The Music Department at Wellesley College fosters an environment in which students can combine serious musical study with the depth and richness of a traditional liberal arts curriculum.
A Music Lesson Contract must be submitted online in order for students to take a music lesson. If you plan to study two or more instruments, a contract should be submitted for each lesson. Please contact mchristi@wellesley.edu if you have questions.
Music Theory Placement Evaluation (Please complete at least the first sheet of this online evaluation, as this provides the Music Department with information about your interests. Students interested in placing out of Music 100 should take the test.) Results of the test can be found by way of the link.
Women may choose to focus their major or minor on performance, music history, theory, jazz, ethnomusicology, or composition. All studies are directed by a dedicated and diverse faculty of widely recognized scholars and performers.
Course offerings are designed to meet a broad range of musical interests. Past topics have included Electronic Music, Composition, African and Caribbean Music, Music and Poetry of the Art Song, Chopin's Genius, and Gender and Sexuality in Music. Please see the major and minor requirements information for a comprehensive description.
The performance program at Wellesley College is an important component of the music department, giving students the opportunity to take instrumental or vocal private instruction as well as participate in one or more of the eight department ensembles.
The Music Department is situated in the Jewett Arts Center at Wellesley College.
Students interested in taking music courses or lessons are encouraged to enroll in our introductory gateway course, MUS 100 - Musical Literacies, which offers a broad introduction not only to music theory, but also to the different kinds of musical topics taught by the academic faculty members in the Music Department, including ethnomusicology, historical musicology, composition, and electronic music.
Students who have prior experience with music theory can attempt to pass out of MUS 100 by taking the Music Theory Placement Evaluation, an online exam designed to assess your level of theoretical knowledge in both classical music and (optionally) jazz. The Evaluation will enable us to place more advanced music students into the appropriate music theory course. The Music Department strongly encourages students wishing to major or minor in music to take the Music Theory Placement Evaluation. The Music Theory Placement Evaluation is available online by way of the above link.
*If you would like to take private lessons in musical performance, you must place out of MUS 100 or take it during the first year. Students wishing to take lessons for credit must also receive the permission of the Instructor via an audition and take a co-requisite of one academic music course for each year of credit lessons.
More information about the many opportunities available in the Arts can be found on the Arts at Wellesley and the Humanities website.


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Rick Estrin: The BLUES JUNCTION Interview, Part 1
If you aren't sure about Rick Estrin or where this one of a kind entertainer and blues musician of the highest order came from or where he gets his muse and inspiration, he'll tell you. This long time Alligator Records recording artist has been at the top of the game for decades now, but his tale isn't an overnight success story and his achievements in the blues music field aren't accidental by any means. Here Estrin doesn't pull any punches as he discusses where he came from and how he became who he is today. This tale reads like a Frank Capra movie...if the screenplay was written by Quentin Tarantino. Enjoy part one of Rick Estrin: The BLUES JUNCTION Interview.
David Mac (DM): Greetings Rick. Do you remember some of your first exposures to music of any kind?
Rick Estrin (RE): I do. I have a sister that's about six years older than me and I can remember when I was about six or seven years old, spying on her and her friends when she was having a party. They were playing records by people like Little Richard, Chuck Berry, Fats Domino, Elvis, stuff like that, and I was just diggin the scene. Six years old or something, feeling that music, checkin' out all those fine, sophisticated twelve year old chicks, dancing and lookin' good and I think somewhere deep down, I knew, even way back then, what I wanted to do with my life.
DM: It is pretty hard to imagine not being swept up by the early rock & roll/twelve year old chick dance party.
RE: Exactly...later on, when I was maybe eleven or twelve by that time my sister was something like a beatnik, she started having records by people like Jimmy Reed, Big Bill Broonzy, Champion Jack Dupree, Mose Allison, Nina Simone, Miles Davis, Lee Morgan, stuff like that. She was always leading the way for me with some hip stuff. That was my first real exposure to blues and jazz. For my 12th birthday, she gave me this Ray Charles album, The Genius Sings The Blues, and I remember a guy she was dating at the time, asking me about this one song I Believe To My Soul. He wanted to know what did I think he was talking about in that song. It was like he was wondering how a kid could even be attracted to that kind of music. Way back then, I was already fascinated by the power of that feeling.
DM: Did you have musical training in school?
RE: I had very little training of any kind in school. School was great for learning how to read English. That's about the only valuable thing I can think of that I got out of school. As far as music was concerned, I taught myself. All I did at first was to try and copy what I heard on the radio and on records.
Later on I started going out to clubs and picking up different things from the people I saw perform. The first blues records I had access to were my sister's Jimmy Reed, Big Bill and Champion Jack records. After that I just started investigating and getting into Sonnyboy, Little Walter, Muddy, John Lee Hooker, Lightnin' Hopkins. The list just kept growing from there. When I was seventeen, after a year or two of wood shedding, I felt like I was catching on a little bit. I felt like I had learned some stuff that seemed to sound ok to me at the time, so I started to try and play out in front of people.
DM: Let's talk a little about the live music scene in San Francisco back in the day.
RE: Well, there were some totally different scenes that kind of overlapped a little bit for me. When I was thirteen or fourteen I used to see bands that played at kid dances. They'd play the regular hits of the day. I remember this one band doing Shout by the Isley Brothers they had two guys singing up front, really killin' it.
Then when I was about fifteen, the hippie ballroom scene and everything that went along with it, started happening. My father had just died, I had a lot of grief and confusion around that situation and that new scene offered music, drugs and so-called "free love" so quite naturally that was all quite attractive to me at the time. That was an exciting time to be a kid in San Francisco.
There were clubs like The Matrix where you could see all kinds of acts. Everything from
the regular hippie type bands like Jefferson Airplane and stuff like that, all the way up to people like Lightnin Hopkins, Bukka White, Mississippi Fred McDowell, and on and on.
Then there were the ballrooms. Longshoremen's Hall, the Avalon Ballroom and the Fillmore Auditorium...up until that point, in about '65, when Bill Graham took it over, the Fillmore Auditorium was the regular San Francisco spot where all the big touring R & B acts would play.
The usual format at these hippie ballrooms was to feature a real wide variety of acts. They'd have real eclectic bills like Big Mama Thornton, Muddy Waters and Janis Joplin or Junior Wells & Buddy Guy with the Jefferson Airplane and Sun Ra... some real whacked out combinations, but it gave people the opportunity to get exposed to all kinds of music. I naturally gravitated to the same type stuff that moved me when I was a kid diggin' on my sister's records. Around that time I started trying to blow the harp.
Right around then some Chicago blues bands seemed like they were spending a lot of time on the west coast. I got to see Cotton a lot back then. That was the band with Tucker, Bobby Anderson, Alberto, first Sam Lay, and then, Francis Clay on drums. That was one powerful, badass band. Cotton's playing was a big influence.
DM: Muddy Waters was coming out to San Francisco and the West Coast on a very regular basis back then as well.
RE: Absolutely! Seeing Muddy's band back then was really big for me. I was trying to play, trying to learn, I couldn't play much, but being a kid I had this mostly unrealistic idea in my head that I wanted to be and play the real shit, the deep shit...whatever I thought that was at the time. That's when I first saw Muddy's band, with Otis Spann and S.P. Leary, Sammy Lawhorn and Snake Johnson, Pee Wee Madison. Paul Oscher had just joined. Seeing that band really made a big impression on me...
DM: How old were you at this time?
RE: This was before I even started really trying to play out in front of anybody, so I was
probably sixteen or seventeen.
DM: Can you describe seeing the Muddy Waters Band back in those days?
RE: They had matching uniforms. Muddy had on a sharp suit, but the rest of 'em had on black slacks and black shoes with these red, brocade, Nehru jackets and all wearing a gold chain with a big gold medallion.
Everyone in the band looked borderline evil. They were all lined up, just barely moving to the beat, playing all this effortless, deep shit. Every once in a while somebody would half smile or sneer and the light'd catch a little gold dental work, shiny processed hair. Dave, you really had to see it. I was young and impressionable and that was about the coolest shit I'd ever seen.
Then there was Paul. He was brand new to the band, hair slicked back, playing the shit, sounding just the way I thought it was supposed to go. I met Paul and Spann that night. I've been friends with Paul ever since. After that was when I really started going out and hanging out and trying to sit in at the ghetto clubs.
DM: Let's talk about those clubs.
RE: In the Fillmore district and Hunters Point there were some great clubs with live music. The Stardust Lounge on Hayes and Laguna, The Showcase on Divisidero, The Blue
Mirror on Fillmore, and a little place out in Doublerock, in the countriest part of Hunters Point, where LC "Good Rockin" Robinson would play on Sunday afternoons for the after-church crowd. By the time I was seventeen I had a mustache and I could pretty much pass for old enough to get in some bars and all those places I mentioned.
DM: What kind of reception did you get from the other musicians working those joints?
RE: The musicians were super-cool, nice enough to give me a chance, let me sit in. I started sitting in with people like L.C., Curtis Lawson, Cool Papa and Lady Margaret at the Stardust, different bands at the Showcase; and B3 was a big thing in the 60s.
Charles Brown's career was kinda low profile at the time and he used to have a solo organ gig at the Haight Levels. He'd always let me sit in. He used to want to give me a ride home too. I passed on that part.
DM: Were you starting to meet like minded individuals who shared your passion for this music?
RE: I started meeting a few more guys who were playing the harp and maybe a couple years older than me and further along in their development.
This is when I met Jim Liban. He's one of the only people who attempted to actually show me how to play something. He showed me how to play an octave. It was different back then. Back then, very few guys could really play and the few guys that could play didn't want to show you anything.
DM: This also pre-dates the Rick Estrin harmonica instructional DVD.
RE: (laughs) That's right...there was no instructional material of any kind. You can't see anything on a harp anyway, so there was somewhat of a mystique surrounding that instrument. There were a few guys I met back then like Paul and Jim, Al (Blake) and Rod (Piazza) who could see I was serious and they were real cool to me.
I met Al Blake in a little record store called the "New Geology Rock Shop" in the Haight. He was living in San Francisco at the time. I was looking at some blues records and he walked up behind me and asked me, "You like that kind of stuff?" I told him. "Yeah." He took me way across town to this little place he was living and played me all kinds of 45s. It was great shit that I had never heard. When I was leaving he took out a harp and played four bars of some classic John Lee Williamson. I asked him, "Man! How'd you do that?" He just put the harp down and smiled and said "I can't tell you everything"
DM: In addition to the traveling Chicago blues guys who were playing in San Francisco you had that whole West Coast blues contingent as well.
RE: That's right. A little bit after that I heard an ad on the radio for a big blues show at a club called Mr. D's. Check out this lineup Dave; they were advertising T-Bone Walker, Eddie "Cleanhead" Vinson, Big Joe Turner, Roy Brown, Pee Wee Crayton, Big Mama Thornton, George Smith and somebody they were calling Lightnin' Rod. I went to that show and it was Rod's band, Bacon Fat playing all night, backing up ALL those acts.
DM: I think it is important to note that you never went in for the trends in the music business that of course included the rock/hippie movement of that time and especially that place. Let's be honest you were at ground zero of hippie heaven (or hell depending on your perspective) in the late 60's in San Francisco.
RE: That's a good point. Prior to that, any white blues bands I had heard were doing a more rocked up, halfway psychedelic version of the music. Rod's band was playing it traditional. They were playing the actual parts to the songs, not just some vague, hippified interpretation. It was more like what I wanted to hear and what I had in mind that I wanted to try to do. That showed me it was possible to do it, if I kept working at it.
Rod was real cool to me too. I remember I asked him about some lick he played and he showed it to me. He didn't show me how to do it, 'cause that really wasn't the way it was back then, shit was old-school...figure it out yourself. He knew that I was asking about and he played it for me so I could hear it again. Then right away he told me "Don't tell George I showed you anything"
DM: That of course being George "Harmonica" Smith. I'm guessing you were continuing to find music on records as you were learning this music and learning to be inspired by it.
RE: Another record that, looking back, made a huge difference was a song called Blues Pain by Lowell Fulson. I heard it on the radio. I really dug the song. I went out and bought the 45, and then I heard an ad on KDIA saying that Lowell was going to be appearing at the Club Long Island. I wanted to hear him sing that song, so a friend and I, along with these two ladies went to the show.
The Club Long Island was kind of an upscale, old-style, ghetto supper club/showroom type place. It was a classier type room than the places I had been going to and sitting in. People got real dressed up to go there and the format was almost like a throw-back to vaudeville days or tent shows.
They had a house band that would play the first set for dancers. Then they'd take a short break and when the band got back on the bandstand, the MC would come out and announce that it was "Showtime"!
The MC was this guy, Big Rock. He'd come out in a tuxedo, ruffled shirt, multi-colored sparkly vest, marcelled hair, diamond cuff links. He'd smile and the stage lights hit his gold tooth and he'd announce the different acts. The opening act that night was Eugene Jefferson, a local soul singer. He did a couple current hits, Soul Man, stuff like that. Then Rock introduced the next act, Ironjaw Wilson. Ironjaw's thing was he would pick up furniture with his teeth. The big finale in his routine was, somehow he'd hook three or four chairs and a table together, there'd be a big drum roll, and he'd pick 'em all up in his teeth at the same time. It was some real old-time vaudeville shit.
A few years later Redd Foxx had a summer replacement TV variety show and Ironjaw was a regular on there every week.
Anyway, getting back to that night, the guy I was with, Joe Robertson, he was sort of a con artist, criminal type…slick. He thought he could talk anyone into anything, and asked me if I felt like playing. At this time I had been trying to play for a couple years. I'd been sitting in around town a little bit, but in less formal situations - like I said I was used to more lowdown type places, but I was young, caught up in the excitement of the scene, plus I had been drinking scotch and milk so I was about half in the bag and I told him, "Sure".
So he went over to Emmit Kennedy, the club owner, and asked him if I could play. Of course Emmit said, "No." Told him, "This ain't no jam session." But Lowell overheard it and said, "Let the boy come up and do a number."
When the band hit, Big Rock announced, "It's star time!" So Lowell came up and said, "Before I get into my show we're going to bring a young fella up here to sing and blow some harmonica."
Man, when I got up from the table and started walking toward the bandstand the whole room was looking weird, like puzzled, half of them laughing not knowing what to expect, but definitely not expecting much 'cause at that time, a white guy playing blues was practically unheard of. Anyway, I started a slow blues from the five chord, got about halfway through one verse of singing and the whole place started applauding...slapping five, shaking their heads, laughing, but this time, not laughing at me, just incredulous. I got more "house" after the harp solo and when I finished the tune the whole room fell out and Emmit Kennedy offered me a gig.
DM: What was the gig?
RE: It was five nights opening for Z.Z.Hill. So, the song, Blues Pain by Lowell Fulson and that one experience at the Club Long Island, that one night, really opened some doors for me. When I opened for Z.Z. Hill I ended up meeting some people who turned out to be real important to me personally and important in my development as an entertainer and songwriter.
DM: Such as...
RE: I met Rodger Collins who wrote and recorded the first version of the hit record She's Looking Good. He had hits with that one and Foxy Girls In Oakland. Rodger turned out to be a real show business mentor for me. The show part AND the business part...
He took me on the road with him and I got hours and hours of education, just riding in
his Lincoln listening to him explain why certain things were effective on the bandstand. Why some things work and some things don't. What to do and what not to do. Rodger was also always a great example for me regarding the amount of hard work and focus a successful music career requires. He always encouraged me to try to write songs and taught me to think like a songwriter. From watching and listening to Rodger, I learned about the kind of discipline it takes to be a good songwriter. He's always set a real positive example.
That little run at the Club Long Island was also the start of me first getting to know Fillmore Slim. Fillmore's a singer, but at that time he was really known for being the most big time pimp in the United States. He was Joe's neighbor, so I already knew him a little bit. Plus, I knew his "bottom woman" Jill, from back in junior high school. After that night at the Long Island, we got to be friends and I ended up playing in his band five nights a week for about six months. I guess I was a little different than most kids my age. I thought riding around with Fillmore in his Fleetwood Brougham after the gig when he would be going around "checking his traps" was the coolest shit in the world.
DM: ... and educational as well.
RE: Travis Phillips, AKA Wonder Boy Travis, a great Texas guitar player and singer, was also in that band with Fillmore. Travis and I ended up playing together several nights a week, altogether for about a year. Fillmore took some of his ladies up to Alaska when they were building the pipeline and Travis kept the gig and we worked together about six more months after Fillmore left. Travis made the original Eyes Like a Cat, that I used to do later on with Little Charlie.
He also taught me some real valuable stuff. He would say some funny shit too. Like at times we had to use some sub-par musicians. We had this one drummer for a short time who was pretty rough and struggling to keep up. Travis told him, "You know, that drum kit is kicking your ass nightly" - Poetry!
Those were some of the people who really had a direct, early impact on how I turned out as a musician and performer.
I'll be forever grateful to my friends from the blues and R & B community, both in the Bay Area and in Chicago, who accepted me, took me in and tried to show me what time it was with the music and with just life in general. Also around that time was when I first became friends with Joe Louis Walker. We were two of the only real young guys, trying to play blues on that scene. Joe and me - the way we were back then, we were two of the least likely guys to even survive - and look at us - both still here!
DM: Somewhere around this time period I believe you moved back to Chicago.
RE: That's right. I kept moving back and forth between Chicago and California for about five or six years, right up until 1975. Almost every winter when the weather would start to change, I'd call myself "going home for the holidays" and then I couldn't make myself go back to Chicago until the snow started to melt. I think I made one whole winter in Chicago...one time!
DM: Chicago winters were not made for Californians like us. That's for sure.
RE: True that...how I started going to Chicago was, when I was gigging at The Playpen with Travis and Fillmore, I met and became tight with Jerry Portnoy. Jerry was from Chicago, but he had just got out of the army and ended up in San Francisco.
I think he was a medic in Vietnam for about a minute. He must've realized pretty fast that the army wasn't his scene and somehow he managed to talk his way into a discharge.
At that time neither one of us could play too much, but I had this gig at The Playpen. He'd come down and hang out. Then, in the daytime sometimes we'd get together and try to figure out the harmonica. I guess to a certain extent, for a while, we learned how to play together. Then what happened was, Jerry's father got sick and he moved back home to Chicago. We stayed in touch and he was always sending me postcards about how great it was and how the blues was happening every night. He wrote me and told me you could go out any night of the week and go see all these great people that we knew from records and he kept sending me these postcards. He would write, "I sat in with the Aces. (Fred) Below really dug me." Stuff like that.
In the meantime, things had started going south for me.
DM: In what respect?
RE: I had developed a little, recurring drug habit. The gig at the Playpen ended. I'd had the classic musician's girlfriend with a job and an apartment situation going on and she had recently lost her sense of humor and cut me loose.
Jerry kept telling me, "You need to come to Chicago." So I had this other girl who liked me and she was from Chicago and I somehow talked her into returning home and buying us both plane tickets. As you can gather from this story, I was kind of a semi-lowlife back then. I did a lot of stuff in those days that doesn't paint a real flattering picture, but hey, what can I say? I was a pretty marginal citizen at the time. That was a long time ago
Anyway, my first night in Chicago Jerry and I took the El to the Southside and went to Blue Monday at Theresa's.
The house band that night was Buddy Guy, Sammy Lawhorn, Below, and I can't remember who was on bass. I know it wasn't Jack Myers 'cause he was so unique, I would've remembered if it was. The band was set up just in the middle of the floor, sitting on dinette type chairs. The place was packed. It seemed to me like almost everybody was there.
I ended up sitting in. I got over pretty well. I kind of fucked up the house and Carey Bell who was playing harp with Muddy at the time told me he was going to quit and that I should come down to the Sutherland Hotel where they were playing that weekend. He said he'd hook me up to sit in and if Muddy dug me, I could have the gig. Unbelievable, right...? That was my first night in Chicago.
After the bar closed, Jerry and I wound up riding around and getting a tour of the Southside with Billy Boy Arnold and Louis Myers. Louis talked nonstop the whole time. He was telling us all these great, unrepeatable stories about Walter, Muddy and the whole Chicago scene. I remember sitting there in the back seat of Billy Boy's car, just taking it all in and thinking, "this is the coolest shit in the world" Now, looking back, from 2017, I know I was right.
That next Friday night I went down to the Sutherland Hotel thinking this was going to be my big shot. Jerry went with me for moral support. Carey introduced me to Muddy and
Muddy told me he'd call me up. I ended up waiting around all night. Muddy was alternating sets with Willie Ambon and this place had a 4:00 am liquor license. At 4:00 am the gig ended, and I somehow accessed the balls to say something. I told Muddy "I thought you were going to call me up" He said, "Oh yeah, I forgot. Come back tomorrow." It took me years to finally realize, he was probably just trying to see how serious I was.
Anyway, the next night we went back and about halfway through their last set he called me up and had me play on Long Distance Call. When the set was done, Muddy went back to his booth where he was sitting with a couple ladies. He caught my eye and beckoned me over. When I walked over there, he stood halfway up and started shaking his finger in my face telling me "You outta sight boy! You play like a MAN boy! You got that sound, boy. I know that sound when I hear it. That's MY sound!" At that point, I was like, pretty stunned.
Even today I can still hear his voice in my head, telling me that. He took my phone number, which was actually the number of the girl who bought my plane ticket to Chicago and he told me don't leave town for three weeks.
I waited the three weeks and got impatient and asked Carey's then manager, who was a pre-Alligator Records, Bruce Iglauer, if Carey was really gonna quit. Bruce said no, that things weren't going as planned so I ended up going back to California for a while. Carey did quit awhile after that and the next time I saw the band, Fuzz, the bass player said, "What happened to you? You was supposed to be with us. You on the lam?"
DM: Ouch...
RE: Yeah....it hurt at the time, but in retrospect it all turned out for the best. At that age I was too young, wild and stupid to really handle anything that cool. If that situation had worked out like I wanted, I'd probably be dead.
I stayed back home in California for a few months. I started fuckin' up again, got another dope habit, worse this time. I wasn't doing well at all, so I thought maybe it was time to go back to Chicago. I was such a dog-ass motherfucker. I actually got that same, poor girl to buy me another plane ticket and I went back to Chicago.
I kicked my habit on Jerry's couch. After a few days, once I started feeling a little better, this friend of Jerry's named Mark came by on his way to audition for Sam Lay. Much later on Mark changed his name to Max and owned a club in Chicago called Smokedaddy's.
Mark plays a lot of different instruments, but that day he was auditioning on piano. I went along with him just for the hell of it, partly just 'cause I finally felt good enough to get off the couch and also 'cause I was beginning to get the impression Jerry's girlfriend was maybe sick of seeing me laying around her living room. Anyway, Sam Lay had just fired his whole band or they had all quit or something so he was putting together a new band to do this weird tour that he had somehow lucked up on.
Sam was going on the Presidential campaign trail with Senator George McGovern, along with Warren Beatty, the movie actor, who was McGovern's number one supporter at the time. Viet Nam was raging and McGovern was running for the Democratic nomination as an anti-war candidate. They had just lowered the voting age from twenty one to eighteen and McGovern was going to be touring colleges, courting the young people's vote.
Somebody on his campaign team must've liked blues and figured young people like music, so if they got a band, and put that together with Warren Beatty, who was a huge movie star/sex symbol at the time, they'd attract more kids to hear McGovern's speech. It sounds crazy now, but back then, college age kids were a big part of the blues audience.
DM: For many of our readers who are relatively new to this music, they will find that kind of hard to believe. It's true though and I appreciate you pointing that out.
RE: I went to Sam's place with Mark. Sam had already hired a harp player, but for some reason the guy couldn't make it to the rehearsal so I filled in.
Eventually, the way the whole band lineup shook out was, I ended up playing harp, Mark somehow pissed Sam off so Detroit Jr. was on piano, the great Eddie Taylor and a good guy named Jon Wolfe were on guitars, Big Mojo Elem on bass, Sam on drums, and we had two featured vocalists: Lucille Spann and Johnny Twist It was a hell of a crew. Some real characters...
DM: How so...
RE: Twist was really a trip. He'd pontificate on all kinds of subjects and say all this crazy sounding stuff that at the time I thought was funny, but when I got older I realized there was some pretty great wisdom in a lot of the stuff he said.
So in the span of one week, I went from being dope-sick on Jerry's couch to being in a blues band that's flying around the country with a movie star and some guy representing a major political party who's trying to be President of the United States. That's some crazy shit! Pure dumb luck...
DM: That is some very heady stuff.
RE: Yeah, but I was so young and stupid, I was laying up in these ritzy hotels, ordering room service, getting my shoes shined, big-ass bar tab and charging it all to my room thinking, "Man, I must really be a bad motherfucker."
Two weeks later they weren't using the band anymore and I was back on Jerry's couch.
I stayed with Lay's band maybe a year or so that time and all things considered, I kinda kept my shit relatively together...for me.
I met a real nice college girl and was staying with her in Hyde Park. The band was working a lot. We were touring the Midwest, playing colleges and clubs and it was pretty cool. Then Sam pulled some un-cool financial bullshit and there were some classic, heated verbal exchanges between Lay and Twist.
The writing was on the wall. By the time I did quit I think I was the only one left from the McGovern tour days. Anyway, one weekend when Lay didn't have any gigs, most of the band went and worked with John Littlejohn at Sylvio's, where he was filling in while Wolf was on the road. Littlejohn was so cool to work with, the music was great.
DM: What was he like to work with?
RE: He was a super nice guy, not half a nut like Lay, so we all ended up quitting Sam and going with John. He didn't have as much work as Sam, but he was a great guy, and when he could, he paid better. We did some real cool gigs. Shit I'll never forget...
We played some dances, like at vets halls and Elks clubs and things around Gary and Michigan City and nearby towns in Indiana. We were playing for real blues audiences. They were probably steel mill workers and stuff, transplanted southerners, who still wanted to hear deep blues.
Lay didn't want to play ghetto joints, he liked the colleges and white clubs, but Johnny Littlejohn took it to the people. We played places on the west side like Sylvio's, Damon's Den and the Avenue Lounge. At Damon's Den we started a blue Monday that went from 4:00pm to 4:00am! Wore my ass OUT! Eddie Taylor would be on that gig sometimes too. Regardless, that was one long-ass gig!
Different guys would come and sit in and I remember this one particular Monday, Hound Dog Taylor came in. He had just put out that first Alligator album, was getting some attention and he was looking like he felt pretty pleased with himself.
He came in the club, walking towards the bandstand, shakin' hands and greeting everybody side to side, like it's a receiving line...and he was styling...wearing a brand new looking, ankle length, leather trench coat. He had on that silly lookin' wig, curling up on the edges. When Littlejohn spotted Hound Dog from the bandstand, he got on the mic. "Now I ain't tryin' to cut nobody's head, I'm just doin' my regular thing, just like I do everywhere I go." Then he broke out the slide and kicked off It Hurts Me Too. He played about four verses, just soulful, beautiful, and I'm wondering, "When's he gonna sing?" 'Cause, let's face it, I mean, vocally, Littlejohn could bury Hound Dog. Standing up there next to him, listening to him sing, his voice cut like a knife. Anyway, what he did was, he played another couple of verses. By this time, all the hairs on my arms were standing up, the shit just sounded so good. Then he walked up to the mic, looked down and shook his head real slow. He then lifted his head up and said, real serious, just talking..."It hurts me too"...and that was it. He didn't sing at all. He just spoke those four words. Then he backed up off the mic and played about three more beautiful verses and ended the song. I guess maybe you had to be there, but that shit was so soulful. I can still feel it now when I think of it.
DM: Hell, the hairs on my arms are standing up.
RE: That next winter I came back to California again and this time I stayed maybe a little over a year. I got a band together with Brad Lee Sexton. He later played bass in the Nightcats, but in this band, he played guitar. We landed a five night a week gig that lasted almost a year. I had a pretty good drug habit that whole time which made it an action packed, not always fun year.
Eventually the club owner busted me fixing in the bathroom.
DM: What happened?
RE: We lost the gig and I ended up giving Chicago one more try. I went back there, kicked on Jerry's couch again and started playing with Sam Lay again.
My last stay in Chicago was the beginning of me getting played out with the drugs and really reaching a personal all time low. My habit was taking me down. I wasn't keeping my shit together at all. I lost the gig with Lay. I forget why, but I told him to "Get fucked" on the bandstand, so he fired me. Mark/Max was nice enough to let me move in with him. I don't know how he put up with my bullshit.
I kept nodding out with cigarettes, damn near burning the place down on a daily basis. I had no gigs, so I started "working" with this friend of mine, another dope fiend. He had a pretty slick hustle where he'd scavenge (AKA steal) what he called "architectural fragments" and he'd sell this stuff to antique shops. On the Southside, there was one stretch of South Parkway (now MLK Drive) where it was all formerly ritzy mansions.
The neighborhood had become ghetto and had got rundown a long time ago. Some of the places had been subdivided into multiple dwellings, but some of 'em were these beautiful, decaying mansions just sitting there, vacant. My friend had a construction looking truck with a fake company name on the side and we'd drive up on these vacant mansions, show up wearing hard hats and act like we were supposed to be there. Really what we'd do is break-in and strip the place of these "architectural fragments".
We'd dismantle mantles. We would remove the stained glass windows and transoms. Get all the cut and beveled glass, fancy mirrors, all the ornate trim kinda stuff, then we'd go up on the north side, to where the antique stores were, sell the stuff, and go cop. That lasted a few months. It was getting to be winter again, and the novelty of being a procurer of architectural fragments had pretty much worn off for me. We were lucky we never got popped doing that shit. My drug use was completely out of hand again and I was feeling real hopeless. I don't even remember where I got the dough, probably borrowed it somewhere, but somehow I put together enough for one more plane ticket back to California.
When I got back to San Francisco, I just said 'fuck it' and got on the methadone program. I was just worn out from the nonstop hustle, and this weird thing had happened where heroin stopped providing relief. I could get well. I could even get physically loaded, but my brain would still be kicking my ass. I guess it was guilt.
DM: Let's talk about this if you don't mind.
RE: That little period of time was probably my personal all time low. I got off the heroin hamster wheel and got on methadone maintenance. I got together with a chick on the methadone program who was a hooker. She had a little apartment right there in the Tenderloin. It was conveniently located right around the corner from the clinic. She was a nice person, just messed up, but she was good people. She was actually a real talented singer and songwriter, but she hadn't done anything with it in years.
Seemed like I just resigned myself and fell into this loser regimen of wake up, go around the corner to the clinic, get my dose, then go across the street to this crummy little chop suey joint where the "methadone for lunch bunch" would sit around, drink shitty coffee, tell lies and wait for our juice to come on.
A few times a week my old lady would have a "date" so I'd walk across the street to the Laundromat and smoke cigarettes 'til I figured it had been long enough and the trick must be gone by now. It was a real lowdown, pathetic scene. I couldn't even bullshit myself into thinking I was pimpin'.
DM: At some point you started playing music again?
RE: After a couple months of that routine, I called up an old friend named Sonny Lane. We used to play together in High Tide Harris' band. He came by, picked me up and took me out on the town. Sonny was a great guy. He was a real bluesman, a guitar player from West Helena, Arkansas, and funny as hell.
He had a new El Dorado, he had two ladies with him and as soon as I got in that car I felt better than I had in months. Sylvia, who Sonny had been messin' around with for years, and Lula were sisters. They were also Little Walter's sisters.
We went to this place, the Savoy Tivoli, where Luther Tucker was playing. We were drinking a little bit, I even danced, and just by being around the music, I started remembering what a good time felt like.
There was another guy I knew at that Tucker show, a guy named Charles Baty. A couple years before, around 1973, on one of my trips back to California I just out of the blue got a phone call from him. When he called and told me his name, I recognized it from seeing it in the paper in the local club listings.
DM: What was his band called in those days?
RE: Charles Baty Blues Band. I remember seeing that name and thinking, "I wonder if that's a harp player." Back then the scene was so tiny and so competitive, you tried to know or know of everybody out there. He introduced himself over the phone and said that he had heard about me through Gary Smith and he wanted to meet me.
I guess he had heard all kinds of other shit besides the musical stuff about me, so when he came over to where I was living, he brought me a peace offering.
DM: What was it?
RE: What he used as bait was that he said he'd bring me a '45 of Tonight With A Fool backed with Don't Have To Hunt No More. At that time it was this mysterious Little Walter record that nobody had ever heard. Somehow, he had gotten a bootleg copy of
this '45.
So, he came over, played the record, which is great of course, but can you imagine hearing something like that for the first time? I mean this record had previously been like a myth.
I told him that I hadn't been playing much since I'd been back from Chicago. I told him it just seemed like there wasn't any scene and nobody knew how to play behind a harp anyway, generally just bitching and making excuses.
He told me that he knew how to back a harp on guitar. He had learned all the Louis Myers and Lockwood stuff so he could show guitar players what he wanted to hear behind him when he was playing harp. We talked about maybe one day trying to play together, but at the time it was just casual conversation. I don't think I really gave it another thought.
After that I ran into him maybe a couple times at different gigs.
One time I remember seeing Charlie was at a club called Keystone Berkeley. Muddy was playing, Jerry was in the band by this time and Muddy called me up to sit in along with John Lee Hooker. Now that was a cool feeling. I was up there blowing, standing between Muddy and John Lee while they traded verses on Boom Boom Boom. After John Lee sat down, Muddy kept me up there to finish the set with him. It really made me feel good that he obviously still dug my playing.
I saw Little Charlie at the Savoy Tivoli, it was a couple years later. He told me he had moved to Sacramento and started a band and he wrote his number on a matchbook cover and told me if I was still interested, I should give him a call in about six months. He thought by then, he might be ready to try playing together. The next day after that Tucker show, I went right back to my dead end routine and I stayed in that rut for a few more months.
DM: How in the world did you ever pull yourself out of that life?
RE: The weirdest thing happened, and I swear to God it's the absolute truth.
It was summertime and I was loitering in front of the clinic with these two other dope fiends. I remember their names, Walter Black and Buster Dubonnet.
Walter, I knew a little bit. We used to sit and talk sometimes. He was from Houston and he knew I used to play with Travis Phillips and Travis had been kind of a big deal in Houston when Walter lived there, so I know Walter kind of thought of me as somewhat legit. Buster was a dope dealer. I didn't really know him that well and he seemed a little aloof.
I assumed it was partly because he had the bag, but I felt like it was also 'cause he was sort of a pretty boy. He had that Creole look, green eyes, good hair - I always felt like he thought he was kind of above Walter and me in the lowlife pecking order.
Anyway, while we were just standing there bullshitting, a public library bookmobile pulled up and parked directly in front of us, right in front of the methadone clinic. Now try to picture this Dave, this bookmobile had a giant TV screen on the side of it. Maybe that's not an uncommon feature on bookmobiles.
DM: I do remember the bookmobiles. I don't remember any giant or even small T.V. screens on the side. I just think that the fall of our civilization and the demise of the bookmobiles are somehow related.
RE: I, on the other hand, am not real familiar with bookmobiles. I had never heard of, or seen anything like that. So, this bookmobile that was parked right in front of the
clinic, for no reason I could see, just started showing the Les Blank film, The Blues According to Lightnin' Hopkins, on the side of the bookmobile.
There's a scene in that movie that takes place at somebody's house where this harp player, Billy Bizor, who was I think, Lightnin's cousin, is just rolling around on the floor, drunk, laughing and crying and blowing the harp. By this time, all three of us had shut up as we were transfixed, watching the movie. I was about twenty five at the time and in case people haven't figured it out by now, I wasn't exactly a sensible, well balanced person back then.
Probably out of insecurity and immaturity, I made this stupid statement "Shit, I can play better than that motherfucker." It was dumb and unnecessary, but that was me at the time. When I said that, this guy Buster, got a little chicken-shit, sarcastic smile on his face and kinda mumbled, halfway under his breath, "Yeah, sure you're right".
In that one moment, I got real mad...at myself. Mad for letting myself sink to where I was at, and the thought popped in my head, "Fuck this shit! I know how to DO something!"
I went back around the corner feeling like I had a purpose. I went up into the apartment to try and find that matchbook cover with Charlie Baty's phone number on it.
End of Part 1; click here for Part 2
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redpajama_set_name: RedPajamaCommonCrawl


or emotional needs and blind dogs. Every effort is made to duplicate the home environment and routine your pet is accustomed to and to make them feel at home. It's especially rewarding to establish long-term relationships and work in partnership with parents who care deeply about the welfare of their pets and want only the best for them. Our priority, second only to providing exceptional pet care, is putting your mind at ease so you can enjoy worry-free travel.
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DIY Projects: Old Paint Cans Turned Into Planters Bring Both Metallic Dazzle And Colorful Zest - 10 DIY Planters that Usher in Metallic Dazzle Along with Greenery!
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Old Paint Cans Turned Into Planters Bring Both Metallic Dazzle And Colorful Zest : 10 DIY Planters that Usher in Metallic Dazzle Along with Greenery!


Arsenal's 17-year-old midfielder Emile Smith Rowe scored a fine goal as the Gunners were beaten 3-1 on penalties by Atletico Madrid following a 1-1 draw in Singapore in the ICC.
Against the run of play, Atletico took the lead with their first shot on target as Luciano Vietto directed a fine header into the far corner on 41 minutes.
But Arsenal levelled through Smith Rowe two minutes after the break, skipping past two Atletico players before finding the top corner with a beauty from 20 yards.
The game went straight to penalties after 90 minutes, with Arsenal missing three of their four as substitute goalkeeper Antonio Adan saved from Henrikh Mkhitaryan, Joe Willock and Edward Nketiah.
Unai Emery named a strong XI for their opening ICC game; Pierre-Emerick Aubameyang, Alexandre Lacazette and Aaron Ramsey started, and there were also starts for new signing Matteo Guendouzi and 17-year-old Emile Smith Rowe.
Arsenal looked bright going forward in the first half, forcing two saves out of Jan Oblak as Alexandre Lacazette broke free inside the area on both occasions.
Angel Correa fluffed a chance from 15 yards during a rare Atletico attack, but they got their goal four minutes before half-time as Correa got the better of Rob Holding on the right flank, crossing for Vietto to steer a superb header past Bernd Leno.
Arsenal were quick out of the blocks in the second half as Smith Rowe equalised, showing confidence and skill to dodge two tackles and curl home just two days before his 18th birthday.
Arsenal made eight changes with half an hour remaining, with Nketiah and Jordi Osei-Tutu impressing in spurts, but the game when to penalties.
Emery's Arsenal: What did we learn?
Adan was the hero for Atletico, saving three spot kicks and scoring the winner from 12 yards, while Arsenal's sub goalkeeper Petr Cech himself saved from Rodri.
Arsenal now face PSG in Singapore on Saturday at 12.35pm, before pre-season games against Chelsea (August 1) and Sevilla (August 4).


text:
XFL officially cancels season due to coronavirus pandemic
PLANT CITY, FL - DECEMBER 16: The official XFL game ball for the Tampa Bay Vipers during the XFL's Vipers Minicamp on December 16, 2019 at Plant City Stadium in Plant City,FL. (Photo by Cliff Welch/Icon Sportswire via Getty Images)
TAMPA, Fla. - The XFL has officially canceled its 2020 season due to the coronavirus pandemic.
The league released a statement, saying they had no choice but to cancel its season, just months after reviving the XFL.
"The COVID-19 pandemic, and the most recent local and state regulations, have left the XFL no choice but to officially cancel the remainder of the 2020 season," the statement began.
"While we are disappointed to not complete the 2020 season, our hearts are full of appreciation for your overwhelming support," they continued. "This decision has been made with the health and safety of the entire XFL family as our top priority."
The league said it is planning on a full season in 2021 and beyond.
The Tampa Bay Vipers are one of eight teams in the league.
If you feel sick
The Florida Department of Health has opened a COVID-19 Call Center at 1-866-779-6121. Agents will answer questions around the clock. Questions may also be emailed to covid-19@flhealth.gov. Email responses will be sent during call center hours.
LINK: Florida's COVID-19 website
CORONAVIRUS IN FLORIDA: What you need to know
AROUND THE WORLD: CoronavirusNOW.com
Map of known COVID-19 cases:
Group poses online to catch child predators
3 winning lottery scratchers purchased in Southern California
North Carolina man, once obese, inspired by Navy SEAL to quit drinking, get fit and radically alter his life


text:
A commonwealth of knowledge: science, sensibility, and white South Africa
RDF+XML BibTeX RIOXX2 XML RDF+N-Triples JSON RefWorks Dublin Core Simple Metadata Refer METS Dublin Core HTML Unit Citation HTML Citation ASCII Citation HTML Profile Citation OpenURL ContextObject EndNote OpenURL ContextObject in Span MODS MPEG-21 DIDL EP3 XML Reference Manager RDF+N3 OAI-PMH RIOXX Multiline CSV
Dubow, Saul (2006) A commonwealth of knowledge: science, sensibility, and white South Africa. Oxford University Press. ISBN 9780199296637
A Commonwealth of Knowledge addresses the relationship between social and scientific thought, colonial identity, and political power in nineteenth- and twentieth-century South Africa. It hinges on the tension between colonial knowledge, conceived of as a universal, modernizing force, and its realization in the context of a society divided along complex ethnic and racial fault-lines. By means of detailed analysis of colonial cultures, literary and scientific institutions, and expert historical thinking about South Africa and its peoples, it demonstrates the ways in which the cultivation of knowledge has served to support white political ascendancy and claims to nationhood. In a sustained commentary on modern South African historiography, the significance of `broad' South Africanism - a political tradition designed to transcend differences between white English- and Afrikaans-speakers - is emphasized. A Commonwealth of Knowledge also engages with wider comparative debates. These include the nature of imperial and colonial knowledge systems; the role of intellectual ideas and concepts in constituting ethnic, racial, and regional identities; the dissemination of ideas between imperial metropole and colonial periphery; the emergence of amateur and professional intellectual communities; and the encounter between imperial and indigenous or local knowledge systems. The book has broad scope. It opens with a discussion of civic institutions (eg. museums, libraries, botanical gardens and scientific societies), and assesses their role in creating a distinctive sense of Cape colonial identity; the book goes on to discuss the ways in which scientific and other forms of knowledge contributed to the development of a capacious South Africanist patriotism compatible with continued membership of the British Commonwealth; it concludes with reflections on the techno-nationalism of the apartheid state and situates contemporary concerns like the `African Renaissance', and responses to HIV/AIDS, in broad historical context.


In Decanter's Bordeaux guide 2012, Stephen Brook explores the prestigious region of Sauternes to see if these sweet wines can win over younger drinkers.
See Stephen Brook' rating, tasting notes and drinking window for Château Liot 2009.
Dumb nose. Full-bodied and rich, with bright apricot fruit. Quite long, with a lively finish.


True Blood 5x03 Sneak Peek (2) - "Whatever I Am, আপনি Made Me"
Tara should end up with..
I made a অনুরাগী club for Merlotte's Bar & Grill! Would আপনি like to join?
অনুরাগী চয়ন: Hell yeah! Merlotte's is awesome!
What do আপনি think of Tara being a Vampire ?
a comment was made to the poll: Tara should end up with..
a comment was made to the poll: What do আপনি think of Tara being a Vampire ?
a comment was made to the poll: পছন্দ season of Tara?
a comment was made to the pop quiz question: Tara Thornton is?
Tara is currently employed at?
Was anyone else bugged দ্বারা MaryAnn waiting for Tara dressed like Gran!


text:
Comedian Michael Dapaah on 'Man's Not Hot', his massive viral hit as character Big Shaq
For the record: he didn't take off his jacket
Jordan Bassett
The ting goes skrrrrrrrrrah pap pap kak kak kak!!
'Man's Not Hot' has been streamed more than 74 million streams on Spotify, and more than 100 million people have watched the globe-trotting YouTube video. It became a bonafide phenomenon in 2017, getting shouted out by politicians and inspiring a million memes.
The parody grime track is delivered by inept rapper Big Shaq, a character played and created by comedian Michael Dapaah. He sat down with NME to explain the origins of the track, and the evolution of the character.
"I think he's a relatable character," Dapaah told us. "No matter where you are in the world, you will see a young person – sometimes they've grown up in unfortunate circumstances, sometimes it's just bad company, sometimes it's peer pressure – but they're a young person that's not necessarily bad, but they find themselves messing up in life. They're just around, they're out here, doing whatever, trying different things."
He continued: "Even if you don't 'get' everything, you'll see something that you understand. You'll be like, 'Oh snap! I've seen someone like that.'"
Big Shaq first became an internet star when he appeared on 'Fire in the Booth', the BBC 1Xtra show presented by radio host Charlie Sloth. He stumbled hilariously through the track – and straight, readers, into our hearts. Dapaah reveals that he always expected the appearance to go viral in the UK, but was surprised that it reached the rest of the world.
"With the fire in the booth," he said, "I always expected it to do well within UK borders… But the fact that it started crossing over, that was what was mad. It went to different places all around the world… It's great to see music and something you've created travel so far and be appreciated by some many different cultures and so many different people."
He concluded: "When people meet [me], they always meet [me] with a smile on their face."
NME Song Stories


text:
Luke Combs Ties Shania Twain for Longest-Reigning No. 1 Country Album
Carena Liptak
Luke Combs may be gearing up for the Nov. 8 release of his sophomore album, What You See is What You Get, but his studio debut is still making country music history. That breakout project, This One's for You, has now spent 50 non-consecutive weeks at the No. 1 spot of Billboard's Top Country Albums chart, tying for the longest-ever reign with Shania Twain's Come on Over.
Come on Over first hit No. 1 on the chart in 1997, going on to spend 50 weeks in the chart-topping slot. Now, Combs' first album matches that record, after debuting at the top of the chart in June of 2017.
Earlier in 2019, This One's for You became the longest-running top album for a male artist -- as well as the second-longest for an artist overall, following Twain -- when it hit 44 weeks at No. 1. Previously, Randy Travis held that record. Furthermore, Combs took each of the project's five singles -- "Hurricane," "When it Rains it Pours," "One Number Away," "She Got the Best of Me" and "Beautiful Crazy" -- to No. 1 at country radio.
After that string of chart-topping hits, Combs released his EP, The Prequel, and once again made history. He became the first artist to simultaneously place five songs in the Hot Country Songs chart's Top 25 since Johnny Cash did so in 1959. For the chart week of June 22, 2019, Combs had "Beer Never Broke My Heart" at No. 3, "Even Though I'm Leaving" at No. 12 and "Lovin' on You," "Refrigerator Door," and "Moon Over Mexico" at No. 19-21, respectively.
Combs isn't resting on his laurels: His forthcoming What You See is What You Get will feature a whopping 17 tracks (five of which are included on The Prequel), including collaborations with Brooks & Dunn and Eric Church.
Who Else is Putting Out New Music in 2019?
NEXT: Luke Combs Is Still an Everyman, Despite Success
Source: Luke Combs Ties Shania Twain for Longest-Reigning No. 1 Country Album
Filed Under: Luke Combs, Shania Twain


Super cool YouTuber dctcool nominated me for a contest on YouTube called "Battle Of The YouTube Nonstars" in which a weekly video challenge is set for twenty-four contestants and then people vote for their favourites. People are eliminated each round until one victor is ... well, victorious. User SamProof is running it this time around.
So my battle is up and I'm up against ciwi286 - wouldn't you know it, the first battle and I'm up against a visual effects artist. Dammit. That said, at least I'm not up against another musician who's more competent than I am (and there are much more competent musos in the contest).
I have to write and post a video in the next day or two, but if you want to help a brother out, please go to the video linked here and post a comment voting for almostfamous83. Voting closes midnight August 11th and you can only vote for one person in each battle once (no fake accounts will be accepted).
But while you do, please check out all of the other users who have been nominated in the battles. It is a friendly competition. The whole point of the contest is to raise awareness of YouTubers who don't have as many subscribers as they should and to give them some promotion, so please do check it out.


Korea Star City International Apparel (Hong Kong) Industrial Group Co., Ltd. was established in 1999, is a design, production and sales as one of the specialized fashion company. Garden Street No. 19 2012 new spring has been released, the spring 2012 new design more biased in favor of Korean style, multi-color, trendy design femininity.
The Artificial Leaves could also called Artificial leaf. Our Artificial Leaves are made of polyester fabric which is soft, lightweight and lifelike, they look like real leaves.
Our Artificial leaves covered all kinds of Artificial Tropical leaves, perfectly suitable for home, office, restaurant and party decoration.


text:
Q: Magento 1.9 create order using programmation from backend I tried to test a script to create magento order.
code seems to fails on the last line "$service->getOrder();"
Currency used is EUR and Customer ID is 2(already exist)
I think the problem is with shipping method.but not sure
Any help is appreciated.
<?php
require_once 'app/Mage.php';
umask(0);
$websiteId = Mage::app() -> getWebsite() -> getId();
$store = Mage::app() -> getStore();
// Start New Sales Order Quote
$quote = Mage::getModel('sales/quote') -> setStoreId($store -> getId());
// Set Sales Order Quote Currency
//$quote -> setCurrency($order -> AdjustmentAmount -> currencyID);
$customer = Mage::getModel('customer/customer');

$customer -> load(2);
//customer already exist
// Assign Customer To Sales Order Quote
$quote -> assignCustomer($customer);

// Configure Notification
$quote -> setSendCconfirmation(1);
$product = Mage::getModel('catalog/product') -> load(92);
//product already exist
$quote -> addProduct($product, new Varien_Object( array('qty' => 1)));

$addressData = array('firstname' => 'Test', 'lastname' => 'Test', 'street' => 'Sample Street 10', 'city' => 'Somewhere', 'postcode' => '123456', 'telephone' => '123456', 'country_id' => 'FR', 'region_id' => 182, // id from directory_country_region table
);

$billingAddress = $quote -> getBillingAddress() -> addData($addressData);
$shippingAddress = $quote -> getShippingAddress() -> addData($addressData);

$shippingAddress -> setCollectShippingRates(true) -> collectShippingRates() -> setShippingMethod('freeshipping_freeshipping') -> setPaymentMethod('checkmo');

$quote -> getPayment() -> importData(array('method' => 'checkmo'));

$quote -> collectTotals();

$quote -> reserveOrderId();
$quote -> save();
$service = Mage::getModel('sales/service_quote', $quote);
$service -> submitAll();
$order = $service -> getOrder();

printf("Created order %s\n", $orderObj -> getIncrementId());

?>

A: Most likely your problem is connected with the unavailability of shipping method for the current address validation: https://gyazo.com/13c1e692b92a8413594a75ababeba16d
Such result, I see for free shipping at my store settings (it is not available for the address)
If I replace the address for my usual, for which free shiping is available, the validation is successful, and your code works completely, without any change in it:
https://gyazo.com/2496d809d2e16bcab6a0fb3f63270ed2

redpajama_set_name: RedPajamaStackExchange


text:
Synthesis of novel hyperbranched polymers featuring oxazoline linear units and their application in fast-drying solvent-borne coating formulations
Cheng, Ge, Greenland, Barnaby W, Lampard, Chris, Williams, Neal, Bahra, Malkit S and Hayes, Wayne (2013) Synthesis of novel hyperbranched polymers featuring oxazoline linear units and their application in fast-drying solvent-borne coating formulations. Journal of Polymer Science Part A: Polymer Chemistry, 51 (18). pp. 3964-3974. ISSN 0887-624X
Restricted to SRO admin only
Official URL: https://doi.org/10.1002/pola.26807
Novel acid-terminated hyperbranched polymers (HBPs) containing adipic acid and oxazoline monomers derived from oleic and linoleic acid have been synthesized via a bulk polymerization procedure. Branching was achieved as a conse- quence of an acid-catalyzed opening of the oxazoline ring to produce a trifunctional monomer in situ which delivered branching levels of >45% as determined by 1H and 13C NMR spectroscopy. The HBPs were soluble in common solvents, such as CHCl3, acetone, tetrahydrofuran, dimethylformamide, and dimethyl sulfoxide and were further functionalized by addition of citronellol to afford white-spirit soluble materials that could be used in coating formulations. During end group modification, a reduction in branching levels of the HBPs (down to 12–24%) was observed, predominantly on account of oxazoline ring reformation and trans-esterification processes
under the reaction conditions used. In comparison to commer- cial alkyd resin paint coatings, formulations of the citronellol- functionalized hyperbranched materials blended with a com- mercial alkyd resin exhibited dramatic decreases of the blend viscosity when the HBP content was increased. The curing characteristics of the HBP/alkyd blend formulations were stud- ied by dynamic mechanical analysis which revealed that the new coatings cured more quickly and produced tougher mate- rials than otherwise identical coatings prepared from only the commercial alkyd resins.
Barnaby Greenland


Home › Stork Baby Gifts Blog › Baby Gifts: Is "Convertible" Baby Gear Worth the Added Cost?
Baby Gifts: Is "Convertible" Baby Gear Worth the Added Cost?
Many types of baby gear are designed to grow with your baby. The most common are convertible cribs, which convert from a crib to a toddler bed, a day bed, and finally, a full-size bed (with a few added components.) You'll also find convertible double strollers (the popular Sit-and-Stand converts to a little jump seat for your toddler who may want the freedom to get out and explore), convertible high chairs, and convertible car seats that go from infant to toddler to booster seat. Most of these products cost more, because you're supposed to get years of use out of them.
Are these products worth it?
Moms and dads we polled said "Yes!" Several parents noted that their toddler is now using their convertible crib as a day bed or toddler bed and say the quality is good enough that they plan to make the transition to full-size bed, too.
Changing tables that convert to dressers are also a good investment, since the changing table is then a piece of furniture your child will use throughout their early years.
Personally, we got extensive use out of our daughter's pack-and-play as a bassinet, then a portable crib for travel and now we're using it in the playroom to store stuffed animals and blankets. At this rate, it might last until both kids are teenagers!
I also splurged on all-wood, convertible high chairs that went from regular baby high chairs with an easy-to-clean tray, to restaurant-style high chairs that pull right up to the table, to booster seats designed for kids up to age five. These would still be working well, except we recently bought a counter-height kitchen table.
If you're not sure if convertible baby gear is the way to go for your baby gift registry, answer these questions: - Are you planning another child soon, so that you'll want to pass baby gear on rather than "convert" it? - Do you plan to move? If you do, will your convertible baby gifts fit well in your new space? (For instance, since a convertible crib becomes a full-size bed, it may not fit in a home with small bedrooms.) - Do you take good care of furniture and other items? Are you willing to pay more for a higher quality item? If not, you may not want to invest in convertible baby gear or even put it on your registry as baby gifts.
Most new parents hope they'll get most of necessities for their new addition as baby gifts. Because of the higher price tag of convertible gear, friends and family may not be as willing to purchase these items. Spread the word, in a subtle way to close friends, that you wouldn't mind if people chipped in to buy some of the more expensive baby gifts on your registry. Or request gift cards so that you can shop around for the best prices and buy these big-ticket baby gifts yourself.


This is a Carpobrotus Modestus. A succulent perennial herb with flowers that can be pink, purple or blue. I got a snapshot of one of them to share its beauty with you.
I wish you all a nice weekend.
Have a good Sunday too!
This is a beautiful flower. All its parts are perfect. The colors and petals are all designed for a purpose and we just happen to be attracted to the beauty in them. I really like your picture today.
I hope you get to see the Rose-Breasted Grosbeak that came to Brookville, Ohio yesterday. It is the first one I have seen since we moved here 44 years ago.
what the colours and details are stunning!
Carlos, ke tal doc, espero ke todo bien, a ke se debe tu faceta florida? me encanta cuando captas imágenes de arquitecturas.
Thank you! I did have a good Sunday, going to the market to check out what we can plant in a new flower box that unfortunately has too much shade. But we'll beautify it as a response to inspiration from your lovely photo.


Please consider a donation to the American Legion Band of the Tonawandas; we need your support as we strive to produce the best musical product around!
If you would like to make a donation now, please send an email to fundraising@tonawandalegionband.com for additional information, or mail a check to the address listed on the sidebar.
If you would like to make a CD purchase now, please send an email to Gretchen Scott at purchases@tonawandalegionband.com for additional information & instructions.


text:
Q: How to pass a method into a child element if the method relies on state variables in React I've been learning react over the last few days and for the most part it makes sense, however there is one thing that is stumping me.
If I have

*

*A Parent element with some state variables and a callback method

*A child element that takes a callback method as a prop

*The callback method relies on some piece of state that is in the parent element

*I don't want to re-create the view object every time any state changes

Every time I try to do this, it seems like the child element is calling some older version of the parent element (presumably the instance of the parent that actually created the child) instead of the current version.
I'm getting the feeling that what I want is just wrong on a fundamental level and isnt The React Way
The reason that I am trying to do this is that my main parent contains 17 divs, each of which represent a key on a musical instrument, and each of which contains at least 20-30 divs. The lowest div (of which there are at least a few hundred) has an onClick event that I want to modify the functionality of based on whether modifier keys are held down (shift, control etc).
Currently I have Raised the state of the shiftPressed to be on the single parent element then passed down the value of that into each child through props, however re-rendering hundreds of divs whenever a user pushes shift takes quite a while.
I've  made a code sandbox to show the current problem sandbox
Sandbox code:
import "./styles.css";
import { useState, useEffect, useRef } from "react";

export default function App() {
  //Our state holding data
  const [state, setState] = useState(false);

  //Our state holding the view
  const [view, setView] = useState(

);

  const printState = useRef(null);

  //Component did mount hook
  useEffect(() => {
    reGenerate();
  }, []);

  //state update hook
  useEffect(() => {
    printState.current();
  }, [state]);

  //function to flip the state
  const flipState = () => {
    setState(!state);
  };

  //The method that updates the view
  //(The idea being that I don't want to update the view on every state change)
  const reGenerate = () => {
    setView(
      <>

          State: {state && "true"} {state || "false"}

        <Child callback={printState} />
      </>
    );
  };

  //Method for validation
  printState.current = () => {
    console.log("Printed state: " + state);
  };

  return (

Parent-child-prop-problem (prop-lem)

click "force regeneration"

          click "flip state" and the value of state after the flip will be
          printed in console, but it won't show up on the HTML element

          Click "print state (from child)" and observe that the console is
          printing the old version of the state

      <button onClick={flipState}>Flip State</button>
      <button onClick={reGenerate}>Force Regeneration</button>
      {view}

  );
}

function Child(props) {
  return (

      <button onClick={props.callback.current}>Print State (from child)</button>

  );
}

A: Taking a quick peek at your sandbox code and I see that you are storing JSX in state, which is anti-pattern and often leads to stale enclosures like you describe.

I don't want to re-create the view object every time any state changes

"Recreating" the view is a necessary step in rendering UI in React as a result of state or props updating. State should only ever store data and the UI should be rendered from the state. In other words, treat your UI like a function of state and props. Toggle the state state value and render the UI from state.
Example:
export default function App() {
  //Our state holding data
  const [state, setState] = useState(false);

  const printState = useRef(null);

  //state update hook
  useEffect(() => {
    printState.current();
  }, [state]);

  //function to flip the state
  const flipState = () => {
    setState(!state);
  };

  //Method for validation
  printState.current = () => {
    console.log("Printed state: " + state);
  };

  return (

Parent-child-prop-problem (prop-lem)

          click "flip state" and the value of state after the flip will be
          printed in console, but it won't show up on the HTML element

          Click "print state (from child)" and observe that the console is
          printing the old version of the state

      <button onClick={flipState}>Flip State</button>

State: {state ? "true" : "false"}

      <Child callback={printState} />

  );
}

function Child(props) {
  return (

      <button onClick={props.callback.current}>Print State (from child)</button>

  );
}

It's also generally considered anti-pattern to use any sort of "forceUpdate" function and is a code smell. In almost all circumstances if you hit a point where you need to force React to rerender you are doing something incorrect. This is the time you step back and trace through your code to find where a certain piece of state or some prop isn't updated correctly to trigger a rerender naturally.


text:
Variety Plus Icon Read Next: WTFilms Launches 'Apache: Gang of Paris' at Unifrance Rendez-Vous
Apr 20, 2015 10:24am PT
Theater Owners Worried About Losing Younger, Mobile Generation
By Brent Lang
Brent Lang
Executive Editor of Film and Media
BrentALang
Box Office: 'Scream' Debuts to Bloody Impressive $30.6 Million 20 hours ago
Blumhouse Taps Joy Oana as Head of Human Resources (EXCLUSIVE) 3 days ago
NYC Media and Entertainment Commissioner on Omicron's Impact on Broadway and Production 3 days ago
Richard Drury/Getty Images
The box office may be booming, but the kids are not all right.
That was the takeaway from the kickoff to CinemaCon, the exhibition industry confab that began Monday in Las Vegas.
Disney distribution chief Dave Hollis and Yelmo Cines CEO Fernando Evole tried to accentuate the positive as they rhapsodized about the magic of a shared cinematic experience in their keynote addresses to theater owners as part of CinemaCon's International Day.
However, they acknowledged that multiplexes are engaged in a tug-of-war for eyeballs with the likes of Facebook, Instagram and YouTube that's resulting in an aging crop of avid moviegoers. The expiration date on this group of dependable ticket buyers was brought to life by a photo Evole showed depicting a line of cinemagoers dominated by a sea of white-haired senior citizens.
"I don't see those guys here giving us much revenue in the years to come," said Evole, who runs a circuit of theater primarily based in Spain.
Hollis was less existential in his remarks, but he did acknowledge the challenges that the movie industry faces by using his three mobile-device loving young children as an example of shifting tastes. The exhibition business and the major studios need to "lean in" to these connected consumers, he said, borrowing a phrase from Facebook COO Sheryl Sandberg.
He noted, in addition, that over the last five years, attendance has declined among moviegoers ages 18 through 39.
"It doesn't take much of a leap to think that the technology advances we're seeing outside of the theatrical space are some how connected to these trends," said Hollis.
He took theater owners on a two-decade tour of some of these evolutions, noting that in 1995, VHS was still a thing, Blockbuster a juggernaut and the foreign box office a sliver in the revenues of Hollywood studios. Today, the foreign box office accounts for more than 70% of global ticket sales and a panoply of Internet-enabled devices are changing the way that people watch movies and TV.
The solution is to improve the theatrical experience, both Hollis and Evole argued, by offering souped-up sound, 3D, Imax, more comfortable seating and amenities. Keeping business growing also demands a steady stream of so-called event pictures that push people to leave the comforts of the couch.
Hollis argued that a "mobile device can't replicate the incredible feeling of seeing 'Star Wars' or 'Avatar' or 'The Hunger Games' on a giant screen."
Cinema owners and studios must work more collaboratively, he said, to show "there is nothing like going to the movies, there has never been anything like going to the movies. It's on all of us to keep that a truism."
He closed his remarks with an image of two hands clasping, a fitting illustration of the theme of CinemaCon — a four-day lovefest between two factions of the entertainment space that often lead with their elbows.
For his part, Evole indicated that theater owners should demonstrate more flexibility on the issue of windowing. That's historically been a sticking point. Exhibitors have viewed any attempts to reduce the traditional 90-day period between a film's theatrical premiere and its home entertainment release as a threat to their business.
He suggested embracing different release strategies for different types of films and what he termed "window segmentation." There may also be more cross-marketing opportunities.
"We can't change the future and we can't fight changes," he said.
Cinemacon


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So you've decided on a Hawaiian wedding theme and now you need to find beach wedding dresses that go with your Hawaiian beach theme. Or maybe you are planning a beach style wedding elsewhere (not actually on the beach in Hawaii), wherever that may be. It's easy to bring Hawaii to any beach or even to your own back yard. And it all starts with the correct choice of Hawaiian wedding attire suitable to wear on the beach not only for yourself and your bridesmaids but the complete bridal party.
Hawaii is well-known for being laid-back and casual, so why not apply the same attitudes toward your wedding? It's not uncommon for couples getting married on the beach to throw tradition to the wind and dress down.
While nothing could be more romantic than a traditional Hawaiian wedding dress known as a "Holoku". The Hawaiian Holoku, a formal Hawaiian gown with a train, is also a gorgeous choice as a Hawaiian wedding gown for those who would like authentic Hawaiian wedding wear. The Holoku is an elegant, and conservative, formal tea dress, with its high neck, long sleeves, and lace. Maile, the character in Blue Hawaii who married Elvis at the end of the movie, wore a Holoku as her wedding gown as Elvis and Maile serenaded each other with the Hawaiian wedding song as they floated down a river on a canoe toward wedded bliss.
A wedding on the beach does not permit you to wear those long flowing wedding gowns, with a 15ft trailing veil, they are best left for the more traditional church wedding. Hawaiian themed weddings can be more of a casual setting, allowing you set the mood for a fun relaxed day. While out in the sun with a small tent erected, you would want to wear something that matches this setting. After all a marriage ceremony is not sanctified on what beach wedding dress or gown you wear or where you get married. With a wedding on the beach you can be as formal or as casual as you like, they're really are no golden rules, times are simply changing giving brides the chance to truly personalize her own special day.


text:
HomeMusic & AudioMusicTraditional MusicDivine Melodies – Kirtans
Divine Melodies – Kirtans
This MP3 contains 34 tracks of the Hare Krishna mantra sung in different tunes by HH Radhanath Swami.
SKU: MP3- DM. Categories: Music, Traditional Music, Super Gifts.
Very melodious and soul stirring devotional kirtans.
Please note, that the quality of some recordings is not par to the professional recordings in the studio.
HH Radhanath Swami
Radha Gopinath Media Services.
34 tracks, more than 12 hours of listening time
Books By Srila Prabhupada, Bhagavad-gita As It Is, Books by & about Srila Prabhupada, By Srila Prabhupada
Bhagavad-gita As It Is, Original MacMillan
Books, Lord and His Devotees, Ramayana
Jai Hanuman
Books, Books By Srila Prabhupada, Super Gifts, Teachings of Srila Prabhupada, Books by & about Srila Prabhupada, By Srila Prabhupada
Srimad Bhagavatam 1.1
Music & Audio, Audio, Lectures, Music, Srila Prabhupada Bhajans, Srila Prabhupada Chanting Japa, Special Offers, Srila Prabhupada's Audio
Th Audio Library of Srila Prabhupada on 3 DVDs
Music & Audio, Audio, Music, East Meets West
Mridanga
Music & Audio, Music, East Meets West, Traditional Music
Radha Govinda by Atmarama Dasa


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text:
Heartbreaking End To Search for Missing 13-Year-Old Girl in Brooklyn
Chisom Ndianefo
Shutterstock | 578401
The body of a 13-year-old girl has been found pulled from New York City's East River hours after telling 911 she wanted to end her life by jumping in the water. The young female was reported missing around 11 pm on Sunday by her mother.
Keep reading for details of this unfortunate incident.
Unsplash | Matt Popovich
13-year-old Jade Smith's mom Suyapa Martinez reported a missing person case to the authorities around 11 pm on Sunday, after which local police swung into action.
17+ People Who Got Called Out For Instagram Photoshop Fails
Lisa Marie Presley's Distress Exposed in 911 Call Before Tragic Cardiac Arrest
Her Body
Smith's body was soon discovered in the water near Brooklyn Bridge park around 8 am on Monday by a passerby who alerted the cops. She was declared dead upon their arrival at the scene.
Marie Kondo's Surprise Situation: What's Up with Her Often-Messy Home?
Tyre Nichols, Victim of Vicious Attack: Pepper Spraying, Kicking, and Punching Caught on Police Bodycam
A Distress Call
News outlets reported that the Brooklyn schoolgirl had earlier called 911 from her phone around 9:34 pm on Sunday.
Threatening Suicide
Unsplash | Andy Vult
The 13-year-old threatened to "jump" on the call, after which it was disconnected. However, the exact location she threatened to jump from is unclear.
History Of Depression
According to reports from her family members, she had a history of bipolar disorder and depression.
A Message To Her Dad
Unsplash | freestocks
Before the 911 call, the teenager also sent a disturbing message to her dad at some point in the evening.
Yet To Determine The Cause Of Death
The office of the Chief Medical Examiner is yet to state the cause of her death.
A Similar Incident
The unfortunate incident comes a few days after a 17-year-old teen jumped down from the roof of her nine-story apartment building in the Upper East Side.
She Was Pronounced Dead
Giphy | Feliks Tomasz Konczakowski
The 17-year-old girl was pronounced dead as soon as the authorities arrived. She jumped around 12:54 pm on Sunday.
Her Mom And Sister Were Home
The deceased girl's mother and sister were at home at the time of the suicide when they heard a loud thud from outside, only to discover it was the 17-year-old who had jumped down the building.
More Info About the 17-year-old
Unsplash | Clay LeConey
The late teenager, who authorities haven't identified well, is the daughter of an investment banker who works with JP Morgan Chase.
Increasing Depression
Giphy | Eternal Family
Depression has become common and on the high side among American teenagers, especially females, who are almost three times as likely as teenage boys to have had recent experiences with depression.
Doctors Should Be On The Lookout For Depression
Unsplash | Anthony Tran
Dr. Christine Crawford, an associate medical director of the National Alliance on Mental Illness and an associate professor of psychiatry at Boston University School of Medicine has stressed the need for primary care doctors to screen their patients for depression regularly.
"Medical providers who are screening for depression signals to patients that talking about depression, talking about your mental health is important for overall health."
Don't Suffer In Silence
Unsplash | Fa Barboza
The medical director urged people not to let the stigma of mental problems stop them from seeking professional help at any point.
"There is no need to suffer in silence with these symptoms," she said. "There are treatment options available."


A casual compliment by a married colleague of yours could be 'You look great today' or 'this new haircut suits your face'. A married man is quite concerned about his image publicly.
Have you found yourself loving a married man? But, whether a shy man or a bold man, a married man is a married man.
Do you find anything strange with his body language or his sudden inclination towards you? Here are seven tips to help 631 area code tinder dating get your head on straight: A woman flirts with a man to draw his attention and have a good time.
This flirting can be taken with a grain of salt.
The Late Night Texter You know, the girl who only texts you after midnight. If they give you the go-ahead, or they are secure in your devotion to them and see your flirting as nothing more than a lighthearted and quotes on married man flirting images way to have fun, good for you.
It's freaky and alarming how much heat is radiating from one little me.
If you continue to ignore his inconsistencies, he could eventually do something detrimental to your relationship. But when you go out of your way to flirt with someone, you have to examine your motivations. The Flirt This man loves to flirtatiously chat with strangers, waiters, and even your friends.
At times, women find it tough to know if a married man is interested in him. Are you getting a charge out of the competition?
Are flirtatious married men real cheaters ?
The Late Night Texter You know, the guy who only texts you after midnight. The bottomline is this: He might behave very cool and professional with you in public but he becomes a totally different person when you meet him in person.
Married and flirting - Guide to flirting for married men and women Category: Don't you want to go to fancy dinners with him and be proud? A person of the male persuasion clears his throat.
And although there is nothing wrong with being a little skeptical, living life with someone who is constantly negative will definitely put a damper on your relationship.
How true they were being to themselves, is a question mark.
Flirting involves a fair bit of game playing and body language. Eventually, you get so indebted by his favors that it would be tough for you turn him down when he asks you to spend the night with him.
Some even think it makes a marriage stronger.
He takes a lot of interest in your personal life If a married man who suddenly gets very interested in your personal life, then perhaps, he secretly wants to sleep with you.
He looks at one eye, then the other, and follows the path around to your nose and mouth. A flakey man will never put his woman first.
Her gaze travels upward to someone behind me. Fakes can only pretend for so long.
Again, if the flirting is purely in fun, even without the knowledge of the spouse, as long as it doesn't go further, it might be considered acceptable. He may attempt to fix his appearance by smoothing his hair.
Virtual infidelity can be just as serious as physical infidelity. You are only hurting another woman by getting into a relationship with a married man.
My cheeks are burning. The Flake This is the woman who calls off dates, constantly changes plans and never shows up when she promised she would. You often find him staring at you rather indecently.


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Walmart is offering the consumers a second chance at acquiring the PS4 and Xbox One when it launches. Starting Saturday, August 24th, the store will open its doors to the public for a chance to pre-order the next-gen consoles. Here's what you'll need to do; put a 10% deposit ($40 for PS4 and $50 for Xbox One), make payments overtime or pay in full at pick-up, and pick up the console on the launch date. Sounds easy, yes?
If you need more time to pay it off, they will hold pre-ordered consoles until December 13, 2013.
The Xbox One Day One Edition Console retails for $499 and will include the system, Kinect, Day One Commemorative Edition controller, an exclusive achievement and special edition packaging. The PS4 console will retail for $399 and will include the system, DualShock 4 controller and wired mono headset.
Games will also be available for pre-order like Forza 5, Dead Rising 3, Ryse, Killzone, Knack and Drive Club for $59.96 each.
The good news is that next-gen game prices are still the same as newly released current-gen games.