John Coltrane free essay sample

John Chlorate Ive got to keep experimenting. I feel that Im Just beginning. I have part of what Im looking for In my grasp, but not all. ; This phrase, from the liner notes of My Favorite Things clearly defines Chlorates life and his search for the Incorporation of his spirituality with his music. John Chlorate was not only an essential contributor to jazz, but also music itself. John Chlorate died thirty-two years ago, on July 17, 1967, at the age of forty.In the years since, his influence has only grown, and the stellar avian-garden saxophonist has come a Jazz legend of a stature shared only by Louis Armstrong and Charlie Parker. As an Instrumentalist Chlorate was technically and Imaginatively equal to both; as a composer he was superior, although he has not received the recognition he deserves for this aspect of his work. In composition he excelled in an astonishing number of forms C] blues, ballads, spirituals, rhapsodies, elegies, suites, and free-form and cross-cultural works. We will write a custom essay sample on John Coltrane or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page The closest contemporary analogy to Chlorates relentless search for possibilities was the Beetles redefinition of rock from one album to the next. Yet the distance they revealed from conventional hard rock through sitars and Baroque obbligato to Sergeant Pepper psychedelic and the musical shards of Abbey Road seems short by comparison with Chlorates Journey from hard-bop salts to daring harmonic and modal improviser to dying prophet speaking in tongues.Asked by a Swedish disc jockey in 1960 if he was trying to play what you hear, he said that he was working off set harmonic devices while experimenting with others of which he was not yet certain. Although he was trying to get the one essential The one single line, he felt forced to play everything, for he was unable to work what I know down Into a ore lyrical line that would be easily understood. Chlorate never found the one line. Nor was he ever to achieve the more beautiful More lyrical sound he aspired to. He complicated rather than simplified his art, making it more visceral, raw, and wild.And even to his greatest fans it was anything but easily understood. In this failure, however, Chlorate contributed far more than he could have In success, for above all, his legacy to his followers Is the babbling sense of search, of the musical quest as its own fulfillment. John William Chlorate was born September 23, 1926 in Hamlet, North Carolina to John ND Alice Chlorate. Shortly after, he moved to Hag Point, North Carolina to live with his mothers father, the Reverend Walter Blair. Walter Blair would later on be a significantly Influence on Chlorates music and spirituality.Chlorates father, a tailor, play the clarinet, violin, and various other instruments. Furthermore, Chlorates mother studied music. Both of Chlorates grandfathers were ministers; and through their worship services, Chlorate began to build his roots. Johns first encounters with music were through his father who played various instruments such as the violin, clarinet and ukulele. Other early influences included the religious music and preaching at his grandfathers community church. In 1938, his grandfather died and soon after, so did his father.At this time, Chlorate listened to the radio, which provided him with music by artists that would later become influences for his own music. These artists included Woody Herman, Lester Young, Johnny Hodges and Artier Shaw. At the age of 1 5, Chlorate began playing and studying the E-flat alto horn, the clarinet, and the saxophone at William Penn High School Orchestra, while listening to such artists as Woody Herman, Lester Young, and Theologies Monk. It was in high school when John had his first girlfriend. Johns friend Franklin was interested in one girl, but John stole her away with his music playing. Her name was Thread Nelson.John had many classes with her. He used to whistle phrases to her from his clarinet. Of course, John got the girl. They were together for about a year until they broke up because she was moving away. Later in 1943, Chlorate moved to Philadelphia and studied under Mike Gouger at the Granola Studios and the Orenstein School of Music. Mr. . Granola spoke the following of Chlorate: Very, very, few students Loud do improvisations as this young man did. From the very moment that he learned his instrument, he wanted to revolutionize it. While enrolled in school, Chlorate worked at the local sugar refinery to help pay for debts. During the occurrence of World War II, Chlorate played with the US Navy Band; and afterwards in 1947, Chlorate returned to Philadelphia and began working around established musicians Jimmy Heath, Howard McGee, Eddie Cleaned Vinson, and Joe Webb in local bars and clubs. That same year, Chlorate performed in a show with Dizzy Gillespie and Charlie Parker. As a result of Chlorates impressive performance, he landed his first big gig with the Dizzy Gillespie band. Despite his first big gig, Chlorate lived his next few years in depression, drugs, and alcohol; however, he gathered the strength to seek rehabilitation.He later converted to Islam and got his life together. In 1950-1951, he continued to work with Dizzy in Dizzy sextet. Life was back to normal for Chlorate, but Chlorate reverted back to using drugs and eventually lost his Job. He then Joined the Earl Boosts Band and later began to work with Johnny Hodges, Jimmy Smith, and Bud Powell. Recognizing his addiction, Hodges recommended that Chlorate get professional guidance. The marriage of Chlorate in 1955 to Anima provided a special someone in his life. He came to wide notice in 1955 in the now legendary Miles Davis Quintet and was immediately acknowledged as an original 0 or an oddity.Critics who in Chlorates last years all but waved banners to show their devotion to him were among those casting stones for much of his career. At first many urged Davis to fire the weird tenor, but when, in April of 1957, after a year and a half with the quintet, Chlorate left or was dropped (the truth remains unclear), the reason seems to have been indulgence not in stylistic extremism but in do not only with his harmonic experimentation, on which Dexter Gordon was initially the chief influence, but with the speed (to some, purely chaotic) of his playing and the jaggedness (t o some, unmusical) of his phrasing.All three characteristics were intensified in 1957 during several months with Theologies Monk at the Five Spot, after which he rejoined Davis, who was now experimenting with sparer chord changes, and became fully involved in what Air Gaiter, in Down Beat, called the sheets of sound approach. This technique of runs so rapid as to make the notes virtually indistinguishable seems itself to have been a by-product of Chlorates harmonic exploration.Chlorate spoke of playing the same chord three or four different ways within a measure or overlapping chords before the change, advancing further the investigation of upper harmonic intervals begun by Charlie Parker and the poppers. Attempting to articulate so many harmonic variants before the change, Chlorate was necessarily led to preternatural velocity and occasionally to asymmetrical subdivision of the beat.Despite Davits suggestion that Chlorate could rim his twenty-seven or twenty-eight choruses if he tried taking the saxophone out of his mouth, Chlorates attempt to explore all the avenues made him the perfect stylistic complement to Davis, with his cooler style, which featured sustained blue notes and brief cascades of sixteenths almost willfully retreating into silence, and also Monk, with his spare and unpredictable chords and clusters. Davis, characteristically, paid the tersest homage, when, on being told that his music was so complex that it required five saxophonists, he replied that hed once had Chlorate.In the late fifties Chlorate released a number of sessions for Prestige (and, more notably, Blue Train and Giant Steps for Blue Note and Atlantic respectively) in which he was the nominal bandleader. The only album John Chlorate recorded for Blue Note as a leader turned out to be one of his most rewarding statements, not to mention a highlight of Blue Notes recording history. Chlorate didnt stay in pure hard bop territory very long. He would soon after return to Miles Davis group to pursue modal-based Jazz and continue on to explore Eastern motifs and free Jazz.At he time of this recording, he was working in Theologies Monks legendary Five Spot quartet. The frontline of Chlorate, trumpeter Lee Morgan, and trombonist Curtis Fuller is a hard bop fans dream. Pianist Kenny Drew supplies the blues and funk elements while Davis stalwarts Paul Chambers and Philly Joe Jones anchor the rhythm section. The opening blues of the title track shows Just how far Chlorate had come since he began his first stint with Miles two years earlier. Even the simplest of blues structures provided enough room for Chlorates harmonic curiosity, his searing emotional flurries, and his sheets of sound approach. The buoyant original Moments Notice offers especially exuberant solos from all three horsemen plus a terrific arch (bowed) solo from Chambers. The fast blues Locomotion displays the leaders ability to mix Jarring, seemingly off-key moans into a coherent blues progression. You can hear the difference between Chlorates ideas and the equally compelling but less adventurous solos from Morgan and Fuller. Despite all of the sharp, piercing tones elsewhere, Chlorate proves he can handle a ballad (Im Old Fashioned) with the utmost tenderness.Blue Train represents the best opportunity art bop, you can also sense that he was eager to expand beyond its limitations. He would certainly do so in the near future. It was really after leaving Davis for the second time, in 1960, shortly after a European tour, that he came into his own as a creative as well as an interpretive force. His first recording session as leader after the break, on October 21, 1960, produced My Favorite Things, an astonishing fourteen-minute reinterpretation, or overhaul, of the saccharine show tune, which thrilled Jazz fans with its Oriental modals and Atlantic executives with its unexpected commercial success.In it Chlorate revived the straight soprano sax (whose only previous master in Jazz had been Sidney Becket), and in so doing led a generation of young musicians, from Wayne Shorter to Keith Garrett to Jon Gibson, to explore the instrument. The work remained Chlorates signature piece until his death (of liver disease) despite bizarre stylistic metamorphoses in the next five and a half years. Chlorate signed with Impulse Records in April of 1961 and the next month began rehearsing and playing the long studio sessions for Africa/Brass, a large-band experiment with arrangements by his lose friend Eric Adolph.This was in part an extension of the modal experimentation in which he had b een involved with Davis in the late fifties, notably on the landmark Kind of Blue. The modal style replaced choral progressions as the basis for improvisation, with a slower harmonic rhythm and patterns of intervals corresponding only vaguely to traditional major and minor scales. The modal approach proved to be the modulation from bop to free Jazz, as is clear in Chlorates revolutionary use of a single mode throughout Africa, the piece that takes up all of side one of the album. Just as his prolonged modal solos were emulated by rock guitarists (the Grateful Dead, the Byrd of Eight Miles High, the unlamented Iron Butterfly, and others), so the astonishing variety Chlorate superimposed on that single F was, according to the composer Steve Reich, a signification , if ostensibly an unlikely, influence on the development of minimalism. The originator of minimalism, La Monte Young, acknowledges the influence of Chlorates My Favorite Things on his use of rapid permutations and combinations of pitches on soprano sax to simulate chords as sustained tones.From the start, and especially from the opening notes of Chlorates solo, which bursts forth like a tribal summons, Africa is the aural equivalent of a Journey upriver. The elemental force of this polytheistic modals was unknown in the popular music that came before it. Chlorate experimented with two bassists 0 a hint of wilder things to come, as he sought progressively to submerge himself in rhythm. He was later to employ congas, bat, various other Latin and African percussion instruments, and, incredibly, two drummers 0 incredibly insofar as Chlorate already had, in Elvin Jones, the most overpowering drummer in Jazz.The addition of Rehashed Ala to the drum corps, in November of 1965, made for a short-lived collaboration or, rather, competition between Jones and All; a disgruntled Jones left the Chlorate band in March of 1966 to join Duke Elongations. But it was the culmination of Chlorates search for the rhythmic equivalent of the oceanic feeling of visionary experience. Having employed the gifted quartet (late 1961 to mid-1965), Chlorate tended to subordinate them, preferring that his accompanists play spare wide-interval chords and a solid rather than showy ass, which would permit him a maximum of flexibility as a soloist.Chlorate would often take long solos accompanied only by his drummer, and in his penultimate recording session, which produced the posthumous Interstellar Space, he is supported only by All. Solo sax against drums (against may be all too accurate a word to describe Chlorates concert duets with the almost maniacal Jones) was Chlorates conception of naked music, the lone voice crying not in the wilderness but from some primordial chaos. His music evokes not only the Jungle but all that existed before the jungle.Chlorates spiritual concerns led him to a study of Indian music, some elements of which are present i n the album Africa/Brass and more of which are in the cut from the album Impressions titled India, which was recorded in November of 1961. The same month saw the birth of Spiritual, featuring exotic and otherworldly solos by Chlorate on soprano sax and Adolph on bass clarinet. Recorded at the Village Vanguard, the piece made clear, if any doubts remained, that Chlorate was attempting to raise Jazz from the saloons to the heavens.No Jazzmen had attempted so overtly to offer his work as a form of religious expression. If Ornate Coleman was, as some have argued, the seminal stylistic force in sixties avian-garden Jazz, Chlorates Eastern imports were the main influence on the East- West fusion in the Jazz and rock of the late sixties and afterward. In his use of Jazz as prayer and meditation Chlorate was beyond all doubt the principal spiritual force in music. This is further evident in Alabama, a riveting elegy for the victims of the infamous Sunday- morning church bombing in Birmingham in 1963.Here, as in the early version of his most famous ballad, Anima, Chlorate is as spare in phrasing as he is bleak in tone. That tone, criticized by many as hard-edged and emotionally impoverished, is inseparable from Chlorates achievement, conveying as it does a sense o f absolute purity through the abnegation of sentimentality. Sonny Rollins, the contemporary tenor most admired by Chlorate, always had a richer tone, and Chlorate himself said of the mellifluous Stan Get, Lets face it 0 wed all sound like that if we could. Despite these frequent and generous tributes, Chlorates aim was different, as is clear in his revival of the soprano sax. Rather than lushness he sought clarity and incisiveness. As with pre-nineteenth-century string players, the rare vibrato was dramatic ornamentation. Chlorates religious dedication, which as much as his music made him a role model, especially but by no means exclusively among young blacks, is clearest of all in the album titled A Love Supreme, recorded in late 1964 with Toner, Jones, and Garrison.In 1964, John William Chlorate revealed to the world his concept of spirituality in the form of what would soon be a world-renowned and multi-award-winning suite, ;A Love Supreme. ; Chlorates concept fused music and religion. It entailed the expression of music as a form of praise to God. Also, Chlorate borrowed musical and religious techniques from the Hindu and West African traditions. A Love Chlorate sought a closer relationship with God. Part of this closer relationship involved Chlorates understanding of himself as a child of God.Though Chlorate was raised in a household dominated by Christianity, and he professed to be a Christian for the majority of his life, he became dissatisfied with his personal relationship with God and felt that it could and should be intensified. Not for the faint of heart, Chlorates master work offers a complete synthesis of his musical ability and his elisions belief. Building on a modal-Jazz foundation, he adds elements of Eastern music and free Jazz while his tenor searches and soars and screams and yelps and slithers. His horn is merely a conduit: The music comes directly from his heart and soul, a stunning example of music as pure emotion. He unleashes torrents of notes, intense and pained at times, celebratory and defiant at others. His tenor knows no limits, yet never seems too far removed from Earth. The droning Acknowledgment opens the four-part suite and is followed by Resolution. Despite its name, Resolution begins with a tense melody from Chlorate before McCoy Toners brilliant piano solo, which is filled with passionate harmonic invention and breathtaking right-hand flurries.Drummer Elvin Jones supplies the fuel for the excursion: His fiery and urgent polymaths inspire the leader to great heights. Following Toner, Chlorate returns with angular, Jagged statements featuring short bursts, squeals, and moans that bristle with energy. Pursuance opens with a Jones solo before Toner borrows from Chlorates frenzied attack. Toners left pounds out a series of dramatic, seemingly unrelated chords while his right scurries across the keys. Chlorate then sprays notes like a machine gun, firing off in a million directions.Somehow, it never sounds frivolous 0 each squawk has passion, each note has meaning. Finally, on the closing Psalm, he seems to have found what hes been searching for. Psalm is the uneasy calm after the storm, a tenuous peace, but peace nonetheless. The album appeared in early 1965 to great popular and critical acclaim and remains generally acknowledged as Chlorates masterpiece. In a sense, though, it is stylistically as much a summation as a new direction, for its modals and incantation Tory style recall Spiritual, India, and the oral-weary lyricism of his preceding and still underrated album, Crescent.Within months, Chlorate was to shift his emphasis from incantation action to the freer-form glossaries of his last period 0 a transition evident in a European concert performance of A Love Supreme in mid-1965. Meditations, recorded a year after A Love Supreme, is the finest creation of the late Chlorate, and possibly of any Chlorate. It may never be as accessible as A Love Supreme, but it is the more revolutionary and compelling work. While some of the creations of Chlorates last two years are all but amorphous,Meditations succeeds not only for the transcendental force it shares with A Love Supreme but by virtue of the contrasts among the shamanistic frenzy of Chlorate and fellow tenor Pharaoh Sanders in the opening movement The Father and the Son and the Ho ly Ghost and elsewhere, the sense of stoic resignation and perseverance in the solos of Garrison and Toner, and the repeated, spiraling phrases of yearning in stylistic and affective diversity, is the unique feature of Meditations, even in relation to its Our-version for quartet, which has an additional and quite obtrusive movement.Nothing that came after Meditations approached it in structural complexity and subtlety. These may be the missing ingredients in the music of Chlorates final period. The drummer Elvin Jones said, Only poets can understand it, though maybe only mystics could, for until his final album Chlorate seemingly forsook lyricism for an unfettered quest for ecstasy. The results remain virtually indescribable, and they forestall criticism with the furious directness of their energy. Yet, their effect depends more on the abandonment of rationality, which most listeners achieve only intermittently if at all.In fact, it may be the listener himself who is abandoned, for it seems clear that Chlorate is no longer primarily concerned with a human audience. His final recording of My Favorite Things and Anima, at the Village Vanguard in 1966, uses the musical texts as springboards to visionary rhapsody 0 almost, in fact, as pretexts. All songs become virtually interchangeable, and there is really no point any longer in requests. The only favorite thing he is playing about now is salvation. Chlorates second wife, Alice, who had by then replaced Toner as the groups pianist, as remarked, Some of his latest works arent musical compositions. This may be their glory and their limitation, the latter progressively more evident in the uninspired emulation by the so-called Chlorate machines who followed the last footsteps of the master, and also in the current dismissal of free Jazz as a dead end by both Jazz mainstream and the experimental composer Anthony Davis. The last album that Chlorate recorded was Expression, in February and March of 1967.The album has an aura of twilight, of limbo, particularly in the piece To Be, in which Chlorate and Sanders play spectral flute and piccolo respectively. The sixteen metrical minutes of To Be, which could readily have added to its title the second part of Hamlets question, are as eerie as any in music. The most striking characteristic of the album is its sense of consummation, which is clear in the abandonment of developmental structur e and often bar divisions, and in the phantasmal rather than propulsive lines that pervade the work.There had always been in Chlorate a profound tension between the pure virtuosity of his elongated phrases and the high sustained cries or eloquent rests that followed. The cries, wails, and shrieks remain in Expression but they are subsumed by the hard-won simplicity that predominates in the album 0 the lyricism not of the one essential line he had sought seven years earlier and never found but one born of courageous resignation. Pater said that all art aspires to the condition of music. Chlorate seems to suggest here that music in turn aspires to the condition of silence.Those who criticize Chlorates virtuosic profusion are of the same party as those who found Van Sagos canvases too full of paint 0 a criticism Henry Miller once marred to the dismissal of a mystic as too full of God. In Chlorate, sound 0 often discordant, chaotic, almost unbearablebecame the spiritual form of the man, an identification perhaps possible only with a wind instrument, with which the player is of necessity fused more intimately than with strings or percussion. This physical preternatural duration and complexity of his phrases, and his increasing use of overflowing tec hniques.The whole spectrum of Chlorates music 0 the world-weary melancholy and transcendental yearning that ultimately recall Bach more than Parker, the Jungle calls and glaciological shrieks, the whirlwind runs and spare elegies for murdered children and a murderous planet 0 is at root merely a suffering mans breath. The quality of that music reminds us that the root of the word inspiration is breathing upon. There are several things that are worth of noting about John Chlorate. One of them being his nickname Train.There are many explanations how it came into life, however, it has never been determined how exactly he got his nickname. It is known that Trans was given his nickname through an unknown person Many people eave analyzed his nickname and they find it very fitting. Heres how the metaphor of a train fits his life. He was a man in control of himself (similar to the conductor of a train). He was always conscious of where came his roots or his heritage (a train has a starting point and a destination). He was self-disciplined and built his power and strength step by step (similar to how a trains speed increases as it moves along over time).He gradually increased his speed through enhancing this thoughts and his music. Even though there were some rough spots along the way, he made it safely to is destination and in good condition (sometimes the train ride is little bumpy or we get lost along the way, but in the end we get there safe and sound). Many people question whether it is true that Chlorate had problems with teeth. It is true. Johns teeth gave him a lot of trouble. His teeth problems came from eating too much sweet foods. He hated dentists, and he never went to them. There was one time he did go see a dentist.It took almost everyone in the office to hold him down when the drill got near. The down side was that his teeth problems made it hard for him to play some nights. Playing an instrument with bad teeth is a feat within itself. Instead of going to a dentist like he should have, John would drink or use drugs to dull the pain down. Chlorates contribution to Jazz cannot be described briefly. John Chlorate was unique in the way he approached music, and he broke many musical barriers during his lifetime. Chlorates influence continues through today.John Chlorates contribution to jazz was enormous, and each new generation of musicians will greatly be affected by what Chlorate and other Jazz musicians have done so that they too may have an impact on Jazz history. Jazz is a music of continuity, not repetition. There is continuity and progress. In an interview with Nat Hometown, Chlorate stated the following: There is never any end . There are always new sounds to imagine, new feeling to get at. And always there is the need to keep purifying these feelings and sounds so that we can really see what weve discovered in its pure state. So that we can see more and more clearly what we are.In that way, we can give to those who listen the essence, the best of what we are. The continuity of Chlorates influence has been carried into present day. Chlorates Spike Lees Mo Better Blues and Oliver Stones The Doors. This renewed interest can be attributed to the social and aesthetic concerns addressed by Chlorate and his music. In 1986, to honor the immense impact of Chlorate in both Jazz and America, the Philadelphia Historic Commission designated Chlorates home on 33rd Street a historic building and a marker was erected on July 17, 1990 by the Pennsylvania Historical and Museum Commission.Later in 1984, seven Philadelphia women formed the John W. Chlorate Cultural Society and incorporation took place in 1985. The societys major goals are the following: ? To develop and present workshops and other activities that will help young children achieve self-esteem and experience self- expression through the arts and culture. ? To make the cultural contributions of African Americans more visible and accessible to Philadelphia communities, especially through the techniques of storytelling and music. ? To inspire the preservation and study of Jazz and its origins. ? To keep alive the memory of the life and works of John W.Chlorate The society also conducts lectures about John W. Chlorate and his life. Talks and video presentations on the life and works of Chlorate re given in the Chlorate home as well as in other facilities. Tours are conducted in the home which displays some memorabilia of the musician. Then on September 18, 1995, the United States Post Office issued a stamp bearing the picture of John Chlorate. And now more than 40 years later, labels have created the start of the sax giants career, with boxed sets, rare tapes and historic material, so that his memory and music will still live.Some more interesting facts from the life of John Chlorate, that are not very well known to general public, are worth, attention, too. Raisins and butter-rum lifesavers had replaced more insidious chemicals by the time he came into his own with Miles; and you could still hear his debt to Dexter Gordon between what came to be called his sheets of sound. In 1960, an interviewer for Swedish radio asked what he thought about critics calling his music aggressive. The answer came in his gentle voice: Maybe it sounds angry because Im trying to play so many things at one time.You see, I have a whole bag of things Im trying to acclimate my ear to hear. Im not familiar enough with them to play one single line so I try them all. Im trying to work through to the essential. Whitney Ballet wrote in The New Yorker: People said they heard the dark nights of the Negro in Chlorates wildest music, but what they really heard was a heroic and unique lyrical voice at the mercy of its own power. His explosive combination of spiritual energy and intellectual prowess went beyond success and even beyond music into the metaphysical.He studied Eastern religions, Islam, the Torah. He read books about mathematics, personal improvement, van Gogh, African history and yoga. His record collection included African, early English, Greek and Indian music. Adding seven bars in E minor and 23 in E major to My Favorite Things and playing it for 45 minutes made it sound more like a raga than a Rodgers and Hammerings waltz. (This was several years before the Beetles went Indian on Norwegian Wood. ) He named one of his children Rave. Improvisation was his vehicle for a search for self-knowledge, unity and the holy spirit.It led him to the Hindu concept of mm, which he defined as the first vibration that sound, that spirit hear. Once after a 30-minute solo accompanied by the surging time of Elvin Jones, McCoy Toners insistent chords and Jimmy Garrisons muscular bass, Chlorate was driven to fall on his knees by the intensity of it all. A large baldheaded man wearing only a loin cloth ran up to the stage, raised his arms and shouted: Cool-trans! The audience rose and shouted with him Cool-trans! Cool-trans! People kissed his hand as he walked out. He disliked being restricted by any sort of rules whatsoever. He told Wayne Shorter that he was trying to learn how to start in the middle of a sentence and move in both directions at the same time. About Schoenberg 12-note system, he said: Damn the rules. Its the feeling that counts. You play all 12 notes anyway. He had not worn underwear since he was 18, and he once wore a pair of stylish but uncomfortable new shoes only long enough to show to his mother. (Damn the rules. ) Musicians called him an angel and a saint. Freddie Hubbard said he felt kind when he was around him. The New York Daily News said he had the future coming out of his horn. He enjoyed puttering around the 12-room house he bought in Huntington, New York in 1965. (The constant vibration in the ground in Manhattan had bothered him. ) In music its the little things that count, he said. Like the way you build a house. You get all the little important things together and the whole thing will stand up. When not working he went to bed before 11 and awoke early to take care of his garden.He heard music in his dreams. Shopping with his wife, Alice, he would practice his flute in the supermarket. By this time, he was grossing $200,000 a year, a lot of money in the sixties. His houses in Philadelphia and New York were owned by Chlorate Realty. He drove a Jaguar. But he was not content with obvious rewards, he moved into a new Joke phase with free- form musicians eke Pharaoh Sanders, Rasher All, Eric Adolph and his wife Alice, a pianist. The audience requested Summertime and But Not For Me, old friends begged him to bring his music back inside.In 1966, toward the end of a three-hour tune, Jimmy Garrison, the only member of the original quartet left, picked up his bass and walked off the stage. You know, thats going to cost you a hundred dollars, Chlorate told him later. Garrison said it didnt matter because he could not figure out what was going on and wanted to leave anyway. James, I understand, Chlorate said. Its difficult for me too. But I cant do any more than what Im doing. John William Chlorate was a very hard working musician.He would practice ten to twelve hours a day, besides a number of performances that included a tour of Japan during the summer. It was Just after returning from Japan that he died prematurely on July 17, 1967. The cause of death was liver cancer but it was probably a combination of overworking and alcohol. Chlorate remains the most influential Jazz musician of the past 40 years. His expeditions on tenor saxophone stand as testament to his unbridled emotion and curiosity. The country has not produced a greater musician. John Coltrane free essay sample The ever growing love that I have for Jazz was started because a friend told me to buy a John Chlorate CD the summer before my freshman year in college. For as long as I have known my friend he has always been Interested In music and has played drums for the majority of his life. He had a few albums of Chlorates and would always tell me I would love them. I remember the first time I heard that piercing voice that Chlorate gets out of his tenor saxophone. I took a trip out to Amoeba records with some friends and the first place I went was into the jazz room to find a John Chlorate album. Not knowing anything about him except that I liked his sound I bought the album The Art of John Chlorate. I got home and put it in my CD player and Just sat in amazement as I listened to the album. We will write a custom essay sample on John Coltrane or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page I absolutely fell in love with the first song on that album and that is why I chose it to be the first on the CD I made to accompany this paper. The song is titled Moments Notice and appeared originally on the album Blue Train. It Just grabs you right from the start of the song and I also Just absolutely love Ethel guess you could call It the chorus In the song because they keep going back to It throughout the piece.My friend let me borrow his Chlorate CDC over the summer and the pleasure that I received from hearing Chlorate play only grew. One of the albums that he gave me was Newport 63 one of Chlorates live albums that was released. The CD has only four tracks on it but it is just about an hour of mind blowing jazz. John William Chlorate was born in Hamlet, North Carolina on the twenty third of September in 1926. He started playing the Clarinet but soon fell in love with Jazz and decided to switch over to the alto saxophone (Wisped). He played the alto saxophone until about 1950 when he decided to switch over to the tenor saxophone.It was with the tenor saxophone that he made his name known to the masses. Chlorate was In small groups here and there until he began playing for Dizzy Gillespie and then later some other well known Jazz musicians. He received his first real big role when he was offered a spot In a quintet by Males Davis. Davis Is obviously an extremely Influential Jazz musicals and Is considered to be one of the greatest jazz musicians ever. He allowed John Chlorate to basically do what he wanted in his solos and allowed for Chlorate to explore and experiment.Chlorate Joined Miles Davis quintet sometime during 1955. Interestingly enough it is said that when Davis was looking to form a new quintet his usual tenor saxophonist went missing so that Chlorate would be assured the spot (Wisped). Sadly, like most musicians, Chlorate developed a heroine addiction and that is considered to be one of the reasons for the breaking up of the Mile quintet. Mils Davis was once himself a heroine addict and so chances are that he saw what was happening to Chlorate and did not want to have to deal with everything that goes along with a heroine addict.However, Chlorate had already made a name for himself ruing the two years that he played with Males Davis. As If playing with the legendary Males Davis was not enough, John Chlorate played alongside Theologies Monk at the famous New Works Five Spot. It was in 1957 when album Chlorate would continue on and make many different recordings, some of Inch were not released until years after his death. A new live recording of John Chlorate was Just released earlier this year. After Chlorates gigs with Theologies Monk he was able to overcome his heroine addiction and reached a turning point in his life. Within a week, he relinquished his drinking, smoking, and drug habits although the smoking habit returned at times). These dramatic changes symbolized his rededicating to Godthe God whom he had learned to trust and obey as a young Child. Chlorate believed that by bettering himself and rededicating himself to God, his music would also benefit, for it was the sinful, secular activities and lifestyle that caused his music to suffer and him to be fired from one of the best bands of the day (Price). The best band that Price refers to is obviously the Miles Davis quintet.Ninth the new changes in Chlorates life he rejoined Miles Davis and really developed Neat would be his voice in Jazz. John Chlorate developed his fast, flowing, and compressed sound within his solos Nile playing with Davis. In this group he was able to create an almost constant wall of sound being directed at the listeners. Air Gaiter coined the term sheets of sound that is used to describe Chlorates sound (Larson 188). Personally I feel as though it is the perfect term to use when talking about what it sounds like when Chlorate is blistering through his solos.Often times you lose track of time when listening to one of his solos because of the speed and the sheets of sound. Soon after recording Ninth Davis on the album Kind of Blue, Chlorate went on to record his own landmark album titled Giant Steps. In an article online Quince Troupe feels that is the album that really established Chlorate as master of the tenor saxophone. This album really sets the bar for improvisation. Chlorate uses unconventional chord changes that blow the mind because of the speed at which they are done throughout this album.Chlorate would leave Miles Davis group shortly after Giant Steps and would form his own quartet in which he used much of what he had learned from Davis to lead he band. The band consisted of bassist Jimmy Garrison, drummer Elvin Jones, and pianist McCoy Toner. One of the best connections in the group was the pairing of Toner and Chlorate. The reason the two worked so well together is because of the Nay that Toner played the piano. He is able to recreate Chlorates sheets of sound on the piano and also developed a style of playing that is copied by many different players today.Within this group Chlorate also began to use influences from India in his compositions and theories. He was one of the first to incorporate Indian themes onto music and was later followed by the more televised visits of the British band The tattles. Free Jazz was growing in popularity which allowed the free Jazz musicians to not have to worry with the small amounts of rules that there were in Jazz. It did not hold back the musicians so they were free to experiment with and use a much wider range than they could have before.Being a classification it is hard to define because music cannot really be put into a genre, especially Jazz because it is the voice and feelings of each individual player. However critics were down playing Chlorate and o quite possibly in an attempt to show his versatility Chlorate recorded the album leads. This album was written in a very lyrical way Just to prove how talented off Supreme. The album had a very spiritual theme drawing from all different religions. Ere album is supposed to represent Chlorates struggle to find his love or purity.I think a majority of people would say that whatever he was looking for he definitely found something with the recording of this album. After the releasing of A Love Supreme Chlorate began to stretch the musical limits and recorded some interesting albums. The albums however were not received very Nell but he continued to push the confines further and further. He last and final recording before his early death at the age of forty was called Interstellar Space. This album went further than Ascension towards the idea of musical freedom (Larson 191). There is a lot of speculation as to what might have come next had Chlorate not died.It is tragic that such a wonderful musician was taken at a young age and Just as he was taking his music to an entirely new level. Forty years old does not seem that pun but Chlorate did not really reach his musical maturity and talent until he was thirty one years old. He really only got nine years at which he had control over his desires and was trying to take his music further. And yet in that short amount of time he was able to release a large number of albums and live recordings. Some are still held in a file somewhere waiting to be released.John Chlorate had such an impact on one man that he founded a church in Chlorates honor and then later the church adopted Chlorate as their patron (Myers). Ere church is called Church of Saint John Chlorate. The story about the man, Franz Nanny King, is that upon hearing about the death of Chlorate, Franz read the linear totes from the album A Love Supreme and was so moved by them that he founded the church in San Francisco (Myers). It would definitely be an interesting ceremony to be singing hymns too Chlorate solo. Perhaps this church is on to something. Chlorate was married to a woman by the name of Anima Grubs. They would later have problems resulting in a divorce. Chlorate would then marry and have three children with the pianist Alice McLeod. The three children were all boys; John Chlorate Jar. , Rave, and Roan. John Jar. Who played alto saxophone died in a car crash in 1982. Rave has made quite a name for himself within the Jazz world. He plays none other than the tenor saxophone that his father before him took to a new level. Rave doesnt let the fact that his father revolutionized the saxophone or quite possibly even Jazz get in the way of showing his own expressions on the instrument.Chlorates wife, Alice, has recently gotten back into the business, mainly because of Raves influence. Rave is Just trying to create his form of art which is of course Jazz. He appears to be doing it and is really finding his own place within the Jazz world plume). John Chlorate will always be remembered as the man with the tenor saxophone. It is almost too easy to find out whether or not it is Chlorate playing the saxophone because of his unique voice and style. He was able to do things with that instrument that no one else before him had done.Because of that he has influenced probably everyone saxophone player since his time. His albums have almost all been re- released and remembered because there is obviously still a demand for them. Also recording keep being released like the most recent one One Down, One Up: Live at the Half Note. And l, like many before me, have fallen in love with the playing of NH I Chose the Songs I Did Moments Notice Earlier in the paper I discussed this song a little bit. The song really Jumps out at you from the get go. It was second track on the album Blue Train in 1957. I love the short pauses early on during the song.I love quick breaks like that Never its done right in a song. Sometimes the lack of sounds can itself be beautiful and add something to the song. Like most Jazz bass lines it is an obvious Nailing bass line. The drums are very splashy and quick. In Jazz I really enjoy the drums the way that they are played in this song. Pursuance 0 My friend sent me his song one night because of the drum solo at the beginning. The reaction I have to this song every time I hear it is the same each and every time. I Just sit here for the ten minutes or so with my mouth open and my knee bouncing to the quick beat.Chlorate really uses the many different sounds that he could get out of his saxophone well in this song. This song is also a really good example of what I was talking about with the pianist McCoy Toner because he really sounds like Chlorate but on a piano. At several points they sort of have a little duet which Just blows the mind. I Just absolutely love how upbeat the entire song is. I also really enjoy how strained the sound coming from his saxophone is, often times it is said to be the musicians voice and in this case it really does sound like a voice. And sometimes he tries to sing so hard that it reaches its limit causing it to go somewhat hoarse. Of course it is always fun to listen to a bass solo because of the nature of the instrument and they dont happen often. My Favorite Things (Live) 0 One of the more famous songs by the Chlorate Quartet. This particular recording is from the Newport 63 album. The song originally from The Sound of Music, is a wonderful song to begin Ninth. But there is something about the way that Chlorate delivers the notes that Just make it extraordinary.He is really able to make the entire song Just flow from one note to the next with such ease and style all his own. It also amazes me Just how long they are able to continue playing. I mean the song is about 17 minutes long and its pretty much a constant Jam each knowing where the other is going and when theyre coming back. Simply amazing. Blue Train 0 The main reason I chose this song is because of the intro. I Just love that horn and rhythm section thing that they do. I Just cant help but imitate the pianist during the intro. This song, along with A Moments Notice, was on the album I purchased The Art of John Chlorate.

What men need to know about dressing for job interviews

What men need to know about dressing for job interviews Attention men: do you know the modern rules to dress for success? Times have changed, and with them the guidelines for dressing for job interviews have too. And in today’s volatile, talent-rich job market where one wrong move can send you to the bottom of the applicant pool, the stakes for making an impeccable impression on job interviews are higher than ever before. Along with your cover letter and resume, how you handle yourself on a first interview- which includes how you dress- is a critical component of your initial impression on potential employers and hiring managers, and we all know how powerful and lasting first impressions can be.So keep reading, get ready- and go shopping if necessary- to make sure you’re absolutely ready when you’re on your next job hunt.Dress for the environmentAn important (yet often ignored) maxim when dressing for job interviews is dressing appropriately for the environment. What does this mean? Simply put, a three-piece suit may not be the best choice for every situation. An interview at a prestigious law firm and an art gallery are different animals that likely require different wardrobes. There are times when a conservative outfit is practically a requirement, and times when a little creative flair will be appreciated and well received. When you’re on an interview, potential employers will not only be looking to see that your outfit is polished and professional, they’ll also be checking to make sure it’s appropriate for the setting and reflects good judgment.Bottom line- whether in a board room, theater, campground, classroom, or somewhere in-between, part of your prep for every interview is to research your target environment and audience and to pick out an outfit that appropriately fits the situation.Fit mattersIn times past, men had plenty of leeway when it came to clothing fit and many chose to opt for loose comfort. Today, a more tailored fit is in style, so much so that in some places you’ll look positively behind the times if your outfit is too baggy or loose-fitting. A well-tailored outfit radiates positive, professional poise whereas a baggy, ill-fitting one may send a subconscious message that you’re unprepared, disorganized, or careless (regardless of whether or not it’s true).Your best bet is to make sure your clothes reflect a neatly tailored fit- this doesn’t mean you have to buy a whole new wardrobe, but it may necessitate a trip to the tailor if you find yourself drowning inside of your current outfits.Don’t be a peacockSure, you want to stand out from the applicant pool when you’re on an interview, but do it with your amazing abilities and experience- not with an overly flashy outfit. Resist the urge to peacock your way through your interviews and save the loudly colored suits and shirts and wildly creative ties for your next party or social gathering (unless you’re absolutely certain it’s the right environment for it). Instead, opt for more subtle color palettes and fits. Trust us on this one- you may stand out with a wild outfit, but likely not in the way you want to.Comfort is keyJust as important as a carefully considered and appropriate outfit is reflecting the aura that you’re confident- which means feeling comfortable in your clothes. Make sure you’ve tried on your outfit in advance of the interview day, and make sure your choice of outfit makes you feel good about how you look and your chances of landing the job. Nothing wrecks a first interview quite like a complete lack of confidence and comfort, so be prepared and consider yourself forewarned.Use these tips to plan out your outfit so that when interview day comes, you’re ready to go. Looking great leads to feeling great, which then leads to putting your best foot forward- so you’ll already have a leg up on the competition. Good luck!

Managing Airline Operations Essay Example | Topics and Well Written Essays - 1500 words

Managing Airline Operations - Essay Example From this discussion it is clear that  the two companies, easy jet company, and the Singapore airlines are both operating on competitive priorities to enable them fit efficiently in the market. The EasyJet Company has focused on low cost air flights. In fact, they were regarded as the cheapest European airline. The low cost priority has enabled them to compete favorably against giant players in the same field.   Also in their competitive priorities, the company has chosen to use identifiable marketing and operational techniques. Such techniques include the use of one type of aircrafts, rapid turnaround time, no in flight meals, and provision of cost conscious customer care services.  This paper outlines that  Singapore airlines as well are utilizing competitive priorities to operate well in the market. Some of the competitive priorities of this company include being positioned as premium carrier that has engaged in high quality services as well as high level of innovation in their service delivery charter.   The company is thus emphasizing on profitability rather than its size. In order to achieve these competitive strategies, the company has embarked on a number of internal organizational practices which enables it stay on top in the market competition and fight for the lion share of the market segment.  Some of the organizational strategies include continuous development of people and maintaining a consistent service design.

Canadas Economy Essay Example | Topics and Well Written Essays - 2000 words

Canadas Economy - Essay Example In specific, Canada has also been one of the sufferers of economic recession and experts have specified that although there have been adverse effects of economic recession, however, Canadian authorities were very effective in overcoming issues and challenges, and thus, were and still are successful in running the Canadian economy in an efficient manner, especially since the past 2-3 years. While the Canadian government received applause from the economic analysts, they had to confront criticism from some experts as well, as they criticized that while running the economic matters of the country, authorities and especially the Bank of Canada have shown ineffectiveness and uselessness. While comparing performance of the Canadian government with G7 states, its graph is going down, and it is imperative that the government with collaboration of the Bank of Canada should take crucial steps to avoid the downfall that will result in adverse impact on different sectors of the country. For this purpose, the paper will try to identify and evaluate the role of the Bank of Canada and the government of Canada in running the economy. In addition, the paper will strive to converse about different economic changes brought in by these two contributors and runners of the Canadian economy. More specifically, economic policies and strategies of the Canadian government for the last two year s will be in scrutiny. Due to the wave of globalization, and most importantly, economic recession, economists are suggesting governments and banking sector to introduce policies that may complement global scenario of economic development rather than limiting to only regional economic development of the country. Studies related to the role of Canadian government have indicated that since the past 2-3 years, the government along with collaboration of the Bank of Canada has created their macro-economic policies on the same track, and the Canadian government is still

Overpopulatio in the United States Essay Example | Topics and Well Written Essays - 2000 words - 1

Overpopulatio in the United States - Essay Example This makes the US one of the fastest growing nations in the line of industrialized nations in the world. This overpopulation has caused various problems in the country, such as scarcity of resources, environmental issues, and economic consequences. Moreover, the problem of overcrowding also presents lack of education, and other issues which might cause troubles for the humanity. It is anticipated that by the year 2050, the population of the nation will be increased by around 130 million people, which is nearly equivalent to the addition of four more states the size of California. This study presents a detailed research on the topic of overpopulation in the United States. It undertakes to consult various resources, publications and databases to obtain information regarding the subject at hand. The causes of overpopulation are considered along with an elaborated discussion on the effects and consequences of the issue. The concept of overpopulation in not new to the current world and has been debated upon much by the researchers and authors. The definition of the term â€Å"overpopulation† is generally given by the writers as a commonly adverse and detrimental context in which the number of organisms goes beyond carrying capacity of its environment (Ian, 2007). This terminology generally pertains to the association between the two variables: environment and human population. The environment can either refer to a small geographical area or entire earth. During the past few years, the population in the United States has increased by more than double. It is said that if the population of the world in the coming century is multiplied by the same amount, there shall be more than one billion people around the globe. This increasing population, in turn, affects many features which include the negative contribution to the beauty of land, forests, environment and the entire ecosystem. Then, the social problems such as increasing attention in schools and lack of teachers

Urban Walkability and Transit Oriented Development (TOD)

Urban Walkability and Transit Oriented Development (TOD) Introduction The transit oriented development approach is being adopted by many cities around the world, particularly those contested with transforming their car dependent neighbourhoods into more habitable and sustainable developments. The simplest way to describe the principles of TOD according to Calthorpe (1993) is â€Å"moderate and high density housing, along with complementary public uses, jobs, retail and services, concentrated in mixed – used development at strategic points along the regional transit system†. Yet, much as connectivity to regional significance through transit is important, it is the communities’ close interaction, supported by a walkable environment that Calthorpe claims is the â€Å"key aspect† of any flourishing TOD. Over the years, pedestrian friendly design thus generated considerable interests and a significant amount of literature and influential policy on urban walkability in TOD’s were developed in the Western world’s temperate urban zones. Presently, however, many of the world’s fastest developing urban areas are found in subtropical latitudes (O’Hare,2006). Western Australia, and particularly Perth, the urban centre of the region is one such case and serves as the focus of this research. The paper explores the key aspects and physical qualities of built environment related to urban walkability with an intent to encourage further discussion and studies on how subtropical TOD’s can be designed to enhance pedestrian movement as well as question whether the orthodoxy of existing urban design principles require some alterations to better adapt to subtropical regions. The paper establishes the accepted arguments and urban design principles essential to urban walkability and develops from a review of urban design sustainability, a framework that would encourage pedestrians’ movement and transport waiting in a subtropical TOD. A literature review is produced to confirm the growing importance of walkability and ultimately the paper explores, through field observations, how the established urban walkability principles apply in the subtropical regions. It concludes by giving some recommendations that could be applied to Claremont town Centre for an improved pedestrian friendly TOD. Accepted arguments for urban walkability + Literature review Recognised as the oldest form of urban transport, walking is a way of encountering and engaging with the local surroundings and wider society in a manner not quite possible when adopting other means of transport, especially motor transport. Gehl Gemzoe (2003), strongly highlight walking as a solution to bettering the public ground as part of the enhancement of the local neighbourhood and urban rejuvenation. With emerging concerns that car dependent cities will not be sustainable in the future, due to energy costs, fuel availability, congestion, pollution and other environmental impacts, much awareness is being raised about the importance of walking. According to US researches, studies show that there is a 30% more likelihood that compact-mixed use development residents would walk (to a restaurant/park) than those inhabiting vast motor-oriented environments (Cervero Radisch,1996). Hodgson, Page, Tight (2004) also conclude from their research that that TOD’s with appropriate design lead to more pedestrian and transit trips resulting in a decline in non-motorised transportation modes to reduce pollution emissions In conjunction to sustainability issues, the intra-generational equity theory and policy also acknowledge that a major part of the population constitutes of people who are extremely young, old, unhealthy, disabled or needy to have access or control over a private car (O’Hare,2006). Recently, considerable interest in improved walking environments has been generated as a result of the desire to encourage nonmotorized transportation modes to reduce pollution emissions and to improve public health by increased levels of walking (Evans-Cowley, 2006). A large body of research has confirmed that a favorable walking environment is a necessary condition for promoting walking and neighborhood interaction (Clifton, Smith, Rodriguez, 2007). Public health The World Health Organisation (WHO) Charter on Transport, Environment and Health as well as the WHO Healthy Cities Program have recognised the prominence of urban walkability long before the urban design and planning fields. The public health sector recognises that ‘active transport’ (such as walking, including walking to the bus or train) involves incidental physical activity. This incidental physical activity is an important component of active living (O’Hare 2000). Active living, together with a healthy diet, has the potential to reverse current international trends towards sedentary lifestyles and the accompanying health risks associated with obesity. Australia has been rated by different agencies as one of the world’s top four countries for obesity. Given that much of the world’s urban population growth is occurring in the tropical and subtropical zones, it is important to examine urban walkability principles with particular attention to conditions in those non-temperate climatic zones. A Perth study found commuters using public transport accumulated seven times more exercise than private motorists The prevalence of obesity in Australia has more than doubled in the last 20 years: 52% of women, 67% of men, and 25% of children are overweight or obese. Urban walkability principles in TODs: Jacobs (1960) spelled out almost half a century ago that urban design qualities relating to the quality of pedestrian experience are essential to support walkability. â€Å"Active frontages† and â€Å"eyes on the street† were recognised as few of the many crucial aspects. Based on the best practices from around the world, 8 principles vital to creating walkable TOD’s are identified in this paper. WALK Developing attractive pedestrian environment ensures accessibility and mobility for all. PLACE-MAKING Creating a sense of place makes encourages pedestrian activity and liveability. CONNECT Creating dense networks of transit routes results in a high degree of connectivity. TRANSIT Locate land uses so that they are transit supportive and close to high quality transport. MIX Planning for mixed use will promote pedestrian interest, safety, 24 hour activity. DENSIFY Sufficient density and compact form make transit viable and improve walkability. COMPACT Planning for compact areas with short commutes improves efficiency. SHIFT Controlling the amount/location of parking increases mobility. It is however important to understand that although listed individually, for a development to become truly transit oriented, we must be able to blur the boundary between these principles so that they are all interrelated Urban design theory and practice guidelines for walkable places were mostly developed in cities located in the temperate climatic zone. In the subtropics, summer is the season of discomfort for walkers, whereas in temperate cities it is the winter that brings discomfort to urban pedestrians. The coastal subtropical city lacks the icy winds, snow, sleet, frost, and other winter discomforts of the temperate city. The pleasant winter pedestrian conditions of the subtropical city are offset, however, by the summer challenges of heat, humidity and glare. The next section of this paper explores the need for an ‘intemperate’ approach to achieving urban walkability in the subtropical city Urban walkability in subtropical TODs Framework It is important to understand that in the fast growing subtropical urban regions of the world, climate and local topography are influential elements associated with walkability. Moving at a slower pace, pedestrians are prone to observe many more perceptible details and are exposed to the surrounding elements and climatic factors. Protection from sun, rain, humidity or heat must therefore be taken into account when planning a pedestrian environment. Drawing on research and keeping in mind the factors associated with subtropical urban regions, a framework of urban design principles is developed as strategies that would best enhance pedestrian movement or waiting in subtropical TOD’s. The key factors to making walking appealing are grouped in three major categories: SAFETY, ACTVITY AND COMFORT. Figure 1 – Framework Venn diagram, 2014. Figure 2 – A balanced street has ample sidewalks, comfortable bike facilities that connect to a network, and safe ways to cross streets, making active transportation possible even on larger roads. Image by EMBARQ. Stimulating walking necessitates that these travellers can move around efficiency, comfortably, and most importantly, safely. Physical design strategies that could be implemented in the ‘Safety, Activity, Comfort’ framework are discussed below : Safety: Ensuring wider sidewalk can provide for easy pedestrian movement and at the same time promote commercial activity/interaction Removing physical or perceived barriers to ensure that the pedestrian has flat and obstruction free band of sidewalk – â€Å"pedestrian zone† Providing pedestrian oriented quality lighting that illuminated their paths will add to the walker’s sense of safety Responsive walk signs at crossing lights designed with better timing and automatic changing to prioritise the needs of pedestrians, raised intersections, mini roundabouts or speed humps will encourage safe movement. Activity: Well-connected streets ensure that residents can conveniently access all parts of the TOD, thus activating the street use. Developing mixed-use street active frontages promote safety, security and foster vibrant social life in the streets. Attractive spaces with building orientation to the public street, visual interests, building articulation and landscaping encourage pedestrians to gather and linger Way finding aids/proper signage must be implemented to help people orient themselves and encourage movement through open public areas. Transit stations should be activated by cafà ©/newspapers stands or other facilities to make transport waiting wothwhile Comfort: The use of shelters in pedestrian and transit areas/stops allows for discomfort reduction and provides rest for pedestrians. Provision of footpath awnings, arcades, and other weather protection at least at certain intervals will serve as shelter from sun or showers. Providing a high degree of street amenities (benches, garbage cans, drinking fountains) and resting places will heighten the image of the street and attract all demographics to comfortably linger. As well as providing a solution to the heat humidity, street trees shade and protect pedestrians from the rain. Walkers can also be protected from cars when greenery is carefully designed along curbs. Sidewalk with a width proportional to the scale of the TOD area and planned walkability level ensures comfortable walking experiences for everyone. Case studies Subiaco City and Claremont Town centre, selected as case studies for this paper are recent both transit oriented areas developed in Perth region with a railway line passing through. The study area boundaries for each include the area within an 800-metre radius surrounding the train station. Subiaco city -Subiaco, known as Subi is a historic inner western suburb located around 3kms from Perth CBD and is focussed around a lively retail strip of Rockeby road. The Subi Centro project encompassing the North and West of the Subiaco railway station began in 1994 and incorporated many new dwellings, business centres and commercial space. An important aspect was the undergrounding of the railway line which in the past divided Subiaco. As an exemplar of urban regeneration supporting its heritage context, the project achieves a high quality public realm. Claremont Town Claremont Town centre, another western suburb finds itself midway of Perth CBD and Fremantle port on the north bank of Swan River. Claremont Town centre is a significant shopping area concentrated around St Quentin’s Avenue/Bay View Terrace and located south of the Claremont train station. The Claremont North East Precinct project is an on-going project started in 2005 as an initiative to revitalise the Northern part of the town which is currently disconnected from the southern part. It aspires a vibrant mixed used development around the Claremont football oval as a step towards social, economic and environmental sustainability. The purpose of this report, being to assess and enhance the quality of pedestrian environment, 3 methods is used to gather information: Ped-shed analysis is conducted at a 400m radius (5 min walk) and an 800m radius (10 min- walk) SAFETY-ACTIVITY- COMFORT assessment sheet is used to rate physical micro – attributes of the built environment on the streets. Observational analysis of the site – pictures/personal experience DATA ANALYSIS The information collected from these were used to assess to what degree the factors discussed in the framework and considered influential to walkability are either present or lacking in these two study areas. Pedshed ratio Analysis of the connectivity of both TODs was assessed through the ped-shed ratios calculated. A comparison of the two diagrams that Subiaco’s street grid network provides many paths and connected streets, encouraging them to walk and be within short walking distance of the train station. Claremont on the other hand, lacks this degree of pedestrian connectivity and offers limited route choice to the person walking. After analysing the connectivity of each site, visuals were gathered from field observations to compare one to another. The Safety-Activity-Comfort assessment sheet was then used to examine and rate each category. Key findings As seen from the rating, Subiaco city stands out terms of providing certain positive physical street elements that affect walkability. Observation from field analysis showed that street frontages on streets adjacent to the train station were quite lively and highly articulated. Seating areas, lighting, greeneries and shaded spots contributed to attracting pedestrian activity in the area. It was gathered from observations and research that Subiaco’s success as a pedestrian friendly locality was also due to the fact that the City of Subiaco Councillors had established a vision statement of â€Å"The Best Main Street Village in Australia† for the area. Rockeby street, in this regard, was developed as a place to come back to instead of just being a transit street and development trends, opportunities and changes were carefully thought of so as the area’s unique ‘sense of place’ was preserved. Famously advocated by Toderian(2014) as â€Å"streets that are for people to enjoy and linger, not just move through..places that are both initially attractive and ‘sticky’, inviting people to love it and not want to leave it†, positive ideas of sticky street concept seems to have been successfully adopted in designing Subiaco’s main street. With the objective of planning not just for the infrastructure and public transpor t, but also the shops, cafes and the people, Rockeby Street has flourished as iconic community hub of social, civic and commercial activity with public spaces as focal points. On the downside however, field observations also indicated a number of vacant shops or those in the process of closing down in Rockeby road retail strip. High rental rates, competition from nearby precinct and over restrictive licensing policies has caused a decline in cafà ©/retail strips and a 5% retail vacancy rate in the area (Tsagalis2012). It was also found that an alfresco dining licence in Subiaco was more expensive than Western Australia’s average and compared to a survey of local governments in Perth and the eastern states (Law, 2014).Mayor Henderson (2014) has approached this issue stating that â€Å"We are aware that council needs to step up to the plate and make some changes in order to create the vibrancy in the main street in Subiaco†. In an effort to encourage more local businesses to operate street trading/ alfresco dining areas to revitalise a spirited street and safe environment for the community, the council of the City of Subiaco has recently resol ved to amend existing associated fees. As of 31st October 2014, a notable reduction in application/licensing fees, a m2 basis fee and the initiation of low-cost short term options will be available for Subiaco retailers and it an increase in street activity is expected. While Claremont Town centre forms part of a prominent retail area, it comes primarily in the form of indoor malls which attract the pedestrians inside rather than being on the road. The main transit adjacent road, Grugeri Street, has a blank wall faà §ade with limited or no pedestrian activity. The street is also very limited in term of comfort since the awnings size is too small to provide shade or shelter. Bus tops and street amenities also lack variety and enhancement to attract people to linger. Recommendations Apparent from the observational audit and findings is that Claremont Town centre has many physical weaknesses in terms of walkability in a subtropical TOD. Because similar weaknesses may exist other western Australian TOD’s, some recommendations may apply for multiple sites and can be used as a guide for enhanced walking experiences. It was revealed from the site observations and findings of these 2 TOD’s in Perth that there is some way to go before Western Australia can claim to have a truly sustainable approach. Having established that urban walkability is vital to achieve a sustainable subtropical TOD, it is important for TOD planners to be able to adopt a revised framework of principles regarding the physical environment attributes that would work best for subtropical Perth regions and merge them with new innovative design strategies which would further enhance walking in Perth. It is also important for town/city planners to review rules and regulations in order to increase vibrancy in TOD’s rather than being over restrictive. Conclusion Having established that a successful TOD walkability is directly associated with a safe, comfortable and attractive pedestrian environment, this paper demonstrates that careful physical planning and good urban design solutions can very much enhance the pedestrian’s experience. It questions the needs of a subtropical city in term of its climate, topography and identity and then explores a framework of revised walkability principles that can be applied to the subtropical city. The case studies reveal responses and challenges to urban design for walkability in Perth and certain successful elements are recommended as strategies to improve Claremont’s TOD in terms of walking experience. It also questions whether over restrictive planning policies may need to be reconsidered to keep a TOD street alive and vibrant. It also recommends innovative strategies of urban design that other projects may copy or adapt in part for design and place-making approaches to give a unique sense of place to the subtropical TOD. Although each future TOD will deal with the numerous complex design challenges depending on particular circumstances around each project, it is the intention of this paper to stimulate discussion and hopefully more substantial research into the planning of walkable subtropical cities since so many of the world’s most rapidly growing urban areas are now situated in the tropical and subtropical zones.

Options for Financing the Purchase of a Website :: Sell Websites Buy Websites

Options for Financing the Purchase of a Website Reprinted with permission of VotanWeb.com Financing a website purchase, or getting cash for a down payment can take many forms. Hopefully the options listed below will give you some ideas where you can find the money to buy a website! Credit Cards - many buyers these days are tapping their credit cards for their down payment to buy a website. The downside of this option is that if you are getting an SBA loan to buy a website, they won’t let you use â€Å"a credit card/loan – borrowed money† for the down payment. Other than that this option works for many since there is no waiting for the money or cumbersome approval process. SBA Loans – Many websites today are purchased with 7(a) SBA loans. There are conditions however in getting one to buy a website. You still have to put down between 15%-30% depending on the lender, you must have good or excellent credit, and the website has to have sufficient cash flow to support the debt service of the loan. The loans are typically 10 years in duration and 2-3 points above the prime interest rate. The process of getting an SBA loan to buy a website can be a tedious one and can take one month to six months to complete/fund. Home Equity – With home equity growing rapidly, many buyers utilize these funds to either buy a website or utilize it for a down payment. Lenders are eager to give out home equity loans. Loans can usually be secured rather rapidly, but plan ahead and move quickly so you don’t miss out on any great websites that come out on the market for sale. Owner Financing – This form of financing is only applicable we=hen you have a willing website owner. Usually the buyer will put down 40 to 60% (utilizing one of the methods above), and the owner will carry back a note for a duration of usually two to five years. Interest rates vary but they usually will be higher than banks or commercial resources. Sometime there will be â€Å"combo† financing with the owner taking back a partial note and the rest of the financing will come from the above resources. Retirement Plans – Many buyers have built up sizeable amounts in their work 401(k) plans. There is a way to tap this money tax free – put it into a â€Å"special trust† that then buys the website for you.