text:
← 2015, The Year of The Euphonium!
Brian Meixner and Praxis Re-invent the Duo With "The Fourth Valve" tm →
Scholar, Teacher, Musician, Dennis Bubert Links Texas to Chicago for "7 Positions" tm
Dennis Bubert is a major force in the trombone world. A large percentage of the content of the Journal of the International trombone Association (ITA), is left to his care each quarter as he places the major symphonic works and players of our time in the spotlight. A native of Central Illinois, Bubert was a student of both Ed Kleinhammer and Arnold Jacobs of the Chicago Symphony Orchestra (CSO), as well as the ITA founding treasurer and bass trombone virtuoso, Tom Streeter. Bubert has held the position of bass trombonist in the Fort Worth Symphony since 1981, and is currently a full time faculty member at the University of Texas at Arlington.
Part of the generation of famed CSO bass trombonist, Charlie Vernon, Bubert came to his professional awakening at a time when George Roberts had received acclaim as a commercial bass trombone soloist, but there was no apparent classical counterweight to this achievement. While Kleinhammer, Ed Anderson and other outstanding bass trombonists were making their mark in the symphonic realm, a universally acclaimed soloist for the instrument had yet to emerge (despite wonderful recordings from Knaub Reynolds, Streeter and others). It was this awakening of the classical bass trombone in the 1980's which was led by the ever expanding capabilities of Charlie Vernon that have redefined the classical bass trombone nearly as much as Roberts has done for the commercial bass trombone. Bubert represents pedagogy, ability, accomplishment, scholarship and a front row seat to the ride. Enjoy!
Dennis Bubert
1. What do you look for in a horn? Do you use different equipment for different occasions?
I think those things that I look for in an instrument aren't all that dissimilar to what most players find appealing….sound, response, evenness of tone. After having tried so many different variables over the years, I've kind of settled on lighter bells and heavier slides. I don't think so much in terms of "dark" or "bright" anymore; I listen instead for clarity, liveliness, and projection. I like sounds that are "complex" and "interesting", as opposed to monochromatic; and beyond that, I guess, I tend to prefer horns that blow "loose", where the sound can be readily colored to match what's going on around me. We do use different instruments on occasion based on the repertoire. For earlier literature, and in cases where the first two players are playing an alto and smaller tenor, I generally play on an 88H "K" bell with a .562" slide with an older Conn-style narrow crook. That's seems to have worked pretty well. The bigger part of the formula, though, will always be the player and the concept.
2. How has having a steady orchestral engagement changed your warm up and practicing?
I've always been a huge advocate of having a daily routine, and if at all possible, I like to get that in as early in the day as possible. You know, you can go into rehearsal cold, play a few minutes and be OK, but I really like the comfort of having done my homework on the horn before that rehearsal. For me, it's just not the same to to go in, play a few notes and then sit down in the orchestra.
The biggest demand on my time is from juggling the orchestra schedule with teaching, and that's an unending challenge. It means a lot of late night practice sessions, and grabbing an hour of practice time between double rehearsals. Not ideal, perhaps, but if that's your best option, that's what you do. When school is over in early May, we still have about eight weeks of the season to go, and I love being able to go down to my basement every morning to be my own best student for a change. It's a great time of the year to kind of evaluate where things stand, and try to address any little issues that have come up during the past season, as well as look at new literature and get a head start on the next season's rep.
Charlie Vernon with Dennis Bubert
3. What was it like to experience the ascent of Charlie Vernon's career, and to witness the corresponding elevation of expectation for the bass trombone?
I first met Charlie in 1978, right after I had finished school. He was on the artist roster at the International Trombone Workshop (now "Festival") in Nashville, and after having heard so much about him in the Baltimore Symphony, I was really anxious to hear what all the fuss was about. He presented a master class and played a recital, and I made sure I was at both of those. I had just completed a really productive two years studying with John Kitzman and Daral Rauscher in Dallas, my lessons with Mr. Kleinhammer were just getting underway, John was using me a lot to sub and play extra in the Dallas Symphony, and I was just a month or so away from winning my first little audition. I kind of felt I was headed in the right direction, and then hearing Charlie….well, that kind of blew everything out of the water for me. His playing, both in terms of sound and musicality, was just so far beyond anything I had conceived of for the bass trombone, that I had to take everything back to the design studio. I remember bugging him for two lessons that week, and even though he probably didn't have three hours to himself that whole week, he very graciously obliged.
He really has pulled everyone else along after him. Jay told me once that he thought Charlie had pushed the concepts of Mr. Jacobs' teaching into greater extremes of register than anyone else. Having his sound in my head at the same time I was studying with Mr. Kleinhammer, and later, Mr. Jacobs, was pivotal for me, as for so many others.
4. What memories do you have of your time studying with Tom Streeter and becoming a bass trombonist.
I wish I could say it wasn't that long ago, but….! My freshman year, I went into my first lesson with my only instrument, a Conn 48H, and came out a bass trombone player. The school's one and only bass trombonist was graduating, they were getting a new instrument, and they needed someone to step up. I had always had a really easy, comfortable low register, and the upper register was anything but easy, so it seemed like a good choice. Tom was very, very patient with me, always encouraging, and never anything but generous.
At the start of my junior year, Tom left his position in the local orchestra, and mentioned that I might want to get myself ready for an audition. I really had no idea what to expect, but prepared as best I could, and somehow won. (I was so totally green, I left the hall after I played and went home! Not even savvy enough to stay around for another round, or to find out who won…..the next morning at school everybody was congratulating me, and I wasn't really sure what for…..) It was really a pretty respectable orchestra and a great learning experience for me. The two tenor trombones were players you knew really well, Dave…..John Rehm and Charles Stokes, two theory teachers from Illinois State, but both really fine players who had studied with Beversdorf and Haney at IU. The principal trumpet had formerly been in the Dallas Symphony, and the horn section was really strong. As a 20-year old kid, I was in way over my head, but I really looked forward to those concerts, and nobody had more fun than I did. More than anything else, I think that experience was probably the most influential in inspiring me towards a career in music.
5. Your teaching, articles and extra-symphonic music bespeak an innate curiosity. What keeps you so mentally active, and what are the challenges and rewards. What are the 2 or 3most interesting things you have unearthed?
I just got back from Chicago, Dave, where I heard three different concerts in three nights….the CSO brass concert, a Thursday night subscription, and Music of the Baroque's Christmas choral and brass concert. And look at those guys….Jay's conducting, teaching and arranging; Mick Mulcahy conducted the brass concert and then played beautifully on the Music of the Baroque concert (in addition to squeezing in students from out of town), and Charlie's always got something going on, and ended the brass concert by playing an absolutely gorgeous ballad on the little horn. It occurred to me a long time ago that simply sitting in the back row playing third trombone was not going to be enough to sustain me musically or intellectually for the long haul. If you were playing in Chicago, or Boston, or New York? Well, maybe, but even then, those guys all seem to thrive on a varied musical diet. And if you play in Fort Worth, say, or Loose Gravel, Idaho….I think it's imperative for your own musical well being to pursue something beyond the demands of the job.
And another thought along these lines: whether at the end of the day, or the end of the season, or the end of your career, the horn's going to go in the case and we'd all better have something beyond the trombone to hold our attention.
6. How have your views on Kleinhammer's pedagogy changed from 30 years ago? (Can you imagine a brass section where he , Jacobs and Farkas were writing their books and conversing?)
I've had a long time to reflect on Ed's teaching, as well as Jake's, and if my views have changed, my respect for what they were able to pass on has only become more profound. My friend John Hubbard was around the CSO a lot during those years when Jake was doing his studies at the University of Illinois Medical Center, and he may well have been the inspiration for "The Art of Trombone Playing." He always claimed he told Ed "you're so damn smart, why don't you write a book?" After John died in 2005, his wife showed me his copy of the book, with the inscription "to my friend John, who inspired this book," in Ed's distinctive handwriting. Ed gradually came to feel that the original book needed to be completely revamped, and that was what eventually led to "Mastering the Trombone", which he co-authored with Doug Yeo.
Ed told me that a number of his CSO brass colleagues urged Jacobs to write a book, and he apparently always made noises about doing it someday, but of course never did. The general consensus, as I understand it, is that he didn't want his ideas misinterpreted or misrepresented. I was surprised to learn that at one time there was apparently a sort of backlash against Mr. Jacobs' teaching. Hard to imagine for someone like you or me, who had the opportunity to watch him work with so many different students during his master classes, or to have been the fortunate recipients of his extraordinary teaching ourselves, as we were.
Both were very involved with what I consider one of the most predominant themes in brass pedagogy over the past three-quarters of the century, but in their own unique way. You've no doubt heard the state of trombone playing Emory Remington encountered early in his career, and how his teaching style evolved to urge students to adapt a more singing approach to the horn, blowing into it with as little resistance as possible. This idea of a more relaxed, easy way of blowing the horn was also a major theme in the teaching of both Mr. Kleinhammer and Mr. Jacobs. For Jake, that was reflected in the admonition to "play with minimal motors" and "to seek the weakness in your playing." Ed, who was quite taken with the Eugen Herrigel book, "Zen in the Art of Archery", co-opted Herrigel's expression of "effortless effort". He carried that book around in his jacket pocket from one time to another, and I remember the countless times he bolted across the room to grab it from his coat and read a paragraph. He also talked about "blowing the horn in a spiritual way."
I was incredibly, incredibly fortunate to be able to study with those guys, and I've often marveled at whatever set of happy circumstances brought them all together at that time in that one place. I don't think I ever had a lesson with either of them without them invoking the name of Adolph Herseth, and over the years I've come to think of them thusly: Herseth as the ultimate artist, Jacobs as the ultimate scholar, and Ed as the ultimate student. Tim Smith told me that a couple of his friends saw Ed at the old Schilke shop on South Wabash once, and screwed up their courage to go over and introduce themselves. "Mr. Kleinhammer? Hi, I wanted to say hello…I'm a trombone student", Tim's friend said. "You are?", Ed exclaimed…. "I AM, TOO!"
I have photos of Ed and Jake in my studio at school as well as on the wall of my basement practice area at home, and I can honestly say that not a single day has passed without thinking about my time with them. Truly extraordinary individuals, and the giants of our art on whose shoulders we stand. I told Charlie last week that I can't walk down Michigan Avenue or be in the basement of Orchestra Hall without sensing their presence.
7. What has been your involvement with vintage horns. Any favorites?
Right now, my daily driver is a 1958 Mt. Vernon with two newly installed Greenhoe valves. I bought it from my good friend and colleague Steve Dunkel at Kennedy Center, and when I retire, it goes back to him. And I just bought a beautiful 1948 Conn 70H this past summer which, while I haven't had much opportunity to use it yet this season, should be great for Schubert, Schumann, etc.
I've also got the instrument Mr. Kleinhammer played for the last dozen years or so of his CSO career, an Earl Williams bell with a dual bore slide by John Haynor, Meinl valves and attachment tubing handcrafted at the old Schilke shop. There's quite a story about how Schilke came into possession of that Williams bell, but I think I'll leave that to Jared Rodin, who spins a pretty good tale about it.
8. Red herrings are a literary device used by mystery writers to throw readers off the track. Do you see any red herrings or unfruitful pursuits in the advancement of the bass trombone at the moment?
Red herrings? I don't know about that, but there is one unfruitful pursuit, as you put it, that I frequently encounter in students. And that's students who are so enamored of some of our more prominent trombone personalities, like Joe and Charlie, that they're obsessed with trying to emulate them. Those two are marvelous trombonists and musicians, but as wonderful as they are, I think it's important for us as musicians and instrumentalists to find our own voice. It's hard enough to be yourself without trying to be someone you're not.
Interested in more "Seven Positions" tm interviews? Click here for links to nearly two dozen interviews with the most amazing bass trombonists of our time!
c. 2016 David William Brubeck All Rights Reserved.
Images courtesy of Dennis Bubert


text:
copyright:

  years: 2015,2017

lastupdated: "2011-01-12"

---

{:codeblock: .codeblock}
{:shortdesc: .shortdesc}
{:new_window: target="_blank"}

# CLI Auto-Scaling
{: #autoscalingcli}

Puoi configurare il servizio {{site.data.keyword.autoscaling}} utilizzando la CLI {{site.data.keyword.autoscaling}} per {{site.data.keyword.Bluemix_notm}}. La CLI {{site.data.keyword.autoscaling}} supporta Linux64, Win64 e OSX e fornisce delle funzionalità simili a quelle fornite dall'API RESTful di ridimensionamento automatico.
{: shortdesc}

Prima di iniziare, installa la CLI {{site.data.keyword.Bluemix_notm}}. Consulta [Download {{site.data.keyword.Bluemix_notm}} CLI ![Icona link esterno](../../../icons/launch-glyph.svg)](http://plugins.ng.bluemix.net/ui/home.html){: new_window} per istruzioni.

## Aggiunta del plug-in CLI {{site.data.keyword.Bluemix_notm}}

Una volta installata la CLI {{site.data.keyword.Bluemix_notm}}, puoi aggiungere il plug-in della CLI {{site.data.keyword.autoscaling}}.

Completa la seguente procedura per aggiungere il repository e installare il plug-in:
1. Per aggiungere il repository di plug-in della CLI {{site.data.keyword.Bluemix_notm}}, immetti il seguente comando:
```
bluemix plugin repo-add bluemix-plugin-repo https://plugins.ng.bluemix.net
```
2. Per installare il plug-in della CLI {{site.data.keyword.autoscaling}}, immetti il seguente comando:
```
bluemix plugin install auto-scaling -r bluemix-plugin-repo
```

## Collegamento di una politica di ridimensionamento automatico

Puoi collegare una politica di ridimensionamento automatico a una specifica applicazione. Immetti il seguente comando:

```
bx as policy-attach <APP_NAME> -p <policy_file>
```
{: codeblock}

<APP_NAME>

Il nome dell'applicazione a cui collegare una politica di ridimensionamento automatico.

<policy_file>

Il nome del file JSON che descrive la politica di ridimensionamento automatico. Vedi la documentazione dell'API RESTful {{site.data.keyword.autoscaling}} per ulteriori dettagli.

## Generazione di una politica di ridimensionamento automatico

Puoi generare una politica di ridimensionamento automatico rispondendo alle domande visualizzate nell'interfaccia riga di comando. A seconda del tuo input, un file JSON contenente la definizione della politica di ridimensionamento automatico viene salvato con il nome immesso. Se non immetti il nome del file, il contenuto della politica viene stampato direttamente nella riga di comando senza essere salvato in un file. Immetti il seguente comando:

```
bx as policy-create
```
{: codeblock}

## Visualizzazione di una politica di ridimensionamento automatico

Puoi visualizzare la politica di ridimensionamento automatico di un'applicazione. Il contenuto della politica viene stampato direttamente nella riga di comando. Immetti il seguente comando:

```
bx as policy-show <APP_NAME> [--json]
```
{: codeblock}

<APP_NAME>

Il nome dell'applicazione per cui visualizzare la politica di ridimensionamento automatico. Per impostazione predefinita, la struttura JSON viene tradotta in una serie di output leggibili.

**Suggerimento:** puoi anche utilizzare l'opzione **--json** per stampare invece la riposta JSON originale.

## Scollegamento di una politica di ridimensionamento automatico

Puoi rimuovere una politica di ridimensionamento automatico da un'applicazione. Immetti il seguente comando:

```
bx as policy-detach <APP_NAME>
```
{: codeblock}

<APP_NAME>

Il nome dell'applicazione per la quale scollegare la politica di ridimensionamento automatico.

## Abilitazione o disabilitazione di una politica di ridimensionamento automatico

Puoi abilitare o disabilitare la politica di ridimensionamento automatico di una specifica applicazione. Immetti il seguente comando:

```
bx as policy-enable|policy-disable <APP_NAME>
```
{: codeblock}

<APP_NAME>

Il nome dell'applicazione per cui abilitare o disabilitare la politica di ridimensionamento automatico.

## Visualizzazione della cronologia di ridimensionamento automatico di un'applicazione

Puoi visualizzare la cronologia dell'attività di ridimensionamento automatico di una specifica applicazione. Una tabella di record della cronologia del ridimensionamento automatico viene visualizzata nell'interfaccia riga di comando.

```
bx as history-show <APP_NAME>  [--start-date=<start_timestamp>]  [--end-date=<end_timestamp>]  [--json]
```
{: codeblock}

<APP_NAME>

Il nome dell'applicazione per cui visualizzare la cronologia della politica di ridimensionamento automatico.

<start_timestamp>

La data e ora di inizio dell'intervallo della cronologia. I formati supportati sono `yyyy-MM-ddTHH:mm:ss+/-hhmm, yyyy-MM-ddTHH:mm:ssZ`. Per impostazione predefinita, la data e ora viene impostata su 50 ore avanti rispetto all'ora corrente. Consulta la W3C Date e Time Formats standard per i dettagli relativi al formato data e ora.

<end_timestamp>

La data e ora di fine dell'intervallo della cronologia. I formati supportati sono `yyyy-MM-ddTHH:mm:ss+/-hhmm, yyyy-MM-ddTHH:mm:ssZ`. Per impostazione predefinita, la data e ora viene impostata sull'ora corrente. Consulta la W3C Date e Time Formats standard per i dettagli relativi al formato data e ora.

**Suggerimento:** puoi anche utilizzare l'opzione **--json** per stampare invece la riposta JSON originale.

# rellinks
{: rellinks}
## generale
{: general}
* [{{site.data.keyword.autoscaling}}servizio](/docs/services/Auto-Scaling/index.html)
* [{{site.data.keyword.Bluemix_notm}} CLI ![Icona link esterno](../../../icons/launch-glyph.svg)](http://plugins.ng.bluemix.net/ui/home.html){: new_window}
* [W3C Date and Time Formats standard ![Icona link esterno](../../../icons/launch-glyph.svg)](https://www.w3.org/TR/NOTE-datetime){: new_window}

redpajama_set_name: RedPajamaGithub


The Leyte Geothermal Business Unit (LGBU) Various Projects' Environment, Safety and Health (ESH) and Human Resources (HR) Departments collaborated to hold its first Run for Greener Pasture, a fun run and tree planting activity held at the Lake Danao Park, Brgy. Danao, Leyte last October 25. The Project Management Team ran 2 kilometers to the site where they planted 200 seedlings of Laua-an Trees at the foot rail of the lake.


text:
Revised Code Keywords
Revised Code Number
The Legislative Service Commission staff updates the Revised Code on an ongoing basis, as it completes its act review of enacted legislation. Updates may be slower during some times of the year, depending on the volume of enacted legislation.
Section 4165.01 | Deceptive trade practices definitions.
Title 41 Labor and Industry
Chapter 4165 Deceptive Trade Practices
Latest Legislation:
Senate Bill 173 - 122nd General Assembly
As used in this chapter, unless the context otherwise requires:
(A) "Certification mark" means a mark used in connection with the goods or services of a person other than the certifier to indicate geographic origin, material, mode of manufacture, quality, accuracy, or other characteristics of the goods or services or to indicate that the work or labor on the goods or services was performed by members of a union or other organization.
(B) "Collective mark" means a mark used by members of a cooperative, association, or other collective group or organization to identify goods or services and distinguish them from those of others, or to indicate membership in the collective group or organization.
(C) "Mark" means a word, name, symbol, device, or combination of a word, name, symbol, or device in any form or arrangement.
(D) "Person" means an individual, corporation, government, governmental subdivision or agency, business trust, estate, trust, partnership, unincorporated association, limited liability company, two or more of any of the foregoing having a joint or common interest, or any other legal or commercial entity.
(E) "Service mark" means a mark used by a person to identify services and to distinguish them from the services of others.
(F) "Trademark" means a mark used by a person to identify goods and to distinguish them from the goods of others.
(G) "Trade name" means a word, name, symbol, device, or combination of a word, name, symbol, or device in any form or arrangement used by a person to identify the person's business, vocation, or occupation and distinguish it from the business, vocation, or occupation of others.
(H) "Directory assistance" means the disclosure by an operator or an automated service, upon request by an individual and that individual's identification of a telephone service subscriber in some manner, of telephone number information pertaining to the identified telephone service subscriber.
(I) "Local telephone directory" means a telephone classified advertising directory, or the business section of a telephone directory, that is distributed by a telephone company or a directory publisher to subscribers who are located in one or more local exchanges covered by the directory. "Local telephone directory" includes a telephone classified advertising directory, or the business section of a telephone directory, that includes listings of more than one telephone company.
(J) "Local telephone number" means a telephone number that has a three-number prefix that is used by a telephone company in connection with telephones that are physically located within an area covered by a local telephone directory in which the telephone number is listed. "Local telephone number" does not include long distance telephone numbers that are listed as long distance telephone numbers in a local telephone directory, or 800-, 888-, or 900- telephone numbers that are listed in a local telephone directory.
(K) "Telephone company" has the same meaning as in section 4905.402 of the Revised Code.
Available Versions of this Section
March 30, 1999 – Senate Bill 173, 122nd General Assembly [ View March 30, 1999 Version ]

redpajama_set_name: RedPajamaCommonCrawl


text:
Alexander Stewart (September 12, 1829May 24, 1912) was a member of the United States House of Representatives for Wisconsin.

Born in Fredericton in the colony of New Brunswick (now in Canada, but a British colony at the time), Stewart moved to Wausau, Wisconsin, where he became involved in the lumber industry. Stewart was elected as a Republican to the Fifty-fourth, Fifty-fifth, and Fifty-sixth Congresses (March 4, 1895 – March 3, 1901). He represented Wisconsin's 9th congressional district. He did not run for reelection to the Fifty-seventh Congress.

He was a prominent person in the early days of Wausau and Stewart Avenue, one of the main roads in Wausau, is named in his honor.

Stewart died at his home in Washington, D.C. on May 24, 1912, and was buried in the Pine Grove Cemetery in Wausau.

References

External links

1829 births
1912 deaths
Businesspeople in timber
Pre-Confederation Canadian emigrants to the United States
Politicians from Fredericton
Politicians from Wausau, Wisconsin
Washington, D.C., Republicans
Republican Party members of the United States House of Representatives from Wisconsin
19th-century American politicians

redpajama_set_name: RedPajamaWikipedia


• Discovering through experience why our fluid practices of rolling motions bring such benefit.
• Learning & practicing the first main SomaChi sequences.
• Discovering the difference between Embodiment where we are nourished & enlivened by our yoga practice and mechanical movement.
• See how playfulness can take us into experiences of discovery.


-The fibers will in fact accept the coloring.
-The composition of the Woodland Scenics fibers seems to work best.
-Grays are relatively straight forward to create which is great.
You are correct that you should be knocking down reds with green.
Now olive is sort of brown already, so it is a little more like adding brown, which will darken the color, but won't knock it down as much as a brighter green. You would be surprised. The more vibrant the green, the better it is at removing the red. So while you used 20% olive, I would suggest more like 5-10% of bright green. It will work much better to kill your red. It is possible to overshoot and get a green brown, so it is best to add a little at a time.
That's next weekend's project, going back to the drawing board using the mixing strategy Jacquard suggested.


text:
Learn how the founding of the first Montessori school more than 100 years ago led to a worldwide movement.
Who Was Maria Montessori?
The Glass Classroom
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The Birth of a Movement
In 1906, Dr. Maria Montessori, an Italian educator, physician, and scientist, who had just judged an international competition on the subjects of scientific pedagogy and experimental psychology, was invited to create a childcare center in San Lorenzo, a poor, inner-city district of Rome. There, she would be working with some of the area's most disadvantaged, and previously unschooled, children.
She opened the doors on January 6, 1907, calling the center the Casa dei Bambini—Italian for "Children's House." Dr. Montessori was determined to make the Casa a quality educational environment for these youngsters, whom many had thought were unable to learn—and she did.
While the children were unruly at first, they soon showed great interest in working with puzzles, learning to prepare meals and clean their environment, and engaging in hands-on learning experiences. Dr. Montessori observed that before long, the children exhibited calm, peaceful behavior, periods of deep concentration, and a sense of order in caring for their environment. She saw that the children absorbed knowledge from their surroundings, essentially teaching themselves.
Utilizing scientific observation and experience gained from her earlier work with young children, Dr. Montessori designed unique learning materials for them, many of which are still in use in Montessori classrooms today, and created a classroom environment that fostered the children's natural desire to learn.
News of the school's success soon spread through Italy. On April 7, 1907, Dr. Montessori opened a second Casa dei Bambini, also in San Lorenzo. And on October 18, 1907, in Milan, she opened a third Casa.
Montessori Gains Momentum
The success of Dr. Montessori's schools sparked interest around the world. Dignitaries traveled to Rome from countries far and wide to witness, firsthand, the "miracle children" who exhibited concentration, attention, and spontaneous self-discipline.
The innovative Montessori Method also began to attract the attention of prominent educators eager to learn it. Some were taught by Dr. Montessori herself. Her courses drew students from as far as Chile and Australia, and within a few years there were Montessori schools on 5 continents.
In 1909, Dr. Montessori published her first book, Il Metodo della Pedagogia Scientifica applicato all'educazione infantile nelle Case dei Bambini. Within 3 years it had been translated into 10 languages. Its first 5,000 copies in English, succinctly titled The Montessori Method, sold out in 4 days.
By 1910, Montessori schools could be found throughout Western Europe and were being established around the world. In 1911, the first Montessori school opened in the United States.
By 1914, 187 English-language articles and books had been written about Montessori education. One article, in the highly popular McClure's Magazine, described Dr. Montessori as "an educational wonder-worker."
Dr. Montessori began to turn her attention to the education of elementary-aged children in 1916. In the international training course that year, Dr. Montessori focused nearly half of her lectures on newly created elementary materials. A year later, she published L'autoeducazionne nelle Scuole Elementari, describing her thoughts on the education of children ages 7 – 11. (The English title of the book is The Advanced Montessori Method.)
Dr. Montessori's early research focused on educating young children, but in the 1920s she turned her attention to adolescence. She observed that at this stage of development, students need activities that help them to understand themselves, to find their place in the world, and to blossom into global citizens.
She proposed residential schools where young adolescents—whom she called Erdkinder, or "children of the earth"—could work and live in a trusting community, engaging in real-world activities such as farming or marketing their own handmade goods. By experiencing human interdependence, she believed, students would learn how society is organized and develop the skills needed to meet the world's challenges in a positive way.
In time, Dr. Montessori also wove peace education into her curriculum, a result of having lived through 2 horrific world wars. Education for peace and social justice remains an integral part of Montessori education.
Dr. Montessori traveled widely, giving courses and lectures and encouraging the launch of new schools. In 1929, together with her son, Mario, she established the Association Montessori Internationale, to ensure that her philosophy and approach to education would be carried on as she intended.
Maria Montessori Sails to America: A Private Diary, 1913
Maria Montessori first traveled to America in 1913. The cross-Atlantic trip took almost 2 weeks. While aboard the steamship, she recorded her thoughts, impressions, and even small drawings in a private diary. A century later, in 2013, the diary was published as Maria Montessori Sails to America , and made publicly available.
More About Maria Montessori
Montessori Comes to America
In the United States, the Montessori Movement caught on quickly. The first Montessori school opened in 1911, in the home of a prominent banker in Scarborough, New York. Others followed in rapid succession. Unlike Maria Montessori's first Casa dei Bambini, which was for children from poor, disadvantaged families, these catered to children from wealthy, cultured families striving to give their children the best education possible. Prominent figures, including Thomas Edison and Alexander Graham Bell, gave their support.
In 1913, Maria Montessori traveled to the U.S. on a 3-week lecture tour, where she was met with crowds of curious and interested supporters. A reception was arranged for her in Washington, DC. Four hundred people attended, including Margaret Wilson, the daughter of President Woodrow Wilson, and many foreign ministers and dignitaries.
She lectured to a crowd of 1,000 at New York City's Carnegie Hall, where she showed "moving pictures" taken at her school in Rome; in response to demand, a second lecture was arranged.
Montessori reported that she found the schools in America faithful to her methods, and considered the trip an overwhelming success.
Dr. Montessori returned to the U.S. in 1915 to demonstrate her method at the Panama–Pacific International Exposition in San Francisco, and to give an international training course for prospective Montessori teachers.
At the exposition, a Montessori "Glass Classroom" was constructed—that is, a classroom with panoramic glass windows on 3 walls. This unique design enabled spectators to observe, with amazement, the class of young students who worked with intense focus and concentration, seemingly oblivious to the crowd surrounding them.
That same year, 1915, Dr. Montessori was an invited speaker at the prestigious annual conference of the National Education Association in Oakland, California. More than 15,000 educational leaders attended.
The success of the Glass Classroom and Dr. Montessori's long California visit fueled American interest in Montessori education and its visionary founder, helping to propel Montessori education across the country. American newspapers and educational leaders embraced its founder for both her pedagogy and her personality. By 1916, more than 100 Montessori schools were operating in the U.S.
A Movement Derailed
The Montessori Movement in the U.S. burned out as quickly as it had spread. Language barriers, World War I travel limitations, anti-immigrant sentiment, and the disdain of a few influential educators all contributed to the decline.
William Kilpatrick, a highly regarded figure in the progressive education movement, and a former student of John Dewey, was one such detractor. He critiqued the Montessori Method in his book, The Montessori System Examined. A popular scholar in the early 20th century, Kilpatrick criticized Dr. Montessori's credentials, perspectives, and overall philosophy. He dismissed her beliefs of the role of the teacher, ideal classroom size, and classroom materials. And, he rejected her interpretation of the doctrine of development, as well as the amount of freedom the children have in a Montessori school. Kilpatrick's negative assessment of Montessori quickly became widely known and accepted throughout the U.S.
By the 1920s, Montessori education in the U.S. had almost completely faded away, except for the occasional school or practitioner.
Glass Classroom
The Montessori Glass Classroom had extensive windows, inviting visitors to watch the goings-on inside. Many returned daily to watch the industrious "miracle children" in their beautiful classroom setting.
Learn About The Glass Classroom
The Resurgence
By the 1950s, the cultural climate was changing in the U.S., including a growing discontent with traditional American education. Among those seeking alternatives was a young, aspiring teacher from New York City, Nancy McCormick Rambusch.
Having "happened upon" the writings of Maria Montessori, Rambusch was struck by the freshness of her ideas. In 1953, she traveled to Paris to attend a Montessori Congress and learn more. There, she met Mario Montessori, Maria's son, who encouraged her to bring Montessori back to the U.S. One thing led to another, and out of Rambusch's subsequent Montessori schooling and vigorous efforts to promote the Method in the U.S., Montessori education once again took off. Parallel to this, in 1960, and also as a result of Rambusch's efforts, the American Montessori Society was born.
The Washington Post designated Nancy Rambusch as "the educator who is responsible for renewing this nation's interest in the Montessori Method of education." The Catholic Reporter called her, "The lady who started it all." Newsweek referred to her as "the red-haired dynamo of the Montessori revival. "
Phyllis Povell, "Montessori Comes to America: The Leadership of Maria Montessori and Nancy McCormick Rambusch"
Dive into AMS history.
Montessori Today
From its humble beginnings more than 100 years ago as a single schoolroom for a group of underprivileged children in Rome, Italy, Montessori education has taken a firm foothold on the education landscape. In the U.S. alone, approximately 5,000 Montessori schools now serve over one million children, from infancy through adolescence. Thousands more Montessori schools exist worldwide.
The American Montessori Society is thriving, as is the Association Montessori Internationale and its member societies worldwide. Other Montessori groups also offer opportunities for networking, collaboration, and professional growth.
Currently, China, in particular, is seeing unprecedented demand, and education groups are working as diligently as they can to train the teachers and build the schools needed to meet it. We at AMS are helping, particularly to ensure the quality of select programs, and are poised to provide more support in coming years.
In the U.S., there has been a proliferation of programming specific to communities' needs; for example, public and charter schools that offer tuition-free Montessori education, schools that offer extended hours of operation, and programs that operate year-round.
There are also Montessori classrooms that are bilingual, immersive-language, and/or faith-based; and programs specifically for children with learning exceptionalities, such as those associated with dyslexia and language-processing disorders.
Recognizing the many values of intergenerational relationships, and the alignment of Montessori philosophy with adult-care needs, some Montessori schools now include programs that bring together students and the elderly for meaningful interactions. Others create cross-cultural relationships with Montessori schools in distant countries, opening the doors for students to form global connections and strengthen their understanding of peoples worldwide. Many Montessori schools, if not most, incorporate community-based service learning programs in their curriculum.
Well-known personalities have been educated in Montessori schools. Among them are NBA MVP, Stephen Curry; Google founders, Larry Page and Sergey Brin; and the late chef, author, and television personality, Julia Child. These individuals have cited their Montessori education experience as contributing to their success, heightening public awareness of Montessori as an approach that helps individuals from all manner of fields reach their full potential.
Day One Academies, an initiative launched in 2018 to provide $1 billion in funding for full-scholarship Montessori-inspired preschools for low-income families, have drawn new attention to the Method. The man behind the initiative? Amazon CEO Jeff Bezos, a Montessori alum himself.
The evidence is clear: Montessori is not only here to stay, it is growing at a rate that would have gladdened the heart of its founder, Dr. Maria Montessori—a woman who dared to reimagine how we learn, and recognized the dignity and capacity of all human beings.
And her legacy continues in the great work of AMS's Montessori-credentialed educators and affiliated teacher education programs. We are united with a common purpose: to make the world a better place through grace and courtesy instilled in our children, who will serve as our future leaders. Join the largest Montessori Movement and organization in the world!
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The music ministry extends the embrace of Christ to all who wish to lift their hearts and minds to God through music. It is our desire to share God's loving presence with all, and in doing so, assist the parish community in their mission!
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text:
Looking for clues
"Johnny thinks the world would be right
If it would buy the truth from him"
I went to see Robert Palmer at the Playhouse in June 1981 (date courtesy of the Edinburgh Gig Archive) just to hear "Johnny and Mary". Otherwise I wasn't really a fan but I loved that song. I was never sure why but recently that lyric came back to me.
It's been four long years since I left the Grassmarket looking for clues as to how things could move forward both on the music side and in Edinburgh city centre retail. A handful of you will see what I did there ! It was all going to take a year ! Also by then the germ of an idea for an exhibition centre had also formed. Four years later I really do think I have the answer and it isn't 42.
Of course I haven't worked all this out myself, more than anything else I've just listened to others. Add in the new experiences of being at the Tron Kirk and St Mary's Street and the traumas of dealing with the council and arts bodies and an understanding of what is needed started to form. The good thing about listening to people is that you have far more chance of success if you give folk what they want. The good thing about physically being out on the street trading is that you face the reality not some theoretical "experiential" retail.
Truth is while I genuinely believe that an amazing amount has been achieved the cost has been too high. A year out is one thing but four has consequences that it is hard to justify. All that has gone before was necessary to reach this point so what is important now is to make the most of things.
Over the course of the next week I'll say more on the three areas that while distinct in many ways do at time also overlap – music retail especially new music, city centre retail and the ScotPop Music Exhibition Centre.
While I have had involvement in the discussions over music venues in Edinburgh it is not something I can personally get involved with beyond potentially a venue being part of the centre.
This is not me knowing best and telling folk what to do. This is the result of four years of on the ground experience and listening to people. I've already run many of the ideas by people who have a wide range of experience and they have been well received.
I just hope those concerned will buy the truth from me because I can't afford to give it away for free !
ScotPop Centre moving forward and set up
As expected there has been no last minute offer of a building or money though every possibility hasn't quite been exhausted yet. There was always a plan to set up a non-profit making organisation with a board once we had reached the point of opening the centre as that is how all such things are run now and I have plenty of people who are willing to join the board who already hold important positions in business and the arts and have skills that will help.
One reason we have run out of time to be ready by June is it will take around three months to set all this up and then see if we can get matched funding for any sponsorship. One very positive thing is publicity and promotion will never be a problem. There is worldwide interest and support and all parts of the media are just waiting for me to press the button. From double page spreads in magazines and radio and TV coverage to a UK poster campaign from the same people who promote Record Store Day we are extremely lucky to have such support and of course social media is our friend !
Postcard Records press release
Because the idea is so popular I haven't felt the need to go down the route of places like the Leith and King's Theatres with celebrity endorsements but maybe we should do a little more of that in the future.
My advice to the museum was that they would need to cover everything from introducing people to bands to having things even fans hadn't seen and possibly that is an advantage the ScotPop Centre has in that that is maybe too broad a remit for them but something the centre can excel in thanks to all the help we have had.
For now though sensibly I need to get back to making some kind of living and I'll look into that in the coming weeks. All being well it will just mean selling music with some work on the centre when the focus has been the other way round for too long now.
ScotPop Centre news
Pic by @Birmingham_81
Sadly it looks like we have run out of time to find a home for the centre in time for the summer. Everything from what we have been offered to very visible worldwide promotion has gone well beyond all my expectations but I've been unable to find a home or any substantial financial support.
Money is now a huge issue and I will need to focus on that while putting the centre if not quite on the hold at least on the back burner. Avalanche/myself has financed this idea for over three years now and Avalanche will almost certainly need to return physically to raise the funds needed. Quite how that will be done is still to be decided but it certainly won't be achieved by selling new releases !
Despite the support of Donald Wilson the Culture Convener and Paul Lawrence the council's Chief Executive of Place it is clear that the centre is in no way being treated as would an art exhibition be by the council. What is more it is also clear that the more I fight the corner for pop music as art the more some folk are irritated. I guarantee the council will give plenty of space free of charge to the visual arts during the Festival despite saying they need to bring in an income for all their buildings and the Festival being the prime time to do that and of course saying that just annoys them more.
The next deadline is to have something ready in time for the museum exhibition finishing in November and by coincidence Avalanche has an offer to work on a very exciting project about that time with investment from Europe. I can't pretend it isn't a huge opportunity lost to promote Scottish music in an alternative but complementary way to the museum's plans but while there was huge confidence after the Fruitmarket Gallery pop-up that individuals and businesses would come forward to offer support actually it mostly generated several enquiries from Glasgow !
And before folk ask yes if I get a firm offer from Glasgow the centre will open there. I had always hoped to eventually have something in both cities and possibly others too and once the opportunity to coincide with the Rip It Up exhibition is lost then there is no reason not to open in Glasgow first. I have already had offers that I haven't had time to explore fully though nothing permanent.
Some ScotPop Centre related things are already in motion and will still go ahead and there are one or two fund raising ideas too. More of that very soon. I won't even start to try thanking people just now for all that has been done to get this far for fear of missing folk out but though I say so myself it should not be underestimated just what has been achieved. Given what I've managed to get done dedicating most of my time to the centre I estimate there is still about three years work left and of course often more leads are generated so as such it will probably always be an evolving idea which no doubt is a good thing.
Finding the ScotPop Centre a home – a brief history
While Avalanche was still in the Grassmarket Edinburgh Council decided to support music in the city centre "like New York and Sydney". Plans to use empty council buildings were quickly dismissed by their property department but it was suggested space in council buildings might be found and it was soon established that council owned museums and galleries were by far the best possible locations.
Consequently a little later when looking for a home for the exhibition centre artists who were also musicians said that ignoring any arguments about the validity of the art there were large rooms that would be all we needed dedicated to maybe a couple of paintings or a sparse installation. Soon after that several people associated with the City Art Centre got in touch to say the ground floor of the CAC would be perfect and just what was needed to attract more folk in.
It is well documented elsewhere that despite a very successful pop-up at the Fruitmarket Gallery two drawn out attempts to get space in the CAC have failed. It is still the case that huge rooms exist within the council's galleries including the CAC but despite assurances it is not the case a pop music exhibition doing its best to break even is not seen in the same light as an art installation or exhibition that needs several grants just to exist and 99% of people have no interest in.
You see there is a clue in the grant system. If a gallery needs half a million, or a million or two million pounds every three years on top of any other funding received just to cover its costs then it's because the vast majority of people really don't care and in fact it will only get worse. In a recent YouGov survey the younger folk were, the more likely they were to consider the arts, be that classical music or art galleries, as "posh" and of no interest to them.
That the powers that be consider a Mexican artist with his field recordings of whales and dolphins to be art worthy of waiving any fees but an exhibition about Scottish musicians to be unworthy of support says it all.
I really did think that the National Museum of Scotland's Rip It Up exhibition this year would have established that a permanent Scottish music exhibition should be taken seriously but that is very clearly not the case. Sadly I don't see things changing.
How the ScotPop Exhibition Centre idea came about
I often get asked how the ScotPop Exhibition Centre idea came about this so I thought if I made a post about this I could also then refer to it when I have to email people rather than get involved in a long explanation never sure how much is known already.
Avalanche used to sell a lot of music by local bands. By a lot I mean hundreds of copies by an artist like Withered Hand and a box of 25 CDs by a band that maybe wasn't that well known even locally. We gave everything a chance but there were still many releases that sold very little simply because they weren't very good.
We could easily sell a hundred copies or more when we had an in-store from a band like Idlewild or Twilight Sad for a new album. An album featuring high up in our end of year chart, itself based on sales, could sell an extra 50 to 100 copies because of that. We could add an extra 20 people to a local gig's attendance just by recommendation to the groups of visitors who would come to the shop normally on the day.
Orange Juice at Regent's Canal, Near Camden (Photo by David Corio/Redferns)
At the same time there was a lot of interest in older Scottish bands from Orange Juice and Josef K to The Shop Assistants and Pastels. Visitors to Avalanche would be looking for current bands that they might like given their taste in other music and as bands like Belle and Sebastian became more established we would get folk looking for similar artists to more current bands too.
There are no recommendations online that work quite as well as would come from a good shop. We wouldn't just suggest something we would play it so the customer wasn't relying on our say-so. These bands were not our friends so we played no favourites and we gave people music we thought they would like not what we thought they should like.
Online there is nearly always some agenda and then of course it is easy to listen and decide something isn't worth your money anyway. One thing that was very relevant, especially in the old days of actually being very busy, particularly on a Saturday, was that playing all this stuff to people was quite time consuming. On the other hand this was balanced by fans who needed no persuasion.
Obviously things gradually changed but so this post doesn't go on too long let's fast forward five years or so. Avalanche had moved to the Grassmarket and was gradually building up an influential online and social media presence to add to the shop's reputation and never been more influential but sales had plummeted. Shops were now competing for sales that were already dropping with the very bands and labels they had supported and customers/fans no longer needed to buy music anyway.
I would still get asked for recommendations as much as ever and even play them but now people would tap the names into their phones saying they would go away and listen more. If lucky they might buy one or two things when before they would have bought many more. In-stores went the same way with sales only a quarter of what might have been expected. With online sales and social media one thing became very clear and that was given a fair chance with a limited gold vinyl Withered Hand album or a Frightened Rabbit album with a bonus 7″ our online reach meant we could sell 100+ but most times we were at a disadvantage and selling a fraction of what we would have expected just a few years before.
And so the idea for a centre promoting Scottish music but not on a commercial basis was born. At its heart it would still support and promote current bands but it would also celebrate the music from previous years that visitors seemed so keen to talk about with posters, badges and other memorabilia. At that point the idea was as simple a that. Only later would I discover that documenting the last six decades of Scottish artists and their music had been woefully neglected and how much work there was to be done.
Trinity Apse and the ScotPop Centre
Another option that had been mentioned by Frank Little the Museums and Galleries manager was Trinity Apse which is an old church just off the high street on Chalmer's Close, some may remember it as the Brass Rubbing Centre.
I did look at it before Christmas with Frank but was given no indication of availability or price. It had I was told been rented out just recently for the day to some architects for £500 (actually £600 + VAT) but otherwise details were sketchy. There had been a big effort to have it used during the Festival but with no other details except that for some time now no council building could be given out for free.
Clearly I was looking for the arts price rather than the commercial price. Again if I knew what the building had made financially in a year I could maybe offer a little more and we would have a temporary home and the council would have increased income. I included Trinity Apse when I asked for details of the income for council buildings under FOI so I would know what to offer.
Frank felt the CAC was a better option so Trinity Apse was put on the back-burner even after I saw the figures for its usage. However when it was decided the CAC top floor would go through due process and not be treated as a trial I looked into the idea again. With the Tron market traders soon to be homeless I could possibly include an arts element, give a few of the artists a home and bring in a little more income to help with whatever rent I was quoted.
By now I had seen the figures which were astonishing. That architects' rent I had been quoted was the only commercial rent in the three years I was given figures for and despite being told no arts related project for some time had been considered for a free let all the other lets had been free. It would be hard work getting people to visit given the location but it was still an exciting prospect with plenty of potential.
Unable to contact Frank I found a contact who was actually the commercial manager, a new post created 8 months ago that I was unaware of as surprisingly it had never been mentioned despite being relevant. I enquired about using the building until the end of the year depending on availability. Apart from a wedding in October there were no other firm bookings though it was on hold in July and August for the Edinburgh Art Festival part of the CAC and those architects were considering coming back at the end of June.
Given the EAF use 30+ venues and the council make no income I hoped they would give Trinity Apse up and we could work around the rest. However the commercial manager came back to me yesterday with no firm offer and asking me to make a proposal bearing in mind their commercial rates of up to £750 a day.
It is clear that despite constant reassurances the ScotPop exhibition is not being given anything like the same treatment as other arts projects and now the council has employed somebody to deal with these matters albeit with little success so far my original discussion with Paul Lawrence, the council's Chief Executive of Place, of basing offers on previous performance is no longer relevant. This probably explains the insistence on due process over the CAC's top floor.
The Dragon of Profit and Private Ownership on display for all of the Festival last year is clearly art attracting no charge while the ScotPop Centre appears to lie at the heart of capitalism.
In all my discussions it was agreed that pop music deserved the same support as the visual arts but it was stressed that no art form could now be supported as before with free or even heavily discounted venues. All evidence shows this not to be true and to be honest it is clear that rather than argue the case people are just saying one thing and doing another.
I have a sponsor flying in from Germany in a week's time and after that I will make a decision but without a building ……………………
Questions raised on twitter about the ScotPop Centre latest news
Many thanks to Brian for raising these questions
Brian Ferguson – arts journalist for the Edinburgh Evening News and Scotsman
An interesting read, but just couldn't see any sense in @Edinburgh_CC agreeing to set up a rival history of Scottish pop & rock exhibition in the City Art Centre at the same time as the @NtlMuseumsScot one. @EdinCulture @sto_paul @fruitmarket
ScotPop Centre has a completely different focus + complements the museum. I've been in contact with museum since April 2016 at their request forwarding exhibits they could use + working on areas they are not covering. They finish November + some exhibits will be available to me
Frank Little (museums and galleries manager) told me he asked if CAC could work with the museum on the exhibition but got knocked back. I already had that agreement though I believe their comms people are wary. They asked me not to stress differences as that was pointing out what they weren't doing.
The council aren't setting anything up and the centre won't be a rival but it will be able to continue the work done by museum long after they have moved on to their next exhibition. The museum is understandably out of their comfort zone whereas I have 30 years worth of contacts.
Brian Ferguson
The only other thing I would add is that it took the @LeithTheatre trust around a decade to get access to a building which was going to rack and ruin.
To be fair to @Edinburgh_CC they have made that point about @LeithTheatre and also the Calton Hill Observatory. It was said I had achieved in three years what would normally take a team of people seven given what I have ready to go. Things though don't have to take this long.
It's 15 years since the @edhogmanay party was cancelled when the stage started getting torn apart. Not a brick laid. Easier said than done when reality kicks in!
Of course when building is involved things take a lot longer but the original idea from the council was that they have too many buildings so finding one for @HistoryofSMC should be possible. If a cafe/bar/venue included even better as that helped with the issue over venues.
The Scottish Pop Music Exhibition Centre – search for a home
As regular followers will know the City Art Centre at the back of the Waverley Station has often cropped up as a possible home temporarily or otherwise for some time now. That interest seemed to have ended when they refused even a short pop-up despite being virtually empty. The Fruitmarket Gallery however did step in and we had a hugely successful exhibition in June with over 1,500 people visiting over the three days.
Following that it was suggested I speak to Paul Lawrence the council's Chief Executive for Place. Paul, a no nonsense northerner from Hull with a soft southern job title, was very supportive and interested not just in the centre but also on the current state of Edinburgh's venues.
I had previously spoken to Frank Little the museums and galleries manager who wasn't keen on the idea but Paul said he would speak with him again and with news that Frank was now a convert we met up. The day before I had met with Donald Wilson the Culture Convener who had pledged his support saying the exhibition centre was just what Edinburgh needed and just what the City Art Centre needed !
One suggestion from Frank was that I was given the top floor of the City Art Centre which though hired out was done so infrequently. With a small presence on the ground floor and a lift as you come in straight to the top floor it wasn't perfect but a great space with great views.
I gave Frank a proposal of what was intended so we could then discuss things further. When I say "give" me the top floor I would have been expected to make sure the CAC wasn't out of pocket by offering a payment a little greater than their previous income.
However I soon received an email saying the CAC was fully booked with exhibitions for the next three years and there was no space for me. This was very odd in that it made the meetings we had had pointless but more importantly the top floor is not an exhibition space, part of the reason it had been considered.
Back to square one Paul Lawrence's desire to help meant he agreed to meet just before New Year. Unable to come up with any other options Paul agreed to put the CAC top floor plan to Frank Little again. We agreed I would offer a little more than the average of the last three year's income and I made an FOI request to find out what that offer should be.
I had a second meeting with Councillor Wilson mid-January when he reiterated there was nothing more needed said to convince him of the worth of the project. Paul had flagged up the council would need to agree that there was no need to follow due process given this was a temporary project, possibly for a year, and the council would be financially better off than previous years.
Councillor Wilson said he wasn't even sure it needed to go to committee but would check and if it did it was a Culture not a Finance matter and agreed to liaise with Paul. Given the time constraints in trying to be ready in time to coincide with the National Museum's exhibition I was concerned about how long all this would take and I then received an email from Paul Lawrence saying my best outcome would be to have it put before the Culture Committee on the 20th March.
This was tight for being ready indeed but doable and gave me time to assemble a small team of helpers for a presentation. I would need to show quality within the exhibition and the Fruitmarket Gallery offered to give a recommendation. With the museum having also taken several of the exhibits from the pop-up the quality was not going to be an issue.
Financially I spoke to potential sponsors who would look to cover the proposed rent of around £10K – £12K. I had offers of free food and drink for launches and free advertising both from established advertising companies and record shops all over the world.
By coincidence an old customer and friend who now lives in LA and was a photographer in the 80s was over visiting and not only offered me many unseen band photos but also a professional trailer for the exhibition as his job in LA was to produce film trailers and adverts.
I agreed with the council not to say anything publicly which of course would have helped with the fundraising but the response privately was tremendous.
However I still had no confirmation until Tuesday when an email from Paul Lawrence told me that a speedy outcome was unlikely as the idea would need to go through due process. Basically this would mean
The Council would need to agree that the space in the CAC is to be used for alternate purposes and therefore is available to 'the market';
They would need to run a marketing/bidding process;
They would need to evaluate all bids including an assessment of detailed business plans;
The Council would then determine a successful bidder based on a range of criteria.
The first point alone baffled me. There was no change of use as it was a hire space that could be hired for just what I had planned. In fact if the exhibition was not to be treated as a trial, which it obviously was, then it could be treated as a lengthy hire which of course was also true. Neither involved due process something I had taken (free) professional advice on.
I was asked if I still wanted to continue. Given that there was no guarantee of success, no idea of cost and it was impossible to reach agreement in time this was an offer designed to be unacceptable.
My initial reaction was just to give up but then I realised that as I had been working to March 20th I should at least consider options until then now the plans could go public. What has caused this turnaround ? I genuinely don't know. Donald Wilson and Paul Lawrence could not have been more helpful and generous with their time. Both hold very senior positions one as a councillor and one as a council official. It's important to have both sides on board I'm told. Yes Minister is certainly good grounding for understanding the relationship.
I'm not sure who else would have the authority to insist that due process was followed even when it was unnecessary and why they would do that. Apart from that there has been a feeling for some time that the CAC is to be sold. This was pure conjecture from staff and those close to the CAC on the basis that it was so badly run there had to be an ulterior motive.
It has been acknowledged now by most involved with the CAC that there have been issues for some time in every department though they don't thank people for pointing that out. The recent report that footfall and income were both down over 30% was blamed on being closed on their two quietest days which clearly was a flawed argument.
Maybe there are plans, be it a sale or some other major overhaul, and they would rather I wasn't in the way. Maybe the CAC understandably annoyed at being shown to be struggling instigated the decision to enforce due process. I have to say I was initially invited to look at using the CAC by staff and that it has so demonstrably been underutilised, as the council prefers to say, is not my doing.
All of this is conjecture and possibly wide of the mark on every count. I'm still of course in touch with the National Museum and Waterstones are on board to support Scottish music. There are many exclusives I could source if I want to. Avalanche is a worldwide brand which never ceases to amaze me and I have an offer to consider at the beginning of March based on Avalanche but with interest in the centre too.
I have interest from Glasgow for the centre which needs to be followed up but for now I will give things until the middle of March and if no home can be found by then I will need to reconsider. I'm already getting regular enquiries about when the centre might open with some people looking to book holidays and it is hard to believe such a popular idea would be blocked by the council after being so supportive originally.
I have sunk every penny I have into this or we wouldn't have reached the stage we have now. I simply can't afford to do that any more and until the centre finds a home it will be impossible to bring on board sponsors and the other revenue streams needed.
Apologies for not having something more positive. Believe me I never expected this outcome from the council after so much support. I suspect there may still be more twists in the tale.
Still to come – Trinity Apse, the City Art Centre's cafe and what I'd do given all of the CAC !
Exhibition Centre needs £50 man to return + £50 woman too !
Fifteen years ago the phrase "£50 man" first came into use coined by the former NME journalist and founder of WORD magazine David Hepworth. This was a man who thought nothing of wandering into a record shop and spending £50 on whatever took his fancy. £50 man now of course is in his fifties and let us not forget there were indeed £50 women too.
When the idea of fundraising was first mooted £50 man again surfaced as the sort of person who would love to see a centre dedicated to the music he had grown up with and still loved. One hundred of these individuals and the initial £5K was assured.Add in others making smaller but no less valuable contributions and the seed money needed to get the centre off the ground seemed attainable.
Given it was 15 years ago some even joked there would now be a "£100" man ready to get involved. I was sceptical but we had a £100 donation almost straight away and I must say thank you to that gentleman. Since then however things have been slow and I very much appreciate it would be easier if I could name a home and opening date. That announcement however is not far away.
The GoFundMe page was set up more in anticipation of a future push than expecting an immediate response but now the time has come to get things over the line and donations are crucial. The page has actually been a huge success in that it has attracted both offers of help and potential sponsors so much so that I'm completely confident that when we get the green light I will have both the expertise and finance in place.
The blog below has more details on where we are at and I really do hope to say more by the end of the week. Every little helps and I appreciate £50 is far too much for most but hopefully £50 man will do his bit. It doesn't even need to be a donation as a voucher purchase helps with cash flow too. I'm certain that once open the support will be there as it was with the Fruitmarket Gallery exhibition but this last bit is proving tricky.
I shall be back looking through cupboards tonight seeing what records I can cull from an already diminished collection but needs must. In terms of time and real cash I have put in myself I am indeed £50K man and I don't begrudge a penny.
I do have an idea going forward of how to fund both my time and others but for now getting the exhibition centre over the line is the priority. Now back to the cupboard !
https://www.gofundme.com/scottishpopmusicexhibitioncentre
Exhibition Centre finance
I had thought that with the announcement of the museum's Rip It Up exhibition this year I would find the centre a home in good time but instead we are cutting it very fine indeed. Don't get me wrong I'm very grateful to those who have helped and supported the centre and got me to this point and do I appreciate these things take time but even so ………..
I have concentrated on being sure I could put on an exhibition of quality and in that respect the Fruitmarket Gallery pop-up was a huge success. You will find several of the exhibits appearing in the museum's exhibition and I have equally exciting things to replace them until they are returned. I've left bringing on celebrity supporters a la the Leith Theatre or King's Theatre until there was a home to support though that isn't to say there hasn't been help in the background already.
Fruitmarket Gallery exhibition The Only Fun In Town
I set up the funding page in readiness for an announcement not really expecting contributions until then though there have already been a few generous donations mainly but certainly not all from regulars. A major outlet on Princes Street has agreed to support Scottish artists both old and new given that the exhibitions that will be on this year will no doubt raise the profile of Scottish music. I am very grateful for their interest. I'm tempted to say more now but would really like to sort out the centre's home first.
Paul Haig's blue Fender Coronado Mk2
I started off looking for space that the council might give the exhibition for free or at least subsidised but those days it seems are now gone. Frustrating when I see what has been given freely even quite recently. Realistically therefore I have offered to hire space from Edinburgh Council at a rate that will not see them out of pocket from what they would have expected to make and have had very positive feedback. You won't be disappointed ! I also have sponsors interested in helping cover those costs.
I actually have a sponsor wanting to work with Avalanche but as I have done for over three years now any money I get will go towards giving me time to work on the centre. The funding page gives a little more detail on how I have self-funded things so far.
The nub of all this is I need to raise an extra £2K to £3K immediately to get things over the line hopefully by the end of the week. If anybody feels able to make a substantial donation I'm very happy to give more detail on both locations to reassure them where their money is going. If any business would like to contribute I'm also very happy to publicly thank them for their help. My email address is kevinavalanche@hotmail.com and the link is below.


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text:
package common.java;

public class TestFibonacciSeries extends AbstractTestSeries {

	protected Series createCut() {
		return new FibonacciSeries();
	}

	@Override
	protected long[] getExpected() {
		return new long[] {1L, 2L, 3L, 5L, 8L, 13L, 21L, 34L, 55L, 89L, 144L, 233L};
	}
}


Mr. Dey holds a B.E. (Mechanical and Masters degree in Management Studies from Sydenham Institute of Management & Entrepreneurship Education, Mumbai University. He has a total work experience of 6 years in the equity markets. His prior assignments were with consulting firm Frost & Sullivan India as an automotive industry analyst, and India Infoline as an equity research analyst.


Did you know Trentino is home to some of the best in Italy?
In winter, after a proper day out on the snow and the ski-slopes, why not warm yourself up by discovering some of the many distilleries producing one of Trentino's most characteristic products, Grappa, a spirit born of mountains, select grapes, water and fire.
Enjoy the warm hospitality of the distilleries: there are many to choose from across Trentino, from the most distinguished to craft and family-run establishments, where you can take part in tasting sessions and guided tours and also acquire bottles directly from the producer.


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Amazon Releases the Long-Awaited Beyoncé and Destiny's Child Documentary on Amazon Direct
Houston, TX, February 20, 2018 –(PR.com)– The newly released Documentary "Girls Tyme – Making a Child of Destiny (The Andretta Tillman Story)," shares never before seen interviews from key people who influenced Beyoncé and Destiny's Child on their rise to fame. The documentary includes clips of rare unseen performance footage of the Flawless star and the rest of her Girls Tyme crew.
Produced from largely previously unreleased footage and personal interviews, the documentary examines Andretta Tillman's life as the driving force in launching Queen Beyoncé and Destiny's Child's legendary careers, as well as many other Houstonian artists, who also rose to fame under Andretta's management.
"We felt an obligation to show the world the true impact of Andretta's irreplaceable contribution to the success of Queen Bey and her Destiny's Child band mates. We opened the vault of Andretta Tillman's estate to provide the viewer with an understanding that, what you see Beyoncé and Destiny's Child doing on stage today, was rooted in them through Andretta's irreplaceable influence and tutelage, from way back in the early 1990's as young ladies in Girls Tyme. Where they are today, is a direct result of the solid foundation Andretta Tillman taught them." cited Executive Producer of the documentary, Brian "Kenny" Moore (from whose book the documentary evolved).
"We at Dousic are delighted to have secured a partnership with Amazon to ensure the documentary reaches the masses. We are giving Beyoncé and Destiny's Child fans an up-close look at the excitement, distresses and sacrifices made to elevate the band to stardom, by revealing the hidden part of their story of Andretta's enormous contribution and sacrifice that has not been told, or has hitherto been omitted," said Michael Ferguson, Executive VP of Dousic Media Group.
The documentary features interviews with Gospel great Kathy Taylor, Original Girls Tyme/Destiny's Child members Nina and Niki Taylor. Former Co-manager Kenny Moore, Hip Hop Producer Cory Mo, Former Rap a Lot recording group Flajj, Destiny's Child first choreographer Harlon Bell, and members of Andretta Tillman's family.
www.amazon.com/Girls-Tyme-Making-Child-Destiny/dp/B079X55SVL/ref=sr_1_1
Dousic Media Group
Jeremy Dickens
http://www.dousic.com
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The terms "face recognition" and "face detection" are often used interchangeably by photo management solutions. Though closely related, there are some important differences. Understanding them can greatly impact the how much time and effort is spent using a particular solution to organize your photo libraries. Let's discuss what these differences are and hopefully, clear up any confusion.
Face detection can occur without face recognition; however, face recognition isn't possible without face detection. The process begins by first being able to detect a face exists in a digital image.
Face detection uses computer technology to scan your digital photos, looking for anything that resembles a face. Using complex algorithms, face detection discerns a human face from other objects in a photo. Most of these methods involve machine learning algorithms that learn from millions of good and bad samples how to identify a "facial region" with a very low error rate. Some methods add a further step to identify facial landmarks including eyes, nose, and mouth.
Face recognition adds identity to the detected face regions. Advanced face recognition techniques, such as those used by Tag That Photo, also use machine learning algorithms to differentiate attributes of the face region to create a unique facial signature. This is then compared to a database of known face signatures. Using statistical comparison methods the facial signatures are analyzed to determine if an unknown face matches a tagged (known) face. The more faces confirmed (tagged) for a person, the more accurate the name suggestions will be. Tag That Photo uses these same comparison methods to group unknown faces together into "likeness clusters." The benefit of clustering is that it makes it possible to tag multiple images in one step. It's pretty sophisticated stuff.
Face detection and face recognition are important features to consider when selecting a photo organization solution. What makes face recognition valuable to photo organization is its ability to automate the face tagging process. Depending on the size of your image library, this can save significant time and effort. Hopefully, we've helped shed some light on how they differ and what each has to offer.


text:
package cloudcallcenter

//Licensed under the Apache License, Version 2.0 (the "License");
//you may not use this file except in compliance with the License.
//You may obtain a copy of the License at
//
//http://www.apache.org/licenses/LICENSE-2.0
//
//Unless required by applicable law or agreed to in writing, software
//distributed under the License is distributed on an "AS IS" BASIS,
//WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.
//See the License for the specific language governing permissions and
//limitations under the License.
//
// Code generated by Alibaba Cloud SDK Code Generator.
// Changes may cause incorrect behavior and will be lost if the code is regenerated.

// NewbieTaskStatus is a nested struct in cloudcallcenter response
type NewbieTaskStatus struct {
	Task   string `json:"Task" xml:"Task"`
	Status bool   `json:"Status" xml:"Status"`
}


Located in the Northern Chilean town of San Pedro, Hotel Casa Don Tomas offers high-quality 3* services for everyone who wants to venture into the vast Atacama desert. The hotel counts with a swimming pool ideal for refreshing after a full day of exploration, and a patio that offers astonishing views of the towering Licancabur Volcano and the 'Atacameño' night sky.
It is decorated with soothing reddish hues that perfectly reflect the calmness of San Pedro. Single, Double, Triple and Family rooms are offered, all of them counting with free Wi-Fi, safes, and heating.
Tucked away in the outskirts of San Pedro de Atacama, the Hotel Altiplanico San Pedro faces the impressive Licancabur Volcano. The luxury hotel features a unique design inspired by a traditional Altiplano village, with touches of Spanish colonial style. Enjoy spectacular sunsets from private terraces or the swimming pool. The hotel has 29 rooms arranged in three semicircles, with cultivated fields in between. Some rooms have outside showers to enjoy the starry night and sunny days. The hotel also offers safe deposit boxes, hot tub, bar and restaurant, free Internet, and laundry service.
A warm home in the middle of the desert, Noi Casa Atacama features a spa, a restaurant serving delicious dishes prepared with its very own organic farm, and a group of knowledgeable guides that will make guests make the most of their vacations in Northern Chile.
The hotel counts with 25 rooms divided into Suites and Deluxe. All of them offer Wi-Fi and have a warm natural light and solar powered LED lighting. Following a philosophy of conservation for the environment that characterizes the brand, none of the rooms has air conditioner, but nevertheless, they have been carefully designed to keep a nice temperature.
Alto Atacama is a 5* lodge and spa in the midst of San Pedro de Atacama, the world's driest desert. Truly a desert oasis, the Alto Atacama overlooks the ancient Pucara de Quitor ruins, and is witness to breathtaking sunsets and cloudless night skies. The hotel has an observation deck with telescope, outdoor swimming pool and shaded lounge areas, a garden, and sauna.
There are 42 guest rooms, each with a minibar, terrace with views of the valley and the vibrant rust-colored hills. Guests can relax in the spa, which offers massage treatments, or unwind in the game room or at the bar. There is also a restaurant, with a large patio for guests to enjoy an excellent meal in the cool of the evening. Free Wi-Fi is available, as well as a 24-hour front desk, facilities for handicapped guests, a business center, and bicycle rental.


text:
Curbing Derivatives Would Curb Credit, Panel Told
By Domis, Olaf de Senerpont | American Banker, January 9, 1995 | Go to article overview
Domis, Olaf de Senerpont, American Banker
WASHINGTON -- Limiting banks' investment in derivatives could result in less credit for customers, a top banker warned the Senate Banking Committee on Friday.
Richard B. Roberts, executive vice president and treasure of Wachovia Corp., Winston-Salem, N.C., added that restrictions on derivatives could force banks to take on more interest rate risk, which eventually could threaten the safety and soundness of the system.
"Any effort to restrict the ability of banks to engage in derivative transactions would increase costs and burdens to the industry and the communities served by these institutions," concluded Mr. Roberts, who testified on behalf of the American Bankers Association.
Not surprisingly, nearly all of the banking and financial markets representatives testifying before the panel agreed that further legislation in the area of derivatives is not necessary.
"There do not appear to be any gaps in the authority of federal regulators to deal with any issues or circumstances that might arise in the markets for these instruments," said Robert D. McKnew, executive vice president of Bank of America.
The only person in the room calling for legislation was Bonnie Ridley Kraft, president of the Government Finance Officers Association. Her recommendation, however, focused only on intensifying scrutiny of investment advisers.
"Congress can improve investor protection by the expeditious enactment of investment adviser legislation to provide for more frequent inspection and additional oversight of investment advisers," Ms. …
Publication information: Article title: Curbing Derivatives Would Curb Credit, Panel Told. Contributors: Domis, Olaf de Senerpont - Author. Magazine title: American Banker. Volume: 160. Issue: 5 Publication date: January 9, 1995. Page number: 2. © SourceMedia Inc. COPYRIGHT 1995 Gale Group.


I'm a company employee in my 30s. I need advice about my boyfriend's father, who failed in business, filed for personal bankruptcy and received an exemption from responsibility.
My boyfriend told me that his father said he can't meet me and my parents until five years have passed since he received the exemption. As a result, our prospective marriage has been postponed.
His father also seems to feel guilty that I know about his bankruptcy, as I'm not a member of the family, and he may be reluctant to meet me.
I'm serious about my future with my boyfriend, but I can't talk about this with anyone. Sometimes I feel exhausted as I continue waiting without a guarantee of marriage. I don't know if I can keep this up.
Your marriage has been delayed because your boyfriend's father believes he "cannot make a move until five years have passed" since receiving an exemption of responsibility for his bankruptcy.
However, the father's assertion isn't really true.
You aren't seeking legal advice, so I won't go into detail. However, personal bankruptcy causes few inconveniences in one's ordinary life. After being exempted from responsibility, your boyfriend's father will also not have to pay any remaining debts and will regain the status he lost due to bankruptcy. At that point, he will be able to live as he did before. The father seems to misunderstand the circumstances of his exemption.
If you are serious about marriage, you should take a stand to prevent your boyfriend from becoming entangled in his father's money problems in the future. To do so, you need to understand his father's economic situation. You should sit down and talk to your boyfriend about how to interact with his father.
I recommend you to meet the lawyer who dealt with the father's personal bankruptcy and consult with him if possible.
You can't move things forward just by waiting. You need to take action to realize your dream of marriage. I wish you happiness.


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Now all that experience is being put to good use - you can see all the greatest material from his extraordinary career in one show - this is the very best of Jimmy Carr on Saturday 24 February at The Star Gold Coast.
Catch Jimmy Carr The Best Of, Ultimate, Gold, Greatest Hits World Tour at The Star Gold Coast on February 24. Our Gold Coast Palm Beach Resort is just minutes away from The Star Gold Coast.
The one bedroom apartment features a self contained kitchen, television, laundry facilities, Foxtel TV, a private balcony, and more. Suitable for three guests, the one bedroom apartments are perfect for small families, couples and solo travellers. We also offer a choice of two bedroom apartments and three bedroom apartments which can accommodate five guests and seven guests respectively. The two bedroom and three bedroom apartments also include laundry facilities, a fully equipped kitchen, a private balcony, Foxtel TV and more. Book your stay at our resort.


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Hulk makes 62 million green things
Jun 24, 2003 by Ian Evans
You wouldn't like it when he's mad.
The Hulk brought in just over $62 million this weekend, but analysts jumped on the fact that the green guy didn't do as well as other recent Marvel comic characters.
Somewhere under the sea, Finding Nemo was second this week, adding another $21 million to its bubbling treasure chest. 2 Fast 2 Furious took in $11 million in its third week while the Jim Carrey laffer Bruce Almighty, whose total B.O. now stands at $210.5 million, added another $9.8 million to its collection plate. The Italian Job rounded out the top five with $7.1 million in its fourth week.
Meanwhile at the beach, the American Idol cash grab From Justin to Kelly, finished out of the top 10 with just $2.7 million.


If you're considering undertaking a bigger remodel and removing walls to make a more open living space, think about using cabinetry as a means to dileneate the space but still leave an open view. A bathroom remodel is an exciting job, whether you have merely a very simple powder room or a huge master bathroom. A little bathroom remodel, or a big bathroom redo may be an exciting adventure and an extremely frustrating one when you don't have the right type of assistance.
As a result of essence of bathroom, it should be kept neat and superb. Bathroom is a stress-free zone where an individual can relax for some moment. Anybody want to have a bathroom which has a tranquil spa-like atmosphere. Based on what mood you wish to create in your bathroom, you can opt for colors related to it. It is possible to make the more compact bathroom look equally as modern as the principal bathroom employing some easy tricks. When it regards small bathrooms, one ought to select all of the bathroom vanities very carefully. Most small bathrooms function as guest bathrooms in the hallway well, simply because it isn't your principal bathroom, that doesn't mean that you can't design it with the very best.
There's a lot you can do in order to your bathroom by utilizing ceramic tiles. When it has to do with remodeling the restroom, wainscoting is a significant idea. It will be simpler that you look at the web and bathroom tile brochures for some superb tile design ideas. You can begin with your huge bathroom redo ideas and an expert remodeling team which can help you design a new bathroom that will match your individual style. The very first step to makeover a vintage blue bathroom is to seek out a way to earn the tile work.
If you're not quite certain what you want for your bathroom, be certain to get in touch with our experts who will help lead you through the procedure! Whether there are one or two steps in the restroom, then utilize mosaic for the steps, when using 12-inch tiles for the remainder of the ground. If you bored with your drab bathroom and wish to transform that, then you want some fantastic suggestions for decorating the restroom. Or, perhaps you desire a complete bathroom redo! Possessing a spacious bathroom is just one of the very best ways to create the place seem larger. So just two or three adjustments, and you receive a spacious and much better bathroom.
There are a myriad various ways in which you may design your bathroom. If you need a bathroom which is both efficient and refined, here are a few ideas which may help you. You don't need to keep a little bathroom minimalist or plain.
Due to such a huge variety in conditions of hues and patterns, you are able to easily match the bathroom paneling designs with remainder of the bathroom decor and vanities. Also, focus on which style and variety of material that you want to use, and which will fit your bathroom design. There are numerous tile designs for traditional and a modern bathroom.