Having just returned from our second bareboat sailing trip in the British Virgin Islands, I find myself struggling to find the right answer to the question "how was your trip?"
Sailing in the middle of the Caribbean for a week on someone else's million dollar boat is a pretty magical thing. There are so many parts of the experience to appreciate, whether it is the boat itself, the clear blue water, the sounds of the sails in the wind, the beauty of the islands, the sandy beaches and colorful coral, or just the water splashing against the boat. So when you go on a trip like that, it can be hard to critique. I'm pretty sure any complaints I might come up with in response to "how was your trip" would just come out sounding lame and ungrateful. Which I'm also pretty sure they would be.
The crew arriving by plane in Tortola from San Juan.
Our first glimpse of our 40' boat docked in Tortola.
Always more view to see.
With that said, there are some things I look for when assessing a trip's success or failure. For example, I consider it a good trip if I learned or saw or did something new. So using that criteria, the answer to the question would be yes, it was a good trip. Some of what we learned was based on last year's trip, such as knowing that we needed to purchase all of our food before leaving the dock that first day, since there would not be any real grocery stores after we left the home base in Tortola.
Another learning from last year was how to use mooring balls instead of anchors when docking over night. Mooring is often used as a way to protect the fragile coral in the area from being damaged by heavy anchors. This year, in areas where it was allowed, we added the skill of anchoring at night. While we always anchor our 33' boat when sailing in Rockport, when you are anchoring a boat that is 40' long and 20' wide, it can be a bit more nerve wracking. The first night we docked that way, Stan woke up about every two hours just to make sure things were in the same place as before. I think I woke up about every three hours to do the same thing.
Dinghy docks on an island where we stopped for dinner.
Local happenings at one of the island's.
We also learned from last year's trip that it is helpful to identify potential roles and tasks for everyone prior to the trip. While the roles of Captain and First Mate are pretty obvious ones, we also needed a crew member to handle the petty cash so that when someone motored up next to our boat asking for mooring money or trash to unload, we would have the funds handy. Another role was that of Dinghy Captain, for getting us safely on and off the boat to go snorkeling or exploring nearby islands. I tended to be a floater, always checking to see where help might be needed, or thinking of details we might need to be aware of. I suspect the rest of the crew was just happy to keep me away from the helm - you know the saying "jack of all trades, master of none." Another crew member took on the bulk of the cooking, and another was always at the helm with the captain and first mate helping pull in lines or make adjustments to the sail.
Our dinghy captain - with our boat in the background.
Then there was the invaluable crew mate who took on the job of taking the boat hook to the top of the boat to help guide the sail away from the "lazy jacks" which was supposed to easily fold the sail up when you brought it down. But the lines were always getting in the way of getting the sail up. All were critical jobs, but that particular one took the most agile among us who was comfortable standing on an unstable, moving boat next to a very large sail that could easily knock him off his feet and into the water below. Thankfully, there were no mishaps.
Another day at the office - or rather, at the helm.
A little relaxation at the end of the day.
And there were some items we all learned together, such as studying the charts at night in order to plan our route for the next day, even though the weather could often change those plans. Another difference this year was that we didn't sail with a flotilla of other boats like last year. This year we were totally on our own and free to make our own mistakes without anyone else to blame. It seems we were up to the challenge - and luckily we were a very forgiving group. That's not to suggest that everything was perfect. We all came aboard with our own little quirks. Sometimes our individual needs were not always in sync with one another and sometimes our different communication styles would result in misunderstandings or confusion. But those are things that happen anytime you get two or more people together - they just get amplified when you are living in close quarters. And in my book, those differences can be a good thing, especially if we are open to learning from them.
And some of our quirks were pretty darn endearing. One of our crew was fond of making up funny stories about what she thought was occurring on nearby boats - usually as she watched with binoculars. But in doing so, her British accent (which came naturally to her, since she was, after all British) always ended up sounding a bit like a pirate telling us the story.
was way better than the real reason this guy was up on his mast.
And another crew member (who happens to also be my husband) has this quirk of having to have every line on the boat be wound up perfectly. I sometimes would entertain myself by showing him my tangled earphones and phone cords - just to see his horrified look. Well, and possibly also because I knew he would not be able to stop himself from untangling them.
But besides learning things, we also saw things we had not seen before. One night we were anchored in secluded Lee Bay, with only one or two other boats within our sight line. We had finished dinner and had just concluded our chart meeting and turned off the lights of the cockpit when we noticed a line of four or five feet long tarpon swimming in front of the bow of the boat. As we all grabbed flashlights to get a closer look, we saw something even more exciting. As we looked out on the water, we could see flashes of light erupting, sometimes briefly, sometimes in groups, and sometimes like an explosion of light moving from the water up through the air before bursting like fireworks. We were mesmerized watching these phosphorescent fish popping up all around us, something none of us had expected to see.
I think that's really at the core of a good trip. It doesn't matter if it is sailing in the British Virgin Islands or taking a car trip through the deep south. Traveling gives us a chance to get out of our normal routines, to get unstuck from our habitual ways of doing things, and to learn things not only about things we are seeing, but also about ourselves.
Ready for anything - especially large gusts of wind.
I learned on this trip that I'm not as much of an adventurer as some of the other crew were. I wasn't interested in having long sailing days and trying challenging sailing maneuvers. I was really more interested in taking in the beauty that surrounded us, of appreciating the simplicity of being on a boat with a limited set of distractions or things needing my attention, and of re-learning how to simply be in the moment with the sights and sounds of nature all around me, while being pushed by the wind toward a new day.
One of our mooring spots.
Last year after our BVI trip, I suggested that choosing your crew, matching activities with the location, remaining flexible, bringing a sense of humor, and honoring your fear, were important on a trip like this. This year, I would add that it's also important to remember to just let yourself be fully present and enjoy the moment. So, I guess I do know the answer to the question "was it a good trip?" after all.
Sailing is fun, but it is always good to be headed home.


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The efficiency of education is that you can learn from the failures, success and stamina of others. By reviewing success stories from other key players in industry, participants will uncover new ways to motivate teams, manage finances and develop marketing plans that get products to profit. In addition to refining the leadership skills of participants, they will be exposed to new strategies that assess risk and help implement policies throughout the workplace. As a leader it isn't enough to improve only your own skills. This advanced diploma will encourage participants to discover the latest theories and strategies to motivate and inspire others to become their best self, at the office and at home. With communication skills to teach and lead your team, the confidence that colleagues respect and admire will begin to shine. After all, a rising tide lifts all ships.


The Pre-Made Cocktail Just Grew Up.
Over the last year we have been helping shape the BTL SVC brand as it prepared for its recent launch. BTL SVC, a family of award winning hand-crafted premium cocktails, aims to elevate the cocktail experience in places where your options are limited when it comes to your drink of choice. Our strategy was to create an immediate sense of perceived value and craftsmanship through design and messaging so that the consumer feels the expertise, care, and use of premium ingredients that goes into every cocktail.
Nathan Oliver, BTL SVC Master of Cocktails.
Since its launch in November BTL SVC has already been critically acclaimed winning numerous awards both internationally and domestically for its cocktails and branding. Notably the design and packaging won a gold medal at The Drinks International Challenge Series in London.
Currently you'll find the BTL SVC brand in certain high end hotels around Los Angeles and Las Vegas with undoubtedly more expanded distribution news coming soon.
As a side note, if you see these cocktails around we highly recommend giving them a try, they are damn good.
Next. The Pre-Made Cocktail Just Grew Up.


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Direct Database Access to OCLC Connexion's Local Save File
A feature of OCLC's Connexion cataloging client unknown to most librarians is the ability to directly work with the Microsoft Access database underlying the local save file. This article provides an overview of the metadata made available through this method, including fields that cannot be accessed through the regular Connexion interface, and discusses factors to be considered when deciding whether to migrate the data to another database system instead of continuing to work with Access. Descriptions of three projects illustrate how this functionality has been applied to efficiently catalog a gift collection, find OCLC numbers for e-books, and create bibliographic records for Early English Books Online/Text Creation Partnership titles using data from multiple sources. With the option to rely only on common, off-the-shelf software, this method of directly accessing the local save file database offers a way to expand Connexion's functionality for those unable or unwilling to work with OCLC APIs. Other benefits include the ability to import external data and to use SQL for more advanced querying. A number of limitations are also discussed, and their implications for metadata access and use are explored.
By Rebecca B. French
OCLC's Connexion desktop client allows catalogers to search for, create, edit, and export bibliographic and authority records both individually and in batch through Connexion's OML programming language. Although these functions meet the needs of most day-to-day cataloging work, Connexion's interface makes it difficult or impossible to work with certain data in meaningful or efficient ways for larger projects. Direct database access to Connexion's local save file offers an underutilized solution to many of these challenges while highlighting a need for simple, flexible, and scalable methods and tools for working with both existing and future metadata systems.
The Local Save File Database
As its name implies, the local save file is stored on the individual user's local disk, differentiating it from the online save file, whose contents are available to all users on the network. There are separate save files for bibliographic and authority records. This article focuses on the bibliographic local save file, but the same method can be used with the authority local save file. Connexion's batch searching function processes a list of search strings, saving the records resulting from each search into the local file. Records can also be added to the local save file individually, without employing a batch search.
The Connexion client displays the contents of the local save file as a list of records with columns for various attributes (Table). For bibliographic records, these fields include title, creator/contributor, OCLC number, format, and holding status.
Table. Fields displayed in Connexion client local save file record list
Save #
Contributor/Creator
Control # OCLC number
Date Publication date of item
Date/Time Added When the record was added to the local save file
Held "Held" if library holds; blank if not held
Code Library's holding code
Format Format of material
Library LC, NLM, PCC, etc.
Workflow Workflow status; default is "In Process"
Source Record source (OCLC, Workform, Imported)
Delete Holdings Flagged for action
Export Flagged for action
Label Flagged for action
Produce Flagged for action
Replace Flagged for action
Update Holdings Flagged for action
Validate Flagged for action
Submit Flagged for action
My Status Status set by user
CatL Language of cataloging
While the holding status of an item in the user's library is included in the results list display, the number of libraries that hold the item is only displayed upon opening an individual record. Viewing a list of all libraries with holdings set on a particular record requires opening an additional screen found through menu options in the single record view.
The inadequacy of only displaying holdings data one record at a time becomes clear when considering that the use of batch searching means that the user is dealing with a sufficient quantity of records such that individual processing is neither desirable nor effective. For example, librarians have expressed a need to be able to view the number of holding libraries for all items in a given list of OCLC numbers, which would facilitate weeding and other collection management projects [1][2][3]. In addition, what is available through the client interface is just a display, and the holdings data is not actionable. That is, it is not possible to search on or sort a results list or save file by number of holdings, and because this metadata is not part of the MARC record it is not available through export.
Some of the data that is difficult to work with through the Connexion client interface is saved as part of the database underlying the local save file. By default, its location is C:\Documents and Settings\[user name]\Application Data\OCLC\Connex\Db [4]. The file is a JET database with extension .db and can be opened using Microsoft Access, thus providing access to additional metadata that is not included in Connexion's display. The database contains tables with metadata about the records in the local save file as well as information about the most recent batch search used to retrieve records.
The database comprises 15 tables. Three of these, tblBatchSearch, tblRecords, and tblSaveFile, contain data that is likely to be of interest to users (Fig. 1).
Figure 1: Fields in tblSaveFile, tblBatchSearch, and tblRecords
tblSaveFile contains all of the data that is shown when viewing the contents of the local save file in Connexion. This includes the save file number, contributor/creator, title, OCLC number, holding status, format, language of cataloging, and whether the record has been flagged for batch actions like validate, replace, export, and update or delete holdings. tblSaveFile also contains additional fields that are not presented in the results list in Connexion, although they may be viewable elsewhere in the Connexion interface. For example, the Holdings Count field in tblSaveFile is not displayed as a column in Connexion's save file results list and can only be viewed in the display of an individual record.
tblBatchSearch includes the search strings used, the total number of records returned for each search, and the OCLC number, save file number, and title for each record found. The contents of each record in the save file are stored in XML format in tblRecords.
The simplest application of directly opening the local save file database in Microsoft Access is exporting a database table, which can be done as a tab- or comma-delimited text file, Excel spreadsheet, or various other formats. Getting the holdings count for each item in a list of OCLC numbers can easily be achieved through exporting tblSaveFile. With the list of tables visible on the left side of the Access window, right click on tblSaveFile, choose "Export," and select the desired file format (Fig. 2). Click "OK" in the next window to finish the export. Because this process takes only a few clicks, it is accessible even to those with no experience using Access or databases.
Figure 2: Exporting tblSaveFile from Microsoft Access
Beyond simply exporting holdings counts or other metadata, this method for accessing the local save file provides additional, more powerful possibilities that take advantage of database relationships, the ability to add in external data, and querying capabilities using Access or SQL. Many of the tables include an ID field, which can be used as a primary or foreign key to establish relationships between the tables. When first opening the database in Access, the ID fields of tblBatchSearch and tblSaveFile are not explicitly linked, but I have had no problems running queries with that relationship not specifically established. External data can also be added as a separate table; however, a relationship will need to be set up between an existing table and the imported table in order for Access to accurately query that data. For example, a spreadsheet containing local bibliographic record numbers and batch search strings can be joined on the Search Key field in the tblBatchSearch table, allowing the local record numbers to be queried and displayed along with OCLC's data. Queries provide a way to refine the result set and can be created using Microsoft Access's Query Wizard or Query Design view, or using SQL. Results can be exported in a variety of common formats. When used together, these database functions provide greater flexibility in creating and customizing data output.
Making holdings data available for use and the querying capabilities of the database format are not the only benefits of this method. It should not be overlooked that it requires nothing more than OCLC's Connexion client and Microsoft Access, a piece of software commonly available as part of the Microsoft Office productivity suite. Therefore, it is not likely to require the purchase of new software, a boon for cash-strapped institutions. While the most basic uses of this method, such as exporting data to a spreadsheet, require no special skill or training in Microsoft Access, those with more familiarity with either Access or SQL will be able to apply their skills to manipulate the available data in more complex ways. This method's low barrier to entry combined with its accommodation of more advanced data manipulation techniques is a significant asset that contributes to its flexibility.
Despite these advantages, this method also has drawbacks which limit its usefulness in certain situations. The most significant of these limitations relate to the scalability and inflexibility of this approach. The database format in which the file is saved can only be opened by tools that can read Microsoft Access's data format. For that reason, users will have to choose between continuing to use Access or migrating the data elsewhere. If moving to another database management system, all needed tables must be exported individually.
In the simplest use cases, such as exporting data from one of the database tables, there is no need to migrate data out of Access because no querying or manipulation is required. For those with additional skills in Access but little experience with other database management systems, doing further querying in Access is likewise warranted. On the other hand, those with more familiarity with another database system may find it more effective to migrate the data. Multiple save file databases can be combined into one while migrating, and the data could also be added to an existing database. Although Access can execute SQL queries, I have occasionally struggled with doing so due to not being familiar with some of the syntax Access uses. In these cases I was able to easily formulate the desired SQL queries in an SQLite database despite not being able to get them working in Access. In the Early English Books Online project described later, I chose to move to an SQLite database both for ease of querying and to combine multiple databases.
One advantage mentioned earlier is the availability of holdings count data; however, the specific holding libraries are not included as part of the database, so this is only a partial solution to certain holdings-related needs if knowing specific libraries is desired. Because the local save file is not updated in real time as changes are made to records in OCLC's database, the information being manipulated in Access may not match the current status of the production database. This negates the value of looking up the list of holding libraries when needed, as the count and composition of that list may have changed since the records were added to the local save file.
Accessing and working with data from the local save file often necessitates rather lengthy and inflexible workflows. A single mistake often prevents all future steps from working correctly and requires repeating work if the mistake is not identified immediately. A specific example of this I encountered when cataloging the jazz LP collection (a project described in more detail below) occurred when I wanted to change the batch search strings to limit the results to English language of cataloging records. Because I was using the search strings to join external data with the local save file database, making that change would have required starting over from the beginning with a new batch search, reimporting the external data, reestablishing database relationships, and rerunning queries. In this case I chose to continue with the original searches but learned to take more time coming up with precise searches before getting further into a project.
Working with the local save file database means doing a search or searches (whether individually or in batch) in Connexion to add records to the local save file and then often doing additional querying within Access or another database management system. Using holdings data in a query, for example, means running an initial batch search in Connexion and then a second query to further select records with holdings count as an additional criterion. If holdings data was indexed and searchable in OCLC, these two queries could be combined into one. In other situations using more complex SQL or Access queries, running multiple queries may be unavoidable, but using holdings data is one area where this duplication could be avoided through modifications to OCLC's current indexing.
Some of the inflexibilities of this approach also contribute to scalability problems. Application of this method is greatly limited by the size of the local save file, which can contain no more than 9,999 records [4]. This may not be large enough for many projects, especially depending on the batch search strings used and the number of results returned per search. The Early English Books Online project described below required six save files in order to end up with a final set of approximately 25,000 records. This is a significant way in which this approach does not scale easily. It is possible to create additional local save files or run multiple batches to fill up the save file many times, but then all the subsequent steps of linking tables and running queries must be done for each database individually, as each local save file will be a separate .db file. A related issue is that the batch search data available in tblBatchSearch only includes the most recent batch search. If the first batch does not fill the local save file, running a second batch to append more records to the same file will remove the first batch's search strings from the database, making them unavailable for querying. As the search strings are often the link between the save file contents and external data, this is rarely an acceptable solution. Many of these limitations are understandable given that the database was likely never intended to be accessed directly, but they highlight a number of important considerations for the design of future systems.
The following case studies illustrate ways in which the database functionality and availability of holdings count data enabled three diverse projects while also showing some ways of working with this method's limitations.
Cataloging a Gift Collection of Jazz LPs
Over 25 years ago, the James Madison University Music Library received a donation of approximately 3,500 jazz LPs, most of which were gifts from the local radio station. At that time, brief records consisting of a title, performer or composer, publisher name and number, and an accession-based call number were entered into the JMU Library Catalog for each item. The Music Library had closed stacks until very recently, so this brief metadata provided the only possibility for patrons to discover these items. In an effort to increase the visibility and use of this collection, I investigated ways to efficiently acquire more robust bibliographic records for these items.
Using the minimal metadata recorded in the existing brief records, a Music Library staff member created search strings for the items and entered them into a spreadsheet that also contained local bibliographic record numbers. Most of the searches were based on publisher and publisher number, as this was the most unique identifying information in the existing metadata. All search strings were also limited by material type (mt:lps). I ran a subset of the searches and then used pre-determined criteria to winnow the results in the Connexion local save file with the items in hand. Records were evaluated on the 245, 260, 300, 028, and fixed fields only. The selected bibliographic record was left in the local save file and all unwanted records were removed, leaving either one or no records for each search string. The entire local save file was exported in MARC format.
I then opened the local save file in Microsoft Access. The spreadsheet of search strings and bibliographic record numbers was imported into the database and linked to tblBatchSearch on the Search Key field. A query displaying the local record number and the OCLC number was created, and then MarcEdit's Merge Records function was used to insert the local bibliographic numbers into the MARC records. I loaded the records into our Sierra ILS using a custom load table that matched on bibliographic record number, preserved the call number found in the brief record, and replaced all other existing metadata with the full incoming record.
One of the main advantages of starting with pre-selected batch searches is that it facilitated the process of selecting a matching record. Automating the searches saved time over performing each search individually, and I was then presented with a limited number of choices in the local save file to evaluate. Using the local save file database to match up OCLC numbers and local bibliographic record numbers minimizes human error, as does the use of a custom load table to prevent manually reinserting call numbers into the records. One drawback to this workflow is that the "best" OCLC record may be missed in the batch search, although I deemed it unlikely that the fullest record for an item would have missing or incorrect publisher or title information. However, the goal of this project was to improve the fullness of the available metadata, not to find a complete full-level record for each item. Given that aim, even a minimal or core level record was considered acceptable, as it provided more metadata than was currently in our catalog and thus increased the discoverability of this collection. We have used this method to catalog approximately 1,000 LPs so far and plan to compare usage statistics after the metadata has been enhanced for the entire collection.
E-Book OCLC Numbers
Some e-books purchased by JMU Libraries come with vendor-supplied bibliographic records that lack OCLC numbers. In order to set holdings for these items, a matching OCLC record must be found and the OCLC number inserted into the vendor records. In order to eliminate the time-consuming process of searching for each title one-by-one in OCLC, I decided to use batch searching with searches derived from metadata in the records. Instead of manually selecting the best match from the results returned (as was done with the jazz LPs), I identified the number of holdings as a good indicator for the best match. The use of the PCC's provider-neutral guidelines for e-resources [5] makes it likely that many libraries will be setting holdings on the same record even if they provide access to the e-book through different platforms. In addition, many duplicate e-book records have only a few holdings. These duplicates are often less-than-full records added by batchload (ELvl M) and are therefore likely the result of inaccurate algorithmic matching rather than an intentionally created record for a distinct manifestation.
After performing batch searches for a set of e-books, looking through each record in the local save file for the record with the most holdings per title would have been time-consuming and tedious. Instead, opening the local save file as a database provided access to the holdings count in an actionable way. I created a query that selected the record with the highest number of holdings per search key and output the OCLC number of that record along with the vendor's record number, which had been added to the database as external data. I used MarcEdit to convert the OCLC and vendor record numbers into stub MARC records and then merged them into the records in our ILS using a custom load table that matched on the record number and inserted the OCLC number.
After getting familiar with this workflow and which e-book collections required this treatment, I revised the process to add the OCLC numbers into the vendor records (matching on the vendor's control number) before loading them into our ILS. Merging in the OCLC numbers with MarcEdit allowed for consolidation of this step with other pre-load editing done in MarcEdit, and it further simplified the workflow by eliminating the need for a custom load table.
Early English Books Online/Text Creation Partnership Records
Early English Books Online (EEBO) is a corpus of digital images of early printed materials dating from 1473 to 1700 that is available as a subscription database through ProQuest [6]. The Text Creation Partnership (TCP) has been transcribing the EEBO texts and encoding them in XML [7]. The first phase of the EEBO-TCP partnership involved approximately 25,000 texts, and those XML-encoded versions were released into the public domain on January 1, 2015.
In an effort to add more public domain materials to our library catalog, I was tasked with investigating whether we could find or create bibliographic records for these titles with links to the XML full text. ProQuest sells MARC records for EEBO, but these records only contain URLs for the digitized images and not the TCP XML documents. Many records are also available in OCLC in both microform and electronic formats. However, these records also do not include the TCP texts. The Text Creation Partnership provides an SGML document containing various identification numbers for all of the Phase I titles, including their TCPid numbers and ProQuest's image ID numbers that are used in the EEBO URLs. The URLs for the TCP landing pages can be derived from the TCPid. This made it possible to add the URLs for the XML documents based on the EEBO URLs that were in the available OCLC records. Because JMU subscribes to EEBO, we decided to keep the image URLs in our records along with the added TCP URLs.
The next step was to find an OCLC record for each EEBO title. I derived search strings from the EEBO ID numbers that also formed part of the URL, resulting in one search string per title. Due to the local save file's 9,999-record limit, searches were run in batches of 4,900 because most searches returned one or two records. This resulted in six local save file databases. For some titles, both microform and electronic resource records were returned by the batch search. Other titles were found in only one format, and some titles had duplicate records within the same format. Because we wanted records to represent the digitized images and text, a record in electronic resource format was preferred. When no such record existed for a title, I modified a microform record to create an electronic resource record. I chose the following criteria for narrowing the search results to one record per title:
1. If only one record is returned for a search, use that record regardless of format.
2. If there is more than one result for a search and all records are for the microform format, select the record with the largest number of holdings.
3. If there is more than one result for a search and not all records are for the microform format, select the electronic resource record with the most holdings.
In attempting to design queries for these three scenarios in Microsoft Access, I found myself not familiar enough with Access's implementation of SQL and decided to move the data to an SQLite database (using the SQLite Manager add-on for Firefox [8]) to allow for more straightforward querying. Not all of the local save file database contents were needed, so I exported only the search string, total record count (the number of records returned for a search), ID (save file number), holdings count, OCLC number, and title data, consolidating it all into a single table. Moving to another database system also provided the opportunity to combine the six individual databases into one, increasing the efficiency of the rest of the project.
After migrating to the SQLite database, I first identified whether each record was a microform using the general material designation "microform" found in the title field, and then summed the number of microform records that had been returned for each search key (Script 1). A second query displayed the microform count together with the fields from the table (Script 2). With that information, I was able to run queries for each of the three scenarios described above (Scripts 3, 4, and 5, respectively) to select the records to be used and then export those records from Connexion.
CREATE VIEW "microCountPerSearchKey" AS SELECT [Search Key], SUM(micro) AS microCount
(SELECT [Search Key], [Total Records], Title, CASE WHEN Title LIKE '%microform%' THEN '1' ELSE '0' END AS micro
FROM eebo) GROUP BY [Search Key]
CREATE VIEW "eeboWithMicroCount" AS SELECT eebo.[Search Key], eebo.[Total Records], microCountPerSearchKey.microCount, eebo.ID, eebo.[Holdings Count], eebo.[OCLC Number], eebo.Title
FROM eebo JOIN microCountPerSearchKey
ON eebo.[Search Key] = microCountPerSearchKey.[Search Key]
SELECT * FROM eeboWithMicroCount
WHERE [Total Records] = 1
SELECT [Search Key], [Total Records], microCount, ID, MAX([Holdings Count]) AS MaxHoldingsCount, [OCLC Number], Title
FROM (SELECT * FROM eeboWithMicroCount WHERE [Total Records] != 1 AND [Total Records] = microCount)
GROUP BY [Search Key]
FROM (SELECT * FROM eeboWithMicroCount
WHERE [Total Records] != 1 AND [Total Records] != microCount AND Title NOT LIKE '%microform%')
The final step was inserting the TCP URLs into the records. I turned the IDs in TCP's SGML document into stub MARC records using MarcEdit. An 856 field with URL was derived from the TCPid, and the EEBO ID was placed in a 999 field and used as a match point for merging the TCP URLs into the main file of records. After some final cleanup, which included altering all format coding to reflect the electronic nature of these items, I loaded approximately 25,000 records with links to both the EEBO digitized images and XML-encoded full text into the JMU Library Catalog.
Direct database access to OCLC Connexion's local save file offers catalogers a way of working with OCLC metadata beyond the standard Connexion client interface. Although the WorldCat Search and Metadata APIs provide another way to interact with OCLC's data, not all libraries have the available staff time or experience to work with them. Accessing the local save file database directly provides an additional option that is easier to use and that requires only common software. It is unique in being the only way to access holdings count data in an actionable manner, and the additional querying options provided by the database format are another beneficial expansion of Connexion's functionality. Its limitations highlight a need not only for low-barrier methods of working with OCLC data but also for making more of that data available in flexible and scalable ways. The three case studies described here illustrate that such access can enable a variety of metadata projects and can be a useful addition to a metadata practitioner's toolkit.
[1] McCormick E to OCLC-CAT mailing list. 2014 May 22. Getting holdings for a file of records? [email].
[2] McCallum R to OCLC-CAT mailing list. 2016 July 12. Re: other library's holdings [email].
[3] McNally R to OCLC-CAT mailing list. 2016 July 21. Check OCLC holdings by batch [email].
[4] OCLC Connexion Client Guides: Basics: Manage Local Files. 2014. Dublin, OH: OCLC; [accessed 2017 Aug 8]. https://www.oclc.org/content/dam/support/connexion/documentation/client/basics/localfiles/localfiles.pdf
[5] Provider-neutral e-resource MARC record guidelines. 2013. Washington, D.C.: Program for Cooperative Cataloging; [accessed 2017 Aug 8]. https://www.loc.gov/aba/pcc/scs/documents/PCC-PN-guidelines.html
[6] About Early English Books Online. 2016. Ann Arbor: ProQuest; [accessed 2017 Aug 8]. https://eebo.chadwyck.com/about/about.htm
[7] Text Creation Partnership. 2017. Ann Arbor: Text Creation Partnership; [accessed 2017 Aug 8]. http://www.textcreationpartnership.org/
[8] lazierthanthou. 2015. Sqlite-manager. [accessed 2017 Aug 8]. http://lazierthanthou.github.io/sqlite-manager/
Biography: Rebecca B. French is Metadata Analyst Librarian at James Madison University.
Email: frenchrb@jmu.edu
URL: http://orcid.org/0000-0002-3771-8601

redpajama_set_name: RedPajamaCommonCrawl


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text:
Home Africa Ndidi Is To Blame For Leicester's FA Cup Ouster – Ferdinand
Nigerian Sport
Ndidi Is To Blame For Leicester's FA Cup Ouster – Ferdinand
Former Three lions defender Rio Ferdinand beleives Super Eagles hardman Wilfred Ndidi was guilty of complacent defending in the build up to Chelsa's only goal during his side's FA cup quarter final loss last weekend.
Substitute Ross Barkley punished the hosts to slot home Willian's cross to send Frank Lampard's men into the semi-final and speaking after the match, the Manchester United legend analysed the goal and opined that the Nath boys academy product should have done a lot better.
"The gap between the centre-backs starts to develop. When that happens, when that big gap comes, the big job is for Ndidi, who has had great reviews for how he's played over the years, and rightly so," Ferdinand told the media.
Once you see the gap between the centre-backs when the ball's wide, his job is to drop in, drop in here and be that guard in there. If you keep your eye on Ndidi here, and look how many times he looks over his shoulder to see where Barkley is.
One look, two looks – when he looks there – he has to drop in there and cover the run from Barkley. He knows he can get in behind Ndidi because he's not looking.
Jonny Evans, one of my old team-mates, sees this but he's marking his man – Tammy Abraham – once he sees it he'll come over to try and cover but once this happens at this level, it's too quick, the quality is too good, it's a great cross and the timing eliminates defenders out of it.
Barkley sees the space, darts into it, great ball, great finish. Bad defending from Ndidi and the midfield."
Roman Abrahamovich's big spenders will now lock horns against Ferdinand's old club Manchester United for a spot in the final of England's oldest football competition.
In the other semi-final, defending champions Manchester City take on Arsenal who are the most successful in the competition's history.
Previous articleMoses Extends Inter Stay
Next articleNike Unveils New 'Flight' Ball


text:
Q: How would an irc bot written in tcl stack up against a python/node.js clone? I believe eggdrop is the most active/popular bot and it's written in tcl ( and according to wiki the core is C but I haven't confirmed that ).
I'm wondering if there would be any performance benefit of recoding it's functionality in node.js or Python, in addition to making it more accessible since Python and JS are arguably more popular languages and not many are familiar with tcl.
So, how would they stack up vs tcl in general, performance-wise?

A: As you suspected, eggdrop is not written in tcl, it is written in C, however it does use tcl as its scripting/extension language.
I would expect that in the case of an eggdrop, the performance difference between using tcl as a scripting language, and using Python, Lua, JS, or virtually anything else would be negligible, as eggdrops generally aren't performing high load tasks.
In the event it really was an issue, your question would need more specifics.  Performance for what task under what conditions?  Memory use?  CPU efficiency?  Latency?  And the answer would probably be "measure and find out".  Given the typical use of an eggdrop, it doesn't take particularly efficient code to respond to the occasional IRC trigger command once every few minutes or hours.
As a more general case, I'm sure you could find benchmark comparisons of specific algorithms or tasks performed by various scripting languages on particular operating systems or environments, at which point it wouldn't really have anything to do with IRC or eggdrop.

A: If you're not doing much other than waiting on a quiet channel for something to happen, performance is pretty much irrelevant. You could probably write that in BF (well, with network connectivity primitives added) and have it perform OK.
If you're running on lots of busy channels with many things being watched for, that's different. Tcl's very good at event-driven IO, which is ideal for this sort of situation. (Python can do that, but needs external libraries, as does Lua. I don't know JS enough to comment there.)
If you're needing to do significant non-IO-bound processing for some message responses, you're into needing threads. I know that both Tcl and Python support threads, but with utterly different threading models (Python has a shared-memory model which makes it easier to pass some types of task around, especially when the data is large, and Tcl has an apartment model which greatly reduces the amount of locking required in the implementation for a good performance boost in CPU-bound code).
How is that relevant for IRC bots? Well, it all depends on what you're doing in the bot.

redpajama_set_name: RedPajamaStackExchange


Internet, which he says will dominate the future economy.
of the Digital Economy Conference May 25.
useless to help Internet-based businesses make informed decisions.
"The old pigeon holes don't work anymore," Daley said.
a letter or advertising on a World Wide Web site, Daley said.
enough people have the high-tech skills to fill them," Daley said.
be a company at all," Daley said.
So let me welcome all of you to the U.S. Department of E-Commerce.
never been anything like it.
Gore wanted us to hold this meeting.
are not made in a vacuum.
nice neat set of conclusions. The questions we raise are too tough.
-- showing its size and growing importance.
small, compared to the rest of the economy.
still accounted for much less than one percent of all retail trade.
than a percent of our $9 trillion economy.
entire supply chain up electronically.
economic performance indicators has to change.
classified in a category called non-electrical machinery.
longer than it takes to develop Internet technology.
Let me point something out.
little information on how sales are made.
-- but we have a lot of questions about how to categorize businesses.
In the e-world, what is a retail site, anyway?
stand ready to do it.
today. The data we collect is meant to help you. We need your input.
were businesses at all, five years ago.
the next several days will help shape our strategies.
digital divide. The numbers show there is not equal participation.
to be, if whole segments are systematically excluded.
next century. That is very, very positive for our society.
bandwidth, the Internet will never reach its full potential.
high-tech skills to fill them.
recommendations next month at the National Press Club.
changes and what role government can play.
digital economy to its fullest potential.


Johnson & Johnson sank 8% on Friday after Reuters reported the company knew for decades that its baby powder contained asbestos.
Reuters reviewed documents from at least 1971 to the early 2000s that they say showed powders sometimes tested positively for small traces of asbestos.
Johnson & Johnson shares sank 8% Friday after Reuters reported the pharmaceutical giant knew for decades that its baby powder contained asbestos.
Reuters reviewed documents, deposition, and trial testimony from at least 1971 to the early 2000s that they say showed powders and raw talc sometimes tested positively for small traces of asbestos.
Furthermore, "company executives, mine managers, scientists, doctors and lawyers fretted over the problem and how to address it while failing to disclose it to regulators or the public," Reuters reporter Lisa Girion wrote.
Johnson & Johnson's outside litigation counsel, Peter Bicks, told Reuters its findings were false and dismissed tests cited in the report as "outlier" results.
This is not the first time the company, which also manufactures medical devices, has come under fire for issues related to its baby powder.
In July, a St. Louis jury awarded $4.69 billion to 22 women who said its talcum baby powder gave them ovarian cancer. At the time it was the sixth-largest product-defect award in US history.
Johnson & Johnson was down a little over 2% this year.


ANBC Stanthorpe 2019 was a huge success. The support from the businesses in Stanthorpe was amazing! The crowds of people that came to watch were a record high. And the quality of the performances was first class.
This entry was posted in Australian National Busking Championships™ and tagged ANBC Stanthorpe, Australian National Busking Championships, Stanthorpe QLD on March 24, 2019 by allan.
Here's some quick photos at the treatment sans-serif;">Australian National Busking Championships™ South East Queensland Regional Finals. This was the first Championship event that we've had outside of Cooma and we couldn't be happier was the the results. We saw some truly jaw-dropping performances there. Such great talent! I'll try to post some video as well.
This entry was posted in Australian National Busking Championships™ and tagged ANBC Stanthorpe, Australian National Busking Championships, Stanthorpe QLD on March 1, 2016 by allan.


text:
COOL PEOPLE – At Just 25, Jerron 'Blind Boy' Paxton Channels the Spirit of a Bygone Era
Posted on January 28, 2015 by hobo hippie
At Just 25, Jerron 'Blind Boy' Paxton Channels the Spirit of a Bygone Era
HAVE A LISTEN∇
Jerron "Blind Boy" Paxton at Ozark Folk Center
http://youtu.be/WdC4tr3nWZI
By Gili Malinsky Tue., Jan. 20 2015 at 12:48 PM
Categories: Blues, Feature, Longform
When Jerron "Blind Boy" Paxton sits in for a set at the Jalopy Theatre in Red Hook, Brooklyn, it is a raucous affair. It's not uncommon for his audiences to whoop, holler, and stomp in unison — hard enough to shake the floor. Paxton shifts from piano to guitar to fiddle to a five-string banjo that looks like he time-traveled to the 1920s, stole it from a juke joint, and dropped it on the ground a few times on the way back. His repertoire of old-timey music is vast — altogether, he says, he can play two or three thousand songs.
On this particular autumn night, his set includes Irish jigs, a pop song from the 1930s called "The Very Thought of You" (recorded by Al Bowlly, Bing Crosby, Doris Day, and Elvis Costello, among many others), and bluegrass favorite "Old Johnny Booker" from the early 1900s.He also throws in an obscure spoken-word number from the mid 1960s (and from deep in the well of the black oral tradition), a story of doomed lust entitled " 'Flicted Arm Pete" that he recites while accompanying himself on the piano.
It was way down in this little town that they call Louisville,
There once lived a fast-fucking whore by the name of Lil.
Now Lil had nipples on her titties just about as thick as your thumb,
Lil had jaws on her pussy that would make a dead man come.
But one day out of the mountains came a long-dicked creep,
That was a sonofabitch that we all call 'Flicted Arm Pete.
Paxton can get away with even the dirtiest verse. "He's — pardon the expression — a magic negro," says Los Angeles–based musician and performer Brad Kay, a longtime friend and mentor. "I think he could walk into a meeting of the Ku Klux Klan and have them all singing along." Paxton's grandfatherly bluesman bearing, which one woman in the audience describes as "adorable," doesn't hurt. Kay compares his friend's build to a refrigerator. He has an unfocused gaze, the result of a congenital condition that has rendered him legally blind.
Tonight he's dressed in a blue button-up shirt, navy slacks, a gray sweater-vest, and a black yarmulke. Part African American, part Native American, and of Cajun descent, Paxton is an Orthodox Jew.
He's also 25 years old.
Throughout his set, he carries on a patter both between and during songs. He'd apologized at the outset for being under the weather. There would be little singing, he said, owing to a bout of bronchitis. "I feel like a sweaty, sexy beast," he says later, moving heavily under the hot stage lights.
Last year was a big one for Paxton. He traveled to New Orleans, France, and Israel, and — closer to home but veritably out of this world, symbolically — played his first set at the Newport Folk Festival, the granddaddy of them all.
The coming year promises to be just as eventful, if not more so. More traveling, more festivals, an album in the works. And, most important to him, more music. "There is so much work to be done," he says.
Blind Boy Paxton is six-foot-two, but he only stands to get bigger.
Photo by Bill Steber
Note: Jerron Paxton is a right-handed player. To preserve the integrity of the wet-plate tintype on the cover, the image appears reversed.
Jerron Paxton was born and reared in South Central Los Angeles, a neighborhood that in 2003 the city renamed "South L.A." in an effort to distance it from its infamous drug- and violence-ridden past. Whatever you call it, South Central L.A. was and is home to large, often poverty-stricken black and Latino communities. It was, famously, the site of the Watts riots of 1965, and of the uprising that followed the police-inflicted beating of Rodney King in the early 1990s. Not coincidentally, the area also played a part in spawning the West Coast hip-hop scene, along with musical acts ranging from Charles Mingus and Eric Dolphy to Barry White, Keb' Mo', and Montell Jordan.Further back, the area was a mecca for blacks in search of better lives. In the early decades of the 20th century, South Central was home to a bustling jazz scene. Legendary New Orleans trombonist Kid Ory moved there after the First World War; iconic pianist Jelly Roll Morton, another New Orleans legend, came through regularly. Also among the influx of black Americans were sharecroppers from the Deep South. Many were Louisianans like Paxton's forebears. When they moved, they brought with them the country they knew.
"Cowboy hats and cowboy boots and gumbo suppers and barbecues and Hank Williams and George Jones and Hank Snow," Paxton says in his light drawl. The walls of his small apartment in Ridgewood, Queens, are covered with wood paintings by his roommate, Jacqueline J. Rodriguez, and various tapestries he's bought. Wearing overalls, as he often does, Paxton sits with a guitar in his lap, strumming at times as he speaks.
Paxton enjoys telling stories about his childhood.
"I was raised up singing while you work," he says of how music came into his life. The jazz and blues of radio station KLON (now KKJZ) contributed heavily to the soundtrack, as did Seventies pop and soul hits and PBS television programs about classical music. His grandmother's "ghetto blaster" played a crucial role as well.
"Saturday morning, after everybody in the house got up, she'd turn it as loud as it would go," Paxton says. "And the whole house — you know little [shotgun]-style houses, music just runs through 'em — all the music would shoot out the back door, and we'd be in the backyard just having a good time."
When it came to the violence nearby, Paxton says, "You just had a bunch of country people with shotguns and rifles that said, 'Not here, baby.' "
He means his relatives.
South Central by birth, Paxton nonetheless grew up surrounded by Louisiana: four generations of his family on a single block. He lived with his mother, one set of grandparents, an uncle and aunt. His great-grandmother, born in 1906, lived across the street. The family was poor, he says, but never in want. There were barbecues and big home-cooked dinners — chicken and yams and cornbread and greens — a garden out back, fishing at El Dorado Park in Long Beach and up north on Lake Piru.
"I was just gardening, hunting, fishing — learning how to be a good young man," he says.
LaSundra Reed met Larry Paxton during jury duty in the mid 1980s. The elder Paxton was a session drummer, Reed an accountant. Jerron was born in 1989 ("the Year of Our Lord 57 and 49," he says, referencing the Hebrew calendar). His parents never married and eventually split up, but Reed says they remain good friends. Larry Paxton lived in southwestern L.A. County, in Inglewood, and Jerron recalls being taken for spins in his father's lowrider, "bouncing up and down with funk music playing."And so he got his father's last name and his mother's upbringing.
Among all the older generations that surrounded him, he shared the tightest bond with his mother's mother, Toretear (pronounced TORE-ee-uh-tur) Reed. She and Jerron's grandfather, Clifton Willie Reed, moved from Louisiana to L.A. in 1956, then beckoned the others to join them. (Clifton Reed died in 2003 at the age of 73, Toretear two years later at 76.) "She was happy-go-lucky, she would help everyone and anyone she could," LaSundra Reed says.
Paxton found Toretear Reed entertaining. "I was playing on my grandma's blaster and she was playing video poker," he recounts. "I'm in the kitchen, and I come back where she was and I see her legs jumping and not keeping time frantically. I was, like, 'Oh shit, Granny's having one!' I'm like, 'Granny, you all right?' And she said, 'Yeah baby, I'm just dancing.' " The two would spend hours together, talking, listening and dancing to old records — blues, ragtime, jazz. Paxton remembers her singing. Always singing — often not knowing an entire song but remembering just a few lines: "Take off your coat and throw it in the corner/Don't see why you don't stay a little longer," he sings, laughing. He discovered Ray Charles's "I Got a Woman" that way, his grandmother singing a snippet of the r&b legend's first hit — in a manner a bit more bluesy than the original, he'd later learn.
Each family member veered toward a different kind of music, combining to fill Paxton's days with sounds from generations past. Ultimately the music that struck him most was country blues: men singing narratives, accompanying themselves on guitar. It was music meant for small audiences, before the advent of amplified Chicago blues and larger rooms.
Lightnin' Hopkins. Jimmy Reed. Bukka White. "I realized when I heard it," Paxton says. "That's the sound my people make."
Courtesy Jerron Paxton
Paxton's grandparents, Toretear and Clifton Willie Reed, date unknown.
"When he was a young kid, maybe three or four, I would be in the kitchen cooking and he would grab a pot from under the cabinet and start beating on it and I would put it back and he'd cry," LaSundra Reed recalls.Paxton picked up his first traditional instrument at age twelve, purely out of functional curiosity — "mechanics," in his words. It was the violin, and he wanted to understand how it worked. "I didn't know how you pull a bow across the strings and have that make music," he says. The piano he understood, having looked inside one. Guitar too. But the violin was a mystery. So he asked for one. His aunt obliged, and for the next several years he took lessons at school on Saturdays. The violin didn't come easy, but the banjo, which he took up two years later (amid the bluegrass resurgence that accompanied the Coen Brothers' film O Brother, Where Art Thou?), proved a more natural fit. Two more years hence, the guitar was the clincher. "I had the guitar about fifteen or sixteen hours and had about seven or eight tunes. It felt like something I'd been doing my whole life," Paxton says.
"Maybe it took a month for him to get it down pat, but he would practice every day," LaSundra Reed says, describing how her son learned to play. He was a shy boy, but "he always had at least two instruments with him everywhere he'd go," his mother says, whether to family gatherings where he'd take requests (if he forgot to bring something to play, they'd send him home to get it) or to pickup basketball games, where he'd pick his banjo courtside while his friends played.
At sixteen he played his first official concert, a $100 solo gig at the William Grant Still Arts Center in South Central's West Adams neighborhood. He played songs by Blind Lemon Jefferson and Lightnin' Hopkins, accompanying himself on banjo and guitar.
"The most fun I'd ever had in the world," he says, "was seeing this 90-year-old woman, just shaking her shit with her grandchildren."
Around that time, Paxton's eyesight began to fail him. At seventeen it got so bad he went to the doctor and discovered he was, in fact, legally blind. He'd be diagnosed with congenital retinal deterioration and cone dystrophy, a hereditary condition that eventually causes blindness. Today he describes having lost his peripheral vision completely and at times seeing things that aren't there.
Wandering around Santa Monica one Sunday in 2007, eighteen-year-old Jerron Paxton stopped in to a small, colorful venue called the UnUrban Coffee House. He'd recently begun teaching himself piano and knew there was one at the café on which anyone was welcome to practice.
Jazz and ragtime pianist Kay, who'd been performing around L.A. since the mid Sixties, was performing when Paxton walked in. That first encounter, Kay says, was unforgettable.
"There was hardly anybody in the joint. I looked up and I saw standing in the doorway a very large, very black person in overalls. He was looking straight at me, and he had this look: like Stanley had found Livingstone or something. I kept playing, and he kept staring. He had a guitar by his side and a little washboard tie. When I finished I got down from the stage and I went over to him. He was apparently blind — he had shades and a white cane. I said, 'So, you look like a musician.' He said, 'I am.' I said, 'Yeah? Well, what kind of music do you play?' 'Oh, I like them ragtimes.' "
That's when it hit Kay: The kid was a dead ringer for legendary finger picking guitarist, Blind Blake who'd moved from Florida to Chicago in the mid 1920s, recorded a trove of singular ragtime-influenced blues sides, then disappeared. (Blake is said to have died from tuberculosis in 1934 in Milwaukee.) Intrigued, Kay invited the young man to sit in.
"I never ask anybody to sit in that I don't know, but I made an exception. I said, 'Well, what do you know?' He says, 'Oh, how about the "Southern Rag"?' Now, I knew this was a piece by Blind Blake, so I said, 'OK, have at it.' So I played and he played — and goddamn if it wasn't the 'Southern Rag' played by Blind Blake! It didn't sound something like Blind Blake, a guy imitating Blind Blake. It fucking was Blind Blake!"
Paxton began spending time with Kay. For hours they'd listen to Kay's huge record collection, talk about music, and play. Paxton had never taken piano lessons, and as he figured out the songs he liked, Kay would give him pointers. One song that struck Paxton in particular was Sugar Underwood's "Davis Street Blues," an intricate piano piece recorded in 1927.
"I think that was the one time I got him to slow down and look at something," Kay, now 63, recalls by phone from L.A. "He wanted to play just like Sugar Underwood."
Photo by Jena Cumbo for the Village Voice.
Paxton's mother says he was a shy boy but always had at least two instruments with him everywhere he went.
College was a given for Paxton — he would be the first in his family to attend. Grandma Reed had been set on it, having herself attended only through grade school."She would say from the time she could lift a skillet, she had to work," Paxton says. "From seven years old, she was a part of the workforce."
He can't remember where else he applied, but Marist College, on the banks of the Hudson River in Poughkeepsie, offered a scholarship. It was his first time so far away from home. He tried classes in philosophy and history but found himself escaping to the music room at every opportunity. "I was cutting classes to spend the majority of my time practicing piano," he says.
Sometimes that too was a struggle.
"He called me up sometimes at four in the morning, all suicidal and saying, 'I'm never gonna get this piece,' " Kay says. "He just could never get over his impatience, the inconvenience of actually having to practice the thing."
Paxton describes the experience of learning new tunes in a more visceral way: "I really believe you never really learn anything. You just learn how to keep out of your way. Your body knows what to do, but for some reason you kinda freak out — I guess your body gets nervous."
Whenever he could, he found a way to get to the city, where he began to explore the folk scene. He discovered the Jalopy one weekend when C.W. Stoneking, an Australian blues guitarist with whom Paxton had struck up an online friendship a few years earlier, was slated to play a set at the Brooklyn folk club. Stoneking generously offered to split his set with Paxton.
With a hand-built stage, church-pew seating, and a husband-and-wife ownership team, Geoff and Lynette Wiley, dedicated to the music, the Jalopy was a magnet for the folk crowd in Brooklyn and beyond. Paxton instantly found himself pulled into its force field. He met the Wileys; folksinger Feral Foster, at whose Wednesday night "Roots and Ruckus" hootenannies Paxton performs regularly; Eli Smith, the host of the online Down Home Radio Show who'd go on to co-found the Brooklyn Folk Festival in 2009; and banjo player Hubby Jenkins, now a member of the Grammy-winning old-time string band Carolina Chocolate Drops.
"For me it was almost like when Clapton and the Who and everybody went to go see Jimi Hendrix in London for the first time and they were, like, crying," Jenkins says of seeing Paxton play that first time. "It was just so good."
Paxton at age fourteen, in his backyard in Los Angeles with a carp he caught at Echo Park. His uncle Johnnie Johnson came by to show him how to skin it.
Not long after that first trip to the Jalopy, Paxton made a decision: He wanted to be a professional musician. In 2010 he transferred to the New School for Jazz and Contemporary Music in Greenwich Village, crashing on friends' couches while he looked for a place of his own. One sometime roommate, fellow Jalopy-goer Horatio Baltz, is a graphic designer and photographer by trade but had recently started a jazz band, the Bill Murray Experience. Paxton began filling in, playing piano or banjo.
He was already fiddling around with various aliases. There was Jerron Paxton, of course, but in his teens he'd created MySpace pages — one for J-Dog ("just for being a teenager"), and another, blues-centric one called "Blind Boy" Paxton. The latter relic, along with a Blind Boy Gmail account, had been drawing other musicians and circulating around the folk universe, leading to requests to play solo.Composer, pianist, and ragtime expert Terry Waldo remembers inviting Paxton up to sing when the latter came to hear Waldo play at Fat Cat, a pool hall that features live jazz and blues in the West Village.
"I never thought I'd hear anybody sing like this," Waldo says. "There's something primordial about the way he sings. He has a real depth to what he's doing and a sensitivity to the music." Waldo would invite Paxton to join him at gigs around the city and, in one instance, the two shared a stage at a show in Trenton, New Jersey, dedicated to "whorehouse music." One of Waldo's friends bought Paxton a piano that now sits in his living room.
Next came more far-flung gigs — at the Port Townsend Acoustic Blues Festival in Washington State, and at the Black Banjo Gathering at Appalachian State University in North Carolina. He honed his solo act, realizing that playing alone was more lucrative than performing in a group. He found a manager, Steve Fugett of the Road Warrior Agency.
After two semesters, he dropped out of the New School. The focus on contemporary work and not the early jazz he was drawn to made for a bad fit, he says.
Onstage or off-, Paxton possesses the same soft-spoken, friendly manner. He is equally excited to meet people he doesn't know and to see those he has known his whole life. He insists on bear hugs ("hug my neck" or "hug me, bitch") and seems to regard every new face as a potential new friend.
During a set he shifts from instrument to instrument, picking up the guitar, moving to the piano, sitting down with his banjo. He berates his guitar ("Oh, fuck you") when it refuses to stay in tune, takes requests, tells dirty jokes, dances while he plays. "We're all in this together," he seems to be saying.
He now can count among his fans Jefferson Airplane and Hot Tuna founding member Jorma Kaukonen. The two met this past fall at Kaukonen's Fur Peace Ranch in Ohio. "He brings a joie de vivre to his performances that is sure to infect any listener. Not just lovers of 'old timey' stuff," Kaukonen — a Blind Blake devotee himself — writes in an email. "Jerron is a master of styles that were old (but never out of date) when I was born in 1940. He brings a traditional style to life without coming off as an 'archivist.' He does it his way without relinquishing the immediacy of a bygone era."
John Cohen of the old-time string band New Lost City Ramblers, a crucial player in the folk revival of the Sixties and hugely influential to subsequent musicians, tells of watching his fifteen-year-old granddaughter hear Paxton play in Baltimore. "She was totally taken in by him, and I think that's so important — that he can reach a teenage girl," Cohen says. "She just heard him as a fascinating, wonderful musician who's absorbed in what he's doing."
Miles Spicer, who sits on the board of the Archie Edwards Blues Heritage Foundation outside Washington, D.C., had a similar experience when his son, then eleven years old, caught a recent Paxton solo performance there. "He's funny," young Nick Spicer said. "He could make Jimmy Fallon laugh."
This year Paxton will serve as artistic director of the Port Townsend festival, where he'll play and teach in late July and August. On February 21 the BBC will air a program about music from the South, which includes a Paxton performance shot in June 2014 at Dockery's Plantation in Mississippi. And he'll soon release his first album, which he recorded in Venice, California, with the help of fiddle player Frank Fairfield. Paxton says he and Fairfield recorded more than forty songs, from which they chose the best ten, including the Appalachian classic "Poor Benny" and the old standard "Motherless Child Blues." (Also, a song about a chicken. "Gotta have a song about a chicken," Paxton says.) He plans to sell the album, Recorded Music for Your Entertainment, to audiences at his shows, and hopes to land it on iTunes.He no longer uses his cane, having decided to lose it soon after moving to New York.
"After about a night or two of using it, I was like: Somebody sees a dude with a cane walking around at three o'clock in the morning, that might be asking for trouble. So I put it in my bag, and that was about it."
At home, Paxton keeps his days simple. He calls his mother several times a week. Evenings he'll take in a show, stop by the Jalopy, or put on Netflix, where he gravitates to the westerns he used to watch with his grandfather. Habitually up until past sunrise, he arises at noon to daven Shacharit, or say the morning Jewish prayer. He cooks breakfast (he's partial to kosher Creole gumbo and dirty rice, or Creole matzo-ball soup), and hurries out — "still knocking the cobwebs" — to Mincha, the afternoon prayer service, at his local temple, Beit Aharon.
"Instead of having this great story where we had Judaism through slavery and kept it for so long, it's just that one of my grandmothers [Toretear Reed] was a Sephardic woman," Paxton says, explaining his heritage. Most of his family is Baptist, and he was brought up going to church. As he learned about Judaism from Reed in his mid teens, he began feeling closer to the religion. He's the only practicing Jew in the family.
Orthodox Jews in particular place a high value on marriage and family. But Paxton says he has other priorities right now and couldn't envision being a good father, husband, and traveling musician.
"I wanna do right by my kids and be there as much as possible," he says. "And as a person who has a visual impairment and limited ways of earning an income, the best way to earn my income is being a traveling musician.
"I'm also not finished with my fast living."
Filed under cool people, hippies, music, musicians and tagged 23 years old, banjo, beatnikhiway.com, blind, blind blake, Blind Lemon Jefferson, Clifton Reed, Clifton Willie Reed, GUITAR, JERON BLIND BOY PAXTON, Jerron Paxton, Jimmy Reed, Larry Paxton, musician, shy, THE BLUES |	1 Comment
About hobo hippie
Hi I am an old hippie, a "beat" poet and novelist, and digital artist. I was co -editor and publisher of "Alpha Beat Press" alpha beat soup, bouillabaisse and cokefish and cokefishing in alpha beat soup with my late husband Dave Christy. My novel "eeenie meenie minee moe is for sale on amazon books. my other blogs are http://tilliespuncturedromance.wordpress.com about humor and the weird. The blog is named after a Charlie Chaplin movie. http://concretebologna.wordpress.com a blog about world art.
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lowbrowangel on January 28, 2015 at 4:46 pm said:
he's an old soul
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World's oldest person dies in NYC aged 116 Reuters, photos By Bryon Smith May 4, 2019
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Adventure sports include an enormous variety of tasks. This entire extreme sports factor is obtaining a tad ridiculous. There are numerous reasons on another side of the reputation of action sports. To sum up, lots of people choose to get involved in lethal sports activities for assorted factors like money, recognition etc.. There are different benefits of athletics. Dangerous sports are only that harmful. You might read different books of sports. Discuss several kinds of action sports too. These forms of duties offer pupils the greatest liberty in selecting an article topic. You may have a quote or some famous sayings about sports within the opening of your own college essay.
Crimson horses that end are anticipated to own red-tail ribbons.
So as to compose a trustworthy faculty essay, you need trusted particulars. Format your college article sometime. You might also access electronic libraries so as to fall upon publications on action sports. You will readily locate these books within your college catalogue. Head to the web sites of other well-known magazines. As a global pupil studying in California, be ready to research numerous the extreme sports. Basically were capable to do a number of the extreme sports, I'd need to do snowboarding and surfing.
This really is one of large large answers for why individuals prefer to participate high-risk sports. Also, dangerous sports may cause serious harms. Lifestyle sports may possibly furnish an opportunity for quite a few individuals to create themselves. Offer suggestions to your own audience too in order that they may prevent unique harms because of extreme sports. When these issues are discussed at great length inside the press, rarely does discussion concentrate on the negative consequence of limiting access to such types of hazardous sports. When someone is unfamiliar to your activity, he should work difficult to boost his ability at it. An essay must generate replies.
Forget about, no-matter how sophisticated the situation.
There are several types of documents. Compose the composition and let's understand! Proofread all of your work, by way of example, essay. The author managed to produce a strong dissertation for the complete papers along with dissertation sentences for personal dancing. Their writing experience let's them understand the subject and quickly make a booming composition on the subject you'll want. You ought maybe not attempt to superior application papers squash every achievement in your curriculum vitae in the composition. The last piece of your college essay is only a decision. Composing the initial write 7.
The complete history is rooted in negative technology and deception.
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Once I started writing this way, I comprehended the on-line type compensated a colloquial, incomplete tone. The only means to appreciate this will re Consider the opening sentence, such as the name, when the last write of the story is total. I've submitted a link to quite a good documentary by practitioners about this issue. It is part of a brilliant plan. Of course it's likewise potential to get A3 body paragraph essay.


The mission of the LSUHSC Child & Family Counseling Clinic is to encourage the unique development and emotional growth of children, adolescents, and their families through proper assessment, diagnosis and treatment therapy. The clinic provides individual, group, and family services including play therapy, filial therapy, child-parent relationship therapy, and activity therapy such as cognitive behavioral , and parenting strategies. To fulfill its objectives, the center provides professional training, research, publications, and counseling services.
Left to right: Kellie Camelford, Krystal Vaughn, Erin Dugan, George Hebert.


text:
from allauth.account.adapter import DefaultAccountAdapter
from cms.models import Page

class AccountAdapter(DefaultAccountAdapter):
    def get_login_redirect_url(self, request):
        # Redirects to the one page which has
        # the registered namespace "member" apphook
        # this site is used as a starting point to th member area
        try:
            return Page.objects.published().filter(application_namespace='members').order_by('-path')[0].get_absolute_url()
        except IndexError:
            raise IndexError('Apphook for members area is not defined. Please hook it to the desired page.')

redpajama_set_name: RedPajamaGithub


text:
Concert /
Artists A - C /
Camila Cabello Tickets
Looking for Camila Cabello outside the UK?
About Camila CabelloSell tickets
Popular artists near you
Andrew Bird
Camila Cabello announces her first headline UK tour
Initially rising to fame as the stand-out member of the US X-Factor girl band Fifth Harmony, Camila Cabello helped the group to achieve a UK top 10 album, sell-out various world tours, and win multiple awards before leaving to pursue a solo career in 2016. Having already collaborated with the likes of Shawn Mendes on "I Know What You Did Last Summer and rapper Machine Gun Kelly ("Bad Things") before her departure from Fifth Harmony, Cabello released her debut album in January 2018. Supported by the smash hit "Havana" – a UK number one – the Latin-infused record peaked at number two in the UK album charts, and spawned two more singles: "Real Friends" and "Never Be the Same".
Despite insisting she had no plans to tour, Cabello has delighted fans on this side of the Atlantic, after announcing her first headline UK tour in 2018. Camilizers will be able to see her in Glasgow, Birmingham and London in early June before she jets off to the Isle of Wight Festival later in the month. So what are you waiting for? Buy Camila Cabello tickets now at StubHub.
Camila Cabello: bound for pop superstardom
Cabello began work on her debut solo album almost immediately after leaving Fifth Harmony in January 2017. Spending eleven months in the studio, she worked with Grammy Award-winning DJ Frank Dukes, Skrillex and The Futuristics to produce a ballad-driven, Latin-infused record that was both a commercial and critical success.
Upon release, Camila topped the iTunes albums charts in over 100 countries, becoming the first debut album to do so and one of only eleven in history. It reached a high of number two on the UK Albums Chart, and was a career-high for Cabello who previously reached a high of number six with Fifth Harmony.
Cabello had originally intended for the debut solo single to be "Crying in the Club", but following the track's lukewarm reception, coupled with the significant commercial success of follow-up "Havana" (a chart-topper in multiple countries), "Crying in the Club" was scrapped from the album's track list. Cabello also worked on tracks with the likes of Charli XCX and Ed Sheeran but none made the final press.
In-between all of that, she managed to support Bruno Mars on his 24K Magic North America tour in the summer of 2017 and headlines her own solo tour for the first time in 2018. Don't miss out! Buy Camila Cabello tickets now at StubHub to see the pop superstar live in the UK.
Similar artists to Camila Cabello
Once you've bought Camila Cabello tickets at StubHub, check out tour dates for fellow female superstars Demi Lovato and Little Mix.


At Archivex Haiti we think that going solar for haiti rural world is the ultimate solution. The question is how can we implement this.
For example, I have a place rural haiti where I want to contribute to the development of that rural community, how can I start?
Can I give a goup of 25 village house electricity?
we are looking for answers to implement in rural Gonaives …!
This will be the only alternative for countries such as Haiti,in fact, we have a lot of sunshine.I have been thinking about it for a while, and wondering why this suject never came up on the haitian political discussion.
It will take a very long time for haiti to function under a stable electrical system other than a solar system.
I work for a non-profit organization that runs a boarding school in Haiti. I used to live at the school, too. Over the past few years we have gone solar and we love it! We have electricity 24 hours a day…well, most of the time. It has been a great addition to our school and the lives of our students, most of whom do not have electrcity at all in their homes. It is also an excellent learning tool. I would encourage all groups in Haiti to try this alternative. It is a pretty hefty cost, but you'd be surprised how many people want to invest in something like this!
Wind electricity is in progress at The Mission of Hope near the village of Titanyen. Slurried waste paper into dried briquettes for fuel is being started by a young man in Titianyn. Wood as ballast in ships from the state of Connecticut is now in it's 19th month to supplement fuel for charcoal in stead of cutting trees in Haiti. It is all starting to come together because we care enough to help our fellow man move toward peace. Solar will help too. Thank you for caring. A good mix is the fix.
Our mission in Haiti (Church of the Nazarene) is located in Petion-Ville area and last year we spent a fortune on diesel fuel to generate power. We are actively looking for solar and wind solutions. Anyone wanting to contribute info or resources can contact me at bdawson@caribnaz.org. We have a seminary training pastors from several church groups, five missionary homes, a construction shop, an auto garage and a clinic on the 30 acre campus here in Haiti. We need solar and wind solutions. Thanks to all who read this.
We should try alternate source of energy because we don't have oil.The following source of energy are cheaper and cleaner than oil: biomass,hydro power,solar energy,tidal and wind power.In addition,the government should promote public transportation while curtailing private use of automobiles.


text:
BBM app for iOS and Android will Have Features Video and Voice Chat
BlackBerry AppsGadget
By bbiphones On Jul 23, 2022
Applications Blackberry Messenger (BBM) has been launched for iOS or Android, But not all of the features presented by Blackberry BBM for both platforms. However, the Executive VP of BBM Blackberry, Andrew Bocking revealed that it will soon bring in video and voice chat features in BBM Android and iOS .
Quoted from CBC, Bocking reveals that both of these features will be presented in BBM Android and iOS in a matter of months. Video and voice chat feature itself is now available in BBM for Blackberry mobile phones. In the presence of these features for Android and iOS users, Blackberry users also hoped that the fuel will continue to rise.
On the same occasion, Bocking also revealed that the application of fuel will continue to be a free application. Even so, the company has a strategy to be able to get money out of BBM. One is to utilize the fuel Channel will also come to Android and iOS BBM. With the Channel BBM, Blackberry can earn revenue from marketing and advertising.
BBM app for AndroidBBM app for iOSfeaturedFeatures VideoVoice Chat
The Lumia 800 Smartphone Can Be Used with Good After Immersed in Water for 3.5 Months
Facebook For BlackBerry Version 3.3.0.9 Latest Update
Facebook for BlackBerry Updated to Version 3.1.0.17
Twitter for BlackBerry Update version 4.0
Show festivities Christmas with BlackBerry Christmas Theme


Lung cancer is one of the most prevalent and dangerous cancers, proving fatal for more men and women in the US than prostate, breast, pancreatic, and colon cancers combined. The exact cause of lung cancer is unknown, but there are certain factors or lifestyle choices that can put you at greater risk.
How do we screen for lung cancer?
The diagnostic test most commonly recommended for lung cancer screening is a low-dose CT scan. This test uses low doses of radiation to take detailed images of the lungs.
The lung cancer screening program at UConn Health screens patients between the ages of 55 – 80 who currently smoke or have quit smoking within the last 15 years.
Talk to your doctor about lung cancer screening. Depending on your risk factors, history of smoking, and family history of lung cancer, the doctor can help determine if you should screen for lung cancer and can order the appropriate diagnostic tests.