Why the ‘ugly’ clog is the fashion assertion of our instances

That feeling was the driving force behind the creation of the California clog brand Santa Venetia, which began in 2017. “I always wanted to stand on clogs, but they never quite matched my aesthetic,” explains co-founder Gemma Greenhill on the phone. it was a friend’s clogs from the 1960s with a fully embroidered upper that impressed her.

These were the shoes that inspired the first Santa Venetia design, notes Greenhill, “and since then we’ve made clogs that are a little unexpected, just a little different from your regular clogs”. This includes a collaboration with Panache for hand-painted sushi, fruit, martinis and hot dogs, as well as an upscale version of the rubber-soled nursing clog, a comfortable design that Greenhill said was the most popular style of 2021. “I think people want to have some fun right now within the scope of practicality.”

Mechling assures that it is only worth investing in clogs that feel good. Her other top offers include the ribbed clogs from Californian label Beklina, which she describes as “powerful and ladylike”, and the shearling-lined boots from New York brand No. 6 (“a bubble bath for the feet”). “Uncomfortable wooden shoes thwart the whole point of constipation,” she concludes, “which is what liberation and self-celebration are”.

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Colts end in sick model as Wentz’s finest shot fails miserably – Delco Occasions

Carson Wentz is the gift Eagles fans keep giving. The former franchise quarterback fell flat on his face on Sunday.

While Jalen Hurts and the Birds enjoyed a glorified goodbye week in preparation for next week’s NFC Super Wild Card game, Wentz gagged in a typical fashion.

Here’s the backstory: The Indianapolis Colts went 9-6 in Week 17. They only had to win one of their last two games to get a post-season spot. First they lost at home to the Raiders, who made the playoffs with their unforgettable overtime win against the Chargers on Sunday night.

All Wentz had to do on Sunday was avoid the Colts’ regular season finale at 2-14 Jacksonville, the laughing stock of the NFL. Instead, Wentz made two costly ball losses against a defense of seven – seven! – All season snack. The Colts were upset, 26-11, their postseason chances flushed down the drain in large part thanks to Wentz’s pathetic performance.

The Colts entered the game as street favorites with 15.5 points. According to Stathead, it was the first time the Colts lost to Joe Namath and the Jets as favorites with at least 14.5 points since Super Bowl III.

Though Wentz has had a decent year statistically, Wentz has revealed in the past two weeks that he’s still the same frustrating guy who throws rash passes, fiddles with the slightest gust of wind, and generally doesn’t have the guts to win big games. Every Eagles fan knows this guy.

After the game, Wentz told reporters that he would have to conduct a soul search in the coming weeks.

“It’s one that I’ll watch long and hard personally,” said Wentz. “Do you know where could I have been better? What could i do? … “

Never trust Wentz when he says he will look for answers on any topic. Wentz, who tested positive for COVID-19 last month, told Colt’s Beat writers at training camp that he “weighed a lot” about the vaccine and “needed more information about its long-term effects.” This misinformed “explanation” lends credibility to the idea that Wentz is probably not the type of person to take at their word for anything.

To make things even cuter, by dumping Wentz overboard in the off-season, the Eagles have fleeced the Colts for their number 1 on the 2022 draft. That means the Birds will receive the # 16 overall pick, which is the same as # 15 (via Miami) and their own selection in the # 19-32 area.

Say what you want about Howie Roseman, but he absolutely played the Colts. They’re also on the hook for roughly $ 28 million over the next three seasons. Yes, Wentz threw 27 touchdowns and made the Indy offensive most of the time, but he’s nowhere near the main reason the team started the season 6-2. Most of the credit goes to the Pro Bowl, which is bringing back Jonathan Taylor, who led the league by 1,811 yards. Wentz stayed out of the spotlight until the last two games, failing as often as he did at Philly. Then the real Carson Wentz appeared.

One man who deserves validation is former Eagles trainer Doug Pederson. It is clear that his senior coaching year Wentz had a bad rap who reportedly had too much influence on offense and was too confident to follow basic coaching advice. During Wentz’s disastrous 2020 season, Wentz reportedly named his own audibles on the line of scrimmage several times, despite Pederson and the offensive staff citing what they thought was the best game for the team. We all know how it went, the Eagles finished 4-12 overall and Pederson was dropped at the end of the year.

We hope Pederson gets another chance to head coach next year. He deserves a chance with a starting QB who isn’t as narrow-minded and selfish as Wentz.

Basking in the glory of the Wentz collapse should make Eagles fans smile today. And even if the Birds go one-on-one in the playoffs, they can rest assured that Wentz, who will turn 30 by the end of the year, still has as many post-season wins as he has the COVID-19 vaccination doses: zero.

To contact Matt Smith, send an email to msmith@delcotimes.com.

Ask Fashion and Substance: Discovering pleasure in tough occasions | Opinion

Dear style & substance,

Joy is everywhere during the holiday season. Ornaments, signs, greeting cards, wrapping paper – all with just the word JOY. I am fascinated by the idea of ​​joy. How do we find and keep them alive, especially in difficult times?

Winter holidays are the festival of gathering and light, but also time for holy rest and reflection. This time of year and the winter solstice can guide us as we explore light and darkness, joy and sorrow. Somewhere in between is the awareness and the lingering of the shadow. When winter begins we step into the lengthening of daylight and the lessening of darkness. Just as the increasing light is subtle, joy can also be a little delicate and elusive.

“The eye is always caught by light, but shadows

have more to say. “

~ Gregory Maguire

How we “see” joy and how we “experience” joy can be very different. When you envision your own interpretation of joy, you can experience it as an ubiquitous part of your life rather than fitting into a particular cultural representation. Finding your own is the key to making joy a living element in your life. Society calls out that joy resides in lively conversation, large family gatherings, busyness, and the holiday hype. Joy can also be found in silence, in quiet love, in deep conversations, in leisure and calm.

“Find out where joy resides and give it a voice that goes far beyond singing. To miss that

Joy is missing out on everything. ‘

~ Robert Louis Stevenson

On the way from elusive joy to fleeting joy, to surges of joy, to lasting joy, we invite you to look at the shadows or the edges of joy, something in between that naturally adds to your piece of happiness, silence, or consolation Peace can be.

Too much light or emotion can be extremely intense, too strong where the senses are overloaded and it is not sustainable. Similarly, too much darkness brings with it despair and a strong sense of regret that disconnects and isolates. Finding a middle ground in the shadows is an exploration of balance and contentment. Shadows add a sense of depth and texture to our life experience. They recognize the presence of light, filter and create a seductive, almost secret look or an interpretation. Shadows give the viewer a beauty, an experience that is not as extreme as bright light or deep darkness.

‘When the mind is pure, joy follows like a shadow that never fades.’

~ Buddha

Calm down, stop, explore, and find a middle ground. Be curious and accommodating about who you hang out with and what you do in this balance of emotion and commitment. Your intensity is yours, it doesn’t have to match or match of others. Inner understanding gives your handwriting authenticity and simplicity, joie de vivre – the elevation of the spirit. You are a light and pure version, not a mirror of someone else.

A cute granddaughter was asked if she saw ANY stars while we were staring at the winter moon this week. She replied with awe and said, “I see ALL the stars!” Optimism and hope are our wish for you; a new year of hopeful light and discerning darkness. Look for ALL stars.

Sally Meisenheimer and Michele Armani are the owners of style & Substance, which offer life coaching and creative solutions. Meisenheimer and Armani are certified life coaches with many years of experience in health education, personnel development and teaching. They have been married together for over 60 years and raised seven children. Questions and comments emailed to yourstyleandsubstance@gmail.com.

The New York Instances updates fashion information to ‘antisemitism,’ dropping the hyphen

(JTA) – The New York Times has updated its style guide and now prefers to use the spelling “anti-Semitism” over “anti-Semitism”.

The change was made in August but was not announced publicly at the time. Jewish insider reported the change on Tuesday.

The spelling of the term has been discussed for years. One of the loudest voices for omitting the hyphen was Deborah Lipstadt, the historian recently nominated by the Biden Administration as Foreign Ministry Envoy for Anti-Semitism. Lipstadt has argued that keeping the hyphen and the capital letter “S” implies the existence of a racial category called “Semite” that obscures the actual hatred of Jews. The International Holocaust Remembrance Alliance and the Anti-Defamation League also support the version without hyphens.

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Earlier this year, the Associated Press updated its style guide, used by media outlets around the world, including this one, to incorporate the hyphenated version of the word. The Jewish Telegraphic Agency followed suit and The Times accepted the change in August, which they announced in a memo to the newspaper’s editors.

“We’ll remove the hyphen and lowercase the S, which is now The Associated Press style and preferred by many academics and other experts. Those advocating anti-Semitism argue that the hyphenated form with the capital letter S may inadvertently add credibility to the discredited notion of Jews as a separate race, ”the memo reads.

6 occasions the long-lasting JoJo Siwa floored us along with her easy model

JoJo Siwa attends iHeartRadio 102.7 KIIS FM’s Jingle Ball 2021 presented by Capital One at The Forum on December 3, 2021 in Los Angeles, California. (Matt Winkelmeyer / Getty for iHeartRadio)

JoJo Siwa really knows how to make a fashion statement with her characteristic high ponytail and all sorts of colorful, glittery accessories.

Over the years, the style of the social media sensation has evolved, encompassing everything from their iconic oversized bows to anything neon and covered in sequins or glitter.

18-year-old Dancing with the Stars alum recently caught the eye when she attended KIIS FM’s annual Jingle Ball wearing rock-themed black leather shorts and a cropped, sparkly black cardigan. Siwa also honored her characteristic bows with not only a shiny bow on her cardigan and smaller bows on her heels.

Siwa told the story on the red carpet AND! news The look is a “slightly more adult T-to-the-bow bow,” approved by her mom.

“My mother went shopping,” revealed Siwa. “She pulled a few things out of a bag and I knew straight away that this was the right thing for tonight. It’s the one. “

It’s not the only gorgeous outfit Siwa has worn. She has worn more killer looks than fans can shake a giant sequin bow.

Here are just six of Siwa’s best style moments that truly cemented her as a queer style icon.

1. JoJo Siwa looked glamorous in a stunning black dress and her very first heels

JoJo Siwa attends the 2021 American Music Awards at the Microsoft Theater on November 21, 2021 in Los Angeles, California. (Axelle / Bauer-Griffin / FilmMagic)

The social media sensation showed up at the American Music Awards in a floor-length black dress with sheer inserts and a borrowed pair of gold heels from her Dance with the stars professional partner Jenna Johnson.

The Nickelodeon star told the story persons it was “the first time in my life” that she wore a dress with heels. She added that her change in style was partly due to her time at Dancing with the Stars, where they went from “dressing as I normally dress to a more adult look”.

“And I want to get out of my comfort zone, which is why we decided on a dress today,” said Siwa. “I have a couple of paragraphs on.”

2. When she rocked a rainbow-colored, sequined velor jumpsuit on stage

JoJo Siwa appears on stage during a drive-in screening for the original Paramount + film “The J Team” on September 3, 2021 in Pasadena, California. (Getty / Leon Bennett)

In September, Siwa attended the screams of her latest film, The J Team, in a pink velvet jumpsuit covered in huge, blinded rainbows and stars.

She combined the camp and colorful look with a pair of yellow and pink sneakers – which, of course, were also covered with glitter – and a huge glittering rainbow bow.

The cozy yet eye-catching look was perfect for the drive-in show and the performance event for fans.

3. JoJo Siwas Lager, light as a feather outfit for the Angry Birds 2 film premiere

JoJo Siwa wears a blue plumage for the premiere of Sony's The Angry Birds Movie 2Jojo Siwa arrives to the premiere of Sony’s “The Angry Birds Movie 2” on August 10, 2019 at the Westwood Regency Theater in Los Angeles, California. (Getty / Albert L. Ortega)

Siwa was channeling her inner Angry Bird when she arrived for the premiere of The Angry Birds Movie 2 in a blue full body costume with sequins, glitter and loads of feathers.

In true Siwa fashion, the YouTuber rounded off the look with a matching blue bow with a tiny Angry Bird on it and glittering blue and yellow face make-up. The crowning glory of the already wild look was formed by psychedelic, high glitter sneakers with large pink bows.

In all honesty, it’s the JoJo Siwa outfit she’s probably ever worn.

4. Her stunning semi-transparent dress with cutouts on Dancing with the Stars

Honestly, Siwa and Johnson had during theirs 10-week stay at Dancing with the Stars.

But Siwa really caught everyone’s eye on Janet Jackson’s night when she wore a semi-sheer black dance dress with cutouts and strategically placed embroidered flowers.

The outfit was almost as hot as the dance Siwa was performing when she was wearing the stunning look.

5. At that time Siwa frightened the fans with her eerily perfect Pennywise costume

JoJo Siwa performs a jazz routine on Dancing with the Stars, while she is Pennywise from It.  is disguisedJoJo Siwa and Jenna Johnson perform a jazz routine to Anything Goes by District 78 ft Patrice Covington on Dancing with the Stars. (YouTube / Dancing with the Stars)

Siwa has proven that she can pull off not only glitter but also blood when she is one frighteningly intense routine as Pennywise from It.

The gruesome look was perfectly paired with Siwa and Johnson’s creepy routine full of acrobatic stunts and killer moves. Siwa wore Pennywise’s iconic white clown makeup, red hair, and a tattered costume to scare the hearts of fans and judges alike.

The YouTuber – who has proven herself to be the accomplished performer – finished the perfect dance by tearing off Johnson’s support arm when her partner fell to the floor, screaming.

6. When JoJo Siwa came out with a not so subtle shirt

My cousin gave me a new shirt pic.twitter.com/DuHhgRto7b

– JoJo Siwa! ?❤️? (@itsjojosiwa) January 22, 2021

Siwa’s most iconic look is arguably her most casual outfit because it’s just a shirt, but it’s the one that got the world talking.

In January, Siwa came out as part of the LGBT + community by sharing a photo of her new t-shirt with the words, “Best. Happy. Cousin. Ever. “

The YouTuber shared the picture on Twitter with the caption: “My cousin got me a new T-shirt”. Shortly after the photo was posted, Siwa was trending on Twitter as fans and celebrities around the world shared their support for the teen.

In the months that followed, Siwa shared her love for the LGBT+ Community and cemented itself as a “Gay symbol” – and it all started with just one shirt.

How LSU Coach Brian Kelly’s Offensive Type Has Tailored to the Instances Half I

There is a lot to digest with LSU head coach Brian Kelly. A coach known for using two running backs in formation, going empty (no running back), or anywhere in between. That was his story in Notre Dame and also before he came to Notre Dame.

What can LSU fans expect? Here is the first half of the information Tigers fans need to know, starting with the 2009 season when he was still coaching the Bearcats.

The first thing to know is that Cincinnati was fast playing; very fast. It was a really fast team and one that just wanted to beat its opponents. The Bearcats did not have the same kind of defense personnel as Notre Dame, and certainly not what he was given as head of the LSU. A few key data here.

First, Cincinnati averaged 38.6 points per game. Remember, this is before any team started throwing football everywhere, like in the last few years of college football. Coach Kelly was very open-minded about being a passing game.

The Bearcats would routinely not pull themselves together and overtake football as well as use zone reading concepts to keep the teams honest. The most ironic part of this team is that multiple quarterbacks were playing due to injuries and it still didn’t matter.

Dual-threat quarterback Zack Collaros passed for 10 scores, while pocket passer Tony Pike threw 29 touchdowns. It was impressive to see the Bearcats switch from one quarterback type to another and do so seamlessly.

Collaros started four games and never finished less than 70.8%. Pike, on the other hand, threw at least two touchdown passes at each start. Just looking at last season in Cincinnati and studying the quarterbacks, it’s interesting to be reminded once again of how versatile Coach Kelly’s offense really was. Once in Notre Dame, he had to undergo another change.

Kelly’s first year at Notre Dame was 2010. The Irish were up and down offensively as he took the reins of what was a real offensive under former head coach Charlie Weis and tried to turn it into a spread attack . The Irish averaged 26.3 points per competition, with the passing game averaging 253.1 yards per game and a total of 28 touchdowns.

The problem with Notre Dame was interception. Three different quarterbacks struggled not to turn the football around and it was a definite year of transition. The roaring attack helped make up some of the gap, averaging 126.6 yards per game and scoring 11 touchdowns.

2011 was pretty close to repetition at the quarterback, with second year old Tommy Rees (now Notre Dames Offensive Coordinator) taking the starting job in week three and the Irish averaging 252.6 yards per contest with 21 touchdown passes and 17 interceptions.

The key here was Tyler Eifert in the end, who caught 63 passes for 803 yards and five touchdowns. With Eifert drawing a lot of attention, Notre Dame did well in the game.

This is the season that Coach Kelly began to focus the offensive more on the running game. The Irish ran 160 yards eight different times, with running backs Cierre Wood and Jonas Gray adding 1,893 yards and 21 touchdowns. Notre Dame averaged 29.2 points per game in 2011.

From the undefeated regular season of Notre Dame 2012, the Irish adapted again. Rees played in many games, but the starter was quarterback Everett Golson. As a newbie to Redshirt, he was unpredictable which meant the Irish would turn to Rees and the frantic attack for stability and points. The Irish averaged only 25.8 points per game, but the defense was strong as it only allowed 12.8 points per fight.

Eifert caught 50 passes for 685 yards and four touchdowns. He was so difficult to keep up that Coach Kelly often set him up like a wide receiver. It caused inconsistencies with linebackers and security guards trying to defend Eifert. That helped in a stormy attack with a two-headed monster on top.

Between Theo Riddick and Cierre Wood, the two Irish runners added 1,659 yards and nine touchdowns on the ground. Golson also chipped in 298 yards and another six roaring touchdowns.

Coach Kelly knew how to leverage his team’s strengths, and he did. Defense, special teams, the running game and real-time big plays by Eifert carried the Irish.

Note: With Golson’s running ability, it certainly enhanced Notre Dame’s possibilities, and it’s something that Coach Kelly has returned to throughout his tenure at South Bend (see Kizer below).

As of the 2013 season, the Irish pass attack was very inconsistent as Golson and Rees fought back and forth. Neither of them could really take the starting position. They combined for 12 touchdowns and eight interceptions.

That season, Notre Dame stayed in the shotgun and led the game, but it was never a team that could really hold its own against the top defenses. In short, Notre Dame hasn’t been where it should be with offensive talent, especially with Eiftert in the NFL, nor with top notch talent and depth on offense. It hurt her and Coach Kelly’s offense.

The Irish averaged 150.9 yards per game on the ground. Even so, Notre Dame averaged 27.2 points per game.

In 2014, Notre Dame got off to a quick start but faded with a host of injuries on both sides of the game. The biggest takeaway was that Coach Kelly really stepped up the offensive style (due to injury if possible) and tossed the football around. Young wide receivers made a huge difference, with the Irish scoring 32.8 points per game.

Key to this particular season would be explosive wide receiver Will Fuller (4.32 40) and his ability to take the top of the defense. He caught 76 passes for 1,094 yards and 15 touchdowns. With him in the lineup, Notre Dame absolutely went for home run shots.

The passing game moved forward, averaging 285.5 yards per game, throwing 30 touchdowns and 14 interceptions. Despite the improved passing game, the Irish were still doing well in football.

Tarean Folston and Greg Bryant combined for 1,178 yards and nine touchdowns, while Golson ran for an additional 283 yards and eight touchdowns.

This would be the season when Notre Dame really had enough offensive staff to play power football or just to spread it. With Fuller out there, it was a lot easier. In 2015, the Irish had their most explosive offensive attack yet.

The even offense saw Notre Dame average 34.2 points per game despite starting a Redshirt freshman quarterback who was originally the third team during spring training. Signal Caller Deshone Kizer threw 2,880 yards, 21 touchdowns and 10 interceptions.

He was particularly adept at throwing deep, and Fuller was once again the main weapon. Fuller grabbed 62 passes for 1,258 yards and 14 touchdowns. Since Notre Dame is a very talented team at receiver and quarterback, the rushing game even improved its average to 207.9 yards per game.

Kizer was a threat to football, and with Fuller out there, there weren’t many defenses talented enough to hold Notre Dame down. CJ Procise’s running back also ran for 1,029 yards and 11 scores.

He was another distiller and one who achieved great success. Of all the teams that Coach Kelly resided on, the 2015 team is most similar to what LSU fans think of when they see their Tigers.

The Irish were packed with speed and playmakers at wide receivers and running back, so they used very wide receiver-heavy formations for much of the season.

Overall, the first six seasons under Coach Kelly saw a slow transition to a more explosive offensive once he got the talent on the list. Players like Eiftert, Wood and Fuller allowed Notre Dame to attack at certain moments and games.

With the wide receiver talent alone that LSU normally has, it’s hard not to imagine the Tigers making a very explosive passing game in a short amount of time.

Next: Part II looks at Power Football under Coach Kelly and the ability to shift the focus of the offense during a season.

Two Luxurious SUVs With Distinctive Fashion – San Francisco Bay Occasions

By Philip Ruth –

Blocky or smooth? Outdoor or urban chic? SUVs have as many flavors as Baskin-Robbins, so you can probably find one that suits your taste.

The two we’re about to examine here are downright polar opposites in terms of niche and purpose, and both are so satisfactory to drive that you’d likely live in harmony with both of them. The decision between them depends on what you want to do with your new purchase and how you want to look. Land Rover has a long history of selling paid off-roaders, while Genesis is an emerging brand of the budget-conscious Hyundai.

I recently talked about the Genesis GV80 – the bigger brother of the $ 64,045 GV70 AWD 3.5T Sport Prestige featured here. Genesis have something interesting to do with their style as both of them were eye catchers. This GV70, in its $ 500 Adriatic Blue livery, added an unusually pleasant and masculine presence. The GV80 got curious looks, while the GV70’s attention was more focused and intense, similar to lust.

The Land Rover Defender 110 SE is typical of the brand and at first glance appears functional with many interesting shapes and design flourishes when the gaze lingers. The doors and hatch are a comfortable weight, and the rear skylights are a cool retro touch, while the floating trim panel on the B-pillars is refreshingly modern. The well-equipped 2021 tester cost less than $ 70,000.

The hot ticket for people who regularly park in parallel is the Defender 90, an arbitrary 20 of the 110 tested. But with two fewer doors it measures 180.4 inches compared to the 197.6 of the 110. That makes the Defender 90 shorter than a Civic or Corolla sedan, which greatly increases your chances of squeezing into one position. The GV70 can also be parked at 185.6 inches.

The high-300-horsepower club is a quick place, and the Genesis 375 and Defender 395 reviews translate into two-ton luxury SUVs that are consistently nimble, with muscles off the line and powerful bumps to overtake. The mileage is checked at 21 for the GV70 and 19 for the Defender.

The surroundings are correspondingly special inside. The Defender’s 14-way heated and cooled storage seats make you the commander of your domain. The instrument panel is long and wide, a contrast to the cockpit-like shapes of most modern cars, and the large windows add light whether your safari is through sunny Castro or the misty Sunset District.

The Genesis leans more towards the sports car as it feels more intimate. It has the brand-typical horizontal single-spoke wheel, and the dashboard behind it is gracefully curved and contoured. Sparkling lighted details light up the armrests and console, and there is just enough shiny stuff to make it feel like it all goes with it.

We discuss these different vehicles in the same breath because they are priced close together, and also because they are both fun. The Defender 110 was unexpectedly nimble, while the GV70’s ability to carve corners could make sports sedans obsolete. Both are worth an enthusiastic test drive.

Philip Ruth is a Castro-based automotive photojournalist and consultant with an automotive staging service.

Published on December 2, 2021

U.S. Financial institution Debuts New Model Banking — Occasions Publishing Group, Inc.

By Jondi Gumz

Customers in the new US bank branch in Aptos uses a passcode to get into the ATM and use it to make deposits or withdrawals, or to pay for accounts. Bankers inside have mobile tablets to assist customers and a customer care station has space for one-on-one calls, but don’t come at lunchtime as the bank closes until 1pm for lunch

“We don’t have a cash line for transactions,” said. Heather Kesner, Senior Vice President for Consumer and Business Banking, San Francisco Bay, at US Bank. “We have replaced this concept with a number of comfortable meeting rooms where we can have in-depth discussions with our customers about their financial needs, with cash transactions being processed exclusively through our ATM.”

On Tuesday, October 5th, at the Rancho Del Shopping Center, Rancho Del Mar 96, a grand opening of the ribbon for the US bank in Aptos was held with the Aptos Chamber of Commerce.

The U.S. bank donates $ 4,000 to Aptos-based California FarmLink, whose mission is to invest in the prosperity of farmers and ranchers through lending and access to land, and $ 4,000 to Friends of Santa Cruz Public Libraries to help rebuild the Aptos library.

The new US bank branch in Aptos’ Rancho Del Mar Shopping Center.

Ana Alvarez is the branch manager.

The Aptos branch serves as a hub for wealth issues with a full-time investment advisor and business banking specialist on site.

Aptos customers can use the US Bank’s award-winning mobile app and online banking includes features such as personalized insights to make managing money easier, the US Bank Smart Assistant that lets you get everything you need in a few words , Co-browse live video to see the banker you’re talking to, and more.

US Bank Times Publishing Group Inc. tpgonlinedaily.com

In the new US bank branch in Aptos

“Many traditional everyday transactions can be processed using our new digital tools,” said Kesner, “so that we can focus our interactions with our customers on finding and delivering solutions to their financial needs.”

In response to the COVID-19 pandemic, the store is introducing design changes such as plexiglass barriers and antimicrobial surfaces, as well as signage to encourage social distancing.

Four more conversions are planned in the San Francisco Bay Area by 2022.

•••

The US bank reported nearly 70,000 employees and assets of $ 553 billion as of March 31. According to the FDIC, as of June 2019, the US bank had deposits of $ 47 million in the Aptos zip code – less than 6 percent of total deposits prior to the Aptos branch closure, and bank employees are believed to be working to get those deposits back.

(Visited 1 time, visited 1 time today)

The Stompin’ Model of Pianist Frank Melrose – The Syncopated Instances

Jeff Barnhart: This column is a special one for me! Several years ago, Hal introduced me to the music of Frank Melrose (it’s truly a highlight to play Melrose’s “Market Street Jive” with Hal) and to his daughter, Ida Melrose (Shoufler). Hal and I call her “Aunt Ida” and to her we are “Nephew Hal” and “Nephew Jeff.” How did you meet Ida, Hal?

Hal Smith: In the early 2000s, Ida made contact with pianist Butch Thompson. Butch, knowing of my interest in Frank Melrose’s music, put me in touch with Ida.

JB: Aunt Ida, that meeting changed your life, didn’t it? You hadn’t known your father’s music firsthand.

Frank Melrose

Ida Melrose Shoufler: I‘m the youngest, and only surviving child, of three children born to Frank and Frances Melrose. I was only two years old when my dad died. I didn’t remember him at all. When my mother told me about my dad it was like she was talking about someone in the old family history. He didn’t seem real to me until 20+ years ago when Hal Smith and Mike Meddings came into my life. I was thrilled to hear they knew there was something special about my father’s piano playing. Without them I would never have known.

You contacted me by email, Nephew Hal. I still have that first letter, I printed it out and it is safe in my tote of treasures. You sent me several cassettes of my dad playing solo and with bands. Those are also safe in my box of treasures. I think, without getting the letter out, that we connected in 1998. Twenty three years ago!! Now you are my beloved nephew and I am so grateful for everything you have done for me.

JB: While Hal is blushing from his (deserved) praise, what did you do next to learn more about your Dad?

IMS: In a hurry at Best Buy I grabbed a CD called “A Piano Anthology.” I didn’t even look to see who the recording artists were: it was piano! I was more than excited to see that the fourth song was “Jelly Roll Stomp“, and my father was the artist. I must have listened to it a hundred times!

Ida and Hal

JB: Any time you’d like to interject here, Aunt Ida, please do! For now, how about you lay some facts about Kansas City Frank on us, Cousin Hal?

HS: For many years, pianist and composer Frank Melrose was familiar only to record collectors and students of Chicago jazz history. But thanks to a popular cartoon by Robert Crumb (“Kansas City Frank”), the late Mike Meddings’ “Hot Piano” website, CD reissues of Melrose recordings and contemporary public performances of his compositions, Frank Melrose is gaining a well-deserved reputation as one of the most distinctive stylists of the Classic Jazz Era.

Franklin Taft Melrose was born in Sumner, Illinois on Nov. 26, 1907. In addition to father Frank H. and mother Mollie, Frank’s family included sisters Muriel, Mamie and Belle; younger brother Lee and two elder brothers—Lester and Walter—who later formed the Melrose Brothers Music Company in Chicago along with M.L. Blumenthal, a/k/a Marty Bloom.

The Stompin’ Style of Pianist Frank MelroseFrank took up the violin as a pre-teen, but eventually switched to piano. He met Jelly Roll Morton, whose compositions were top sellers at the Melrose family’s music publishing business. Morton offered to teach Frank to play “Jelly Roll Style” and the young man gratefully accepted.

Melrose records such as “Transatlantic Stomp” and “Market Street Jive” from the late 1920s show the unmistakable influence of Jelly Roll Morton. But even though Morton continued to be his greatest inspiration, Melrose was aware of the sounds produced by other great pianists in Chicago and elsewhere. Some online sources indicate that Melrose left Chicago in the mid-1920s to work in other locations—including Kansas City. If that is the case, it is likely that he was able to hear the great band led by Bennie Moten and to absorb the wonderful ragtime-tinged piano style that Moten played. Comparison of Moten’s solos on records such as “Kater Street Rag” and Melrose’s on “Market Street Jive” illustrate quite a few similarities in melodic ideas, phrasing, rhythmic feel and keyboard techniques (like short glissandos between notes). There is also the matter of Melrose’s nickname—“Kansas City Frank.”

Another pianist who likely influenced Melrose’s playing was Jimmy Blythe, a Kentucky transplant who recorded extensively in the 1920s and was quite active on the Chicago jazz scene. The Dixie Four’s “Five O’Clock Stomp” with Blythe on piano includes many phrases heard on Melrose’s recordings from the same era.

Melrose synthesized all these influences into a characteristic style of his own; one which continued to evolve well into the early 1940s. His “stomp” playing was a perfect fit for the Beale Street Washboard Band, E.C. Cobb and his Grains of Corn, the Cellar Boys, and his own “Kansas City Frank’s Tin Roof Stompers.” He was recording with many of the best jazzmen in Chicago, including Johnny and Baby Dodds; Jimmy Bertrand; Junie Cobb; Frank Teschemacher; Bud Freeman; George Wettling; and Wingy Manone. He was also writing songs. “My Gal” was recorded by his mentor Jelly Roll Morton and “Kentucky Blues” was recorded by the State Street Ramblers. Some record labels from the late 1920s and early 1930s only list “Melrose” as the composer, but there is at least a good chance that some of the numbers were written by Frank—rather than Walter or Lester.

JB: Let’s take a listen to some of the music produced by Melrose and the various groups you must listed, Hal, starting with “Transatlantic Stomp,” by E.C. Cobb and His Corn-Eaters.
https://syncopatedtimes.com/wp-content/uploads/2021/09/HA507548.mp3

HS: The first chorus on this one must have fooled a lot of researchers and discographers when they became aware of it. The piano playing is very Morton-like throughout the whole record.

The Stompin’ Style of Pianist Frank MelroseParade – Hammond, Indiana 1940. Tib Freeman, guitar – Wayne Freeman, drums – Frank Melrose, piano

JB: The second section uses the same chord progression as “Twelfth Street Rag,” and they make the most of those familiar changes! The final chorus has Melrose romping in grand barrelhouse style, leading the band to the finish! As wonderful as is our first track, this next one includes two brothers who are much better known to our readers! Hal what are your observations of The Beale Street Washboard Band’s “Forty and Tight?”https://syncopatedtimes.com/wp-content/uploads/2021/09/fortya.mp3

HS: Frank was recording with jazz royalty! Johnny and Baby Dodds (playing washboard) were really at the top of their game here. Trumpeter Herb Morand turned in some fine ensemble and solo work and there is a characteristic piano chorus. Too bad it wasn’t a full solo!

JB: Let’s move from this well-known jazz side to an obscure but VERY hot tune, “Barrelhouse Stomp“,  this time featuring KC Frank with The Cellar Boys, another group of stellar musicians.

HS: This composer of this song is “Melrose” (which one)? It was also recorded by Junie Cobb and others. Once again, Frank was recording with some of the top jazzmen in Chicago—including Frank Teschemacher on clarinet (his solo sounds like a cross between Pee Wee Russell and Johnny Dodds), Bud Freeman on tenor sax, Wingy Manone on trumpet and George Wettling on drums. This time, Frank was able to play a full solo and he made the most of it. I thought I heard some Jimmy Blythe licks on “Forty and Tight” and they are in evidence here as well, though the Morton influence is still the most prominent. The accordion player has often been listed in discographies as “Charles Melrose,” but Aunt Ida assures us there was no such person!

JB: Crazy! Who was it really, then? Next, it’s always interesting to listen to a side under our subject’s leadership so let’s dig into “St. Louis Bound” by Kansas City Frank’s Tin Roof Stompers. There are a couple of unusual instruments in here, Hal! Xylophone and do I hear a bassoon or a Goofus or something like that?https://syncopatedtimes.com/wp-content/uploads/2021/09/HA507608.mp3

HS: What you’re hearing is a baritone sax (in place of string bass, tuba or bass sax) and the percussion wizard Jimmy Bertrand doubling on drums, xylophone and whistle. We also heard him earlier, on “Transatlantic Stomp.” On this record, Frank modulates to the key of Bb and plays a very bluesy solo.

JB: Let’s move to some of Melrose’s solo sides (or with drum accompaniment).

Frank MelroseHS: In 1929, Melrose recorded his own “Jelly Roll Stomp” and “Pass The Jug” for both the Gennett and Brunswick labels, accompanied by drummer Tommy Taylor playing odd-sounding traps. He also recorded several piano solos, which were only available to dedicated collectors thanks to the efforts of Chicago jazz activist John Steiner. Two of the sides—“Rock My Soul” and “Whoopee Stomp”—were actually recorded much later, with Knocky Parker and John “Jax” Lucas impersonating Melrose and Taylor, respectively. But other sides, like “Piano Breakdown” and “Market Street Jive” would have been lost forever without Steiner’s interest in the music.

IMS: My mother knew John Steiner, record collector and record producer. I managed to find his email. I wrote to him, told him who I was and gave him my phone number. He called me soon after he received my email. He sent me a cassette of my father playing, and my mother too. There was just one by mom. She was singing and playing “Congress Avenue.” He said he would be sending more. Unfortunately, I didn’t receive any more before his passing in 2001. I was grateful for the one I did receive.

JB: So your Mom played as well, Aunt Ida? Could you tell us about that?

IMS: Well, I did, too! And my sister Francene! My mother had learned everything she knew about the piano from my father. She began playing at a small bar called John’s Bar in Cedar Lake, Indiana, in 1962. She soon had the place packed every Friday and Saturday. This led to jobs around the lake which was a resort town and had several bars. I think she played at just about all of them. She played solo at first and then was asked to play with a small band. What started out as just weekends became three or four nights a week. They were good!!

When she moved to Illinois to be closer to me she would play my piano. I can still hear her style. The resemblance to my dad’s style was so clear. I loved to hear her play. She played by ear, not being able to read music at all. The smile on her face the first time she heard me playing along with the recordings I had received from Hal was something I won’t ever forget. I can’t read a note of music either. I play by ear just like my mother did.

The Stompin’ Style of Pianist Frank MelroseFrancene Melrose

I must mention my sister Francene and the piano. She played by ear also but taught herself to read music. Her first playing jobs led to playing all over this part of the state. She was definitely her father’s child! My mother was so proud of her, as was I. I know my dad had to be smiling down on her! I often wonder how far my father would have made it up the ladder as a boogie and blues piano player. Also. how different my life would have been had he lived.

JB: Aunt Ida, I can only imagine! You mention boogie and blues and that reminds me, Hal, you’ve referenced “Market Street Jive” three times so far. It was the first tune of Melrose’s you introduced me too and I had a ball learning it; it has its share of boogie and blues in it! In fact, one chorus beats out a boogie bass with a repeated right-hand chord that predates Jerry Lee Lewis by nearly three decades!https://syncopatedtimes.com/wp-content/uploads/2020/08/marketstreetjive.mp3

HS: “Market Street” knocks me out every time I hear it. I think this is the most Morton-like recording Frank ever made; even more so than “Jelly Roll Stomp!” How about that modulation to Eb which quotes Morton’s “Freakish?” However, I should mention that—despite the almost non-stop Morton phrases—during the trio strain of “Market Street,” some listeners may note a similarity to Bennie Moten’s piano solo on “Kater Street Rag.”

By the way, Aunt Ida…this is the first composition by your dad that you heard Jeff play—at the Bix Festival in 2016!

JB: Moving on to “Jelly Roll Stomp,” the first thing I notice is that the first several choruses are derivative of “Market Street Jive” (in fact at first I thought I was listening to that piece, simply sped up). When Melrose gets to the trio 55 seconds in, he goes through four different themes, each good enough to serve as its own stand-alone tune!https://syncopatedtimes.com/wp-content/uploads/2020/08/jellyrollstomp1.mp3

HS: Yes, indeed. This is one of Frank’s best records. So characteristic; lots of Morton (of course) and also hints of the other great pianists who were active in Chicago during the late 1920s. But ultimately, it’s a great illustration of how Frank blended many influences into his own style. And I wish I could have watched Tommy Taylor drumming, to see what instrument he was using that produced all those cool sounds!

JB: Our next tune stands alone, not just among the three solos (with drum accompaniment) we are examining, but all of Melrose’s output, wouldn’t you agree, Hal?

HS: I agree! “Pass The Jug” is probably Frank’s best-known composition—thanks largely to cartoonist R. Crumb, who used the song title for his famous cartoon which features Kansas City Frank. “Pass The Jug” includes many of the common themes heard in recordings by South Side Chicago bands. Very hot barrelhouse style piano. I hear Jelly Roll Morton, Jimmy Blythe, Alex Hill, Bennie Moten and of course Frank Melrose.https://syncopatedtimes.com/wp-content/uploads/2020/08/passthejug1.mp3

JB: I do, too! I need to learn that one and play it with YOU! While Melrose absorbed and continued to utilize the styles of the 1920s pianists you list, his style continued to evolve as well.

HS: Beginning in the late 1930s, Frank Melrose made recordings (including non-commercial sides) with cornetist Pete Daily. Tracks like “New Orleans Joys” showed that the Morton influence was still strong. “Bluesiana” illustrated Melrose’s continuing talent as a composer. The piano solo on “Sugar Foot Strut” demonstrated that Frank was listening to Fats Waller, Earl Hines and Joe Sullivan. There were additional solo records, including a startling version of Hoagy Carmichael’s “Cosmics” and a gritty, South Side rendering of Wayne King’s “Josephine.”

JB: Let’s check out some of the Melrose-Daily sides! One you didn’t mention was “Original Stomp,” but I love that one, Hal!

HS: This was composed by Frank Melrose, and I think it has another title besides “Original Stomp.” It is a “good time” stomp that sounds as if it could have been played a few years earlier by the Cellar Boys. It certainly sounds like it was composed earlier than the recording date of 1940. Great solos by the horns and Frank’s piano solo fits the affectionate label that John Steiner used to describe the Frank Melrose piano style: “squirrely.”

JB: OK, let’s get to one of Melrose’s compositions, “Bluesiana” by the same group:

HS: I love this one. I’ll never forget playing it with Jon Doyle and watching the dancers stop dead in their tracks and crowd around the bandstand with eyes wide. They had never heard a song like this! It sure proves that Frank Melrose knew how to put together a wailing blues ballad on a par with “Have You Ever Felt That Way?” and “You Let Me Down.”

JB: Or “Blue Prelude.” “Bluesiana” has that same emotional punch. Our final piece by this assemblage stomps and swings as well as struts!

HS: “Sugar Foot Strut” was recorded by the group that Melrose described as his “dream band.” Pete Daily was the cornetist, and he provided a surefooted lead throughout. There are excellent solos by Daily, as well as the clarinetist, bassist and drummer—and Frank! The piano solo is amazing, kind of a history of classic jazz styles. I hear Morton, Bix, Blythe, Waller, Hill, Hines, Sullivan and it all comes out as “Frank Melrose!”

Aunt Ida, if your dad had lived just a little longer, you probably would have been able to hear this band in person!

The life of a professional musician has always been difficult, and it was even more of a struggle for one who was devoted to playing hot jazz. Still, Frank Melrose managed to raise a family on his meager income. The Melroses lived in Hammond, Indiana—just across the state line from Metropolitan Chicago.

In 1941, Frank Melrose made his final recordings—with clarinetist Bud Jacobson’s Jungle Kings. This ensemble, taking its name from a 1927 recording band which included Muggsy Spanier, Frank Teschemacher, Joe Sullivan, Eddie Condon, and others, played exuberant Chicago Jazz; mainly original compositions. During the Labor Day weekend, 1941, Frank Melrose was murdered. The circumstances remain a mystery to this day. Wife Frances, daughters Ida and Francene, and son Franklin Jr. were left behind.

Jeff and IdaJeff and Ida

JB: And Aunt Ida is our link to this fantastic musician, Hal. Aunt Ida, in addition to receiving recordings of your father, what were other results of your happy encounter with Hal?

IMS: My “father” became very real to me, he was MY DAD!!! His music began to surface after that. Since then so many musicians became my friends, one being Ray Skjelbred, who plays piano with a style all his own. He has researched my dad’s life and probably knows as much about him as I do. Much to my delight Ray plays some of my father’s music to this day. Also, other soloists and bands do the same. I feel very humbled and grateful to these musicians. Especially Hal Smith and Jeff Barnhart. I am so blessed!

JB: As are we to have you in our lives, Aunt Ida, and to have you reminisce with us! For those interested in hearing more sides of Kansas City Frank Melrose, I’d point you to his work on Black Swan BSCD 35 (“Jelly Roll Stomp”) and Delmark DE 245 (“Bluesiana”). Hal, over to you for final comments and revealing next month’s topic.

HS: Jeff, we mentioned Lu Watters briefly in that article about our musical origins. Why don’t we discuss Lu’s music in depth?

JB: That will be perfect, Hal! I’ve always been thrilled by the two-trumpet sound, and all that comes with it! Let’s do it!

The Stompin’ Style of Pianist Frank Melrose

Jeff Barnhart is an internationally renowned pianist, vocalist, arranger, bandleader, recording artist, ASCAP composer, educator and entertainer. Visit him online at www.jeffbarnhart.com. Email: [email protected]

Couturier represents cash effectively spent for Flyers – Delco Instances

When they won the Stanley Cup a second time in the first eight years of their existence, it was to be expected that the Flyers would build a stunning collection of championships.

That was 46 years ago.

Guess what: it won’t happen.

As for consolation prizes, however, the Flyers have not only been blessed by great players, but also by players who have done everything on and off the ice to bring pride and value to a community that played for both uniform and paycheck and were eternal sources of franchise and regional pride.

You’ve had too many lazy goalkeepers too, but that’s another issue.

But in the Brotherhood of Forever Flyers, and that membership role is thick, there must be room for Sean Couturier. Because of this, the six-year contract extension recently signed by the two-way hockey treasure was a well-spent $ 26,000,000.

Couturier is about to enter his 11th NHL season and is a three-time winner of the Bobby Clarke Trophy as MVP of the Flyers, received the Frank J. Selke Trophy in 2020 as the most effective defensive striker in the NHL, twice he was a 30-plus goalscorer, was an all -Star and has never wasted a shift on either end of the ice.

Had the choice been made, Cups would have picked out dignified professionals as the fans’ favorite collection. But in a chain of franchise treasures that are too long to go into detail, consider “coots” a strong and important link.

That’s not bad either.

• For the first time since 2016, the Flyers will expand their Franchise Hall of Fame. About time.

The list of ideal candidates is thick like a telephone directory, although the constellation has clearly been missing for too long, in alphabetical order Danny Briere, the Flyers Wives, Simon Gagne, Mike Keenan, Pelle Lindbergh, Lou Nolan, Mikael Renberg, Kimmo Timonen and Rick Tocchet .

But if the idea is to correct the longest-running situation first, then the choice for a likely one-man class by 2021-22 must be Paul Holmgren. An all-star, member of some great Flyers teams, and the strongest puncher in a long era of great Flyers fighters (a legitimate hockey value in its day), Holmgren had success as a player, assistant coach, head coach, scout, general manager and executive while they simultaneously demonstrate a deep, sincere appreciation for a proud organization and its importance to its community.

•• •

Those rolling billboards dragged through the streets of the city by gasoline-wasting trucks … I don’t understand them.

• • •

By the time the season is over, and it will happen soon enough, the Phillies will have earned two well-deserved but conflicting reputations.

They will have fought for the right to be remembered as late inning heroes who could ever win with rallies in the eleventh hour and an endearing refusal to surrender.

They will also have been tattooed as a team that burst 26 saves and played too many times with defensive disinterest for the last three innings of the game.

Both?

How is that possible?

One theory: baseball.

The sport is designed to reveal the truth after 162 games, and not after 161 either. For most teams, this will be a gradual revelation. For the rare ones, it will require more dramatic attractions. Either way, the system will work, the definitive record will be the definitive record, and how it eventually happened will be lost in the vortex of history.

In the meantime, enjoy the 2021 Phillies and their rarest abilities to both madden and entertain. It could be decades before such a collection of adrenaline teasers resurfaces.

• In recognition of a bipolar baseball season, here on Joe Girardi who has been criticized for months with good reason but managed to improve the Phillies’ overall defense, overcome an unreasonable wave of injuries and keep his team in an unlikely pennant race .

• • •

It’s hard to believe that these buttons stuck to the back of cell phones are necessary.

• • •

OK, OK, it’s OK: it’s impossible to win last-round NBA playoff games with Ben Simmons as point guard. He doesn’t shoot. etc. Got it. Required.

The problem for the Sixers, should they swap Simmons, and for dozens of reasons they have to: The regular season. While it is likely that they will acquire one in any trade with Simmons, they are not currently using an alternative, high quality point guard.

Tyrese Maxey is a formidable talent with editing skills, but lacks flavor and a reliable outside shot. Shake Milton can make quick attacks from the bench, but was always overwhelmed when he passed the ball as a starter. Seth Curry may be able to tinker with this, but at the expense of its more valuable presence on the grand piano.

It is September of a season that can extend through June. So it is time. But if Simmons is traded, there will be 82 lead guard games in the regular season.

Well, only one solution: box the process trust threefold.

• • •

Get the Notre Dame Leprechaun Hat?

• • •

Zach Ertz, who was spotted after a souvenir walk over the Linc last season, somehow got through the off-season and will open his ninth season as an eagle next Sunday.

Good for Ertz.

Good for the eagles.

While there is seldom any value in the continued employment of players in any sport for reasons of nostalgia (see: Phillies, 2011-15), there are also costs for unloading the glue types. Having a couple around is never a risky idea. It’s mandatory to keep them around while you try to move on to a sophomore quarterback and entry-level head coach.

• • •

That’s enough “Field of Dreams” for me, thank you very much.

Contact Jack McCaffery at jmccaffery@21st-centurymedia.com