About twenty years ago, when I was in my fourth year as chair of the jazz studies program at New England Conservatory as NEC celebrated the thirtieth anniversary of its jazz program, NEC staff writer Rob Schmieder uncovered some interesting history in the archives that shed light on, among many other things, Cecil Taylor’s studies at NEC. He and NEC’s librarian Jean Morrow shared some documents with me at the time that added some tantalizing details, and those have now been filled out much more in the past few months by NEC archivist Maryalice Perrin-Mohr and letters donated by the estate of the late composer and NEC faculty member Robert Ceely, who was a fellow student and friend of Cecil Taylor’s when they studied together at NEC.
Anyone sharing these items should credit them as follows:
All: Courtesy of the New England Conservatory Archives
Article: Schmieder, Rob, “Caravan: 30 Years of Jazz at NEC,” Notes, v. 26 no. 1 (Winter 2000), Boston: New England Conservatory. (Individual photos are credited in the PDF.)
Program: Concert programs, 1950-1951. Boston: New England Conservatory. Courtesy of the New England Conservatory Archives
The headlines from this information, for those few who care about such details of jazz history and biography, are:
- He was a student in the mostly-forgotten NEC Popular Music program (at one time called the School of Popular Music, and later informally called the Pop School) and majored in Arranging. Most of his private lessons were in arranging, not piano. His course work included the sort of core classroom music theory that all music majors’ programs have in common: two years of basic harmony, introduction to counterpoint, survey of music history, etc.; plus courses specific to the Popular Music: Arranging major.
- Contrary to much (most?) writing about Cecil Taylor’s educational background, he was not admitted to NEC as a classical pianist and did not particularly study classical piano at a high level as a focus of his studies there. Also, he was not particularly engaged in the study of composition, 20th-century literature, or new music academically, although he was interested and probably well-informed, and was friends with Ceely and probably other composers.
- It seems likely he took one influential course in contemporary music, however, and he would have been aware of Messiaen’s music in particular due to that course and teacher, and an important Boston and NEC visit by Messiaen. On the other hand, similarities between Messiaen’s (or other contemporary composers’) and Taylor’s music have been exaggerated, and if they are significant at all, they are not overwhelming or deep. While self-analysis by artists is not always entirely reliable or complete, I see no reason to doubt Taylor’s own basic account of how he assimilated elements of jazz and contemporary classical music.
- While he was a student, he co-authored a series of columns called “Pop Notes” in a student publication. His interests were clearly in modern jazz piano. (I’ll share scans of those below, courtesy of the NEC archives.)
- Likewise, his letters to his classmate, composer Robert Ceely, are also full of discussion of current trends in jazz.
All of this lends credence to Cecil Taylor’s own version of his story, both about the nature of his studies at NEC and about his attitude toward and use of material and influences from jazz and contemporary composition, as quoted in the early extended discussions on him in Joe Goldberg’s Jazz Masters of the Fifties (1965) and A. B. Spellman’s Four Lives in the Bebop Business (1966). But it seems that many later writers, perhaps building upon one another’s assumptions, probably resulting from the combination of aspects of the surface of Taylor’s music with stereotypes about what early 1950s study in a conservatory like NEC must have meant, have constructed a narrative that results in statements like this:
“A graduate of the New England Conservatory, he was rigorously trained in classical composition and performance, and could fire off precise references to Webern, Xenakis, and, yes, Ligeti.” – Alex Ross, The New Yorker, April 10, 2018
Cecil Taylor at New England Conservatory, 1947-51, and The School of Popular Music
Taylor is frank about his Popular Music: Arranging study in Four Lives (and, although it includes less detail about NEC and Boston, in the even more often overlooked chapter in Jazz Masters of the Fifties). He said he inquired about changing majors to Composition and was rebuffed by the department chair. “The head of the Composition Department was such a bigot that he wouldn’t let me into the department….The Composition Department was the best…in the school, and one of the best among the East Coast schools…But that department head, he must have figured that he already had one Negro and that was enough…Even when he was trying to be nice, he was a racist” (Four Lives, p. 55). Robert Ceely, who arrived at NEC later but overlapped with Taylor and spent a lot of time with him, remembered Taylor’s version of this similarly. It’s not known (so far) what scores Cecil Taylor was able to present to support his application to change to the Composition major. He quotes the Composition chair as saying “’Your music is all right, but it’s mood music. That’s okay as long as it’s not “Mood Indigo.”’” The Composition Department chair during Cecil Taylor’s study at NEC was his Elementary Composition, Harmony IV, and Counterpoint III teacher Carl McKinley (1895-1966), an organist and composer who had had an award-winning tone poem, The Blue Flower, premiered by the New York Philharmonic in 1924.
(However, Taylor seems not to have been frank about the years of his study, which were 1947-51. It was and is common for performers and artists to misstate their years of birth and schooling, exaggerating their youth, and it appears that Taylor, in the 1950s and ‘60s, may have shaved four years off his age and dates of attendance at NEC. In Four Lives, he’s quoted as saying “I think it was 1951 when I went up to Boston….In 1952, I went to the New England Conservatory” [p. 54]. And the Feather and Feather/Gitler Encyclopedias of Jazz…, which relied significantly on questionnaires submitted by the subjects, listed his birthdate at 1933 when it was 1929.)
Cecil Taylor studied at NEC for eight semesters, from fall 1947 through his graduation on June 19, 1951 with the Diploma in Popular Music in Arranging. (Not a Bachelor of Music degree, but a diploma, which has fewer requirements.)
The Popular Music program at NEC persisted for something like 15 years from its start in 1942, although it is little remembered and has been overshadowed in memory and institutional history by NEC President Gunther Schuller’s historic creation of an accredited jazz degree program in 1969 with founding chair Dr. Carl Atkins (celebrating its 50th year this fall, including a tribute to Cecil Taylor) and the Third Stream (now Contemporary Improvisation) program with founding chair Ran Blake.
NEC writer Rob Schmieder wrote about the history of the Popular Music program here (see the sidebar on p. 9) as part of an overview of the NEC Jazz program’s 30th anniversary in 1999-2000:
30 Years of Jazz at NEC, Notes, v. 26 no. 1, Winter 2000
Schmieder, Rob, “Caravan: 30 Years of Jazz at NEC,” Notes, v. 26 no. 1 (Winter 2000), Boston: New England Conservatory. (Individual photos are credited in the PDF.)
Twenty-three Popular Music faculty members were listed in the 1948 yearbook. https://archive.org/details/neume1948newe/page/36
Here are two brochures describing the program and faculty from Cecil Taylor’s first and last years in the program:
Around the same time, Lawrence Berk had founded Schillinger House (which was to become Berklee School of Music and later, Berklee College of Music) a few blocks away in 1945, also teaching jazz and popular music arranging. Both programs, and similar ones in other U.S. cities, were absorbing an influx of (suddenly, mostly male) students after World War 2 and with the help of the GI Bill. Students of the two institutions knew one another and intermingled in the Boston jazz and commercial music gig scenes. (Richard Vacca’s The Boston Jazz Chronicles is the best single source for information on the thriving jazz scene of the time.)
When Cecil Taylor began his studies at NEC, the chair of the Popular Music program was Ruby Newman, assisted by Sam Marcus and G. Wright Biggs. During Taylor’s last two years of study, the chair was G. Wright Biggs. (When the NEC Popular Music school closed, Sam Marcus went on to open the independent School of Contemporary Music in Kenmore Square, Boston. It continued until the early 1980s, I believe. My friend, ROVA saxophonist Steve Adams, is an alum. Their curriculum overlapped significantly with that of Berklee and other schools that teach standard arranging techniques and systematic approaches to jazz harmony.)
The 1947-48 NEC catalog shows his as a three-year program, but Taylor was enrolled for four years, although he only repeated one course (Orchestration 2) and had probably transferred some credits from his previous studies at New York Musical College, and/or tested out of some first-semester courses. (Taylor started at NEC in Harmony 2 and Counterpoint 2, but at the first level of other courses like Solfege, Keyboard Harmony, Orchestration, and History of Music.)
A typed registration card is in the NEC archives, showing all of Cecil Taylor’s courses and teachers (but not grades) by semester.
Taylor took two years of private piano lessons (not four; piano performance was not his major, although piano was his principal instrument) with Barbara Ann Chambers for his first semester (Fall 1947; she had just graduated in Music Education the previous spring and was no longer listed as a faculty member in the Spring 1948 yearbook) and Alexandra V. Batylda for the next three semesters (Spring 1948, Fall 1948, Spring 1949). These may have been half-hour or half-time lessons; the registration code is not completely transparent but it suggests 38 hours over the academic year. The influential Margaret Chaloff, who taught several major jazz pianists in and outside of NEC, was on the faculty during this time, but was not Cecil’s NEC teacher. http://adobeairstream.com/art/the-last-time-i-saw-madame-chaloff/
He had three years of private (Popular Music) arranging lessons, years two and three with Loring Briggs (1919-2008), and year four with Loring’s brother, the Popular Music program chair G. Wright Biggs (Jr.; 1910-1994). There were also courses in English Composition and Physics, “Form & Acc.” (accompaniment? – not a course name I’d expect; something to look into further), Vocal Ensemble, Woodwind Class (it’s common for composer-arrangers as well as music educators to take basic instrumental technique classes), and Pop Choral Writing with chair G. Wright Biggs. (“One of the things a teacher did tell him was that no one could possibly sing his vocal arrangement of Why Was I Born, his choice for a graduation exercise.” [Goldberg, Jazz Masters of the Fifties, p. 218]. Taylor took Pop Choral Writing in his last year.)
Cecil Taylor did have at least one of his pieces played on a major annual concert of the Popular Music department. A few weeks before his graduation, on May 14, 1951, Taylor’s composition “The Game” was performed by the Cecil Taylor Sextet at Jordan Hall, between an arrangement of “Stella by Starlight” for orchestra and vocal quintet, and a Lerner & Lane song. (To my knowledge, this is the only NEC concert program from the time that shows Taylor’s name that has been located so far.)
Concert programs, 1950-1951. Boston: New England Conservatory. Courtesy of the New England Conservatory Archives
If he took a course that covered 20th-century composers’ work, it was probably “Cont. Mus. Cook.” (the period indicating the name is shortened) in 1950-51, which was probably a course in Contemporary (Classical) Music taught by Francis Judd Cooke (the only person I can find in faculty lists whose name includes or resembles Cook.), one of the most influential teachers on the faculty. (Taylor’s friend Bob Ceely recalls Cooke as “the best teacher I ever had.” http://www.ceelymusic.com/Biography.htm ) Cooke’s students included many future composers and teachers of music theory and composition, including current and recent Berklee and NEC faculty members. Long-time Berklee composition professor John Bavicchi described him as “much more esoteric in his musical tastes” as compared to Carl McKinley, who he describes as “a very conservative composer.” (https://libraries.mit.edu/music-oral-history/interviews/john-bavicchi-6302006/ ) Bavicchi says Cooke was particularly interested in contemporary music, especially Messiaen, and also mentions Irving Fine and Hill (?).
Prior to his taking this course, in the late fall of Taylor’s third year at NEC, November and December of 1949, Olivier Messiaen visited Boston. There were ten rehearsals of his Turangalîla-Symphonie for its December 2nd and 3rd premier with the BSO conducted by Leonard Bernstein at Symphony Hall, across the street from NEC, with pianist Yvonne Loriod, and Ginette Martenot playing the ondes Martenot. They visited Walter Piston’s class at Harvard, giving an analytical discussion of the new symphony commissioned by Serge Koussevitsky, then in his last season conducting the BSO. At Koussevitsky’s house, Loriod played Messiaen’s Vingt regards sur l’Enfant Jésus (1944), a piece sometimes mentioned in connection with Cecil Taylor when people compare aspects of his style to Messiaen’s, because certain passages and movements have a surface resemblance to some of Taylor’s best-known gestures in texture and intervallic shape. (Some of this information comes from “Messiaen, Koussevitsky and the USA” by Nigel Simeone in The Musical Times, Vol. 149, No. 1905, Winter 2008.)
A program in the NEC archives shows that Messiaen’s Quartet “For the End of Time” was played “in honor of the composer” by a quartet (including Francis Judd Cooke on cello) in an NEC recital hall (probably Williams Hall) on December 4, 1949. Presumably Messiaen was on campus for this, the day after the Turangalîla premieres.
All of this must have made quite an impression on any NEC students interested in new music. NEC was and is very close to the BSO, with the faculty including orchestra members.
Most of the comparisons of Cecil Taylor’s music with specific 20th-century composers’ music or musical languages seem facile – they are based on vague impressions of dissonance, atonality or harmonic ambiguity, use of clusters, pointillism, disjunct textures, and/or rhythmic complexity. (Interestingly, Henry Cowell and Charles Ives are rarely on the list, while Boulez, Stockhausen, Ligeti, Webern, Stravinsky, and Bartók are all often mentioned.)
Connections to Messiaen are somewhat better informed, but again, it’s at most a surface resemblance to certain gestures and pianistic textures, not to the actual pitch material or rhythms – and certainly not to the performance style and rhythm. Pieces that evoke that surface resemblance include some of the bird-call-inspired ones, like this: https://www.youtube.com/watch?v=212_gddQRAU and the 6th movement of Vingt regards… https://www.youtube.com/watch?v=ovMnmIoZh74&t=1354s
Messiaen’s music employs certain techniques that are well documented and generally pretty easy to analyze and locate in his scores. He was as transparent as any composer in documenting and publishing his ideas (in French in 1944, translated to English in 1956). (https://monoskop.org/images/5/50/Messiaen_Olivier_The_Technique_of_My_Musical_Language.pdf ) Some of his materials are attractive and accessible to modern jazz musicians – partly for the simple reason that symmetrical scales like the whole-tone and octatonic diminished scales have been part of jazz vocabulary for decades (whole-tone since 1926 if not earlier) and the “modes of limited transposition” are a handy, effective way to introduce symmetry and ambiguity, and/or disrupt tonality’s asymmetry.
My own perception, informed by Taylor’s own accounts as well as knowledge of his music and the alleged sources, is that Taylor was aware of and interested in developments in composed music, as he was of jazz, as well as dance and other art forms. He was raised in New York by a mother who emphasized exposure to the arts, took classical piano lessons as a young person, knew an orchestral percussionist, attended two major music schools for at least five formative years, had at least one good friend who was a composer (and probably more), and later worked with Buell Neidlinger, a bassist who played both contemporary classical music and jazz (traditional and avant-garde). It would be impossible for him not to be aware of and affected by contemporary classical music – among many other things.
Cecil Taylor, quoted in 1965 in Joe Goldberg’s Jazz Masters of the Fifties, says “the problem… ‘is to utilize the energies of the European composers, their technique, so to speak, consciously and blend this with the traditional music of the American Negro, and to create a new energy. And was it unique? No. Historically not. This is what has always happened. Ellington did it’” (pp. 214-5). As Taylor points out here and elsewhere, there was a long dialogue between European and Euro-American 20th-century composers and African-American jazz (and other world musics), each adapting elements from the other to use to their own purposes.
At the same time, he was primarily identified with and interested in jazz. His columns and letters, shared below, are full of engagement with jazz. His extended interviews in print and in audio or film form all emphasize his feeling of inspiration, connection, and extension of the work of jazz musicians who interested him. He mentions an early interest in Dave Brubeck, particularly the density or dissonance of his chords (evident in early ‘50s recordings), Horace Silver (including his dissonant low-register left-hand playing), Thelonious Monk, Duke Ellington (especially, as composer and pianist), Lennie Tristano (early on), Richard Twardzik, and Jaki Byard.
I believe Jaki Byard (1922-1999, 7 years older than Taylor) may have been a particularly visceral influence on Taylor’s playing as well as an intellectual and artistic influence on his ideas about modern jazz piano. People who remember that time say that Jaki “held court” and informally taught the young pianists, including Twardzik and Taylor. A rare, unreleased recording I heard (at a Byard festival, April 13, 2014 at WPI) of Jaki doing what seems to be a free improvisation for solo piano in the 1950s strongly suggests a connection, given that Taylor certainly heard Jaki live often. On more accessible recordings, there are occasional examples of Jaki doing things that suggest a possible connection. A live Boston recording with Jackie McLean from the 1970s (https://www.youtube.com/watch?v=rtH1HMqve30 ; Jaki’s solo begins at 4:15; thanks to Michael Weiss for this example), or the free improvisation by Jaki, Reggie Workman, and Alan Dawson on the 1965 Berlin Piano Workshop DVD (https://www.youtube.com/watch?v=mhBFk54qBNk ) give glimpses of what may have been elements of Jaki’s style as early as the late 1940s or early ‘50s, as suggested by the elusive tape. There are aspects of Jaki’s touch and articulation in pieces like this that remind me physically of Cecil Taylor: https://www.youtube.com/watch?v=aAmIkf-WYZ0 . [2.7.21 addition: Listen also to Jaki’s “Trendsition Zildjian” with David Izenzon and Elvin Jones from Sunshine of My Soul, 1967: https://youtu.be/BMQzjAm7YfY?t=2091. Thanks to Richard Serrambana for this note.] I hear elements of both Taylor’s and Twardzik’s approach to sound (attack, duration, release: touch) in Jaki’s playing in these and other examples, but this is hard to quantify and impossible to prove; it’s just an impression and a hypothesis that he may well have been a strong influence, perhaps even stronger than Cecil realized. Often, as musicians, hearing something, especially live and up close, can leave a lifelong ideokinetic impression that is manifested at a subconscious level and affects our sonic imagination and how we play physically.
Having read most of the controversy over Cecil Taylor’s music as it appeared in print from the 1950s up to the commentary after his death April 5, 2018, I see two or three ways that false impressions about his conservatory study and his relationship to contemporary classical composition have been used.
One argument is that his purportedly deep academic knowledge and classical technique made him more impressive, presumably as compared to Ornette Coleman, the other most discussed free jazz musician of the late 1950s. Certainly, he had more formal academic training than some members of the jazz avant-garde. But Cecil Taylor was far from the only jazz musician studying at NEC at the time, let alone an exception in the wider world of jazz. Many jazz musicians were pursuing some kind of formal study, and being in a Popular Music Arranging major in a post-WW2 program was quite typical of his generation. Andy McGhee (tenor saxophone soloist with Lionel Hampton), Rollins Griffith (pianist who recorded in Boston with Charlie Parker), and others were in the same NEC program with Taylor. Roger Kellaway, Dick Johnson, and probably Richard Twardzik were NEC students as well. Steve Kuhn was studying at Harvard. Alumni of Boston Conservatory, a few blocks away, included Don Redman (decades earlier), Slam Stewart, Gigi Gryce, Sam Rivers, Makanda Ken McIntyre, and in a summer program, Roy Haynes. Many jazz musicians were studying music theory a few blocks from NEC at Schillinger House, later Berklee. Similar programs existed in Chicago and other major cities. Miles Davis attended Juilliard for at least a year (1944-45), and Phil Woods graduated from Juilliard with a Bachelor of Music degree in 1952. Many more jazz musicians learned the same content of a standard college music education in the Army and Navy schools of music. Musicians who weren’t fully enrolled in a music college program were often taking lessons at music schools like Granoff in Philadelphia (where John Coltrane and Benny Golson studied with guitarist-arranger Dennis Sandole), or with private teachers. Many post-WW2 modern jazz arrangers studied with contemporary classical composers, including Schoenberg (see Ted Gioia’s West Coast Jazz for more on this). And Charlie Parker famously inquired about studying with Stefan Wolpe and Edgard Varèse — and told Cecil Taylor directly that he hoped to go to Europe to “learn music,” according to one of the letters below. In the world of avant-garde and free jazz, Sun Ra had studied a conventional college music curriculum at Alabama A&M in 1935-36 (possibly for two years); the music of Scriabin, then a fairly modern composer, was included. Don Cherry, Eric Dolphy, and members of the AACM took community college music theory and composition courses. Dewey Redman earned a master’s degree from North Texas, and Julius Hemphill studied there as well. Many members of the jazz avant-garde were comparably “conservatory-trained:” that is, taught the elements of traditional Western music theory, history, and instrumental technique through a conventional college curriculum.
Another way that Cecil Taylor’s “conservatory training” is deployed in arguments is to mark him as an outsider in the jazz tradition, someone who lost or never had a connection with the traditional elements of African-American culture. His classical background is exaggerated (without acknowledgement of what he actually studied at NEC, or the context in which many other jazz musicians had similar educational backgrounds), and used to purportedly explain why his music is unacceptably different, and dismiss it as not an authentic part of jazz.
A third version of this is to exaggerate his classical training, then use it against him, arguing some version of “If he’s a rigorously conservatory-trained composer and classical pianist, then why doesn’t he conform to these expectations?”
Of course, there are also many sympathetic and nuanced discussions of Cecil Taylor in print as well, but an accurate discussion of his academic background has often (not always) been lost in the discussion there as well, even though he describes it fairly clearly in Four Lives.
One thing I’m not disputing is Cecil Taylor’s prodigious piano technique. Whether or not he was “trained” (a strange word for learning to play music) as a classical pianist via a full conservatory program, he had a complete mastery of the piano for his purposes. I had the opportunity to listen to Cecil Taylor practice when I visited my friend Tom Cora’s loft at 96 Chambers Street in New York City, where I often stayed when visiting the city in the 1980s. Cecil Taylor lived upstairs in the early ‘80s and I could hear him practicing: relentless arpeggios over the range of the piano is mainly what I remember, and for a long time. Endurance, speed, fluency, hands that know where every note is, subtle dynamic control of sound: all are relevant to Cecil Taylor’s music and he was very, very good at playing it.
This is also true of many other jazz and improvising pianists, of course. Most (though not quite all) of the major pianists in jazz have had substantial exposure to classical technique and repertoire through private lessons, adapted it to their own ends, practiced a great deal, and played their music very well from both in terms of physical skill and musicality.
Sidebar: Conservatory ≠ Conservative
The word “conservatory” seems to play into this biographical trope, taking the implication that the word itself is apparently connected to the conservation of old music, and thus making Cecil Taylor’s NEC study ironic or setting up an image of exceptional rebellion. While Cecil Taylor would probably have been an exceptional rebel in any context or institution, that has nothing to do with “conservatory.” The word conservatorio for a performing arts school dates to 16th-century Italy, and what was being conserved was the safety and “virtue” of the students, not the music, and certainly not old music. Early conservatories (ospedali, cori, conservatori), were institutions in which foundlings — abandoned, orphaned, or illegitimate children, often girls, at risk of being drawn into lives of prostitution and exploitation — were taught to be “cultured,” perhaps marriageable members of mainstream society, with a focus on gaining skills in music and other arts. Conservatories then spread through European cities. (Musicologist Dr. Robert Labaree, an NEC faculty member, was the first to tell me this in the mid-1990s.)
In 1843, at the Leipzig Conservatory, Mendelssohn formulated a curriculum to produce educated performers who understood the music they were playing, balancing private instrumental instruction with group classes. There were good educational and economic reasons for replacing purely individual study and apprenticeship with a balanced program of private lessons plus master classes and group study. The Leipzig model was imitated around the world and was influential on American conservatories, eight of which opened in the three years after the Civil War (1865-8: Oberlin, Boston, Cincinnati, New England, Chicago Musical College, Peabody). The Boston and New England Conservatories, among others, admitted African-American students much earlier than many U.S. colleges, and taught men and women together from the beginning. The basic curriculum of conservatories is much the same today in schools of Western classical (and, with modifications, popular and jazz) music around the world, with necessary updates in areas like contemporary musical styles and technology.
The word “conservatory” in a school’s name tells us nothing about conservatism, tradition, or a historical atmosphere. The schools called “conservatory” are not in a different category from other colleges of music. What is more significant is whether they are independent schools of music or performing arts, or part of a university, especially a state university, and therefore subject to its rules and budget. In either case, though, all U.S. colleges of music are subject to regional accreditation agency policies which enforce certain curricular standards. Music schools, whether they’re called “School” (Julliard, Eastman, Colburn, Arizona State, etc.), “Institute of Music” (Peabody, Cleveland, Curtis), “Conservatory” (Boston, New England, Oberlin), or “College of Music” (Berklee, University of North Texas) all teach many of the same things in roughly the same ways. In fact, conservatories, or private music schools, are places where artist-teachers can be hired without necessarily having advanced (or any) degrees, and where aural and oral traditions are at the center of education, through the private lesson and ensemble. If there’s a type of Western academic institution that is antithetical to oral cultural traditions, embodied knowledge, and artistic freedom, it would be the university on the (former) Ivy League model, where performance is or was relegated to a non-curricular, non-credit “student activity” and taught by adjunct instructors or even people in non-academic staff positions. Universities are in a process of change, often led by ethnomusicology professors or those in other social sciences who question Eurocentric value systems and discrimination against other musics and forms of expertise, so that tracks for “professors of practice” allow, for example, jazz musicians or non-Western traditional musicians (and other artists) to teach on an equal footing with other professors.
After a few years of intermittent gigs, including some with well-known musicians as described in Four Lives and Jazz Masters of the Fifties, Cecil Taylor began his recording career with an album produced by Tom Wilson for Wilson’s Transition label, based in Cambridge, and interest in his music grew. There were some notable highlights to his recording career and public recognition between 1956 and ’66, but also some difficult years. By 1969, Taylor was beginning to be recognized as a great innovator and musician and to reap some of the benefits of that recognition: college teaching positions, more and better concert opportunities and working conditions, more recording opportunities, and eventually high-profile collaborations, a White House performance, a MacArthur fellowship, etc.
Cecil Taylor’s “Pop Notes” Columns
While he was a student at NEC, Cecil Taylor co-authored the “Pop Notes” column in the student paper, The Melodic Line, taking over the column from classmate and fellow jazz pianist Rollins Griffith (who had called the column “Calling All Cats.”) The columns are signed “The Two C’s.” It’s not clear who the other C is. I suspected it might be Taylor’s friend, the composition student Robert Ceely, but Ceely’s widow, the novelist Jonatha Ceely, said it wasn’t him, and Ceely’s dates of attendance at NEC don’t correspond with the dates of the column (1949-50). Looking over the student body at the time, no obvious answer jumps out.
Taylor and his co-author devote all of the columns to jazz. The four columns I’ve seen discuss recent performances by modern jazz figures who Taylor later acknowledged as important: Mary Lou Williams and Lennie Tristano. The first two are from 1949, the last two from 1950.
Courtesy of the New England Conservatory Archives
Courtesy of the New England Conservatory Archives
Courtesy of the New England Conservatory Archives
Courtesy of the New England Conservatory Archives
Cecil Taylor’s letters to Bob Ceely
Taylor’s friend Robert (Bob) Ceely was later an influential and prominent member of the New England Conservatory faculty from 1966 to 2003, serving as a Composition teacher and founder of the electronic music studio, which he ran alone for decades. (The studio has been run by Ceely’s former student, electronic composer John Mallia, since about 2004.) Ceely discussed his relationship with Taylor and their listening in a brief autobiography on his website: http://www.ceelymusic.com/Biography.html
NEC’s obituary for Robert Ceely, 2015: https://necmusic.edu/news/death-robert-ceely
Seven of Cecil Taylor’s letters to Bob Ceely were donated to the NEC archives. To the extent I can read the handwriting, which I found difficult, I’ve transcribed four and attached them here. They give some insight into his interests, early work as a jazz pianist, and thoughts on developing his own style.
Cecil Taylor Letters to Robert Ceely-Edited
Courtesy of the New England Conservatory Archives
Suggestions for further study and documentation of Cecil Taylor’s music
After having listened to most of the recordings, watched the videos, and read the interviews, what more can we learn about Cecil Taylor’s music? I think the most important thing for both current understanding and posterity is to record oral histories with the musicians Cecil worked with and taught. The best sources of information for what is not yet fully understood about Taylor’s music are the musicians who worked with him.
It’s getting late for this, but it would be very interesting to hear from anyone who remembers Cecil Taylor’s student arrangements or early compositions like “The Game,” or any of his music before his first recordings in 1956, and to find scores if any are preserved.
Three of the accounts I’ve found most informative are descriptions of his teaching, including two from musicians who worked with him as students.
• John Litweiler, “Needs and Acts: Cecil Taylor in Wisconsin,” Downbeat, October 14, 1971
• Peter Rothbart, “Cecil Taylor at the Creative Music Studio: Orchestrating the Collective Consciousness,” Downbeat, April 1980
• Karen Borca interview, Jazz Inside magazine, January-February 2018: http://www.jazzinsidemagazine.com/LIBERTY/JazzInsideMagazine-2018-01-Web.pdf
On the other hand, Taylor’s great long-time collaborator, drummer Andrew Cyrille, reports that Taylor said little or nothing to him about what to play (https://nmbx.newmusicusa.org/a-lot-of-energy-remembering-cecil-taylor-1929-2018/ ), which is important information, too.
Of course, the revelations here have limited usefulness and can’t explain all of Taylor’s musical ideas. His work with larger ensembles using his note letter-name graphic notation is just one aspect of his bandleading and composition or structured improvisation work, one that was obviously experienced by more people with shorter and looser connections to his work. But working with students and other musicians who were new to his music required him to articulate things that perhaps didn’t need to be said in the same way to his usual musicians, allowing some insight into his goals and values about what to play when and how. These are things that are not always transparent from the recorded or performed result, or in notated transcriptions that involve a selective process of what to represent and how, given the practical limitations of notation and its tendency to privilege fundamental pitches and metric rhythms over other aspects of sound and music. It’s very possible to make connections and find patterns in the analysis of transcriptions that were not intentional, conscious, or communicated among musicians, while missing other aspects that are intentional. Unintended or unconscious patterns may still be significant to the listener and contribute to the effect of the music. But it’s also musically and historically interesting to know how the music was thought about, planned, described, rehearsed, and intentionally made, even if it’s not essential to know those things in order to receive feelings and ideas through the music itself. The time to document those things, in Cecil Taylor’s music as well as many others of his generation and the next one, is running out.
This upcoming conference, which I just learned about ten days before it begins while writing this, sounds like a big, important step in the right direction. Work prevents me from attending, but I look forward to hearing about it and reading the papers. https://unitstructures.commons.gc.cuny.edu/
Since posting this, I’ve learned of a few things I’d like to share:
Christopher Meeder’s M.A. thesis, “Cecil Taylor: His Early Life and Music, 1929-66” (Rutgers Graduate Program in Jazz History and Research, May 2003) is recommended and contains the results of the some of the same research I’ve presented here, plus, of course, much additional information.
Ben Young is writing a biography of Cecil Taylor and has also done independent research using the NEC archival material I referenced here, plus additional interviews with subjects including Cecil Taylor’s college roommate Henry Duckham. Others, including Professor Eric Charry of Wesleyan University (CT), have interviewed Duckham on the subject as well.
Another source of insight into Cecil Taylor’s work with students, about a 1985 Banff workshop, is an essay by Mark Miller, collected in his book A Certain Respect for Tradition (2006) and previously printed in The Banff Letters and Coda magazine.
Dr. Lewis Porter pointed out that the June 1951 NEC Commencement program shows a fellow graduate with “C” initials, Clement V. Charbonneau, who could possibly be the co-author of the “Pop Notes” columns (one of “The Two C’s”), although no additional information about him seems to suggest (or contradict) this, so far.
I’m looking forward to learning more of what is shared in this week’s CUNY conference, “Unit Structures: The Art of Cecil Taylor” (October 23, 2019; see link above).
I will try to transcribe the remaining letters and will post them here when I do.


Actor Seo Shin-ae claims (G)I-DLE's Soojin bullied her
Actor Seo Shin-ae claimed on social media that she was bullied by girl group (G)I-DLE member Soojin when the pair were in school.
Seo wrote on her social media on Friday about how she was verbally and mentally abused, saying that if she doesn’t speak up now, she would regret in the future. While she didn’t mention Soojin’s name directly, she referred to “that person who mentioned me,” an obvious reference to Soojin who previously denied that she had never conversed with Seo.
Seo said when she started second grade at a new middle school, Soojin made comments such as, “How do you work as an actor because you are not so pretty,” “She is a talent that’s already passed her prime,” and “She deserves to be alienated by friends.”
“Maybe those words came from young students’ jealousy [...] but they made a deep scar on my mind,” she said.
“Such scars led me to grow a habit of being scared of people, and such trauma created a great hurdle for me to advance with my studies. Then I realized that mental violence can also scar someone for life even without any physical violence.”
Soojin’s agency Cube Entertainment previously said it contacted Seo’s agency to discuss the claims but that it received no response. It said Soojin denies the allegations.
BY LEE SUN-MIN [firstname.lastname@example.org]


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|Cecilia Bartoli: Sacrificium|
Mezzo-soprano Cecilia Bartoli pays tribute to this quirk of music history in this evening's concert programme entitled Sacrificium, which appeared on both CD and DVD in 2009.
Excerpts from the operas and orchestral works of Porpora, Broschi, Handel, Veracini, Vinci, Leo, Araia, Graun, Sammartini and Caldara
Il Giardino Armonico
Giovanni Antonini, conductor
Auditorium Parco Della Musica Website
Detailed schedule information:

domain: artistic


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Since my last post I have been knee deep in home decor, both for my class as well as home. I also spent the weekend decorating for Halloween. I promise to post pics of some ghouls I recreated from Pinterest.
I did get to see something interesting the other day...a space shuttle flying on a plane. That, my friends, you do not see every day!
This was the view from my work. Since we work down the street from NASA, where the shuttle did a flyover, we received great photo ops.
After work we headed over to see the Endeavor as it stopped over for the night in Houston.
Speaking of Interior Design, here is a peek of my projects:
The one above is for the Arts and Crafts style, below is Mid Century Modern.
What have you all been up to?


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Sportsnet is betting on Cabbie Richards. Renowned sports media personality Cabral Richards – better known as Cabbie - is returning home as executive producer of sports betting content.
Posted on: September 22, 2021 |
Ontario Lottery and Gaming Corporation (OLG) is inviting Ontario sports bettors to the “plus side.” The provincial lottery corporation launched Proline+ today, the day Canada’s long-time prohibition of single-event sports betting finally lifts.
Posted on: August 27, 2021 |
Online gambling operators know a little more today about what it will take to be licensed in Ontario. Earlier this week, the Alcohol and Gaming Commission of Ontario released an application guide for prospective operators. The guide offers detailed information aimed to assist companies in completing their registrations.
Posted on: August 21, 2021 |

domain: news


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Wacky Wedding Food Trends That Are Making a Splash with Caterers
Gone are the days of dull wedding fare. Couples are now diving headfirst into a world of extraordinary culinary adventures to tantalize their taste buds and leave guests in awe. From scent-infused soirées to interactive food stations, here are the quirkiest wedding food and drink trends caterers are serving up in 2023.
Aroma Alchemy: The Art of Scentscaping
Why stop at taste when you can engage all the senses? Introducing signature scents that waft through your wedding adds a delightful twist. Imagine citrus-themed nuptials with blooming plants, zestful aromatics, and dishes infused with tangy goodness. It’s a scent-sational experience!
Garnishes Galore: Eye Candy with a Tangy Twist
Forget boring garnishes! It’s time to pickle and ferment your way to garnish greatness. Swap out plain parsley and predictable citrus slices for pickled veggies and tangy fermented sauces. Not only do they add color and texture, but they also bring an umami flavor explosion to the party.
Dessert Delights: Beyond the Traditional Wedding Cake
Ditch the monotonous wedding cake routine. Think outside the bakery box and surprise your guests with an assortment of delightful desserts. Scale down the cake and jazz up your dessert display with macarons, truffles, and shooters. It’s like a dessert wonderland, one bite at a time!
Flavors Collide: Cultural Cuisine Fusion
When two cultures come together, the wedding menu becomes a culinary adventure. Picture a Japanese-American couple wowing guests with fusion sushi rolls and burger bliss. Sushi burgers? Now that’s a tasty twist you won’t forget!
Interactive Food Stations: Let the Feast Begin
Make your reception a feast of fun with interactive food stations. From made-to-order sushi rolls to personalized pasta creations and customized tacos, let your guests curate their own culinary experiences. It’s a tasty adventure that brings everyone together.
Food Meets Science: Molecular Gastronomy
Get ready to unleash your inner mad scientist with molecular gastronomy. Transforming traditional dishes into mind-boggling creations using spherification, foams, and liquid nitrogen freezing. Think visually stunning encapsulated flavors and edible helium-filled balloons. It’s a culinary experience that will blow your taste buds away!
The Drama of Dry Ice: Cool Cocktails
Get ready for some cocktail theatrics! Dry ice is making a comeback, creating a visually stunning spectacle. From punch fountains to mesmerizing cocktail presentations, it adds an enchanting touch. Just make sure to save it for the non-consumable elements, unless you’re having a spooktacular Halloween-themed wedding!
Casual Cuisine: Laid Back Eats for Cool Couples
The trend of casual fare for weddings has gained popularity in recent years as couples seek to create a relaxed and personalized atmosphere for their big day. Embracing casual cuisine allows for a more interactive and social dining experience, where guests can mingle and savor an array of laid-back eats. From food truck festivals and BBQ bonanzas to gourmet comfort food stations and DIY taco bars, casual fare offers a refreshing departure from traditional formalities, allowing couples to showcase their unique style and create a memorable and enjoyable wedding celebration for all.
Unique Wedding Food Trends
In conclusion, it’s time to bid farewell to wedding food norms and embrace the wild and wonderful world of wacky culinary trends. Let your wedding be an unforgettable experience where taste, creativity, and playfulness collide. So go ahead, ignite your senses, surprise your guests, and create a celebration that leaves everyone craving for more!
Savvy Wedding Hack: Hire a Food Truck to Cater Your Wedding
Discover the trendy and budget-friendly idea of hiring a food truck to cater your wedding. Learn how this unique option offers a variety of delicious food choices, dietary flexibility, and a fun dining experience for your guests. Find out how to find the perfect food truck and incorporate this exciting trend into your wedding plans.
How to Cater Your Own Wedding
Take control of your wedding catering and create a personalized culinary experience. Our comprehensive guide will show you how to plan menus, prepare food, and manage the logistics of self-catering. Explore the potential cost savings and enjoy the satisfaction of putting your own stamp on your special day.
Save Money on Your Wedding Catering
Uncover smart strategies to cut costs on your wedding catering while still serving up deliciousness. From choosing alternative dining styles to sourcing local ingredients, we’ve got you covered. Discover how to negotiate deals, think creatively, and make budget-friendly menu choices that will impress your guests.
Think Outside the Box for Wedding Catering
Break away from tradition and create an unforgettable dining experience at your wedding. Explore unique catering concepts like themed food stations and interactive cooking stations. From brunch receptions to food and beverage pairing experiences, discover exciting ideas that will have your guests talking long after the celebration ends.
Planning A Budget-Friendly Wedding Menu
Delight your guests without breaking the bank with our expert tips on designing a budget-friendly wedding menu. Learn how to choose affordable ingredients, create a diverse menu, and work closely with caterers to find wallet-friendly alternatives. Get ready to impress with your savvy planning and delicious offerings.

domain: food


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In 2022, the cyber threat landscape is expected to change and expand at a breakneck speed. We should anticipate ransomware gangs to continue putting lives at risk, firmware exploits being weaponized, and much more in the future. Here are four key cybersecurity threats that businesses need to be aware of in 2022.
In the future, continuous commercialization of software supply chain assaults might result in additional high-profile objectives.
Kaseya’s breach, which affected over 1,500 enterprises, demonstrated how supply chain assaults can be monetized. As a result, we may anticipate an increase in supply chain threats during the next year, as well as continued commoditization of the methods used to execute such assaults.
Threat actors will look for vulnerable areas in software supply chains and target popular applications. Both small- to medium-sized businesses (SMBs) as well as major victims may be targeted.
Ransomware groups may put people’s lives in danger, and they might engage in “pile-on,” which are essentially extortion attempts that target additional users of their ransomware.
In 2022, ransomware will remain a major threat, with victims who may be hit more than once. The approach will be similar to “social media pile-on,” in which an organization is demonstrated to have paid a ransom, prompting others to join in and get their share of the money.
Ransomware operators will almost certainly increase the pressure on victims to pay a ransom. Attackers will employ increasingly various extortion strategies, such as contacting customers and business partners of a victim firm, in order to avoid data leaks.
Threat actors may also target specific sectors that are more likely to receive payment, such as healthcare companies and facilities in the critical infrastructure industry. Attackers could well target high-risk devices like vital medical support systems and their supporting infrastructure, where the risk of significant damage is highest and a payout will come rapidly.
This might allow malware to be used to lower the barrier of entry.
Firmware is vulnerable to cyberattackers who seek to establish long-term persistence or carry out destructive assaults. Firmware security is frequently neglected by businesses, with far less patching observed than on other types of hardware.
In recent years, we’ve seen attackers scanning for firmware settings, presumably as a precursor to using them in future attacks. These sorts of cyber assaults were previously only carried out by nation-state actors. In the next year, we can anticipate TTP for targeting firmware to trickle down, allowing sophisticated cybercrime organizations to weaponize threats.
The lack of visibility and control over system firmware security will exacerbate the problem. Low-level malware and exploits may pose a greater threat in certain industries, so they should begin considering the dangers they represent.
Hybrid work will provide more opportunities to exploit users.
Hybrid employment is only going to get worse for company security. The growing number of unmanaged and unsecured devices has opened up a bigger attack surface. Threat actors may begin targeting the homes and personal networks of high-ranking corporate executives or even government officials since these networks are simpler to penetrate than typical business environments.
In the era of hybrid work, phishing will remain a permanent danger. The distinction between personal and business has become blurred as workers utilize their own devices for both work and personal endeavors. This trend will continue, with attackers having a better chance of succeeding by targeting both corporate and individual email accounts.
We need a fresh approach to security.
Hybrid working and continuing innovation from threat actors guarantee that 2022 will bring many unpleasant surprises. As a consequence, a new approach to safeguard the future of employment is required.
The endpoint is where cybersecurity leaders should concentrate their efforts: protection there is most needed. Endpoints should be protected with a new architectural approach to security that reduces risk. This entails using the principles of zero trust—least privilege access, isolation, mandatory access control, and strong identity management – in the architecture.
These solutions, on the other hand, necessitate robust self-healing hardware that can withstand attacks and recover quickly when needed while also containing and neutralizing cybersecurity threats. Discardable virtual machines, for example, may be produced whenever a user does something that might put their security at risk, such as clicking on an email attachment or link.


(Tim Jaynes, Staff)
Anna Catherine DeHart, who plays Elly May Clampett, runs through a scene during dress rehearsal of "The Beverly Hillbillies." The Sikeston Little Theatre Youth Production will open tonight at the Albritton Mayer Cultural Center. The play can also be seen Friday, Saturday and Sunday. Also pictured are: Elias Borton who plays Mr. Drysdale and Stephen Schott who plays Percy.


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|Name||Wang Yang-Guang (王阳光)|
|Country of Birth||China|
Wang "yanguang" Yang-Guang (Hanzi: 王阳光) is a League of Legends esports player who was previously a mid laner for VP Game.
This table shows up to the 10 most recent results. For complete results, click here.
The following pages redirect here.

domain: game


There is only one Kansas City area team left standing after the first round of the NCAA tournament. The Kansas Jayhawks survived a scare from Western Kentucky in the first round, advancing to face North Carolina on Sunday. Kansas State was not as fortunate, falling to 13-seeded La Salle.
(1)Kansas 64 (16)Western Kentucky 57
The Jayhawks looked flat to start the game, and struggled to score during the first half. The Jayhawks picked things up a bit in the second half, eventually building a double digit lead late. However, the Hilltoppers stormed back, capitalizing on several turnovers by the Jayhawks and knocking down some threes. KU eventually sealed the game at the free throw line.
The Jayhawks’ guard play was extremely poor all game. Naadir Tharpe turned the ball over often while taking bad shots, while Ben McLemore disappeared. Jeff Withey had a big game for Kansas, and Perry Ellis and Keving Young also added some much needed scoring. The Jayhawks’ guard play will have to improve if they want to make the Sweet 16 for the third straight year.
(13) La Salle 63 (4) Kansas State 61
The Explorers jumped all over the Wildcats early, building a 44-26 halftime lead. It looked like K-State was finished, however they had a massive comeback in the second half and eventually took a one-point lead. Kansas State had two chances to win the game at the end but the Wildcats failed to score on their last two possessions.
K-State exceeded most preseason expectations, however three losses to KU and a first-round NCAA Tournament exit have to have Wildcat fans feeling a bit disappointed.
KCMB Kansas City News, official kc news site with breaking stories on The Kansas City Royals, Chiefs, charity events, the 2012 MLB All Star Game, weather, sports, MU, KU, ufo sightings, dui checkpoints, Kansas City neighborhoods, nightlife, concerts, the Sprint Center, the Power and Light District and current Kansas City news articles.
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The Art of Fine Wine
15th October 2021, Leeuwin Estate
Discover the story behind Leeuwin Estate’s acclaimed Art Series Chardonnay, Cabernet Sauvignon and Shiraz in a two-hour, winemaker-led masterclass set against the backdrop of the Leeuwin Art Gallery as part of the inaugural Fine Vines Festival in Margaret River, coming up in October 2021.
Experience the wines’ renowned age-worthiness across 15 current and museum release Art Series tastings, connecting the emotion of wine expression to the contemporary Australian art works that adorn both the labels and the gallery walls. A six course tasting menu finds its match in accompanying museum release Art Series wines during lunch after the masterclass.
This event is located 10 minutes' drive from Margaret River. Please contact the Margaret River Busselton Tourism Organisation on firstname.lastname@example.org if you wish to arrange group transport to this event.
Stevens Rd, Margaret River
15th October 2021
11am - 4:30pm
$399 plus fees


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Expect muted gains today.
The Straits Times Index (STI) ended 37.23 or 0.1.19% higher 3,176.57.
The FTSE ST Mid Cap Index inched up 5.55%, whilst the FTSE ST Small Cap Index grew 1.49%.
The top active stocks are DBS, which slipped 0.20%, Singtel and Genting Sing, which are both unchanged, UOB, which inched up 0.40%, and Keppel, with a 0.10% advance.
According to OCBC Investment Research, US stocks closed mostly higher as investors took escalating trade tensions in stride to instead focus on improving economic fundamentals even as a weak technology sector hobbled the Nasdaq.
Four out of eleven sectors in the S&P 500 indices closed higher, led by Financials (1.76%) and Materials (1.12%) whilst Utilities (-2.13%) and Telecommunication Services (-1.35%) led the losses.
"The modest gains on Wall Street overnight could provide support for the local markets as investors continue to look for value," OCBC Investment Research said.
Do you know more about this story? Contact us anonymously through this link.

domain: economics


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Children often emulate their parent's behaviour and lifestyle so start changing your poor habits to become better role models.
The self-cleaning, solar-powered system helps flood-stricken victims and people in remote areas get access to clean water.
Bats are thought to be the original host for all coronaviruses, including the one now causing so much pain, yet for some reason the animals do not get sick. Two scientists from Bucknell University, in the US, think the secret might be locked in their genetic code.
This young girls laments to Thelma that her mother expects her to pursue a high-paying career and does not agree to her career choice.
Pop musician Annie Lennox is among those who condemned Madonna's post, dismissing it as 'utter madness'.
Youths can solve problems for the betterment of the country with the aid of technology.
The creature was found in “an extraordinary seascape” 2,400m down, where strange-looking creatures appeared to be growing from the rocky seafloor. This “Forest of the Weird” – nearly 1,368km southwest of Hawaii – included an “alien-like community” of glass sponges.
The use of coal is one of the biggest contributors to climate change, yet many Asian countries, including Malaysia, keep building coal-fired power plants. An energy expert shares why it’s no longer necessary to depend on the polluting material.
Urdu language lovers worldwide mourn renowned Indian poet Rahat Indori's demise.


Israel is indeed constantly lying to the world — and, increasingly, to its own people. The spear his father had given to him pierced through all other heroes. During her funeral, no common man was allowed to go near her dead body.
After Jinnah died, she was looked upon by people as a natural successor to her brother. I picked up a piece of paper, and drew the following table. She immediately recalled her previous command, and removed the exclamation point.
Near also seems to lack a lot of social knowledge and emotions, and definitely has an obsessive and psychopathic character. Having his heart pierced by arrows one after another afterwards, Achilles sensed his own death, but continued fiercely fighting and using all his strength to kill the soldiers of the Trojan army around him.
The Resistance Axis will soon have its eyes fixed on the occupied Golan, that Syria has never given up liberating by armed struggle — a right conferred by international law itself, this territory being recognized as Syrian by all the international community: In the past, Israel has struck us [Hezbollah] for example in Quneitra, and it turned out that coincidentally Guardians [of the Islamic Revolution] officers were with us.
Newspapers the next day were full of condemnations and criticism. Jan - Mar Decim is the bartender of Quindecim, where human souls are given the chance to be reincarnated.
There were rumors that the mother of the nation had visible marks of wounds on her body. The government in those days grew obsessed with keeping Fatima Jinnah from expressing her views with freedom.
Currently working in a lab in Japan's least Japanese city. Ginko is laid-back and quiet, often making idle jokes, though this is a front for his determined and focused character.
Born from the sea goddess Thetis and the hero PeleusAchilles was blessed by the gods from birth. Indeed, the Golan military installations are now directly targeted as a result of Israeli aggressions, and not just the Israeli air force, which has already seen its finest — the F — be shot down on February 10, Due to complications with his summoning, Archer loses much of his memory, which sets up his character as mysterious and cunning, often hiding the small fragments of memory from others.
Glass also wrote that a Hezbollah spokeswoman, Wafa Hoteit, denied that Nasrallah made the statement. It was to be a 6 foot deep, 3 feet wide grave. They committed an act of great stupidity, and by this aggression, they entered in a direct confrontation with Iran, the Islamic Republic of Iran.
Indeed, the Golan military installations are now directly targeted as a result of Israeli aggressions, and not just the Israeli air force, which has already seen its finest — the F — be shot down on February 10, It was led by Maulana Ibn-e-Hassan Charjooi.
This is an event that has no precedent since 7 years, it is unprecedented since 7 years, that Israel openly targets the Guardians of the Islamic Revolution in Syria, killing deliberately, in an operation that caused a number of martyrs and wounded.
Notice, I do not say the Israeli. Glass, who did not correct his accusations accordingly.© CBS INTERACTIVE ALL RIGHTS RESERVED. CBS Sports is a registered trademark of CBS Broadcasting Inc. Sportsradar. I have to agree with some other reviews, this seemed to jump around a lot.
It was really more drama than action. The human clone element was fairly pointless other than the fact that the guy seemed unstoppable, and programed, almost more machine than human.
Hassan Jameel is a successful Saudi businessman best known as the deputy president and vice chairman of Abdul Latif Jameel, the family-owned company with deep roots in Turkey, North Africa and the Middle East.
This disambiguation page lists articles associated with the title Fort Hood shooting. If an internal link led you here, you may wish to change the. Yes the article presents some facts. There is one thing however I do disagree with Mr Hasan and that is about RT at the beginning of the article where you link one article and compare it to the MSM reporting.
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Exactly one year from now an emotional yet outspoken teenage girl decided to start a blog called The Wheelchair Teen. I’ve come a long way since then, and so has my blog, so thank you for asking me questions to help me celebrate the occasion by getting to know me better. I picked ten of… Continue reading One-Year Blogiversary Q&A!
This is my first blogger award! And I would truly like to thank EllesUnpopularOpinions for thinking of me enough to nominate me for this great award. Even though it may have taken me a while to get to it – I still extremely appreciate the nomination. You can visit Elle’s blog by clicking on her… Continue reading The Sunshine Blogger Award
Curious to know what life is like as a teenager in a wheelchair? When I go outside, most of the people in wheelchairs that I see are either elderly or adults, and there don’t seem to be many blogs out there on the internet about how experiencing normal teen issues like puberty and school can… Continue reading Introduction


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Ten Kings is a historical novel by Ashok Banker. It is the first title in his Itihasa series of novels.
Summary of the Book
In the Rig-Veda, one can find the story of King Sudas. Sudas led his army against seemingly unbeatable odds, facing the armies of the Ten Kings, or the Dasarajna. His enemies were not strangers from another land. Sudas had to fight those who were once his allies and neighbours, and his friend Anu. The Ten Kings were driven to battle by the Sage Vishwamitra to annihilate Sudas and his ?Shudra? tribe. In doing so, they would be able to control the fertile lands in the name of the ?Bharata? nation. The very land in which they fought is burnt into history as one of the most famous archaeological sites on Earth: Harappa. The nation that was founded after their battle ended was called Bharat.
About Ashok Banker
Ashok Kumar Banker is an Indian writer. He is well known for writing the Ramayana series.
He is currently working on his Itihasa series, the Mba: Mahabharata series and the Krishna Coriolis series.
Series Reading Order
The Itihasa series was started with the intention of retelling major portions of the Indian history for the present generation. It will continue with the Shivaji novels, and progress to the Mauryan empire with Maurya and Ashoka.

domain: library


Hi Laura 😀 I love your music and can't wait for you to do more! Also can you maybe do a new song with TheFatRat? That would be great! I can't wait love you Laura
Thank you! I have more new songs in the works with TheFatRat! :)
Hi, I'm from Spain, have you ever been here? If not, do you have in mind to come?
I love all your songs, I can't stop listenning them. Daniel.
Is there any possible upcoming collabs like a collab with CloudNone or MiTiS? These two artists are really great! :DLaura Brehm responded on 04/07/2019