region's political institutions are based largely on corruption, sectarian politics, and brute force. Yet whenever a new Middle East crisis erupts, the latest being triggered by the Islamic State's recent gains, the US intervenes again, perhaps to change a government (as it has just orchestrated in Iraq) or to launch a new bombing assault. Backroom dealings and violence continue to rule the day.
Pundits claim that Arabs cannot manage democracy. In fact, the US and its allies simply don't like the results of Arab democracy, which all too often produces governments that are nationalist, anti-Israel, Islamist, and dangerous to America's oil interests. When the ballots go in that direction, the US simply ignores the election results (as it did, for example, in 2006, when Hamas won a large majority of the popular vote in Gaza).
The US cannot stop the spiral of violence in the Middle East. The damage in Libya, Gaza, Syria, and Iraq demands that a political solution be found within the region, not imposed from the outside. The UN Security Council should provide an international framework in which the major powers pull back, lift crippling economic sanctions, and abide by political agreements reached by the region's own governments and factions.
Iran, Turkey, Egypt, Syria, Saudi Arabia, the UAE, and other neighbors know one another well enough - thanks to 2,000-plus years of trade and war - to sort out the pieces themselves, without interference from the US, Russia, and the former colonial powers of Europe. The countries of the Middle East have a common interest in starving hyper-violent groups like the Islamic State of arms, money, and media attention. They also share an interest in keeping oil flowing to world markets - and in capturing the bulk of the revenues.
I am not claiming that all will be well if the US and other powers pull back. There is enough hatred, corruption, and arms in the region to keep it in crisis for years to come. And nobody should expect stable democracies any time soon.
But lasting solutions will not be found as long as the US and other foreign powers continue to meddle in the region. One hundred years after the start of WWI, colonial practices must finally come to an end. The Middle East needs the opportunity to govern itself, protected and supported by the UN Charter, not by any individual great power.r
, Professor of Sustainable Development, Professor of Health Policy and Management, and Director of the Earth Institute at Columbia University, is also Special Adviser to the United Nations Secretary-General on the Millennium Development Goals
BNP fails to catch up with any of many issues
AL men face guns of both goons and law
Tarique, Fakhrul sued for defamation
Legal experts urge govt to reconsider move
Putul nominated for WHO award
ACC: Sound and fury signifying nothing!
Cabinet reshuffle waiting in the wings
Regional health meet begins in city today
144,000 male students to get stipends from PM fund
Hasina renews pledge for knowledge-based society
Senior lawyers meet Tuesday to discuss 16th amendment bill
FIFA finance watchdog official denies corruption claims
Sterling can be England's Overmars says Rooney
Dutch seek restart against stumbling Czechs
Germany's defender Benedikt Hoewedes (L) and Scotland's forward Steven Naismith vie for the ball during the UEFA Euro 2016
Opinion in '1971: Bhetore Baire' is solely of AK Khandaker's own
BD-India coastal shipping services by year-end
Over 2,000 Rohingyas to be repatriated
Couple's bullet-ridden bodies recovered from Banani flat
Tangible Emotion With Form and Colour, Samiran Chowdhury's solo exhibition at Gallery Cosmos-2
Dhaka eyes stronger security, economic ties with Tokyo
Priyoshop.com to hold blogging contest
Tarique plans to return home
Govt ignores threat, ups vigilance
Call to bring sedition charge against AK Khondaker
Tangail tense as evicted sex workers, Islamists come face to face
Al Qaeda announces new branch in India, Bangladesh and Myanmar
Muhith against banning AK Khandker's book
Huge cache of arms, ammo recovered from Habiganj forest

redpajama_set_name: RedPajamaCommonCrawl


I think you have to fill out forms a the border declaring you are bring it across. I will check with a friend that is a customs agent.
Congratulation. SFE is always hard for our overly friendly labs.
What a beautiful area. Cookie must have been in seventh heaven.


text:
Home > New Books > CHICAGO'S SOUTH SHORE LINE
CHICAGO'S SOUTH SHORE LINE
Kenneth Springirth 128 pages softcover
Chicago's South Shore Line is a photographic essay of the last interurban electric railroad operating in the United States. Completed as the Chicago, Lake Shore & South Bend Railway (CLS&SBR) connecting South Bend, Indiana, with Pullman, Illinois, in 1909, the line went into receivership in 1925. It reorganized as the Chicago South Shore & South Bend Railroad (CSS&SBR) which rebuilt the railroad and provided direct passenger service from South Bend to downtown Chicago. The Great Depression forced the railroad into bankruptcy in 1933 but reorganized in 1938 and handled record ridership during World War II. After the Chesapeake & Ohio Railroad acquired the railroad in 1970, the electric freight service was dieselized. Soaring passenger deficits resulted in the formation of the Northern Indiana Commuter Transportation District (NICDT). Beginning in 1984, the Venango River Corporation operated the line until it went bankrupt in 1988. The Anacostia & Pacific Company began operating the freight service in 1990, and NICDT handles passenger service. Chicago's South Shore Line documents the history of this railway that has survived obstacles to maintain passenger service over its original route.
New Books > Railroad Books > C


Sayak Boral, Your mentor on risk-taking.
I am a marketer for technology firms and a personal development coach.
In this course, I'll walk you down through a unique step by step journey where you will be able to groom yourself for better risk-taking. All things being equal, the ability to take calculated risks in each and every endeavor of life, eventually spells the difference between winners and losers, doers and talkers, the haves and the have-nots!
Some of the learning outcomes to be gained from this course include: 1) Developing an entrepreneurial mindset 2) Growing out of your comfort zone in order to explore your bravest ideas 3) Getting rid of your inherent fears and the habit of second guessing 4) Stopping procrastination, once and for all.
There are no strict categorizations, per se, but the flow of the lessons progress from Beginner's to Intermediate and Advanced levels. It would be real helpful to follow the tutorials sequentially to gain maximum benefit out of this course. Also, there are a few simple exercises for you in the Project section to apply the lessons learned.
L1 - An introduction to risk-taking: This lesson gives a brief overview of what this entire course is all about. The Universe loves risk-takers. So, when you listen to your gut instincts and take bold steps forward, you successfully align yourself with the flow of the Universe.
L2 - The nature of risk: This lesson goes into the heart of the matter: what risks are all about. It starts with a simple discussion on self-confidence and how deeply is it connected to important risks. Most of us agree that growing our self-confidence is necessary but all the negative self-talk we have been accumulating in our brains due to primal fears, stands as a stubborn obstacle. I will teach you a very simple analogy so that you can destroy those primal fears for good.
L3 - Leaving the Comfort Zone: There is no doubt in anyone's mind that staying in the comfort zone is the biggest enemy of risk-takers. This tutorial will help you erase any lethargy that prevents you from making efforts in the right direction. The Reptilian brain (described simply as the "dinosaur" in the tutorial) traps you in the comfort zone by creating unnecessary fears which have no basis in reality. It's time your adult (human) brain took over the reins. Analysis paralysis is the last thing you need.
L4 - Blind Risks vs. Calculated Risks: The very word "risk" can have negative connotations as many people associate the term with a mad dash attempt at glory, devoid of practical consequences. Nothing could be further from the truth. In this tutorial, you will learn the exact technique to separate calculated risks from blind risks, and take informed decisions based on facts and new visions.
L5 - Step 1: First, Raise the Stakes: This tutorial is the first step in helping you build a conquering mindset which attracts positive vibes and start creating circumstances which are conducive to risk-taking. By the end of this tutorial, you will be able to apply a healthy amount of risk in everything that you do.
L6 - Step 2: Brace for Impact: Protect yourself in the event of a crash: Failures are the stepping stones to success. It's not very comforting though when your pursuits lead to a dead-end. How do you keep yourself positive when you've hit the rock-bottom? Or is there even a concept like that? Rock-bottom is really a state of mind. By preparing for unsavory situations, you will bounce back as quickly.
This is the last step that helps you develop a Winner's mindset so essential to risk-takers. Executing the risks you undertook methodically requires a steely determination and a positive vibe. By the end of this tutorial, you will essentially learn where to look for inspiration in order to whet your appetite for success.
L8 - How to manage Financial Risks: Money matters. In this advanced tutorial, you will learn how to apply the previous lessons to the financial domain. The aim is to help you create a mindset with some successful strategies borne out of personal stories. You will never look at money the same way again!
L9 - How to convince others to take a risk on you: We're all surrounded by naysayer's and doubters. Unfortunately, they may also be your partners, friends and family members. People whose involvement you need in your plans. So, they aren't really convinced? This tutorial will help you bring them on-board with your risk-taking enterprise.
Q1. What is the whole purpose of this course?
Ans: This course is a brazen yet sincere attempt at quantifying the exact techniques you need to succeed with any worthwhile risks in your personal and professional lives.
Q2. Who is the intended audience?
Ans: As mentioned in Lesson-1, I originally wanted to create a course on risk-taking for business executives i.e. sales and marketing professionals. They are the audience I'm mostly familiar with. Having prudently observed their work dynamic all these years, I came to the defining conclusion that most failed deal closures could be eventually traced back to someone's risk aversion. Think about it. All those weeks and months of hard work in vain just because the fear of uncertainty suddenly started outweighing the potential positive outcomes. I was motivated to create a course to help business executives take the next leap forward in crucial moments, by getting in tune with their inner risk-taking ability.
As I started creating the course materials, I came to the realization that the contents would equally benefit almost anyone with an open mind and a deep sense of introspection. Even if you're a scientist, engineer, educator or student, you have to tackle risks and uncertainties in your own ways. That is why I have broadened the scope of this course to cover people of all ages and backgrounds.
Q3. What risks have you personally taken in your life to qualify you as an authority on this subject?
Ans: This is the whole point of this course. You don't really have to be a skydiver (although I'd genuinely love to learn that skill one day because I have a tremendous fascination with heights) or a Marvel comics superhero to qualify as a risk-taker. I'm referring to basic risk-taking abilities which are innate in all human beings. More on this in Lesson 2.
I do enjoy the thrill, high's and lows of a risky enterprise and have directly taken a lot of risks myself. Some paid off really well. Some didn't. I have been diagnosed as an "adventurous personality type" in the Myers-Briggs test. I do enjoy travelling abroad, and have a strong aversion to conformity. But, really, my personality type is irrelevant to the discussion.
What I have extensively argued in this course is that risk-taking is not the exclusive domain of certain "personality types". For some people, the very definition of risk carries negative connotations associated with gamblers, hustlers and stuntmen. This is not what we're aiming at. Our individual experiences and requirements shape our essential need for risks that can be applicable to our everyday lives. As I just said, not all of us desire to be skydivers.
Q4. What external sources you referred to design this course?
Ans: Though not directly mentioned in this course, Aristotle's Nicomachean Ethics has been a strong influence in Lesson-4 where I clearly delineate the boundaries between calculated and blind risks. In his famous classic, Aristotle has provided guidance on tackling any decision in life by referring to what is known as the Golden mean, an abstract idea that helps you understand the fine differences between the excessive and the inadequate.
Applied to our course, the Golden mean would suggest that a person who tends to avoid any risks, would greatly benefit by expanding their comfort zone. At the same time, someone who takes way too many risks, perhaps, needs to slow down a bit and wait for a clearer perspective to emerge.
I also had to study Sigmund Freud who in his psychoanalytic theories, covered a lot of ground on death drive, a self-destructive instinct common in human beings. This mainly refers to a personality type which is obsessed and consumed with risky acts of daredevilry. Throughout my course, I have attempted to clearly separate our discussions from such ideas.
Q5. What makes you so sure that your methods on risk-taking will work for me?
Ans: I truly believe that all human beings have seemingly infinite capabilities in taking measured risks to better their lives. This is something deeply embedded in the human DNA, a point that has been settled from an evolutionary perspective. See Lesson-3.
This course has a personal touch and will resonate deeply with all learners. I have weaved in a number of allegories and code words to drive home the central message. For instance, marshmallows in Lesson-1, dinosaurs in Lesson-3, fighter pilots in Lesson-6, and examples of great risk-takers from history such as Don Quixote in Lesson-4 (that's fictitious, and for comical effect in this course!) and Alexander the Great. Wherever applicable, I have brought in real life anecdotes and my own personal stories.
Q6. I am risk-averse, and always like to play it safe. Is this course really for me?
Ans: What could be wrong is your definition of risk. I'm here to challenge your thinking. The simple fact that you learned to crawl, walk, jump and speak words as a toddler means you took risks at some point of time in your life. You're more risk capable than you like to give yourself credit for.
It's time to shatter a few myths you hold about yourself.
Open a Word file and answer the following questions wherever you are expected to type. Take a print if necessary.
Hello. I am Sayak Boral. My first name means "Arrow" in Sanskrit symbolizing direction, force, movement, power and direction of travel.
I am a media communications professional and avid traveller having been to many countries.
I have a course on managing risks in life. Taking risks is deeply encoded into the human DNA. My vision is helping people get in touch with their inner Mojo and pursue excellence in whatever brings them happiness.


Prof. Michael Murillo arrived at Michigan State University in the fall of 2016. Previously, he was a scientist at Los Alamos National Laboratory; he began his career there as a Director's Postdoctoral Fellow in the Theoretical Division. He received a PhD in Physics from Rice University in 1995.
For an overview of Prof. Murillo's research interests, please visit the group's Welcome page.
Prof. Murillo is teaching Kinetic Theory (CMSE 890) during Fall 2018, and has taught Particle-Based Simulation Methods (CMSE 890) and Computational Modeling (CMSE 201) previously. If you are interested in either of these CMSE 890 classes, please contact Prof. Murillo.


text:
St. Mary's breaks ground for $48.5 million dollar center
(KJCT)
By Stephanie Bennett
Published: Aug. 31, 2017 at 6:30 PM MDT
The new St. Mary's Center for Heart and Vascular Health broke ground Thursday.
The $48.5 million dollar center will mean patients won't have to travel to Denver or Salt Lake City for treatment.
"I think if anybody has been really ill they want to get care close to home they want to be where their family and friends are and so they don't like to be far away, hours from home in a different city," said Interim CEO of SCL Health Lydia Jumonville.
What makes it all possible is a new 'hybrid operating room' which allows doctors to perform certain surgeries that have a faster recovery time.
At the moment, patients at St. Mary's will have to spend about a week in the hospital recovering from open heart surgery.
The new technology will allow doctors to perform Transcatheter Aortic Valve procedures making small one inch incisions and ultimately resulting in a 48 hour recovery.
"These are typically procedures that are done in patients that are at high risk they are very sick patients so not having to travel makes a big difference for them," said Chief Medical Director for SCL Health in Cardiovascular Services Dr. Will Anderson.
The new 46,000 square foot building should be up and running by January 2019, located on the West side of the campus.


It's the offseason which means that the coaching carousel spins once again. The following is a list of Division III men's soccer head coaching changes since the 2015 season. Included are the names of the incoming and replaced head coaches as well as a little information about both.
To date we are aware of 49 men's coaching changes. Help us make this the most complete and accurate list of Division III men's soccer coaching changes by submitting new or missing coaching changes by e-mail.


The Road's Edge idea came to me while I was driving along a country road and I passed, and then went back to, a fruit stand selling raspberries. The pints of berries were stacked high and next to them was an honor-code money box. That delightfully fresh and local fruit was sitting there for purchase was one thing. That no one was watching over the table and the money was another. You want the fruit? Put money in the box. It was simple and honest and it got me thinking.
Like many of you, I've spent years in an urban setting being bombarded by images and knowing that no one leaves anything unwatched. The message we learn is: Keep your eye on the road or something really bad is going to happen.
That, in a nutshell, keeps us from looking around.
The intent of The Roads Edge is to get people to start looking around again. To trust that wanderings and exploration don't take you from your path, they actually enhance your experience of it.
TheRoadsEdge.com sells paintings and prints, however, it is also an interactive art source. Visitors can read about this artist's way of seeing in the "How I See" portion of the site. There are descriptions of how certain image series came to be. Viewers can participate in challenges and subscribe to the news & events portions of the site. Coming soon, a Collector's Corner and mini web-based workshops for adults & children to participate in together.
Thank you for visiting The Roads Edge. Please feel free to take a look around!


text:
    Verwenden diese Option, wenn Hudson bei Bedarf automatisch Hilfsprogramme
    am angegebenen Ort installieren soll.

    Wenn Sie diese Option anwählen, müssen Sie für jedes Hilfsprogramm eines
    oder mehrere Installationsverfahren konfigurieren.

    Für ein plattformunabhängiges Hilfsprogramm (z.B. Apache Ant) ist es wenig
    sinnvoll, mehrere Installationsverfahren anzugeben. Bei einem plattformabhängigen
    Hilfsprogramm hingegen, können Sie so gezielt das Installationsverfahren der
    jeweiligen Slave-Plattform anpassen.

redpajama_set_name: RedPajamaGithub


text:
Middle East has a big problem: It loves tech but can't stop blocking it
Concerns about free expression and privacy are shaping online behaviors in the Middle East, as more governments crack down.
By Damian Radcliffe for Heat Sink | June 14, 2019 -- 11:59 GMT (04:59 PDT) | Topic: CXO
Middle East's connected youth is gorging on social media The rise of visually orientated social networks, video, and messaging apps is helping shape usage.
It's easy to take for granted the online freedoms that users in many Western countries view as normal. In other regions, such as the Middle East and North Africa, online activity can be highly problematic.
Five surprising facts about technology takeup in the Middle East
You might already know that the area around the Middle East, North Africa and Turkey presents a diverse tech picture, but who's leading the mobile and internet pack - and who's trailing - may yet surprise you.
Middle East governments are not averse to blocking the internet and mobile networks. Such behavior was evident in Egypt during the Arab Spring of 2011 and has been a regular occurrence in Turkey. Communication networks have been seen as a potential battleground in nations like Iran and Yemen.
Alongside the wider infrastructure blocking, specific services such as YouTube and other social networks can also find themselves targeted. This targeting doesn't just happen at times of protest or political upheaval. In summer 2016, Algeria temporarily closed multiple social networks and messaging services to stop students cheating in their exams.
SEE: Cybersecurity in an IoT and mobile world (ZDNet special report) | Download the report as a PDF (TechRepublic)
More widely, a number of Middle Eastern countries have historically had a difficult relationship with VoIP services and messenger apps, many of which have been banned – temporarily or permanently.
Residents across the region also find they often need to be mindful of what they say, and do, online too. In 2015, a Facebook rant landed a US man in a UAE jail. Two years later, another man was deported from the Emirates for insulting his wife on WhatsApp.
"Cybercrime laws in the United Arab Emirates are no joke," wrote Leyal Khalife, executive editor of Dubai-based website Stepfeed. Similar sentiments are applicable to other countries across the MENA region.
Middle East cultural context
It's worth remembering that Middle Eastern attitudes towards many of these issues can differ fundamentally from those found in other parts of the world.
In many Middle East countries, access to 'haram' content, such as pornography, and sites promoting gambling or alcohol, is blocked by ISPs. Research in 2012 showed that internet users in the region were more supportive of governments blocking this type of online content than users in other regions.
More recently, as Northwestern University in Qatar has shown: "Roughly half of nationals support tighter internet regulation for political content, culturally sensitive content, and cost (making sure the internet is affordable)."
Middle East internet users were more supportive of governments blocking online content than users in other regions.
Image: Northwestern University in Qatar, Media Use in the Middle East, 2017
According to the university's latest study published in February 2019: "Large majorities of Arab nationals in each country, except Tunisia – about three-quarters or more of other nationals – believe entertainment media in the Arab region should be more tightly regulated for both violent and romantic content. But still a sizable minority of Tunisians – four in 10 – agrees."
Large majorities of Arab nationals believe entertainment media in the region should be more tightly regulated.
Image: Northwestern University in Qatar
New cybercrime laws and other legislation
These attitudes play out against a backdrop in countries, such as those in the Gulf region, which have historically restricted traditional forms of speech. According to a 2018 paper by Chatham House's Joyce Hakmeh, these nations "have latterly sought to do the same with online speech as well".
"Through their cybercrime laws, the GCC countries have sought to get a stronger grip on social media and to stymie the potential for spillover via online platforms of political unrest from other Arab countries," Hakmeh notes.
Other countries are following suit. The Palestinian Authority blocked several news websites in June 2017, a month before a new cybercrime law was enacted.
Meanwhile, in Egypt, a 2018 law classified social-media accounts with more than 5,000 followers as media outlets. "Under the new law, social-media users with a large following can be subject to prosecution for spreading false news or inciting crime," Arab News explained.
"The law [also] prohibits the establishment of websites without first obtaining a license from the Supreme Council for the Administration of the Media, a government body with authority to legally suspend or block websites in violation of the country's strict laws, and penalize editors with hefty fines."
Reporters Without Borders, an international NGO dedicated to advocacy related to freedom of information and freedom of the press, placed the region "yet again" at the bottom of their World Press Freedom Index in 2018.
"In this particularly hostile environment for journalists, the internet has been the only space where a relative freedom to inform still exists," they wrote. "But the region's governments have realized this and, one by one, have been adopting cybercrime laws to gag online journalists and citizen-journalists."
Digital human rights
It's not just journalists and media companies that can fall foul of online regulations and legislation. Individuals can also find their digital footprint under scrutiny.
Egypt issued Amal Fathy, a human rights activist, with a two-year-suspended sentence and a 10,000 Egyptian pound ($560) fine in September for "spreading fake news".
According to the BBC, Fathy was arrested in May 2018 after criticizing the government for not doing enough to protect women in "a 12-minute video on Facebook in which she described how she had been sexually harassed while visiting her bank".
In 2017, authorities in Abu Dhabi detained an Emirati accused of defaming UAE through social-media channels. And a British man was arrested, and later deported in 2018, for sending an angry WhatsApp message to a car dealer after the vehicle he purchased earlier that day broke down.
SEE: A winning strategy for cybersecurity (ZDNet special report) | Download the report as a PDF (TechRepublic)
Given these restrictions, how do ordinary netizens try and stay on the right side of the law?
One key challenge is that, attitudes towards what people can, and cannot, say online also vary substantially from country to country.
Another consideration, as Chatham House's Joyce Hakmeh explains, is that "all GCC countries, except for Bahrain, have introduced as part of their cybercrime laws provisions that criminalize a wide spectrum of content, using vaguely worded provisions that create the potential for confusion and abuse."
Solutions to online freedom issues
Nonetheless, consumers are taking a range of different steps to negotiate this landscape.
The first, and most obvious remedy is to be careful about what you say online. Back in 2012, research found that almost half of the region's internet users are "very careful" about what they say and do online.
Research from Northwestern University in Qatar, published in 2017, charted a rising concern among Arab internet users about governments and companies monitoring their online activity. However, "only one in five nationals says that concerns about privacy have changed the way they use social media".
There is a rising concern among Arab internet users about governments and companies monitoring their online activity.
Where people are changing their online behaviors, often they're taking similar approaches to those seen in other markets.
That includes posting less polemic or polarizing opinions online, a trend in the US that the Pew Research Center memorably called "the spiral of silence". Other changes in behavior include migrating conversations to closed and encrypted messaging platforms like WhatsApp or Telegram, as well as perhaps avoiding using their real name.
Another potential remedy includes using a VPN, although recent research suggests they tend to be used to access entertainment content, which might be blocked because it is deemed inappropriate, or unavailable, often for rights reasons, in a specific country, rather than because of overriding privacy concerns.
However, the use of VPNs can also be fraught with difficulty. In UAE, for example, there appears to be some uncertainty and ambiguity about whether use of these networks is legal or not.
Northwestern University in Qatar omitted asking about usage in UAE in its 2017 Media Use study. Elsewhere, it found that use of VPNs varies widely by country. "One in five internet users uses a VPN in Saudi Arabia, compared with almost none in Lebanon," the report authors wrote.
That variance was even more apparent in its 2018 study, which showed "large increases between 2017 and 2018 in the percentages of Saudis and Qataris who use a VPN – now at 54 percent and 39 percent respectively – but figures are much lower among nationals in the other countries in the study: 10 percent of nationals or less."
Use of VPNs in the Middle East region varies widely by country.
Middle East's future
All the trends suggest that concerns about freedom of expression, increased government monitoring, continued restricted access to certain content types, and a clamping down on people breaking cybercrime laws, are set to continue. In some cases, they will get worse.
Mobile technology and the internet have transformed the Middle East in the past two decades. With take-up at record levels, the region now finds itself – as exemplified with these issues – at a technological and cultural crossroads.
More on the Middle East region
Uber acquires Middle East ride-hailing service Careem in $3.1 billion deal
Middle East tech: Nine things the region must do to safeguard its financial future
Middle East tech: What does 2019 have in store?
Seven years after Arab Spring, tech challenge weighs on the Middle East
Uber to acquire Middle East competitor Careem for $3.1B (CNET)
Triton malware targeted critical infrastructure in the Middle East (TechRepublic)
Government Digital Transformation Innovation Thought Leadership Tech Industry
More from Damian Radcliffe
Driverless air taxis, drones, pods: Dubai puts future tech at heart of transportation
Middle East youth and tech: What's happened since the Arab Spring?
Digital transformation: How one bank is using AI, big data and chatbots to create new services
Two key executives at banking giant NatWest explain how the firm tests and launches innovative services that meet fast-changing customer expectations.
To the Moon: Rocketdyne, the company that gave Apollo 11 liftoff
Our third installment in our series is about Rocketdyne, the company which built and designed the mighty rocket engines for the Saturn V.
How digital and marketing executives are taking charge of digital transformation
Spreading responsibility for digital transformation beyond the safe confines of the IT department creates benefits for your business and its customers. ...
How much do influencers really earn? That depends on gender, among other factors
If you think you are an influencer – and want to earn cash for your efforts - be warned. You might not earn as much as you expect.
Firefox 68 is out: New dark reader view, better extensions, enterprise IT controls
Firefox 68 ushers in Mozilla's new recommended add-on program.