Okay. We just squeezed a full day's work into four tight and furious hours. The company granted us a half-day, so that we could all get a head-start on the holiday weekend. This, of course, is very nice. However, we started shipping the wonderful June issue just yesterday and had much work to accomplish this morning. In addition, for various reasons, we've had to accomplish that work without the help of an ad coordinator or production manager, and all while employing an entirely new pre-press system. Shipping days, as a rule, are intense. These have gone beyond intense.
Maybe Bill Swanson was the first CEO to use the "How You Treat Your Waitron" metric, but I learned it from a date about 20 years ago in Oregon. It <I>is</I> a good rule of thumb, however. Also, note Swanson's other "Unwritten" rules on the left—it's a good list.
Having enjoyed my prior surveys, I figured I ought to do another. After all, some recordings in my collection have been collecting dust for a while so they would be somewhat fresh upon relistening. But I wanted to do a big work, not in length or scale, necessarily, but in stature and (or) popularity. That naturally leads one to a mere handful of names, and so I settled on something by Mozart. But which work? Well, I
Jazz guitarist Pat Martino has a new CD out on the Blue Note label.
Remember: A Tribute to Wes Montgomery
features Pat Martino backed by the very fine trio of Dave Kikoski on piano, John Patitucci on bass and Scott Allan Robinson on drums plus Daniel Sadownick help out on percussion.
Okay, indigenous Columbians want to make Cola with real Coca? Why is everybody freaking out about this? It's <I>not</I> the same thing as cocaine. I used to live in Peru and we would drink herb tea made from coca leaves all the time. It's got about as much kick as caffeine—maybe even less, since I'd have no qualms about drinking a cup before bedtime.
Having enjoyed my prior surveys, I figured I ought to do another. After all, some recordings in my collection have been collecting dust for a while so they would be somewhat fresh upon relistening. But I wanted to do a big work, not in length or scale, necessarily, but in stature and (or) popularity. That naturally leads one to a mere handful of names, and so I settled on something by Mozart. But which work? Well, I