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Carolina Sartorio
Causation and Free Will
Carolina Sartorio, Causation and Free Will, Oxford University Press, 2016, 188pp., $65.00 (hbk), ISBN 9780198746799.
Reviewed by Christopher Evan Franklin, Grove City College
Carolina Sartorio has produced a rich and stimulating set of reflections on the intersection of the metaphysics of free will and causation, with the aim of clarifying the structure and defending the central tenets of an actual-sequence theory of freedom, "where freedom is understood as the metaphysical [rather than epistemic] component of responsibility" (p. 8). While there is overlap between Sartorio's and John Fischer and Mark Ravizza's[1] actual-sequence accounts, Sartorio argues that we can improve on their account by taking more seriously the idea that freedom solely supervenes on the actual sequence, and that we can take the supervenience claim more seriously by attending more carefully to aspects of causation that have played little to no role in the free will literature. She calls the resulting view "the actual-causal-sequence view" (ACS): freedom is grounded exclusively in the actual causal facts.
There seem to be three movements in Sartorio's overall argument. First, beginning with the assumption that Frankfurt cases are successful, she contends that the moral of these cases is that "all that matters to the freedom of an act is how the agent came to perform the act, or the actual history of the act" (p. 18). Second, she argues that an actual-sequence view that is true to the moral of Frankfurt cases must be compatible with the following supervenience claim: "No difference in freedom without a difference in the relevant elements of the causal sequence" (p. 32). Third, she develops an actual-sequence account that is consistent with the above supervenience claim, exploiting (putative) key features of causation that have been widely overlooked in the free will literature.
Chapter 1 lays the groundwork for her subsequent discussion, isolating the main structure and scope of ACS. Chapters 2 and 3 aim to identify key features that causation "arguably has" (p. 45) and "use them to support the grounding claims made by ACS" (p. 46). In particular, Sartorio claims that the causal relation is an (i) intransitive (ii) extrinsic, and (iii) difference-making relation (distinct from, and weaker than, counterfactual dependence) that (iv) can take absences as relata. Chapter 4 offers an analysis of reasons-sensitivity wholly in terms of the actual causes of an action, and Chapter 5 responds to three central incompatibilist arguments: Ultimacy Arguments, Direct Arguments, and Manipulation Arguments.
Despite its brevity, Sartorio's book is chock-full of subtle arguments, fascinating developments of actual-sequence accounts, and unconventional yet impressive analyses of familiar ideas, such as reasons-sensitivity. I cannot even begin to do justice to the full scope, subtly, and richness of her arguments. What I hope to do is give a sense of the heart of her argument and raise some worries along the way.
Chapter 1 takes up the issue of what the structure of an actual-sequence theory should be. Actual-sequence theorists contend that freedom is solely grounded in the actual sequence. But what is the actual sequence? Sartorio contends that the actual sequence of an action consists solely in the causes of that action. An agent's exercising freedom over an action is wholly grounded in the causal history of that action, where its causal history is understood narrowly to include not necessarily the causes of the causes of the action, but rather the causes of the action (as we will see Sartorio denies the transitivity of causation). An alternative formulation of an actual-sequence theory is that freedom supervenes on the causal history of an action plus certain actual, non-causal factors. Perhaps this is how Fischer and Ravizza conceive their theory, as they make reasons-responsiveness and mechanism ownership necessary conditions for freedom, and, yet, under their analysis, it doesn't seem that either feature is always among the causes of an agent's free actions. Sartorio maintains that actual-sequence theorists should embrace ACS over this alternative formulation because it is "simpler, more elegant, and it sustains a more straightforward interpretation of the reasoning behind Frankfurt cases that motivates actual-sequence views" (p. 43).
I take it that Sartorio thinks her view is simpler because it only requires that freedom supervene on one kind of thing, namely causes. Putting aside the issue of elegance and focusing on her final claim, the very idea of actual-sequence theories was born of the conviction that Frankfurt cases are successful -- that agents in these cases exercise the necessary degree of freedom to be morally responsible, even though they are unable to do otherwise. Thus, an adequate actual-sequence theory must make it clear both why the agent is morally responsible and why the counterfactual intervener, the person who stands ready to intervene and force the agent to do what she wants should the agent show any sign of doing otherwise, doesn't affect the agent's freedom. ACS does this in a straightforward way: the counterfactual intervener doesn't affect the causes of the agent's action -- she is a counterfactual intervener after all -- and so her presence is irrelevant to the agent's freedom. The defender of the alternative formulation would have to adopt a more complex explanation, arguing that the counterfactual intervener doesn't affect the agent's freedom because she doesn't affect the causes of the action and doesn't affect the other, non-causal necessary conditions of freedom, whatever those are. Its simple structure and straightforward account of Frankfurt cases recommend ACS, or so Sartorio claims.
The next three chapters develop and defend ACS, with Chapters 2-3 aiming to articulate the underlying metaphysics of ACS and Chapter 4 offering an analysis of reasons-sensitivity consistent with ACS, all the while highlighting putative advantages of ACS over other actual-sequence theories, most notably Fischer and Ravizza's. (I won't comment on Chapter 5 except to say that this chapter seems mostly an afterthought for Sartorio. While it responds to important incompatibilist arguments, it doesn't build on her actual sequence account.)
Chapter 2 highlights three putative features of causation: (i) that absences can be causes, (ii) that causation doesn't entail counterfactual dependence, and (iii) that causation is extrinsic. The bulk of Chapter 2 is devoted to showing how the extrinsicness of causation can enable proponents of ACS to handle a set of difficult cases concerning responsibility for outcomes of actions, while remaining uncompromisingly committed to ACS. She defines this feature of causation as follows:
EXTRINSICNESS: A causal relation between C and E may obtain, in part, owing to factors that are extrinsic to the causal process linking C and E. (p. 71)
To illustrate, she gives a case in which an action helps determine the route to an outcome, but intuitively (to some at least) doesn't cause the outcome. Imagine a case in which a train is headed along route 1. If the train remains on route 1, it will end up at station X. Imagine I switch the train onto route 2, which also leads to station X. In this case, Sartorio claims, "the redirection of the train . . . helps determine the particular way in which the outcome is brought about . . . [but] it arguably doesn't cause the outcome itself: the arrival at the station" (p. 72). Imagine another case in which route 1 doesn't lead to station X but to station Y. In this case, my flipping the switch and directing the train to route 2 does cause the outcome of the train's arriving at station X. Thus, features extrinsic to the process of flipping the switch (e.g. the direction of route 1) partly determine whether flipping the switch causes the train to arrive at station X.
If true, this feature of causation would enable defenders of ACS to handle hitherto difficult cases in which some outcome is inevitable. For example, imagine a rider on a runaway horse in a situation in which no matter how he steers the horse, he will harm pedestrians. This kind of case might seem to be a counterexample to actual-sequence theories since the rider isn't responsible for the outcome and yet, it might seem, his act of steering the horse does cause the outcome. But, with EXTRINSICNESS in hand, Sartorio can argue that, just as in the above train switching case, the rider's act of steering doesn't cause pedestrians to be harmed, but simply determines the route to that outcome. And since the rider's act of steering didn't cause the outcome, he isn't responsible for the outcome. Problem solved.
But sometimes fixing one leak springs another. EXTRINSICNESS seems to imply that agents in Frankfurt cases don't cause their actions and thus aren't, after all, responsible. The counterfactual intervener is in place to ensure that the action will take place no matter what the agent does, and so the agent seems to find himself in a case perfectly analogous to the train and rider cases: he simply determines the route to the outcome without causing the outcome. At first glance I was surprised by Sartorio's claim that causation is an extrinsic relation. I would have thought that Frankfurt cases teach us that the kind of causation relevant to freedom is the productive kind, one that is unaffected by extrinsic features of the process, such as counterfactual interveners.
This worry, which Sartorio is sensitive to, leads us right into Chapter 3, where Sartorio highlights two more features of causation: difference-making and intransitivity. The former is defined as follows:
Difference-Making (Causes): Causes make a difference to their effects in that the effects wouldn't have been caused by the absence of their causes. (p. 94)
Sartorio motivates this putative necessary condition of causation with the following thought experiment. Suppose we have a massive number of perfect soldiers, more than we would ever need to build an army to win a war. The army is perfect but replaceable: perfect because it consists exclusively of perfect soldiers, but replaceable because no one soldier is required for winning the war. Each soldier makes a difference, but not by being irreplaceable. While the outcome (i.e. winning the war) doesn't counterfactually depend on any soldier, "each individual soldier makes a difference at least in [this] sense: his presence makes a contribution [to winning the war] . . . that his absence would not have made" (p. 95).
Does this help solve the problem that EXTRINSICNESS raises for Frankfurt cases? Not obviously. In Sartorio's favored Frankfurt case, Frank's reasons cause his choice to shoot Furt without the counterfactual intervener intervening, and yet the absence of Frank's reasons would have triggered the intervener to intervene and cause Frank's choice. It seems like Frank's choice would have been caused by the absence of Frank's reasons causing the choice, and thus his reasons aren't a difference-maker in the relevant sense.
Enter the final important feature of causation: intransitivity. To claim that causation is intransitive is to deny that it is "always the case that, when A causes B and B causes C, A also causes C" (p. 104). Thus, while it is true that the absence of Frank's reasons would have triggered the intervener, and it is true that the intervener would have caused Frank's choice, this doesn't entail that the absence of those reasons would have caused Frank's choice.
However, intransitivity is insufficient to secure Sartorio's desired result since it only denies that it is always the case that when A causes B and B causes C, A also causes C. While this may not always be the case, it sometimes is. Sartorio claims, however, that "intuitively" transitivity fails in Frank's case since the absence of his reasons creates a "threat" to the occurrence of the choice: "a threat that has to be countered or canceled (by the neuroscientist) in order for the choice to still occur" (p. 104). But this doesn't seem right. Given that the neuroscientist is a fail-safe mechanism already in place, the absence of the reasons doesn't create a threat in this situation. In Frankfurt cases, there is no threat to the outcome: that is precisely why the agent is unable to do otherwise. Moreover, it is the absence of those very reasons that trigger the fail-safe mechanism. Suppose I light a fuse, which ignites a bomb, which blows up a house. I cause the house to blow up. I triggered the bomb and thereby caused the outcome of the bomb's blowing up. Analogously, the absence of Frank's reasons triggers the fail-safe mechanism, and so it would seem that the absence of Frank's reasons cause the outcome of the fail-safe mechanism, namely his choice. It seems that Frank's reasons don't cause his choice in the actual sequence after all, which isn't what the Frankfurt-defender was hoping for.
At this point, one might think the best move for Sartorio is to reject her earlier claim that absences can be causes. But this move isn't available to her since absence causation forms the heart of her analysis of reasons-sensitivity. Let us turn then to Chapter 4.
At first glance, it doesn't seem that a reasons-sensitivity account of freedom is consistent with ACS. Reasons-sensitivity consists partly in the kinds of powers an agent has, and not all these powers, one might think, will be causes of the agent's free actions on every given occasion. Sartorio's ingenious move is appeal to absence causation. Whether Frank is reasons-sensitive in choosing to harm Furt is a function not simply of the presence of reasons that cause his choice, but also the absence of sufficient reasons to refrain from making the choice causing his choice. For example, let us suppose that Frank wouldn't have made this choice if Furt had had five children (call this reason R). Sartorio claims: "Hence it seems that part of what accounts for the fact that Frank made the choice to shoot Furt in the actual scenario is the fact that R was absent" (p. 124). Why should we think the absence of R caused Frank's choice? Sartorio answers: "if it is the case that, had R been present, [Frank] would have reacted to it by failing to make the choice to shoot Furt, it seems clear that R's absence is part of what accounts for the fact that he made the choice in this case" (p. 124), where the context makes clear that by 'accounts for', she means 'causes'.
We thus arrive at Sartorio's analysis of reasons-sensitivity:
CRS (Causal Reasons-sensitivity): An agent is reasons-sensitive in acting in a certain way when the agent acts on the basis of, perhaps in addition to the presence of reasons to act in the relevant way, the absence of sufficient reasons to refrain from acting in that way, for an appropriately wide range of such reasons. (p. 132)
Sartorio's crucial move is to account for reasons-sensitivity in terms of causation by the absence of sufficient reasons to do otherwise, and she motivates her claim that an absence of sufficient reason to do otherwise is a cause of an action by appealing to the fact that the action counterfactually depends on the absence of this reason. How counterfactual dependence is supposed to support the causal claim is unclear. Sartorio tells us in a footnote that while "most causal theorists" deny that counterfactual dependence is necessary for causation, "many" believe it (at least of the right kind) is sufficient for causation. However, Sartorio also tells us that she has argued against this view (in other work[2]), but "for reasons that are orthogonal to the current discussion" (p. 124, n. 20). So does Sartorio think some kinds of counterfactual dependence are sufficient for causation? If so, which kinds? She never says. If not, then how is her argument supposed to work? She never says.
Let me close by returning to Sartorio's claim that her actual-sequence theory is "simpler, more elegant, and it sustains a more straightforward interpretation of the reasoning behind Frankfurt cases that motivates actual-sequence views" than others, such as Fischer and Ravizza's (p. 43). I hope my comments suggest that we should have pause before agreeing with Sartorio. Despite her earlier claim only to be appealing to features of causation that any theory of causation (at least the sense of causation relevant to freedom) must account for, it seems to me that her account requires us to accept a wide range of controversial theses about causation (for example, I am inclined to reject every feature except the claim that causation doesn't entail counterfactual dependence). Moreover, some of these putative features of causation are in deep tension with the success of Frankfurt cases, casting doubt on her claim that her theory offers a "more straightforward" explanation of Frankfurt cases than Fischer and Ravizza's theory.
The clearest payoff of Sartorio's theory is that it is an actual-sequence view in a well-defined sense: freedom is wholly a function of the actual causes. Other actual-sequence accounts appeal to modal features of the agent or mechanism leading to action, and this has always made me wonder why these are considered actual-sequence accounts as opposed to alternative possibilities accounts. It has always seemed to me that these "actual-sequence" accounts simply appeal to different kinds of alternative possibilities or powers than, for example, leeway incompatibilist accounts. Sartorio's account seems best positioned to handle this worry.
Should actual-sequence theorists abandon the more well-trodden accounts developed by Fischer and Ravizza, Ishtiyaque Haji,[3] Michael McKenna,[4] and R. Jay Wallace[5] and embrace ACS? I have my doubts. But the question is well worth asking, and Sartorio's book is well worth consulting in determining the right answer.
Thanks to Justin Coates and Neal Tognazzini for many instructive conversations about these issues, and to Micah Quigley for his helpful comments on an earlier draft.
[1] Responsibility and Control: A Theory of Moral Responsibility (Cambridge University Press, 1998).
[2] 'The Prince of Wales Problem for Counterfactual Theories of Causation', in New Waves in Metaphysics, ed. Allan Hazlett (Palgrave Macmillan), pp. 259-276.
[3] Moral Appraisability: Puzzles, Proposals, and Perplexities (Oxford University Press, 1998).
[4] 'Reasons-responsiveness, Agents, and Mechanisms' in Oxford Studies in Agency and Responsibility, vol. 1 ed. David Shoemaker (Oxford University Press, 2013), pp. 151-183.
[5] Responsibility and the Moral Sentiments (Harvard University Press, 1994).


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Home/News/USA News/Drew Barrymore is convinced to date men half her age by a persuasive audience member on the 'Drew Barrymore Show': 'I'm Young at Heart, Too'
Drew Barrymore is convinced to date men half her age by a persuasive audience member on the 'Drew Barrymore Show': 'I'm Young at Heart, Too'
How did Stella find her groove? More like, How can we recover Drew Barrymore's groove? The actress, who has been incredibly open about her lackluster sex life on The Drew Barrymore Show maybe just have to explore some younger options. And thanks to a convincing audience member, we wouldn't be surprised if Barrymore is the next lucky cradle stealer to nab a member of One Direction — since, of course, Olivia Wilde already has dibs on Harry Styles.
In honor of the '90s rom-com starring Taye Diggs, Hulu has ordered a new reality dating series, Back in the Groove. The show will be hosted by the actor as it follows three single women in their 40s as they travel to the Dominican Republic to "find love with men who are half their age", per Variety.
Barrymore, who is 47, told viewers her pace was "not so groovy" and that she was initially put off by the idea of dating a man much younger than her. In fact, she even looked to her audience to see if anyone would. When a brave soul clapped, the actress asked, "Why would you date someone half your age? And I don't say that critically and it sounded like that but that's not how I meant it. But why?"
The woman noted, "Because I feel younger and I need someone who can keep up with me."
Barrymore, who obviously didn't need much convincing, told the happy viewer that she had just changed her mind.
"I'm young at heart too when I get off the couch. I'm a hoot,' she said. "Well, you changed my attitude. I think you could hear it in my voice with quite a bit of opinion and I just backed off because you're right. Thank you."
The Drew Barrymore Show airs weekdays at 9:30 a.m. ET on CBS.
Biden and Schiff Parade Populist Drag to Hide Their Cheap Labor Policies
3 dead and 1 missing as rain hits New Zealand's biggest city
Winter weather advisory in effect for parts of the Chicago area – NBC Chicago
Aryna Sabalenka wins her 1st Grand Slam title at the Australian Open

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A chemise cagoule (, "cowl shirt") was a heavy nightshirt worn by pious Catholic men and women during the Middle Ages in order to permit a husband to impregnate his wife without having to endure any unnecessary physical contact with her.  The chemise cagoule covered all sexual areas, but left an opening for necessary contact.  Pious couples were expected to use chemise cagoules at every lovemaking session, and thus would never see each other naked.

A similar concept was allegedly employed in one or more unspecified Native American cultures as the "chastity blanket", an item of similar design held by tribal elders until requested for use by a man, according to anthropologist Gordon Rattray Taylor.

References

Physical restraint
Sexual abstinence and religion
Undergarments

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"A soft, sensuous voice that sends shivers down my spine the way Peggy Lee's does when I listen to her classic Black Coffee album. DreamLand is totally different, yet in its own way, achieves the same degree of perfection." — Lance Liddle, Bebop Spoken Here
"On the appropriately titled DreamLand, York brings her sultry vocals, sharp, engaging (and often witty!) phrasing and storytelling skills and inimitable dual sense of intimacy and swing to a unique set of offbeat but emotionally engaging standards (and a few dazzling relative obscurities) that have personal meanings for her. York imparts the sense that she's taking us on a special journey that includes everything from a lesser known Jobim gem (translated in English to "This Happy Madness') – her charming ode to finding love later in life – to "Mountain Greenery" and "Still on the Road," tunes that embody York's sense of musical and life adventure." — Jonathan Widran, JW Vibe
"This album confirms the trend of this beginning of the year, with an outrageously classic, elegant opus, a perfect interpretation and sumptuous arrangements, and although it does not revolutionize the genre, this album will please a large number of music lovers. jazz.
We do not hide our pleasure in listening to this album which, for all the reasons mentioned above, is a 'coup de coeur' for the editorial staff of Paris-Move and Bayou Blue Radio who make it a point of honor to appreciate artists who get to the bottom of things, like here Libby York. Lovers of beautiful voices and hyper melodic and well-calibrated music, this album is made for you." — Thierry Docmac, Correspondent in the USA, Paris-Move
"I first heard Libby York in the best way you can hear somebody. Totally unexpectedly, and as a surprise. I was listening to that wonderful Singers Unlimited show on a Sunday morning from a great jazz station in Newark, and I heard a voice singing 'Sunday in New York.' I sat up from my waffles and said, 'Who is THAT?' Minutes later, I went online and found one of her wonderful recordings and I have been a keen fan of hers ever since. I have written six books and hundreds of pieces for the New Yorker magazine, but nothing in my professional life makes me prouder than that I got to write the liner notes for Libby York's last record. She swings. She's tender. She knows how to sell an emotion without overselling it. And she just embodies a certain spirit of jazz which is all too precious and all too rare." — Adam Gopnik, author; contributing journalist, The New Yorker magazine
"Ms. York is a jazz singer of cool composure and artful subtlety, as she demonstrates on her fine new album, "Here With You."
Nate Chinen, New York Times
"….an intimate, richly textured singing voice and warm casual radience." Variety
Nate Chinen, NY Times
"…with a voice like amber–dense, rich and imbued with an enchanting hint of smokiness–York proves that simple beauty is often the most stunning."
Christopher Loudon, JazzTimes
"As befits her acknowledged influences, Chris Connor and June Christy, York's is an intimate, conversational style, with the Great American Songbook her natural habitat. It's a laid-back approach, ideal for her dark, mature voice, impeccable phrasing and irreproachable swing.
Given that the small group here is based around Howard Alden (guitar) and Warren Vache (cornet), with just bass and drums, it's no surprise that they groove so well, turning such songs as "Look For the Silver Lining," "The Things We Did Last Summer," "You Go To My Head" and "I Love Being Here With You" into sunny, warm experiences.
The closest she comes to angst is the feeling of a "that's life" shrug she imparts to "For All We Know," one of three polished duets with guitarist Russell Malone, and a fine "But Beautiful" with Alden and Vache (who is in great form throughout the album)."
Ray Comisky, The Irish Times
"Another example of a premier artist who displays it through restraint rather than excessiveness is Libby York, whose new CD Here With You (Libby York) shows it's possible to refresh any tune, even such frequently performed compositions as "But Beautiful," "Flamingo" and "For All We Know." Still, as inviting as York's treatments of these numbers prove, she's even more appealing doing "The Day The World Stopped Turning," "Azure Te (Paris Blues)" or "I Love Being Here With You."
On these she not only beautifully delivers the lyrics, she takes the listener right into the song through her exposition. These numbers only work if the vocalist can really make the person hearing them believe them, and York's expressive, rich and striking voice has that ability. It also helps that she has several top musicians backing her, especially guitarist Howard Alden (also the primary arranger) and Russell Malone, and cornetist Warren Vache (who also backs her vocally on "Walkin' My Baby Back Home"). Though York doesn't venture into the rock or pop arena on Here With You, what she does cover is done with grace and passion."
Ron Wynn, Nashville City Paper
"Ms. york deliver[s] another peerless recording"
Alan Bargebuhr, Cadence, the Independent Journal of Creative Improvised Music.
* * * * 4 Stars
"This CD, rich with the scent of smoke rings and martinis,could possibly bring back Chesterfields (though probably not vermouth). Stylish and cosmopolitan with a broad streak of lush life urbanity, Libby York has a sound that recalls,without any condescension or gratuitous nostalgia, the slightly world weary, been around the block ennui of post war Anita O'Day, Chris Connor and Sarah Vaughn. It was a sharp contrast to the pre-war ingenues whose perky optimism characterized the swing band singers. And it wears well indeed. York offers what is more or less a salute to Sinatra. In these swank moorings she rises to her considerable best, discreetely accompanied by pianist Renee Rosnes. Wess is always a delight, providing a warm jazz sensibility to coplement York's slightly husky elegance."
John McDonough, Downbeat Magazine
"Delectable… bravura dexterity… simultaneously recalls the cool self assurance of June Christy and the caress of Edie Adams."
"Wow! I love this CD! The program of songs is great, and the performance is so enjoyable! Is this a rave review? I hope so, one is intended."
Jack Simpson, Jazz on the Beach, WUCF Orlando
"A really nice package throughout – choice cuts sung impeccably with 'Her Rosnes' and the 'courtiers doing their expected super job".
Carroll Coates, co-composer /lyricist Sunday in New York
"York is from the cool school of June Christy, and Peggy Lee… January in Rockefeller Center when you have the rink to yourself. You're alive. The air is cool. She's ice dancing and you're in love."
Dick Crockett, The Voice 88.7 FM Sacramento
"Carrying its emotional power in its graceful reserve, her voice finds the perfect complement in Frank Wess' sensuous tenor lines…the "cool school" vocal tradition that Libby York keeps simmering in the 21st century…effortless."
Neil Tesser, MilesAhead Jazz from Chicago
"This album caught my attention not only with the sweet renderings of York, but with the self assurance bred of complete confidence in her ability as a master vocalist with a deep well of talent at her disposal… In a word, I dug it."
John Gilbert, Jazz Review
Vocalist Libby York may have gotten a late start in her performing career, but one would never know from listening to these hip sessions. The cool-toned singer chose a number of timeless songs, arranged by Howard Alden, who also plays guitar on most of the tracks, though in more of a supporting role. She savors "But Beautiful" with a heartfelt performance and engages in a playful vocal duet with Warren Vache (who also plays cornet on several selections) of "Walkin' My Baby Back Home." The easygoing bossa nova setting of "Look For the Silver Lining" and the subdued, romantic setting of "Flamingo" showcase her voice at its very best. Russell Malone plays guitar on three tracks, including lush duets with York of the standard "For All We Know" and a warm, swinging take of "A Beautiful Friendship," plus a loping, bluesy rendition of Wild Bill Davis' "Azure-Te (Paris Blues)." Veteran bassist Jon Burr and percussionist Vanderlei Pereira also provide excellent support to the singer.
Ken Dryden – allmusicguide.com
For Chicago jazz singer Libby York, many chapters and many songs
Rick Kogan, Chicago Tribune
Libby York, who will be appearing this week at the Jazz Showcase, is Chicago born and bred and has carried this town with her across the globe and through the years. "Why would I ever want to shake my roots?" she says. "When I sing, I bring all of my life experiences to a song and that includes Chicago, which is always home."
Her first album, for instance, was produced by Chicago's extraordinary Southport Records and its title, "Blue Gardenia," was a floral bow to her maternal grandfather, a man named Otto Amling who more than a century ago founded the local firm Amling's Flowerland, still in operation in Elmhurst and Chicago.
York's mother and father were both musically inclined, played piano and sang, and, York says, "taught me that musicians were to be respected."
The family home in Rogers Park was filled with the recorded voices of Frank Sinatra, Rosemary Clooney, June Christy, Perry Como and other translators of the sophisticated lyrics and arresting melodies of what is known as the great American songbook, a genre York calls "our country's gift to the world." For a time her father wrote a nightlife column for the Purple Parrot, a Northwestern University student humor magazine of the time.
Still, and though she liked to sing as a youngster and was deeply under the influence of the first album released by the great local singer/guitarist Frank D'Rone, she did not consider a musical career after graduating from Sullivan High School. She majored in political science at American University in Washington, D.C., then worked on a few campaigns and taught school. She married and she and her husband, also a teacher, spent summers waiting tables. They met a chef named Victor Pisapia and the three of them opened a restaurant called the Back Porch Cafe in the resort town of Rehoboth Beach in Delaware.
"I suppose the inspiration for me was the bygone Fanny's restaurant in Evanston," says York, mentioning the notable and legendary restaurant — named one of the "top 40 Chicago restaurants ever" by Chicago magazine in 2010 — operated by a female chef named Fanny Lazar from the 1940s to the 1980s. "I remembered going there and thinking this is such an exciting place, more like attending a show than a restaurant," says York. "At a time when the Rehoboth dining scene was all burgers and fries on the boardwalk, we started the sort of farm-to-table operation that Alice Waters was pioneering at her Chez Panisse, in Berkeley," Calif.
That was in 1974 and the Back Porch is still in operation. But in the early 1980s, York left the business and her marriage and went to New York City to sing. "It was as if music chose me more than I chose it. Song lyrics were always in my head," she says. "I lived in a summer sublet in Greenwich Village and there was nothing in there except a piano and a bed."
She proved a natural and began to get work — "I had gigs before I really knew what was going on," she says — but she also began to formally study voice (with, among others, the great Abbey Lincoln), and piano, and supplemented her singing income with various "straight" jobs, among them serving as a production assistant for "Saturday Night Live."
"But most of my training has been on the bandstand in front of an audience," she says. "It's really a trial by fire but you learn very quickly what works and what doesn't."
She began to spend some winter months in Key West, Fla., where she found a lively jazz scene and some memorable moments, among them singing for the writer Tennessee Williams at the Rose Tattoo, a place named for one of his plays. "I put a rose on his plate," says York.
There was also the dinner party at which Leonard Bernstein asked her to sing "some blues" with him and they sat together at a piano for a rendition of Billie Holiday's "Fine and Mellow." She split her time between New York and Key West and, for a few years in the mid-1990s, here, where there were also special moments. "Given the huge influence that Frank (D'Rone) had on me when I was young, it was a dream for me to have later become friends with him and his wife Joan and tell him what his music meant to me. I got to singing duets with him."
She has sung in all the country's top venues and internationally, especially in Paris. She has released CDs; in addition to "Blue Gardenia," there is "Sunday in New York," "Here With You" and "Memoir" (libbyyork.com). There has been a pile of praise: "A jazz singer of cool composure and artful subtlety" (New York Times) and "Stylish and cosmopolitan with a broad streak of lush life urbanity" (DownBeat). It's been a rich and rewarding career.
But in 2014, her longtime partner (in life and on stages), the drummer Greg Sergo, died. She then decided to again to make Chicago her permanent home. Appearing at Winter's Jazz Club earlier this year, she was filled with her typical enthusiasm and charm and told me, "I find such joy on stage, more than ever. I suppose because I didn't start this career until I was 35 it took me a while to really believe this is who I am, this is what I was meant to do."
A few weeks ago, she elaborated, "I am digging it more than ever. I have never considered myself a star but rather part of a band, only as good as those playing with me, and there are so many great players here.
"My approach to jazz has never focused on nostalgia, even though I have sometimes been called one of the 'keepers of the flame.' I appreciate how Rosemary Clooney once described herself, 'A singer of fine songs who works with jazz musicians.' Jazz is of the moment and I never want to sing a song the same way twice."
10 Questions with Libby York
from Chicago Jazz Magazine
Another Reason To Celebrate
from Hot House
You'll often find singer Libby York in the company of great piano players, with John Di Martino, Renee Rosnes and Bruce Barth among the fine musicians she's gigged or recorded with. But there's one keyboard maven in particular who stands out in her memory: Leonard Bernstein, whom she met at a dinner party in Key West. She recalls grappa flowing generously that evening, and at some point, the legendary musician said, "Libby, let's go to the piano and play some blues." "Sounded like a great idea!" she recalls. "It took a while for the realization to sink in: Oh my god, I just sang 'Fine and Mellow' with Leonard Bernstein!"
Libby plays a bit of piano herself although she hasn't developed it to where she'd consider doing it in public. But that doesn't mean it will never happen. After all, Libby didn't start singing professionally until age 35. More than three decades later, she jokes about finally getting the hang of it. So much so that the vocalist, who now splits her time between Chicago and Key West, is considering moving back to the Big Apple to be at the epicenter of jazz.
"I'm still fascinated by singing; it never gets old. I have a list a mile long of songs I want to do. I kind of have the hang of it by now, and the process has not lost its interest. As long as the voice holds out, I'm there," she declares.
This month, listeners can catch Libby in action in New York. "It's kind of sentimental in a way," she notes, since she'll appear with pianist Bruce Barth and bassist Neal Miner, both of whom she frequently worked with when she lived in New York for 15 years in the '80s and '90s. You can catch them at Saint Peter's Church's Midtown Jazz at Midday on April 18, a venue she's played many times in her career.
The singer will delve into her long list of songs for the gig. In honor of Bernstein's centenary, she's planning to do his tune "It's Love" from Wonderful Town. Also among her picks could be Blossom Dearie's "Rhode Island is Famous for You," citing the "cute and funny lyrics" as part of the appeal. Barry Manilow's "When October Goes" may also be on tap. Libby points out, "I'm not a huge Barry Manilow fan; I don't think of him as a jazz musician. But Johnny Mercer is my favorite composer and this song is based on some of his unfinished lyrics."
A new recording is in the early planning stages (her most recent, Memoir, came out in 2014). "I approach recording in an organic manner—choosing songs that are current favorites." While she doesn't start out with a theme in mind, sometimes one reveals itself as the process continues. One thing listeners can count on: "I don't approach songs with nostalgia, thinking about the good old days, or as a period piece. To me, it's all very current. As a jazz musician, we don't play anything the same way twice. Staying present and in the moment, improvising with the phrasing, that keeps it fresh and makes it so much fun!"
Libby has an attitude of gratitude about her life in music. "It's endlessly fascinating and it's a blessing to have something you feel that way about," she says. "Creative people are very fortunate. It's not a secure lifestyle, but we have goals and things we love to do. We're lucky."
— Elzy Kolb
Libby York Quartet
"Memoir," Libby York's most recent recording, is a telling reflection of a gifted and experienced singer whose subtle manner may have kept her from greater popular acclaim. A warm tone and a sharp sense of humor bolster her restrained artistry. (Jazz at Kitano, 66 Park Ave., at 38th St. 212-885-7119. Sept. 30.)
"Music Scene" Interview
from Florida Weekly
Libby York spends a lot of time traveling and performing in New York; her hometown of Chicago; Paris; and Paso Robles, Calif., but she still keeps a Key West home that she bought back in 1980.
"This is my home," she said. And it continues to be her hub of operations.
Ms. York graduated from the American University in Washington, D.C., and was musically influenced early on by her parents.
"Both of my parents sang and played piano," she said. Her early influences included Frank Sinatra, Johnny Mercer, George Gershwin and Rosemary Clooney.
"My last record was in a way an homage to Rosemary Clooney," she said.
Then, in 1974, she says, "We opened a restaurant, the Back Porch Cafe in Rehoboth Beach, Del., a resort on the ocean for the Washington, D.C. crowd. It's still there!"
When the place closed for the winter that year, a friend suggested Key West as a place she might want to visit, so she did. And her visits continued after that.
"My first piano teacher, Yehuda Guttman, was here in Key West, a Julliard scholar who once played at Carnegie Hall," she said. Mr. Guttman's son later started Key West's cab company, Five Sixes Taxi.
"I performed once for Tennessee Williams at the Rose Tattoo, named after his play (and movie). I placed a rose on his plate." And then, coincidentally, "I was the assistant stage manager for the opening season of the Tennessee Williams Theatre. (The Tennessee Williams play) was called 'Will Mr. Merriweather Return from Memphis?' It ran once, but never again. I still have pictures and the program from the original show."
And in another ironic twist, she now performs "Libby in the Lobby" on occasion at that same theater with Bobby Nesbitt. "I can't wait to do that again," she said.
She met guitarist Franklin Micane at the Pier House in 1981, and he invited her to sit in.
"I'll never forget: I sang Cole Porter's 'Night and Day.' He asked me to come join him in New York. I got a summer sublet in the Village with nothing but a bed and piano, and we had our first gig, with just three songs. But I was bit. I stayed in New York."
She got her first job from an ad in The Village Voice.
"It was with an eight-piece band called Swing Street, for dancers," she said.
Over the years, she graced the Waldorf Astoria, the Metropolitan, Kitano Hotel and numerous small clubs.
"I toured throughout Paris and performed at the Cafe Laurent," Ms. York said.
She works hard, but it's clear that she loves what she does. And from the mountains of accolades she's earned, it is apparent that she is extraordinarily good at it, which, in turn, keeps her extraordinarily busy.
"When you're your own agent, you're always looking for work. Now I can pick and choose. I enjoy what I refer to as a Listening Room," she said, referring to a room without annoying distractions, designed for music lovers with discerning ears and tastes.
One such room is the Little Room Jazz Club on Duval Street here in Key West, where Ms. York will be performing most Wednesdays throughout the season. It is a warm, upscale, intimate space in which connoisseurs of fine wine and fine music regularly congregate. In New York City, she might perform with a trio of musicians, but here, she is usually accompanied by one, such as guitarist Tim McAlpine.
Keep an eye out for Libby York performances at the Studios of Key West, too. The best way to keep up with her past, present and future endeavors, and to see videos from some of her memorable performances, is to check out her website: www.LibbyYork.com. She is easy to find on YouTube as well.
In February, she'll take a break from the island and head to Paso Robles to teach and entertain there, including a master class at Cuesta College on Feb. 3, and performing at the Paso Robles' D'Anbino Vineyards and Cellars Feb. 5.
Then she'll be back to Key West for March 5-6 performances of "Libby York: Still on the Road – Here's to Life" at Truman's Little White House, which is always a sell-out. She performs this show in Harry Truman's living room, where there are just ten tables. (Tickets are $60, available at KeysTix.com.)
"I'm very excited to be performing with Woody Allen (no, not that one), the lead guitarist for the Survivors," she said. The Survivors are typically known more for their calypso, folk and jazz genres, so this should be an interesting mix.
Her new record release, "Memoir," named among the Top Ten by KCRW's Bo Leibowitz, has garnered rave reviews, including these from her website:
"… a jazz singer of cool composure and artful subtlety…" – Nate Chinen, The New York Times.
"… relaxed perfection…" – C. Michael Bailey, All About Jazz.
"… her wit and easy swing." – The New Yorker.
"Her smoky voice will appeal to Diana Krall fans, but she is very much her own woman." – The Times of London.
"There are a lot of wonderful female vocalists on the scene today, and one of the best is Libby York." Joe Lang, JerseyJazz.
"… every inch Diana Krall's equal … warm, intimate and imbued with a fogbound sexiness." Christopher Louden, JazzTimes.
"It's hard to imagine a voice more suited to classic jazz standards than that of Libby York." Roark Littlefield, Stage Buddy. And the list of praise goes on and on.
Ms. York is already working on her next project, one she will record in New York. "There will be some interesting new things on the new CD," she promises.
Referring to the classification of her timeless music, she says, "I prefer 'Great American Songbook' over standards or covers. Like Johnny Mercer and George Gershwin. I love them."
With a seemingly endless library of fascinating stories of fascinating people, she recounts meeting Leonard Bernstein.
"After dinner at Antonia's house (the namesake of the popular Duval Street restaurant), we were drinking grappa with Leonard Bernstein, when Lenny says, "Libby, let's go to the piano and sing some blues." We did Billie Holiday's 'Fine and Mellow.'"
She has a list of about 20 songs she wants to do. For example, she said, "I love Jobim's 'This Happy Madness.'"
I asked Ms. York why Key West has remained her hub, after experiencing a big-city metropolitan lifestyle.
"It's the people," she said. "There's such a cosmopolitan, international group of people right here. The beauty. The homes. The tropical air. I can ride my bike everywhere. I can swim every day."
Catch a Libby York performance the next time you see her name on a marquee.
"I'm just a singer of fine songs who works with jazz musicians," she concluded. "Great jazz musicians. That's the difference between jazz and cabaret. It's got to swing!"
And Ms. York does.
Concert Review: The Libby York Quartet
The Japanese atmosphere of the lovely Kitano Hotel faded away as the Libby York Quartet took to the stage Wednesday evening. A timeless jazz club suddenly appeared out of the Asian mist. York, elegantly dressed in black, dazzled.
The performance was a bit more melancholy than York's recent album "Memoir", with an even richer atmosphere of saloons and lonely nights. Some of the songs were new to me, such as Neal Hefti's "Girl Talk" and the delightfully seedy "Something Cool" by Billy Barnes. York performed these with relish, referring to the latter as the ultimate song for lounge lizards.
With "Thanks for the Memories", the Chicago-born chanteuse has really taken ownership of this classic, and I hope it will remain one of her standards. She sings it like no one else, with all schmaltz and bonhomie long gone. What is left is a delightful, unabashedly wistful private moment with an old lover. The magical Warren Vache on cornet added some deliciously boozy notes and a few tears of his own before handing it over to pianist John DiMartino, who attempted a gentle dose of cheer before finally giving in to his own heartache. Matt Wind on bass was reflective, yet provided just the right amount of lift to keep the number from becoming maudlin. It was a wonderful essay in melancholy with each player adding a unique chapter to the bittersweet story.
The brightest moments came with Vache joining York in the classic duet "Let's Call the Whole Thing Off". Vache went straight for laughs with improvised lyrics while York tried to rein it in, striving to save the "whole thing". With Vache looking for the exit the entire time, this was no small feat.
Vache has become a lion in the jazz world, and his mischievous glances and quick flashes of humor are almost as entertaining as his lovely cornet. He still experiments with his instrument, and he creates achingly beautiful sounds that seem to linger in the air long after he has set the horn down. DiMartino conjures up memories of Vince Guaraldi when the late pianist wasn't playing for peanuts. His touch is delicate yet strong, with magnificent color and rhythm. His expressive face is engaging and unpredictable. On bass Matt Wind didn't always get a solo, but when he did his tone was rich and clear. He even treated his listeners to some lovely, all-too-seldom-heard artistry with the bow. These musicians clearly love playing with one another. They left the audience at the Kitano wanting more, but surely grateful for the memories.
Roark Littlefield, Stage Buddy
MEMOIR – Libby York Music
Libby York is not a huge name in the jazz world, but those who are familiar with her singing know her to be an appealing representative of the Cool School. Influenced by Anita O'Day, Chris Connor and June Christy, York does not shout to get your attention. Restraint and understatement prevail throughout Memoir, a pleasing effort that finds the Chicago native joined by pianist John di Martino, bassist Martin Wind and drummer Greg Sergo. Guitarist Russell Malone joins on Ralph Ranger-Leon Robin's "Thanks for the Memory", Cy Coleman's "When in Rome" and Roberto Menescal's bossa nova standard "Little Boat" while cornet player Warren Vaché is featured on Jimmy Van Heusen-Johnny Burke's "Put It There, Pal" and George Gershwin's "Let's Call the Whole Thing Off".
For all her subtlety, York brings plenty of feeling to Memoir, whether interpreting Cole Porter's "Take Me Back to Manhattan", Frank Loesser's "On a Slow Boat to China", Rube Bloom-Harry Ruby's "Give Me the Simple Life" or "Walk Between the Raindrops" by Donald Fagen. York's sense of humor is evident with some fun male/female banter with Vaché on "Put It There, Pal" and "Let's Call the Whole Thing Off".
Some jazz instrumentalists don't care to work with singers, but thankfully, the musicians York chose are known for their work with vocalists: Malone spent years backing Diana Krall; Vaché played with Rosemary Clooney extensively; and Wind and di Martino have both backed numerous singers in their careers. The overarching melodicism of the band certainly doesn't hurt. In a perfect world, York (who didn't start singing professionally until 35) would have a larger catalogue. But the albums she has recorded have been solid and Memoir is no exception.
Alex Henderson, New York City Jazz Record
Maturity and confidence trump youthful enthusiasm every time. Experience and self-assurance are both sexy and smart when in the hands and voice of Chicago-native Libby York, who has that rare ability to take use- worn standards, strip out the sentimentality and present the piece as originally intended. On Memoir, York boldly grasps pieces like, "Thanks for the Memory," "On a Slow Boat to China" and "How Long Has This Been Going On," shakes off the dust of nostalgia, recreating them as first intended. It takes a recording like this to demonstrate how a patina of nostalgia can tarnish the surface of a great song. Pianist John J. DiMartino and guitarist Russell Malone melodically soften these arrangements, while cornetist Warren Vache plays and sings (on "Put It There" and "Let's Call the Whole Thing Off"). The duets are playful and vibrant with Vache providing a bit of sepia tone with his cornet. York achieves a certain relaxed perfection in her singing, one that can only have come from a love of the repertoire and its performance.
C. Michael Bailey, AllAboutJazz.com
Every so often a CD comes along that seems to have everything you want. Tunes and lyrics by the grand craftsmen of Tin Pan Alley, instrumental breaks by sympathetic musicians, and a singer who can interpret the GAsbook in the vocal traditions created by such as Ella, Peggy, Billie, Anita, Frank etc and yet retain his/her individuality. This is just such a disc!
Well there are the songs – Give Me the Simple Life; When in Rome; Put it There Pal; Thanks For the Memory; Take Me Back to Manhattan; I Was Doing Alright; My Little Boat; Let's Call the Whole Thing Off; On a Slow Boat to China; How Long Has This Been Going on?; Walk Between the Raindrops – if I'd had to pick out the set list myself at least half of these would have been on it!
And the musicians. Warren Vache on cornet, the best thing since sliced Braff, is so perfect for this type of set up. I have fond memories of a weekend at the Breda Jazz Festival back in 1982. I loved every minute of those few days and listening to Warren, (was he Warren Vaché back then?) in the company of Guy Lafitte and Bob Wilber, contributed to some of those memories. Warren also duets vocally with Libby on a couple of numbers. How ironic that one of the numbers on this disc should be Thanks For The Memory with Vache's cornet outstanding – he's certainly outgrown the junior tag! On guitar Russell Malone is another ace in this stacked deck. John DiMartino is great on piano although his predilection for the "a fish is an animal that swims in a brook" quote – he does it at least 3 times – perhaps partially undermines his creativity!
Now we come to Libby York. Her fourth album – how many have Krall, Monheit and co made? York should have at least a dozen on the shelves! She hasn't, so make the most of this one. We're hardly into March 2014 but this is the one the pack's chasing.
You can catch her on March 26 at the Tennessee Williams Cabaret Theatre, Key West, Florida – excuse me, I got to go book an airline ticket…
Lance.
PS: Today is my birthday and THIS is the best present I've had – beats the Chevrolet hands down!
Lance, Bebop Spoken Here
There are a lot of wonderful female vocalists on the scene today, and one of the best is LIBBY YORK. Memoir (Libby York Music – No Catalog Number) finds her in excellent company with Warren Vaché cornet, John di Martino on piano, Russell Malone on guitar, Martin Wind on bass and Greg Sergo on drums. York is a singer who can take familiar tunes like "Give Me the Simple Life," "Thanks for the Memory," "Let's Call the Whole Thing Off" or "How Long Has This Been Going On," and make them sound fresh. She is a wonderful interpreter of lyrics, and phrasing should be her middle name. Vachés, as I have written countless times, as good as it gets. In addition, he contributes some nifty vocalizing on "Put It There, Pal." And "Let's Call the Whole Thing Off." If asked to list the first call piano accompanists, you could not omit the imaginative di Martino. Malone simply swings with the best of them. Having Wind and Sergo anchoring the rhythm section is an added bonus. This is Libby York's fourth album, and she has recorded another winner.
Joe Lang, JerseyJazz
With the assistance of pianist John DiMartino on arrangements, producer and leader Libby York offer up a real classic slice of traditional jazz. This is the Great American Songbook done in a style that is respectful, reverent and totally true to form. Being an artist, York takes certain liberties with phrasing and structure but delivers in a manner that pays homage to the greats such as Rosemary Clooney, Annie Ross, Peggy Lee and Ella Fitzgerald. There are no real surprises with this record and no disconcerting curves thrown. It's just sturdy and dependable songs lovingly handled with care and polished to perfection.
"Give Me the Simple Life" kicks off the track list and kind of exemplifies the whole mood of the album at the same time. York has an easy going and relaxed approach that totally will relieve what ails you. She alters time and space ever so slightly while the band responds with a mild and carefree swing. The amusing travelogue "When in Rome (I Do As the Romans Do)" follows and features superb vocal dexterity and enunciation, flanked by Russell Malone's exquisite solo guitar and Warren Vache's delicate horn embellishments. Jimmy Van Heusen's delightful "Put It There, Pal" is a fun one that finds York and Vache sparring comical asides and vocal improvs together. They are, indeed, artistic compadres that exhibit a ton of good humor and simpatico here. "Take Me Back to Manhattan" is a love letter to NYC and the 1930's show tune is topped off by DiMartino's elegant piano and Vache's soulful cornet. Gershwin's "I Was Doing Alright" continues that air of urbane sophistication via the leader's highly stylized vocals and the rhythm section's light, yet driving swing. The mood changes slightly with the introduction of the sambafueled "My Little Boat." The band arrangement and interplay is smooth and transparent, allowing York to really get inside the melody and rework it a bit. Her phrasing here is romantically entrancing and magical. Some other tunes of note include another Gershwin gem "Let's Call the Whole Thing Off" and Donald Fagen's modern jazz classic "Walk Between the Raindrops." With the first piece, Vache, once again, vocally duets with York and recalls the charming and comedic musician-actor Jack Sheldon. The second and final track on the album was originally composed by Steely Dan's Donald Fagen for a solo project called The Nightfly. This was a good call by York as the light hearted cadence and chord structure of the piece fit in extremely well with the rest of the, mostly, Tin Pan Alley fare.
Libby York is a fine singer, arranger and band leader. Her rapport with the group is so engagingly palpable you'll wish you were in the studio absorbing their musically vibrant and positive energy live.
Eric Harabadian, Jazz Inside Magazine
While Diana Krall continues to top vocal polls and rack up platinum album sales, Chicagoan Libby York remains comparatively obscure. So consider this open invitation to all Krall fans to dip into York's meager-just four albums across 15 years-but mighty oeuvre. Memoir, a terrific collection of standards, is an ideal place to start. What you'll discover is an interpreter who is not only every inch Krall's equal but also bears a strong vocal resemblance to the Canadian superstar: warm, intimate and imbued with a fogbound sexiness.
York has always demonstrated superb taste in both song selection and side-men. Here, traveling from a tender "How Long Has This Been Going On?" and a sly "When in Rome" to a shimmering "My Little Boat" and sprightly "Walk Between the Raindrops," she is seamlessly supported by pianist John di Martino (her co-arranger on all 11 tracks), bassist Martin Wind, drummer Greg Sergo and cornet player Warren Vache. Guitarist Russell Malone joins on three tracks, including a misty "Thanks for the Memory," and Vache twice contributes vocal accompaniment, adding gravel-filled joy to "Let's Call the Whole Thing Off" and a cleverly updated take on the Bing Crosby-Bob Hope chestnut "Put It There, Pal."
It's hard to imagine a voice more suited to classic jazz standards than that of Libby York. Listening to this throaty, laid-back chanteuse easing her way through "Take Me Back To Manhattan", you can almost see the cigarette smoke and catch the aroma of spilled bourbon in a beautifully lived-in jazz club, the kind that perhaps no longer exists.
In its best moments, York's new album, "Memoir", sounds like something the singer and her damn talented companions did for themselves, not caring too much whether anyone else might wander into the joint. They toss back some more gin and pick it up again, vibrating with soul as the clock on the wall eases its way towards two in the morning. The record starts off strong with a witty performance of "Give Me The Simple Life". It's jaunty, effortless, and as in so many of the tracks on "Memoir" made all the more enjoyable by York's generous habit of passing it off to her mates for a few bars. After they add their own delectable flourishes, it's all the more pleasurable when she comes back in again.
Strong, too, is the eminently recognizable tune "Thanks For The Memories", a stoic, smiling-through-the-tears tune that was unfortunately made corny and insipid by its decades-long warbling by Bob Hope. She reminds us what a great meditation it is, a happy/sad reflection on a relationship long gone. It's truly a classic, and York's is the best rendition I've heard in years.
York is justly known for her great control and confident phrasing. She also has the ability to create a vocal shade that implies a broad grin while she sings. It's occasionally charming, sometimes a bit much, but in the best tracks on this album, she sets this aside and bares her heart.
The most disappointing track is the Crosby tribute "Put It There, Pal", a duet sung with Warren Vache in which most of the time is spent exchanging cutesy banter such as "Shall we dance? …No, I got my girdle on tonight!" and other Bing-esque jibes. When Louis Armstrong and other singers made this kind of thing work, it was because it was spice, not the whole dish. Somewhat less interesting, too, is "My Little Boat", a fairly obscure and forgettable song. But the weaker songs are not only few, but also mercifully short, whereas the best songs are given a lot of time.
The best performance on the album, the Gershwin classic "How Long Has This Been Going On?", is simply magnificent, an aching rendition that really takes its time, and in this song York is at her most vulnerable. In fact, it is the vulnerability in her voice that is most gripping. It's even more appealing than the laid-back confidence she has in spades. It moves the listener into a poetic and gorgeously melancholy realm that is simply blissful. Confidence is great in jazz, but vulnerability and heartache is what gives it its beautiful sting.
I cannot find fault with any of the playing of York's mates, and she gives them plenty of play time. Vache is truly great on the cornet, often pained and reflective, and John DiMartino appears in many of "Memoir's" numbers with delicate piano playing that is a perfect accompaniment to York's vocals. When these musicians match her sensitivity and ache, "Memoir" really glows. The rest of the time it's still a fine evening in a great old club off a rainy street sometime close to two am.
Roark Littlefield, StageBuddy
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hortont · blog · Undervalued!
Next, the Orange Box. I know this is a strange one, because I'm not a gamer; in fact, I only just finished playing through Half-Life 2 and the two episodes for the first time within the last week or so. However, this collection is more or less my only connection to the gaming world that many of my friends and colleagues so adore; I was introduced to it about a year ago by Mike and Nate, who insisted I play Portal. I sat, for five or six hours, without moving from the chair once, and finished the game — my first introduction to gaming post-PacMan, WASD+Mouse, and probably my single most enjoyable computing experience until Half-Life 2. Now, the story of Gordon and Alyx echoes in my head quite constantly (possibly because I only finished episode two a few days ago, but I hope it stays this way), and provides me yet another world in which to construct thoughts (both in my head, and in my occasional screwing around with the Source SDK, which I hope to soon resume after a few-month hiatus). In any case, this is another 40$ very well placed.
Finally, my Arduino. I've progressed on to breadboard- or PCB-mounted ATmega designs at this point, but this is where I got started again. About a decade ago (what!?!), Dad and I spent great deals of time playing around with Parallax's Basic Stamp, making various small devices, teaching me how to program with the then-obvious choice of language, and providing a platform for a young me to experiment. Robb convinced me to pick up electronics again last semester so we could build guitar-related stuff; while this particular reason didn't come to fruition, I invested a significant amount of money getting together anything I would need to complete any sort of small electronic project. I chose to grab an Arduino Diecimila while I was at it, so I had a microcontroller to tie things together. Since then, I've spent loads of time learning the ins and outs of the platform, building small things (and designing larger things), and in general trying to get acquainted with the internet's favorite microcontroller. More importantly than my own work, though, I've helped a countless number of people here at RPI on various little Arduino-based projects, providing experience, parts, or programmers — most significantly, Connor, with his various IED projects (one of which is turning into a summer job!). All for 20$.


text:
In This Article Rammohun Roy
The Brahmo Samaj
Critical Commentaries
Background of the Reform Movement
Scholarly Reassessments, Gender
Scholarly Reassessments, Postcolonial
Democracy in India
Hinduism in Bengal and Surrounding Areas
Holy Persons
Reform Hinduism
Dance and Hinduism
Vrātyas
Rammohun Roy
Polly Hazarika
LAST MODIFIED: 29 April 2015
Born in 1774 to a family of Brahmins from Radhanagar, Bengal, Rammohun Roy was one of the earliest supporters of the colonial restrictions on sati, Roy was known among the colonials as an "enlightened native," and later as "the father of modern India." During his own time, his business ventures made him one of the most prosperous natives of his time, and his reform activities generated many controversies within native society. Roy's English writings and translations however, brought him into the public eye. He was considered an "educated" native because he could participate in public debates over matters of colonial interest, especially regarding native religion and practice. Hagiographic accounts of Roy's life suggest that a disagreement with his father over the "idolatrous" practices of his family led to his departure from the family home. Roy is said to have travelled to Tibet in search of spiritual "truth." Iqbal Singh argues that, given the time it took to travel, Roy could not have traveled as far north as Tibet since his business affairs show that he periodically resurfaced in Calcutta to sign business documents (see Singh 1958, cited under Biographies). Singh argues that it is much more likely that the young Roy traveled as far west as Benaras to his maternal grandfather, and from there he managed his fast-growing business empire spreading across the neighborhood of Calcutta, which was fast becoming the first city of the British Empire. Roy's father, in the family home in Radhanagar was charged with embezzlement by his former employers, the Raja of Burdhwan. The Roy family's fortunes were on the decline and this, Singh argues, precipitated Rammohun's rift with his father. Roy's father and elder brother were sent to debtors' prison for financial irregularities at almost the same time that the increasingly prosperous Roy bought vast properties in Calcutta. Several missives were sent from Roy's mother Tarini Devi—said to be a pious woman of firm character—during the period of financial difficulties, but she received no reply (see Roy 1901, cited under Primary Sources). On the death of Roy senior, Tarini Devi refused to invite Rammohun for the ceremony involving the last rites. Roy held a lavish parallel ceremony at his Calcutta home. Roy is remembered for his writings against sati, which generated much controversy during his lifetime, and for his formation of the Brahmo Samaj. One of the first natives to own a printing press, he published two newspapers and innumerable pamphlets and translations. Roy wrote on a wide range of subjects such as social practices, women's rights, economic policies, and religion. For about 150 years after his death, he was the most prominent figure in the history of reform. Toward the end of the 20th century, in the light of critiques of Orientalism and colonialism, there has been a reassessment of Roy's legacy. His position as a "true informant" has come under pressure in the light of his extensive use of colonial strategies and Christian hermeneutics.
Roy was a businessman, trader, and money lender in his own right. He also worked indirectly for the British government, with an East India Company official named John Digby. His desire for an official position seems to have been for reasons other than a livelihood, since throughout this entire period he continued to amass enormous wealth through moneylending and trade. This proximity with the colonial made Roy one of the first natives to engage with the colonial discourse on native religion. Roy's arguments against sati were often cited by administrators in their discussions on legislation. Roy specifically argued that the Hindu "Shasters" (shastras) enjoined women to live as chaste widows, rather than to burn themselves as satis. In this he became among the earliest natives to engage positively with the colonial proposition that the key to native religion lies in a correct interpretation of his ancient texts. Pursuing this colonial thesis, that ancient Sanskrit texts held the key to Hindu religion, Roy published interpretations, commentaries and translations of many of these texts in English and Bengali, for a native and colonial audience. His contemporaries dubbed his translations "works of fiction" (Majumdar 1941, cited under Primary Sources). With Roy's passing in 1833, contemporary native critics who objected to his works on Hinduism became entirely silent. For almost 150 years thereafter, works on reform in general, and Roy's writings in particular, have been trapped in a largely hagiographic discourse; see, for example, Majumdar 1934 and Seal 1933, Early texts such as Sarkar 1946 discuss the "Bengal Renaissance," as the period of reform was called in the first half of the 20th century, and Roy emerges from these works as part saint and part Renaissance man. While discussions on Roy have been almost mandatory in relation to reform studies (Sarkar 1948, Natarajan 1959), very little in this period has been new or original.
Majumdar, B. History of Political Thought from Rammohun to Dayananda (1821–84). Calcutta: n.p., 1934.
An account of reform leaders and their interactions with the ruling colonial government. Majumdar looks at reform through a "humanist" framework, suggesting that the colonial values of reform have a "universal" reach and impact.
Natarajan, S. A Century of Social Reform in India. New Delhi: Asia Publishing House, 1959.
Discusses the issues of reform in terms of the "progress" made and the "improvement" to the social fabric of the nation.
Sarkar, Sushobhan. Notes on the Bengal Renaissance. Bombay: Peoples Publishing House, 1946.
This is an early, introductory work on the period of social reform, a period which was also briefly referred to as the Bengal Renaissance. It has a chapter on Roy as well as a discussion of his various contributions to the cause of the Renaissance.
Sarkar, Jadunath. History of Bengal. Calcutta: M. C. Sarkar, 1948.
A comprehensive history of Bengal, one of the more prominent, during a period that spawned a great many histories, due to its priority as well as its wide scope. It ends with the period of reform, giving it a historical context.
Seal, B. N. Rammohun Roy: The Universal Man. Calcutta: Sadharan Brahmo Samaj, 1933.
A view of Roy that focuses on positive personal values such as "rational" thinking and "broadened views" from a "questioning mind." These humanist values cast him as the "universal man." An example of the uncritical discourse employed by the early studies on Roy.
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Three tapas & a drink for only £15.00. Tapas specials available on the night. Choose from a medium glass of house wine, a pint of Freedom Four or single spirit & mixer Book online for free text confirmation or call 0116 426 0346.
From 12pm-5pm, Monday to Friday, get the sandwich of the day served with fries and any draught or soft drink for only £6.95. Book online for free text confirmation or call 0116 426 0346.
Grab your friends and family and head to Queen of Bradgate for their Happy Hour from 5pm till 8pm! Book online for free text confirmation or call 0116 426 0346.
Get 50% off all full priced main dishes every Monday only at Queen of Bradgate! This offer is not valid on Bank Holidays. ** Steak carries a £3 supplement on half price Mondays. Book online for free text confirmation or call 0116 426 0346.
Students get 50% off all full priced main dishes from the main menu Monday to Friday. Book online for free text confirmation or call 0116 426 0346.
For just £15.95 you can tuck into 2 courses or £19.95 for 3 courses every Sunday between 12pm - 6pm. Book online for free text confirmation or call 0116 426 0346.
Love this place, great food at the right price, good selection of ales (lagers for those who imbibe it) and great atmosphere.
Wonderful food and great service, can't wait to go back.
Lovely food at Queen of Bradgate with a very well cooked steak, four in our party had it & all were perfectly cooked!
Lovely food as always - I highly recommend the chilli! The mulled cider was delicious. The two female waiting staff were great, friendly and served us quickly but without making us feel rushed. There was a mix up over a side order but they took it off the bill when we asked so no complaints there. We will definitely return.
Nice clean place, nice meal need to pay more attention to customers comments as our small complaint wasn't recognized by anyone, but apart from that very nice.
Booked this online, table was reserved on arrival, ordering of food and service excellent.
Very good attentive service and the staff coped with us very well as we had 2 Australians and 3 Americans with us in the 8 people.
We have eaten at the Queen of Bradgate a few times and the food, drinks and service are consistently excellent. My one tiny criticism is that the Sunday menu is a little limited. There were 2 meat roasts and a veggie option and then another 3 or 4 dishes. The roast dinner is excellent with lovely fresh veg but if you fancy a burger or fish and chips you've had it.
Great service at the Queen of Bradgate and the food is really good quality! We were 1st timers - would definitely go back! Highly recommended!
In the centre of Leicester, right on the high street, is the Queen of Bradgate, a very unique bar and restaurant, offering gorgeous bespoke furniture, as well as stunning food. Expert chefs serve simple British classics, Cask ales and Craft lagers, sourced from quality local producers. The restaurant itself also serves as a showroom for unique British-made up-cycled furniture, made by Queen B. Interiors.
The restaurant itself is eclectic and attractive. A mix of retro furniture and ultramodern upcycled pieces, with bright block colours and pastel painted fireplaces. The patchwork design of the dining space boasts stylish vintage carpets, comfortable sofas and rustic wooden touches. Many items of furniture on show at the Queen of Bradgate are also available to buy, including bespoke alterations and custom finishes. Stylish chairs, stools and tables made by the in-house designers Queen B. Interiors are all used in the restaurant too, giving you the perfect opportunity to try before you buy whilst you enjoy a relaxing drink or a delicious meal.
The 'Upstairs' bar is the funky younger sister to the downstairs' understated elegance at The Queen of Bradgate. You are met with a copper bar, red velvet booth seating, bare brick walls, blue and gold velvet drapes, a large dance floor, a private lounge area and even 3 full size ping pong tables. It is a great space for live music, ping pong, cocktail masterclasses and private hire/functions.
Open 7 days a week, this must be the city's best kept secret!
The unique bar specialises in Craft Beer, like its older sister, Rum & Cocktails and is the perfect location to hold your own party, meet friends, drink the best wines, beers & cocktails & play ping pong. Take a look at our fabulous buffet menu to complete the perfect event.
The Queen of Bradgate has perfected simple yet delicious dining, offering fantastic gourmet pub food at excellent value for money. Choose from a number of large plates such as the mouthwatering 10OZ ribeye steak with baked portabello mushrooms, hand cut chips, salad and blushed tomatoes or indulge in Queen of Bradgate's famous shin of beef chilli which is served with rice, nachos, guacamole and sour cream. For something a little lighter, choose one of the many sandwiches and wraps on offer, such as the award winning fish finger sandwiches, which is available with their own tartare sauce and smashed peas.
A truly beautiful and unique pub, Queen of Bradgate, Leicester has only recently opened but it's already a firm favourite in the local area. Serving excellent food in a quirky, pretty restaurant, it is something not to miss.
All children's main meals include a free drink & a scoop of ice cream for dessert.
Served with assorted cracker selection, caramelised red onion chutney, celery sticks and baby pickles.
From 12pm-5pm, Monday to Friday, get the sandwich of the day served with fries and any draught or soft drink for only £6.95.
Grab your friends and family and head to Queen of Bradgate for their Happy Hour from 5pm till 8pm!
Get 50% off all full priced main dishes every Monday only at Queen of Bradgate! This offer is not valid on Bank Holidays. ** Steak carries a £3 supplement on half price Mondays.
Students get 50% off all full priced main dishes from the main menu Monday to Friday.
For just £15.95 you can tuck into 2 courses or £19.95 for 3 courses every Sunday between 12pm - 6pm.
£18.00 - 3 Course Party Menu!


PERT is a technique for providing definitive estimates of how long it will take to complete tasks. We often estimate, or scope, the amount of time it will take us to complete a task or tasks. PERT allows us to provide not only an estimate, but a measure of how good the estimate is. Good estimates are a critical element in any software planning strategy. In this post, we will present an introduction to using PERT, explain how it works and how to interpret PERT estimates.
Imagine we've been asked to predict how long it will take us to go to the store and get some vanilla ice cream. "It depends," we think. If the traffic is light, and there is a short line at the checkout counter, 15 minutes. If traffic is average and we have to wait behind several people at the checkout line, 30 minutes. If there's an accident on the way and traffic is backed up, it could take an hour.
We may not realize it, but we just created a PERT estimate.
A PERT estimate uses three estimates for any given task, to provide both an expected duration for the task and an understanding of how much we might be off in our estimate. To create a PERT estimate, we first create three seperate estimates of the time it will take to complete the task.
Optimistic, or best-case scenario. 15 minutes to get ice cream, if everything goes right.
Likely scenario. 30 minutes is how long we think it will probably take to get the ice cream.
Pessimistic, or worst-case scenario. 60 minutes if everything bad that could reasonably happen happens.
Next, we combine these estimates to create a single number that best predicts how long it will take. We create a weighted-average of the three values, but we count the "likely" estimate as being four-times more likely than either the optimistic or pessimistic estimate. This represents the mean estimate.
The PERT mean estimate for our ice cream delivery is (15 + (4 * 30) + 60) / 6 = 32.5 minutes. We often see PERT estimates documented as all three values, 15/30/60.
A PERT estimate includes an approximation of standard deviation (stdev) based on the optimistic and pessimistic values. Stdev provides us with insight into the shape of the probability curve represented by the estimates.
The PERT stdev for our ice cream delivery is (60 – 15) / 6 = 7.5 minutes.
The PERT estimate is a representation of a beta distribution. The math is pretty complex, and applying it to a single estimate can give us a false sense of precision. Remember that the numbers we put together in the first place are our best guesses, so doing more precise math on rough estimates doesn't give us a more precise PERT estimate, just more math.
Optimistic: 5% of the time we will complete our task in less than the optimistic time estimate.
Likely: 50% of the time we will complete our task in less time than the likely time estimate.
Pessimistic: 95% of the time we will complete our task in less than the pessimistic time estimate.
What happens when we want to combine several PERT estimates for our project? Imagine we had to make two trips to buy ice cream, and we want an estimate of how much total time it would take.
Here's the wrong solution. Add the two PERT estimates. 15/30/60 + 15/30/60 = 30/60/120 with a mean of 65 minutes and a stdev of 15 minutes. This would say that there is a 90% chance that we will spend between 30 and 120 minutes getting ice cream.
Again, without much math, there's an intuitive reason why this is wrong. We are not taking into account the likelihood that our two trips will take different amounts of time. If we hit bad traffic in one trip, that doesn't mean we are likely to hit it on the second trip as well. If there is 1 chance in 20 that we hit out pessimistic estimate, then there is only 1 chance in 400 that it would happen twice. So really, there is a 99.5% chance that we would have between 30 and 120 minutes of total travel. We can narrow down this estimate a lot.
The combined mean is the sum of the two old means. 32.5 + 32.5 = 65 minutes.
The combined stdev is the square root of the sum of the squares of the two old stdevs. SQRT(7.5^2 + 7.5^2) = 10.6.
The combined optimistic estimate is the mean minus ( 3 * stdev). Optimistic = 65 – (3 * 10.6) = 33 minutes.
The combined pessimistic estimate is the mean plus (3 * stdev). Pessimistic = 65 + (3 * 10.6) = 97 minutes.
Our combined PERT estimate is 33/65/97 with a mean of 65 minutes and a stdev of 10.6 minutes.
This combined window is more narrow than the "just double everything" approach, and reflects that the law of averages will eventually narrow down the interval for our estimate – because some tasks take longer than estimated, and some take less time. It all averages out in the end, as long as the estimates are good to begin with.
One question that always comes up when planning is how you created your estimates.
Updating an existing release schedule with requirements changes.
We have enough information to know how to create a PERT estimate for a single task. We also know how to combine those PERT estimates to provide a multi-task estimate. There is a lot more we could cover, such as showing the impact of this statistical technique on critical path analysis, or incorporating an approximation of the correlation of estimates (if this task takes longer than estimated, then that task will probably take longer than we estimated). That's too much detail for this introductory article – just know that it's out there. What we cover here represents what the vast majority of project managers understand about PERT (and maybe a bit more).
Check out the index of the Foundation Series posts which will be updated whenever new posts are added.
I think that we should use PERT to estimate workitems, but not the core of the project. it means you can estimate meetings, documentation, general task, etc.
Thanks for commenting on this estimation article too. Now all you need to do is join the conversation on our use-case-points estimation series :).
That formula for a PERT estimate is interesting – it biases the pessimistic numbers. Essentially, instead of saying "this is what we think it should be" with a beta distribution, it hides the "we think we're wrong" part within the math.
I suspect that you lose the ability to quantify the probability of delivering at a point in time when you do this. I prefer to use the "pure" PERT estimate of 1+4+1, where I know the math works. Then, I recognize that my calculation of the standard deviation is also correct. When I want to be conservative, I project the PERT estimate plus two standard deviations.
This is, in my opinion, a better approach, because it is more transparent, and easier to follow during a review. It doesn't "pollute" the original PERT number by baking the conservative view into the original numbers.
How would you take into account the fact that you get better or more proficient at driving to the store the 2nd and subsequent times you go. I know this may not make this with the "store" analogy (unless you consider short cuts you might discover or speed traps you learn about, etc), but with software development, it is a reality.
Also, what's the math for estimating X trips to the store? If 1 trip is PERT:15/30/60, then what will 15 trips be?
Hey David, thanks for the question. Generally speaking, as you learn, you make better (tighter) estimates. For example, you could go from 15/30/60 to 20/30/45. Each range is your assessment of uncertainties. Ideally, you would also get "better" at something while also getting more accurate – going from 15/30/60 to 15/25/40.
For estimating X trips, there are a few answers, depending on how you're asking the question. If you're wondering what type of "estimation learning" to bake into your estimates, I'd be inclined to say "none." While you will get better at estimating as time goes on, you also have increased uncertainty the further you look into the future. Your ability to accurately predict 15/30/60 right now is higher than to predict 15/30/60 six months from now. I don't know which factor will dominate, so I'd be inclined to ignore both factors, assuming that they cancel each other out.
To read more, check out the follow-up article I just wrote: Advanced PERT Estimation.
It addresses how to aggregate multiple PERT estimates at the task level into a PERT estimate for a larger item.
Thank you for the information you provided in the blog. I just want to say that the square root of 7.5 is 2.74 and the standard deviation for the multi task in the ice cream example will not be 10.6.
SQRT(7.5^2 + 7.5^2) = 10.6.
Hey beni, thanks for the comment, and welcome to Tyner Blain!
I agree that the square root of 7.5 is 2.74, and that the sum of the square roots would be 5.48.
However, the math we're going for here is the square root of the sum of the squares. You have to square 7.5 (to get 56.25) and add those up – yielding 112.5. Then you take the square root of 112.5 to get 10.6.


Brings refreshing change to Match-3 genre, no time pressure to make moves.
Not a game for those looking for luck.
If you're a developer of a Match-3 game, it must truly be a challenge to stand out from the herd in a meaningful way. They've become pretty ubiquitous at this point, and it takes a game pretty unique to set itself apart. That's where Steamballs steps in. It combines a veritable ton of style and introduces the idea of weight and scales, giving us a whole new way to line up three of the same object.
I really can't say enough good things about the look and feel of the game, which is presented in the steampunk style. Everything is made of copper pipe, gears and beautiful wood. Steam power seems to run through everything, even the buttons in the menu are glass tubes that fill with steam when selected. There's a wonderful Victorian mechanical feel to it that's really unique and fills every corner of the game. Heck, even the Openfeint logo got the steampunk treatment.
The style fits the game well, with its reliance on scales to move the pieces around. Balls fall, gears spin, and old-school scales move correspondingly. It all has a very heavy weight to it. I imagine if this system existed for real it would be quite ornate. That's the wonderful thing about steampunk, it's both fantastical and real at the same time.
The playfield is separated into 4 sections, each with a 2 sided scale. This gives you 8 total chutes to drop your balls into. Each ball has a number on it that reflects its weight, and there's a readout on the bottom of each chute telling you the total weight of all the balls on the scale. If the two numbers on the scale match then the scale is balanced. If the number is higher on the left or right, then the scale tilts accordingly. You need to use this aspect of the game in order to help yourself line up at least 3 horizontal pieces to clear.
You can also build pieces vertically, but you need to get 5 together, and when you do you won't get points for them. Instead they'll collapse into a single ball with the weight of the stack, which takes up less room and will score for extra when cleared by matching 3 or more horizontal pieces. It's a great way to boost score and manage the height of the stacks, since filling up a single chute to the top ends the game.
In an effort to shake things up and help you out, you'll also have 12 "special" balls at your disposal they will do various things like destroy all like colored balls, or remove all of them on one horizontal plane Properly employed they will get you out of many jams. There's also no timer forcing you to work quickly, so you can take as long as you want to drop each ball. This is almost necessary since you'll want to calculate weight and which scales are going to move on you.
There are only really two small complaints about the game. First, the music. It's nice at first, and really fits the style, but it's a short loop and you'll get sick of it very quickly. The other is the lack of extra game modes. The game isn't worse off for not having any, but it certainly would've made a good thing even better.
The addition of weight and having to use the scales intelligently really puts this Match-3 game into a category all its own. It's a game for thinkers, since nothing really happens by chance all that often. Smart use of the tools provided was really the only way to win. Just when we thought nothing new could come to this supposedly tired genre, Steamballs comes along and proves us wrong.