text:
88 miles per hour and nowhere to go.
I feel sorry for Christopher Lloyd, star of the Back to the Future series.
People go to Hollywood with all sorts of dreams and ambitions. Some achieve major
stardom and fame. Others find happiness through various acting venues. The rest
either become roadkill on the streets of success or worse…they become typecast.
People see Lloyd as Doc Brown, the raving scientist. Sure, he was in Taxi,
and he even had some memorable bits in movies like One Flew Over The Cuckoo's
Nest, but most people know him as Marty McFly's crazy buddy. Like so many
before him, Doc Brown" err, I mean Christopher Lloyd, has been shoved into the
backwater of Hollywood, appearing in collect call commercials and Hollywood
Squares. If only Lloyd had an actual time machine, he could go back and
stop himself from ever accepting the Doc Brown role.
Great Scott! That one change in the space time continuum would change everything!
Lloyd would become a leading man, starring in action flicks. Peace would prevail.
The world would be happy. And maybe someone would fix the dismal single-player
part of TimeSplitters before letting it out the door.
The TimeSplitters are a diabolical force that easily surpasses the
piddling time traveling exploits of Christopher Lloyd. These TimeSplitters
bounce through time from era to era, mucking around in our history. It isn't
so much a plot as a concept. People from within these eras must fight the TimeSplitters
and put an end to their evil deeds.
The single-player game is heavily mired in Capture the Flag tactics. Each
mission has an item for you to retrieve and an exit location. Every level holds
a different item. So throughout the game, you first run towards the item, then
run towards the exit dealing with enemies in specific locations and following
specific patterns.
Levels are very linear. You pretty much just run from the beginning directly
to the item, with side tangents to gain extra power-ups. This simple formula
is expanded upon later in the game, but stages still have a very direct layout.
Suffice to say, this simple setup isn't particularly inspiring.
The default control uses the two analog sticks. It takes a while to get used
to it, and even then, I never enjoyed it as much as other console FPS games
like Goldeneye or Medal
of Honor. Control just feels loose, and would have been a lot better with
a "centering" button.
Without a decent plot or radically intuitive gameplay, TimeSplitters
seems more bent on throwing action your way. No cut scenes. No briefings. Everything
is simply left to the bare bone essentials, which makes for a somewhat dry experience.
While not a necessary ingredient, presentation items like cut-scenes and briefings
create a better sense of an environment. Without them, the level designs themselves
are left to pick up the slack.
Unfortunately, these very surroundings are just plain uninteresting. Walls
are sparse and repetitive. With so many different time periods to romp through,
I hoped to see a heightened level of art and design. Maybe they should have
chosen just three time periods and developed each one completely. Instead, every
level has to be different, and every level ends up being unimpressive.
However, TimeSplitters runs at a high resolution and a spiffy framerate.
This is hands down the fastest first-person shooter for any console system .
But that doesn't mean a thing when the worlds look so…boring. Plus, the anti-aliasing
problems show up once again in the form of shimmering details here and there.
Honestly, this problem compounded with the off-kilter lens seriously made me
feel nauseous at times.
Musically, it sounds like they found some no-name band from the 80s, handed
them a synthesizer, and told them to go nuts. And go nuts they did. The music
isn't very good, but at least its usually drowned out by all the blasting and
screaming from the game. Let's hear it for sound effects!
TimeSplitters isn't a complete loss, though. The multiplayer mode makes
this game worth the effort. You can toss yourself into the fray against a mess
of computer-controlled bots and up to 3 other human players. The game still
moves fast, and the lens "seasickness" isn't so sickening on a quarter screen.
But despite the better play in a multi-player deathmatch, the game never lifts
itself above any of its forefathers. Even without the nostalgia factor, I'm
still much happier playing Goldeneye.
As an extra, the game includes a basic map editor to create your own limited
stages. Select different rooms and piece them together. Create different floors
of a structure. You can also make slight changes to each room, like the tint.
It's not nearly as powerful as a PC level editor, but considering the fact that
this is a console, it's pretty cool.
TimeSplitters could use a trip in the ol' Delorean just to realize
what the future of console first-person shooters should be. On this little journey,
it could find out that the single player adventures are becoming deeper and
more involved. The future of gaming will have enthralling and captivating environments.
Everything will be finessed and optimized, resulting in a better all-around
experience. Heed the visions of the future, Eidos, because TimeSplitters
is just more of the same old formula in a candy shell. Take away the coatings
and purportedly new features, and the game finds its way back to its roots –
in the past.


text:
Jobs in Demand
Survey suggests employment outlook is brightest in 6 years
Helen King/Corbis
En español | While it might not quite be time to pop the bubbly, there's reason to believe that hiring in several key industries will be on the upswing in the first few months of the new year.
The latest Manpower Employment Outlook Survey indicates growing optimism among U.S. employers. Of more than 18,000 surveyed, 17 percent anticipated raising staff levels in their first-quarter hiring — the best outlook in six years.
This adds to other upbeat numbers. Last month, the U.S. economy added more than 200,000 jobs, the Bureau of Labor Statistics estimates. The unemployment rate dropped to its lowest level since 2008, to 7 percent.
Overall, things were brighter for workers of all ages in November than in quite some time, says Sara Rix, senior strategic policy adviser at the AARP Public Policy Institute.
Looking at older workers, the November unemployment rate for those age 55 and older fell to 4.9 percent, down sharply from October's 5.4 percent. The rate fell both for older women and older men.
"Fewer workers were unemployed, employed part time for economic reasons or discouraged about their job prospects," Rix says.
While these numbers may be encouraging, workers who remain without jobs continued to struggle, as the average duration of unemployment rose once again. The November survey found that jobless people age 55 and over had been that way for an average of 50.7 weeks, up slightly from 49.7 weeks in October.
That said, don't give up. If you're job hunting, some industries are reporting rising numbers of vacancies. Below are five sectors where you can expect to find openings in the next few months.
Pay will vary depending on the employer, your experience and where you live. The jobs may have flexible hours and be full or part time. Some may require you to go back to school for specific training. But in others, you may be able to repurpose skills you already have.
If you're ready to jump-start your search, be sure to review my list of job hunting mistakes to avoid and ways to improve your LinkedIn profile.
1. Health Care
The aging population and longer life expectancies are spurring a wide range of health care-related jobs. In fact, for the period 2012 to 2022, the U.S. Bureau of Labor Statistics projects that industries related to health care will generate the most new jobs, 5 million. New ones are cropping up all the time for people in their 50s, 60s and 70s that cater to people in their 80s and 90s.
You'll do well to think broadly about what a health care job is, and how your talents and skills might be redeployed to take advantage of the opportunities. The jobs can run the gamut from repairing gurneys and wheelchairs at a hospital to transcribing medical records at a physician's office.
Look for jobs at public and private hospitals, nursing and residential care facilities, and individual and family services. Look too at health-related nonprofits and environmental and animal welfare groups — these groups have been hiring workers to provide services, run programs and raise money.
See also: Make money using your natural talents
Consider too whether you should hang a shingle for your own self-employed enterprise in the health field.
Some specific jobs to explore in the sector include dietitian and nutritionist, patient advocate, personal and home health care aide, massage therapist, physical therapist (and aide/assistant), registered nurse or licensed/practical nurse, nurse practitioner, senior fitness trainer, skin care specialist, home modification professional, medical equipment maintenance and repair, and medical records administrator.
2. Financial
As boomers slide into their retirement years, they are increasingly seeking help with managing their money, whether it's bill paying or estate planning or choosing the right insurance policy. There is growing awareness that people need to have financial plans in place to help avoid outliving their savings.
Moreover, as traditional employer-provided pensions have been replaced by do-it-yourself 401(k) and similar plans, demand is on the upswing among all age groups for experts who can make sense of retirement investment. Little wonder that the Bureau of Labor Statistics predicts job growth in the financial activities arena to bump up about 10 percent in the next decade.
Online Community: Was I discriminated against? Join the Discussion
Jobs to explore in the sector include accountant, personal financial adviser and planner, insurance broker, retirement coach, bookkeeper, financial manager and tax preparer.
3. Leisure and hospitality
Given the snowballing number of retiring workers, there has been an upsurge in demand for travel and leisure activities. So it's not surprising that the Manpower survey found that 23 percent of employers in this field were planning to take on more workers in the first quarter of 2014. The Bureau of Labor Statistics sees long-term growth too: about 1.3 million new jobs between 2012 and 2022.
Jobs to explore in the sector include barber and hairdresser, cosmetologist, casino worker, caterer, chef, cruise line worker, landscaper, pet sitter/walker, recreation worker, resort worker, tour worker, bartender, waiter and hotel shuttle van driver.
4. Retail
It's not exactly shop 'til you drop, but most experts predict that the rising population will translate to a greater demand for workers in the retail trade. Manpower, for instance, says that 19 percent of retail employers plan to add jobs in the first quarter of the new year.
Jobs to explore in the sector include cashier, customer service representative, package preparer, e-commerce analyst, direct salesperson, retail salesperson, sales representative and product demonstrator.
5. Professional and business services
Jobs in this sector are forecast to grow by nearly 20 percent — roughly 3.5 million new jobs between 2012 and 2022. In some subcategories, the growth will likely be even bigger: Employment in computer and mathematical occupations, for example, is expected to rise 18 percent, spurred by growing calls for network and mobile technologies.
In this field, you'll need to cast a wide net. Seek out openings at small businesses and big corporations. Sixteen percent of employers in this sector plan to expand hiring in the first few months of 2014, according to Manpower.
There's a variety of positions that keep the wheels of business greased, and, as more seniors go the entrepreneur route, there's a growing need for expert advice and services for start-ups, especially on a contract and part-time basis, according to Elizabeth Isele, cofounder of the nonprofit Senior Entrepreneurship Works.
Jobs to explore in this sector include grant/proposal writer, green-business consultant; human resource specialist; information security analyst; database administrator; management consultant; market research; meeting, convention and event planner; translator/interpreter. Spanish is the most in-demand language, but other languages are increasingly needed, such as Arabic. Specializing in translating in a particular field such as the judicial system or health care and knowing its special terminology will increase your job opportunities.
Editor's note: The figure for health care jobs was incorrectly stated as 15.6 million. The correct figure is 5 million.
Kerry Hannon, AARP jobs expert, is a career transition expert and an award-winning author. Her latest book is Great Jobs for Everyone 50+: Finding Work That Keeps You Happy and Healthy … and Pays the Bills.
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subset: commoncrawl


text:
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Tori Spelling might be heading to daytime.
ABC is currently developing a talk show for the "Tori & Dean: Home Sweet Hollywood" star, a source confirmed to Access Hollywood on Wednesday.
According to the Los Angeles Times, which first reported the story, the network is said to be looking to create a "Will & Grace" style atmosphere between Tori and a potential co-host, who has not yet been selected.
In 2006, Tori charmed VH1 audiences with her own "Will & Grace" style banter with "Star Trek's" Zachary Quinto, who played her best friend on VH1's "So NoTORIous," which was based loosely on the "90210" star's life.
If Tori's show makes it to television, it is unclear how it will work on the ABC schedule, which currently features a mega-block of soap operas – "All My Children," "One Life To Live," and "General Hospital" – followed by daytime powerhouse, "The Oprah Winfrey Show."
Oprah's show, however, will come to a close in Fall 2011.
Since Oprah announced her impending departure from daytime, a host of new talk shows have been announced including the Oprah-endorsed "Nate Berkus Show," starring the TV queen's designer pal, and Rosie O'Donnell will also be returning to the fold.
Related Content from AccessHollywood.com:
VIEW THE PHOTOS: Keepin' It Real With TV's Hottest Reality Stars!
VIEW THE PHOTOS: '90210' Alum Tori Spelling
PLAY IT NOW: Tori & Dean Return 'Home' (March 28, 2010)
PLAY IT NOW: Access Extended: Tori Spelling & Dean McDermott Tackle Rocky Romance Rumors
MORE ACCESS ON THESE TOPICS: Tori Spelling - Oprah Winfrey - Reality TV - TV


text:
We have yet another new beta release of Warzone 2100 based on the famous "git master" branch. This beta again contains only a lot of bugfixes. Thanks to everyone who has been testing and reporting bugs in the previous beta.
It is available at our usual location: https://sourceforge.net/projects/warzon ... 2.0_beta4/
If you wish to compile it yourself directly from our repo:
then proceed as normal with the build process.
Code: Select all
git fetch origin --tags
git checkout 3.2.0_beta4
Please report all bugs to http://developer.wz2100.net/newticket, and not on the forums.
We have changed our release procedure a bit in order to get releases out faster. We now make releases straight off the master branch, rather than branching off a stable branch from which we make releases. This might result in some oddities in this beta. Please report anything that looks amiss.
2016-06-19: Version 3.2.0 beta4
- Change: Add default teams for Clover, Manhattan and MizaMaze (d53404f63b)
- Fix: Crash if construction droids were doing construction without being ordered to (4c6d778351, #4417, #4417)
- Fix: Loading of default teams, given non-default starting positions (d53404f63b, #4341)
- Fix: Desynch on destroying droids while trying to build droids at droid limit (63506e6849)
- Change: Add team colour to repair facility turret (2fd3a50608, #4415)
- Fix: Stretch to ground of defensive and wall structures did not work (94d0afe21c)
- Fix: Structure direction not taken into account when stretching to ground (04df320e5a, #4366)
- Fix: Weapon rate of fire upgrades did not take effect on burst-fire weapons (9498600700, #4411)


text:
Here is what I mentioned about the cover on DC's THE SOURCE Blog.
"The description for this cover was that Batman was being tackled, or smothered by the Court of Owls," Fabok told THE SOURCE. "The idea of the court reaching down to Batman in a zombie like manner immediately sprang to mind. Artistically I really wanted to play with the shadows on both Batman and the owl-masked men so I added a strong source light on one side to light the shot. I used my camera on my Macbook to get some rough shadow reference and went from there. I penciled the piece traditionally but inked it digitally on my cintiq. Peter did a great job as usual on colors. I'm very humbled to have had the opportunity to do a BATMAN cover, especially in connection with such an excellent BATMAN run."
Next time, more Batman Annual #1 news. I'm into the last act of the book. It's turning out great so far and oh boy, does it ever have a great ending! More on that later.


text:
HEAT S/S Run Tee
PRODUCT DETAILSRevolutionary heat activating ceramic infused yarn provides warmth and protection against odour and bacteria. Comfort is further enhanced by excellent moisture wicking, rapid drying and zero body cling.
|Garment Features
Delivery & returns
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text:
Hofstede's consequences: The impact of his work on consulting and business practices
An Executive Commentary by John W. Bing
Encountering Hofstede's Work
The ocean liner Queen Mary is perhaps an odd place to run into the ideas of Geert Hofstede, but that is where I first encountered them, in March of 1982 at a conference of the Society for Intercultural Training, Education and Research (SIETAR). (The Queen Mary is now, and was then, a floating convention center docked off the coast of Southern California.)
I attended a session run by Robert Moran and George Renwick, who introduced the basics of Hofstede's research, and the implications of that research, to participants. I remember that my reaction was one of astonishment: Here was someone who had analyzed the world of cultures through large-scale and careful quantitative research. Because of the scope of Hofstede's research-over 115,000 questionnaires in over 50 countries-the findings had a very broad foundation. The results were obtained from surveys conducted within a large multinational business, IBM; therefore, the findings could be applied, I thought, to businesses in general. When I grasped how Hofstede's twosided matrixes - for example, comparing the relative scores for countries on both individuality and power distance - organized his dimensions into a set of mental geographies, I was just plain amazed. These mental geographies had both similarities with and differences from the world's physical geographies. The research suggested that country cultures in physical proximity (say France and Belgium) both resembled and were different from each other in expected and sometimes wholly unexpected ways.
I came away from that session convinced that I had seen the future of the field and recommitted to my work.
At the time I first learned of Hofstede's work, I had already played a small role (with Al Wight and Ann Hammonds Roberts) in the development of the prototype of the first Peace Corps crosscultural manual, so I was familiar with the research in the field. Little of that research was quantitative so I recognized the pioneering nature of Hofstede's work.
Hofstede's study was groundbreaking in other ways as well. Survey research had been used before, in fields such as sociology, political science, and business studies, but had not been significantly employed in cross-cultural comparisons, certainly not across a large number of countries. It is no exaggeration to say that Hofstede helped to create the field of comparative intercultural research. From its original publication date in 1980, Culture's Consequences sold steadily over a twenty-year period. In 1988, citations referencing Culture's Consequences jumped. From that time, Hofstede's influence has grown steadily.
During the mid-1980s I came across a simple cross-cultural assessment (now called the Culture in the Workplace Questionnaire™) developed by Hofstede to help individuals understand their own cultural preferences, contacted Hofstede for a license, and began using it in my own practice. Countless other professionals have benefited from studying his work and applying its principles.
Hofstede's Influence
Hofstede is the most-cited Dutch author and the ninth-most cited European in the 2001 Social Science Citation Index. Over time Hofstede's influence has become so pervasive, and his work has developed so many offshoots, that even those who don't agree with his theory or conclusions must at least acknowledge his work. Debates within the field are an expected part of the process of theory building, testing, and questioning which characterizes modern science. What is clear is that Hofstede designed the architecture that has characterized much of contemporary cross-cultural quantitative research; and his is the standard to which others must make reference. It would be easier for caravans to cross the desert without touching sand than it would be for researchers and practitioners in this field to avoid Hofstede's work.
His work has been equally influential on practitioners. When it was first published in 1980, Culture's Consequences and its younger offspring, the more practically oriented Cultures and Organizations: Software of the Mind, which first appeared in the UK in 1991, knit together a group of concepts from the disciplines of sociology, psychology, philosophy, and political science and related these to Hofstede's country-based research. Through the quantitative research generated from Hofstede's work with IBM, country cultures were defined in an original and powerful way, through four specific dimensions of culture - power distance, individualism, uncertainty avoidance, and masculinity. Later, short- and long-term orientation was added as a fifth dimension. The quantitative map of culture was thus created - certainly not in its final form, but in a form similar to the maps of pioneer explorers discovering new worlds.1
Practical Applications
Practical applications were developed almost immediately. Professionals in the field of crosscultural training and development began experimenting with how the dimensions and country comparisons could help people work more effectively in more than one culture. The original four (now five) dimensions became teaching lenses through which could be diffracted many different situations specific to two or more cultures.
In fact, Hofstede later was heard to complain occasionally that practitioners sometimes misunderstood or misused his research, a common problem with new theories as they make their way into the world. A common error to which practitioners may be prone involves predicting individual cultural preferences by inference from Hofstede's country scores. Merely because, for example, Chileans have a high uncertainty avoidance score does not mean that individual Chileans share that quality. They may or may not. Most populations are normal curves, and an individual may be found at one extreme or in the center. That individual's cultural preference cannot be predicted from the country scores. However, as a whole population, the group tendency is in a specific direction, and that is how Hofstede's scores are derived.
Visible Dimensions
There were other ways in which Hofstede's work helped organize not only my work with clients, but my own experiences as well. For example, in my travels to Austria, I was amused by how farmers' woodpiles were carefully created with almost perfect symmetry-large logs on the bottom, medium size stacked above, and smaller branches on topnicely illustrating the high Austrian score in Hofstede's uncertainty avoidance dimension. For creating order is an effective way of avoiding uncertainty. (I contrasted this with the more haphazard piles of wood of my native New England.)
Similarly, the Austrian subway system, the Ubahn, not only operates typically on time, with the same clear (recorded) male voice announcing station stops everywhere in the system (again, reflecting a high need for certainty), but there are no barriers to entrance to the stations; although there are occasional ticket checkers, each passenger is generally expected to police his or her own behavior (again, mirroring the low Austrian power distance score). Contrast this to the subways of New York, in which the individual voices of conductors announce (sometimes!) station stops, and each entrance has massive barriers to entrance! And it's no accident that the members of Austria's famous Vienna Philharmonic Orchestra choose their own conductors, their leaders, another example of Hofstede's low power distance in action (Austria has the lowest score of cited countries).
While on a business trip to Tokyo some years ago, I was in a bus with a group about to disembark to tour the Imperial Palace when our guide, with a smile, informed us over the loudspeaker that she would be holding a sign, and that we were to stay in sight of this sign at all times; otherwise, if we wandered off, we might be arrested. Of course, this was to me a confirmation of Hofstede's individualism - group dimensions scores: The stronger group orientation of the Japanese contrasts to the U.S.'s highest-of-all-countries individualism scores. Americans have a tendency to wander off on their own, as our guide was no doubt aware; while in the U.S., Americans notice how Japanese often travel together, taking many group photos.
One line of application has not received as much interest as I believe it should. Very few articles have been published on the application of the dimensions to issues of war and peace. Can a light be shone through the dimensions to illuminate why countries resort to war when negotiations and other legal and moral alternatives to conflict would bring a far superior result? When one country has a high individualism score and a low power distance score, and is dealing with leaders of another country with opposing scores (as was most likely the case of the United States and Iraq), are misunderstanding, missteps, and eventually warfare inevitable? Or could such lines of thought suggest to political leaders that different approaches might yield different results? Although it is clear that such approaches will not prevent war in instances in which a nation's leadership is bent on hostilities, in cases in which there is a genuine search for alternatives, such approaches could open otherwise locked doors.
Encountering - and Countering - Stereotypes
It's important to note that sophisticated interpreters of Hofstede's research have sometimes found in certain country scores a way of countering stereotypes. For example, the German scores for power distance (like Austria's) are relatively low. In my practice, this sometimes raised eyebrows. How could the scores be so low when everyone knows that Germans are susceptible to strong leaders, to giving and taking orders? Well, what everyone knew is likely no longer applicable. Germany has changed since 1945, although the stereotypes have held on for much longer. For example, representatives of German unions not uncommonly hold positions on company boards of directors, unlike almost all of their counterparts in the United States. Although German society is highly structured, with great attention paid to hierarchy by professional degrees, occupation, and social status, this is a measure of the need for certainty rather than power distance.2 In other words, as Hofstede states, the authority is in the role, not in the person.
Further, experienced practitioners are aware that Hofstede's numbers should never be applied in a reductionist fashion-in other words, numbers can never fully describe human behaviors. This is especially true when examining individual members of a group; individuals' preferences may be very much like, or very different from, the scores for a group. Many other factors need to be considered - age, education, exposure to other cultures, occupation, and so forth. In my own practice, I look upon Hofstede's data as would an airplane passenger looking down upon mountain ranges (in this simile, the dimensional bar charts). These represent country cultures. Smaller ranges represent subcultures within countries. But to understand individuals, you have to land at the nearest airport and meet them at ground level, taking into account their unique qualities.
The Value of Quantitative Research
Of what practical value, then, are the quantitative results of Hofstede's research? How can these results be used creatively to produce a sophisticated sense of cultural possibilities rather than stereotypes?
First, the dimensions should be used to help learners understand their own cultural tendencies. Many are not aware that they carry around their culture with them, and their preferences map on the dimensions. Once this understanding is developed, it is possible to understand that others will have different preferences. Thus a door is opened.
Second, the consequences of different preferences can be explored in specific workplace and organizational components. How are business processes, communications, and practices carried out differently by people with varying cultural preferences?
The following are examples of how Hofstede's research can be applied in various learning and business contexts. A more comprehensive example of the application of the dimensions to change strategy can be found in the Appendix.
Examples of Practical Applications
When business consultants and professionals in the field of workplace learning and development discovered Hofstede's dimensions, applications began to emerge in many areas. The following are merely a few examples of how the field has translated the abstract theory into a series of concrete approaches. The materials in italics provide examples of how the dimensions can be used in each of these areas.
Orientation and Training
1. New Employee Orientation: Offering an overview of cultural differences and how they may influence communications and other transactions between various parts of the global organizat ion. Learners can be provided with their own cultural preferences, and these can be compared to country scores or to actual scores of coworkers. Learners can then, through exercises, learn how business practices might differ between such coworkers and be provided with a common Language with which to frame the dialogue on cultural diversity.
2. Multicultural Workplaces: Providing models and examples of the specific influence of culture on transactions within multicultural work environments. Using dimension scores from each employee, discussions can take place on how each of their preferences can be taken into account in workplace situations specific to their work.
3. Relocation Training: Providing employees who are relocating internationally with an understanding of their own cultural preferences and those of the country of assignment so that they will be able to operate effectively, productively, and maintain a sense of balance. Individual dimensional scores of relocating employees can be compared to country scores; these are lenses through which the employee's actual business responsibilities can be focused.
4. Developing Nuanced Global Business Practices: For example, developing communication protocols across countries. Who gets copied on emails, how fast a response is expected, and how much content to include-these communication areas tend to align with the Hofstede dimensions. For example, in high power distance environments, employees tend to copy their supervisors on most emails-which is often misunderstood by low power distance colleagues.
Leadership Training and Development
1. Models of Leadership: Providing an understanding of how leadership practices and expectations may differ internationally and how to express the specific leadership practices of organizations in ways that can be understood by various constituencies. Providing learners with various models of leadership as obtained through a study of the dimensions and other sources will allow for sophistication in how leadership is both exemplified and accepted. "Good" leadership behavior in one culture may be considered rather poor behavior in another. So how can global leadership be developed?
2. Management Practices: Offering an understanding of the influence of culture on management practices worldwide within and between companies. Both compensation and benefit practices differ considerably across cultures, often on the individual-group dimension. What may be considered appropriate CEO compensation in a high individualistic culture may be considered larceny in a high group-oriented country.
3. Communicating Across Geographic and Institutional Boundaries: Understanding the role of leadership in translating and communicating both within and between local subsidiaries and between the corporate entity and its local subsidiaries. The study of dimensional differences can help global leaders both create and interpret policies at both local and corporate levels with a higher chance of success across company and geographic boundaries.
4. Global Teams: Learning how to lead global teams and measure obstacles and progress. Team members can discuss how their preferences influence their work on the team and how each person can help reach the team's objectives. They can discuss why some members of teams would prefer for the team to perform like a leaderless jazz band (high individuality) and others like an orchestra with a conductor (group orientation and high power distance).3 Differences in cultural preferences can be leveraged to improve creativity and work effectiveness.
5. Development of Global Competencies: Understanding how cultural dimensions interact with global competencies. The dimensions mediate how competencies are both interpreted and rewarded.
Business Practices
1. Managing Cross-Border Mergers and Acquisitions: Helping senior leaders identify cultural and related barriers and bridges to communications and trust-building within new entities and provide solutions to speed these business transactions. According to a KPMG study, "83% of all mergers and acquisitions (M&A's) failed to produce any benefit for the shareholders, and over half actually destroyed value."4 Cultural preferences have been identified as an often overlooked barrier to the effective implementation of mergers and acquisitions. The dimensions can be used to anticipate and reduce the culture clashes. In addition, merging companies' disparate practices must also be aligned.
2. Leveraging Joint Ventures: Helping partners leverage their differences and similarities to produce more rapid results within the joint venture.
3. Vetting Employee Surveys: To make sure they are relatively objective and culturally accessible to all employees.
4. Negotiations: Helping negotiators understand and utilize the cultures on all sides of the table; planning the specifics of negotiations such as meeting with one person (high power distance) versus many people; size of proposals, etc.
5. Content-Specific Business Practices: Understanding how the law, finance, marketing, brand identification, and related business areas are influenced by cultures.
6. Globalizing Functions: For example, human resources needs to consider training/learning approaches/methodologies (brainstorming [individualism] vs. small group discussion and presentation [collectivism]; lecture [high power distance] vs. participative approaches [group discussions]; compensation and benefits: individual vs. group rewards).
7. The Impact of Culture on Change Strategy: The change process, like others, is influenced by culture. See the Appendix for an examination of this issue in detail.
Special Applications
The varieties of uses of the research are quite wide, and sometimes surprising. A recent article employs Hofstede's five dimensions to analyze website design and contents. The author analyzes specific country websites and notes how they conform to variances based on dimensional differences. Here is an example of how he analyzes two airline web pages on the uncertainty avoidance dimensions. His supposition is that the characteristics supportive of simplicity ("limit choices and amounts of data"), results ("let users know the implications of their actions before they do anything"), comfort ("mental models should focus on reducing user error"), and clarity (design characteristics [color, typography, sound, and so on] support navigation and reduce ambiguity") should be utilized in designing websites for high uncertainty avoidance countries.
The [former] Sabena Airlines Web site (http://www.sabena.com/), based in Belgium, and the British Airways Web site (http://www.britishairways.com/), based in the United Kingdom, illustrate the results of uncertainty avoidance differences. Both sites have a primary travel booking area with approximately the same number of selectable items (nineteen versus sixteen). However, Belgium has an uncertainty avoidance rating of 94, the highest of the cultures studied. You'll note that the Sabena Airlines site has a home page with very simple, clear layout and limited choices outside of the booking area. The United Kingdom has a rating of 35, and the British Airways site has much more complex content and more than twice the choices. What's more, user options are located in multiple groupings with a variety of input and appearance characteristics.5
Another unusual study, this one supported by NASA, researched the effect of national culture on automation in airline cockpits.6 In this study, high power distance and high uncertainty avoidance predicted a high level of acceptance of cockpit automation; pilots from high individualistic cultures were reported to be less likely to accept automation. U.S. pilots were therefore more likely to resist aspects of cockpit automation than their peers from countries where acceptance of authority and structure is more prevalent.
Those who would like to know the full range of how theory has influenced further research and practice need only consult the second edition of Culture's Consequences7 which contains a compilation of studies based on Hofstede's work as well as research of quite different origins whose findings correlate with his.
Cultures in Motion: The Way Forward
Progress in science is often based on an intuitive leap, what Thomas Kuhn has called "an apparently arbitrary element, compounded of personal and historical accident." At some point in Hofstede's analysis of data from IBM, he must have seen that there were shifts in responses to questions that could most likely be caused by the "mental programming," the culture, of the respondents. The same curiosity that led a young Hofstede to accept employment on the factory floor in his native Holland to learn better how people work together led him to pore over the numbers which came out of his research at IBM and, finally, to see patterns in those responses which none before him had found.
Prior to this insight, cultures were usually seen in static isolation. Hofstede set them in motion relative to themselves, hovering in a kind of statistical space where meanings could be derived from their relative positions. He then aligned them, like iron filings, along the magnetic lines of the cultural dimensions.
Some implications of this related set of discoveries remain to be discovered, despite the long line of confirmatory and parallel studies that has taken place during the 40 years since the research was first reported. As an example, the relationship between culture and personality (an offshoot of the nature/nurture dilemma) is still not entirely clear. When survey questions are answered, where does personality end or culture begin? Are personality inventories entirely free of cultural contamination - in other words, do Japanese and Americans, for example, have the same personality patterns despite their very different cultures? Or is introvertism a cultural artifact? Geert Hofstede is now working on an article on this subject (with Robert R. McCrae) and will have some new ways to look at this ancient conundrum.8
Wherever comparative intercultural research guides practitioners in the future, we have already had many far-reaching applications. And whatever direction that is, it will begin from the coordinates established by Geert Hofstede.
The Impact of Culture on Change Strategy9
Global companies experience change on an ever more frequent basis and in their global operations must navigate the cultural impact of change projects. Hofstede's dimensions offer guidelines for localizing a culturally acceptable approach to corporate activities.
Writing about managing change, Warren G. Bennis, Kenneth D. Benne, and Robert Chin (Editors of The Planning of Change [2nd Edition]. New York: Holt, Rinehart and Winston, 1969) identify three characteristics of people: rational, social, and compliant. Fred Nichols (in Change Management 101, Internet publication, January 2002) uses their strategies and adds one characteristic based on human adaptability.
When these tour characteristics identified by Bennis, Bene, Chin, and Nichols are aligned with the Hofstede four cultural dimensions, they provide some insight into how to better handle change across cultures.
1. Bennis, Bene, and Chin say, "People are rational and will follow their self-interest - once it is revealed to them. Change is based on the communication of information and the proffering of incentives." This relates to Hofstede`s Individualism dimension (Individual Orientation / Group Orientation).
|CHANGE - How do you interact with those with a preference for Individual Orientation?
|CHANGE - How do you interact with those with a preference for Group Orientation?
2. Bennis, Bene, and Chin say, "People are basically compliant and will generally do what they are told or can be made to do." This relates to Hofstede s Power Distance dimension (Hierarchical Orientation / Participative Orientation).
|CHANGE - How do you interact with those with a preference for High Power Distance / Hierarchical Orientation?
|CHANGE - How do you interact with those with a preference for Low Power Distance / Participative Orientation?
3. Nichols says, "People oppose loss and disruption, but they adapt readily to new circumstances. Change is based on building a new organization and gradually transferring people from the old one to the new one." This relates to Hofstede's Certainty dimension (Need for Certainty / Tolerance for Ambiguity).
|CHANGE - How do you interact with those with a Need for Certainty?
|CHANGE - How do you interact with those with a Tolerance for Ambiguity?
4. Bennis, Bene, and Chin say, "People are social beings and will adhere to cultural norms and values. Change is based on redefining and reinterpreting existing norms and values, and developing commitments to new ones." This relates to Hofstede's Masculinity dimension (Achievement Orientation / Quality of Life Orientation).
|CHANGE - How do you interact with those with a preference for Achievement Orientation?
|CHANGE - How do you interact with those with a preference for Quality of Life Orientation?
These suggestions provide a framework for "local / country managers" to use in their role as change promoters. They can adapt their style to one more likely to be accepted by their employee population, while championing the organizational change.
1 For a rival view of cultural dimensions, see F. Trompenaars & C. Hampden-Turner. 1998. Riding the waves of culture: Understanding cultural diversity in global business (2nd ed.). New York: McGraw-Hill.
2 This is my own interpretation. In fact, Hofstede himself has stated that "Germany in my view did not change its culture after 1945, but started using it in a constructive rather than in a destructive way." (Personal communication, December 2003)
3 Drucker, P. F. There's more than one kind of team. Wall Street Journal, 2 February 1992.
4 Gitelson, G., Bing, J. W., & Laroche, L. 2001. The impact of culture on mergers & acquisitions. CMA Management, March 2001. Available online here.
5 Marcus, A. 2003. Are you cultured? Global web design and the dimensions of culture. New Architect, March. Available online at http://www.newarchitectmag.com/documents/s=2450/na0303r/.
6 Sherman, P. J., & Helmreich, R. L. 1996. Attitudes toward automation. In Proceedings of the Eighth International Symposium on Aviation Psychology. Columbus, OH: Ohio State University.
7 Hofstede, G. 2001. Culture's consequences: Comparing values, behaviors, institutions, and organizations across nations. (2nd ed.) Thousand Oaks, CA: Sage.
8 Hofstede, G., & McCrae, R. R. Personality and culture revisited: Linking traits and dimensions of culture. To be published in Cross-Cultural Research, 2004.
9 Designed by Catherine Mercer Bing and © ITAP International, 2003. All rights reserved.
John W. Bing is the president and founder of ITAP International. He received his BA from Harvard University in 1961 and earned an Ed.D. from the University of Massachusetts Center for International Education in 1979. He has served in the Peace Corps including coordinating international training as a Regional Training Officer. In 1992 he won the International HRD Practitioner Award from the American Society for Training and Development.
This article originally appeared in the Academy of Management Executive, February 2004, Vol. 18, No. 1.


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SAN FRANCISCO (Herald de Paris) — The sound of Greg Adams is one of the world's best-known musical signatures. A musical journey that has spanned nearly four decades from the time he first arrived on the San Francisco Bay Area music scene in the early '70s, Greg has been a driving force in defining an artistry that transcends musical genres, is still seeking out a course not yet traveled, is at his best when he's testing his innovative boundaries. Adams diversity has made him the consummate performer, setting no boundaries and seeking no labels.
Adams is a founding member of Tower Of Power and is legendary for the horn arrangements that made the TOP horn section a sought-out entity all its own. TOP is still traveling the world playing the arrangements that will forever include the musical signatures Greg invented so very long ago.
Beginning early with his arrangements on Santana's Everything Is Everything, Elton John's The Bitch Is Back, Chaka Kahn'sFool's Paradise, Little Feat's High Roller, and Heart's Tell It like It Is, Greg has played on over five hundred recordings. You've heard Greg's collaboration with Paul Shaffer on the opening theme of Late Show With David Letterman and on score arrangements in such films as Duets, Mask, Top Gun, Saving Silverman, and Austin Powers in Gold Member with Smashmouth. He teamed up with Stanley Clarke on Little Big League and on Sgt Peppers Lonely Heart Club Band with the illustrious Sir George Martin.
Greg has arranged, performed and recorded with countless artists as diverse as his career including The Eurhythmics, Rod Stewart, Lyle Lovett, Heart, Linda Ronstadt, Luther Vandross, Aaron Neville, The Brothers Johnson, Phish, Little Feat, Wilson Pickett, Huey Lewis and the News, Raphael Saadiq, Al Green, Quincy Jones, B.B. King, Everclear, Chicago, Bonnie Raitt, Dionne Warwick, Ray Charles, Peter Frampton, Billy Preston, Terrence Trent Darby, Josh Groban Madonna, The Rolling Stones and Celine Dion.
For Adams it is always about the journey and where it will take him – and he is always ready to go. Greg has a new band poised for international recognition called East Bay Soul. EBS has put out one album and has recently followed it up with East Bay Soul 2.0 – completely produced, arranged and co-written by Greg. A collection of dynamic songs backed by his band East Bay Soul, Adams signature sound is clearly stamped throughout the album's ten tracks, an equal mix of instrumental and vocal songs and a blend of funk, jazz, R&B and soul.
Gregs's work is a musical travelogue that has earned him both Grammy® and Emmy nominations, and an International Broadcasting Award from The Hollywood Radio and Television Society. He is in sync with an ever evolving musical landscape and has produced a life's work that has included success as an arranger, songwriter, producer and performer, taking him on worldwide tours and contributing to some of the most important recordings in pop culture.
Herald de Paris Deputy Managing Editor Dr. Al Carlos Hernandez first interviewed Greg in 1977 on KFRC Radio in San Francisco. This was a wonderful opportunity to catch up with an old friend and have a very candid and heartfelt conversation. An even older friend, the late Jerry Garcia, would have said, "What a long strange trip it has been."
AC: I understand your family was involved with the Salvation Army. Does this experience inform your musicality?
My parents were missionaries in WWII in China, India and Burma. I grew up in a musical family with mother playing piano and trombone and my father playing cornet. I attended Salvation Army band camp every summer since being a small boy. It had great brass program because of the British heritage – brass bands are very big – I picked up the coronet when I was about five years old. I didn't get much of a sound out of it until I was about ten, yet I continued to drag it around. I was enamored by the shininess of it. It was my first influence and my biggest influence. I think the spirituality of music comes from the heart so that was probably something that was ingrained in me since I was young. I guess I'm an old softy. I can well up with tears quite easily sometimes with an emotion born from my younger years.
AC: What was your school experience like and what music did you listen to?
Grew up and went to high school Daly city just south of san Francisco. I listened to the music of the era: Beach Boys, the Beatles and then of course James brown and the famous Flames. From that I went to R&B, then horn bands like Chicago and Blood Sweat and Tears. Jazz enamored me completely and, of course, the Memphis sound: Otis Redding, Booker T and the MGs and the Memphis Horns.
AC: You grew up in the Bay Area. How did the 'Summer of Love' affect your musical sentimenalities?
Guess we were all affected by the 'summer of love.' It was crazy in San Francisco and the Haight Ashbury: long hair, Pauli oil, incense and the smell of pot everywhere, fringe leather jackets and the whole thing. Sure I grew my hair long. Concerts in Golden Gate Park and shows at the Fillmore West and Winterland . . . never really knowing that someday I would be playing at those venues.
There was a club on Haight – I want to call it the Juke Club. I was a high school kid and on Sunday afternoon there was a piano on stage and an open drum set so anyone was welcome to jam. I remember taking my horn in there and getting my first chance to play on a stage with elderly black men who were great players. I was being a sponge and it was a great time. I wasn't into The Jefferson Airplane, but the club was right in the neighborhood so that was my 'summer of love.' In 1968-69 I wasn't into the Dead or the Airplane. By then I changed to trumpet to be in the school band.
AC: High School?
My high school education was crucial to what I am today. We had a great jazz band and I was in the jazz band from my freshman year until my senior year. In my junior/senior year my band teacher was Howard Loffler and he basically let me have the band. See, he saw I was a budding arranger and composer. He said, "Why you don't run the band I will be in my office if you need anything."
AC: What was the linchpin that changed everything for you?
We had some very good friends of my parents who were music aficionados. They took me to see Duke Ellington at Basin Street West in North Beach. It was 1968/69 and it was THE band; I was blown away after the first set. We went back stage after the show. The people I was with knew Duke so they wanted to introduce me. Duke was on his back with a wet towel on his bare chest and his hair was all over the place. Our friend said, "Duke this is our friend Greg. He is a budding arranger. Do you have any words of advice for him?" He sat up and shook my hand he said, "Just keep writing kid, you will get it right someday." That was a moment I will never forget. It was such a great experience and I took that back with me to my writing for my high school band. We would go to Reno, Nevada for the University of Nevada jazz band competitions and we would always win. It was always a great experience and there is no way I would be where I am today if it wasn't for that experience. I am a big proponent of high school music programs. It is a shame that so many band and musical programs have been shut down because of lack of funding.
AC: You were accepted into the prestigious Berkeley School of Music but you didn't go.
I wanted to attend the Berkeley School of Music, but I joined the University of Tower of Power instead. Which, if you think about it, I could go to Berkeley for four of five years and then hope that Tower of Power would come along and give me a chance. There it was, right in front of me. I think I chose wisely. I got to do all the things I wanted to do. So I don't have a teaching credential. So hey, what are you going to do? It's still one of those things. I've been in this business for over forty years and the experiences that I have had have been very memorable; I have no regrets. I think going to the University of Tower of Power at the age of 18, playing in the band, recording music, seeing the world and meeting girls is quite an education. What I have done in my forty-plus years? Worked with a lot of people and a lot of great names.
AC: The call?
I was ready to go to Berkeley then Tower called one afternoon. I knew them as a club band that did a lot of covers in the Bay Area. I had a fake ID when I was 16 and I was playing with Linda Tillery, Sweet Linda Divine and The Loading Zone. We would run into each other, Doc and Mimi and me, so they knew of me. They had an opening on the band; Mic Gillette had gone to Cold Blood. There I was and the rest is history. We went in and finished East Bay Grease. That was the beginning of the band's career.
AC: What did you bring to the table?
I started arranging. They really didn't have the charts all set up, things weren't arranged and structured the way I was used to. I brought the horn section into the forefront and it was one of the thing that made us unique. If you look at the band, the horn section were not in the background – they are on the front line with the singer. That was the whole gist of it. The arrangements I did back in the day? Tower still plays them around the world today. Some forty-plus years later and it's still all the arrangements I did for the band. I will say that when I left I took my sound with me. I am flattered that those arrangements still hold up.
AC: What made your arrangements so different?
When I arranged the horns I not only thought of them as a melodic organ sounds but also as percussive. If you notice in a swing band, horn players can kind of lag – they lay back. With me it was always on top of the beat – it can't drag. The band is a metronome. I wrote for each individual player in the horn section. I capitalized on their strong points and sometimes their weak points and what I could do to make them shine; to bring them to the front even if they were not as good as another player. It wasn't easy but defining it and working it over the years, it became the signature sound of the band. Singers came and went; it was always the horn section that got the notices. That's why they had an identity that has been used by hundreds of artists over the years. We played with Santana, Doobies, Little Feat . . . so many that once I get going it's hard to remember them all.
When the band started getting popular it was a heady time. Like I said, when I went to Winterland or Fillmore, never in my wildest dreams did I think I would ever play there and we ended up playing those venues. We would open for acts at those venues while hoping someday to headline. I remember once when we opened for Aretha Franklin and she did the live record at the Fillmore. Those are memories that we really keep. I remember going out on the road opening for Credence Clearwater Revival when they were big in '72 and '73. Our music was not the kind of music that the Credence fans where used to hearing. I remember we played an arena gig in Louisiana and there were unopened beer cans thrown at us. They didn't take kindly to our music.
I lived in San Francisco I am not an East Bay guy. I eventually moved to Orinda and Lafayette before moving to LA. It did take its toll and there where problems from that era. Lots of people had drug problems.
AC: How did fame and fortune affect you?
I think fame and fortune did change the band. The band did have problems with drugs. That is pretty much known – it wasn't anything new to the music business.
AC: The music was not marketable because it didn't fall into any niche?
As far as the marketability of the music? I think now as I look back in retrospect, sure it affected the band's creativity. There was some hypocrisy in the band as to who was doing what. There was a lack of vision sometimes because of the fogginess with the drug use, but then again you know hindsight is 20/20 and whatever happened, happened.
AC: Did you try to sound black?
I didn't arrange the band to sound like a black band – it was what it was. I brought the sound that I invented and it happened to be based on rhythm and blues. It's just how it came. We all had influences but I truly feel that my sound is original. I never really studied with a writer or arranger or composer per se; it was derivative of the work from people like Quincy Jones, Nelson Riddle, Billy May. I was never tutored by anybody. I was writing and teaching myself at the same time. It's hard to articulate how an artist does what they do. How does a painter do it? He just paints … I write. I just write and it's a sound all my own. They say that imitation is the highest form of flattery; I know that I have been imitated several times. There is an ad on TV lately about a New York City business and it was a real funk horn line. I don't know how many people asked me if I did that.
Like I said, when I left TOP I took my sound with me. They have tried to find people who can write like me and it's kind of sideways you know? But they don't know and cannot replicate what is inside of me. That makes that whole sound tick.
AC: How do you define the word 'funk?'
The word 'funk' . . . well if that's what I do, then call it funk. I call it music. I am fortunate to have the ability to almost be like a chameleon because I have worked with so many people in the studios. With different artist and bands, I bring my sound to them and they tell me, "Just do what you do. That's why we called you. We want you to put out your sound on our sound." It humbles me to bring in an arrangement and not have it approved! There was only one time that I had to do a massive rewrite for Dan Fogelberg. We did the session. We did the song. It was relatively easy. Bottom line? He didn't like it and that worked out fine – I didn't like him.
AC: When did you know that you really made it?
What really put the horn section on the map was when we worked with Elton John on his Caribou record. That transformed us into to an entity that was really in demand. We went on to play with so many people live and on records. We went live with The Rolling Stones at Candlestick Park and went to London with Little Feat after doing several records with them. We did the Waiting For Columbus album with them in London. Of course Santana. One time we played a New Year's Eve with the Grateful Dead and Etta James sang We were afraid to drink anything because we didn't want to get dosed with LSD. We were supposed to play auld lang syne at midnight but didn't go on until 4:30 in the morning. We did so many gigs and it was all because of Elton; he was so big. We were at the Record Plant in Marin three days a week; people were flying in from LA and New York to add our horns to their records. Finally we had to move to LA – the music mecca.
AC: Tell us about the bittersweet element of the Tower of Power 40th Anniversary DVD.
Yes, I did sit in on the TOP 40th Anniversary DVD and I did say that Tower is my musical legacy. I though about the DVD and realized it was the Emilio Castillo show more than anything else. I know there were a lot of fans disappointed watching the DVD when the band started playing at the Fillmore and they would cut to an interview with Emilio or someone else saying how brilliant Emilio was. I did about 40 minutes of interviews and those were the two words left in the two hour presentation.
AC: How did you feel?
I was kind of devastated that I was left out of the larger picture. I had so much to do with the sound of the band and was not recognized for it. It is one of those things that had its ups and downs; towards the end it was down. I was not happy; I left the band because I thought it was morally bankrupt at the time. The leader, Emilio, was a reformed alcoholic in the AA program. I though at the time that the arrogance he was displaying was destroying the band . We were in Europe (Germany) and I had had enough. We had about two weeks to go. It was like Rome was burning and Nero is fiddling, so I just gave my notice at a band meeting – a meeting that was called because the crew was quitting. I had had enough of this stupidity; the band was not growing in creativity – since 1974 they had not grown. It was stifling, to tell you the truth. I was doing too much. Because I was so depressed about being in the band, I gave my notice and by the next day the record company called. They said they'd heard the news, they were sorry to see me go, but would I like to have a solo career? And so I started on that. I took them up on it.
AC: Regrets?
My only regret is that I hadn't left ten years earlier. Wish I had seen the writing on the wall earlier. I was so serious and committed to see the band really do something. We had a chance in 1974 and the drug abuse pulled the band back. I'm glad I'm gone and that's it.
AC: Going Solo?
When the record company called they asked if I wanted to have a smooth jazz career. I did Hidden Agenda and did a cover of Sade's Smooth Operator. Both the song and the album went to the top of the charts for five weeks. The album served us really well. I never thought I would be a solo artist. I had no plan. I knew I could come back and be a studio rat and do sessions for motion pictures and records and such. This was a new thing. I was the guy who stood on the end of the horn section and all of a sudden I was going to be the guy in front center stage. It took a lot.
AC: Why smooth jazz?
I never really chose smooth jazz. It chooses me. Pop and rock? It's more profitable for a trumpeter player to go where the genre will take him at that was obviously to jazz.
AC: Tell us about your friend Paul Shaffer.
Paul Shaffer (The Late Show with Dave Letterman) and I go way back. He had a band called the World's Most Dangerous Band when they were on NBC. When we would play the bottom line in New York in the 80's and 90's, Paul would ask us if we wanted to sit in on the Letterman show. It almost became a tradition. I would do arrangements for the band and they would do some Tower tunes. Paul was and is a fan of Tower of Power and we have been friends for over thirty years. I recently did a week on the Letterman show on CBS now that they have the big band. I filled in for Al Chez and they were getting another trumpet player. Paul and I were nominated for an Emmy award for one of the anniversary shows for Letterman. He was also an executive producer on my East Bay Soul 2.0 CD. We did it though Kick Starter, a great fund rising platform for funding projects. It was great for Paul and Dave to hold up the East Bay Soul CD everyday for a week. You cannot buy that kind of publicity.
AC: Would you ever take the trumpet gig at the Late Show if it was offered?
The role of the trumpet player on the Late Show band is to hit the high notes. I am more of a mellow player. I thought about the gig but I have a hard time with winters in New York. I think if they truly had offered me the gig, I just may have taken it.
AC: Tell us about you and new media?
I like new media. Every Sunday on Facebook I like to write little stories about my journey in music. One time I was at Tommy Johnston's (Doobie Brothers) house. I went to use what I thought was a coaster for my drink but realized it was a check for 250,000 dollars. I'm going to write a book some day. There are some good stories that I haven told yet. Quite frankly I can't allow to them out until the some folks are dead.
AC: Could you give us a few short stories? What about Van Morrison? Larry Graham? Doc needing a Doc?
Took me four hours to find Van Morrison's house – it was all covered over with trees. He sat me down at the piano and he had all of his gold records to see. We had just come off working with Elton in England. Van is so prolific! The material was unbelievable and could have changed Van Morrison's perception in the public forever. I took the music home, wrote the arrangements, recorded it, and it never came out. Everybody in the horn section at the recording date at the Record Plant said it was a stupendous song.
Would go over Larry Graham's house arranging for Graham Central Station. He never really let me in the house. He put me in a closet that had a cardboard box as a desk and a drum stool for me to sit on. I listened to the cassette player. He didn't want anybody to see me at his house.
We were playing in New York City at The Fillmore Easy opening for Santana and Roland Kirk. We did the four nights Thursday through Sunday. Monday morning early we had to go out to La Guardia and fly to Las Vegas to do a show with Rod Stewart that night. We stayed up all night as young rock and rollers would do. Doc got real drunk and passed out on the plane. It was really cold and they kept him in First Class – just covered him with his coat and his scarf. When we landed in Vegas it was hot as we walked down the stairs across the tarmac into the terminal. Doc was the last to get off the plane and he had a rabbit skin coat on. He looks terrible – almost had to be in a wheelchair. We get to the hotel and he sleeps it off, still high as a kite. On stage he is hanging on for dear life. We were doing Funkafize – this was in the early days of video screens on each side of the stage. They were doing close ups on the jumbotron and were doing close-ups of the horn section, first me then Mic. When they got to Doc he vomited on camera. Every one of us around him started to gag. He looked down at Mic (who is much shorter) and just smiled and kept on going. I have lots of stories I hope to write about someday.
AC: How does new media affect the business of music?
New media has really transformed the way we do business. Andrea, my wife and manager, uses it to the max. We have friends all over the world and we really feel united. You have a feeling that you are a part of a club and through Facebook everyone has a story to tell. We are all interconnected.
Years ago it was so hard to make a record. It's easier now. New media is a tool to do things that you couldn't do before. You have the infrastructure now and you don't need the big record companies and management teams. There is also a lot of mediocrity out there. It tends not to police itself.
AC: And the business of smooth jazz?
Smooth jazz is something that I had success with right off the bat. It has become increasingly more difficult to make a living as a smooth jazz artist. A few years ago there was a call to arms by those in the clique of smooth jazz. It was basically 'circle the wagons and don't let anybody else in on the smooth jazz circuit.' It became so that all you'd hear was seven or eight artists. On the radio they did all of the same shows, tours, and concerts in the same cities. That is all you were able to hear on the radio and/or live.
I wasn't in that clique. I was left out. The way smooth jazz radio has gone, and it has all but disappeared now, it's because of that clique cannibalized itself. It was the greed of a few. It has taken on a new life form. This is why I have changed my musical direction on my last two CD's with East Bay Soul.
AC: Tell us about East Bay Soul.
I found that I was wanting to do something different once again. I wanted to go back to something more comfortable to me, my own sound. It figures they are not going to play me on the radio because I'm not in the clique anymore. No one needs to name names; they know who they are. I went back to something that is close to my heart, that I love to do. I am an orchestrator so I love a big band and it's like a bigger canvas to paint on. The way it develops was I had my band for years but I needed a singer. Then I got a new drummer; Herman Mathews is the best drummer I have ever played with in my life.
The singer, Darrel Walker, is the best singer I've heard and I have had to work with a lot of singers in Tower of Power – lots of recording dates. Speaking of singers, I want to mention that Celine Dion is the best female singer I ever worked with. I had a fleeting experience with her: I played on a primetime Grammy nomination TV show with her she did the Janis Ian tune At 17. She asked me to do the horn solo on that. We rehearsed that day at The Staples; she is so nice she makes you feel like you are an old friend. She says very sweetly, "I have to go on to rehearse." They go into the Titanic song I Will Go On. She is like six feet from me and she is singing this like the arena is full. She is an astonishingly good singer.
East Bay Soul is in my blood. Andrea asked me what I wanted to do next. I told her I wanted a big band. She has helped me put it together and get it on tape. On our first effort we used several singers, but Darrel was amazing. Things started to gel for us on the last song we cut. The response has been overwhelming.
AC: You recorded a song by our friend George Grund?
George Grund is a fan who emailed me. He said he knows I don't solicit songs. I said I really don't solicit songs, but why don't you send it along. It was an instrumental less than two minutes long, No lyric but it was a such a beautiful piece of music that I wanted to record it. Could we put a lyric to it? Andrea, who has never written a lyric before, thought about the wars and how it feels when a soldier comes home from battle. We called it I'm coming home. When Darrel sang it for the first time you could really see and feel it. It was the last song we recorded and I like to do things contemplative.
We did our last project though Kick Starter. We have a group a friends and supporters called The True Funk Soldiers and we raised 35 thousand dollars in 60 days! Incredible friends tell friends and it's growing exponentially.
AC: What about gigs?
We just play a Christmas gig in San Francisco to a sold out crowd. We went over to the East Coast and sold out about a few shows there – friends bring friends. We are growing by leaps and bounds. We are getting offers for shows. We don't have one weak link in the band and there is nothing that we cannot accomplish. They bring a lot of potato salad to the picnic.
AC: How can Europe get to see EBS live and in living color?
One of the things that blows my mind is that I don't have a booking agent. Everybody in the contemporary smooth jazz world has a booking agent but me. I am going to say it right now: I am looking for a booking agent! This band needs to go to Europe, Japan . . . we can't be denied! Once you hear it you will say there is nothing like it.
Right now I'm working on Dave Koz's record. I am also doing something different: producing a record for Rufus Miller, the singer on the East Bay Grease album. We are doing an EP with four songs using my East Bay Soul band members.
AC: Bucket list?
I don't believe in bucket lists. There are so many things I want to do. I'm 60 but still think like a kid. If you can make a living at something you love then it's not work.
AC: What would you tell folks just starting out in the game?
Don't smoke. And as you make your way up the music ladder, be nice to people because you may meet them on the way down. It doesn't last forever but people remember you. I've always tried to be a nice guy and do everything with sincerity – and hope you will be recognized for it.
Please check him out at http://www.gregadamsmusic.com/
By Al Carlos Hernandez on January 6, 2013
Edited by Susan Acieves


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innovative textures for a vibrant skin feeling
With innovative textures for a vibrant skin feeling, consumers can enjoy their daily beauty routine even more. Exciting and surprising textures such as creams that transform into a nurturing oil film during application on with the skin, engage through additional sensory experiences with consumers. With this concept, Evonik provides a range of innovative and surprising texture formulations. As the demand for natural solutions continues to increase, the concept offers additional natural texture formulations.
Innovative and surprising textures offer an additional opportunity for brands to engage with consumers
Benefits: win over new customers through novel hair care formats
The challenge: Innovative, effective and trending formulas for complex textures that provide an exceptional sensorial experience
Evonik's Solution: An inspiring selection of innovative formulations with surprising textures
Product highlights: ABIL® EM 180, TEGO® Feel C 10, TEGO® SP 13-1, TEGOSOFT® XC MB,
TEGOSOFT® DEC, dermofeel® sensolv MB and ISOLAN® 17 MB
Evonik has created a broad portfolio of exemplary formulas for skin care products with exciting and engaging textures, representing consumer's preferences from all over the world. These have been developed by Evonik's highly trained cosmetic specialists in different regions in order to meet the versatile needs of consumers from all over the world. The concept is based on the wide range of applications and effectiveness of the different emulsifiers produced by Evonik.
For example, you can just GO WITH IT! The 'On-the-go UV protection stick SPF 50' is easy to use and offers consumers a less messy and convenient solution to protect their skin from the sun. The quick absorption and low oiliness of the stick is due to the combination of TEGO® Feel C 10 and TEGO® SP 13-1. Moreover, the 'Transparent UV protection water spray SPF 30' offers an additional innovative sun care solution. The formulation consists of an oil and water phase that are separate until you SHAKE IT! Both phases combined, efficiently protect the skin from the sun while providing a light and fresh, water-like sensorial experience. Here, TEGOSOFT® XC MB provides eXCellent solvent properties for UV filters and in combination with TEGOSOFT® DEC and dermofeel® sensolv MB, allows for a pleasant, non-sticky skin feel. Alternatively, you could TAKE A BREAKOUT with the 'Magic Cream to Milk' that was honored at in-cosmetics 2017 with the Sensory Award in bronze as an innovative concept. Developed in the applied technology lab in Asia, the formula produces milk-like droplets on the skin, which provide a pleasant experience for consumers due to the highly versatile W/O emulsifier ABIL® EM 180.
In order to serve the needs and desires of conscious consumers, Evonik developed a range of innovative, natural texture formulations. You can, KEEP IT SIMPLE with the 'Essential Elegance Face Care'. The creamy formula transforms during application on the skin into visible water droplets, adding a slight cooling effect. This is possible due to the usage of ISOLAN® 17 MB that enables fully natural formulations of stable and versatile natural quick-break emulsions.
The 'Complex sensations, easy formulating' concept covers an exclusive selection of exciting and easy-to-implement sample formulations, offering Evonik customers the opportunity to engage with consumers on a new level. This is what we call "The Soul & Science of Beauty".
Sun Protection Oil
Broad spectrum sun care oil suitable for beach use and winter sports (European formula) with medium SPF
Decyl Oleate
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Ethylhexyl Methoxycinnamate
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Combine the ingredients and heat them up to 75 °C. Cool down the clear melt to ambient conditions.


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Title: Object teaching and oral lessons on social science and common things, with various illustrations of the principles and practice of primary education, as adopted in the model and training schools of Great Britain. ... Parts I., II., III., IV. viii, [2], 434 p. il. O. [BARNARD, H., ed. Papers for the teacher, second series.]
Author: [Barnard, Henry], editor.
Collection: Making of America Books


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UK opens biomass fuel registration
Biomass fuel suppliers serving the U.K. thermal market are now able to register their fuels as sustainable by applying to the government's Biomass Suppliers List. The U.K. Department of Energy and Climate Change said the list will ensure biomass supported under the Renewable Heat Incentive is sustainable. Beginning this fall, biomass fuels used under the RHI must certain greenhouse gas (GHG) reduction thresholds.
Producers and traders of wood fuel who wish to access the growing RHI market can apply for free to the BSL. Small and micro enterprises will be able to use a new simple carbon calculator developed to make the process as easy as possible for small businesses.
Larger enterprises will be able to use the U.K. Solid and Gaseous Biomass and Biogas Carbon Calculator to calculate the GHG emissions associated with their fuel. Individuals and businesses that self-supply their fuel are also encouraged to register as self-supplier.


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If the gunman in the fatal Los Angeles International shooting had attacked at random instead of targeting only Transportation Security Administration officers, he could have caused mass casualties, a Homeland Security chairman said Thursday during a House subcommittee hearing reviewing the incident in Washington, D.C.
Rep. Michael McCaul, R-Texas, spoke during a hearing that called into question the effectiveness of the Transportation Security Administration's behavioral screening program at airports, as well as initial "lessons learned" following the deadly LAX shooting, which left one TSA officer dead and several people wounded.
McCaul said the alleged gunman had four unobstructed minutes to "wreak havoc" in the airport.
Local news from across Southern California
"If his goal was to produce mass casualties rather than target TSA personnel the outcome would have been more severe," McCaul said.
McCaul was also concerned with TSA protocol during the shooting, saying a panic button alerting authorities to emergencies was not pressed.
A contractor with the airport, not a TSA agent, notified authorities of the shooting, McCaul said.
A report released this week by the Government Accountability Office found that behavior techniques are only slightly better than chance at detecting deception.
Rep. Richard Hudson, R-S.C., chairman of the Subcommittee on Transportation Security, opened the meeting by questioning the detection techniques employed by nearly 3,000 TSA behavior detection agents.
"I do see the value of using behavioral analysis to bolster aviation security," Hudson said. "But only when we can prove that the taxpayer dollars are being spent in the most effective manner possible."
The TSA has spent about $900 million on the program since it was fully deployed in 2007, according to the report.
TSA officer Geraldo Hernandez was gunned down while working at a document checkpoint inside Terminal 3 the day of the shooting.
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San Diego, May 22, 2013 – Prometheus Laboratories Inc., a specialty pharmaceutical and diagnostic company, announced today the eighteen abstracts relating to its proprietary diagnostic platform were presented at Digestive Disease Week (DDW) 2013. The abstracts (see full list below) highlight Prometheus' innovative technologies aimed at helping healthcare providers personalize patient care with the goal of ultimately helping to improve patient outcomes. Topics span across a wide spectrum of scientific and clinical research and include novel data regarding the newly available PROMETHEUS® Anser™ ADA test, which measures drug (adalimumab) and drug antibody levels among IBD patients who have lost response to adalimumab (ADA). "We are proud to expand our line of novel assays that target the biologic agents used to treat a variety of autoimmune diseases," said Tony Yost, Chief Commercial Officer of Prometheus. "Our commitment to advancing personalized medicine for gastroenterologists, patients and healthcare providers is ongoing and continues to be validated in the clinical setting."In one abstract, Fernando S Velayos et al., report a novel correlation between antibodies to adalimumab (ATA) and elevated C-reactive protein (CRP) concentrations that suggests ATA may be a more critical variable than drug concentration levels in targeting clinical response. ATA and serum drug levels were measured using the PROMETHEUS® Anser™ ADA test among 54 IBD patients receiving adalimumab. Drug concentration was detected in 90.7% of the samples, and detectable ATA was present in 22.2%. Serum ADA concentrations of ≤ 5 mcg/ml were associated with an elevated CRP (p=0.001). Detectable ATA was also associated with an elevated CRP, independent of drug concentration (p=0.002)."Our study showed that antibodies to adalimumab are more prevalent than has been reported in some clinical trials," said Fernando S Velayos, MD, MPH, associate professor in the Department of Medicine and Center for Crohn's and Colitis at the University of California, San Francisco. "A better understanding of and the ability to detect the presence of these antibodies enhances our ability to more efficiently manage the loss of treatment response in our IBD patients using adalimumab."Oral presentations:
Poster presentations:
IBD, including Crohn's disease and ulcerative colitis, is a chronic inflammatory condition of the intestinal tract. Symptoms of the disease may include diarrhea, abdominal pain, fever and rectal bleeding. Patients may require long-term medical care, including hospitalizations, surgeries and therapeutics. The condition can be difficult to diagnose and manage clinically while consuming a substantial amount of healthcare resources in terms of physician time, procedures and medications.
Prometheus Laboratories Inc. is committed to improving lives through the development and commercialization of novel pharmaceutical and diagnostic products that enable physicians to provide greater individualized patient care. Prometheus is a leader in applying the principles of personalized medicine to the diagnosis and treatment of gastrointestinal diseases and is applying these principles to oncology. Its strategy includes the marketing and delivery of pharmaceutical products complemented by proprietary diagnostic testing services. By integrating therapeutics and diagnostics, Prometheus believes it can provide physicians with more targeted solutions to optimize care for their patients. Prometheus became part of Nestlé Health Science in July 2011. Prometheus' corporate offices are located in San Diego, California. For more information about Prometheus, please visit www.prometheuslabs.com.
Nestlé Health Science, a wholly-owned subsidiary of Nestlé, intends to spearhead the development of science-based personalised nutritional solutions. Building on its core HealthCare Nutrition business, the company has ambitions to address chronic conditions in the area of Gastrointestinal Health, Metabolic Health and Brain Health. Nestlé Health Science offers nutritional solutions for people with specific dietary needs related to illnesses, disease states or the special challenges of different life stages. Nestlé Health Science employs around 3,000 people worldwide and has its headquarters in Lutry, Switzerland.
Digestive Disease Week® (DDW®) is the largest international gathering of physicians, researchers and academics in the fields of gastroenterology, hepatology, endoscopy and gastrointestinal surgery. Jointly sponsored by the American Association for the Study of Liver Diseases (AASLD), the American Gastroenterological Association (AGA) Institute, the American Society for Gastrointestinal Endoscopy (ASGE) and the Society for Surgery of the Alimentary Tract (SSAT), DDW takes place May 18 – 21, 2013, at the Orange County Convention Center, FL. The meeting showcases more than 5,000 abstracts and hundreds of lectures on the latest advances in GI research, medicine and technology. More information can be found at www.ddw.org.


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First Zac Efron leaves the "Footloose" reboot and now director Kenny Ortega has reportedly left the movie as well.
According to Variety, the director, who helmed the Michael Jackson concert film "This Is It," parted from the project due to differences with Paramount over budget and tone.
VIEW THE PHOTOS: Young Hollywood Heartthrobs!
"Coming off the extraordinary project, Michael Jackson's 'This is It,' director Kenny Ortega has decided it is premature for him to commit to his next film and will not be moving forward with 'Footloose' as previously reported," a rep for the director said in a statement.
According to a Variety source, Kenny wanted to make a musical heavy movie with "elaborately staged musical numbers," which was slated to reportedly cost around $30 million. The studio reportedly had an edgier movie in mind with less musical numbers, costing around $25 million.
VIEW THE PHOTOS: 'Gossip' Guy Chace Crawford
Paramount is reportedly searching for a new director and will start production in March, in order to coincide with Chace Crawford's hiatus from "Gossip Girl. Chace replaced Zac after he hung up his dancing shoes on the project.
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MORE ACCESS ON THESE TOPICS: Chace Crawford - Kenny Ortega - Music - Michael Jackson - Gossip Girl