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kcjazzlark
Thoughts, opinions, remembrances, appreciations, photos and essays on Kansas City and jazz
The Musicians' View
In assembling the latest Jam – celebrating 30 years of the magazine with the question, what is the future of jazz in Kansas City – capturing the views of musicians was critical. I chose to include one who has been part of the KC scene for over a quarter century and one who is relatively new.
The June/July Jam can be picked up (free!) all over town or can be downloaded as a PDF here. Or you can read the interview with Mayor James, the views of club managers, and the views of educators in the last few posts. Next week, excerpts will conclude with the article quoting the executive director of the American Jazz Museum. This week, here's the issue's articles with the views of Hermon Mehari and Angela Hagenbach.
On August 28, 2009, the line to get into the Blue Room ran out the door and threatened to circle the block. Inside, Diverse was releasing their CD. The group, comprised mostly of UMKC jazz studies students, had won the Gene Harris Jazz Competition in June, 2008.
That night was when many in Kansas City recognized something special was happening in the jazz scene here. Some already knew. But others now understood that these young musicians brought special talent.
Hermon Mehari, a member of Diverse, remembers.
"It was a catalyst for original music in jazz. We were all pretty much working at that time individually. I feel like everyone from the get-go, all the players at UMKC, were immediately on the scene. Especially by 2009 I was being hired.
"During the competition I remember there was a lot of buzz about Diverse. Anything that gives Kansas City notoriety and the national spotlight, people around here get excited about.
"There wasn't really a scene of young musicians with committed groups at the time, and especially committed groups playing original music. Now there's a lot of that going on."
Today, Mehari stands as a prime example of a young musician building a career in jazz in Kansas City in the 21st century.
"There's a lot of potential to work here," says Mehari, who moved to Kansas City to attend UMKC in 2006. "I've only seen ten years of it, but I feel like the scene here has always worked out in some way or another. It has its ups and downs but I think it's on an upward trajectory in general, especially recently. If more players came here, it would be in concert with what I think is a growing younger audience. And I'm sure there's going to be more venues opening up, and other places that maybe don't have jazz yet will start having jazz.
"There's enough work here. With the closing of Broadway Jazz Club and Take Five, the only thing that's become more difficult is when I hear from people from out of town who want to come to Kansas City and play. That's limited. One thing that has been a little more difficult is to accommodate touring musicians."
Mehari has played a key role in enticing other outstanding jazz talent to move here and make Kansas City their base. He explains, "I kind of ushered in guys like Peter Schlamb, Karl McComas-Reichl and John Kizilarmut, who are incredible players who are not only part of the scene, they're helping to push the scene. It means a lot that players like that would live here. It's a testament to our scene. They love it. Those are guys who are also doing stuff outside of Kansas City on a regular basis. And all of that stuff is cool because it reflects on Kansas City.
"Peter and I have taken an initiative to start trying to bring people through here. I would never say that at the beginning the purpose is, hey, do you want to move here? It's, let's play. Then the love comes. I've brought Tony Trixier, who's in Diverse now, maybe four times in the past four or five years. Recently Ben Van Gelder has come through a couple times. Travis Reuter, the guitar player, has partially moved here. Those guys talk about this place and all of a sudden young musicians in other cities are talking about Kansas City."
But is Kansas City an environment that demands a musician plays more traditional jazz?
"It does in gigs like the Majestic," Mehari says. "You're mostly playing standards and swing. But with the Electric Tinks I play with Peter, we play First Fridays at the Green Lady, and it's great. All original music and all electric music and it's all top-notch players. I have liberty when I go to the Blue Room, I can do creatively what I want. And if I want to do the crossover stuff, I'm always open to play at clubs like the Record Bar or the Riot Room.
"It's a balance. You can't gig exclusively on the local scene playing just creative music. You can't make a living. It's impossible. If my income was solely based on playing Electric Tinks, and Peter was trying to book it as much as possible, it wouldn't happen. But that's the great thing about jazz musicians, we are very versatile. It's important that we know the tradition anyway. We all love the traditions. We play all of the old stuff and we put our spin on the old stuff, too. It's not just rehashing it in museum-type ways. It's bringing life to it. And we have the original, creative stuff, too."
Mehari and his peers find Kansas City to be a good base.
"We talk about this a lot with my peers and we feel strongly about this. We feel like it's a great scene and it's a growing scene. It's an affordable city. It's a city with a lot of culture and unique things. And it's a great community which makes it very appealing to musicians."
Appealing enough for young musicians to continue joining Kansas City's jazz scene?
"I think it's going to keep happening."
Last year, vocalist Angela Hagenbach marked 25 years on Kansas City's jazz scene.
"My first steady gig was at the Ritz Carlton," she remembers. "It was up in the ballroom. I played with Russ Long and Milt Abel [later, Gerald Spaits] and Ray DeMarchi. That was four nights a week for about four years. That's where I honed my craft. It was wonderful because it was very glamorous and I was still modeling at the time. I got to wear gowns four nights a week, which was a model's dream."
At the time, Hagenbach says, "There were lots of festivals and lots of places to play. Someone like me could work seven nights a week if I wanted to, and several gigs a day. Through my work at The Ritz I got tons and tons of country club and private events which were very lucrative, and a lot times they were off nights. It really was great to bolster my income and broaden my fan base."
But a singer today may find the opportunities more sparse.
"If they solely want to perform," Hagenbach muses, "that could be a challenge. There doesn't appear to be a lot of venues for vocals. It used to be vocal-heavy. But now it seems to be more instrumentally-heavy.
"One has to be creative if there's not enough clubs available by thinking outside the box. Find a void and fill it. We need to have music here and I'm your girl. For example, I once started the luncheon at the Majestic because I wanted to do an earlier show on Wednesdays. I needed to work while my children were at school. I did that at a couple of places."
And 25 years later, the pay has changed.
"It's gotten worse," Hagenbach maintains. "It's homogenized. This is what everybody gets. If you want to take a leader fee, then everyone else is going to get less. I have a problem with that. It used to be, you would set your rate based on your ability to bring in a fan base and then you pay your guys a decent wage and you take a leader fee. There's so much that a leader does in addition to perform. You get the gigs, promote the gigs, do the 1099, do the payroll. To me, that's worth something. In a lot places, I had to even provide the sound system. That shouldn't be free."
Hagenbach is concerned about opportunities for veteran musicians.
"This is a city that has an abundance of talent. It's startling how much there is. There's people moving to town and these young people that are coming out of Bobby [Watson]'s program are very high quality players. It's great that they're going out and keeping the music alive.
"But on the same hand, the older musicians and the people in the middle have to remain viable. They have to keep the jazz community vibrant. There's not as many opportunities for the older ones because it seems as though there's a large group who will play for less money just to play, which drives down our ability to earn a living."
But beside the challenges, Hagenbach also sees opportunities.
"It's like any movement, the struggle continues. You've got it keep it viable and keep it vibrant and relatable. It's not going to be easy because there's all this new music coming out. But there's a renaissance coming. The young people are helping to bring it. I want to branch out to the people who don't even have jazz on their radar. This is something that we as a city can use as a selling tool. When you arrive at the airport, you should have no doubt that you're going to get some seriously good jazz here."
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Labels: Angela Hagenbach, Hermon Mehari, jazz, kansas city
Education and Audiences
The educators surprised me.
They're engaged in far more than developing the next KC jazz superstar. They're introducing children to the music. They're developing audiences. They're bringing the best of the best to this city. They're perpetuating our jazz culture.
This is the third week of articles culled from the latest Jam. It's available available – free! – all over town or can be downloaded as a PDF here. The issue celebrates the thirty years of publication by asking, what is the future of jazz in Kansas City? This week, the articles that quiz a pair of KC's key education leaders.
The best musicians are recruited.
"And one of the blessings that we get to sell," says Dan Thomas, "is a vibrant jazz scene that is inclusive, that celebrates one another."
Thomas is Associate Director of Jazz Studies and Co-Chair of Jazz Studies at the University of Missouri - Kansas City. He's been at UMKC for 16 years and in his current position about six years.
"I do a lot of national recruiting," Thomas explains. "I go out on the road and I'm performing with universities at their high school jazz festivals. If I perform at a club on the road, I hook up at a clinic somewhere to get in contact with the people who may not know UMKC's name. There are a lot of institutions that have name recognition. We're getting that now.
"Students are looking for contact. If I sweep through, I identify a few good kids. If I've given a good clinic, if I've played well, we're connected now because jazz is a family. Then I can sell, for example, our bass instructor played with Thad Jones. I might invite him to come study at our jazz camp in the summer where you get a week-long workshop with our faculty, and they're hooked. It takes sweeping moves where you make personal contact with folks.
"I spend 10 to 15 hours a week on the telephone and that's all year long. Some of the studs that have made it onto our scene I've known since middle school."
The number of jazz students coming into UMKC each year varies because, Thomas says, "we do enrollment management. If we have two trumpet players leaving, we're only going to take two trumpet players. This year we've got 12 or 13 guys coming in. They're all specific to what the program needs. They're coming from all over the country. They're amazing players.
"We carry 50-ish jazz majors, including undergrad and grad. Then we have several students who are jazz aficionados who participate in the program and need to participate in the program because we believe in the value of music education students. They need to have contact with us. If we don't provide them with the opportunity, we're just feeding the performance art. We need great music educators, too."
UMKC's program teaches five pillars of successful jazz musicians: performance, pedagogy, composition, arranging, and business and entrepreneurship.
"Duke Ellington traveled around and gave clinics," Thomas says. "For us to as educators to say that all the money is in performance, it's not. All the money's in composition, it's not. All the money's in arranging, it's not. All the money's in teaching, it's not. It's all of it. Everybody gets to dial up their percentages and those percentages float. That's the reality."
The talent UMKC is bringing into Kansas City is some of the best. "The students that are looking at our school are bonafide jazz guys," Thomas says. "They're either going to be known relatively quickly amongst our scene or when they leave they're going to be stars on their home turf.
"The depth of the program is significant. Every kid is amazing. They're really talented kids who ten years ago would have been the star of the program. Now you're looking at fifty or sixty of them."
Convincing that talent to come to Kansas City can be hard. But, Thomas says, "once they get here, they realize how special it is.
After graduation, "the vast majority of students stay here. That's a testament to our scene. There's some doomsday folks who communicate about the lack of what's going on in our scene. But Kansas City is a pretty phenomenal place that can absorb them.
"What's unique about what we're doing is that we're trying to build unique artists. Because everybody is unique there is an opportunity for each one of them to generate revenue."
Anyone who knows Kansas City's jazz scene today recognizes that it is brimming with extraordinary young talent. But, Thomas notes, "Young folks have romantic ideas. They're trying to prove something. That keeps old people young. You've got college age kids with seasoned veterans and there's a healthy collaboration. Kansas City is not cutthroat and competitive. These students are so welcomed into the scene and they still have reverence for the old guard and what they can teach."
Talk with Bill McKemy and it quickly becomes clear. Jazz education isn't just about building musicians. It's about building jazz audiences.
"We tour a 6-piece group," McKemy begins, "sometimes adding a vocalist to that, to go to schools and do either general assemblies performances or specific hands-on music clinics with bands. We've been to Raytown South, Fort Osage, Hickman Mills, the Blue Valley districts.
"We've played in some gyms and some school auditoriums. On the top end, size-wise, a little over 400 kids at once.
"But we'll also go in and work with just the music students and work on the songs that they're working on in jazz band. We'll also give them instrument clinics and improvisational clinics while we're there. We're able to go hands-on. The teacher in that situation is having their message reinforced. The kids are right there with Hermon Mehari and Rich Wheeler and Ryan Lee and all of the great players on the scene.
"The kids are enthusiastic and fired up about jazz, generally with lots of questions and a high level of engagement."
McKemy is the Director of Education and Public Programs at the American Jazz Museum (and an incredible bassist).
On September 10th, he launches a new program for students age 3 to 18 at the jazz museum. It's Jazz Academy.
"There are three main components," McKemy explains. "In the mornings we're going to have general music classes for ages three through sixth grade. Those classes will be a mixture of movement, music and other activities. The system is designed to engage kids at play rather than sit them in rows and teach them. It's designed to get them having fun with musical instrument-type toys, and eventually building not only their musical skill but the way that they engage something that's fun and playful.
"It also teaches as a key element reliance on their own ear. They learn to hear and to trust what they hear.
Improvisation is incorporated from the start. "The thing we want to accomplish," McKemy says, "is that improvisation isn't something they learn after they become an advanced musician. It's just something that you do with whatever you can play. If you can hit two drumsticks together, you can improvise.
From 1:00 to 3:00, McKemy continues, "we'll have combos, big bands and improv classes. Rotating in with the improv classes, we'll infuse history about the music, about Kansas City's role in it and about its cultural significance.
"We're hoping to build the audience as much as we're building bright young folks to play music."
The staff includes Clarence Smith, Stan Kessler, Marcus Lewis and John Kizilarmut. On a rotating basis, Bobby Watson, Dan Thomas, Matt Otto and Hermon Mehari will also participate.
The third component, McKemy says, will be "an education-themed jam session in the Blue Room from 3:00 to 5:00 with the kids from the academy and whoever else wants to drop in for it. We'll have as mentors the Elder Statesmen of Kansas City Jazz and other players to offer encouragement and show the kids the way."
Three sessions a year are planned to coincide with fall, spring and summer school terms.
For the students, the program is free.
"It's free but we also want to instill a sense of ownership of the program and pride in the Kansas City community," McKemy adds. "We're going to ask the students to pay it forward by participating in community outreach performances. We'll go to assisted living facilities or community events and perform. We want to be able to teach some life skills to the kids and show them the value they'll get from performing community service.
"We won't turn anyone away. I would be satisfied if for that first term we have 40 or more kids. I'd like to see 100 or more kids. Or 200 or 300. I'd like to have that problem."
McKemy brings an even larger goal. "In Kansas City, in terms of talented musicians, we have an embarrassment of riches," he says. "But historically, we have done just a so-so job at connecting the actual living resources of jazz with the kids. We can't afford to let the resources go to waste. We need to have Brian Baggett and Ryan Lee and Clint Ashlock and Charles Perkins and Gerald Spaits sharing what they know. It has to be across generational lines and racial lines and economic lines.
"I think it's correct for our city to have the best jazz education that exists. We should be on a par with New York, Chicago and New Orleans at a bare minimum."
Labels: Bill McKemy, Dan Thomas, jazz, kansas city
Clubs With Views
Now let's hear from the clubs.
This is the second week of excerpting articles from the latest issue of Jam, on the streets now (it's free) or downloadable from here. This issue celebrates the magazine's thirtieth anniversary by asking, what is the future of jazz in Kansas City? Last week quizzed the mayor on 18th and Vine. This time, John Scott from Green Lady Lounge and Gerald Dunn from the Blue Room offer insights into their operations.
Stepping into the Green Lady Lounge feels like stepping back into the 1940s. Dim lighting, red walls, red drapes and faux-classic art lining the walls all build a classic ambiance. This must be what a jazz club in Kansas City used to feel like.
That's all by design. It's owner John Scott's vision or, as he puts it, his point of view.
"It's the club's responsibility to get the patrons in," Scott explains. "When I hear club owners say, we want that band to get butts in seats, I don't think that's a useful phrase, and I don't ever want to hear anybody representing Green Lady Lounge to use that phrase. It's beyond the ability, generally, of a band in the jazz genre to put butts in seats.
"There's a lot of things marketing-wise that can make a jazz musician or a jazz band popular. If you go somewhere where they don't get a lot of jazz, then maybe a jazz band can put butts in seats. But in Kansas City there's jazz everywhere. It's so rich. It's like gold to the Mayans.
"So that can't be the primary draw. You cannot expect amazing, world-class jazz musicians to draw people into a barn. The club has to have a certain aesthetic. It has to have a point of view.
"That point of view comes from me. The look, the paint, the color, the accessories, the dark lighting, all of those things to me are pleasing. For a lot of reasons I've incorporated them into the bar. Some of them are very pragmatic. The drop ceiling is both an aesthetic, useful thing, and it's practical, relatively inexpensive. It connects the two sides of the building which were cut in half originally. This building has been around since 1889."
That point of view equally encompasses the music.
"The first year was a sampler platter of a whole variety of kinds of music," Scott says. "I was listening and trying to figure out the Kansas City sound. What is it in the past? What is it now? What is it going to be in the future? And what do I want to help give a home to?
"I learned to really dislike pick-up gigs, where people are just kind of filling time on stage. I wanted bands. I wanted people who play together on a regular basis to bring their best. I don't want jam sessions. This is not the venue for that. This is a place where people come, experience the ambiance and there's a band that plays together and is also producing original content."
Often that content includes an organ. You will not find a piano on the club's main floor, unless a musician has brought his own keyboard. Instead you'll see a Hammond B-3 organ. A favorite ensemble in the room is OJT. They're the classic organ trio with Ken Lovern on organ, Brian Baggett on guitar and Kevin Frazee on drums.
Scott describes OJT as "a kind of a north star, a point to guide everything else by. It's a sound that I feel combines a dirt road kind of blues and a real jazz sophistication. OJT is a Kansas City sound to me that combines swing with a lot of sophistication."
Yet Scott also looks beyond classic jazz ensembles. Another favorite is vibraphonist Peter Schlamb's eclectic group Electric Tinks.
"To me, Electric Tinks is not experimenting," Scott says. "It's progressive. It is pushing the genre. You can see from where he's pulling but he's doing a lot of original stuff. His musicianship is fantastic. And talk about a point of view. They've got a great a future and I'm incorporating them into our rotation."
Whether you agree with it or disagree, John Scott's point of view is working. He pegs half his customers as coming from outside of Kansas City.
"Kansas City jazz is something that already exists out there, this brand," he says. "We just realize the product and give it justice, give it support and help market it. People come to Kansas City and if they hear on Huffington Post or some Facebook feed, or however they heard about Kansas City jazz, and then they hear about Green Lady, associate it with Kansas City jazz, then they seek it out. That's what's happening.
"Green Lady is an evangelical jazz club because we're not just preaching to the people who already know they love jazz, but rather I believe in getting people exposed to jazz and I believe they will like it.
That point of view extends to Scott's vision for growing Kansas City jazz.
"If there isn't a jazz scene, then you take a shotgun approach. But when a scene is vital and rich, clubs can more narrowly define, deeply and richly, what your take on the Kansas City sound is. Evidence of a rich scene would be that each club books a more focused part of the overall scene.
"Other private people need to come along and join the scene in earnest. If they don't think it's commercially viable, they're wrong. If they want some help, I can help them. That doesn't mean making it just like the Green Lady but it does mean having an aesthetic that is unique to you and consistent in your point of view and care.
"We have excellent, amazing musicians in Kansas City who, given the right environment, will really spread the love of Kansas City jazz."
Gerald Dunn has worked at the American Jazz Museum since the day it opened. But he originally turned them down.
"I was living in New York at the time and had just come off touring the south of France for the whole month of June with Illinois Jacquet's big band," Dunn recalled. "I started working in Harlem, subbing for different bands, subbing at the Cotton Club. I felt at the time that if I left I would lose those connections."
The museum asked again. He talked the offer over with his parents.
"My dad said, 'Let me help you out. You have no more times to call to borrow money.'"
Today at the museum Dunn is Director of Entertainment and Blue Room General Manager.
The Blue Room, Dunn said, "started out only booking local musicians. We wanted to build a strong relationship with the community."
Dunn remembers discussing jazz with veteran musicians like Jay McShann and Eddie Saunders. "Listening to them talk about why people played the music," he said, "what music meant to them, what music meant to their friends, that gave me a good foundation of understanding what to look for.
"The older guys set a level of consistency. When you saw the Scamps perform on the stage, they brought an experience to you. The tunes that they sang, you could feel the song, you could feel the lyrics because they lived the lyrics. Those songs excited them. When they were playing from the stage, you were seeing that excitement. When it's coming out of their horns, it's exciting, it's happening.
"Sometimes Eddie [Saunders] would be one of the grumpiest guys on earth, but once he put the horn in his mouth it became happy songs.
"I tell some of these stories to the young guys so that they can see there are legacies that they are a part of."
In a city brimming with young jazz talent, nearly all wanting to play at the fabled corner of 18th and Vine, Dunn is looking "at how people are willing to work with others, how people are willing to respond to the crowd, how they're willing to present themselves to the crowd.
"Make sure you have enough variety in your repertoire to be able to entertain the crowd. You can play original music, and that's cool. But as people are coming in to understand you as an artist it's good to be able to accommodate them and give them something that they might be able to grasp.
"It's not always playing the best solo. A lot of times it's being able to release the audience. Give them a break. Lay something in their lap. Get into their soul. Make them feel like clapping is what they want to be doing."
Dunn has worked to understand who comes to the Blue Room.
"It's people who want to have a Kansas City experience. They read about it and they want to experience it. We're conscious of trying to bring in diverse crowds and bringing in the most diversity when it comes to artists.
Moving forward, does the Blue Room need to evolve?
"We're changing now," Dunn responded. "We're constantly moving. The scene forces you to change. You can't stay the same.
"We're opening up to other communities. We're opening up the neo-soul community. We're opening up to the Latin jazz community. Those pieces are infusing into the jazz pieces. Some of the younger jazz guys have a lot of those pieces. Fusion is a part of Dominque [Sanders]'s music. Hermon [Mehari] plays with some of the neo-soul acts."
And when a young musician with a non-jazz background approaches Dunn, "I don't have to say, you can't play here because you don't play jazz. Come in, check out what goes on, and see how you can contribute to what's going on. Let's see how you can fit in. Let's find ways to include you.
"We pay respect to the traditions of Kansas City jazz. And we pay respect to what kids have access to now."
Labels: Blue Room, Gerald Dunn, Green Lady Lounge, jazz, John Scott, kansas city
The Mayor on 18th and Vine
Nary a post in May. Let's get this blog back on track, starting with the mayor.
My May was monopolized with putting together the new Jam, hitting the streets now. It's a special issue, marking the publication's thirtieth year. As editor, I decided to celebrate by looking not back but ahead and asking this question: What is the future of jazz in Kansas City?
Articles quiz Mayor Sly James on the future of 18th and Vine; Cheptoo Kositany-Buckner on the American Jazz Museum; John Scott and Gerald Dunn on jazz clubs; Dan Thomas and Bill McKemy on jazz education; and Angela Hagnebach and Hermon Mehari for a pair of perspectives from musicians.
You can download the issue from the Jazz Ambassadors web site here. Better yet, pick up a copy around town (12,000 of them are printed) for the cozy feel of slick paper between your fingers as you peruse.
Or here's another alternative. Each week I'll reprint one or two of the stories here, for wider distribution and because their only other online presence – a PDF – doesn't show up in online search results like a well-scoured blog.
This week, a committee of the Kansas City Council is considering a $27.6 million bond proposal for improvements to the 18th and Vine district. Mayor James offers his perspective in the Jam interview, we'll start with that article. This is going to be longer than a typical post, but since this is the blog's first missive in a month, I'm not really taking up more of your last thirty days than I normally would.
Each article is accompanied by a photo of the subject reading Jam. I'll post those, too.
The 18th and Vine district is Kansas City jazz's soul. It's a district at the cusp of major changes. In April, ground was broken on construction of the nation's seventh Major League Baseball Urban Youth Academy in Parade Park, directly behind the jazz and Negro Leagues museums. The next week, the city unveiled details of proposed district improvements totaling $27.6 million. And a new executive director is leading the district's anchor, the American Jazz Museum, into its twentieth year. Jam sat down with Kansas City Mayor Sly James to discuss the future of 18th and Vine, starting with the MLB Urban Youth Academy. What is it?
MAYOR SLY JAMES: It is first and foremost going to be an opportunity to engage 600 to 1000 kids a year in baseball as a vehicle for a lot of different things. It will teach kids the skills needed to play baseball, and some who have talent will move higher than others. But all who are there will be in contact with people who know the game, know how to teach the game, and follow a basic philosophy that's been promulgated by [Kansas City Royals General Manager] Dayton Moore and the way that he built the team. You're looking for certain things and you're teaching certain things, like team before self. Character is important. Leadership is important.
But also it's going to be an opportunity for kids who might ordinarily just be hanging around to do something that's conducted in a safe environment under the watchful eyes of adults and have fun doing it.
It will also provide some academic support. They'll calculate the flight of a baseball over the wall and use baseball and statistics as a way of teaching math. There will be opportunities for kids to learn what it means to be a groundskeeper, what it means to be a concessionaire. You want to be a broadcaster? Go up and broadcast this game. But the main thing is that it is going to use baseball to improve the lives of urban kids in a way that hasn't been done.
The physical layout will consist of two large fields, one a championship field – the fences, I think, will be 400 feet to center, some big alleys – a little league field and a softball field. And then a building where instruction can take place during twelve months of the year with an infield, batting cages, pitching cages, and classrooms. The whole operation will be operated by the Royals as a low level minor league type of a deal. They'll pay for it for twenty years and run it like they run their team.
I'm really excited about this for a number of reasons. What it does for kids in this community is huge. We know from our summer programming that when kids are engaged, juvenile crime and victimization goes down 18 per cent. We also know that kids, when given an opportunity to do something positive, will take it.
What we're doing is putting a bunch of kids in the area of 18th and Vine, which means they're going to be there with their parents. There will be people from different parts of the city and the region coming in to play games at 18th and Vine. 18th and Vine should have more foot traffic. Hopefully, retail will spring up organically in order to satisfy some of the foot traffic. There will be people who are in the Negro Leagues museum and in the jazz museum, expanding the reach of those two places. Bringing people to the area means there's going to be more exposure of the assets in the area.
The next phase is more assets need to be in the area. We need more rooftops. We need more retail. We need more eateries. If I could, I'd probably go down there and try to get me a space and get a little ice cream stand that's open up on Fridays, Saturdays, and Sundays in the summer and sell tons of ice cream to kids who are out there playing ball and waiting for games to be played. That's the type of stuff that may come about.
There are also other things that are going on, and this is in conjunction with a different plan [the proposed $27.6 million in improvements]. There will be lots of discussion about what that should look like in the coming weeks, how do we make 18th and Vine more viable and live up to the history and tradition.
Last but not least, I think there is something in the works to stop having the Gem Theater be dark for three-fourths of the year. It's a great venue and we don't have enough activity there. There's been conversations about a contract with some entertainers who would fill that on an ongoing basis. That's not finished yet, but it's something that I hope gets finished soon.
JAM: With the baseball academy attracting more people, proposed improvements in the area, and the Crossroads area growing towards the east, are we starting to see more of an alignment of the district with the rest of the city?
MAYOR JAMES: That's the goal. That's the articulated and tangible goal of connecting east Crossroads to 18th and Vine in a seamless way.
The problem that we have is that along 18th Street it gets kind of quasi-industrial, not very inviting. Lots of concrete, the overpass, things that don't necessarily say, hey, we're pretty, come see us. So we're looking at some options to make changes there.
Early on I did a Mayor's Institute of City Design with Charleston Mayor Joe Riley. When you do that, you select an area of the city that you'd like to examine and talk about and have some input on in terms of changing what it is. The area I selected was 18th and Vine.
The biggest thing that came out of that was to get more people down there as frequently as possible, for a couple of different reasons. Number one, the more people you have down there, the more activity that will be generated and the more incentive there will be for people, even on a pop-up basis or a food truck basis, to create economic activity. Then you will have incentive to increase that economic activity by connecting to the east Crossroads. You also generate more buzz.
Getting the urban youth baseball academy there brings more people down. The next step is working with the Downtown Council to get more people down on First Fridays and those types of things, so we can start that constant flow. If you have that constant and you're a resident down there and you see every week there's an additional 2000 people walking on the streets of 18th and Vine, and you've got an idea for shakes and ice cream or hamburgers and hot dogs, or bandaids and cigarettes, whatever it is you want to sell, now all of a sudden you're saying, this might be viable. How about a coffee shop? Anything. Just get some retail activity down there so that you're always generating activity on the street.
But that also requires that we continue to build out housing. We have to have the rooftops in order to be sustainable for those times when people aren't there. If I live in the area and there's not a coffee shop on the street, then I'm going someplace else for my coffee. If there is a coffee shop, then me and the other people who live in the same area might bump into each other there, have a conversation. Now we're talking neighborhood. Now we're talking cohesiveness. When you have people come together as neighbors in a cohesive way, good things happen. That's what we're shooting for. That's the plan and the target.
JAM: When the improvements proposal was first discussed last year, you expressed concerns, perhaps about what kind of private funding it would leverage.
MAYOR JAMES: My concern was simply this, and it remains a concern regardless of what project it is: having money is not a plan. Have a plan and then figure out how to finance it. What we had was money but no real plan. It doesn't make any sense to have money out there and say, we're going to use this to help 18th and Vine, or we're going to use it to help Brookside, or anything else. What are you going to do with it? Is this best idea? Who's vetting this? What are you going to need? Is this sustainable on its own down the road, or is this something that's going to be a one-shot wonder? All of those things need to be answered and that planning is still in the process.
I want to separate two things. Number one, I want to separate my desire to see 18th and Vine completed in a way that is responsible, that creates jobs and activity, and brings it back to something approaching its original glory. I want to see that happen. But I am going to always be critical of the way we get there in order to make sure that we're being efficient and that we're actually using money to accomplish the goals that we need as opposed to shooting at a false target.
When we get the planning done, and it becomes clear what the money is going to be used for, how it needs to be allocated, then I'm for it. But until there is a complete plan and it's been vetted and everybody is on board, I'm going to reserve some judgement on it, which is totally different than the overall goal of seeing the improvements. That's not going to change. This is something that Councilman Reed has been championing and, although I agree with the ultimate goal, I want to see more meat on the bones before I join.
JAM: Do you have a reaction to the specific projects that were announced?
MAYOR JAMES: I don't have a reaction to specific projects. My reaction to any project of this type and scope is, is it catalytic and is it sustainable? I don't want to do something where in five years it's going to be, hey, we need another ten million dollars or, hey, we need to do something different here because it's not working. I want to see all of that taken care of on the front end. Sustainability is huge and being catalytic is huge. We want things that cause other things to happen. We want things that say to people outside, look what's happening here, maybe I ought to join. Then you're having the influx of private money that's going to supplement it and make it a much more vibrant area.
I look at the money coming from the city as a point of leverage. We need to leverage those dollars into other things that bring in private investment because that's how you're going to build wealth in the community. That's how you're going to build minority businesses and minority pride in a minority neighborhood that does the things that it used to do. Those are my goals.
JAM: Is it appropriate for the jazz museum to continue to receive substantial funding from the city?
MAYOR JAMES: Depends on what you mean by substantial. I do think it's appropriate for us to ask the jazz museum, when are you going to be able to live without it? The jazz museum is in the same building as the Negro Leagues museum. They've been heading in different directions financially. Why?
There's new leadership at the jazz museum in Cheptoo. I have a heck of a lot of faith in that lady. I think she is going to turn things around. So my position basically would be, let's not hamper her ability to turn it around by making her budgetary problems so severe that's all she's able to concentrate on.
However, there has to be an understanding that, hey, we expect you to be able to be self-sustaining at some point, so what are you doing to work in that direction? I think that's a fair thing to do. It's a fair thing to do with Negro Leagues and I think they've done it. So if one can do it, the other can.
That's especially true now that I think there's going to be more people in that area. There will be a lot more foot traffic in that building when the the urban youth baseball academy starts. It'll be a lot of kids going to the Negro Leagues museum, but it'll be a lot of adults there with those kids who will want to see both museums. It's an opportunity to do some cross-marketing. It's an opportunity to make some sales that may not have been made. It's an opportunity to do programming. When you know there's going to be big crowds, you draw people in. There's all sorts of opportunities there. I have every belief that Cheptoo will recognize those opportunities and seize on them. I know she's planning a jazz festival for next year. That's marvelous and a good thing to do.
JAM: Do you like to get out and hear jazz?
MAYOR JAMES: Oh yeah, I do.
JAM: Who do you like to hear?
MAYOR JAMES: Bobby Watson. I've asked Bobby Watson to play at two states of the city. I love going to 12th Street Jump. I like Hermon Mehari. I love Joe Cartwright. I think he's a fabulous pianist. One of my favorite all-time musicians, period, is Pat Metheny. I love Pat Metheny. There's a lot of good musicians. I also like blues, so I listen to a lot of blues.
JAM: Is there anything you'd like to add in conclusion?
MAYOR JAMES: I think we're looking at the beginning of a renaissance at 18th and Vine, which is why I want to make sure it's done right. I want to make sure that as we're rolling this out, it's being done in such a way that it will excite people and engage them and cause them to come down, and keep that spirit growing. It's all at our fingertips. When it happens, it's going to explode and it's going to be a vibrant area. I'm also keen on the economic activity phase because it should be an economic center in the community. It's not functioning quite at that level yet but we have an opportunity to shape it in a way that it will.
Posted by kcjazzlark 3 comments:
Labels: 18th and Vine, jazz, kansas city, Sly James
Once active with Kansas City's Jazz Festival and Jazz Commission, today I'm a fan. Kcjazzlark comes from KC and jazz (obviously) and (less obviously) from portions of my first and last name. Comments here are welcome, or I can be reached at kcjazzlark(at)gmail(dot)com
Some posts are viewed more than others. Here's the most popular:
• Friday Night at the Mutual Musicians Foundation
• The Second Most Historic Jazz Structure in KC
• The Importance of Buster Smith. And Lucille's.
• This 'n That 'n Bird's House
• The Jazz Museum That Wasn't
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• The Magic Jazz Fairy
• History and Homes and 18th and Vine
• Remembering Milton Morris
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What new stuff will be happening at Blue Jays games in 2018?
By Ian Hunter | March 28, 2018
By Ian Hunter | 03/28/2018
Photograph by thatlostdog--/Flickr
The new Blue Jays season starts on Thursday, and the team is mixing things up in the hopes of wooing back spectators who were turned off by 2017's disappointing denouement, when the Jays finished second-last in their division. Here are some new gametime features Rogers Centre attendees can look forward to in the coming months.
Saturday games will start a little later
The Blue Jays will be starting their Saturday afternoon games at 4:07 p.m., instead of the usual 1:07 p.m. The club is hoping the later start time will appeal to younger fans, who may want a smoother transition into Saturday night festivities. Plus, open-roof games are way more manageable in the late afternoon, when the sun is less brutal. Some might say the late-afternoon start will make these games less family friendly, but Sunday home games will continue to start at 1:07 p.m., and they will be geared toward kids, as usual.
The food will be a little better
Fish & chips got a makeover: fresh salmon and kettle chips, paired with tartar sauce 🙌🏻 @BlueJays @TOBallParkEats @AramarkSports #torontoeats #tofoodies pic.twitter.com/cZX8hkaCgJ
— Aramark at Rogers Centre (@TOBallParkEats) March 19, 2018
For anyone tired of hot dogs, popcorn or nachos, there's some new stuff to feast on at Blue Jays games this year. Vendors will be selling fish and chips on a stick, Korean beef tacos, and, for dessert, cookie dough in a cup. Also, there's this waffle sandwich with pulled pork and cheese curds:
Good news, hungry people: We've got new MLB food items to share with you. We apologize if it's not even close to lunch time where you live.
Here's the @BlueJays' Log Cabin Waffle Sandwich. It's pulled pork, cheese curds and maple baked beans between rosemary-scented waffles. pic.twitter.com/OjuWChQ8dh
— Big League Stew (@bigleaguestew) March 14, 2018
There's no more Jose
15 Days till #OpeningDay #Toronto
A post shared by Randal Grichuk (@rgrich15) on Mar 14, 2018 at 4:45pm PDT
Gone is the Blue Jays' bearded patron saint in right field, Jose Bautista. He's been swapped out for a new guy from the St. Louis Cardinals, Randal Grichuk. Nobody could ever truly replace a legend like Bautista, but Grichuk is a decent player, with an average of 21 home runs in each of the past three years. Plus he's got a nice head of hair. He might just become your new favourite Blue Jay.
In total, there are nine new Blue Jays on the 25-man roster this year. Another one to watch is Curtis Granderson, with his heart of gold and million-dollar smile, who will be one of the club's new outfielders.
There will be some new netting around home plate
Statement from the #BlueJays organization on protective netting at Rogers Centre.
For more information on these changes, visit https://t.co/ITp93R8A79 pic.twitter.com/C1MB2WfoM0
— Toronto Blue Jays (@BlueJays) January 15, 2018
It's not the most exciting addition to the Rogers Centre, but this new netting will increase safety for fans. The change was in accordance with an MLB mandate to extend protective netting as far as possible down the baselines at all Major League ballparks. Rogers Centre ended up hiking up its barrier up by 10 feet and extending it toward the outfield sides of the player dugouts.
The Jays have switched from a traditional black netting to a camouflage colour. This will apparently blend in better with the field and minimize any obstructed views for fans. It's probably for the best: loose bats and foul balls make great souvenirs, but they also make for concussions.
Topics: baseball Rogers Centre Toronto Blue Jays

redpajama_set_name: RedPajamaCommonCrawl


Reading Registry Keys - Bug or Mistake?
Discussion in 'Questions (Windows Mobile)' started by Raytracer, Apr 18, 2008.
It comes given back the error to me of "key not found" on the reading of the DWORD; if I try to exclude the line, same thing for the STRING.
The stranger thing is that I have copied equal par the example of the Handbook; the only variation has been carried out on the path of the variable ones of the registry to read.
I have used one similar sintax in order to read keys on HKCU (rather than HKLM) without problems of risen… it is a bug or mistake something?
Are you sure that these keys really exist?
- It is better to use GetString, GetInt and the other Get methods instead of the general GetValue.
- There is no meaning to Msgbox(files()). files() is an array and it can't be implicitly converted to string.


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ICNARC
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Work at ICNARC
⁄About
⁄Information & standards
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⁄Data protection
Retention of Records Procedure
What is data protection?
Data protection concerns information relating to living individuals. This includes information like names, addresses, dates of birth and so on. Any data that are in our possession are included.
We are registered with the Information Commissioner's Office under the Data Protection Act 2018 (Registration Number Z6289325).
We are committed to upholding the core data protection principles as outlined in the Data Protection Act.
We comply with the requirements of the Data Protection Act in the way we collect, store, process and disclose personal information.
Further details can be found on the Information Commissioner's website.
ICNARC and the GDPR
The General Data Protection Regulation (GDPR) is a Regulation of the European Union and, from 25 May 2018, it applies to all organisations that collect and process the personal data of EU citizens.
As a responsible, forward-looking business, ICNARC recognises at senior levels the need to comply with the GDPR and ensure that effective measures are in place to protect the personal data of our customers, employees and other stakeholders, and to ensure that it is processed lawfully, fairly and transparently.
Commitment to the security of personal data extends to senior levels of the organisation and is demonstrated through the relevant policies and the provision of appropriate resources to establish and develop effective data protection and information security controls.
As part of meeting our legal obligations, we have put in place a comprehensive programme to understand and validate our use of personal data and to confirm the lawful basis of our processing.
Further to this, we can confirm that:
A policy is in place for the protection of personal data within ICNARC which has been approved by management and communicated to all employees and other relevant people
All employees have received awareness training regarding data protection and the GDPR
Everyone understands their roles in the protection of personal data, and has received training where needed
We have identified the personal data we process, including where special categories are involved
For each occasion we process personal data, we have established the lawful basis of the processing under the GDPR
Where we have used the lawful basis of legitimate interest, we have conducted a documented balancing test to assess the benefits versus the impact on the data subject of the processing
In those cases where our processing is based on consent, we have taken steps to ensure clear, free consent has been given and is recorded, including consideration of parental consent for children
We have put in place a blended approach, using just in time privacy notices and a layered privacy policy, to ensure that the required privacy information is provided in clear language whenever we collect personal data
Tested procedures and online user facilities are in place to promptly process and fulfil data subject access requests, such as consent withdrawal, access and rectification
The length of time we keep personal data for, or the way we decide this, has been defined in each area of processing, and has been minimised
We are keeping records of processing as required by the GDPR
Where we are a controller, all of our contracts with processors have been updated to comply with the requirements of the GDPR
Where we act as a processor, we have contractually committed to complying with the requirements of the GDPR
All of our employees are subject to confidentiality obligations with respect to personal data
Where we transfer personal data internationally, we have ensured that the transfer is legal under the GDPR
Where appropriate, a data protection impact assessment approach which is line with the requirements and recommendations of the GDPR and relevant best practice, will be used
By default, we plan for data protection in new or changed services and systems, including minimising our use of personal data and protecting it via techniques such as pseudonymisation
We have tested procedures in place to fulfil our obligations in the event of a breach of personal data, both as a controller and as a processor
We have policies and other controls in place to provide appropriate protection of personal data, based on a careful assessment of risk
We have appointed a Data Protection Officer whose contact details are as follows:
Address: 24 High Holborn, London WC1V 6AZ
Email: DPO@icnarc.org
We will continue to develop and improve our data protection policies and controls over time, guided by legal requirements and the needs and preferences of our customers and partners.
Your privacy and the use of cookies. We use cookies to make our site more useable and reliable. If you accept their use, continue using our site. Or find out more about cookies in our privacy page.
Copyright © 2020 ICNARC
Registered office at Napier House, 24 High Holborn, London WC1V 6AZ
ICNARC is a registered charity (No. 1039417) and registered as a company limited by guarantee (No. 2946727)


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Former Bedford Resident Shot Following Bank Robbery in California
FONTANNA CA, - ( April 12, 2022) - A former Bedford resident, and Spencer Indiana man was killed following a bank robbery in California. Travis Tarrants, 45, Spencer, was also charged in a Bloomington Bank robbery and was expected in court for a hearing.
Travis Tarrants
Police said that Tarrants attempted to rob a Bank of America at gunpoint in Fontana, California, on April 7, and fled into a nearby Wendy's and tried to blend in with customers.
Customers notified police of his location and ran out a backdoor and was confronted by police officers.
The confrontation led to one officer being shot. Tarrants died as a result of his injuries.
Tarrants robbed an Old National Bank on West Third Street, in Bloomington on November 15. He was charged with armed robbery, attempted to disarm a police officer, and resisting law enforcement.
A judge released Tarrants from jail in January 2022. Tarrants failed to show up for a February 15 hearing, and an arrest warrant was issued on February 28th.
Tarrants has been no stranger to the law after he was accused of stalking and intimidating a couple six years ago.
He failed to get a job as a teacher and basketball coach and mailed dead animals to both of the victims at work. He also accused a man of having a sexual relationship with an underage student.
He began harassing a man chosen for the positions at Springs Valley School Corporation in French Lick and his finance.
One of the packages was listed as being sent from the male victim's finance and was mailed to the Seymour School District Administration building.
Two other packages were intercepted by the Indianapolis Post Office. One listed as being sent from Medora High School athletic director and the other being sent from the basketball coach at Brownstown High School.
The Jasper Post Office intercepted another package, containing a dead raccoon.
He left threatening and intimidating voicemails and called Indiana Department of Child Services to the agency on the unfounded allegations of Sexual abuse.
Tarrants pleaded guilty to those charges on two counts of stalking and was sentenced to five years in the Indiana Department of Corrections.
He was released from prison in September of 2021.
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History making week by FC Wisconsin with 4 teams earning spots in the National Championship tournament and ONE NATIONAL CHAMPION
The week of July 13th – 18th would prove to be an historic week for youth soccer in the state of Wisconsin. First FC Wisconsin would make history by having FOUR teams, the U14's, U16's, U17's and U18's, win regionals and move on to the National Championships. An unprecedented number of teams to qualify from one club in the history of Youth Soccer in Wisconsin.
The National Championship tournament would run July 13th – July 18th with the hopes of bringing the first ever boy's youth National Championship back to Wisconsin…FC Wisconsin would not disappoint.
Group play would begin for all teams on Thursday July 14th for all teams. In order to advance to the National Championship semifinals, teams would have to either win their group or earn enough points for a wild card. Another history making day when 3 of the 4 teams would advance out of group play to the National Championship semifinal.
"At the beginning of the year we set a goal of making history this year. Never did we imagine we would make so much history in such a short period of time. After placing over 33 players in college programs this year, and after having FOUR teams win Regionals, we set our sights on being the first youth boys program to win a National Title. The weeks leading to this event felt really business like and focused. We felt despite the prestigious teams already qualified, we had a good shot competing to bring home a title. And the boys were hungry!" Said Co-Director Billy Solberg.
The 14's would advance in their group play and face one of the top clubs on the east coast, Triangle United out of Chapel Hill, North Carolina in their semifinal. The semifinal was a hard fought back and forth game but FCW would come out on top 2-0 to advance to the National Championship final.
The 17's would be eliminated in the semifinal by Manhattan Villa SC the #1 ranked team in the Nation out of New York City. The semifinal would see an early read card for FCW after an early questionable yellow card followed by second yellow card in the 15th minute issued to its starting center back, Ethan Hannisko. The team would fight hard and after going down 2-0 early would pull the game back to 2-1 going into Half Time, but playing down a man for over 70 minutes would prove too much to overcome in the end.
"The team really came together the last month. They found their chemistry and really kept the ball and took advantage of some big moments throughout the tournament. We were really pleased with their play, attitude, and togetherness" said Senior Staff Coach Jaime Bladen.
The 18's would take the #1 seed based on goal differential and draw the wild card of East Meadow Soccer Club out of Long Island, New York. The East Meadow Hawks would get on the scoreboard first as their target got behind the back line to chip one over the outstretched arms of Nik Martensson to take the 1-0. After taking hold of the game, FCW would create big moment after big moment but would fail to capitalize until Braden Allen got through to bury a goal to go 1-1. The teams would go to double overtime where FCW would hit the crossbar and the post but would fail to get the game winner in regulation. The dreaded shootout would begin. With two huge save from Martensson, and FCW burying all 4 of their attempts, they would win the shootout and advance to the National Championship Final.
History made….2 FC Wisconsin teams to compete for the ultimate youth prize of the National Champions title!
The 14's would get a rematch vs the #1 team in the country, the Las Vegas Sports Academy (LVSA). The game would be extremely competitive with each team creating dangerous chances. The most dangerous chance came off of a corner and a Vincent Bennage header skimming the crossbar in the 27th minute.
They would lose the lead minutes later and go into halftime down just 1-0. The second half would continue the theme of keeping it close and creating chances. The game took a turn in the 60th minute when hard-nosed defensive unit gave up the second goal. As FCW started to push to equalize they would then give up goals on the counter and would lose the National Championship final.
The 18's game would be immediately after the 14's game and as the coaches approached the warm up, the boys were silent and focused. "The boys had a feeling of business and a hunger to them. You could see in their eyes this was something they desperately wanted" said Senior Staff Coach Jaime Bladen.
The game would start with boy's team playing really attractive soccer, keeping possession and playing for the right opportunity. The first goal would come just 10 minutes in with some great link up play in the midfield between Simar Perez, and Peyton Aranda to spring Antonio DeCastro into the final attacking third. He would commit a defender and slide a pass to a sprinting Simar Perez who would take a touch and bury it in the lower left corner.
FC Wisconsin would lose its way slightly and defended the next few minutes, but would take the lead into halftime at 1-0.
The second half continued to swing back and forth for both teams. "This was by far the best team we have faced in many years, and it was clearly evident as to why they were the reigning National Champions. New York were very clean technically, and had great off the ball movement, they were difficult to defend and difficult to break down. We knew we had to stay organized, but also had to have belief in how we play and it was important we were brave in possession," said Co-DOC Ben Shepherd.
FCW would concede a penalty to take the game to 1-1. The second half would lead to more and more possession for FCW as they took a strangle hold of the game and would create 3-4 big moments. DeCastro and Perez would link up again in midfield and find Payton Aranda who would beat his defender and take a crack on target, the goalkeeper could not handle the shot and Braden Allen would come streaking in to head in the rebound. The game would go 2-1 with minutes left in regulation.
NYSC would push everyone forward including their own goalkeeper for several corner kicks, after not being able to clear the ball, NYSC would volley a shot at the goal that found the back of the net with 90 seconds to play in regulation.
"After going into overtime the day before, we were concerned with fatigue and if our boys could continue the pace for two more overtimes. It's a special group and they bounced right back to get NYSC to chase our possession and the game. We knew we would get one more big moment and just had to bury it" said Co-DOC Billy Solberg.
With two minutes to play in the second overtime, Aranda would find a slashing Braden Allen behind the NYSC defense. Allen would face an aggressive goalkeeper who came sprinting out to either foul or stop the shot. Allen would calmly take a touch and lift his shot over the diving keeper for the game winning goal and to secure the ultimate championship in youth soccer!
"This is a great ending for our senior players careers with the club. The majority of this team has been together since U14, (some have been with the club since age 8) and it is a testament to their work ethic, commitment and belief in the club and its long-term player development philosophy. The work that has gone into this achievement behind the scenes by so many people connected with the club cannot be forgotten and has greatly contributed to this first National Title being brought back to Wisconsin" said Co-DOC Ben Shepherd
"We came out to battle, we knew what we wanted, we knew what we came for, it was business like, this is what it's about, the championship, and it feels great. We are a family, it brings us closer, we are fc family and will always be" said junior midfielder Simar Perez after the game as he was being interviewed.
FC Wisconsin would become the first youth boys' team in the history of youth soccer in Wisconsin to bring home the coveted National Championship!
"I've just closed my time with FC Wisconsin with a National Championship!!! Name a better ending. Ive been with this club since I was 8 years old. These coaches are the best out there and they've done more than I can possibly explain for my soccer career. Thanks to all of the FC Family, all coaches, all players, parents and the club that made this journey and this ending possible. We are FC Family and WE ARE NATIONAL CHAMPIONS" said captain Ben Leas.


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The Rural Agenda
Iowa's rural communities embody what makes Iowa and America great. They are also what will make America thrive again—not just survive. With an election coming up and our future on the horizon, we should remember our rural priorities in our voting decisions.
Throughout my years in the Senate, I have worked hard on behalf of rural Iowans. As the general election nears, we should all remain committed to ensuring that family farms succeed, that Iowans have needed protection against disasters, and that Iowa crops continue to feed and fuel the world.
Now that the farm bill has become law, farm families, rural communities and all Iowans can expect to benefit from the solid progress of this legislation. The Food, Conservation and Energy Act of 2008 protects farm income and makes crucial investments in rural development and nutrition, promotes renewable energy production and job creation in Iowa, and helps conserve resources for future generations.
Upon winning reelection to his fifth term in the United States Senate last night, Senator Harkin delivered addressed the crowd at his election night party in Des Moines, Iowa. Below is the speech that Senator Harkin gave. Scroll to the bottom of the page to watch video of Senator Harkin's speech from The Des Moines Register.
Thank you all very much. Thank you
Thank you, Ruth, for those kind words. And, most of all, thank you for your love and support for the last 40 years. God has given me more than my fair share of blessings, and having Ruth at my side, as well as our two daughters, has been the greatest blessing of all.
By the way, I just wanted to say….I'm Tom Harkin and I approve this election for a fifth term in the United States Senate.
Indeed, this is a historic night for Iowa…and it looks like it will be for our nation, as well.
The Quad City Times endorsed Senator Harkin for a fifth term in the United States Senate on Wednesday.
The paper cited his hard work for people with disabilities and his focus on agriculture as reasons for their support:
Tom Harkin's indelible impression is apparent across Iowa and America. Just ask anyone in a wheelchair. Or anyone fueling up a vehicle. Or anyone planting American crops or eating American food.
Harkin's enduring impressions are evident in the stronger American farm economy, higher grain prices and a diminished reliance on production subsidies. His work makes it easier for disabled people to live, learn and earn, which also strengthen's our country and economy.
With his tendency to always look ahead, the paper also sighted his plans for a fifth term as a reason for endorsement:
By always looking ahead, Harkin helped move the Iowa economy into the forefront of alternative energy production, fortifying the state against the full brunt of this economic downturn.
Harkin still is looking ahead. In his interview with the Times Editorial Board, he outlined a game plan to improve the electrical power grid and energy pipelines to make Iowa wind and ethanol power available nationwide. He elaborated on a transition to more sustainable organic ethanol production that would spread the alternative energy boon to south Iowa's less tillable land.
To read the full endorsement, click here.


Saigon social space happily accepts group reservations of all sizes throughout our restaurant.
With a flexible seating plan, we can accommodate a maximum of 20 people on one table.
Larger bookings will be accommodated on tables side by side.
We have various menus available for groups, including our set menu's and popular shared table menus.
Groups of 10+ are encouraged to dine from our shared table menu.


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The poles of civilisation
Hamano, Toshihiro, Dollhopf, Gunter and Oshima, Hiroko (2006) The poles of civilisation. [Show/Exhibition]
This output, a two-person exhibition organized by the Ryu and the International Print Triennial Society (SMTG) in Krakow, placed new prints by Hamano alongside works by Gunter Dollhopf, a German artist who won the Grand Prix at the 1991 Triennial. In his forward to the catalogue, Witold Skulicz (SMTG President) writes of the mutually-dependent paradigms of tradition and progress that shape the concept of civilisation around the world. For the Ryu, this theme has an educational dimension. When Hamano inaugurated the Association (1971) he also set up two Ryu art schools. The relationship with CARcentre promotes similar pedagogic development in the context of the European art school and this output represents the type of visual arts interaction (one that fully recognises distinct historical attitudes to tradition and progress) that creates new intellectual frameworks for Japanese art students who want to study in the West. Since 1995, when the University arranged for Hamano to design a Japanese garden for the Westlakes Research Institute in Cumbria, the Ryu Art Centre (established at Northumbria in 1991) has facilitated periods of study for Japanese students, both from the Ryu schools and other similar institutions, at Northumbria University, the University of Ljubljana and the Academy of Fine Art, Krakow. These facilitation projects realised the Association's exploration of cross-cultural learning in the context of practice-led research. In all, fifteen students from the Ryu schools have come to Northumbria to study. Two have followed the master's research preparation route and are currently undertaking practice-led research as doctoral members of CARcentre (see outputs 1 and 2). This movement of students from Japan into the teaching and research environments of European art institutions underpins the symbolic content of the 'The Poles of Civilisation' exhibition.
W100 Fine Art
Faculties > Arts, Design and Social Sciences > Arts


We mark the passing of the late, great Joey Ramone with six not-so-obvious videos of him and the boys.
Joey Ramone wasn't your usual pop music icon. A gangly, unconventionally gorgeous totem at the head of the bruvvers, he did things a little differently. So, to mark the ten years since his sad death at the age of 49, we at DS are doing the same. Rather than roll out your standard six-of-the-best Ramones moments, we've looked a little harder to hopefully give you some less obvious videos.
Joey and friends mix up a clutch of their own tracks with a Ramones take on the nominations from that year's MTV Awards. Incredibly, that means Joey singing bits of Madonna's 'I'll Remember', Elton John's 'Can You Feel the Love Tonight' and Warren G and Nate Dogg's 'Regulate'.
From the Season Five episode 'Rosebud', an animated Ramones wish a Happy Birthday to Mr Montgomery Burns. The ultimate cartoon band as actual cartoons.
Having appeared on the classic British show in 1978 to play 'Don't Come Close', the band returned two years later with a string section for Ronettes cover 'Baby, I Love You', a cut from the (unfairly maligned) Phil Spector-produced End of the Century. The TOTP2 captions helpfully tell us that this most un-Ramones of songs gave the band their only Top 20 UK hit (it peaked at number eight).
Proof that despite some very hit and miss records in the '80s, the Ramones could always be trusted to chuck out a great single or two. Stephen King was a massive Ramones fan and name-checked them in many a novel. They returned the favour with the theme for the 1989 movie adaptation of his book Pet Sematary. Here's Joey, Johnny and David Letterman's house band playing the track on The Late Show.
Ramones gigs were all pretty much the same - "ONE-TWO-THREE-FOUR!" and then an hour or so of super-tight punk rock played at 100mph. But it wasn't always the case. This three-song set from the famous CBGBs in New York sees the band in their early days. Just finding their speed, the boys offer a ramshackle, garage backdrop to Joey's tentative mincing.
Recorded live at The Palace in Los Angeles, California on August 6, 1996, Joey and the boys played what was their 2,263rd and final concert. It was recorded and released on CD as We're Outta Here! - a messy explosion of 32 songs in just 64 minutes. Adios, amigo!
What are your favourite Joey Ramone moments? Let us know in the space below.


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Craig Ellwood (Jon Nelson Burke), född 22 april 1922 i Clarendon Texas, död 30 maj 1992 i Pergine Valdarno, Italien, amerikansk arkitekt, främst verksam i Los Angeles.

Ellwood hade ingen formell arkitektutbildning men anses ändå vara en av de främsta amerikanska modernistiska arkitekterna under efterkrigstiden. Han blev känd för de villor han ritade i början av 1950-talet och han fick senare även andra typer av uppdrag. Han kombinerade i sina verk Ludwig Mies van der Rohes formalistiska och minimalistiska modernism med den mer informella kaliforniska arkitekturen.

Verk i urval
 Hale House, Beverly Hills, 1949
 Case Study House 16 (Salzman House), Bel Air, 1951-53
 Case Study House 17 (Hoffman House), Beverly Hills,  1954-56
 Case Study House 18 (Fields House), Beverly Hills,  1955-58
 South Bay Bank, Los Angeles, California, 1956
 Carson-Roberts Office Building, Hollywood, 1958-60
 Art Center College of Design (Hill Side Campus), Pasadena, 1974

Amerikanska arkitekter under 1900-talet
Födda 1922
Avlidna 1992
Män
Personer från Donley County

redpajama_set_name: RedPajamaWikipedia


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It's on the pictures. There's just a few TTLs to decode the I/O ports for the OPN2 chip (YM2612).
I plan on trying other chips too, like the original OPN (YM2203) as it has a SSG (same as what the MSX has originally as built in part) and OPNA/OPNB (YM2608/YM2610).
The hardware is pretty simple.
@ricbit That's a nice script! I'll bookmark that .
l_oliveira: Nice vid .
ricbit: You can get the current emulation timer with machine_info time. Could use that to get more timing precision, though the approach you used gives cleaner and more compact output.
Van JCCyC
Supporter (10)
Quite often, the result of reinventing the wheel is a better wheel. Besides, you sharpened your skills. Also, you and Popolon's programs can cross-polinate now and become even better.
Ah, and Popolon, thanks for making us look all important and relevant and s**t.
New video: VGMPlay for MSX, Y8950 MSX-AUDIO support
Although the FM part of the Y8950 MSX-AUDIO already worked, the ADPCM sample part didn't yet which prevented me from proclaiming full Y8950 support. The complicating factors were that this was the first time I had to load samples, as well as the Y8950 having different addressing modes for ROM and RAM sample banks. Note that I'm being a bit wasteful with memory, as after the samples get loaded into the Y8950 I do not free up the memory. Sorry.
The music is from the arcade game Ginga NinkyouDen.
Compare: http://vgmrips.net/packs/pack/ginga-ninkyouden#33v-continue-...
It surprised me that in the Y8950 VGM songs I could find, the ADPCM was only used for voice and sound effects. In western MSX scene games post-1990, the ADPCM was often used for drums and loops.
New video: VGMPlay for MSX, Y8950 MSX-AUDIO playing Psycho Soldier JP theme
Not long after I made the last MSX-AUDIO video I noticed a nice song from the game Psycho Soldier with a really long sample.
Compare: http://vgmrips.net/packs/pack/psycho-soldier-snk-triple-z80#...
So far I've ignored frequency differences and this is where things start to break down a little; not only is the voice a few notes lower (as expected), but as the sample also runs 10% more slowly, it drifts out of sync. Though luckily it retriggers it for different parts so that they are in sync again.
Still, all considering, not too bad.
New video: VGMPlay for MSX, YMF278B OPL4 support
Support for the YMF278B OPL4 was added. The music is from the game Sonyc for MSX2+. This is the only OPL4 VGM pack I could find, hopefully a few more will be added!
Compare: http://vgmrips.net/packs/pack/sonyc-ms#01-title
A noteworthy omission is that I haven't implemented PCM loading for the OPL4 yet. This is because I don't have any VGMs which use it, so I have no way of testing it (Sonyc uses the built-in YRW801 ROM tones).
Van sd_snatcher
Fantastic!! Please test the CyberSphere soundtrack with it. It's arguably one of the best FM soundtracks ever made and one of the very few games that shows the real power of the OPL3.
A small status update: currently I'm waiting for an MMM cartridge with SN76489 sound chip thanks to popolony2k, when I receive it I will add support for it, after which support for all VGM sound chips available on MSX will have been completed and I will make the first official 1.0 release.
In the mean time, if you're eager to try, I've added build instructions here (they're really easy).
E.g. l_oliveira already builds VGMPlay for his own hardware projects, he's added support for his OPN and OPN2 boards. Also he has already tested some preliminary code I've written for SN76489, it seems to be working so I just need to finish it up. Big thanks to l_oliveira for a nice co-operation and good spirit :).
Van gdx
Great, you bought a MMM cartridge. I will like you to try ROM2MMM and SG1000. :)


TIMPANOGOS PRESS, based in Salt Lake City, Utah, recently installed Duplo's DPB-500 Perfect Binder to produce manuals, handbooks and catalogs on demand. Designed for short to medium runs and variable data jobs, the single-clamp DPB-500 replaced a binder from another manufacturer and has already boosted the shop's productivity by reducing setup times, production costs and operator training. "Things run more efficiently. Setting up the machine for jobs is a lot more accurate and the user interface is very simple to use," says Steve Kopecky, director of operations of Timpanogos. In addition to easy changeovers, the DPB-500 provides automatic adjustments for side gluing and cover scoring for varying book thicknesses. "We produce books that are no thicker than 3-4mm and it lays the spine print perfectly every time," adds Kopecky. Timpanogos Press is a commercial printer with digital and offset printing, and bindery capabilities. The machine was sold and installed by Duplo dealer, Printing Repair Services.
PANGEA/COPYPAGE, located in Los Angeles, CA, is creating variable data booklets, such as health insurance policies, personalized coupons and newsletters, using a complete bookletmaking system from Duplo. Previously combining manual methods with a unit from another manufacturer, the company installed the DSF-5000 Sheet Feeder, the DBM-500/T Bookletmaker and Trimmer, and a square spine module to increase the productivity of their operation. The DSF-5000 processes pre-collated sets at up to 400 sheets per minute into the DBM-500/T, where it is then accumulated, stitched, folded and face trimmed into high-quality booklets. The booklets are then processed and finished by the square spine unit. "The system has increased our speed and accuracy, and provides the ability to process pre-collated sets offline, which is something we could not do before and is required in a digital environment," says Lundy Smith, president of Pangea. "It also provides the ability to do variable booklets, which is needed for a VDP business like ours. The intelligent stitching capability ensures accuracy of the finished product." The system was sold and installed directly by Duplo USA. Pangea is a digital print service and web-enabled document procurement provider serving the Los Angeles area.


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(Nederlands) Hanoi rocks: say Ho!
This year I'm spinning in the hood, corner of Vespuccistraat/Jan Evertsenstraat in West. After 17.00 I'm moving to the Marnixstraat, where I will be playing in front of cafe De Koe. Happy Queensday!
Sorry, this one's in Dutch!


Three of the most beautiful sites in the world is waiting for you on this unforgettable 2-hour tour of the Vatican with skip-the-line access.
In this fantastic tour, enjoy the highlights of the museum and of course the remarkable Sistine Chapel in its entirety.
This is also where the bones of Saint Peter remain, housed in St. Peter's Basilica, a place packed to the teeth with internationally-recognized brilliant pieces of art. And if you just can't get your fill of the truck-loads of art these two buildings offer, the Vatican Museums should well and truly satisfy your desires. Opt to head over to St. Peter's Square, a piazza designed by Gian Lorenzo Bernini in the 17th century.
The Vatican Museums are some of the most important museums in the world. The Vatican has a superb gallery, excellent Roman and Etruscan collections, and plenty more. Be sure not to miss the apartments that were decorated by Raphael. There is too much to see if you plan on going to the museums for one day. If you go for just one day, you just have time for the highlights. The highlight of the visit to the museums is the The Sistine Chapel known for Michelangelo's two most famous masterpieces: the ceiling, depicting numerous scenes from the Old Testament - such as the moment of Creation - together with various sybils and prophets; and the Last Judgement, occupying the entire wall behind the altar. But while you're there, don't forget to look at the other frescoes, by Botticelli, Ghirlandaio and others. The Sistine Chapel is also the meeting place of the conclave, which elects each new Pope.
Please note: Dress code and other rules for entering the sights at the Vatican there is a dress code, that is enforced. Signs outside will tell you what is appropriate and what is not. You need to wear clothes that cover your shoulders, and you can't wear really short shorts.


Several hundreds of future applicants and their parents visited National technical university of Ukraine "Igor Sikorsky Kyiv polytechnic institute" to familiarize themselves with its institutes and faculties and to get first hand information about this year admission requirements.
All educational subdivisions of the university put their stands in historical building № 1. Thus, immediately after registration, quests had a chance to communicate with teaching staff and get answers to question related to study areas, trainings and internship as well as employment opportunities according to profession they would choose etc.
However, more information visitors could get at general meeting that was hold in Big Physics Room well-known for every Kyiv polytechnics. To tell the truth, this time there were not enough seats for those present and willing, so listeners were standing in doorways and in front of the lecturing desk.
First pro-rector of Igor Sikorsky, academician of Ukrainian NAS, Yurii Yakymenko opened official part of Doors Open Day. In his speech "What a KPI applicant-2017 has to know" he spoke about general issues of Igor Sikorsky KPI admission and admission requirements to those willing to study here. Besides, he informed about university itself and all those studying, self-development and leisure opportunities each student has here.
Deputy Head of Admission Committee, Valerii Mozharovskyi spoke about this year admission requirements in detail. He dwelled on a list of subjects and coefficients according to field of study and mentioned key admission dates. In the end he drew attention of the audience to the fact that comprehensive information can be obtained in Admission Committee site pk.kpi.ua and social networks sites. The last part of his speech traditionally is devoted to giving answers to numerous questions asked by visitors.
In the end of the meeting, head of Military Training of Igor Sikorsky KPI, retired Colonel, Oleksii Tsarenko spoke about the fact how to obtain KPI military specialty and become retired officer.
The Doors Open Day program didn't end up with it. Its further work continued directly at faculties, departments and university laboratories.


Come visit our gastropub, located right next to the brewery at 2030 SE 7th Ave. (SE 7th Ave. & Lincoln St.) You can sample our lineup of gluten-free beers on tap, get a pint with some friends, and enjoy delicious all 100% naturally gluten-free food. Additionally you can enjoy small batch tasting room only gluten-free beers and purchase gluten-free beer to go.
Please call the Gastropub at (503) 928-4195.
Ground Breaker Gastropub is located at 2030 SE 7th Ave., Portland, OR 97214.
Questions? You can reach us at (503) 928-4195.


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Fans fury as Edinburgh Bay City Rollers' legend Les McKeown omitted from Royal Variety Performance showbiz tributes
Film star Mel Gibson no longer in with claim to shame after Irish actor fails to play a blinder as Scot
Salute certain to Last long in the memory
The Mike James Orchestra and Singers will be paying tribute to the music of the late James Last, one of the most successful orchestras in the world, at the Buccleugh Centre in Langholm on October 1.
Thursday, 1st September 2016, 8:54 am
Updated Thursday, 1st September 2016, 9:59 am
Mike James with a tribute to James Last
This new show, on October 1, at 7.30pm, features the old favourites and big band swing tunes of yesteryear with the showstoppers and dance hits of today, all played in the style of the legendary James Last Orchestra.
Cheshire-born Mike James is one of Britain's most respected and experienced bandleaders. Of his many successes, the residency at the Tower Ballroom in Blackpool is viewed as one of his best. Not only because it is the only residency of its type left in Britain, but because Mike used to go to the ballroom with his parents to watch the Charlie Barlow band perform and dreamt that one day he could perform with his band.
In 1990 his dream came true when First Leisure asked him to put a big band back in the ballroom for the first time since 1972.
The season was so successful the Tower carried on with this policy for many years after.
A Mike James concert is one of those not-to-be-missed nights of unforgettable music magic.
Tickets: £18.50. Concessions: £17. Box Office/Information: 01387 381 196
The chief brings his new show to the Borders
An Ode tae the Bard frae Jesse Rae
Indie rockers end their national tour with a pilgrimage to the Borders
Award-winning Scottish folk band launch their first tour since lockdown in the Borders tomorrow night, Friday, October 1
PICTURE SPECIAL: A New Year's Day musical tradition is restored in Jedburgh
Interview with mult-instrumentalist Darren McMullen from Canadian Celtic supergroup Coig
Borders film star Jack Lowden among big names helping raise funds for face-masks for medics


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(-) Policy Innovation Memorandum
Addressing North Korea's Nuclear Problem
Since defecting from Six Party negotiations on denuclearization in 2008, North Korea has pursued nuclear development unchecked by international constraints. Barack Obama's administration has demanded…
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U.S.-Mexico security cooperation, led by the Merida Initiative, is vital and must continue. But with Enrique Pena Nieto's inauguration, Mexico's political landscape is now changing, and the United St…
Policy Innovation Memorandum by Shannon K. O'Neil Latin America Studies Program
What It Will Take to Secure Afghanistan
Afghanistan is approaching a major inflection point in its long and turbulent history. In 2014 most of the foreign military forces are due to pull out. With them will go the bulk of foreign financing…
Policy Innovation Memorandum by Max Boot National Security and Defense Program
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The world is facing two immediate health crises concerning drugs and vaccines: affordable and reliable access to life-sparing medicines and the safety and reliability of those medicines. Regulation a…
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Next Steps for Pakistan Strategy
U.S.-Pakistan relations are in crisis. For Washington, Osama bin Laden's safe haven in Abbottabad raises questions about Pakistan's complicity and/or incompetence. For Islamabad, bin Laden's killing …
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Link between processes and information.
His contribution to the academic world: in 1975 Scheer took over one of the first chairs for information systems and founded the Institute for information Systems (IWI) at the Saarland University, which he led until 2005.
His contribution to the Software world: In 1984 he founded IDS Scheer, a Business Process Management (BPM) software company, which is still today the market leader.
His contribution to Enterprise Modelling: The ARIS House which is one of the first Enterprise Modelling concepts that combines and organizes information of an organization in five interrelated views: data, function, organization, output, and control.
Business content in Value-added Chain Diagrams (VCD).
Process content in Event-driven Process Chains (EPC).
He is widely regarded as the founder of the BPM industry. Professor Scheer receive the award from Professor Mark von Rosing, Henrik von Scheel and Professor Simon Polovina – the authors in Enterprise Modelling and Enterprise Semantics.
Captured Historic Moments Professor August-Wilhelm Scheer receives the Lifetime Achievement Award by Professor Mark von Rosing in the Scheer Tower with standing ovation!


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Home » Browse » Academic journals » General Social Science Journals » The Town Planning Review » Article details, "Regulatory Planning for Economic Development in..."
Academic journal article The Town Planning Review
Regulatory Planning for Economic Development in the Countryside
By Murray, Michael; Houston, David; Keaveney, Karen; McKay, Stephen; Murtagh, Brendan
This article examines the interaction between development control and economic development in the countryside within the context of contemporary debates on shifts in the agricultural sector from productivism to multi-functionality. Using planning application decisions from the case of Northern Ireland for the period 1994-95 to 2005-06, together with insights from high-level key informants with planning, economic development and environmental management expertise, the article critiques a perception that regulatory planning is in line with rural development ambitions to foster a multi-functional countryside. While the quantitative data indicate a high approval rate for economic development projects, the qualitative evidence points to limitations within the policy content and operational practices of the planning system. The article argues that regulatory planning must engage more deeply with rural development objectives.
The relationship between the regulatory role of the town and country planning system of the UK and the agricultural sector can be traced back to the 1940s to a time when farming was perceived as the natural custodian of the countryside and thus was largely exempted from the provisions of the 1947 Town and Country Planning Act. Out of the earlier 1942 Scott Report, there emerged a perspective that protecting the well-being of rural communities and enhancing countryside amenity could be achieved by retaining existing farmland in productive use. Similarly, Scott had argued the need for 'a heavy burden of proof on those who want to use any agricultural land for building development' (Sheail, 1997). A national imperative at that time was an expansive agriculture that could raise food output. New productive systems, structural measures related to early retirement, farm amalgamation and training, along with tax and fiscal instruments facilitated considerable productivity gains over subsequent decades (Gilg, 1996).
The contemporary setting for agriculture is very different. On the one hand, environment and landscape are central features of a new rural policy preference. On the other hand, it could be argued that regulatory planning has failed to come to terms with the dramatic changes that have affected rural economies in general and the agriculture sector in particular over the interim. In short, it could be hypothesised that there is a marked disconnection between the current realities of multi-functional rural and farm-based working, and the policies applied within the planning system. This article examines the complexities of these interactions within the UK context by taking Northern Ireland as a case study. The overall argument, with wider significance, is that rural planning (with its long-standing emphasis on landscape protection) and rural development (with an interest in economic diversification) should be more closely linked in facilitating and managing countryside change.
The article is structured into five sections. First, we locate regulatory planning for the countryside within the wider debate on productivism and multi-functionality in order to provide a conceptual context for our empirical analysis. Northern Ireland is then taken as our case study, as it affords useful insights into rural challenges that are shared with other parts of the UK, where the planning policy base for rural areas is heavily borrowed from British practice, and where there is comparable and contested concern regarding future trajectories for the management of rural change. However, what distinguishes rural Northern Ireland from many parts of Great Britain is its dispersed settlement pattern within the countryside as denoted by strong localityoriented living, working, and sense of belonging attributes (Murray et al., 2009). Thus, secondly, we outline key dimensions of the rural development and planning policy frameworks for economic diversification projects within the region; thirdly, we present a quantitative analysis of planning application decisions related to economic development in the countryside based on the Northern Ireland case for the period 1994/95- 2005/06; fourthly, a complementary qualitative investigation explores deeper issues around planning policy content and operational performance that draws on a series of structured interviews with individuals holding planning, economic development or environmental management expertise; and fifthly, the article concludes with a discussion about the difficult relationship between regulatory planning control and rural development. …
Publication: The Town Planning Review
Murray, Michael
Houston, David
Keaveney, Karen
McKay, Stephen
Murtagh, Brendan
Treaty of Rome
Process planning
Rural Development, Natural Resources, and the Environment: Lessons of Experience in Eastern Europe and Central Asia By L. Alexander Norsworthy World Bank, 2000
Information Technology and Development: A New Paradigm for Delivering the Internet to Rural Areas in Developing Countries By Jeffrey James Routledge, 2004
Beyond the City: The Rural Contribution to Development By David De Ferranti; Guillermo E. Perry; William Foster; Daniel Lederman; Alberto Valdés World Bank, 2005
Problems and Mechanisms of Sustainable Development of Rural Areas (at the Example of the Republic of Mordovia) By Kovalenko, E. G. Yakimova, O. Y. Avtaykina, E. V. Zaytseva, O. O. European Research Studies, Vol. 19, No. 3 SI A, July 2016
Participatory Rural Appraisal as Qualitative Research: Distinguishing Methodological Issues from Participatory Claims By Campbell, John R. Human Organization, Vol. 60, No. 4, Winter 2001
The Design of a Nationwide Sample for Romanian Youths Living in Rural Areas: A Multiple Solution Problem By Stanescu, Iulian Achimescu, Vlad Journal of Community Positive Practices, Vol. 12, No. 3, 2012
Distance Learning and Bilingual Educational CD-ROM in Rural Areas of the Democratic Republic of Congo By Nsomwe-a-nfunkwa, Banza Distance Learning, Vol. 3, No. 4, 2006
Growing Threat Seen to Rural Areas from Failed Banks By Trigaux, Robert American Banker, Vol. 151, July 10, 1986
SBA Program to Foster 7(a) Loans in Rural Areas By Barba, Robert American Banker, Vol. 172, No. 233, December 5, 2007
Two Rural Areas Cool to Rep. Wheat Ashcroft Is `Lesser of 2 Evils,' One Farmer Says By St Louis Post-Dispatch (MO), October 9, 1994
Oregon's Vistas May Get Less Scenic ; Long a Model for Protecting Rural Areas, the State Faces a Property- Rights Backlash That Could Ripple Nationwide By Brad Knickerbocker writer of The Christian Science Monitor The Christian Science Monitor, December 3, 2004
Spike in Debris Fires Expected before Ban Takes Effect May 1; Coastline, Rural Areas Exempt from Ban; Composting Encouraged By Basinger, Brian The Florida Times Union, April 14, 2005
FREE! Environmental Protection Agency The Columbia Encyclopedia, 6th ed., 2018
FREE! environmental impact statement The Columbia Encyclopedia, 6th ed., 2018
FREE! Tennessee Valley Authority The Columbia Encyclopedia, 6th ed., 2018


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Open every day
Located 3 miles south east of Wakefield, Walton Colliery Nature Park consists of lakes and ponds, woodland and grassland and also a section of the Barnsley Canal.
A local nature reserve – managed to protect and improve its habitats for the benefit of wildlife, there is always something different to see as the wildlife changes with the seasons- spring sees the arrival of the Cuckoo and watch out for Grass Snake basking in the summer sunshine (the UK's largest non-venomous snake).
The park boasts a variety of wildflowers including Common Spotted and Southern Marsh Orchids.
Network of paths through the park for walking and cycling
Horse riders welcome - please use designated routes
The national Trans Pennine Trail runs through the site
Information panels provide the visitor with points of interest
If you are interested in becoming a volunteer the Friends of Walton Colliery Nature Park help the Countryside Officers (rangers) to manage and maintain the site. Past activities include site clean-ups and installing a way-marked trail.
Visit Friends of Walton Colliery Nature Park Facebook page for further details about the Friends group. If you are interested in becoming a member please contact friendswcnp@gmail.com
If you are interested in local volunteering opportunities on this and other sites please get in touch.