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2202	dbpedia	3	80	http://www.2112.net/powerwindows/transcripts/20201100rhythm.htm	en	"Neil Peart: The Measure of a Life"	http://www.2112.net/powerwindows/press/RhythmNov2020.jpg		[ "http://www.2112.net/powerwindows/press/RhythmNov2020.jpg", "http://www.2112.net/powerwindows/press/RhythmNov2020a.jpg", "http://www.2112.net/powerwindows/press/RhythmNov2020b.jpg", "http://www.2112.net/powerwindows/press/RhythmNov2020c.jpg", "http://www.2112.net/powerwindows/press/RhythmNov2020d.jpg", "http://www.2112.net/powerwindows/press/ClassicRockMay2020f.jpg", "http://www.2112.net/powerwindows/press/RhythmNov2020f.jpg", "http://www.2112.net/powerwindows/wallpaper/AF2Kneil.jpg", "http://www.2112.net/powerwindows/press/RhythmNov2020h.jpg", "http://www.2112.net/powerwindows/press/RhythmNov2020i.jpg", "http://www.2112.net/powerwindows/press/RhythmNov2020j.jpg", "http://www.2112.net/powerwindows/press/RhythmNov2020k.jpg", "http://www.2112.net/powerwindows/press/RhythmNov2020l.jpg", "http://www.2112.net/powerwindows/press/RhythmNov2020m.jpg", "http://www.2112.net/powerwindows/press/RhythmNov2020n.jpg", "http://www.2112.net/powerwindows/press/RhythmNov2020o.jpg", "http://www.2112.net/powerwindows/coverpics/FBNthumb.jpg", "http://www.2112.net/powerwindows/coverpics/COSthumb.jpg", "http://www.2112.net/powerwindows/coverpics/2112thumb.jpg", "http://www.2112.net/powerwindows/coverpics/AF2Kthumb.jpg", "http://www.2112.net/powerwindows/coverpics/HEMthumb.jpg", "http://www.2112.net/powerwindows/coverpics/PeWthumb.jpg", "http://www.2112.net/powerwindows/coverpics/MPthumb.jpg", "http://www.2112.net/powerwindows/coverpics/SIGthumb.jpg", "http://www.2112.net/powerwindows/press/RhythmNov2020p.jpg", "http://www.2112.net/powerwindows/press/RhythmNov2020q.jpg", "http://www.2112.net/powerwindows/press/RhythmNov2020r.jpg", "http://www.2112.net/powerwindows/wallpaper/AF2Ktourneil.jpg", "http://www.2112.net/powerwindows/press/RhythmNov2020t.jpg", "http://www.2112.net/powerwindows/press/RhythmNov2020v.jpg", "http://www.2112.net/powerwindows/press/RhythmNov2020u.jpg", "http://www.2112.net/powerwindows/press/RhythmNov2020w.jpg", "http://www.2112.net/powerwindows/press/RhythmNov2020x.jpg", "http://www.2112.net/powerwindows/press/RhythmNov2020y.jpg", "http://www.2112.net/powerwindows/press/RhythmNov2020z.jpg" ]	[]	[]	[ "" ]	null	[ "Eric Hansen" ]	null	A rare article from the Rush Transcript Archive, chronicling the history of Geddy Lee, Alex Lifeson and Neil Peart of Rush.				null	How Rush's prog pioneer inspired a generation By Chuck Parker, Rhythm, November 2020, transcribed by John Patuto An in-depth and moving tribute to The Professor, exploring his musical genius, his setups and sound, his intelligence, enthusiasm and artistry - with praise paid by a host of fellow artists and friends We honour the memory of Neil Peart's incredible musical life, and the countless players he befriended and inspired, with an in-depth exploration of the man and the musician. Most everyone will experience a game changing event in their life. That moment in time when you realise that nothing will be the same. This experience can occur through exposure to new knowledge or altered insight on differing opinions. In the case of musicians, this can be hearing instrumentation used in a different way or discovering a new artist for the first time. For millions of drummers, especially those that came of age in the '70s, one of those moments was when we first heard the band Rush and their drummer and lyricist Neil Peart. My moment occurred in the back seat of a friend's Datsun B210 in early January of 1977, right after Christmas break. We gathered in the usual desolate corner of a cemetery for our morning ritual of listening to music, talking and having a smoke before school. My friend knew I had been gifted a drum set that holiday and, after passing me a smoke, handed me an 8-track tape, smiled and said, "Check THIS drummer out!" Just one look at the photo on the front of the cartridge left me spellbound. It was Rush's first live album, All The World's A Stage. Peart's chrome Slingerland kit glistened under the spotlights like a jewel in a king's crown. I immediately had to hear what this band sounded like. "Play it!" I urged. The opening chords of 'Bastille Day' poured from the speakers, and as soon as the drums and bass kicked in, my body was covered in goosebumps. I knew, in that moment, my life was changed. I'm sure I confused my school teachers in the months and years that followed as I suddenly became interested in the French Revolution, Ayn Rand, English literature and Shakespeare. This is the impact a "rock drummer" had on my humble 16-year-old life. I bought that double live LP the very next day. So began a love affair with a band and a drummer that continues to this day. Just as I remember so sharply the first time I heard Rush, so too will I always remember the moment when I was informed of Peart's death. I was out hiking and snowshoeing (one of my favourite pastimes, partially inspired by "Pratt"). I received a text from a close friend that just said "RIP Neil". Like so many others, I was unaware of his battle with glioblastoma (a form of brain cancer), and the news left me in complete shock. In yet another testimony of the admiration the man generated, all who knew of his condition had kept their silence for more than two years out of respect for his privacy. Peart often wrote in his books about ending a long day during his travels on his motorbike with a smoke and a sip of The Macallan... In his honour, then, prepare your favourite libation, and join Rhythm as we take a very special look at one of, if not the, most influential rock drummers of the modern era... A BRIEF HISTORY Not much more can be told about Peart and Rush's history that hasn't already been written, but for the uninitiated, the band entered the music scene storming out of Toronto, Canada during the late '60s with a direct rock-and-roll approach as a power trio. After getting noticed in the US, thanks to radio disc jockey Donna Halper, the band was on the verge of success when original drummer John Rutsey was advised not to tour due to health issues. Enter Neil Peart. After a disappointing foray to London seeking his fame and fortune in the music industry, Peart returned home to St. Catharines, a suburb of Ontario, Canada. It was while working at his father's International Harvester tractor parts store and playing in local bands in the St. Catharines area, that he received the fateful call to audition for Rush. Neil's addition not only elevated the band musically, but he became the principal lyricist simply by default. A lover of words and reading, Peart willfully accepted the challenge. Although modest in his own evaluation of his work, his lyrics grew and progressed just like his drumming. Always one to embrace music technology and innovation, Peart adapted that aesthetic to his lyrics as well, writing about topics far removed from the typical banality of top 40 pop radio. Rush eventually conquered the charts, however, and achieved considerable success in singles and album sales. This culminated in their recent induction into the Rock and Roll Hall of Fame after many years of eligibility. Usually one to shy away from public events or spotlights, Peart commented in his acceptance speech, "We've been saying a long time, years, that this wasn't a big deal. Turns out, it kind of is". Indeed, it was a very big deal for the millions of Rush fans around the world who so loved to share the object of their obsession with others. Rush being "indicted" as Peart put it, was solely for the fans. Neil also quoted Bob Dylan by adding, "The highest purpose of art is to inspire... What else can you do for anyone but inspire them?" In my personal life experience, Neil Peart is the truest embodiment of this statement. WORDSMITH In addition to Peart's immeasurable impact in the music and drumming world, his other artistic contribution was his love of the written word. This was apparent through his command of language, whether writing or speaking about an idea, be it in a song, interview or book. Peart always seemed to use the perfect word or phrase to convey his thoughts. Many music lovers had difficulty getting past bassist and singer Geddy Lee's unique vocals. To some, he was a wailing banshee while others thought his original sound fit Rush perfectly. But even those who couldn't get past Lee's singing had to admit the proficiency of Peart's prose. Peart had a way of making the most complex topic simple and shined a light on simple things that turned out to be complex. I always think of the song 'The Trees' off the Hemispheres release. In prose that Peart himself has shrugged off as simplistic, the song tells a story of equal rights achieved by drastic measures, wrapped in a progressive musical package. It is just one example of Peart's command of lyrical metaphor and allegory. In addition to his talent as lyricist for the band, Peart also wrote several books. Most relate to his experiences travelling, either while touring or on his own. Neil was famous for either motorcycling or bicycling between gigs while on tour. One of his most poignant books is Ghost Rider, which chronicles his experience of suffering not one, but two fatal tragedies. The first involving the death of his daughter in an automobile accident, and the second, the death of his wife barely a year later. Neil was famously private throughout his life, but if you wish to know him, you merely have to read his words. INFLUENCES AND INSPIRATION Listening to Peart's static fills, one can hear Keith Moon's influence. Never one to just play a roll and crash on the '1', Peart was constantly peppering his fills with off-beat accents and unusual sound source choices. Cowbells, China and splash cymbals, wood blocks and timbales were just a few of the colours that Peart chose to paint with from his palette. Just as Moonie's choppy, seemingly chaotic, fills worked for The Who, Peart's personal style meshed seamlessly with the musical direction the other members of Rush were headed. Another percussionist in a power trio that preceded them and who Peart looked up to was Ginger Baker. Just as Baker brought his jazz sensibility to Cream's rock idiom, so Peart brought his progressive leanings to Rush, pushing them to another musical level. On the other end of Neil's influences were more disciplined drummers that emerged from the British progressive rock scene: Carl Palmer (Emerson, Lake and Palmer), Bill Bruford (Yes, King Crimson) and Michael Giles (original King Crimson drummer) all had an effect on Peart. But the influences didn't stop in his formative years. Both Peart and Rush are famous for continuing to be influenced by other styles of music. A great example of this is Peart's respect for Stewart Copeland from The Police. At a time when there was a lot of peer pressure in my personal music choices, Peart validated my opinion of Copeland and The Police by praising him publicly in interviews. Rush's Signals and Grace Under Pressure both showed The Police's influence on their music. Another example was his fascination with Buddy Rich, big band and jazz music. As drummers, most of us have heard the name Buddy Rich and are familiar with the musical legacy that goes along with him. As I made my way along my own musical path, Rich and his playing were a constant reminder of how far you could take drumming - and how far I had to go. I understood why everyone praised Buddy; he set a level of musicianship and excellence that was inspiring and hard to surpass. Just as Rich inspired generations before me, Rush became my inspiration and Neil became my 'Buddy' - an interesting anecdote because Peart himself fell under Buddy's spell. Peart never considered Rich a big influence on his playing until a chain of circumstances (as The Professor liked to say) changed all of that. In 1992, Cathy Rich, Buddy's daughter, invited Neil to perform at the Buddy Rich Memorial Concert. Peart dove passionately into the deep end, researching and rehearsing Rich's material to perform with the big band during the concert. Growing up, I was constantly told that jazz drummers were the "best" drummers and could play anything. While there may be an element of truth to this opinion, it was inspiring to me that my favourite drummer, who was considered a "rock" musician, played masterfully with Rich's big band. In yet another example of his influence on me personally, Neil's participation in the event inspired me to dig deeper into drumming history, and in so doing I gained a deeper appreciation of Buddy Rich and those that came before him. Peart's experience with the concert also led to his involvement with two Burning For Buddy album releases, featuring a who's who of the drumming world playing arrangements of a variety of songs as well as Rich's big band tunes. It's impressive that Peart managed to take all of those influences and homogenise them into his own personal sound. Even when he was years past his impressionable influential stage, Peart was still soaking up knowledge like a sponge. FROM ANALOG KID TO DIGITAL MAN As a result of his experience with the Buddy Rich Memorial Concert and subsequent Burning For Buddy CDs, Peart reassessed his playing style and began to study with drum guru Freddie Gruber. After reaching the pinnacle of peer acceptance, winning awards and being voted top in many polls of various drumming and music magazines, Peart felt a need to reinvent himself. At a time when many would rest on their laurels, Peart was continuing to learn and challenge himself. This process is wonderfully documented in the highly recommended video A Work In Progress. In it, Peart describes his journey of rediscovery as only he so eloquently can. In addition, he demonstrates the real-world application of his studies by showing how they applied to Rush's release at the time, Test For Echo. He altered his drum kit setup (always guaranteed to awe and inspire gear geeks) and went ergonomic like other Gruber disciples (Steve Smith, Dave Weckl and Peter Erskine). Peart changed, but remained the same. 'Circumstances', anyone? He started to "dance" on the drums, as he often described Gruber's instruction. Peart's playing became more rounded and his groove even more pronounced. When I saw Rush and Peart on the Test for Echo tour, I marveled at the fluidity of his playing. It showed me that by selfishly pursuing his personal reinvention, the fans' reward was as satisfying to them as listeners as it was to Peart's sense of his own musicianship. An excellent example of Neil's willingness to change was his relationship with electronic drums, triggers and samples. Originally a sceptic and not entirely trusting of the new technology, Peart changed his opinion. Throughout the '80s he experimented with electronics that included a secondary kit behind his main acoustic one, blending both worlds. Peart's massive acoustic kit had inspired countless drummers throughout his career; now he was consolidating, morphing and making the most efficient use of the technology he had at his disposal. Peart was able to pack most of his percussion into his electronic setup by sampling his personal instruments and using the sounds with his Simmons pads throughout the '80s, and then with his Roland electronic kit during their later live years. True, in later years they used some sequences live, but always tastefully and musically. Another testimony to Peart's precision was his ability to play with those sequences or a click live, yet push and pull the band to keep the live feel. While always serious and precise, Peart's playing never sounded mechanical or cold. There was always a human touch. Peart's precision was his ability to play with those sequences or a click live, yet push and pull the band to keep the live feel. While always serious and precise, Peart's playing never sounded mechanical or cold. There was always a human touch. His physicality was also very apparent in his visual style of playing. Musically progressive, yet unflinchingly aggressive. Stick spinning and twirling didn't overshadow the fact that every note had a purpose. When Rush came roaring back from their hiatus with Vapor Trails, Peart once again caught our ear with his blazing double bass intro with trademark two surface ride pattern on 'One Little Victory'. It was unusual, as Peart never used his twin kicks for rhythms, only fills, and yet was one more example of Neil exploring his own style and willingness to do something different and outside the box. THE LIVE ELEMENT If you have ever experienced Rush and Peart live, you know you could always expect them to play their material exactly like the record. However, there were times where they would deviate from the script. They were famous for their instrumentals, medleys and the centrepiece: Peart's drum solo. If you did not get the opportunity to see Rush live, fret not. There is a wealth of live recordings that chronicle every phase of Rush and Peart's live evolution. Neil elevated the drum solo from a mere display of chops to an orchestrated presentation, documented over the course of their live releases. His personal approach to soloing is captured in the Taking Center Stage video. In it, Peart again succinctly vocalises his thoughts towards his drum solos - another highly recommended treasure that gives insight into Neil's original approach to his craft. In the March 2014 issue of Rhythm, Peart wrote on soloing, "I believe most humans can be stirred to their cores by rhythmic drum patterns - it is surely the oldest music. If a drummer can combine that primal instinct with structure, conversation, invention and a touch of theatre, the audience will be reached, even moved". With a catalogue as vast as theirs, Peart often remarked on how difficult it was creating set lists for live shows. One creative way of squeezing in a little more material into a show was mashing up songs. Their creative technique of doing this can be found throughout Rush's live history, going all the way back to their first live album All The World's A Stage, with their combining of 'Fly By Night' and 'In The Mood'. When I saw them on the Presto tour, they segued out of 'Freewill' into 'Distant Early Warning' with seamless precision. Later, on the Counterparts tour, they surprised everyone when they went from a blazing performance of 'Xanadu' into the fan-favourite instrumental 'Cygnus X-1 Book II: Hemispheres Part I: Prelude'. This was the kind of band Rush was, always eager to please fans by playing as much material as possible, but still satisfying their own creative urges. Rush and Peart set a standard for their album-like perfection in concert in an era when bands were notorious for going all out in the studio, then having problems replicating it live. After listening to Rush's first live album for so long, my young ears were surprised when I dug back into their catalogue and heard studio versions of the songs that I had grown so familiar with from that first live album. It was truly ear opening to hear how Rush changed the arrangements slightly on some song kept others exact and left room in others for improv and risk taking. Here were three men pushing their studio capability to the limits yet still pulling it off live. Rush and Peart's ability to morph and change yet still remain the same is a definitive example of a "progressive" band. They always used technology to their advantage. They had no shortcomings musically, so they didn't need to hide behind it. Every note laid down in the studio was replicated live. Rush toured relentlessly, playing anywhere and everywhere with anybody and everybody. One of the more unusual times I saw Rush live was on their Farewell To Kings tour. They had not yet reached headline status and were opening for American rocker Bob Seger and The Silver Bullet Band. Most of the attendees were there for Seger, but by the end of Rush's energetic 45-minute set, the trio from Canada had won the crowd over. Every time I saw Peart and Rush live, they played with that same passion. Rush was all about the music. No tales of debauchery or excess. No egos or infighting. The focus was entirely on the songs and the performance of them. They set a selfish artistic goal for themselves, which the fans benefited from. Rush and Peart were known for their musical precision in concert. The closest thing to a mistake that I ever witnessed was on the Presto tour. They played 'The Pass', which has a very stark intro by Geddy Lee on bass with Peart echoing his riffs with a tribal tom-tom beat, and ethereal chiming guitar work from Alex Lifeson. Lee hit the note at the start of the song and the note was out of tune. Lee immediately looked to the side of the stage, stopped playing and ran behind the curtain to correct the problem. Peart continued playing, Lifeson continued chiming and Lee was back in on the beat within seconds with a properly tuned instrument. Watching them react and seeing the smiles on all of their faces as they transitioned out of what could have been a train wreck, was an excellent glimpse into the looser live attitude they adopted during their latter career. Looser however does not mean sloppier. After so many years of being the staunch perfectionists that they were, Rush was finding room for fun. Their response to the above anecdote is but one small example of that. Other indicators were brilliant short films played before shows, after intermissions and sometimes after the concert had ended (available on the plethora of live videos the band has in their discography). Their involvement with several movies and television shows, most of a comedic nature, are all examples of Rush seemingly embracing the belief that sometimes life is too serious to be taken seriously. Being a staunch perfectionist all the time is exhausting, but Peart and Rush were finding room to relax. FINAL THOUGHTS I never had the opportunity to interview or meet Mr. Peart. As a music journalist, he was at the top of my short list as a feature subject, and I would have leapt at the chance to have had a conversation with the man. Sadly, that was not to be. However, I felt like I knew him through his music, lyrics and books. He wrote his heart on his sleeve, and if you want to know the man, all you have to do is enjoy the vast catalogue of material he has left behind. If I had been given the gift of meeting him in person, I always fantasised about what I would say. I had decided on, "It's a pleasure to meet you, Mr. Peart. I really admire your work, and your drumming's not too shabby either". I have a feeling he would have appreciated that. Thank you, Neil, for everything and know that your garden grows throughout the world and continues to be fruitful and bear inspired drummers and musicians in a plentiful harvest. Peers on Peart Tributes From Fellow Artists TIM 'HERB' ALEXANDER (Primus) "I was walking to a friend's house in Riverview, Michigan when 'The Spirit of Radio' came on the boom box I was carrying. It shook my world. Complex but listenable. Powerful and interesting. It's got to be the best intro into a song, ever... It made me feel connected to something that couldn't be explained, and it became my focus to learn how to play like Neil. I would learn every note of every album until I started to become my own player and not imitate Neil so much - which was hard to do by the way! He was a major influence on me. "As a kid I couldn't describe what it was that had such a big impact - it just was! The thing that made the biggest impression on me was how Neil would have different parts within a song; it wasn't just a beat that continued throughout. He would make changes from verses to chorus and create introductions to songs - even 'Tom Sawyer', where the main groove during the verses has a part that is evolving as the verse moves on. And his solos were unique, because they were a song in themselves - and he kept those themes throughout his career as if it was an ongoing composition. His composition really affected how I think musically as a drummer, and I always try to have that approach in my playing. "My favourite memories of Neil are watching him play every night on tour when we opened for them, especially when he would come to my dressing room to hang out and jam on my practice kit, or bang on an ice chest - whatever was there... Man, I'm still so sad." RYAN VAN POEDEROOYEN (Devin Townsend Band/Imonolith) "I was 14 years old when a buddy introduced me to Rush, and I remember hearing 'YYZ' and thinking, 'What the hell? This s incredible - listen to the drumming!' Neil was pushing boundaries, doing something completely different, and he made me feel that there was a ole new level to drumming. he biggest impact he had on me was how musical his playing was. He wasn't just keeping the beat and pulling off crazy drum fills; he thought out his cymbal parts to match the notes, or tones, of the music. It's why I have so many cymbals, and when people compliment me on my cymbal work, the reason is Neil Peart - you hear him come out in my playing. It's fine to borrow from your influences, but don't try to be them. They will always be the best versions of themselves. Be a first-rate version of yourself, not a second-rate version of someone else. "Whenever Neil placed a fill, even in Rush's most progressive songs, it was perfect; and whether it was simple, or difficult, he was playing for the song. I have so many Rush tracks that are favourites for different reasons, but I always come back to 'YYZ'. You have your crazy fills and the 'proggy-ness', but there's this groove - almost like Neil's playing four on the floor. That song, encompasses everything that I think a drummer should know. It doesn't matter what you're going to be playing, you should have a knowledge of time signatures. Then there's the flashiness, the progressiveness, the drum fills, the cymbal work - that's all in there, too, and he's laying it down with that fat groove. "I went to see Rush on their Roll The Bones tour. We hadn't bought tickets but we managed to get some and ended up in the front row! Rush came on, and I was just blown away. There were a few times where Neil and I made eye contact, and he gave me a nod. I remember walking away from that show feeling totally inspired. I'm doing what I do today because of it. The biggest thing was making that eye contact. There was an energy that was very influential." JON THEODORE (Queens Of The Stone Age) "I can still remember being in the car on the way to school when 'Tom Sawyer' came on the radio. I was probably 10 years old, and I didn't know s**t, but when that monstrous groove came in over that deadly synth bass, it instantly resonated with me in a way I'd never known before. I knew in that moment that I was hearing something very special, and different, from all the other music I already knew. It was dangerous and heavy, like some kind of wild, sleek jungle cat on the prowl. By the time the 'A modern-day warrior' line hit, my mind was fully blown! It was one of those exhilarating moments when you experience a life-changing revelation. "At that point, I wasn't even playing drums yet, but I knew that Neil was a different kind of drummer. I had already begun to focus on the drumming when I was listening to music - but when I listened to Rush, I couldn't stop the involuntary urge to air drum along with the beats and fills. Neil's playing was magic - compositional with the fearless creativity and thoughtful considerations of high art, but with the fierce heat and irreverent passion of rock 'n' roll. Such an elusive and rare blend. "There are so many different Rush tracks that are essential for so many different reasons, but if had to pick one, it would be 'La Villa Strangiato'. It's long, with so many moves - the whisper to roar dynamics of the intro, the quintessential Peart ride cymbal beat, the odd time groovy space dub, the chunky tom hits, the spotlight solo, the 'Cab Calloway' demented disco tom groove and the rest of the inimitable aspects of his playing. It's perfect. "Rush's final show at The Forum in LA was a night to remember. Literally everyone I know who plays drums in LA was there, and it was an evening of the highest revelry and praise for our hero, Neil, and his band. There were more toasts, high fives, belly laughs, huge smiles, synchronised unison air drumming and slack-jawed stares of disbelief than you could imagine! The band was inspired, and Neil put on a three-hour clinic for his adopted hometown crowd, who responded with roars of appreciation. His solo that night was unforgettable; it had all the depth, precision and calculated wisdom we've come to love and expect from The Professor, but it also flowed and blossomed with organic improvisations. There was a beautiful snare scene in the beginning that resonated like Buddy Rich or Tony Williams, where he'd change patterns and sticking to make the accents pop, or float - like the sound of a waterfall - that was so loose, free, inspired and musical that it took my breath away. From there, he took us on a journey through all the different aspects of his playing. It was a beautiful sight, and sound, and he was holding court and laying out for all to see the treasures collected from a lifetime of tireless crusading for inspiration and the relentless pushing of himself to evolve and keep learning. It was magnificent, and the fact that it was rumoured to be Rush's last show made it even more poignant. "Having Neil acknowledge what I said about his playing that night is one of the proudest moments in my life, and to know that it meant something to him because I had 'got it' is something I will always treasure. As a fellow human and drummer dedicating my life to the pursuit of people 'getting it', I can't think of any more meaningful a validation than to have the blessing of The Professor. Forever one of my first and biggest inspirations, a trailblazing maverick who lit the path and showed us all what is up and how high the bar can be set. Long live Neil, and long live Rush." MARCO MINNEMANN "The first time I heard Rush was when I was about 16 years old, and a bandmate had the idea to cover 'Tom Sawyer'. I immediately thought it was very cool, and I transcribed the drum part. It made me instantly recognise how organised Neil's playing was. He had these great, very musical ideas; his drum parts were composed and his fills became trademarks It's mind blowing and beautiful to see so many people in the audience at a Rush show air drumming to his fills. You don't get that often, right? "Neil was a very thoughtful writer and player, and both reflected his personality. I think what drummers can take from that is to be more of a composer on the drums than an improviser. Both sides have their values and places, but Neil showed the world that drum parts matter and can become a hook. And let's not forget about how great a lyricist he was. "When I listened to Neil's playing, the discipline and obeying the grooves and structure in such a powerful way was something that definitely opened my eyes. When I met him, we discussed how both of us had moved to California at the same time from different countries. It was a very nice talk about life, friends and experience. "For me, 'Tom Sawyer' still shows all the trademarks of Neil's playing: the force, the focus, the structure, the composition and the style." CHERISSE OSEI (Simple Minds) "I first heard Rush when I was a teenager, and I remember being immediately excited and intrigued by what I was listening to - and thinking how appropriate their band name was. Their music definitely gave me an adrenaline rush and has done ever since! "I was fascinated by Peart's playing. I loved how complex it was, but at the same time so musical. I loved the parts he came up with - you could feel he was always pushing boundaries - and he made me want to explore more complex fills and work on my own technique and groove. He was one of the first drummers to play such difficult drum parts in mainstream rock music, and I also wanted to emulate his energy and precision. "My favourite memory would have to be watching the live Exit... Stage Left DVD for the first time and being blown away by Peart's drumming. I was just mesmerised, and when the DVD finished, I felt so inspired that I went and played on my drums for four hours solid! "For me, the must Rush track has to be 'Limelight'. It's a classic rock masterpiece, and I love the guitar riffs and the lyrics, which highlight Peart's feelings about being in the limelight and the difficulty he had with coming to grips with fame. I love the way Geddy Lee's voice sounds and the way Peart's powerful drumming drives the track forward." CRAIG BLUNDELL (Steven Wilson, Steve Hackett) "I was a spotty kid in a record store when I first heard Neil play on 'The Spirit Of Radio', and I remember it like it was yesterday - the moment that Neil starts that ride pattern, just as it all kicks in... I have had many eureka moments in my life, but that was one of the most important. I didn't know what he was doing, but I loved it, and even though I didn't read music, I wore that tape out learning to play it, going backward and forwards trying to work out what the hell was going on! To this day, it's still my favourite sticking pattern, and it doesn't just belong in the prog genre. It's forward-thinking drumming at its very best and works across so many platforms. "And that's the thing with Neil, he was such a pioneer in going forward... Everything was, and still is, ahead of its time, and it's stood the test of time. He was never content to sit still; he was always pushing forward to make the next thing better than the last, and that work ethic of not resting on your laurels has been a tremendous inspiration to me over the years. "Neil chose when to blaze, but, equally, when he put less notes in it would be just as beautiful. He was the king of that, and it's an important lesson for young drummers who think they will find the answers in more notes. He always played for the song and was tremendously musical and intricate. There are few drummers who are instantly recognisable when you put on a record, but Neil is one of them, and I always go back to him when I need a burst of inspiration. For me, he is the epitome of musicality and determination. "Sadly, I never did get to see Rush live, or meet Neil in person - two of my biggest regrets - but I am so proud to have played on the band's 40th anniversary album 2112 - 40th with Steven Wilson. We covered 'The Twilight Zone', and I was so nervous. We rearranged it completely, because I thought I would be assassinated if I tried to do the same as Neil! It's an experience that I will cherish forever, and simply to know that he listened to my drums puts a smile on my face." RYAN BROWN (Dweezil Zappa) "The first time I heard Rush was on June 22, 1990 on the Presto tour, at Fiddler's Green Amphitheatre in Greenwood Village, Colorado. I was 14 years old, and it was a truly magical experience. I was mesmerised from the first note to the last, and I bought a T-shirt, poster and tour book! Everything about the show - the performances, the songs, the lights - it was the greatest thing I had ever seen or heard... "It took me a while to figure it out, but the song that was stuck in my head for the walk home was 'Red Barchetta'. I was blown away by how creative and intricate Neil's parts were. His drumming was unlike anything I had heard, and Rush became the new benchmark for me. I thought if I could learn how to play along with those albums, I could probably play anything! It was like unlocking the ultimate challenge for our craft. I didn't realise at first that some of the songs were in odd time signatures, or that they were changing time signatures. I didn't know that was possible yet, I just learned the songs. Then, my drum teacher, Dave Robnett, taught me how to count them out. Looking back now, I feel like it was the perfect way to get into odd time music. "Neil's influence made me want to make my drum parts more interesting, for myself and for the listener. I wanted to be as consistent as possible, and I wanted to hit hard! "I was lucky enough to see Rush live 24 times, and while each show was absolutely incredible, there was something extra special about the show on the Snakes And Arrows tour on July 25, 2007 at Irvine Meadows, California. Neil, Alex and Geddy were all especially on fire that night, and I remember thinking during the show that it was the best performance I had ever witnessed. I tried extra hard just to soak it all up... "For me, 'YYZ' has many of the classic Rush elements all in one song. There's the famous morse code intro. The main riff is in 5/4, but it changes time signatures and has the classic Neil ride cymbal groove along with trading bass and drum solos." PETER ERSKINE (Weather Report, Steps Ahead, Solo Artist) "The first time I experienced Rush was after Neil had given me one of their CDs. Prior to our meeting, I had only heard about the band. As much as I tried to listen to everything when I was younger, my taste became more focused as I grew older. Needless to say, I was impressed. "Neil put an extraordinary amount of thought and work into his drumming. The intricate complexities of that band's music, combined with his powerful execution of the drum parts, made as deep an impression upon the minds and spirits of music fans everywhere as Gene Krupa's drumming had done decades earlier. My takeaway was that Neil was the Krupa of our time. I can have great admiration for a set of skills without wanting to add those same skills to my toolbox. I'm not a stadium rocker and never will be. That said, Neil's drive to look fearlessly into an abyss will continue to be an inspiration. His curiosity and thirst for knowledge made him such a wonderful role model for all of us. The man had it all, but he continued to read and study. His was a life well lived. A good lesson for us all. "My favourite memory is of seeing that smile of his in the missives he emailed to me. That, and the sheer pleasure that drumming brought him. He delighted in it, he celebrated it, he exuded and enthused it." DANNY CAREY (Tool) "In 1976, I was well immersed into the rock world. I was literally earing out Yes, King Crimson, Genesis and ELP records monthly. It would take a lot for anything on the radio to spark my attention, so my snobby group of friends and I relied upon word of mouth from each other and der brothers to discover. "I will never forget walking into my younger brother Dale's bedroom, where he was playing 2112. It made a really big impact from the first moment. There was great clarity in [Rush producer] Terry Brown's recording. All the 'proggy' elements that I loved were there, but it also had more of an aggressive quality to it. I really liked Geddy's voice also - it kind of scared me. "Neil's drumming has always sounded very thought out and composed to me, which is rare in my world of rock. There is always a high level of articulation and sympathy to the other parts happening around him and excellent choices to help lead them through the journey. This is where his playing had its biggest impact on me. It was very good timing for me to hear Rush when I did, as I had just gotten my first Ludwig Stainless Steel Octa-Plus. At this stage of my playing, it was very inspiring to have this giant kit - but also somewhat intimidating. "Listening to Neil's use of all the concert toms and percussion toys really helped me get a feel for how to use all of these new possibilities and apply them in a musical way. The thing I wanted to emulate most from Neil's playing, along with the aforementioned compositional choices, was his sound - specifically from the Moving Pictures album. The concert toms and kick sounds on that record are some of the best I've ever heard to this day. "My favourite memory has to be the first time we met. It was about 10 or 15 years ago backstage at one of his shows in LA. They always say you never want to meet your heroes, so I was quite nervous about being there. Luckily, I had met Alex [Lifeson] before, and he introduced us. Neil's smile and hospitality were so welcoming, that all of my fears vanished instantly. The funny thing was, I don't think we talked about drums once. It was strictly about the important things like Scotch, BBQ sauce, motorcycles and family! I think that's the biggest reason we became friends. "'Limelight' is a great example of playing the right thing at the right time and leading a song where it's supposed to go. A must for anyone who wants to learn from the best." Essential Peart... Mike Portnoy Shares His Highlights From Neil Peart's Drumming Legacy When I discovered Neil Peart and Rush in the early '80s, it was very much a case of the right band and the right drummer at the right time. It was exactly the type of challenging music I was looking for to help me grow and develop as a musician in my mid-teens. Neil became my number one hero. Nobody was applying themselves to a big kit in the same way that he was, and I was fascinated by his setup, his incredible time signatures and the feel of his patterns. He constructed his drum parts in such a musical way, and everything he played was so meticulously thought out and crafted. "I'll never forget my first Rush concert: December 1982 on the Signals tour. It was so surreal to be in the same building as those guys, and I have never felt such respect when it was time for the drum solo - everyone was air drumming! "My first personal meeting with Neil came through Rhythm, and I still get a tremendously fond feeling when I think about that day. I got to be the fan boy - it was my job to ask him about drums! - but after that we struck up a great friendship that lasted until he passed. I have so many great memories, but one that's very poignant is from our last meeting on the band's final tour. Neil invited me down to the show and soundchecks as he always did - he was so welcoming and gracious - and I got to take my son, Max. Max played his kit at soundcheck, and it was very special to share that last Rush show with him. "Neil was always so modest; he never acted like the drum hero and legend that he was. In fact, he always talked about how he could be better! From the golden era of Rush, here are my personal highlights from Neil's incredible drumming legacy, and it's these tracks and albums that helped make me the drummer I am today..." Fly By Night (1975) "The band's second album, but Neil's first with them. There is so much great drumming on here, but for me, the standout track is the epic 'By-Tor And The Snow Dog'. It's one of the first Rush songs that I learned to play, and the drumming is so challenging... I particularly love the middle section with the mini drum solos and the really cool, progressive pattern, where every bar takes away one beat. That creative, and very clever, nature of playing with numbers and patterns really appealed to me." Caress Of Steel (1975) "Probably one of the most underrated albums in their catalogue, but it features Neil's first recorded drum solo in the sub-section of 'The Fountain Of Lamneth: II. Didacts And Narpets'. It includes so many of the styles that would become staples of his live solos and was an incredibly important moment for him as a drummer." 2112 (1976) "The breakthrough album for the band and a masterclass in Neil's drumming - especially the first two passages, 'Overture' and 'The Temples Of Syrinx'. You are not considered worthy if you can't air drum 'Overture'! Right to the end it was a key part of their live show, and that big opening tom fill at the start of 'The Temples Of Syrinx' is typical, and classic, Neil. 'A Passage To Bangkok' is also great. This was the start of their true prog era, and the next five albums that followed are my absolute favourites.." A Farewell To Kings (1977) "One of the all-time Rush greats, and an album that took drumming to a whole new level. 'Xanadu' and 'Cygnus X-1: Book One: The Voyage' are pure perfection and true prog classics. 'Xanadu' is quite possibly one of their best songs, and 'Cygnus X-1' gives a real sign of what was to come, as this track pretty much expands to an entire sequel on the band's next album." Hemispheres (1978) "Rush's progressive peak, and my personal benchmark in terms of virtuosity, musicianship and how far you can take it... I spoke in depth about 'La Villa Strangiato' in Rhythm last year (Tracks That Inspired A Generation, Issue 293), but the whole album is an exercise in pure indulgence (as they called it). 'The Trees' - my goodness, the drumming on that is just ridiculous. Masterful and musical, and the odd time signatures in 6s and 7s are an education in phrasing. There is so much there..." Permanent Waves (1980) "Just when you thought that they had peaked, along comes Permanent Waves to usher in a new decade for the band, and it's the perfect mesh of prog and sensibility. If I had to pick a favourite Rush album, this would be it. There are only six songs, and I look at them as three different animals. The Spirit Of Radio' and 'Freewill' are the radio tracks, and they got lots of airplay, but that didn't mean that the musicality was turned down. Rush did as much in five minutes on each of those songs as most bands would do in 20! They are drumming masterworks, but are also easily digestible. "The understated 'Entre Nous' and Different Strings', are equally great, and then you have the two heavy-hitters that close each side of the record -'Jacob's Ladder' and 'Natural Science'. The composition of these is epic and showcases some of the greatest drumming of Neil's career. I have covered dozens of Rush tracks over the years, but 'Jacob's Ladder' was one of the hardest. That middle section that alternates between 6 and 7 is so masterfully crafted, and the way that Neil develops the part and jams within it is just incredible. To craft every nuance of those grooves, beats and development shows such discipline; he really did have the mind of a professor." Moving Pictures (1981) "Their most popular album, an undeniable masterpiece from start to finish, and the record that changed everything and turned Rush into a fully-fledged arena band. Side one is complete perfection, and somehow it also translated to the mainstream, because Tom Sawyer', 'Limelight' and 'Red Barchetta' all became radio staples, while 'YYZ' became the band's most famous instrumental. "On side two, 'The Camera Eye' is one of my favourites of their more epic songs, 'Witch Hunt' is so dark and 'Vital Signs' is incredibly forward thinking-with the reggae influence that The Police were introducing around that time. It was to go on and become something bigger on the next album, but here it was ushering in a new era..." Signals (1982) "The height of my fan-boy fanaticism, the first tour that I saw them on and that red Tama drum kit that I reproduced for my Rush tribute years later! Here, they brought in more keyboards, and the songs became shorter and a bit more traditional in their arrangement. Neil's playing in 'Subdivisions' and the way he is grooving and phrasing in 7 is mind blowing. The highlights for me are The Analog Kid' and 'Digital Man'. Even though I went in different musical directions after Signals, there are moments on every subsequent album that I love, right up to Clockwork Angels. "As a band, and as individual musicians, Neil, Geddy and Alex were always developing, growing and embracing new influences and challenges. And, as a drummer, Neil was never content to stay in the same place - introducing electronics, new setups and sounds, scaling down to a single kit, relearning his whole approach with Freddie Gruber, playing swing and big band .. He was, and always will be, a constant source of inspiration. "RIP, Professor." Memories Of Neil... Rob Wallis (Founder, Hudson Music) "What was it like to work with Neil Peart? Well, the best answer I can give is that 1 + 1 = 3! Neil referred to us as 'collaborators', and every project we worked on always morphed into so much more than we could ever have imagined at the start. A great example is the final one we did together - Taking Center Stage: A Lifetime of Performance - where we ended up with a three-part DVD, over eight hours in length! "Our first adventure together, after getting to know Neil when we filmed a Buddy Rich tribute concert in NYC - Neil's first live foray outside of Rush - was the Burning For Buddy sessions that Neil produced for Atlantic Records. For 14 days straight we filmed the world's top drummers, and that brought us much closer with him. Eventually, we wore him down, and he said yes to doing his first instructional video - A Work in Progress - filmed in beautiful Woodstock, New York. We soon learned that an enticement for Neil was the locations we chose for filming, so we'd always allow him to make the final decision on any location. Neil would then match it up with travel plans that he would look forward to, either by car - he once had his limited-edition Z8 BMW shipped to my house outside NYC from the West Coast - or by motorcycle, driving from Woodstock to his home in Canada on his trusted red BMW. Just like the planning of a Rush tour, it all worked around Neil and his wish to see the most scenic parts of the country. "I learned early on that Neil liked to have a hand in every aspect of a project. And he was always right - a perfect partner. He treated each production with the same care he treated his writing and his drum parts for Rush; everything had a place and a sound reason. Seeing our products on display at the merchandise stands at Rush concerts was something I'll never forget. "Of course, all of his speaking on camera was equally perfect; I can barely remember a second take for any speaking and, for that matter, any drumming - of which we recorded hours! Everything he said was thought out and clear, all the way down to the detailed orchestrations on the drums on songs like 'Subdivisions', 'Caravan', 'YYZ' and many others. "During the course of working with Neil for over 30 years, very little was off limits - except his private life. Neil was immensely private, and I feel very privileged to have been allowed into a small corner of his world." Rhythm subscriber, Giles Henshaw "For me, like thousands of other drummers around the world, Neil was a huge influence. His intelligence, technique and musicality continue to inspire and he is very sadly missed. "As a spotty, young drummer in the '80s, I wrote to Neil - via Modern Drummer magazine - asking him about the Rus track 'La Villa Strangiato' and how to play it. Not expecting reply from my drumming hero, I resigned myself to practice the track without guidance, getting it wrong every time! "Fast forward six months and, totally unexpectedly, one cold October morning what should drop through the post box than a handwritten postcard from The Professor himself! "It was one of the many personalised cards that he use to send out to fans during the early '80s, until it took up to much of his time and he had to stop. "Needless to say, I was thrilled, stunned and amazed that he would take the time to write a response to a kid fan in the UK. "It remains to this day my most-prized drumming possession - it sits in a frame in my drum room - and is a lovely example of the humility of a truly inspirational drumming figure." Beyond the Engine Room (Doane Perry, Jethro Tull) "Neil and I may have first met because we both had the same 'day job' description - playing challenging music with our respective bands - but we connected in a way that went considerably beyond the wood and metal. "Both of us loved the subtle and powerful art of language, and we would often write each other long, tall tales from the road. There was a mutual understanding about the challenges of touring and the cerebral, athletic and musical requirements of our respective gigs. When we got off the road, we would have these long, luxurious lunches, talking broadly across multiple topics and everything time would allow: literature, science, history, philosophy, astronomy, nature, exotic cars, obscure musical influences, the state of the world and the state of us in it. Generally, we would bypass the small talk and jump straight into these wonderfully labyrinthian conversations, sometimes finishing each other's sentences as we went along. Perhaps one of the reasons we connected in such a profound way was due to our shared interests outside of music, which informed what we both did inside music, even if they were only tangentially connected. Oddly enough, the common ground that originally brought us together rarely drifted into technical talk about drums. Never deliberate... it just didn't come up that much. There were always big notions to explore! "Whether it was through music, lyric or prose writing, Neil was an exceptional, imaginative and exacting architect of language and rhythm. However, I don't think that artistic part of his being would have unfolded in quite the same way if it hadn't been for the deep humanitarian instincts that were always alive in him. That empathy and sensitivity was clearly present in his writing and, of course, in his playing with Rush, as well as every other artist with whom he worked. Those personal and artistic identities were inextricably linked, and I believe it's why he was able to connect with people so powerfully and directly. His natural gift of being able to put himself out there, without pretence, in such a revealing way, allowed people to really feel like they knew him. It was an honest reflection of who he was... and he never sidestepped the painful moments in his life, as he could so easily have done. "People sometimes made the mistake of thinking that because Neil had such an extroverted personality on stage, that he was the same way off stage. He wasn't... he was actually somewhat shy, but underneath that stoic shyness (which was a mixture of modesty, humility, self-effacement, unapologetic honesty and near-military punctuality), was his constant desire to get better and to communicate more clearly. Even though there was much he kept in reserve, I feel it was also important to him that he felt clearly understood. Later, when he wasn't talking as much, he still remained deeply engaged with his family and friends. It wasn't always verbal, and even in those rare and hard to imagine quiet but comfortable moments between us, there was much that was communicated... and I know that was the same for others in his life. "By default, he lived in the deep end of the pool. One afternoon, a small remark he made provided an illustrative insight to the rich interior landscape that he inhabited. I had given him a thick book by brilliant naturalist author Allan Schoenherr entitled A Natural History of California. He turned to me and said, "You know, Doane, this is where I live". It remained a permanent fixture on his coffee table. Although he never subscribed to any organised religion and had difficulty aligning with such a concept, he clearly belonged to the church of the natural world. I believe it was here, quietly communing in nature, where he was spiritually most alive and at ease. "There are many valid perspectives here, as Neil knew and deeply touched countless people, some in overlapping circles and others in circles that barely crossed. Nonetheless, all of us who knew him could honestly say that we were extraordinarily fortunate to have shared the same time and space with him. And in that sense, I think he also belonged in part to everyone who loved and admired him, from up close or at a distance. I know he was deeply appreciative of the love and respect that was so deservingly accorded to him, and he never took that for granted. "A consummate gentleman and genius musician, he was powerfully driven by a work ethic guided by integrity and excellence and worked harder than just about anyone I've ever known. Part of the reward for that hard work was that he lived a dynamic and BIG life... Not always easy, sometimes agonisingly difficult, but colourful, eventful, rich... and epic. "During his last years, I recall him telling me that he felt he had said pretty much everything that he had wanted to say artistically. However, knowing him, I think there would always have been more - but the comforting thought of having left a meaningful and substantial body of work behind, made him feel he had lived his life well and with clear purpose. Without question, Neil was a "one-off" who possessed an extraordinary heart and mind, combined with a singular, original talent, an incredibly dry sense of humour and a lovingly generous, loyal spirit. Dedicated and passionate about everything to which he applied that exceptional brain - grace, success, eloquence and excellence would have followed him in whatever path he had pursued in life. "Over our 30-year friendship, he became like a brother to me - and although our 'day jobs' brought us together, our friendship went considerably beyond that. I miss that, and I miss him." Lorne 'Gump' Wheaton (Neil's drum tech) "It was in 2000 that I got a call from Rush's then-tour manager, Liam [Birt], to see if I'd be able to help them make a record. Neil was coming back after the tragic loss of his wife and daughter, and because I could cover everything in the studio, I was going to be the only tech for the whole session. For me, it was like going back to family... I'd known Geddy [Lee] and Alex [Lifeson] since high school in Toronto, and, after Neil joined, had toured with them while I was working with Max Webster. I actually have Geddy to thank for my nickname, 'Gump'! "I'm so proud to have helped them singlehandedly with Vapor Trails - it was an incredible process to be part of - and working for Neil was wonderful from the off. He trusted me to be his ears in the control room when it came to drum sounds on that record, and it was great to see him starting to enjoy the whole process again. Alex and Geddy were so happy to see Neil comfortable in his 'office' doing what he did best: experimenting, creating and writing lyrics. His brain worked like no other drummer I have ever known, and the parts he came up over the course of his career are just incredible. "While we were in the studio for that year, I did a lot of work with Neil in updating his gear. There was the new Red Sparkle kit and hardware from Drum Workshop, and he started using Roland V-Drums and in-ear monitoring for the first time. It made his whole configuration more friendly for the both of us, and we ended up using that setup on the Vapor Trails tour. When it came to building kits with DW, John [Good] and Don [Lombardi] didn't have 'no' in their vocabulary, and the results were truly mind-blowing! "I was taught how to tune drums by Steve Smith - one of the very best - and the timbre matching that John Good does with all his drums before they leave DW made Neil's kits easy to tune and bring up sonically. We tended to tune to the note stamped inside the shell at the factory, but I'd always crank the smaller toms up higher, to get that early Rush concert tom tone on the closed 8", 10" and 12". "You'd think because Neil hit so hard that we'd go through drumheads quickly, but surprisingly we didn't... That was thanks to Freddie [Gruber] and what he taught Neil. After those lessons, Neil's whole setup changed: he sat slightly higher on the throne, his snare drum moved up to navel height and the tom configuration opened up around him. Rather than punching through the drums, he played into them - almost like the sticks were dancing. He liked the sound of old heads, so, during soundchecks, I would rotate two or three on the drums that he hit most to wear them in. Even though the band were playing nearly three hours, I'd only change the snare head every three shows, which was unbelievable, really. "When Neil was on the road, it was all about routine, and prior to every show he would warm up for exactly 20 minutes - always practising a little bit of his solo. I liked at least a couple of hours to put his main kit together, and then I would drive myself crazy checking everything. My 'station' was eight feet away from the kit, and I saw everything from my vantage point - it was the best place on earth to be. "Neil and I bounced along very happily together for all those years - I knew how he liked things, and he knew that I had his back if anything went wrong. Because everything was locked down on the rotating drum platform, there was only one slim entrance to get inside the drum set if we did have a problem. Once, when we had a failure on the main R30 kit pedal, I remember Geddy turning around to be greeted by my arse as I tried to get in through the front of the kit! Some drummers would completely loose it when something like that happened, but Neil - even though he wasn't happy - kept it together. "Neil gave his all, all of the time - never more so than on that final tour, which was hard for him physically. It's almost like he wanted to torture himself with a final workout by using those two different drum sets. He went from playing the modern kit that he'd had for 15 years to the retro kit that required him to go back to his old style of playing pre-Freddie, because everything was in different places. It was quite amazing how he got his brain around that, but he was such an intelligent man. So many of his buddies came down to The Forum to see that final show, and it was a pretty perfect night." Chris Stankee (Global Artist Relations Director, Sabian) "Neil was a creature of habit, and change for him was always calculated and deliberate, but when we developed the Paragon line, he finally had the chance to get the exact blend of modern and vintage that he wanted. Months of development went into those cymbals, and we started with the ride - such an important sound for any drummer, and an integral part of the equation when it came to Neil and Rush. He ended up using that ride for everything, and I still have it. I'll cherish it forever, and I'm delighted to be able to share it with other drummers when they come and visit Sabian. "Neil always had two 16" crashes up front and used the one directly in front of him the most. When that would eventually break, he'd take the 16" to his left and move it down - he liked the 'broken in' tone. Eventually, though, I managed to persuade him to let us make him cymbals with a brilliant finish, that sound and feel that way right out of the box. He never changed that ride though, but because Lorne [Wheaton] cleaned it with cream every day, it ended up with the same sheen as the brilliant cymbals and fitted into the setup perfectly. Neil's 20" Paragon Diamondback Chinese - with the jingles on top - was really fun to develop, and I'll also always remember when Peter Erskine inspired him to move from his regular 13" hi-hats to 14s. The combination, and difference in tonality, of those 14" Paragons, and the 14" Artisans on the X-hat worked great, and you can hear them all over Snakes And Arrows and Clockwork Angels. To hear those sounds we developed together on a Rush record, so masterfully engineered by Nick Raskulinecz, and to have played a part in what Neil was using as his voice, was such an honour. "Watching Neil at work in the studio was amazing. Knowing how composed his parts were on those early records, it was interesting to see him change his approach gradually in those later years and be open to improvisation and other people's suggestions. I'd watch him do multiple takes - where he'd completely change his sentence, colours and meaning - and then have the choice of what suited the song best. It was almost like he was drawing from his experience as a writer and lyricist - the expression of those ideas on paper - and doing the same thing with his drumming. It was especially noticeable with his solo, and when I would see several shows in a row, I could hear those nuances and the changes. His phrasing was impeccable, and over a scotch one night, I complimented him about how his phrasing had developed and how I felt he was turning sentences into paragraphs. He toasted me and thanked me for 'getting it'. It was exactly what he was trying to do... "I had to tech for him once, and it was nerve racking to say the least. I had set him up in the studio before, so I kind of knew how things went, but all his stands travelled together in one giant case and nothing was marked. Gump knew it by heart, but I certainly didn't! Even though the snare head broke in the second song, it was an amazing experience. When you stood next to him and heard him play it was so powerful, because he hit so hard, but those massive strokes were so precise. He was able to draw the sound out of the drum kit in a way I'd never heard before, and his rim shots, on the toms in particular, were just incredible. One of the things that impressed me most about him was that as someone who was so respected, so entrenched in our psyche, he was always looking to develop and move forward. "Unless he was on tour, or getting ready to go into the studio, Neil didn't play drums. To watch him regain his voice, power, joy and passion every time he and Lorne headed off to Drum Workshop to rehearse was just magical. That smile got bigger and bigger as the dust blew away... "I'll never forget standing at the top of The Forum in LA with him after Rush's final show, watching the stage come down for the last time. He had an impish smile on his face, and he was happy. He realised that it was over - no words were necessary - and to share that moment with him in the empty arena, as the after-show party raged inside behind us, was very special. His development was done, and I think it's important for his fans to know that he did allow himself to enjoy everything that he achieved before he left us..." John Good (Senior Executive Vice President, Drum Workshop) "Neil was quintessentially the epitome of family to Drum Workshop, and he felt so at home here. Every new tour was a new adventure for the two of us, and all the drum sets we built together were complemented by his style, his playing, his absolute attention to detail and his love of making a visual, and a sonic, statement of what he did. And he always pulled it off. "I still smile when I remember the first time he came to visit... We'd never really met, but I knew that he was a very private person, and I had asked our production crew to give him space when we took our tour. Neil was fascinated by the factory - it turned out to be a very long tour! - and he was intrigued by all of the intricate details that make my heart pump when it comes to building drums. When we got back to my office, though, he asked if people here disliked him, because he hadn't been able to catch anyone's eye and nobody had really spoken to him! When I explained what I had done, we both laughed out loud, which broke the ice completely, and from that point on he became a regular visitor. So much so, that he started using our studios to rehearse in before each Rush tour. His gear would turn up, and then Neil and his tech, Lorne, would lock themselves away for weeks before he met with the rest of the band. He was always super prepared and would practice for hours. We even gave him his own parking space for his bike, or his silver-grey Aston Martin - the cutest little car for such a big man! "Neil and I would talk constantly about the next project, and he always wanted to blow the previous kit away! I remember after the Vapor Trails tour, he sent the kit to my showroom so I could study and play it and see how it was tuned. Neil hit so hard, but because he hit 'right', he was pulling the sound out of the drums rather than wrecking drumheads. His drums were tuned not to the shell, but to the notes that he liked to hear, so what I got into doing was creating a shell that would deliver that note without torture. You don't have to tune something way up or way down - where it doesn't want to be - to get the right note. So, year after year we continued to plan and build new kits for him - works of art, really - that he loved, and I became known as the 'Wood Whisperer'! "One day we happened to have a conversation about bass drums, and Neil told me how he liked the sound of a 24", but that he couldn't get the articulation he was after when he played one. That's when I developed the 23" for him - something I had always wanted to build - and Lorne and I managed to slip it into his kit at rehearsals without him knowing. He was over the moon, and that's what he played from then on. "I visited Neil when he was ill and no longer able to drive himself, and he told me how he enjoyed a ride with his driver every day and that they would listen to three songs on the way out and three on the way back to the house. I asked him what music he was listening to and he said, 'Rush, of course! You watched me prepare for tours, for recordings - I was always prepared - but what I failed to do was actually listen to the music as a whole. I was so buried in my parts, wanting to make them the very best that they could be, that I never really listened to the band. And do you know what, John, we were pretty good!'." The Drum Sets Of Neil Peart A tour through the evolution of Neil's dazzling kits, from his first MIJ set all the way to his R40's 'El Darko' By Geoff Nicholls A major part of our fascination with Neil Peart concerns his drum kits, which rank among the most talked about, ever. So, in this corner of our tribute we highlight some of the major stages that led to his ultimate setup. We aim to present a flavour of the relentless endeavour behind a lifetime quest. It would be impractical here to detail all his kits - they would more than fill the magazine. Luckily, since his fans are so devoted, you can find forensic details online. For a mind-blowingly full account, visit: https://bit.ly/3oZBnEq INSPIRATIONS Peart himself name-checked umpteen drummer influences over the years. But as a youngster, his imagination was sparked and shaped by Gene Krupa in jazz and Keith Moon in rock, both of these rascals making a huge impression with their unrivalled showmanship. Although serious and studious where Moon and Krupa were outrageous and outgoing, Peart nevertheless determined to put the drummer centre stage in his own way. He would develop an elaborate style, necessitating a hugely extended kit. Thus, he inspired thousands of drummers via the spectacle of his mega setups, through which he determined to muster every bit of tonal colour, especially in his solo pieces. BEGINNINGS Neil signaled a lifelong intention to take his instrument seriously when he spent his first year labouring over a single drum pad. As a reward, aged 14, he got his first kit, a budget Stewart three piece - a so-called MIJ (Made In Japan) "stencil" kit, badged by Pearl (see this month's 'Vintage View'). It was in red sparkle and presaged his enduring taste for red drums. Having said which, his first pro kit, a couple of years later, was a mid-sixties Steel-Grey Ripple American Rogers, in small 20", 12" and 14" sizes. He had a penchant for small sizes early on, although he quickly found his liking for slamming the drums hard. He soon added a second bass drum, an essential part of the post-Ginger Baker and Keith Moon look. Ginger was the inspiration for every drummer to take the rock drum solo to a new level. Neil told Rhythm in March 2014: "Ginger Baker certainly opened the floodgates with 'Toad', the vehicle for my own first solos". But since Rush became an unashamedly '70s prog rock band, their musical antecedents were the British originators: King Crimson, Yes, Jethro Tull, Genesis and ELP (Emerson, Lake and Palmer), all of whom had drummers whose styles and qualities would bend Neil's ears. Michael Giles's pinpoint snare drumwork on Crimson's '21st Century Schizoid Man'; Bruford's pioneering use of electronics and odd times; Phil Collins's crowd-friendly multi-tom solo features - incorporating elements of all these (and numerous others) meant that Neil inevitably had to formulate bigger and bigger kits. Historically, however, it is the bombast and bravura of Carl Palmer that is closest to the Peart model. Palmer's tuned percussion, classical side drum technique, his mammoth solos on a revolving stage incorporating acoustic and electronic elements - all found their way into Neil's armoury. And ELP was a trio, like Rush. Carl led the trend for fabulous custom kit in the first prog era, but Peart fans should know that his antecedents can be traced all the way back to Sonny Greer in the 1930's Duke Ellington orchestra. To do justice to Ellington's sumptuously orchestrated pieces, Sonny assembled a custom-graphics finished drum set alongside chimes, timps, vibraphone and gong on a riser that rivals even that of Neil. Sonny surely would have loved Neil's sets. And in his first Rhythm interview back in March 1987, Peart himself had this to say regarding his then-Tama setup: "I look on it was my own personal orchestra that I can orchestrate and conduct". NO RUSH - THE SLINGERLAND ERA (1974 to 1979) In 1974, Neil joined Rush and began his association with Slingerland. American companies were still riding high - Slingerland claimed to have the world's biggest state-of-the-art, custom-built factory, and Buddy Rich and Gene Krupa were the company's star endorsers. Slingerland's full-colour catalogues around this time were drop-dead gorgeous. Chrome and copper-clad drums were the stars, and the cover of the 1973 catalogue is emblazoned with a show-stopping doublekick copper clad Concord kit. Accordingly, Peart bought a chrome-over- wood kit in larger sizes: two 22"x14" kicks, two 13"x9" mounted toms, plus a 14"x10" and 16"x16" floor tom. Keith Moon had previously played a chrome kit, so it was a cool, modern look. Cymbals were Avedis Zildjians: 13" New Beat hi-hats, 16", 18" and 20" crashes and a 22" Ping ride, a favourite for the next three decades. OLD FAITHFUL 'NUMBER ONE' Shortly after, Neil found a copper-over-wood Slingerland snare - acquired secondhand for $60! The previous owner had filed down the snare beds, resulting in improved response at all dynamics. This thin (three-ply, eight-lug) wood-shelled Artist model snare became his go-to, especially live, right up till his DW years in 1994. He even repainted the copper covering to match some later kits. CONCERT TOMS For the Caress Of Steel tour in 1975, Neil expanded his palette with four single headed concert toms, plus the inclusion of various items of percussion: temple blocks, tubular bells, timbales, wind chimes, bell tree, triangles and a glockenspiel. The concert toms were mounted high up to his left and tuned high to give a broad sweep of pitches all the way down to the floor tom - a feature that quickly became synonymous with the drummer. More and more drummers were intrigued by this, and he garnered many more fans. The evolution continued as the bass end was bolstered with twin 24" diameter kicks while applying a fibreglass coating the insides of the drums - a bit like Pearl's famous WoodFibre series of the era. This process of "VibraFibing" was undertaken by Percussion Centre of Fort Wayne, Indiana. The theory was that it evened out and sharpened the tonality. Peart later admitted that he was not sure if it did much, but it certainly didn't do any harm. THE TAMA YEARS (1979 to 1987) As the '70s came to a close, the American drum companies were sinking fast and the Japanese coming on strong. None more so than Tama, with the input of the revelatory Billy Cobham. Tama's toughened hardware made the outmoded American staples look tired and transformed the modern kit, while Cobham's rediscovery of the mounted gong bass drum also caught Peart's eye. With Tama willing and able, Neil made the inevitable switch. His first kit was stained "a dark rosewood effect", apparently inspired by his own household Chinese furniture. This was the first of his custom finishes - and also the first with brass- plated hardware. Tama's birch shells were quite thick, and, following a chance 1981 studio encounter with the thin shells of a vintage English Hayman kit (belonging to Corky Laing of the band Mountain), Neil suggested Tama try something different. Accordingly, for the 1982 Signals album and tour, his new Candy Apple red finish kit, again with brass hardware, had thinner shells - prototypes of what became the top-line Tama Artstar. NEW ERA ELECTRONICS The early '80s saw the arrival of drum machines and electronic kits as the computer/digital technology upheaval gathered pace. Accordingly, Peart was able to start swapping his fiddly real percussion instruments for handy electronic substitutes. However, this was early days, so the Simmons SDS-V brain/pads and Shark trigger pedals shared space with a mini acoustic kit. This latter incorporated an 18"x14" Tama acoustic bass drum and a full set of Zildjians in a rear-facing 'satellite' kit. For 1984's Grace Under Pressure tour, Peart played 'Red Sector A' on this satellite kit with his back to the audience, hastening the necessity for a revolving riser. Henceforth, both acoustic and electronic setups would revolve to face the audience: the ultimate Peart setup that would thrill audiences for decades. Also, as digital sampling technology proceeded, Peart was quick to start making his own unique samples, which he would continue to expand on for the rest of his career. Incidentally, the erection of the later two-sided kits was an event in itself. All stands were made to screw into special receivers precisely located in the 9'-by-9' octagonal riser platform boards. There's fascinating footage of this here in a video showing the setting up of his kits at Red Rocks Amphitheatre in Colorado : https://bit.ly/3eucEDb ALL CHANGE AGAIN However good the Tama kits, it is clear Peart was always looking for the next challenge - both in his playing and his search for the ultimate sounds. I'm old enough to remember when he announced in Modern Drummer in May 1987 that he had tested out six alternative makes of kit. And it was a pleasant surprise when he concluded that the then-somewhat unfashionable Ludwig was the chosen outfit for his next phase. This boosted Ludwig's prestige at a time when the company was somewhat languishing, no doubt hastening its return to favour. The resulting Super Classic kit is my personal favourite of the entire pre-DW era. The pearly white opalescent finish and the brass-plated Ludwig Classic lugs, combined with classy bass drum graphics, made this kit the shiniest of his career - a surprising contrast with his mostly darker red kits. He stuck with his Old Faithful Slingerland snare also, getting it painted to match the rest of the kit. DON'T LOOK BACK By this time, Peart had acquired a large number of big drum kits, and it seems he was not overly sentimental in disposing of some of them. He'd already given away his first Tama in 1982 via an essay writing competition in Modern Drummer, and now (this time via a drumming competition in 1987) he would give away two Slingerland chrome-clad kits and his Candy Apple Tama. Plus, the satellite Simmons e-kit was thrown in. So out there are some lucky owners! He was practical, too, not just ordering new kits simply because he could. He occasionally got a kit repainted when presumably he could as easily have got a new set. If the drums still sounded good, he would stick with them and refurbish them. INTO THE NINETIES - DOUBLE TO SINGLE KICK With another new decade and 1991's Roll The Bones came a major new development. Kick pedal construction had improved to the point where many drummers decided that just the one bass drum fitted with a double pedal was the smart way forward. Peart had been waiting for this to happen, and he now changed his twin 24" Ludwig kicks for a single 22"x16". For years, Neil's double-kick setup had been the epitome of the post-Ginger Baker/Billy Cobham/Keith Moon model. But after he rationalised his setup to a single kick, it took on a distinctive sculpted shape with that dramatic sweep from elevated top left to bottom right, which became synonymous with the drummer and part of his persona. After seven years, Neil's third and final Ludwig kit had a Black Cherry finish and was seen on the band's 1994 Counterparts album and tour. TRAIL-BLAZING WITH DW The final chapter in Neil's pursuit came with the move to Drum Workshop in 1995. There was an element of inevitability in this, what with Neil's restless searching and DW's willingness to experiment. It felt like he had found his home, and indeed, his first Test For Echo and Vapor Trails DW kit was in red sparkle, like his first Stewart kit all those years before. In the YouTube age, DW's John Good has done much to demystify ply shell construction. It's not that others working with wood do not know this stuff, but Good clearly relishes laying it out for all to see. There's a video of Peart playing the 'straight guy' to Good's 'salesman' demonstrating the dramatic effects on shell tonality of bending veneers in different planes: vertical, horizontal and diagonal: https://bit.ly/32gEYUQ Peart delights in witnessing this demo, and it's another small but not insignificant nugget of education that Peart, as the eternal drum student, was keen to share. The upshot was that Good and Peart could together go on testing out ply combinations in the quest for the ideal shell layups to maximise the potential of each individual drum in their successive kits. Perhaps the biggest compliment Neil paid DW was in being able at last to retire his Old Faithful Slingerland snare and play exclusively DW snares at live shows. COMING HOME After the mid-2000s, Peart's final decade of DW kits took drum art to a stunning peak. For Rush's 30th anniversary in 2004, he was honoured with a signature Edge (wood shell with brass edges) snare drum and R30 "S.S. Professor" kit, finished in custom black with gold flakes, Rush logos and 24-carat-gold hardware. This was followed in 2006 by a Tobacco Sunburst kit permanently stored at DW for practice/recording and dubbed the West Coast Recording Kit. Then the following year came the spectacular Snakes And Arrows tour kit, finished in Aztec Red and featuring motifs in gold leaf and metallic grey satin. The ancient snaking shapes also symbolised the winding road beloved by Peart, the motorbike fanatic. The radical feature of this kit was a 23" diameter bass drum. It came about when Peart recalled how he had always enjoyed the punch that a 24" kick delivers in live venues, but found the feel of playing a 22" preferable. Good took his cue and came back with a 23", the perfect compromise. As for shell construction, this followed the VLT (vertical low timbre) pattern, i.e., with outer and inner veneers laid vertically for a deeper fundamental. When applied to the snare drums, Peart felt this was the best snare he had ever played "for both response and sound". CLOCKWORK ANGELS The pinnacle of all this experimentation came with the Time Machine and Clockwork Angels kit seen between 2010 and 2013. The kit was made from Collector's Series Maple SSC (specialised shell construction) drums with a mixture of VLT, X (diagonal) and VLX shells. Overlaying these was a single ply of walnut with unforgettable "barrel-stave redwood, copper leaf and silver alchemy symbols" created by DW's artist Louie Garcia. The whole caboodle was set off with copper lugs and steampunk-detailed hardware. Truly a sight to behold. Steampunk designs were also applied to the Sabian Paragon cymbals. And even the octagonal drum riser was given the steampunk treatment by Xite Labs, who created visuals to play within the riser's video 'portholes' - for an in-depth look, see Rhythm, August 2011. R40 LIVE (2015) In the end, celebrating four decades of Rush, Neil came almost full circle with 'El Darko', a stylistic replica of the doublekick Slingerland he had played in the '70s, complete with single-headed concert toms and real orchestral chimes. He played this alongside his up-to-date setup with the single 23" kick. The shells of both kits were extra special, being crafted from an ancient bog oak log which had been preserved for 1,500 years in the silt of the River Olt in Romania. El Darko had a black chrome finish (recalling the '70s Slingerland), while the contemporary kit was finished in Dyed Black Pear and topped off with gold hardware. It's fitting that with this kit Neil also completed another full circle, referencing his adolescent hero Keith Moon. The use of oblong shell panels was inspired by Moon's 1967 'Pictures Of Lily' kit - achieved with meticulously inlaid hardwoods.
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2202	dbpedia	0	7	https://human.libretexts.org/Bookshelves/Music/Music_Appreciation/Music_Appreciation_II_(Kuznetsova)/06%253A_Musical_Instrument_Families/6.08%253A_Percussion	en	6.8: Percussion	https://a.mtstatic.com/@…social-share.png	https://a.mtstatic.com/@…social-share.png	[ "https://cdn.libretexts.net/Logos/human_full.png", "https://cdn.libretexts.net/Logos/human_full.png", "https://a.mtstatic.com/@public/production/site_9956/1481233284-logo.png", "https://human.libretexts.org/@api/deki/files/42340/2620170206_8bdb56da66_o-1024x682.jpg?revision=1", "https://human.libretexts.org/@api/deki/files/42502/HardtkePauken.jpg?revision=1", "https://human.libretexts.org/@api/deki/files/42537/hqdefault-52.jpg?revision=1", "https://human.libretexts.org/@api/deki/files/42250/1919_Ludwig_New_Inspiration_Model_bass_drum.jpg?revision=1", "https://human.libretexts.org/@api/deki/files/42562/hqdefault-53.jpg?revision=1", "https://human.libretexts.org/@api/deki/files/42460/640px-2006-07-06_snare_14.jpg?revision=1", "https://human.libretexts.org/@api/deki/files/42583/hqdefault-54.jpg?revision=1", "https://human.libretexts.org/@api/deki/files/42409/640px-2006-07-06_Crash_Zildjian_14.jpg?revision=1", "https://human.libretexts.org/@api/deki/files/42600/hqdefault-55.jpg?revision=1", "https://human.libretexts.org/@api/deki/files/42616/hqdefault-56.jpg?revision=1" ]	[]	[]	[ "" ]	null	[ "Libretexts" ]	2020-09-27T19:00:10+00:00		en	https://a.mtstatic.com/@…e-touch-icon.png	Humanities LibreTexts	https://human.libretexts.org/Bookshelves/Music/Music_Appreciation/Music_Appreciation_II_(Kuznetsova)/06%3A_Musical_Instrument_Families/6.08%3A_Percussion	Introduction A percussion instrument is a musical instrument that is sounded by being struck or scraped by a beater (including attached or enclosed beaters or rattles); struck, scraped or rubbed by hand; or struck against another similar instrument. The percussion family is believed to include the oldest musical instruments, following the human voice. The percussion section of an orchestra most commonly contains instruments such as timpani, snare drum, bass drum, cymbals, triangle and tambourine. However, the section can also contain non-percussive instruments, such as whistles and sirens, or a blown conch shell. On the other hand, keyboard instruments, such as the celesta, are not normally part of the percussion section, but keyboard percussion instruments such as the glockenspiel and xylophone (which do not have piano keyboards) are included. Percussion instruments are most commonly divided into two categories: pitched percussion instruments, which produce notes with an identifiable pitch, and unpitched percussion instruments, which produce notes or sounds without an identifiable pitch. Percussion is commonly referred to as “the backbone” or “the heartbeat” of a musical ensemble, often working in close collaboration with bass instruments, when present. In jazz and other popular music ensembles, the pianist, bassist, drummer and sometimes the guitarist are referred to as the rhythm section. Most classical pieces written for full orchestra since the time of Haydn and Mozart are orchestrated to place emphasis on the strings, woodwinds, and brass. However, often at least one pair of timpani is included, though they rarely play continuously. Rather, they serve to provide additional accents when needed. In the eighteenth and nineteenth centuries, other percussion instruments (like the triangle or cymbals) have been used, again generally sparingly. The use of percussion instruments became more frequent in the twentieth-century classical music. Timpani Timpani, or kettledrums, are musical instruments in the percussion family. A type of drum, they consist of a skin called a head stretched over a large bowl traditionally made of copper. They are played by striking the head with a specialized drum stick called a timpani stick or timpani mallet. Timpani evolved from military drums to become a staple of the classical orchestra by the last third of the eighteenth century. Today, they are used in many types of musical ensembles, including concert bands, marching bands, orchestras, and even in some rock. The basic timpani drum consists of a drumhead stretched across the opening of a bowl typically made of copper or, in less expensive models, fiberglass and sometimes aluminum. In the Sachs–Hornbostel classification, the timpani are thus considered membranophones. The drumhead is affixed to a hoop (also called a fleshhoop), which in turn is held onto the bowl by a counterhoop,which is then held by means of a number of tuning screws called tension rods placed regularly around the circumference. The head’s tension can be adjusted by loosening or tightening the rods. Most timpani have six to eight tension rods. The shape of the bowl contributes to the quality of the drum. For example, hemispheric bowls produce brighter tones while parabolic bowls produce darker tones. Another factor that affects the timbre of the drum is the quality of the bowl’s surface. Copper bowls may have a smooth, machined surface or a rough surface with many small dents hammered into it. Timpani come in a variety of sizes from about 84 centimeters (33 inches) in diameter down to piccoli timpani of 30 centimeters (12 inches) or less. A 33-inch drum can produce the C below the bass clef, and specialty piccoli timpani can play up into the treble clef. In Darius Milhaud’s 1923 ballet score La création du monde, the timpanist must play the F sharp at the bottom of the treble clef. Each individual drum typically has a range of a perfect fifth. Listen: Timpani Please listen to the timpani’s role in Carmina Burana, Part 1, as played by the Raleigh Symphony Orchestra. A YouTube element has been excluded from this version of the text. You can view it online here: http://pb.libretexts.org/map/?p=124 Bass Drum Bass drums are percussion instruments which vary in size and are used in several musical genres. Three major types of bass drums are as follows: The type usually seen or heard in orchestral, ensemble or concert band music is the orchestral, or concert bass drum (in Italian: gran cassa, gran tamburo). It is the largest drum of the orchestra. The kick drum, struck with a beater attached to a pedal, usually seen on drum kits. The pitched bass drum, generally used in marching bands and drum corps. This is tuned to a specific pitch and is usually played in a set of three to six drums. A bass drum is typically cylindrical with the diameter much greater than the height. There is normally a struck head at both ends of the cylinder. The heads may be made of calf skin or plastic. There is normally a means of adjusting the tension either by threaded taps or by strings. Bass drums are built in a variety of sizes, but size has little to do with the volume produced by the drum. The size chosen being based on convenience and aesthetics. Listen: Bass Drum In the following video, Kristen Shiner McGuire gives an introduction to the concert bass drum. A YouTube element has been excluded from this version of the text. You can view it online here: http://pb.libretexts.org/map/?p=124 Snare Drum The snare drum or side drum is a ubiquitous percussion instrument known for its cylindrical shape and powerful, staccato sound. Snare drums are often used in orchestras, concert bands, marching bands, parades, drum lines, drum corps, and more. The snare is also one of the central pieces in a trap set, a collection of percussion instruments designed to be played by a seated drummer, which is used in many popular genres of music. Snare drums are typically played with drum sticks, although there are other options for a completely different sound, such as the brush. The snare drum originated from the Tabor drum, which was originally used to accompany the flute. It has evolved into more modern versions including the kit snare, marching snare, and the piccolo snare. Each type presents a different dimension and style of percussion. The snare drum that someone might see in a concert is typically used with a backbeat style to create rhythm. In marching bands it can do the same technique but it is mostly used for a front beat. In comparison with the marching snare, the kit snare is typically smaller in length between the two heads, while the piccolo is the smallest of the three. The snare drum is known for its loud crack when a person strikes it with a drum stick or mallet. The depth of the sound varies from snare to snare because of the different techniques and construction qualities of the drum. Some of these qualities include tightness of the head, dimensions, and brand. The snare drum is constructed of two heads—both typically made of plastic—along with a rattle of metal wires on the bottom head called the snares. The wires can also be placed on the top, just like on the Tarol Snare. The top head is typically called the batter head because that is where the drummer strikes it, while the bottom head is called the snare head because that is where the snares are located. Tension of the drum heads is held constant through the tension rods. The ability to tighten them provides an opportunity to differ the sound of the hit. The strainer is a lever that releases and tightens the snare. If the strainer is relaxed, the sound of the snare is more like that of a tom because the snares are not present. The rim is the metal ring around the batter head, which can be used for a variety of things, although it is notably used to sound a piercing rimshot with the drumstick. Listen: Snare Drum The following video gives an overview of playing the snare drum. A YouTube element has been excluded from this version of the text. You can view it online here: http://pb.libretexts.org/map/?p=124 Cymbals Cymbals consist of thin, normally round plates of various alloys. The majority of cymbals are of indefinite pitch, although small disc-shaped cymbals based on ancient designs sound a definite note. Cymbals are used in many ensembles ranging from the orchestra, percussion ensembles, jazz bands, heavy metal bands, and marching groups. Drum kits usually incorporate at least a crash, ride or crash/ride, and a pair of hi-hat cymbals. The anatomy of the cymbal plays a large part in the sound it creates. A hole is drilled in the center of the cymbal and it is used to either mount the cymbal on a stand or straps (for hand playing). The bell, dome, or cup is the raised section immediately surrounding the hole. The bell produces a higher “pinging” pitch than the rest of the cymbal. The bow is the rest of the surface surrounding the bell. The bow is sometimes described in two areas: the ride and crash area. The ride area is the thicker section closer to the bell while the crash area is the thinner tapering section near the edge. The edge or rim is the immediate circumference of the cymbal. Cymbals are measured by their diameter often in inches or centimeters. The size of the cymbal affects its sound, larger cymbals usually being louder and having longer sustain. The weight describes how thick the cymbal is. Cymbal weights are important to the sound they produce and how they play. Heavier cymbals have a louder volume, more cut, and better stick articulation (when using drum sticks). Thin cymbals have a fuller sound, lower pitch, and faster response. The profile of the cymbal is the vertical distance of the bow from the bottom of the bell to the cymbal edge (higher profile cymbals are more bowl shaped). The profile affects the pitch of the cymbal: higher profile cymbals have higher pitch. Listen: Cymbals The following video gives a first lesson in cymbals. A YouTube element has been excluded from this version of the text. You can view it online here: http://pb.libretexts.org/map/?p=124 Listen for the role of the cymbals in Mozart’s Overture from The Abduction from the Seraglio as played by Wiener Symphoniker. A YouTube element has been excluded from this version of the text. You can view it online here: http://pb.libretexts.org/map/?p=124
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"https://www.wikihow.com/images/thumb/4/45/Human-emotion.png/-crop-127-140-127px-Human-emotion.png", "https://www.wikihow.com/images/thumb/4/45/Human-emotion.png/-crop-127-140-127px-Human-emotion.png", "https://www.wikihow.com/skins/owl/images/wikihow_logo_intl.png" ]	[ "https://www.wikihow.com/video/4/48/Play+Drums+Step+0.360p.mp4", "https://www.wikihow.com/video/4/48/Play+Drums+Step+0.360p.mp4" ]	[]	[ "" ]	null	[ "Bart Robley" ]	2006-05-19T00:00:00	Drummers are in high demand. One of the most popular instruments in the world, the basic drum techniques and skills can be learned in an afternoon, but can take months or years of practice and dedication to master. With time and practice...	en	https://www.wikihow.com/…ials_152x152.png	wikiHow	https://www.wikihow.com/Play-Drums	Article SummaryX If you want to play drums, practice playing basic rhythms with your hands, and use a metronome to help keep yourself in tempo. When you’re ready to practice with drumsticks, hold the sticks between your thumb and index fingers, with the rest of your fingers wrapped around the stick and the backs of your hands facing upwards, which is called a matched grip. Play the snare drum and the cymbals with your drumsticks, and use your feet to play the bass drum and the hi-hat. Gradually practice more complicated drum beats as you get comfortable. To learn more from our Drummer co-author, like how to improvise fills in the middle of a song, keep reading the article!
2202	dbpedia	1	37	https://disney.fandom.com/wiki/Rimshot	en	Rimshot	https://static.wikia.nocookie.net/disney/images/e/e0/Rimshot.jpg/revision/latest?cb=20141201080758	https://static.wikia.nocookie.net/disney/images/e/e0/Rimshot.jpg/revision/latest?cb=20141201080758	[ "https://static.wikia.nocookie.net/disney/images/e/e6/Site-logo.png/revision/latest?cb=20240701115644", "https://static.wikia.nocookie.net/disney/images/e/e6/Site-logo.png/revision/latest?cb=20240701115644", "https://static.wikia.nocookie.net/disney/images/e/e0/Rimshot.jpg/revision/latest/scale-to-width-down/516?cb=20141201080758", "https://static.wikia.nocookie.net/disney/images/1/16/IMG_7065.jpg/revision/latest/scale-to-width-down/185?cb=20150622100215", "https://static.wikia.nocookie.net/disney/images/1/16/IMG_7065.jpg/revision/latest/scale-to-width-down/185?cb=20150622100215", "https://static.wikia.nocookie.net/disney/images/4/4c/IMG_7066.jpg/revision/latest/scale-to-width-down/185?cb=20150622100323", "https://static.wikia.nocookie.net/disney/images/4/4c/IMG_7066.jpg/revision/latest/scale-to-width-down/185?cb=20150622100323", "https://static.wikia.nocookie.net/disney/images/2/20/IMG_7067.jpg/revision/latest/scale-to-width-down/185?cb=20150622100341", "https://static.wikia.nocookie.net/disney/images/2/20/IMG_7067.jpg/revision/latest/scale-to-width-down/185?cb=20150622100341", "https://static.wikia.nocookie.net/disney/images/c/c5/IMG_7068.jpg/revision/latest/scale-to-width-down/185?cb=20150622100512", "https://static.wikia.nocookie.net/disney/images/c/c5/IMG_7068.jpg/revision/latest/scale-to-width-down/185?cb=20150622100512", "https://static.wikia.nocookie.net/disney/images/2/21/IMG_7069.jpg/revision/latest/scale-to-width-down/185?cb=20150622100528", "https://static.wikia.nocookie.net/disney/images/2/21/IMG_7069.jpg/revision/latest/scale-to-width-down/185?cb=20150622100528", "https://static.wikia.nocookie.net/disney/images/f/f9/IMG_7070.jpg/revision/latest/scale-to-width-down/185?cb=20150622232856", "https://static.wikia.nocookie.net/disney/images/f/f9/IMG_7070.jpg/revision/latest/scale-to-width-down/185?cb=20150622232856", "https://static.wikia.nocookie.net/disney/images/f/fe/Stub.png/revision/latest/scale-to-width-down/35?cb=20180312012524", "https://static.wikia.nocookie.net/disney/images/a/ab/It%27s_Ernest_Logo.png/revision/latest/scale-to-width-down/250?cb=20240610160357", "https://static.wikia.nocookie.net/6a181c72-e8bf-419b-b4db-18fd56a0eb60", "https://static.wikia.nocookie.net/6c42ce6a-b205-41f5-82c6-5011721932e7", "https://static.wikia.nocookie.net/464fc70a-5090-490b-b47e-0759e89c263f", "https://static.wikia.nocookie.net/f7bb9d33-4f9a-4faa-88fe-2a0bd8138668" ]	[]	[]	[ "" ]	null	[ "Contributors to Disney Wiki" ]	2024-07-12T14:06:28+00:00	Rimshot is Ernest's second and best known pet dog. He is characterized as very smart. He was featured in Ernest Goes to Jail and Ernest Scared Stupid, in which he was also shown to be very brave and tough, as he would stand up to the main villains which would usually lead to his near demise.	en	https://static.wikia.nocookie.net/disney/images/4/4a/Site-favicon.ico/revision/latest?cb=20210616080713	Disney Wiki	https://disney.fandom.com/wiki/Rimshot	Rimshot is Ernest's second and best known pet dog. He is characterized as very smart. He was featured in Ernest Goes to Jail and Ernest Scared Stupid, in which he was also shown to be very brave and tough, as he would stand up to the main villains which would usually lead to his near demise. Gallery[]
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"https://www.youtube.com/embed/qmOLtTGvsbM?feature=oembed", "https://www.youtube.com/embed/-tJYN-eG1zk?feature=oembed", "https://www.drumeo.com/weeklyemail" ]	[]	[ "" ]	null	[ "Brandon Toews" ]	2020-10-16T07:52:07-07:00	These are the most recognizable beats of all time - which means if you heard a drummer playing, you'd probably recognize the song.	en	https://www.drumeo.com/b…-icon.png?v=2017	Free Online Drum Magazine \| The Drumeo Beat	https://www.drumeo.com/beat/the-20-most-recognizable-drum-beats-of-all-time/	Scroll down for the 20 most iconic, recognizable drum beats of all time. And they’re some of the best drum songs to learn! There are certain songs that you can recognize instantly. Think of Slash’s guitar riff at the beginning of “Sweet Child O’ Mine”, the bass line in Michael Jackson’s “Billie Jean”, or the lyric “Is this the real life?” sung by Freddie Mercury in Queen’s “Bohemian Rhapsody”. These are all songs that you and millions of other music fans around the world can recognize within seconds just by listening to a guitar part or lyric. Since the Swing Era in the 1930s when the drum set started becoming an integral part of popular music, drummers have been playing and creating drum grooves that are just as recognizable as any of the melodic examples mentioned above. Here, we’re going to showcase the top 20 most recognizable drum beats in history. To make it on this list – which was created by surveying the Drumeo community and then narrowed down by several pro drummers – the beat would need to be so recognizable that if someone walked by a rehearsal studio and heard a drummer playing it, they’d probably know the song without needing to hear any guitar or vocals. Let’s get into the most famous drum beats of all time: 20. “Billion Dollar Babies” – Alice Cooper This groove was played by Neal Smith on the song “Billion Dollar Babies”, which was released on the record of the same name in 1973. In an interview with Jeb Wright of Classic Rock Revisited in 2016, Smith describes how he came up with this iconic intro: “The original idea for ‘Billion Dollar Babies’ was a more straight-ahead drum part. Because I’m a rudimentary drummer, I love flams. I wanted to do a big flam intro. It was my own edition of Charlie Watts on ‘Get Off Of My Cloud.’ I wanted to do something that was Neal Smith. Bob Ezrin said I could try it, but I had to play it perfectly all the way throughout, and I did.” 19. “Take Five” – Dave Brubeck Quartet In 1959, Dave Brubeck released Time Out with his quartet which featured jazz drumming legend Joe Morello on drums. Time Out was one of the very first jazz records to explore time signatures like 5/4 and 9/8. His composition “Take Five” became one of the best-selling jazz singles of all time. The opening 5/4 pattern that Morello plays features the standard jazz ride cymbal pattern (with one extra quarter note added), a bass drum stroke played on the downbeat of beat one, and some snare drum comping. 18. “Crazy Train” – Ozzy Osbourne Lee Kerslake plays this pattern on Ozzy Osbourne’s heavy metal classic “Crazy Train” which was released on the record Blizzard Of Ozz in 1980. This pattern is played in unison with Bob Daisley’s bass part once Randy Rhoads’ guitar riff comes in. That’s the main reason why this pattern is so recognizable – it accentuates the main riff of the song! 17. “Tom Sawyer” – Rush The opening groove to the progressive rock anthem “Tom Sawyer” by Rush is one that few drummers master. “Tom Sawyer” is the opening track on Rush’s Moving Pictures which was released in 1981. When I listen to this groove, two words that come to mind are precision and clarity. This groove is quick and will require a certain level of hand technique in order to play. Neil Peart forever! 16. “The Ballroom Blitz” – Sweet “The Ballroom Blitz” is a glam rock classic from Sweet’s 1974 release Desolation Boulevard. Mick Tucker’s opening 16th note snare groove is full of energy and sets the tone for the rest of the track. Be sure to play it with a slight swing feel to match the way Mick played it on the record. 15. “We’re Not Gonna Take It” – Twisted Sister Cowbell and double bass. What else could you ask for in a drum intro? A.J. Pero’s intro to Twisted Sister’s 1984 hit “We’re Not Gonna Take It” is undoubtedly iconic. You can practice this groove with double bass pedals or with a single one if you really want to work on your single pedal doubles. 14. “Sing, Sing, Sing” – Benny Goodman This is the oldest drum beat on our list! This legendary floor tom groove was first played by Gene Krupa in 1937 with bandleader Benny Goodman. On the recording, you can hear him vary the accent patterns throughout, but the version shown here is what he plays at the very beginning of the original track. Be sure to play this one with a swing feel as well! 13. “Hot For Teacher” – Van Halen Who’s the first drummer you think of when you hear “double bass shuffle”? It’s probably Alex Van Halen! “Hot For Teacher” off of Van Halen’s 1984 was a game-changer for drummers. It was played at a blazing fast tempo and the drum patterns were extremely challenging to play (if you’ve heard the intro, you know what I’m talking about). The main ride groove that Alex plays features a left foot lead double bass shuffle pattern and a triplet-based ride cymbal bell pattern. 12. “Cissy Strut” – The Meters In 1969, the New Orleans funk group The Meters released their instrumental classic “Cissy Strut” on their self-titled debut record. The mastermind behind the drum groove is Joseph “Zigaboo” Modeliste, also known as “Ziggy”. This funk groove is syncopated with hi-hat accents and bass drum strokes that fill in the gaps left by the snare and hi-hats. 11. “Funky Drummer” – James Brown “Give the drummer some!” This is what James Brown shouts near the end of the timeless funk classic, “Funky Drummer”. Clyde Stubblefield’s drum break in this song, which was released as a single in 1970, is one of the most sampled drum breaks in history. As of 2017, it had appeared in more than 1400 different recordings, particularly in hip-hop and rap songs. This 16th note groove is loaded with ghost notes, hi-hat openings, and syncopated bass drum strokes. 10. “Fool In The Rain” – Led Zeppelin John Bonham’s half-time shuffle on “Fool In The Rain” is iconic. Think of this groove like the Purdie shuffle but with a hi-hat opening thrown in on the last triplet partial of beat one. “Fool In The Rain” was released on Led Zeppelin’s 1979 record In Through The Out Door but surprisingly was never performed live by the band. 9. “Superstition” – Stevie Wonder 1972 brought us one of Stevie Wonder’s greatest hits, “Superstition” from the album Talking Book. Believe it or not, it’s actually Stevie Wonder himself playing drums on this track! The unmistakable swung 16th note groove was first played by Jeff Beck while he and Stevie were working together in the studio. This sparked the idea for Stevie to write the song “Superstition” on which he recorded his own drum track based on the original idea that Jeff had played for him. 8. “Walk This Way” – Aerosmith Whether you first heard it on Aerosmith’s 1975 release Toys In The Attic or on Run-DMC’s 1986 release Raising Hell, you know the sound of Joey Kramer’s groove on “Walk This Way”. All in all, the groove is very simple, but that crisp open hi-hat on beat one is what turned this groove into something that drummers and music fans all around the world can recognize in an instant. 7. “Sunday Bloody Sunday” – U2 The military-style drum groove played by Larry Mullen Jr. at the beginning of U2’s “Sunday Bloody Sunday” is a melody or musical hook unto itself. After being convinced by Andy Newmark of Sly & The Family Stone, this song and others from the 1983 War record were the first songs that Mullen recorded with a click track. The drums for “Sunday Bloody Sunday” (and some others on the War record) were recorded at the base of a staircase in Windmill Lane Studios in Dublin, Ireland. 6. “Smells Like Teen Spirit” – Nirvana “Smells Like Teen Spirit” is an anthem of the 1990s along with many other tracks from Nirvana’s 1991 international success Nevermind. This song kicks off the record and features Dave Grohl’s raw power and energy behind the drums. When Kurt Cobain brought in the original demo tape of the song, drummer Dave Grohl and bassist Krist Novoselic weren’t into it. But Cobain made the band play along to the main riff for an hour and a half. It was during that session where Dave Grohl came up with one of the most recognizable drum grooves in history. 5. “50 Ways To Leave Your Lover” – Paul Simon Steve Gadd’s groove on the 1975 song “50 Ways To Leave Your Lover” by Paul Simon is a groove unlike any other. It’s played with the left hand on the hi-hat, it incorporates the hi-hat foot and the toms, and it even pulls in some rudimental ideas. Gadd describes this groove in Up Close, his 1994 instructional DVD, as being directly inspired by bebop jazz drumming. He explains how in bebop, the hi-hat foot is free to play on different beats and partials, as opposed to just on beats two and four. 4. “Wipe Out” – The Surfaris Back in the 1960s, “Wipe Out” was the standard for drummers. Every young drummer wanted to learn how to play what 18 year old Ron Wilson played on this surf rock classic by The Surfaris. Remember, rock music was still a relatively new style of music back in 1963 when “Wipe Out” was released, so a song like this with such a massive drum part was a big deal! 3. “Come Together” – The Beatles Ringo Starr’s opening groove in “Come Together” from The Beatles’ 1969 release Abbey Road is another groove that all drummers and non-drummers alike can recognize instantly. Ringo orchestrates this groove in a way that follows exactly what’s happening harmonically and melodically amongst the other band members. He plays the ride in unison with the rest of the band on beat one, outlines the guitar riff on beat two using 16th note triplets, and brilliantly descends on the toms through beats three and four anticipating the harmonic change on beat four. This is the perfect depiction of Ringo’s creative and musical genius. 2. “Rosanna” – Toto Next up is Jeff Porcaro’s half-time shuffle groove from Toto’s “Rosanna” which was released on their 1982 record Toto IV. In an instructional video where Porcaro teaches this groove, he explains: “I stole that beat from listening to two records. One was Home At Last and Babylon Sisters, which are Bernard Purdie, Steely Dan records. Another is John Bonham on “Fool In The Rain,” it’s a Led Zeppelin tune.” He goes on to mention how he also incorporated the Bo Diddley figure on the bass drum to make it his own. There are many debates in the drum community surrounding this groove because there are actually three versions of it that Porcaro played. The version here is the one that he played during the intro of “Rosanna”. It’s not until verse 2 where Porcaro adds in ghost notes to all of the middle triplet partials. Lastly, in the version that Porcaro teaches in his instructional video, he adds an extra bass drum stroke to beat three of the second bar which is never actually played on the studio recording. 1. “We Will Rock You” – Queen Stomp-stomp-clap. Stomp-stomp-clap. You know the song: “We Will Rock You” from Queen’s 1977 release News Of The World. Without a doubt, this is the most recognized drum pattern of all time, to drummers and non-drummers alike. But wait, there isn’t even a drummer on this track! That’s correct. Brian May intentionally chose to make this song as simple as possible, so that they could involve their audience during live performances. The stomping and clapping were recorded by all four band members – including drummer Roger Taylor – and then overdubbed with delay to make it sound like many people were stomping and clapping. When Queen performed this song live, Roger Taylor often played the pattern notated here. That concludes our list of the Top 20 Most Recognizable Drum Beats! Do you agree? Are there other grooves that you think should’ve made the list? Drumeo members get full transcriptions of each of these songs (and hundreds of other songs), but if you aren’t ready to commit to a full membership, click here to get free note-for-note sheet music and handy playback tools for 40 of drumming’s biggest songs – including some of the ones you’ve seen here!
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2202	dbpedia	0	41	https://alexheigl.com/blog	en	BLOG — Alex Heigl	https://assets.squarespace.com/universal/default-favicon.ico	https://assets.squarespace.com/universal/default-favicon.ico	[ "https://images.squarespace-cdn.com/content/v1/59db9cdfbebafb3b90804c6f/1610399099672-NXY46G3PC75C3E093MP0/IMG_3148.jpg", "https://images.squarespace-cdn.com/content/v1/59db9cdfbebafb3b90804c6f/1606241537103-7Q7EYOA9BJYS57TEKUX4/IMG_0962.png", "https://images.squarespace-cdn.com/content/v1/59db9cdfbebafb3b90804c6f/1605284159744-9E395M795IMR58P0JIPJ/IMG_5891.png", "https://images.squarespace-cdn.com/content/v1/59db9cdfbebafb3b90804c6f/1605031972942-IOL291RR205ODNUN9O4D/IMG_0868.png", "https://images.squarespace-cdn.com/content/v1/59db9cdfbebafb3b90804c6f/1604077916358-E8ZBE5FLFFTVUS8OXQN3/sword.png", "https://images.squarespace-cdn.com/content/v1/59db9cdfbebafb3b90804c6f/1603906561114-32KIM0INFBC4ASY1S533/IMG_1467.jpg", "https://images.squarespace-cdn.com/content/v1/59db9cdfbebafb3b90804c6f/1603820452245-0XBMG7DK0BFIMYQYEES9/IMG_1325.png" ]	[]	[]	[ "" ]	null	[ "Alexander Heigl" ]	2021-04-15T00:00:00		en	https://assets.squarespace.com/universal/default-favicon.ico	Alex Heigl	https://alexheigl.com/blog	I’d be hard-pressed to identify a band I was more predisposed to dislike than Vampire Weekend. When their debut album came out, I was a sophomore in college in a jazz-wonk phase, so I was basically ignoring anything that didn’t come out between 1949 and 1980. By the time their sophomore record, Contra, came out, I’d taken an ethnomusicology class and subsequently investigated Fela Kuti, Ali Farka Touré, Oliver Mtukudzi, S.E. Rogie, and the Indestructible Beat of Soweto compilations. Shockingly, I was a snob about my interest in African music, and positioned myself diametrically against a bunch of Ivy League dorks in boat shoes playing what I felt was plastic, “African Music for Dummies”-grade indie pop. I’ve since come around on both boat shoes — they’re comfortable and easy to slip on and off! — and Vampire Weekend. Regardless of whichever clearly mannered approach they’re taking at the moment, the thing that stays constant for ol’ Vampy Weeks is an unerring commitment to melody, song structure, and production. And as much as I can dislike the band’s frontman and chief content officer Ezra Koenig for: Being a too-clever-by-half schemer who … Had a rap group called fucking L’Homme Run Explicitly positioned early Vampire Weekend as being the anti-Strokes, saying in Meet Me in the Bathroom that they purposefully featured no distorted guitars and dressed like moneyed Martha’s Vineyard dipshits to place themselves as far from 2000s rock revival aesthetically as they could. Make whatever music you want to make, but do it out of love, not preternatural industry canniness. has a podcast called Time Crisis, when “Tekken Tag Tournament” would make a much better name for a podcast went to NYU Roughly 110% of his aesthetic. … I sure can’t argue with his songwriting. While Rostam Batmanglij was the band’s not-so-secret weapon for three records (for not just his writing, but his arrangements and production) — and the rest of the guys are generally rippin’ players and seem nice — the group’s 2019 album Father of the Bride proved that Koenig doesn’t need him in the same way that, say, Robbie Robertson needed the rest of the Band. ANYWAY: I loved this record when it came out. It sprawls, but mostly maintains a commendable concision and control. There are hooks; there are ~vibes.~ All this, despite providing me with, at virtually every turn, some new contrivance I viscerally disliked. Exhibit A: The title of this record is a reference to a 1990 song by Jamaican dancehall artist Junior Reid called "One Blood." While I don’t doubt Koenig sincerely likes whatever he’s referencing, it’s that even — as on this record — when he stops mining not-white folks for sonic touches, he can’t seem to stop himself from doing so for window dressing. (Don’t worry, he went back to it for Father of the Bride, sampling Melanesian choirs and “palmwine” guitarist S.E. Rogie.) And don’t title your album with a word that’s also in your band name. There should be a law. “Step” was one of the singles released from MVotC, which makes sense. It’s got a lovely, hushed sense of melancholy that’s juxtaposed with the semi-ridiculous —from this band, anyway — chorus “Every time I see you in the world, you always step to my girl,” set against twinkling keys. That said, it’s also grating for the exact same reason as “Obvious Bicycle.” Per Genius: Koenig was interested in using the chorus and melody to Souls of Mischief’s “Step To Your Girl.” He later learned that the melody was sampled from Grover Washington’s “Aubrey,” which itself was a cover of Bread’s “Aubrey.” The line in “Step To My Girl”’s chorus was also borrowed from YZ’s “Who’s That Girl …” Not only does this sort-of contradict Batmanglij’s assertion — again from Genius — that “Obvious Bicycle” contains the only sample on the record, it’s another example of how goddamn precious Koenig is about holding onto his too-niche-by-half references. If you discover the hook you’re trying to parrot is itself a parrot, maybe just … write a new hook? Or change it to the point where you don’t have to jump through 12 extra-musical hoops to preserve your woefully esoteric talking points. Sonically, anyway, the track is lovely: The vocals on the chorus were recorded using the built-in mic on Batmanglij’s MacBook — leaving background noise like a subway train going by intact — and the drum track is a mix of live drums and tape-manipulated sounds. Koenig’s vocals get fed through an Eventide at one point, an interesting and welcome texture. Of course, we have to get to the lyrics, which are Peak Vampy Weeks. As you may have gleaned, Koenig is A Lot, which to his credit, he seems to know. Here, his beloved geographical name-drops are largely front-loaded in a maximalist first verse, which includes: Angkor Wat Mechanicsburg Anchorage Dar es Salaam New York L.A. San Francisco Oakland Alameda Berkeley That’s all before he gets into the shit from antiquity — there are lines that reference Kings Croesus and Solomon — and a few lines that may reference Jandek but definitely reference Modest Mouse and Run-DMC. There’s a perverse sense of stubborn doubling-down here — “Oh, you thought our first two records were dense? Check this shit out.” — but it is exhausting. My favorite thing about “Diane Young” is the fact that the band bought two Saabs to burn for the above video — the song’s opening line being “You torched a Saab like a pile of leaves”) and their former owners were apparently cheesed off that the band bought the cars just to destroy them. (For the unaware, there’s quite the cult around Saabs. The whole thing got funnier when Koenig’s response to the accusations was that Rostam’s family had a Saab growing up — so this was done in love, you understand — and that “Hopefully, people believe me when I say that our record label was trying to purchase the cheapest, oldest cars possible... From what I understand those old ones actually had a lot of electrical problems.") Anyway, “Diane Young,” to my mind at least, is the best expression of the tension between the band’s conventional, poppy songwriting and the modern, glaringly digital production touches that dot MVotC. There’s a lot of glitchy, CD-skippy noises in the background of this song, pitch-shifted vocals, and a pretty processed drum sound — with a bunch of snare rolls that seem to be purposefully emulating a drum machine — that jostle with stuff like a baritone sax (played by Landlady’s Adam Schatz). The whole bridge kind of sounds like a Speak ‘n’ Spell having a seizure, which I am in favor of. Also, this was featured in the 2013 Carrie reboot, which is just hilarious to me. Now, other than a gratuitous plug for my ability to semi-insightfully expound on an already-endlessly-discussed film, I bring this up because “Hannah Hunt” fulfills a similar function on this record. The song is chockablock with the typical VW hallmarks of specifically-named women — in this case, Hannah Hunt was a girl that Koenig sat next to in a Buddhism class in college, because of fucking course she was — and locales such as Providence, Phoenix, Waverly, and Lincoln. (Those last two are a fun example of how ridiculous the discussion around this band gets on Genius. They are believed to be either Waverly and Lincoln, Nebraska or Waverley and Lincoln, two stops on the Boston-Fitchburg MBTA commuter rail. The lyrics sheet for MVotC spells it “Waverly” which seems to make that definitive — though it hasn’t stopped the arguing — and obviously neither have any impact on the song.) There’s a subdued — dare I say “autumnal” — melancholy to “Hannah Hunt” that even its more whimsical touches — what sounds like an overdubbed fretless or upright bass moaning through the right channel over the “regular” bass line — can’t overpower. “Hannah Hunt” has these resolutely downbeat verses, in which textures are periodically added and subtracted to vary the arrangement and Koenig sings in his lower register. Then, it blooms to its fullest “form” — with a new drumbeat, added keys and other layers, including a rocketing vocal leap — over halfway through the song. That part of the song vanishes as quickly as it arrived and the whole thing downshifts again for the 40-second outro. Great stuff. Taking a look at the Spotify numbers for this record makes me realize: a) today’s listeners have absolutely zero attention span; you can see how the number of listens for songs drop off as the album progresses b) some of the songs I like best on this album are not particularly well-loved by others “Everlasting Arms”is, apparently, one of those. Starting a block of overtly religious songs, it’s a riff on the 1887 hymn “Leaning on the Everlasting Arms” — also referenced by R. Kelly on “I Believe I Can Fly,” so, uh, there’s that — and includes a call-out to “Dies Irae,” a super-old Latin text originally set to music in a Gregorian chant. These are interesting — and notably, Christian — references to make in a song where Koenig, who was raised Jewish, is openly grappling with his relationship with God. The first verse’s lines “I took your counsel and came to ruin / Leave me to myself, leave me to myself,” when coupled with the pre-chorus — “Oh, I was made to live without you /But I’m never gonna understand, never understand” delineate this struggle. The second verse’s line, ”I thought it over and drew the curtain / Lead me to my cell, lead me to my cell” could suggest that he shut the proverbial door on his faith but is ready to return with a renewed focus on it. (I’m reading “cell” in the monkish/religious hermit/original-definition-of-“cenobite” sense.) There’s also line that seems to reference Koenig’s struggle with the life-changing success of the band’s debut: “Looked up full of fear, trapped beneath the chandelier” — you will perhaps remember that VW’s first record’s cover was a shot of a chandelier above some partygoers’ heads. Sonically, the song represents a downshift in the record’s flow following “Hannah Hunt:” It stays in one fairly downbeat setting for its duration, bolstered by more pitch-shifted vocals and some Mellotron strings. We’ve established that Koenig is a hip-hop nerd, and I think “Worship You” is his “Bombs Over Baghdad.” Sure, he’s not exactly dropping Kendrick-level bars, but this song is 147 beats per minute — and “B.O.B.,” for reference, is 160 bpm — so I’m gonna give him this one. “Red right hand” is, sadly, not a Nick Cave nod. Cave was referencing Milton with his song of the same name, and while I wouldn’t put it past Koenig to pull some kind of counterintuitive “actually, I’m a huge Nick Cave fan” nonsense, this song strikes me as a thematic partner to “Everlasting Arms.” It is About Religion and ratchets up that tune’s intensity by working primarily in the second-person tense. (Which, bold — a Jewish man addressing the Lord so familiarly in a secular song would be Puritan-murdered in Koenig’s adored New England a few centuries back.) Incidentally, what a ridiculous guitar solo popping in at 1:46. I have zero idea what combination of pedals, amps and processing is producing that noise, but it’s far and away the most interesting guitar moment on the record. VW is one of the least guitar-heroic bands of their cohort: Despite leaning into Graceland-style guitars early on, they’re basically just textural on this record minus this track. By Father of the Bride, they were leaning back into the instrument, at one point posting a two-hour loop of just the opening guitars to “Harmony Hall,” which I have to admit I love.) We’re deep into the religious zone of the record now. “Ya Hey” is a blasphemy-avoiding pun on “Yahweh” (see the “You won’t even say your name” lyric). The alternating chant of “ut Deo” is, more or less, its Latin equivalent. Also, Zion, Babylon. (Side note: Cool bass tone on this one.) (Side note 2: I deeply wish the “through the fire and through the flames” was a Dragonforce reference, but I doubt it.) The “chipmunk” pitch-shifted vocals are … a choice. I don’t necessarily think they’re song-ruining or especially chafing, given how much we’ve heard of the same approach earlier in the record, but they’re a divisive touch amid VW fans online, and I get it. Similarly, I’m not as put off by the second of this album’s spoken-word interludes, which occurs at 3:37, mostly because the song doesn’t make the same space for it as in “Finger Back.” While I would castigate a freshman using “my soul swooned” in any writing class I held dominion over, I do agree that if I heard someone spinning “Israelites” into “19th Nervous Breakdown,” I would take notice. Ultimately, at 5:12 — the longest song on the record — my biggest knock against “Ya Hey” is its length. The arrangement swells and contrast with plenty of different textures, but its draggy tempo and the plodding four-on-the-floor stomp for most of its runtime is a bad combo. Also, there’s a fucking choir at the end, just in case you missed the fact that the band was Grappling with Religion on this record. I actually liked this pleasing little thumbnail sketch of an album closer much better before I read, again on Genius, that Rostam wrote the tune … about a real-life June 2009 encounter that lyricist Ezra Koenig had “with an older Rasta at Dunkin’ Donuts,” a random stranger who stopped him while he was walking to the Brooklyn studio during the final weeks of recording “Contra“ and said to him: “You take your time, young lion.” This annoys me in a way that’s vastly out of proportion with its actual space on the album. I’m definitely projecting here, but doesn’t Koenig just seem like the kind of guy who would bound into the studio all psyched about a chance interaction with a Rastafarian who delivered an eerily apposite gnostic pronunciation to him, in a fucking Dunkin’ Donuts, no less? Given that it’s a Rostam tune, I suppose I have to give Koenig credit for not making this supposed encounter the centerpiece of another song — one which would presumably juxtapose Evelyn Waugh with Haile Selassie or some shit — but doesn’t the anecdote seem, in the words of Hannibal Lecter, “like the elaborations of a bad liar?” Also Rastafarians call everyone “lion.” That’s their thing! My actual theory? Koenig tried to cut in front of him in line and the guy was delivering a warning. Final Thoughts I’m no longer on this band’s train. I am aware that Father of the Bride was a pretty, pretty, pretty good record, but for whatever reason, I just didn’t flip over it the same way I did this one. (I may have just been red-assed they ganked the Melanesian choral portion of the Thin Red Line soundtrack — which I used to listen to every time I was on psychedelics, despite falling asleep the only time I tried to actually watch the film — for "Hold You Now.”) (“Harmony Hall” fucking bangs though.) Why does little else of VW’s work resonates with me as much as this record? I’m pretty sure it all comes down to Projection 101. Koenig and co. are too clever, too wordy, too solipsistic, too reference-heavy, too interested culture-vulture-y. They make choices that I end up conceding, begrudgingly, are interesting ones, and the music is always eminently listenable. But I remain that preternaturally curmudgeonly snob who finds his own niche references preferable above all else. After all, “Battle not with middle-class white intellectuals, lest ye become one, and if you gaze into Vampy Weeks, Vampy Weeks gazes also into you.” — Hans Gruber, Die Hard. Anyway, all of this is to say that to approach Cash from a post-”Hurt” vantage point critically is to cut through a swath of dense associations and narratives, all of which have this super-serious sepia tint to them that threatens to obscure one primary facet of Cash’s career, which is that he was a messy bitch who lived for drama. I’m using obvious hyperbole here to prove a point, which is that, even before Cash was intoning shit like “God’s Gonna Cut You Down” and claiming that the dogs on the American Recordings album cover stood for “sin and redemption,” his career had a theatrical, melodramatic flair that could tip into the hokey. Of course, two things can be true at the same time, and in this instance, it can be true that Cash both loved a good story and was an authentic-ass Real American Man. So: Mean As Hell. This album is actually a truncated version of Johnny Cash Sings the Ballads of the True West, a double LP released in 1965 that featured songs linked by Cash’s narration and their thematic focus on the American Old West. Mean As Hell was released as a single LP the following year and featured a trimmed-down tracklist that excised much of the narration. We can probably safely infer that Cash was taking this shit extremely seriously, given the fact that in 1965 and ‘66, America was knee-deep in the British Invasion, Marty Robbins was six years past “El Paso,” and one of the biggest country records of the year was Chet Atkins Picks the Beatles. “Country Rock,” as exemplified by the Band, was at least two years out, A Fistful of Dollars was just about to break the spaghetti Western in America — the point I’m trying to get at here is that had Cash not been passionate about these songs and the mythological American West they occupy, they probably wouldn’t have made it to record, given their status as outliers in the prevailing music industry trends of the time. Mean As Hell opens with “The Shifting Whispering Sands, Pt. 1,” which is a ridiculous song, as it turns out. The song was written in 1950 as a poem and by the time Cash got to it in 1965, had already been recorded by Billy Vaughn (with narration by Beat icon Ken Nordine) and Rusty Draper. Cash’s version hews pretty closely to Vaughn’s version. Here’s the thing, though: I have no goddamn idea what this song is supposed to be about. Ostensibly, it’s narrated by a gold prospector who wanders in a dry valley, surrounded by death and the titular sands. But there’s a degree of narrative ambiguity to the song; the lyrics freely admit that the prospector has no idea how he escaped the valley, only that “to pay my final debt for being spared / I must tell you what I learned out there on the desert.” There’s a Stephen King short story called “Beachworld” that’s about a group of astronauts who crash-land onto a sandy planet and gradually realize the sand is not as it seems. I would dearly like to believe that King was inspired to write “Beachworld” by the vaguely sinister implication of “The Shifting, Whispering Sands” that the sand in this valley is somehow alive and hungry for human flesh, and that the narrator has been spared from a grisly fate out in the desert by the sand and returned to civilization to lure others to a similar doom. Anyway, I’ve tweeted at him about it. Thank you for coming to my TEDTalk. Despite my love for Cormac McCarthy, I’ve never gotten with horses. Horseback riding, in central Pennsylvania at least, was an upper-middle-class affectation that made zero sense to me, and my scorn for it was abetted by the fact that horses freak me out, what with their horrifying screams, big weird faces and teeth and also this nightmarish drawing of a horse wearing one high-heel that Scary Stories to Tell in the Dark embedded in my subconscious when I was 5. Anyway, “I Ride an Old Paint” does nothing to abet the vaguely sinister air established by the possibly sentient sands of the first track. There’s a definite trope in post-millennium horror films of using overly-syrupy songs from the ‘50s and ‘60s incongruously next to shocking or graphic imagery. But it’s a real chicken-or-the-egg question: Is there something subconsciously sinister in the cloying string arrangement juxtaposed with Cash’s echo-laden baritone, or is just the fact that the song is literally about a man requesting that his bones be tied to his horse’s saddle after his death so they can continue to ride together? “I asked Mother Maybelle Carter one night to write me a Western song for this album,” Cash writes on the Mean As Hell sleeve. “The next morning she gave me this. Since the Bible on the plains was as uncommon as a letter from home, many cowboys called it that.” Far be it from me to call Cash a liar, but I can’t find anything to back this up. The anecdote is, however, illustrative of the hilarious tenor of the writing on the Mean As Hell sleeve, which includes Cash’s claims that he prepared for this record by “[sleeping] under mesquite bushes and in gullies … [sitting] for hours beneath a manzanita bush in an ancient Indian burial ground and [breathing] the west wind and [hearing] the tales it tells only to those who listen.” He adds that he “ate mesquite beans and squeezed the water from a barrel cactus,” “learned to throw a bowie knife and kill a jack rabbit at 40 yards” and “was saved once by a forest ranger, lying flat on my face, starving.” Anyway, that’s obviously all bullshit. Cash recorded or released seven albums between 1964 and 1966. While the notorious California wildfire incident occurred in 1965 and at least one article does mention that he liked to take off into the wilderness near Maricopa, CA for fishing trips/drinking binges, I can’t find anything to support the notion that he took months during this hectic schedule — which presumably also included live performances, TV appearances and arrests — to nearly die in the Western scrublands while learning how to kill a rabbit with a knife from 40 yards out. Myth-making in action! This song is a great case study. Sad-cowboy warhorse “The Streets of Laredo” is an old song. I mentioned earlier how you can use Marty Robbins’ Gunfighter Ballads and Trail Songs to contextualize Mean as Hell/True West, because the Robbins record, which came out in 1959 — a year after Cash had his first big post-Sun Records hit with “Don’t Take Your Guns to Town” on Columbia — was a huge hit. It was certified gold in 1965, the same year Cash recorded this record. And Robbins’ follow-up, More Gunfighter Ballads and Trail Songs, which came out in 1960, had a version of “Streets of Laredo.” Cash and Robbins were linked by more than just genre and label (here they are duetting on this very song in 1969). Cash writes on the Mean as Hell sleeve that the idea of an album of Western songs was pitched to him by Columbia producer Don Law in 1961-2. And guess who produced both Gunfighter Ballads albums for Robbins? Don Law, baby! If the music industry knows one thing, it’s how to milk a concept. As I mentioned before, Cash covered “Streets of Laredo” on American IV (the one with “Hurt”) and it’s instructive to listen to the two versions back-to-back. I don’t like this song, so I’m going to talk about the idea of the Old “Wild” West and Frontier America that Cash is mining on this record. British historian David Hamilton Murdoch’s The American West: The Invention Of A Myth posits that “The Wild West” as a pop culture construct dates back to the turn of the century, when America, with the frontier closed and settled, was still trying to figure out what it meant to be an American. Aided by mass media (newspapers, dime novels, touring shows, movies, even paintings and illustrations), the American Frontier/West became “The Wild West,” and the stories that cropped up about it passed from fact into idealized myths that quickly became foundational to the national character. For Cash, who was born in 1932, his window out of rural Arkansas as a boy was the radio, and there were a large number of narrative radio Westerns he could have been hearing at that time. Then, Cash went into the Air Force in 1950, at which point Hollywood was moving into the Golden Age of its Western-dominated era, with foundational genre classics like Broken Arrow (1950), High Noon (1952), Shane (1953), Wichita (1955), The Searchers (1956), and Rio Bravo (1959), all films Cash could have seen at one point, either while serving, or after he settled in Memphis. And he was a touring musician by the time television like Gunsmoke, The Rifleman, Rawhide and Bonanza were going strong in the late ‘50s, which means he probably saw a good bit of Western TV in hotel rooms. Cash was born too late to experience anything of the actual Old West; his entire concept of it came from a concerted, decades-long, cross-medium mutation of history into drama and drama into myth. With this record, Cash steps into the lineage of people like John Ford and every nameless dimestore novel scribe who wrote breathlessly about Wyatt Earp. And if there was anyone prepared to be fully, “authentically” immersed in an exaggerated myth, it was Johnny Cash. But it’s fitting that we close the record here, with these two versions. Older, wiser, Cash omitted most of the original song’s sad-bastard lyrics in favor of a hopeful poem about finding beauty in the natural world. (And again, this is a man who burned down several hundred acres of California forest the year True West was recorded.) I thank You, Lord, that I am placed so well / That You have made my freedom so complete That I’m no slave of whistle, clock or bell / Nor weak-eyed prisoner of wall and street Cash sounds genuinely humbled, genuinely grateful as he’s intoning those words. After spending this long meditating on the invented Johnny Cash and the invented American West, it’s truly wonderful to hear him at his most sincere, reciting a piece of poetry that came from the real place he’d spent so much time working in a fictionalized shadow of. I know that others find You in the light / That’s sifted down through tinted window panes And yet I seem to feel You near tonight / In this dim, quiet starlight on the plains I love hearing this line about the divinity of nature from him. The two versions of this song are odd siblings: One appeared the same year Cash, high on fame and pills, literally destroyed a swath of the natural world; the other arrived near the end of his life, when he was newly sober, humbled. In this instance, Cash the myth, Cash the man and the invented Old West he spent so long mining for stories and songs finally fall into alignment. Provenance: Human Head Records I’ve got a weird relationship with DC hardcore and the whole “Revolution Summer” thing. I got into Minor Threat in high school, just like everyone else, eventually branching out into Embrace and then Fugazi, but I mostly missed Rites of Spring as a Youth. (I’m not sure why. I think I stalled out at Fugazi, who basically blew my mind and are still on my shortlist of The Greatest American Bands.) As much as I dig solipsism and introspection, there’s a part of me that shies like a spooked horse at something like Rites of Spring’s debut, the aural equivalent of a raw nerve. Black metal, death metal don’t scare me, but Rites of Spring scares me. Maybe I’m just afraid of remembering being the kind of person who might have made music in this vein and placed their emotions so nakedly on display without the remove of years of internet-honed irony. But that’s the point, isn’t it? Guy Picciotto — first name Greatest, last name Unibrow Ever — was barely 19 years old when Rites of Spring recorded this album. Nineteen! And it’s funny to me that, with literal decades of doing this shit ahead of him, he was already as concerned with looking back as inwards, singing shit like, “I woke up this morning / with a piece of past caught in my throat / and I choked.” The world is controlled by the old, but it belongs to the young, even if they’re as preternaturally emotionally wizened as Picciotto. I don’t think a work like Rites of Spring is even supposed to resonate with a 33-year-old except as a reminder of what it was like to be 19. It’s a musical snapshot of a feeling; a feeling that ages like a Polaroid in reverse — the colors get less intense the longer it’s out in the world. Whew, okay, that got a little heavy. Onto the music! (Quick necessary aside for anyone not invested in the particulars of D.C. punk rock: Ian MacKaye was in foundational hardcore punk band Minor Threat and started the now-legendary independent record label Dischord. He, Picciotto, and RoS drummer Brendan Canty would go on to form Fugazi; during the in-between, they were all in like, 16 other bands.) Rites of Spring’s opener is more or less its whole thesis statement. The song is called “Spring,” and the lyrics… “Caught in time so far away From where our hearts really wanted to be Reaching out to find a way To get back to where we'd been And if summer left you dry With nothing left to try” … quickly map out all the classic “emo” signifiers: Time, hearts, summer. (I know Picciotto and MacKaye have both talked about how much they hate that word and their reputation as godfathers of the movement; sorry to these men.) I tar the British music pretty heavily as being unduly obsessed with class, but as someone who’s also too focused on the socioeconomic side of music, there’s something a little precious about the relentless navel-gazing of the Revolution Summer bands. Of course, that’s just what young people, especially white-collar and urbane young people, do. But there is an element of idleness — and not just because one of Ian MacKaye’s bands was called The Teen Idles — to their solipsism. I realize that’s pretty unfair of me — you could never accuse Picciotto of being anything less than a truly progressive individual — but as opposed to a band like Black Flag, whose music is so relentlessly grimy and street-level, Rites of Spring seem … removed from those concerns. Making rent is not an issue to them; “[building] a wall around these hearts and hands” is. Further giving the lie to the run-out groove’s “no side A or B” hogwash, “End on End” is 150 percent a swing-for-the-fences-ass album closer if I’ve ever heard one. There’s not one, but two spoken-word samples that bookend the track. First, someone saying “Wide-eyed innocent boy” at the beginning, which must have been an inside joke because I cannot for the life of me find out what it’s referencing by Googling. Then at the close, a rip of one of those classical records with contextual narration layered in, speaking about Igor Stravinsky’s The Rite of Spring — Stravinsky used a near-exact version of the passage himself when talking about the piece; I assume the differences come down to some quirk of translation. Anyway, this track’s length and structure seem like A) an attempt to capture the group’s legendarily intense and chaotic live show in the studio and B) an early forerunner of Fugazi’s habit of breaking a song down to whisper-quiet, extended bass-and-drum goove, only to upshift into a Very Loud Part. Guy pulls out every one of his vocal tics including some weirdly sexual heavy breathing; the vocal take as a whole is easily the most bananas performance on a record full of them. Someone probably should have been keeping a firmer grasp on the timing of the whole thing, though, because the finish of “End on End” is clearly just the sound of the master tape running out while the group is still going full-steam. But in its way, it’s perfect; you get the sense they could have just kept breaking things down and building them back up into peak after ecstatic peak until the end of time. It’s hard to judge what Rites of Spring might have meant to me had I come across it as a teen; I could easily see myself parked in my car listening to “For Want Of” on repeat before school the way I did with “Blueprint” or the Embrace record. But that’s not what happened. I can appreciate this record’s moth-to-flame intensity, its scorched-earth inward glance, but I’m equally baffled by it, being so much older now than the band was when I made it and with so many other concerns. It’s a feeling like watching a film projected slightly out of focus, disintegrating as it spins around the reel. And you know what? It’s beautiful. Provenance: Curb find, though with a sticker from “Crazy Eddie Record & Tape Asylum” For so much of my early life, Cyndi Lauper’s music — usually “Girls Just Wanna Have Fun” and “Time After Time” — was kind just... ambiently in the air. With my vague cultural memory of her association with professional wrestling, she seemed like a live-action cartoon from the Thundercats era that had somehow become flesh and blood — and then irrelevant, in that order. Then of course, there was her time on Celebrity Apprentice, which I’m not going to talk about at all. As with a lot of things, as I got older, I reassessed and discovered, obviously, that Lauper is a national treasure. The woman left home at 17 to escape an abusive situation, traveled to Canada, worked a bunch of jobs and was, at one point, told she would never sing again after damaging her vocal cords — and this was all before she’d recorded and released She’s So Unusual in 1983. Lauper had already been chewed up and spit out by the major label system as part of a band called Blue Angel, discovered and signed by Allman Brothers manager Steve Massarsky. She essentially went back to her roots after their debut album flopped and they broke up; it didn’t take long to get re-discovered while singing in bars and signed as a solo artist. (To her credit, she refused offers to sign her as a solo artist while a member of Blue Angel.) There were an absolute shitload of people involved in the making of She’s So Unusual, and its personnel, if nothing else, would make it an important tributary in the waters of American music. Ellie Greenwich — who wrote or co-wrote "Be My Baby", "Christmas (Baby Please Come Home)," "Leader of the Pack," and "River Deep – Mountain High," among others — does backing vocals. Eric Bazilian, who wrote Joan Osbourne’s hit “One of Us,” plays bass and does a lot of other shit. Rick Chertoff, who also worked with Osbourne, as well as Sophie B. Hawkins, produced and arranged. Richard Termini did synths and would eventually go on to work with fellow Brooklynites Type O Negative. Engineer John Agnello got his first big break with this record, he’s gone on to become an in-demand indie dude, working with Nothing, Kurt Vile and the Hold Steady. And, incidentally, though the cover to the record — shot in Coney Island by Annie Leibovitz— has become iconic, I can’t believe I never noticed the back sleeve, where the soles of Lauper’s high heels are printed with Vincent Van Gogh’s “The Starry Night.” In the end, Janet Perr picked up a Grammy for Best Recording Package in 1985 for She’s So Unusual. Of course, speaking of perfect songs, there’s “Time After Time.” Lauper said she nicked the title from a TV Guide listing, and there’s of course an element of made-for-TV melodrama to the song, but … whew. Supposedly it was the last song recorded for the album, and her label wanted it as the lead single; she and her manager convinced them “Girls Just Want to Have Fun” was the better lead-off. Between the liquid guitar, the contrapuntal bass line and that insistent rimshot on the snare, I hear a lot of the DNA of The Police in “Time After Time.” And here’s the thing: “Every Breath You Take” was released in May ‘83 — when Lauper and co. started production on She’s So Unusual — and went on to become one of the defining songs of the year. If “Time After Time” was indeed the last song recorded for the record, there’s no way its genesis wasn’t in some way influenced by “Every Breath You Take.” Of course, I’d be remiss if I didn’t link to Miles Davis’ version of the song; the man knew an amazing ballad when he heard one. Either way, what an incredible goddamn Side 1 of a record, right? Unfortunately, Lauper would have needed one pants-shitter of a closer to compete with Side 1 of this record, and “Yeah Yeah” just ain’t it, chief. Between the hard-panned rolling-rink organ in the left channel, the honking saxophone, and the incessant Betty Boop-style vocals in the right channel, it’s kind of a mess. There’s a lot of ideas here that could have worked better if there had simply been less of them. Pan the organ less, reduce the vocal asides, keep the horn arrangements and maybe make the sax solo less of a feature (though honestly it’s a pretty good sax solo) — and you’ve got a perfectly frothy nothing of a song, but as an album closer, “Yeah Yeah” falls seriously short. I think I know what they were trying to do, which was unite all the strands of pop music Lauper was working with — there’s an explicit “River Deep — Mountain High” reference in the lyrics — in a modern setting, but … nah. There’s a really interesting reading (mine) of this record — and Lauper’s career as a whole, especially when you take into account her writing the Broadway musical Kinky Boots, her blues record, and her acoustic record — that positions her as a link in a chain of uniquely American, feminist songwriters. With She’s So Unusual, Lauper attempted to unite Tin Pan Alley, the Brill Building, Phil Spector and New Wave, and was almost extremely successful. I can’t get over the sequencing — Side 2 is such a letdown, mostly — but ultimately, it’s one of the rare monster smashes from the ‘80s that sounds both of its time and eternal. Provenance: Academy Records Annex, Greenpoint, Brooklyn. I always had this theory that the fundamental difference between Black Sabbath and Led Zeppelin was that while Zeppelin riffs were something you had to sit down and learn, Sabbath riffs were something you … unearthed. Something primal. You sit there, noodling around in the minor pentatonic scale, maybe throwing in some Big Honkin’ Bends™, and this nasty, evil riff appears under your fingers. If you’re lucky, you figure out that you unconsciously nicked it from Sabbath before you show it to someone else. Sabbath are the supermassive black hole around which all heavy music gravitates. Their pull is inescapable, and it’s not just down to Them Riffs, either. Bill Ward’s swinging plod (or is it a plodding swing?) is, along with John Bonham, a lodestar for any drummer seeking to both groove and smash. (Ward calls jazz pioneer Gene Krupa his “definitive influence.”) And because Tony Iommi was one of the first guitarists to detune the instrument — as low as a minor third below standard — if you should happen to be taking that route to make your band sound heavier, you’re standing in the shadows of Sabbath as well. Which brings me to The Sword. The group’s reputation as Sabbath-derivative was one of their defining characteristics when I first encountered them 2006, thanks to Guitar Hero II, which included the Age of Winters track “Freya.” That song has basically become the band’s theme song, even as they moved away from their avowed Sabbath and Zeppelin worship into occasionally proggier and now more Schlitz-swillin’ territory. Age of Winters was their full-length debut, containing material worked out by group founder J.D. Cronise prior to the band’s formation. It was a hit for indie label Kemado, selling — per Wikipedia — at least 80,000 copies (half the cited links in that page are dead, so it’s probably not a stretch to assume Age of Winters has passed the six-digit mark at this point). One thing I’ve always loved about the Sword is their relatively high-minded references, at least for a stoner-rock band. The cover art for Age of Winters, done by Conrad Kelly (who according to his website, will accept synthesizers in exchange for art, which owns) is an Alphonse Mucha homage, and its liner notes contain a William Butler Yeats passage. First of all, please enjoy Cronise’s Zappa facial hair in this video. Between that and the samurai swords displayed on his stone fireplace’s mantle, he’s exactly one ringer-tee away from getting kicked out of a Grand Funk Railroad show (on the Closer to Home tour) at the Richmond Coliseum for selling weed. Second of all … “Winter’s Wolves” is so fucking good. It makes me want to build a time machine for the express purpose of finding the maybe-never-existed “god bear” deep in the Russian wilderness and headbutting it to death. It makes me want to forge my own blade like Nicholas Cage in Mandy, before mastering the forbidden art of necromancy to raise Genghis Khan’s entire army (1206 AD lineup) from the dead so that I can die fighting them on the windswept steppes of Mongolia. It makes me want to German suplex a tiger. Story time: The only time I’ve seen The Sword live was at Washington, D.C.’s Black Cat club in ‘07, at which point the club was already too small for them. We drove into the city in the middle of a snowstorm, and people lost their shit so much at “Winter’s Wolves” — the whole crowd started howling in the middle of the song — that Cronise had to tell us to calm down, lest the band actually be crushed by the crowd. (He said something like, “You can tell all your friends that you saw the Sword and JD said calm down and it was lame, but please.”) I’m going to resist my impulse to just write out every lyric to this song, but they are the platonic ideal of wizards ‘n’ shit songwriting. I may or may not just have teared up reciting them aloud in the apartment. Cronise’s voice does this little whinny “May the earth swallow your hosts” — probably because the spirit of a lich-king possessed him in the vocal booth — and it just gets me every. Single. Time. Cronise’s approach to vocal harmonies and judicious deployment of harsher singing timbres (he approaches black-metal territory on this tune at one point) are consistent high points on Age of Winters. I’m not sure if he double-tracked all these vocals manually or simply went the Eventide Harmonizer route, a la the Ozzy solo records, but it’s an approach I really love. “Ebethron” lurches along with a duly heavy series of riffs, but it’s not really the strongest album closer, IMO it should have been sequenced earlier on the record and left something with more punch for the finale. It’s hard to grade this record on anything but a steep curve, as my memories of it are pretty inextricably tied to the weightless rush of being in college and living in my first apartment. I think I air-guitar and drummed through all of Age of Winters over the entirety of Fairfax, Virginia and a chunk of D.C. before I turned 21. Nostalgia is a hell of a drug, and while the Sword were able to eventually dodge their Sabbath comparisons, none of that factors into my love of this record, which, like those Sabbath riffs from so long ago, was not so much learned as unearthed. Inasmuch as it’s possible for someone whose formative cinematic influences went from Disney animation to Jackie Chan to have a “favorite filmmaker,” John Carpenter is mine. I have an appreciation for my fellow Italian-Americans Martin Scorsese and Francis Ford Coppola — mostly thanks to our shared Catholic guilt and love of Keith Richards — and my the Criterion Channel hipped me to Les Blank, but really, I’ve just seen Big Trouble in Little China more times than I care to admit. (Halloween was also indelibly, forcefully stamped onto my unconscious long before I ever actually saw the film. When I was a kid, one of my neighbors eschewed ninjas or commandos as the theme whenever we played in our backyards, preferring to don a Michael Myers mask and coveralls and stalk me around the neighborhood with a fake butcher knife.) Painting Carpenter as a lone-wolf auteur short-sells his collaborators, like fellow composer Alan Howarth, cinematographer Dean Cundey, producer Debra Hill, and FX wizards like Rob Bottin. That said, there’s a stubbornly independent streak to his career — along with his love of Westerns and his persistent fixation on mythology and institutional failure — that makes him, to my mind, one of the most capital-A American filmmakers, as does drumroll … his parallel career as a composer. Carpenter — whose father was a music teacher and started a young John out on violin — famously composed most of his own scores. At least in the early days, this was a financial consideration, because he preferred to dedicate the bulk of his budgets to expensive cameras, lenses and film stock. But for someone who loved the maximalist studio Westerns of Howard Hawks and John Ford, Carpenter film scores are stark, simple, constructions that — and here I’m quoting a Red Letter Media video, though I can’t remember which one — he thought of as “wallpaper” for his films. Because of this evocative description and because I’m a giant dork, I’m tracing a direct line from Erik Satie’s early 20th-century “furniture music” — music composed to unobtrusively take up background space — to minimalist pioneer John Cage and on into Carpenter’s work, even though he’d probably scoff at such a high-minded comparison. Excluding wacky stuff like his Big Trouble song with an ad hoc group called the Coup De Villes that included frequent film collaborators Nick Castle and Tommy Lee Wallace and must be seen to be believed … … most of Carpenter’s film scores are based around 1970s analog synths like Arps, Prophets and Oberheims. This came down to pragmatism; as he put it, synths were “a way to sound big with just a keyboard.” He worked fast, composing the score to Assault on Precinct 13 in three days. Along with the labor-intensive nature of those early synths (they had to spend as much time tuning and resetting them as they did playing them), this ensured an economy to his compositions that you didn’t always see in contemporaries like Vangelis or Tangerine Dream. Carpenter may be an ornery outsider, but there’s a streak of pop-music efficiency to his work, even as he eventually switched over to the limitless digital pastures of Logic and its software synths for his debut solo record, 2015’s Lost Themes. The album, Carpenter said in its promotional materials, was “all about having fun,” as opposed to the pressure-cooker environment of soundtracking his own films. He worked with his son Cody (and Kinks guitarist Dave Davies’ son Daniel) on the record, eventually touring behind it in 2016. I saw him at the friggin’ Best Buy theater in Times Square on that tour (backed by, um, the Tenacious D rhythm section), and he was clearly having a blast, parked behind a keyboard for what was basically a greatest-hits soundtrack set along with a couple cuts from the record. “Vortex” was Lost Themes’ lead single, and it’s easy to see why. Between the insistent quarter-note pulse that underpins the song from the start and the Big Trouble-esque guitar tones that alternate with its piano chords, it’s essentially Carpenter Composition 101 (a course I would gladly take, or teach). Some of the higher-register colors that wash in remind me explicitly of Big Trouble as well; I can easily see a be-mulleted Kurt Russell gallivanting around the sewers of San Francisco to this. Closing out Lost Themes with “Night” at the end was a sharp move. It’s currently the only one of Carpenter’s non-soundtrack songs sitting in his top 10 most-streamed on Spotify, which I guess qualifies it as the album’s “hit.” My ears immediately perked up at the guitar figure, which more than any other song on here (except maybe “Vortex”), sounds like, well, a lost theme to one of his films. That said, I’m a little disappointed they didn’t opt for the LOUD-RIFF-SMASHY-BEAT treatment for this song; it feels like it’s building to a climax that never arrives. So, final thoughts: Individual mileage with Carpenter’s non-film music will definitely vary depending on your level of love for his films. Without having this kind of texture-heavy music linked to foundational cinematic visuals, a casual listener might find Lost Themes a little exhausting or simply uninteresting. But I still maintain there’s a lot to like here, and approaching it on its own merits is more rewarding if you’re not expecting anything world-shaking. And — though I made it through this whole entry without using this word — it’s spooky! Halloweeeeeeeeeeeeeeeeeeeeeee — Provenance: Inherited This record came to me from the collection of my Uncle T (short for Tom, but I only ever heard him called that a handful of times in my life). He was a fairly avid music fan who gave me my first Miles Davis records, but his taste in jazz was perhaps a little staid (he was not listening to Last Exit) and that’s where I — perhaps unfairly — have always slotted the Modern Jazz Quartet. Anyone who’s matriculated through a college jazz program or sat through some jam sessions has played MJQ vibraphone player Milt Jackson’s signature tune “Bags’ Groove” at some point. But that is more or less the extent of my familiarity with the group, excepting drummer Connie Kay’s association with Van Morrison and the odd Miles stuff I heard bassist Percy Heath play on. (Side note: The vibraphone has to be on a shortlist — along with the upright bass and the harp — of “prettiest instruments that are also inordinate pains in the ass.” Concert pianists and drummers can mostly rely on house equipment, however shitty, but anyone who’s ever lugged an upright bass through the subway or shlepped a set of vibes up a staircase has spent at least quadruple that amount of time questioning their life choices.) So: Blues at Carnegie Hall is a live record, made during a benefit concert for the Manhattan School of Music scholarship fund. The group’s set consisted entirely of tunes based on the blues form, hence the title, though Alun Morgan’s liner notes specify that “Blues Milanese” “is not, strictly speaking, a blues.” There’s a fundamental tension to the title and concept of this record that Morgan doesn’t address, which is the element of novelty (at best) and condescension (at worst) to the idea of “blues at Carnegie Hall” and its implied high/low distinction. Bear with me: This record came out in 1966, which made it contemporaneous with the Newport Folk Festival’s run of showcasing “rediscovered” Depression-era blues stars like Skip James and Son House. But there’s a vast remove between the blues from that group of musicians and this record. For one thing, I highly doubt there were any vibraphones in rural Mississippi, and for another, rural blues are unrecognizable from a jazz combo’s version of the same. Where John Lee Hooker might play a 13- or 14-bar blues as he saw fit — adding or subtracting beats from a bar in the process — or spend an entire song playing one chord, by 1966, a “jazz blues” meant (mostly) a strict 12-bar form that added all kinds of extra chords imported from European music theory. All of this which is to say that even though these were four black men playing Them Blues™, they were also urbane (literally, all four members grew up in cities), professional musicians making music for a well-off audience that presumably thought of themselves — unconsciously or not — as more suited to these blues than Son House doing “Death Letter Blues,” even if they acknowledged the two were branches of the same tree. Without getting too far down the rabbit hole of “authenticity,” there’s no denying that the edges are sanded so far off the MJQ’s blues as to render them frictionless for a white, middle-class audience. The crowd recognizes the opening figure to “Bags’ Groove” and reacts at the top of the tune, which practically qualifies as a riot for a Carnegie Hall audience of this era. One thing that Lewis mentions in the liner notes is the influence of Count Basie on the MJQ, and you can really hear it in the insistent little riffs he plays on this tune. If there’s one thing I’ve learned from a misspent life in music, it’s that if you play something cool, you should probably play it four to seven more times. And just over 41 minutes later, we’re done! Without having listened to a ton of MJQ, I can’t really say whether or not this is a must-have record of theirs — and with the focus on such a limited repertoire, I can’t imagine it is; I really would have liked a slow ballad at some point — but it’s a great way to spend a relaxed two-thirds of an hour with an iconic set of musicians.
2202	dbpedia	0	16	https://www.defmediagroup.com/selector-series-drums-complete	en	Darrell Nutt Signature Drums	https://static.wixstatic…e483dd5a~mv2.jpg	https://static.wixstatic…e483dd5a~mv2.jpg	[ "https://static.wixstatic.com/media/ad6c13_898b0cc9d5da44519a84711d14630773~mv2.png/v1/fill/w_366,h_97,al_c,q_85,usm_0.66_1.00_0.01,enc_auto/ad6c13_898b0cc9d5da44519a84711d14630773~mv2.png", "https://static.wixstatic.com/media/ad6c13_c971b2db68874764b9df167ce483dd5a~mv2.jpg/v1/fill/w_147,h_83,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/ad6c13_c971b2db68874764b9df167ce483dd5a~mv2.jpg", "https://static.wixstatic.com/media/ad6c13_c971b2db68874764b9df167ce483dd5a~mv2.jpg/v1/fill/w_976,h_555,al_c,q_85,usm_0.66_1.00_0.01,enc_auto/SS04-DRUMS-COMPLETE-1920-thumbnail-2024.jpg", "https://static.wixstatic.com/media/ad6c13_5f5f3109b82b400cb3c9116e028deb81~mv2.jpg/v1/fill/w_278,h_278,al_c,q_80,usm_0.66_1.00_0.01,enc_auto/SS04-DRUMS-COMPLETE-COVER.jpg", "https://static.wixstatic.com/media/ad6c13_df3d37cab7254d77ad47f6fbce02a811~mv2.jpg/v1/fill/w_147,h_83,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/ad6c13_df3d37cab7254d77ad47f6fbce02a811~mv2.jpg", "https://static.wixstatic.com/media/ad6c13_25a30f6197c547ec833467f15d35c419~mv2.jpg/v1/fill/w_131,h_131,al_c,q_80,usm_0.66_1.00_0.01,blur_3,enc_auto/DNSD01-Drums-Complete-cover-1400-2024.jpg", "https://static.wixstatic.com/media/ad6c13_19e4b9d25fe944bbbd45d85d00c91637~mv2.jpg/v1/fill/w_131,h_131,al_c,q_80,usm_0.66_1.00_0.01,blur_3,enc_auto/DNSD02-Pop-Rock-Snare-Drums-cover-1400-2024.jpg", "https://static.wixstatic.com/media/ad6c13_71e6a38172f8486f99be77aed7b406a3~mv2.jpg/v1/fill/w_131,h_131,al_c,q_80,usm_0.66_1.00_0.01,blur_3,enc_auto/SS01-ROCK-cover-1400-2024.jpg", "https://static.wixstatic.com/media/ad6c13_58162803b1d94684bc2c099cd66d2a9e~mv2.jpg/v1/fill/w_131,h_131,al_c,q_80,usm_0.66_1.00_0.01,blur_3,enc_auto/SS02-FUNK-cover-1400-2024.jpg", "https://static.wixstatic.com/media/ad6c13_6a5ddb5b4306415184bf72f6de594f54~mv2.jpg/v1/fill/w_131,h_131,al_c,q_80,usm_0.66_1.00_0.01,blur_3,enc_auto/SS03-VINTAGE-cover-1400-2024.jpg", "https://static.wixstatic.com/media/ad6c13_5f5f3109b82b400cb3c9116e028deb81~mv2.jpg/v1/fill/w_131,h_131,al_c,q_80,usm_0.66_1.00_0.01,blur_3,enc_auto/SS04-DRUMS-COMPLETE-COVER.jpg", "https://static.wixstatic.com/media/ad6c13_f96a1e33bb9248ca8efc97ccdb7a19d8~mv2.png/v1/fill/w_128,h_25,al_c,q_85,usm_0.66_1.00_0.01,blur_3,enc_auto/ad6c13_f96a1e33bb9248ca8efc97ccdb7a19d8~mv2.png", "https://static.wixstatic.com/media/ad6c13_59fde60f15f04afd83aca7432763580f~mv2.png/v1/fill/w_128,h_25,al_c,q_85,usm_0.66_1.00_0.01,blur_3,enc_auto/ad6c13_59fde60f15f04afd83aca7432763580f~mv2.png", "https://static.wixstatic.com/media/a3c153_64687849619b415195aaae3cf61a37bc~mv2.png/v1/fill/w_30,h_31,al_c,q_85,usm_0.66_1.00_0.01,blur_3,enc_auto/a3c153_64687849619b415195aaae3cf61a37bc~mv2.png" ]	[]	[]	[ "steven slate trigger 2", "studio acoustic drums", "record producer", "percussionist", "southwest florida", "designer" ]	null	[]	null	Multi-sampled acoustic drum hits for the Steven Slate Trigger 2 drum replacer plug in. I sampled every drum I own for YOU!	en	https://static.wixstatic…6606af%7Emv2.gif	Darrell Nutt	https://www.defmediagroup.com/ss04-drums-complete-trigger2-expansion-pack	MIXED AND PROCESSED SIGNATURE DRUM SAMPLES All of the drums from the original multi-channel expansion pack. The Steven Slate Trigger 2 plug-in allows complete control over the sound with an intuitive 8 channel mixing interface. The SELECTOR SERIES utilizes these 8 channels a little differently. Instead of each channel containing a separate close mic, ambient mic, or effect, the SELECTOR SERIES 8 channels each contain premixed drum samples so you can select the drum sound that is best for your song. This makes for a quick and time saving way to enhance a drum sound or completely replace it! This expansion pack includes ALL of the drums from my original DRUMS COMPLETE Trigger 2 pack. 6 Kick drums, 13 Snare drums, 12 Toms and features up to 16 velocity layers per drum with multiple “round robin” samples. Some Snares and Toms also have stick, brush and mallet hits. Some Snares also have dampened and ringing hits. There are over 990 individual samples in this expansion pack!
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"https://www.superprof.com.au/blog/wp-content/plugins/wp-postratings/images/stars_svg/rating_on.svg", "https://www.superprof.com.au/blog/wp-content/plugins/wp-postratings/images/stars_svg/rating_on.svg", "https://www.superprof.com.au/blog/wp-content/plugins/wp-postratings/images/stars_svg/rating_on.svg", "https://www.superprof.com.au/blog/wp-content/plugins/wp-postratings/images/stars_svg/rating_on.svg", "https://www.superprof.com.au/blog/wp-content/plugins/wp-postratings/images/stars_svg/rating_off.svg", "https://www.superprof.com.au/blog/wp-content/plugins/wp-postratings/images/loading.gif", "https://cdn-blog.superprof.com/blog_au/wp-content/uploads/2020/04/29744624_10213893986815348_40461130061046088_o-2.jpg", "https://cdn-blog.superprof.com/blog_all/wp-content/themes/sp_blog/dist/images/drawer.svg", "https://cdn-blog.superprof.com/blog_all/wp-content/themes/sp_blog/dist/images/sp-superprof-logo-black.svg" ]	[]	[]	[ "" ]	null	[]	null	Do you like jazz music? Would you like to learn how to play the drums? If your answer to these questions was "yes", you should read this article.	en	https://cdn-blog.superpr…h-icon-57x57.png	We Love Prof - AU	https://www.superprof.com.au/blog/jazz-drums/	“To get your playing more forceful, hit the drums harder.” - Keith Moon In jazz drumming, you have to be more nuanced in your approach More people like jazz than you’d first think. Generally, it’s the older generations that prefer it. It’s because of jazz that drummers exist as they do today. Jazz made the drummer an important part of the band and put a focus on the rhythm and drum beat. So how can you play jazz drums? In this article, we're going to look at what's so special about this music genre and how the drums make it what it is. Learn about the different drum techniques. The best Drumming tutors available 5 (23 reviews) Rick $80 /h 1st lesson free! 5 (20 reviews) Luka $70 /h 1st lesson free! 5 (5 reviews) Frankie $78 /h 1st lesson free! 5 (4 reviews) Venus $80 /h 1st lesson free! 5 (15 reviews) Nick $120 /h 1st lesson free! 4.7 (3 reviews) Tony $30 /h 1st lesson free! 5 (5 reviews) Atman $70 /h 1st lesson free! 5 (2 reviews) Samuel $70 /h 1st lesson free! 5 (23 reviews) Rick $80 /h 1st lesson free! 5 (20 reviews) Luka $70 /h 1st lesson free! 5 (5 reviews) Frankie $78 /h 1st lesson free! 5 (4 reviews) Venus $80 /h 1st lesson free! 5 (15 reviews) Nick $120 /h 1st lesson free! 4.7 (3 reviews) Tony $30 /h 1st lesson free! 5 (5 reviews) Atman $70 /h 1st lesson free! 5 (2 reviews) Samuel $70 /h 1st lesson free! Let's go What Is Jazz? Jazz was born in the 20th century in the United States and has Afro-American roots. It came from gospel music and religious hymns used in ceremonies. Following a boom in brass bands, jazz sprung up in New Orleans. There were several influential eras in the history of jazz: Swing in the 1930s with a trumpet and trombone. Bebop in the 1940s which were quicker. Cool jazz and hard bob in the 1950s. Free jazz in the 1950s which broke away from standard jazz conventions (saxophone, acoustic guitar, bass guitar, etc.) Jazz has continued to evolve other the years with musicians like Miles Davis, Frank Zappa, Buddy Rich, and Weather Report. Latin jazz, jazz rock, and jazz funk appeared. Freedom is at the heart of jazz music. Jazz is seen as an uncompromising musical style. Some musicians consider it the creme de la creme and only for the very best musicians in the world. Jazz music is a great way to broaden your musical horizons, experience new ways to drum and have fun playing interesting music. It’s also great for improving your creativity as it requires a lot of improvisation. This doesn’t mean that a jazz drummer has to constantly be doing drum solos but rather that all the musicians need to be listening to one another. Thus, even though you can find sheet music for jazz, it’s more about the group and how they improvise. That’s what makes a lot of people think jazz is inaccessible to many. Jazz drummers, saxophonists, guitarists, bassists, and pianists can all have a lot of fun when they play with other jazz musicians. However, before you start improvising, you need a good understanding of the fundamentals. Ready to get started learning the drums? Find amazing drum lessons Sydney here on Superprof! Brushes: The Drumstick of Choice for Jazz Musicians In jazz music, drummers often prefer to use brushes rather than traditional sticks. Metal or plastic brushes are used instead of wooden drumsticks. While jazz appears to be unplanned, rhythm and timing play an important role. You can hardly compare a jazz drummer to a rock drummer and a jazz drum kit looks different to a rock one. Brushes allow you to express ideas you can’t with traditional drumsticks and you'll need to learn to play with them if you really want to become a master of your instrument. They first appeared in the 1920s as a way to decrease the noise created by snare drums. This is because jazz was first played in small venues and rooms. Brushes allow you to play more quietly. They’re very useful for ghost notes. These notes are soft strokes on the snare drum. You’ll find tonnes of different types of brushes in a drum shop: retractable brushes, metal or plastic brushes, woven metal brushes, etc. Light drumsticks are useful for those just starting out because brushes require a drumming technique that a lot of new drummers won’t be familiar with. Jazz Drumming Technique Jazz technique can be tricky for beginners. First and foremost, you need to have good rhythm and timing. It might be a good idea to start out with rock music first as the drum beats are better suited to a beginner. However, for those wanting to get started with jazz music, it’s recommended that you start with blues music, which is a great way to prepare yourself for jazz rhythms. No need for perfection when you first start learning. Jazz is for everyone and there’s nothing stopping you playing it just for fun. You mightn’t become a jazz master, but that mightn’t be why you’re learning the drums. You just have to get started with learning how to play the drums! Triple Meter Jazz is often in a triple meter. This means that each beat is divided into threes. You usually count a jazz beat like: "1-and-a-2-and-a-3-and-a-4-and-a" A jazz beat accentuates the first and third triplet of each beat. These beats are swung to create what we call the shuffle feel. It’s essential that you’re familiar with music theory if you want to know how to play jazz music. Mastering the Drive Percussion instruments (such as the drums) guide the other instruments. This is even truer when it comes to jazz music. You need to drive the group. If there’s one thing you have to remember about jazz music, it’s that the drummer is essential. The drummer drives the group with the aptly named ride cymbal. It plays alongside the bass and double bass. If you want to keep a big band together, you’ll need to carefully work the ride. This allows you to keep time. Chabada Chabada is when you play triplets on the ride cymbal. You do this with your right hand and replace the regular beats you’d find in a binary rhythm such as the Charleston rhythm. Jazz rhythm can be counted in standard time (4 beats). In rock, the rhythm is binary. In jazz, the four beats are counted differently. The spacing is regular. I’d recommend carefully listening to jazz music to get an idea of this, especially if you’re not familiar with it. It’s not entirely obvious at first. This allows more freedom for each limb. When you first start, just use the ride cymbal. Why not learn how to write music for the drums? Using the Hi-hat Freedom is very important in jazz, especially in terms of your right hand and left foot. While the right-hand plays the ride cymbal, your left foot can open the hi-hat on the 2nd and 4th beats. You lift your foot to open it and put it down to close it. You can also count “1, 2 and 3, 4 and...” 1: Ride cymbal 2: Ride cymbal and hi-hat “And”: Ride cymbal 3: Ride cymbal 4: Ride cymbal and hi-hat “And”: Ride cymbal Repeat. Set your metronome to 60bpm and practice until you get it right. Then set it to 120bpm once you’re getting the hang of it. This forms the foundation of jazz drumbeats. The other drums, such as the toms and bass drum, are played in a ternary rhythm on the first and third triplet of each beat in the measure. Discover different drum lessons here on Superprof. The best Drumming tutors available 5 (23 reviews) Rick $80 /h 1st lesson free! 5 (20 reviews) Luka $70 /h 1st lesson free! 5 (5 reviews) Frankie $78 /h 1st lesson free! 5 (4 reviews) Venus $80 /h 1st lesson free! 5 (15 reviews) Nick $120 /h 1st lesson free! 4.7 (3 reviews) Tony $30 /h 1st lesson free! 5 (5 reviews) Atman $70 /h 1st lesson free! 5 (2 reviews) Samuel $70 /h 1st lesson free! 5 (23 reviews) Rick $80 /h 1st lesson free! 5 (20 reviews) Luka $70 /h 1st lesson free! 5 (5 reviews) Frankie $78 /h 1st lesson free! 5 (4 reviews) Venus $80 /h 1st lesson free! 5 (15 reviews) Nick $120 /h 1st lesson free! 4.7 (3 reviews) Tony $30 /h 1st lesson free! 5 (5 reviews) Atman $70 /h 1st lesson free! 5 (2 reviews) Samuel $70 /h 1st lesson free! Let's go Advanced Jazz Drumming: Adding the Bass Drum and the Snare Of course, the drums are more than just the ride and hi-hat. Jazz drumming lessons uses all four limbs independently: Right hand: ride cymbal Left foot: hi-hat Left hand: snare Right foot: bass drum Once you can keep time with the ride and hi-hat, you can add the bass drum and the snare to get more of a jazz feeling. Here are some examples: 1st Measure 1: Ride cymbal and bass drum 2: Ride cymbal and hi-hat “And”: Ride cymbal and snare 3: Ride cymbal 4: Ride cymbal and hi-hat “And”: Ride cymbal 2nd Measure 1: Ride cymbal 2: Ride cymbal and hi-hat “And”: Ride cymbal 3: Ride cymbal 4: Ride cymbal and hi-hat “And”: Ride cymbal The second measure is there to give us more of a jazz feeling. The snare is played offbeat, which might seem strange to those used to playing binary rhythms like those found in rock music. The bass drum is only struck lightly. We’re looking for nuance over power. Make sure you keep time whilst doing this exercise. Again, start at 60bpm before moving onto 120bpm. If jazz isn’t your thing, have you consider learning to play metal or rock? Jazz Drumming Glossary You’ll not be able to improvise until you’ve been practising jazz drumming for a few months or years (in some cases). That said, you should still be familiar with some of the terminology. The following glossary terms and definitions have been excerpted from Elephant Drums. Accent - A louder note within a group of notes. An accent pattern creates a distinct rhythm within a pattern of notes. Backbeat - Accenting beats 2 and 4 within a bar of a 4/4 groove. Comping - Usually a jazz term meaning “accompanying” or “complimenting”. Dynamics - How loudly or softly a section of music or specific notes are played. Eggbeaters - A drum rudiment played as a quintuplet, formed of a triple stroke in one hand and a double stroke in the other. Flam - A flam is a rudiment consisting of a quiet note played by one hand followed immediately by a louder stroke on the other. The two notes are played almost at the same time, creating the effect of the two notes “as one”. Ghost Note - A note played very lightly, usually on the snare, between other notes within a groove. Half-time Feel - In 4/4 time signature, half time would be a groove with a snare backbeat on beat 3 of the bar and a bass drum downbeat on beat 1. Independence - Playing different parts with your different limbs independently, whilst being coordinated so that the greater pattern sounds “together”. Jamming - Improvising without preparation, usually with other musicians – but as a drummer you might jam by yourself or along with a recording to make up new drum parts. Ostinato - A repeating pattern played by one or more limbs while other limbs play parts across the pattern. Permutation - Moving a phrase so that it starts at a different point, creating a new rudiment or phrase. Quintuplet - A group of 5 notes taking the space of one beat. Rudiment - A pattern that forms the basic building blocks or ‘vocabulary’ of drumming; e.g. Single Strokes, Double Strokes, Paradiddles, Flams. Syncopation - The placement of notes in an “unexpected” arrangement to create a distinctive rhythm. Tempo - The speed the music is played, measured in beats per minute (BPM). Up beat - Opposite of the Down Beat (which is the strong pulse emphasised as part of a rhythm), so the Up Beat is usually the weaker note falling between the notes of the pulse. “Upbeat” can also mean up-tempo. Rim Shot - This is when the drumstick hits the rim of the drum rather than the skin. After playing drums for a bit, you'll probably come across this in your drum lessons. Groove - Repetitive rhythm which repeats with a few variations in order to keep time. Who’s the Greatest Jazz Drummer of All Time? So, now we’ve run through the origins of jazz, common jazz drumming terms and some important exercising for mastering jazz drumming, let us now take a look back through the archives to see just who really was the greatest jazz drummer of all time. There are certainly many strong candidates for that prestigious crown, so instead of making some kind of ranking judgement, let’s take a few names which are widely agreed upon as some of the greatest jazz drummers, and learn a little bit more about what made each of them unique and so universally admired. Discover different online drum lessons here on Superprof. Buddy Rich Buddy Rich is an amazing case study of human potential. Having never received a formal drumming lesson, and refusing to practice outside of performances, Rich was nevertheless a prodigy from an extremely young age. He began drumming aged just 18 months, and carried on with his drumming career until his death in his 70’s. Regularly performing on Broadway at the tender age of 4, Rich quickly became the second highest-paid child star in the world. His jazz career began at the age of 20, performing around New York with extremely high profile Jazz musicians such as Dizzy Gillespie, Louis Armstrong and Gene Krupa. Buddy Rich was known for his energetic style as well as his ability to adapt to different bands as well as audiences’ changing tastes in various venues. He often played jazz as well as rock in the venues Buddy’s Place and Buddy’s Place II, both of which he established in New York. His pedigree is such that when he passed away in 1987, none other than Frank Sinatra delivered his eulogy. Witness his incredible soloing ability in the twilight of his illustrious career here. Art Blakey Art Blakey had his first foray into music, like so many African-American jazz artists of the era, in the church, where he learned bible verses, hymns and also how to play the piano. He later became an accomplished jazz pianist, however, he was forced off the piano and onto the drums in an infamous incident in a Pittsburgh nightclub, where he was told at gunpoint, to move from the piano over to the drums to make way for another talent. This bizarrely turned out to be a blessing in disguise for Blakey, as he warmed to his new role as the rhythm and driver of the band, undoubtedly inspiring and boosting the careers of many jazz artists around him. Blakey visited Africa in 1948, where he learned polyrhythmic drumming, adding another layer of depth and richness to his already impressive drumming ability. His trademark move is to use the hi-hat pedal on the 2 and 4 beats of every bar to maintain a consistent groove over which he could place incredible fills using his snare and tom-toms. His Jazz Messengers’ band left an imprint on jazz, which is still felt to this day. All those who were lucky enough to play with Art Blakey, or hear his music live, were able to capture that spirit and carry it forth into present-day jazz drumming. The message lives on. Discover different beginner drum lessons here on Superprof. Elvin Jones Born in 1927, Elvin Jones is another American Jazz drummer who used African-inspired polyrhythmic techniques to elevate his playing to a new and exciting level. According to Encyclopaedia Britannica, Jones brought “a forceful polyrhythmic approach to the traps set, combining different metres played independently by the hands and feet into a propulsive flow of irregularly shifting accents.” He began his professional jazz career in Detroit in 1949, before moving to New York City in 1956 to play with immortal jazz legends such as John Coltrane and Pepper Adams. Jones’ extroverted polyrhythmic style (which means he was able to carry out multiple, seemingly contradictory, recurring rhythms with his left hand, right hand and feet simultaneously), became a main feature of two of jazz’s defining records; My Favourite Things (1960) and A Love Supreme (1964), both of which he recorded with John Coltrane. Discover different drum lessons for kids here on Superprof. How To Learn Jazz Drumming Finally, to conclude this article we will offer some suggestions about where people can access great jazz drumming teachers and mentors. Superprof Superprof is a tutoring website which allows would-be students of any skill to search a catalogue of private tutors and contact the one who they think will be great for them. You can do this with jazz drumming, piano or bass guitar lessons. Just search your query into Superprof’s Australian website and you will find many results from your local area. To contact your tutor and book a lesson, you will have to pay Superprof’s $39 monthly subscription fee. This gives you access to the contact details of as many teachers as you wish to get in touch with for one full month. Not just for guitar, but for anything you want to learn. If you don’t find a teacher who is teaching the skills you want to learn, you will not be charged for anything. Many tutors offer their first lesson for free. This allows you to get to know them, invite them into your home (online or face-to-face), and see if they are the right tutor to teach you going forward. Superprof is a fun, secure, and cost-effective way to take a class in just about anything! Just read the profiles of our great jazz drumming teachers and see if one fits the bill! Join a band Websites such as Bandmix and Meetup offer public forums where people advertise the type of people they want to meet and hang out with. If you already have beginner or intermediate drumming skills, then maybe the most fun way for you to improve is to get experience jamming out with other musicians. Just find a piano, saxophone, guitar and bass player near you and start your own jazz band! That way you can learn in the most invaluable way - through experience. Take Online Lessons There are so many good online courses out there now, so if you can find the right level drumming one (a quick google search for courses on trusted online-education websites such as Udemy and Coursera should do the trick), then you can simply park yourself in front of your kit, with your laptop playing on the side and go ballistic! This could be a fantastic and cost-effective way to learn from some of the best drumming teachers in the world! Like their courses? Give them a positive review so that other learners such as yourself can easily find the best learning material going around! Get started today! In this article alone, we've covered the origins of jazz, the common vocabulary used by jazz drummers as well as reviewing some of the best jazz musicians of all time with sticks in-hand! We've also looked at where you could go to further your jazz drumming journey. So now there's little more left to do than to get out there and keep improving! What are you waiting for?
2202	dbpedia	3	0	https://en.wikipedia.org/wiki/Rimshot	en	Wikipedia	https://en.wikipedia.org/static/favicon/wikipedia.ico	https://en.wikipedia.org/static/favicon/wikipedia.ico	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/en/thumb/f/f2/Edit-clear.svg/40px-Edit-clear.svg.png", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2004-09-03T18:43:04+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Rimshot	Percussion technique This article is about the percussion technique. For the joke punctuation sound, see Sting (percussion). For other uses, see Rimshot (disambiguation). "Gock" redirects here. For the LGBT slang term, see LGBT slang § Terms related to transgender and non-binary people. A rimshot is a percussion technique used to produce an accented snare drum backbeat. The sound is produced by simultaneously hitting the rim and head of the drum with a drum stick. The sound and various techniques [edit] The sound of rimshots can be described as "part normal snare and part loud, woody accent",[1] or "generally sharper, brighter and more cutting [than a standard accent]",[2] since the technique produces large amounts of overtones.[3] The stroke is used on the snare in rock, pop, and blues and on the tom-toms in Afro-Cuban music. The technique is also common in bossa nova, ska, reggae, and rocksteady.[2] In marching percussion, there are three types of rimshots. The most common is the "normal" rimshot, which is played with the tip (bead) of the stick held about three inches (about 8 cm) from the rim. This produces a prominent, accented tone. The second is the "ping shot", where the bead is struck about one inch (2.5 cm) from the rim. This produces a high-pitched sound. The third is a "gock" (also spelled gawk), which is produced by hitting the bead of the drum stick at the center of the drum while the rim is percussed with the distal shaft of the stick (near the hand). This makes a lower sound. In Latin percussion, timbales players use rimshots near the edge of the head, but these sound very different from gocks in marching percussion. In orchestral percussion, a rimshot is performed by placing one drum stick with the stick head near the middle of the drumhead, and the shaft pressed against the rim, and striking with the other stick. This produces a less powerful sound, and is easier to execute than a typical rimshot. This variation is also known as a "stick shot". The rimshot is often confused with the cross stick technique, in which the tip of a drum stick is placed on the head near one of the bearing edges and the shaft of the stick is struck against the rim opposite the tip, thus creating a dry, high-pitched "click" similar to a set of claves.[4] As a result, the stroke is frequently used in bossa nova to imitate the sound of claves; it is also used for ballads in rock, pop, and country music.[2] More general use of the term [edit] The musical phrase played on percussion instruments used to punctuate jokes is known in percussion jargon as a sting. This is often called a rimshot, although some versions of it do not include a rimshot in the technical sense. A rimshot when used to accent the punchline of a joke being told by a live comedian may or may not simultaneously be played with a small cymbal crash. This was popularized in standup comedy by comedians performing at the resorts in the Catskill Mountains region. Many of these comics were of Jewish heritage and were known as "Borscht Belt comics", after a vacation spot in the Catskills. Comedian Henny Youngman used a drummer to play rimshots after his fast-paced, one-liner type of jokes; his most famous line was "Take my wife… please!" Sometimes, the comedian would react to the rimshot as if they did not expect it and in doing so, pass the reaction and responsibility for the rimshot on to the drummer, when in fact, the comedian had previously instructed the drummer when to use and when not to use the rimshot. Despite having previously been scripted into the routine by the comedian, these were designed to appear to be improvised by the drummer, so as to accentuate the joke.[5]
2202	dbpedia	0	20	https://journals.plos.org/plosone/article%3Fid%3D10.1371/journal.pone.0127902	en	Fluctuations of Hi-Hat Timing and Dynamics in a Virtuoso Drum Track of a Popular Music Recording	https://journals.plos.org/plosone/article/figure/image?id=10.1371/journal.pone.0127902.g007&size=inline	https://journals.plos.org/plosone/article/figure/image?id=10.1371/journal.pone.0127902.g007&size=inline	[ "https://journals.plos.org/resource/img/logo-plos.png", "https://journals.plos.org/plosone/article/figure/image?size=inline&id=10.1371/journal.pone.0127902.g001", "https://journals.plos.org/plosone/article/figure/image?size=inline&id=10.1371/journal.pone.0127902.g002", "https://journals.plos.org/plosone/article/figure/image?size=inline&id=10.1371/journal.pone.0127902.g003", "https://journals.plos.org/plosone/article/figure/image?size=inline&id=10.1371/journal.pone.0127902.g004", "https://journals.plos.org/plosone/article/figure/image?size=inline&id=10.1371/journal.pone.0127902.g005", "https://journals.plos.org/plosone/article/figure/image?size=inline&id=10.1371/journal.pone.0127902.g006", "https://journals.plos.org/plosone/article/figure/image?size=inline&id=10.1371/journal.pone.0127902.g007", "https://journals.plos.org/plosone/article%3Fid%3D10.1371/article/figure/image?size=inline&id=10.1371/journal.pone.0127902.g001", "https://journals.plos.org/plosone/article%3Fid%3D10.1371/article/file?type=thumbnail&id=10.1371/journal.pone.0127902.e001", "https://journals.plos.org/plosone/article%3Fid%3D10.1371/article/file?type=thumbnail&id=10.1371/journal.pone.0127902.e002", "https://journals.plos.org/plosone/article%3Fid%3D10.1371/article/figure/image?size=inline&id=10.1371/journal.pone.0127902.g002", "https://journals.plos.org/plosone/article%3Fid%3D10.1371/article/file?type=thumbnail&id=10.1371/journal.pone.0127902.e003", "https://journals.plos.org/plosone/article%3Fid%3D10.1371/article/figure/image?size=inline&id=10.1371/journal.pone.0127902.g003", "https://journals.plos.org/plosone/article%3Fid%3D10.1371/article/figure/image?size=inline&id=10.1371/journal.pone.0127902.g004", "https://journals.plos.org/plosone/article%3Fid%3D10.1371/article/figure/image?size=inline&id=10.1371/journal.pone.0127902.g005", "https://journals.plos.org/plosone/article%3Fid%3D10.1371/article/figure/image?size=inline&id=10.1371/journal.pone.0127902.g006", "https://journals.plos.org/plosone/article%3Fid%3D10.1371/article/figure/image?size=inline&id=10.1371/journal.pone.0127902.g007", "https://journals.plos.org/resource/img/icon.reddit.16.png", "https://journals.plos.org/resource/img/icon.fb.16.png", "https://journals.plos.org/resource/img/icon.linkedin.16.png", "https://journals.plos.org/resource/img/icon.mendeley.16.png", "https://journals.plos.org/resource/img/icon.twtr.16.png", "https://journals.plos.org/resource/img/icon.email.16.png", "https://crossmark-cdn.crossref.org/widget/v2.0/logos/CROSSMARK_BW_horizontal.svg", "https://journals.plos.org/resource/img/logo-plos-footer.png" ]	[]	[]	[ "Acoustic signals", "Signal filtering", "Fractals", "White noise", "Statistical distributions", "Audio signal processing", "Music perception", "Time series analysis" ]	null	[ "Tuomas Virtanen", "Manfred Zollner", "Holger Hennig", "Esa Räsänen", "Otto Pulkkinen" ]	null	Long-range correlated temporal fluctuations in the beats of musical rhythms are an inevitable consequence of human action. According to recent studies, such fluctuations also lead to a favored listening experience. The scaling laws of amplitude variations in rhythms, however, are widely unknown. Here we use highly sensitive onset detection and time series analysis to study the amplitude and temporal fluctuations of Jeff Porcaro’s one-handed hi-hat pattern in “I Keep Forgettin’”—one of the most renowned 16th note patterns in modern drumming. We show that fluctuations of hi-hat amplitudes and interbeat intervals (times between hits) have clear long-range correlations and short-range anticorrelations separated by a characteristic time scale. In addition, we detect subtle features in Porcaro’s drumming such as small drifts in the 16th note pulse and non-trivial periodic two-bar patterns in both hi-hat amplitudes and intervals. Through this investigation we introduce a step towards statistical studies of the 20th and 21st century music recordings in the framework of complex systems. Our analysis has direct applications to the development of drum machines and to drumming pedagogy.	en	/resource/img/favicon.ico		https://journals.plos.org/plosone/article?id=10.1371/journal.pone.0127902	Object of study In our analysis, we focus on one song, I Keep Forgettin’ by Michael McDonald recorded in 1982 [25]. It is a low-mid tempo (96 quarter-note beats per minute) pop-soul song with a well-known 16th note hi-hat drum pattern played by Jeff Porcaro [26]. Jeff Porcaro (1954–1992) was one of the most renowned drummers of his time; a session musician behind recordings of, e.g., Michael Jackson and Madonna, and a member of major rock bands Steely Dan and TOTO. One of Porcaro’s trademarks was his single-handed hi-hat technique that he used to play 16th note patterns with a particularly smooth and groovy feel [27]. I Keep Forgettin’ features this technique in its most recognizable form. In his instructional drumming video Porcaro comments on his hi-hat playing in this song [27]: “I like the single-handed method, because it’s a lot smoother feel. For instance in the Michael McDonald record ‘I Keep Forgettin”, I tried doing the alternating stroke method of doing 16ths, and it sounded just too stiff and staccato for me.” The comment makes an intriguing starting point for the present study from a musicological point of view. The results below reflect Porcaro’s comment in the sense that there is a smooth and subtle modulation in his single-handed hi-hat playing. It is commonly agreed by drummers that, e.g., modulations in hi-hat accents are important in the generation of the “groove”, and Jeff Porcaro is highly respected for this ability. In addition, we find LRCs in both interval and amplitude variations. To find out whether LRCs exist also in two-handed patterns is, however, a subject of future studies. From a physical and mathematical point of view, the selected song is well suited for quantitative analysis for the following reasons. First, the large number of onsets in hi-hats played on the 16th notes allows sufficiently reliable fractal analysis with DFA. Secondly, the song is strongly driven by drums and bass that dominate the instrumentation in most parts of the recording. This helps the precise determination of the onset times. In general, hi-hats suit well for onset analysis due to their high frequency range as shown below (Fig 1). The bright branches at high frequencies correspond to the hi-hat beats. Lower panel: Cross section of the spectrogram with the envelope, amplitude threshold (dashed line), and the detected onset times (crosses). https://doi.org/10.1371/journal.pone.0127902.g001 Onset analysis In the original recording, all instruments are mixed together. To select a specific component from the complete song, here the hi-hat hits, we use frequency filters and semi-automated sensitive onset detection. The onset times of hi-hats are obtained by first applying a computational onset detection algorithm on the audio signal, and then manually editing the onset positions. The original audio signal is an uncompressed stereo WAV file extracted from the original compact disc [25] having sampling frequency of 44.1 kHz and 16 bits per sample. There exist established algorithms for onset detection of musical sounds [28]. In this study we are interested in the onsets of hi-hats only, and therefore generic onset estimation algorithms are not applicable for our purpose. Instead, we implemented an onset detection algorithm for hi-hats in MATLAB [29]. The main challenge in the onset analysis is the polytimbral nature of the material: the signal is a mixdown of multiple instruments that overlap with each other in time and frequency. Hi-hats have most of their energy at high frequencies, whereas most of the other instruments are dominated by low frequencies. In order to make the hi-hat sounds more prominent for the subsequent onset estimation, the signal was first filtered with a 100th-order FIR filter with a cutoff frequency of 8 kHz. The delay caused by the filter was compensated by shifting the signal. Onsets are most clearly visible in the amplitude envelope of the signal as shown in Fig 1. In the automatic onset analysis, the envelope of the filtered signal is calculated by finding the maximum of the absolute value of the signal within a 200-sample (4.5 ms) window centered at each sample. Hi-hat instances are found as the local maxima of the envelope, higher than a threshold that was manually tuned not to discard any real hi-hat instances. The onset time of each hi-hat instance is found by examining a 1500-sample (34 ms) window before each hi-hat instance time, assuming that the hi-hat sound starts at most 34 ms before its maximum amplitude. The onset time is defined to be the time when the amplitude of the envelope rises above 10% of the maximum amplitude of the instance. This percent method has successfully been used to extract onset times of other types of instruments as well [30]. The above method works well for estimating onsets when no other instruments were present. An example of successful onset analysis based on the approach described above is illustrated in Fig 1. However, interference from other instruments may rise the general level of the envelope above 10% of the maximum. In this case, the threshold was doubled until a rise from below to above the envelope was found. Sounds produced by other instruments can produce erroneous onset estimates. Here we use an automatic constraint that the interval between true hi-hat onsets can deviate at most ±20 ms from 157 ms, which is the average interval of the 16th notes. However, there are cases when instruments (mostly snare drums and cymbals) occur simultaneously with a hi-hat sound in the same frequency range and make the determination of the exact onset time impossible. In those cases the onsets were omitted from further analysis. Finally, the onset candidates were manually examined to confirm their correctness. First, the highpass-filtered signal and estimated onset times were visually examined in an audio editor while listening to the original and filtered signals. Second, a “click” track was produced by generating a synthesized click sound at the estimated onset times. The original and the click track were listened alternately to spot any instances where the perceived onset times differed from each other. As a result of the examination, the onset times were manually changed to match with the perceived hi-hat onset times. The above methods were used in small segments of the signal at a time, and each segment was examined multiple times to verify the correctness of the onset times. In total we detected 931 hi-hat onsets (see S1 Dataset). All the onsets were used for the analysis of amplitudes below. For the analysis of hi-hat interbeat intervals, however, we included only the clearly detected 16th note intervals. Therefore, we needed to omit the intervals having a missing onset (or many of them) in between. Also the 8th note intervals with an open hi-hat, often played at the end of the phrase consisting of two bars (see below), were omitted. The total number of detected 16th note hi-hat intervals is thus 708, leading to a considerably large detection rate of 76% in the intervals with respect to the total number of onsets. Detrended fluctuation analysis DFA is a widely used method in time-series analysis to study long-range correlations, particularly the 1/f noise [31]. Several studies over the past 20 years have shown the usefulness of DFA to determine fractal properties of non-stationary time series [6, 13, 31–33]. Outside the time domain, it has been used to study, e.g., DNA structures [34], and very recently also magnetoconductance of chaotic quantum dots by some of the present authors [35]. The reliability of DFA against alternative methods to determine fractal properties has been quantitatively confirmed by Pilgram and Kaplan [36]. The 1/f noise essentially means that the power spectrum of a signal f(i) is of a power-law form S(f) ∼ 1/fβ with β ∼ 1. This is often referred to as pink or flicker noise that has intermediate predictability between (i) white noise with β = 0 and no correlation between consecutive values and (ii) Brownian motion with β = 2 and strongly correlated values generated by uncorrelated consecutive increments[1]. In this context, 1/f fluctuations are often called fractal, for β corresponds to the self-similarity parameter (Hurst exponent) α, which describes the temporal scaling of a signal X(t) in a statistical sense: X(bt) = bα X(t), where b is a scaling factor. In turn, α corresponds also to the exponent in DFA (see below). In the DFA context, α and β are related as β = 2α−1 [37], and fluctuations leading to 0.5 < α ≤ 1.5 are generally referred to as long-range correlated (LRC). Anticorrelations are present for −0.5 < α < 0.5. Generally, we speak of the 1/f regime when α = β = 1 within statistical errors. We apply DFA to (i) the fluctuations of the interbeat intervals (from the mean) and (ii) the fluctuations of the onset amplitudes. In the following we exemplify the conventional DFA procedure [31, 32] for the former case. In the notation we partly follow Ref. [38], where DFA was applied to rainfall and streamflow data. The onset times are denoted by f(i), so that the set of interbeat intervals becomes τ(i) = f(i+1)−f(i). Next, we subtract the mean of the intervals ⟨τ⟩ to obtain a set of the fluctuations of the intervals from the mean, i.e., Δτ(i) = τ(i)−⟨τ⟩. Our interest lies now in the (possible) LRCs in Δτ(i). To this end, we first integrate the series by calculating a function (1) where N is the number of data points. Next, we divide the i axis into N/s non-overlapping windows each consisting of s data points. In each window, a least-squares line ys(i)—that represents the trend in the window – is fit to y(i) and the residuals y(i)−ys(i) are calculated (detrending). Thus, we use linear detrending; quadratic (or higher order) detrending did not lead to a qualitative difference. The root-mean-square fluctuations for a window of size s are calculated by (2) Finally, we take a mean value over all N/s elements of Fk(s) to obtain F(s) = ⟨Fk(s)⟩. The procedure thus yields a relationship between the average fluctuation within a certain window size and the window size itself. We can now examine whether F(s) scales as F(s) ∝ sα, where the scaling (DFA) exponent α is the slope of the line relating logF(s) to logs. The white noise and the Brown noise (integrated white noise) correspond to α = 0.5 and α = 1.5, respectively, whereas 0.5 < α ≤ 1.5 indicates LRC, and the special case of flicker noise α = 1 corresponds to 1/f behavior. In this work, DFA results are supplemented by the globally detrended power spectral density (gPSD) analysis described in detail in Ref. [15]. It is a modification of the conventional PSD method and includes prior detrending with higher-order polynomials (beyond linear global detrending). Higher-order polynomial detrending has proven to be crucial when nonstationary time series—here, recordings without the metronome—are analyzed. This is expected to be even more important when real-world recordings are studied as in the present work. We point out that DFA as well as gPSD are subject to intrinsic errors analyzed in detail by Pilgram and Kaplan [36]. These errors in the estimate of the scaling exponent do not include the numerical error of the least-square fitting procedure. In practice we expect the errors for our data sets to be below ∼ 10%, which does not lead to a qualitative difference in the interpretation of the results. Statistical properties and the drift The extracted hi-hat interbeat intervals (in seconds) and the amplitudes (in arbitrary units) of all the detected onsets are shown in Fig 2a and 2b, respectively. As we include only the 16th note intervals (see the onset analysis above), there are fewer data points in (a) than in (b). The intervals deviate around the mean value ⟨τ⟩ ≈ 156.6 ms. The qualitative shapes of the curves, especially the intervals in Fig 2a, already suggest possible LRCs, but this issue is analyzed in detail in the next section. (a) Detected 16th note intervals in the song. (b) Detected onset amplitudes. (c-d) Corresponding statistical distributions of (a) and (b), respectively. The distribution of the intervals resemble a Gaussian distribution with a mean value 157 ms and a standard deviation of 8.7 ms. https://doi.org/10.1371/journal.pone.0127902.g002 The statistical distributions are shown in Fig 2c and 2d, respectively. As expected, the intervals follow a Gaussian-type distribution with a standard deviation of 8.7 ms from the mean value. A chi-squared test confirms the Gaussian shape, and a skewness test indicates strong left-right symmetry with a minor, non-significant positive skewness. For comparison, in Ref. [6] the drummer had a larger standard deviation 15.6 ms when trying to synchronize with the metronome at 180 beats per minute. In both cases, however, the distributions have a Gaussian form. On the other hand, the hi-hat hit amplitudes shown in Fig 2d seem to consist of two overlapping distributions. This results from intentional accents on the every second 16th note as demonstrated below in more detail. In Fig 3 we show the drift of the 16th note pulse during the song. The drift d(i) can be found by comparing the time t(i) = i⟨τ⟩ to the cumulative sum of the intervals at that time, i.e, (3) It should be noted that the plot has been adjusted according to the missing onsets that lead to larger intervals in the data. As these larger intervals are practically close to multiples of the 16th note intervals, we have included them in the drift plot by dividing them by the closest multiple of the average 16th note interval. However, these parts can generate irregular steps in the data. They are clearly visible close to the end of the song, where there are strong orchestral parts that hinder the detection of onsets. From the drift in Fig 3 we can make two interesting observations. First, it seems obvious that Porcaro recorded the track without a metronome, i.e., a click track commonly used by drummers. This can be deduced from a drift in a 300 ms scale over very long periods. Although drummers often “wander” around the click track intentionally, our example does not resemble such behavior. This finding is in line what has been commented by Grammy Award winning musician, producer, and recording engineer Jay Graydon [39], who has recorded with Porcaro: “When playing with Jeff, better not to use a click since he played inside the cracks and his time float is what made him great.”[40] According to Porcaro himself, the recorded track was “take two” [41]. Secondly, in Fig 3 we have marked the parts of the song (intro, A, B1, B2, C, outro) and separated them by vertical lines. Most lines coincide with changes in the slope of the drift. For example, the first vertical line at 40s corresponds to the beginning of the B1-part, “Every time you’re near…” [25], where the 16th note pulse (and thus the tempo of the song) starts to accelerate slightly. Further acceleration occurs at 60s until the A part starts ten seconds later – again with a negative slope of the drift as in the first A part in the beginning of the song. However, it is important to note that these changes in the pulse are practically non-audible to the ear. Fractal analysis Next we turn our attention to the DFA and power spectral analysis, starting from the fluctuations of the 16th note intervals in Fig 4a and 4b. The fluctuations F(s) show a relatively sharp kink at s ≈ 30…50, corresponding to a time scale s⟨τ⟩ ∼ 5…8 seconds. On a smaller scale we find a DFA exponent of α = 0.31 indicating anticorrelations. This is in line with previous studies on finger tapping and playing simple rhythms [1, 8, 9, 15] (see also below). In contrast, on a larger time scale the existence of LRC fluctuations can be confirmed with α = 0.72. This is one of the main findings in this work that confirms the existence of rhythmic LRC fluctuations outside laboratory conditions and/or without a metronome, in particular, in a recorded piece of music. The data points in Fig 4a fit well on straight lines, and the fitting is relatively stable against both the order (1st, 2nd) of DFA and the number of windows. The results in the power spectrum in Fig 4b, where we used linear detrending and a window size of 1/4 of the data, support the conclusions of DFA. Results from the DFA (left panel) and power spectral analysis (right panel) for the fluctuations of the interbeat intervals (a, b) and the beat amplitudes (c, d). https://doi.org/10.1371/journal.pone.0127902.g004 For the amplitudes, DFA yields a single exponent of α = 0.63 with a very good fit as shown in Fig 4b. Thus, as our second important finding, the amplitudes—or dynamics in drumming terminology—show clear LRC fluctuations, albeit they are not particularly strong (i.e., not very close to the 1/f limit with α = 1). As shown in the power spectrum in Fig 4d, generated with linear detrending and a window size of 1/4 of the data, shows a change of slope at very high frequencies. Amplitude patterns in this regime are analyzed in detail in the next section. Turning back to the interval analysis, it is interesting to note that the time scale of the changing slope in Fig 4a roughly corresponds to the two-bar phrase of the song consisting of 32 hi-hat notes and the characteristic bassline of the song. In the power spectrum, the slope changes at ∼ 0.1 Hz, which is the same order of magnitude found for finger tapping [1] and simple rhythms [15]. At higher frequencies the spectrum whitens and might even become anticorrelated. In particular, we find clear lag-1 anticorrelations as demonstrated by the Poincaré map [42] in Fig 5. The map shows consecutive interbeat intervals, τi versus τi+1, sometimes referred to as return times. The distribution of the points indicates a negative correlation, which can be confirmed from the calculated Pearson correlation coefficient that has a value −0.48. The semiaxes in the fitted ellipse correspond to the double of the standard deviations. The lag-1 anticorrelations essentially mean that, statistically, long intervals tend to be followed by short intervals and vice versa in order to maintain a given tempo. This effect has been found before, and it has been included in the models of Wing and Kristofferson [43] for a 1/f inner clock and Gilden et al. for a white-noise inner clock. A detailed analysis and discussion of the source of white and pink noise in human behavioral data can be found, e.g., in Ref. [44]. Lag-1 anticorrelations have recently been found also when two musicians interact [15]. However, lag-1 anticorrelations decay exponentially over time, and hence they are seen only for high frequencies in the power spectral density. Interestingly, the Poincaré map in Fig 5 is very different from the corresponding plot for consecutive heartbeat intervals, which show a positive correlation in the Poincaré map [42] in the case of healthy subjects. Such a correlation has been recently found even for stem cell-derived cardiomyocytes [45]. The positive correlation here simply means that if a certain hit is behind the mean occurrence, it is (statistically) likely that the following hit is behind as well. In this respect, drumming patterns and other intentional rhythmic tasks show exactly the opposite behavior. Short-scale patterns Finally we examine the short-scale interbeat and amplitude variations in the hi-hat pattern. In Fig 6 we show the hi-hat interbeat intervals (a) and amplitudes (b) of the first ten bars of the song, each consisting of 16 hits. Thus, we consider here the intro part of the song, where we have a minimal number of missing onsets. We point out that in Fig 6a the intervals are shown at half hit indices on the x-axis to indicate their temporal location between the hits. It should be also noted that hits at the last 16th note are missing, since apart from the 1st and 9th bar, there is always an open hi-hat played at the 15th note. This is shown in the drum score plotted in Fig 7 for bars 9–12. We point out that the drum score of bars 1-4 is identical apart from the replacement of the snare by a cross-stick rimshot. (a) 16th note interbeat intervals during the first 10 bars in “I Keep Forgettin”’. Each bar consists of 16 hits, and the corresponding intervals are marked at half-integer values. The interval between the 15th and 16th note is missing due to open hi-hats at the end of almost all bars (see text). The circles and squares correspond to odd (1, 3, …) and even (2, 4, …) bars, respectively. (b) Same as (a) but for the hit amplitudes. Again, the 16th hit is missing due to the open hi-hat—see the drum score in Fig 7. https://doi.org/10.1371/journal.pone.0127902.g006 The 16th notes are marked on the upmost line. The (clearest) accents are marked by the symbol “>”, and the open hi-hat is marked by a symbol “o” on top of the 8th notes. The score can be compared to the detected 16th note intervals and amplitudes in Fig 6. The drum score of bars 1-4 is identical apart from the replacement of the snare by a cross-stick rimshot. https://doi.org/10.1371/journal.pone.0127902.g007 In Fig 6 we have marked odd (first, third, …) and even (second, fourth, …) bars by circular and square points, respectively. As discussed above, each musical phrase of the song, characterized by the bassline, consists of two consecutive bars (odd+even). In Fig 6a we are able to detect clear correlations between the bars for interbeat intervals, although this effect is much more pronounced in the case of amplitudes in (b). The mean correlation coefficients R(i,j)=C(i,j)/C(i,i)C(j,j) (with C(i,j) as the covariance matrix) for all the ten bars are as high as 0.48 and 0.88 for intervals and amplitudes, respectively. Interestingly, for only odd (even) bars the mean coefficients are higher; 0.51 (0.53) in the case of interbeat intervals, and 0.93 (0.92) in the case of amplitudes. This difference from the mean of all the bars, albeit not remarkably large, is understandable in terms of the two-bar phrase of the song. Thus, in several ways, patterns within the phrase are subject to subtle intentional and instinctive musical interpretations. In small scales, however, the interval fluctuations may also be affected by motor delays [1] discussed above that lead to vanishing LRCs [Fig 4a and 4b]. From a musical point of view, especially the amplitudes in Fig 6b have an intriguing pattern beyond the clearly audible 8th note accenting (on the every second 16th note) which is marked in the drum score in Fig 7. The complex amplitude sequence can be described as high—low—medium—low—very high—low—medium—low—high—low—medium—low—very high, etc., where “very high” corresponds to the simultaneous hit on the snare with the left hand as seen in the drum score in Fig 7. The highest peaks in the last two bars in Fig 6b might be affected by a leakage from the snare signal to some extent. Nevertheless, the rest of the pattern is unaffected.
2202	dbpedia	2	39	https://www.vsl.info/en/academy/percussion/snare-drum	en	VSL - Academy			[ "https://www.vsl.info/academy/images/cover/snaredrum.jpg", "https://www.vsl.info/academy/images/snare-drum/sdrum-02.png", "https://www.vsl.info/academy/images/snare-drum/sdrum-03.png", "https://www.vsl.info/academy/images/snare-drum/sdrum-04.png", "https://www.vsl.info/academy/images/snare-drum/sdrum-05.png", "https://www.vsl.info/academy/images/snare-drum/sdrum-06.png", "https://www.vsl.info/academy/images/snare-drum/sdrum-07.png", "https://www.vsl.info/academy/images/snare-drum/sdrum-08.png", "https://www.vsl.info/academy/images/snare-drum/sdrum-09.jpg", "https://www.vsl.info/academy/images/snare-drum/sdrum-10.png", "https://www.vsl.info/academy/images/snare-drum/sdrum-11.svg", "https://www.vsl.info/academy/images/snare-drum/sdrum-12.svg", "https://www.vsl.info/academy/images/snare-drum/sdrum-13.svg", "https://www.vsl.info/academy/images/snare-drum/sdrum-14.svg", "https://www.vsl.info/academy/images/snare-drum/sdrum-15.svg", "https://www.vsl.info/academy/images/snare-drum/sdrum-16.svg", "https://www.vsl.info/academy/images/snare-drum/sdrum-17.svg", "https://www.vsl.info/academy/images/snare-drum/sdrum-18.svg", "https://www.vsl.info/academy/images/snare-drum/sdrum-19.svg", "https://www.vsl.info/academy/images/snare-drum/sdrum-20.svg", "https://www.vsl.info/academy/images/snare-drum/sdrum-21.svg", "https://www.vsl.info/academy/images/snare-drum/sdrum-22.svg", "https://www.vsl.info/academy/images/snare-drum/sdrum-23.svg" ]	[]	[]	[ "" ]	null	[]	null		en	/academy/css/favicon.ico		null	Snare drum History The frame drum and timbrel in the Middle Ages Medieval Europe was home to an enormous variety of drums, most of which had originated in the Orient. The most widespread forms were the frame drum and the timbrel, a forerunner of the present-day tambourine. The frame drum consisted of a rectangular or circular wood frame with a head; the underside was open. The main difference between the frame drum and the timbrel was the presence of the jingles that were attached to the latter's shell. While the timbrel was still struck with the flat of the hand in the Middle Ages, like its predecessor in antiquity, an additional, one-handed technique was emerging for the frame drum: traveling minstrels used it mostly to accompany the single-handed pipe and hung it to one side on a strap over the shoulder, where the musician struck it with a beater while playing the pipe with the other hand. Frame drum (from: Praetorius, Syntagma musicum, 1620) The medieval tabor Evidence of a forerunner of the snare or side drum in Europe exists at least from the 14th century in the form of the tabor, a small, double-headed drum with a cylindrical shell of wood and one or more snares stretched across the batter head. The calfskin or sheepskin heads were rope tensioned, the ropes criss-crossing between the hoops of the batter and snare heads. The drum hung at the side of the âplayer of the pipe and taborâ who beat the rhythm with a drumstick while playing a melody on the single-handed pipe with the other hand. The minstrels' drum had to be fairly light and easy to carry because it hung over the player's forearm, and for this reason it was rather small and not very loud. Tabor (from: Praetorius, Syntagma musicum, 1620) Drum names In the Middle Ages there were no standard names for drums. The oldest appellation was probably the Latin tympanum, which originally described flat frame drums but in the later Middle Ages was used for every drum-like instrument (including timpani). In addition to this the term tabor (German tambur, French tabour, tambour) became widespread. In German-speaking countries the onomatopoeic name Trommel (from the Old High German trumme, trumbe = booming instrument) appeared in the 12th century and initially described both membranophones and trumpets. It is from this term that the English word drum (drome, drume) evolved which replaced the name tabor in the 16th century. Side drum or field drum In the 14th century the practice of one man playing both pipe and drum ended, the instruments being played henceforth by two musicians. This separation was a consequence of the way the two instruments were evolving: the pipe's compass was increased, making it necessary to use both hands to play the instrument, and the relatively soft-sounding tabor was made larger to increase its volume, which was a requirement particularly of military music. The result was the side or field drum. The history of the town of Basel in Switzerland records the existence of an âAssociation of Drum and Fifeâ as early as 1332. The members of this âguildâ were important figures at public festivities. Lansquenet drum ("Soldiers' drum", from: Praetorius, Syntagma musicum, 1620) In the course of the 15th century the drum that was struck from the side became ever larger and ever louder to meet the changing requirements of military bands. It became too large to be hung over the forearm and was now attached to a strap over the drummer's shoulder or tied to a belt around his waist. The widely known âSwissâ drums became the model for drum-makers all over Europe. The small tabor remained in use as a folk instrument while the new, large drum became an important instrument with lansquenets (German foot soldiers). It is for this reason that the side drum is sometimes also called the field drum, or, in historical contexts, the lansquenet drum (tambour de lansquenet) or long drum. âFife and drumâ symbolized the common foot soldiers, while trumpets and kettledrums represented the cavalry. The field drum was between 50 and 70 cm deep (some models were as deep as one meter) and had a diameter of 50 cm. It was beaten with a pair of heavy sticks. From the 16th century the snares were stretched across the lower skin, the snare head. Basel drum The field drum's main task was to give signals and mark the marching rhythm. Single and double beats and rolls were already standard playing techniques. In the 17th and 18th centuries the field drum continued to evolve within the context of military bands. One of the principal aims was to reduce its dimensions, especially the depth of the shell, while retaining the volume. Basel drum This smaller version of the field drum is nowadays called the Basel or parade drum. The drums used by the distinguished Basel Drum Associations still have the original form, the head tensioned extremely tightly by criss-crossing cords to produce a bright tone. The Basel drumming style has a long tradition in which bounces and virtuoso embellishments play an important role. On contemporary models of this drum the head is tensioned with screws. Military side drum When in the mid 18th century the bass drum and Turkish drum arrived at the courts of European princes with Janissary music the depth of the side drum's shell had already been reduced to 40â45 cm, its diameter to 40 cm. The body, previously made of wood, could now also be brass. In the 19th century the drum's dimensions were reduced to a shell depth of about 40 cm and a diameter of 40 cm, in other words, the depth now corresponded to the head diameter. Such drums became widespread in many countries. English speakers called it the military snare drum, Germans the MilitÃ¤rtrommel, the French the tambour militaire and the Italians the tamburo militare. This drum is still used in military bands today. At the same time manuals on the basics of drumming began appearing in Europe and the USA. In addition, drummers in military bands had to be able to play a large number of signal calls which with orders were passed on to the troops in a coded drum pattern. In the 19th century bugles took over this task. Drums were also used as signaling instruments in shipping and navigation, and, albeit rarely, in civilian life. Admittance into the orchestra 100 years later than the timpani â in the second half of the 18th century â the side or field drum appeared in the orchestra for the first time, under the name tambour: Georg Friedrich Handel and Christoph Willibald Gluck used the instrument in their Fireworks Music (1749) and Iphigenie auf Tauris (1779) respectively. But drums have never achieved the same importance as timpani in the orchestra and their chief province remains marching music to this day. Because the drum had often been used in the midst of battle its first tasks in the orchestra were to evoke a military atmosphere, as in Josef Haydn's Military Symphony (1794). Ludwig van Beethoven gave the drums authentic tasks in his battle symphony Wellington's Victory (1813), giving each of the armies its own drum signal. The drum was used more extensively in the opera orchestra, e.g. by Gioacchino Rossini, who even used it as a solo instrument in his opera The Thieving Magpie (1817), which earned him the nickname âTamburossiniâ. Tambourin (tambour provenÃ§al) Beside the tambour â in historical scores this refers to whichever form of the side drum was in use at the time â an instrument with the name tambourin enjoyed huge popularity especially in 18th century French opera. This was a drum played with one hand and made of very light wood, with a shell about 70 cm deep and a single head. Direct descendants of this tambourin or tambour provenÃ§al are still used today in folk music in southern France. The instrument should not be confused with the tambourine with its jingles. Die Kleine Trommel In 1837 the Englishman Cornelius Ward was a central figure in the invention of screw tensioning, which rapidly replaced rope or cord tensioning. This innovation meant that the snare drum could now be even flatter: the shell depth was reduced to 20 cm, in some instances even to 10 cm. In the second half of the 19th century flat drums with a larger diameter (approx. 35 cm) than shell depth were adopted as rhythm instruments by salon orchestras, dance bands and jazz ensembles. At the beginning of the 20th century this small version became generally known as the snare drum or side drum. The best-known orchestra piece in which the snare drum plays a vital role is Maurice Ravel's BolÃ©ro (1928). New impulses from jazz At the beginning of the 20th century the snare drum was already an essential component of jazz percussion. The influence of jazz brought a host of innovations to the snare drum's construction and playing techniques. The hoops, which until the end of the 19th century had been made of wood, were replaced by metal ones. In 1898 the percussionist Ulysses Grant Leedy made the first adjustable stands for the snare drum. In about 1914 Robert Danly invented the snare strainer to lift off the snares, making it possible to produce a kind of tom-tom effect on the snare drum. In 1957 the first drum with a synthetic head appeared on the market. Because of its resistance to changes in temperature and humidity â it is waterproof, robust and cheap â the plastic head proved a huge success in popular music, whereas orchestra musicians preferred to continue with natural heads, which, for the most part, they still do today. 20th century composers expanded the snare drum's range of tasks: beside its traditional rhythmic function, which became more complex and varied, tonal aspects gained importance. Moreover, the drum was also used as a solo instrument. Efforts to find new timbres resulted in experiments with the striking spot and various types of stick. Ultimately new techniques such as striking the rim, or the rim shot (striking the head and the rim at the same time) or playing with wire brushes were able to establish themselves in more recent orchestral works. Construction Shell 1 Tensioning mechanism 2 Snare release lever 3 Shell 4 Tensioning brackets 5 Counter hoop 6 Tensioning screw The shell of the snare drum is relatively shallow and is generally made either of wood or metal. Plastic is only rarely used. On the underside of the shell there are grooves for the snares. These are called the snare bed. When the strings are stretched taut they are pressed into these grooves, which improves their contact with the head. The tensioning mechanism for the snares is on the side of the shell: the percussionist tightens or loosens the strings with a lever, so that they are either pressed against the head or lifted off of it. In addition, the lever is fitted with a screw which allows precise adjustment of the string tension. The shell always has a small hole for pressure compensation of the enclosed air when the drum is struck. Extremely shallow versions of the snare drum have become known as piccolo snare drums. Heads Over both openings of the cylindrical shell a head of calfskin or plastic is stretched. Plastic heads are either clear or coated. The batter head is at the top of the drum, the snare head at the bottom. The heads are stretched over a flesh hoop, which has a slightly larger diameter than the shell. A counter hoop placed on the flesh hoop is screwed with long screws or threaded rods to the tensioning brackets which are mounted approximately in the middle of the shell. Rope or cord tensioning, as on the medieval side drum (field drum), is rare today. In order to produce a good tone the heads, which must not be too thick, must have an even tension over-all. To produce a tone with indefinite pitch the head must meet two criteria: Thickness: the thicker the head, the more likely the instrument is to develop a definite pitch. To prevent this, the snare head is somewhat thinner and more elastic than the batter head. Tension: it must be possible to tune both heads independently. Most drummers prefer the batter head to be more tightly tensioned. Until the 20th century musical opinion dictated that a definite pitch was something to be avoided at all costs. Today, however, the tuning of the snare drum to an exact pitch is occasionally required. Snares The snares, of which there are usually 8â18, are stretched across the snare head and are primarily responsible for the instrument's crisp sound. What the snares are made of depends on how and where the drum is employed or from where it originated: In military bands, gut snares are often still preferred for their precise and snappy sound. In jazz, rock and pop music, wire coil snares create a buzzing and diffuse impression. The snares on orchestral drums are somewhere between these two extremes, being made of silk or nylon wound with metal, although there is currently a tendency to revert to gut snares. Taut snares containing metal are very susceptible to sympathetic vibration in the orchestra, and can vibrate from the sound of other instruments (such as the horns, or the timpani, which are often close to the snare drum). To prevent this, the drummer immediately releases the snares (hopefully! -:) when the instrument is not being played. Stand For playing, the snare drum is placed on a firm stand, the height and angle of which can be adjusted. Sticks & Mallets Drumsticks and other sticks Snare drum sticks The snare drum is usually beaten with special drumsticks: these are thin, tapering to the tip, about 36 cm long, made of hard wood and have round or oval tips. Oval tips are sometimes covered in plastic. In military music it is customary to use relatively thick and heavy sticks, whereas in jazz, thin and light sticks are preferred. Orchestral musicians choose their sticks according to the requirements of the work to be performed. Snare drumsticks. Far right: a field drumstick for comparison Other sticks Occasionally other sticks are used on the snare drum: Wire brushes: striking or brushing with one or two brushes. This practice is very common in jazz (on drum kits) Small timpani mallets: produce a short, dead tone and are generally used with the snares off. Hard felt mallets: when the snares are released these mallets produce a precise, coarse sound. Marimba beaters: when the snares are released these beaters produce a dark sound. Notation Modern notation Since the 20th century the snare drum part has been written on a single line with no clef. This type of notation became standard because the drum has no definite pitch. As a rule, the snare drum is played with tightened snares, and this is not indicated in the score. What is explicitly written into the score is the composer's instruction to play snares off (German: ohne Schnarrsaiten, French: sans timbre, Italian: senza corde). In historical scores playing without snares is often indicated by the instruction muffled (German: gedÃ¤mpft, Italian: coperto). Notation of tied trills, press rolls and open rolls Tied trills, press rolls and open rolls are notated as if they were either tremolos or trills. When a trill (or tremolo) occurs in the score the drummer's decision of whether to play it as a tied trill, press roll or open roll is dependent on the tempo. At a fast tempo with two strokes in rapid succession a tied trill is always played; press rolls or open rolls are more suitable for longer rolls. Historical notation In older works the snare drum part is usually written in treble clef on the C5 line. In works from the mid 19th century onward a tambour militaire is often asked for. In the orchestra such parts are usually performed by a snare drum tuned to a lower pitch (or a tenor drum), because the military snare drum with its somewhat deeper shell is often not available. If both a tambour militaire and a caisse claire are required in the same part, two snare drums of different sizes or with distinct tunings are used. Sound production Attack The snare drum is beaten with two drumsticks, held one in each hand. Unlike the timpani, striking the head of the snare drum does not produce a definite pitch, or at least one that can only be determined with difficulty. It is the construction of the drum that causes it to have no definite pitch. Heads are stretched across both ends of the shell. The vibrations stimulated by striking the head are magnified by the resonance of the shell and the air inside it. They cause the snare head to vibrate and this reacts both on the batter head and outwardly. The sound contains a great many inharmonic partials in close proximity to each other and this results in a sound which has very much the character of noise. Because the two heads have neither same degree of tension, nor the same thickness, the batter head and snare head vibrate at different rates which contributes to the indistinctness of pitch. There is always a small hole in the shell that acts as a vent, preventing a build-up of excessive air pressure inside the shell. The striking spot, the point on the head that produces the best sound, is more or less in the center of the batter head (unlike the timpani, where it is about a hand-width from the rim). The nearer the rim the head is struck the less volume of sound is produced on the snare drum and the less discernible its fundamental pitch â the upper register dominates. It is for this reason that the drummer plays nearer the rim to achieve decrescendo and piano effects. Compared to the bass drum the snare drum's resonance is very short, owing to its smaller dimensions. The drum's small resonant chamber means that its pitch is relatively high, somewhere in the region of one octave above middle C. The hard drumsticks produce a particularly bright sound. Grip Traditional grip Traditional grip, which developed in the Middle Ages, when the drum rested at an angle on the marching drummer's left hip and was struck from the side: The right hand holds the drumstick like a timpani mallet and beats straight up and down. The left hand makes a sweeping movement, the drumstick rests in the cleft between the thumb and index finger and on the bent ring and little fingers, while the tip of the middle finger holds the stick steady on the ring finger. Matched grip Today the drum is usually placed on a stand, and is only rarely played hanging to one side from the drummer's shoulder, e.g. in (military) parades. The traditional grip has therefore become less appropriate and many drummers prefer to use the so-called matched grip, holding both sticks like timpani mallets. Snares The snare drum is generally played with the snares taut. It is the snares that are chiefly responsible for the drum's characteristic sound: the snare head vibrates against the snares, which lie taut across it, causing these to vibrate in sympathy. This results in a metallic-bright, hissing to crisp sound which to the ear sounds about an octave higher than the drum without snares. More loosely tensioned strings vibrate more than tightly tensioned ones. In addition, the snares vibrate more strongly the nearer the rim the batter head is struck. Playing position In the orchestra the snare drum is placed on a stand. Some drummers prefer to play it seated, others remain standing. Playing Techniques General The performance of grace notes (drags and flams), rolls and rhythmic figures of all kinds are part of the snare drum's characteristic repertoire. The bounce â allowing the stick to rebound and strike the head a second time â plays an important role in drumming technique. Such double strokes, which are known as mammy-daddy beats (notation: LLRRLLRR), constitute the basis of a great many playing techniques. Bounces are not used either on the bass drum or the timpani. Single stroke Single strokes are very short sounds and are played with either the left or the right hand (L or R) as the drummer prefers. If single strokes are to be accentuated they are either played more loudly (notated accent) or, very occasionally, with both sticks simultaneously. This is indicated in the score by double-stemmed notes. Single strokes are occasionally played by one drummer on two drums at the same time. Double stroke The drummer makes use of the stick's rebound, allowing it to bounce again after the first beat with the same force by applying pressure with the finger. Also known as mammy-daddy beats or rolled grace notes, depending on the context. (LL or RR). Repetitions A sequence of single beats is played either with the left and right hand alternately (LRLR) or as a combination of single and double strokes (LRRLRR or RLLRLL), depending on the rhythm, accentuation and tempo. Repetitions can be performed at a very fast tempo up to roll speed. The paradiddle is a kind of rhythmically accentuated repetition. Grace notes Are among the snare drum's typical techniques. Flam: One faint beat is played as a grace note before the main stroke (lR or rL). Drag: Two faint beats are played as grace notes before the main stroke either as single strokes (lrL or rlR) or as a double stroke (rrL or llR). Three stroke ruff: Three faint beats are played as grace notes before the main stroke: three alternate single strokes (rlrL or lrlR) or a double stroke plus a single stroke (llrL or rrlR, or rllR and lrrL). At very fast tempos the three grace notes can also be played as a tied trill. Four stroke ruff: Four faint beats before the main stroke. Possible variations: alternate single strokes (lrlrL or rlrlR) or two double strokes (llrrL or rrllR). At very fast tempos the drummer may choose to play the four grace notes as a tied trill. Paradiddle This is one of the rudiments of drumming and is used mainly in military music. A rhythmic figure which alternates between a pair of single strokes and a double stroke (mammy-daddy stroke): L R LL R L RR L R LL R L RR etc. This gives the drummer the possibility of lively phrasing. Tied trills The drummer strikes the batter head with the drumstick, which he allows to bounce as long as required by the note value. The individual bounces should not be countable or heard as single beats. Multiple ruffs are often played as tied trills. Rolls The supreme drumming technique â a series of strokes which are not perceived as individual beats and are free of accentuation. Rolls can be performed in various ways: As a rapid series of tied trills alternating between the left and right hand and overlapping. It is essential that the sound of the drumstick making contact with the head is not heard, which is extremely difficult to master. This type of roll is called the press or closed roll. As a series of double strokes (the two-stroke or âlegitimate rollâ). This is the traditional roll and is preferred by a number of orchestra percussionists. It is the open roll. As a series of single strokes (one-stroke roll). This technique originated on the timpani and was adopted chiefly by rock and pop drummers in the 20th century. In more recent times, rolls have usually been notated as trills. In older scores they were also notated as tremolos. Rim shot The head and rim are struck simultaneously with one drumstick, which results in a cracking noise like a pistol shot. The technique originated in jazz and is extremely difficult to perform with precision. Stick on stick The drummer places one of the drumsticks on the drum so that the handle rests on the rim and the tip on the head between the center of the head and the rim. This stick is then struck with the other one. This technique is often used instead of the rim shot, which is extremely difficult to perform with precision, although the effect is far less impressive. Rim click The drummer places one of the drumsticks on the drum so that the handle rests on the rim and the tip on the head between the center of the head and the rim. While the tip remains lying on the head the handle is struck against the rim, which results in a clicking noise. Wire brushes The drummer either strikes the head with the brush or firmly brushes it, which produces a bright rushing sound (in silent films this technique was used to imitate the sound of steam locomotives). With two brushes beating alternately rapid sequences up to roll speed are possible. This is another technique that entered the orchestra by way of jazz. On the wood Some early 20th century scores contain the instruction âon the woodâ (German: auf dem Holz, French: sur le bois). This was an instruction to strike the rim on the counter hoop, which at that time was still made of wood. Nowadays the wood or metal hoop is struck, or the shell, if this is made of wood. With released snares (German: ohne Saiten, French: sans timbre, Italian: senza corde). Playing without snares. The sound is similar to the tom-tom, though usually brighter. Felt-covered mallets are often used. The softer the stick when playing snares off and the nearer the rim the head is struck, the more diffuse the sound.. Coperto (Muffled; French: voilÃ©) The batter head is covered with a cloth, a (clean!) handkerchief or an eraser and then struck. This technique is used primarily in funeral marches. Many composers also wrote âmutedâ (damped) in the score when they meant that the snares should be released. Sound characteristics Bright, hard, clear, precise, metallic, shrill, noise-like, sharp, penetrating, rustling, hissing, shuffling, rattling, clattering, dry, cracking. The sound is dependent on a number of factors: The snares: if the snare drum is played snares off it sounds hard, dry, dead and lower-pitched. The sticks: if timpani mallets (or marimba mallets) are used the sound is dark and muffled. Head tension: if the batter head is braced more tightly, the pitch rises. The shell: the deeper the shell, the darker (lower-pitched) the sound. The striking spot: generally in the center; the closer to the rim, the quieter the tone. Snare tension: the tighter the strings are tensioned, the higher the sound (slight variations only). The term âtoneâ is used when talking about drums even though the instrument does not produce a definite pitch. The snare drum's register is somewhere in the region of one octave above middle C. Following the attack only a short tone sounds which can last between 0.5 and 3 seconds depending on the string tension. What is then heard, however, is only the vibration of the strings which usually takes the form of a single tone. The snare drum can be played from very quietly to very loudly and is quite capable of leading an entire orchestra; it can always be heard. Sound combinations The snare drum's tasks are first and foremost rhythmic (rhythmic sound effects). Probably the most famous example of this is Ravel's BolÃ©ro, in which two drummers lead the whole orchestra and can even reduce the conductor to the status of a spectator! (-: However, since the Romantic period it has been entrusted with more and more tonal tasks, for instance lending other instruments a sharper edge by brightening their sound. Playing techniques such as tremolos, trills and bow noises produced by the strings can be emphasized by a drum roll, but single notes such as a pizzicato can also be accentuated by the snare drum. The snare drum's classic task is the roll in build-ups and tutti passages. In addition to this, the instrument has also seen service as a solo instrument in 20th century works such as Ravel's BolÃ©ro (with snares) and BartÃ³k's Concerto for Orchestra (without snares). Snare drum + other percussion instruments In the drum group in the orchestra the snare drum brightens the sound. It usually plays rhythmic figures while the bass drum with its dark timbre accentuates the underlying beat and the dark and somber-sounding tenor drum plays the rolls. The drum group is often complemented by the timpani. The possible combinations of the snare drum with other percussion instruments are of course many and varied. Which combination is chosen depends on the type of effect desired: together with bright and ringing instruments such as the cymbals, triangle, anvil etc. the composite sound is particularly hard. With darker and softer-sounding instruments, the snare drum is often played snares off. Snare drum + woodwinds The woodwinds' staccato is accentuated by the snare drum's precise sound. A sort of blend is achieved especially with the high woodwinds: the snare drum gives the flutes, oboes and clarinets a sharper edge, while its own sound is cloaked. In combination with the snare drum the bassoon takes on extra brightness, but the two instruments are heard as two distinct lines. Snare drum + brass instruments The metallic properties of the brass's timbre are emphasized by the snare drum. There is no blend, however, the sounds remain disparate and are heard as distinct lines. There is a similarity between the sounds of the snare drum and the trumpet played with a metal mute, since the timbre of the muted trumpet also possesses a high noise level. The effect of the trumpet's noise-like flutter-tonguing is also similar to that of the drum roll. Snare drum + strings The snare drum accentuates the strings' staccato, marcato and pizzicato. Because the snare drum is in the treble register this is particularly effective with the high strings. The noise level of col legno (with the wood) playing and the bowed tremolo is also emphasized, which produces an eerie effect. Repertoire (selection) Hector Berlioz Marche funÃ¨bre pour la derniÃ¨re scÃ¨ne d'Hamlet (1844) (6 snare drums) Charles Gounod Margarethe (1859) Nikolai Rimsky-Korsakov Capriccio Espagnol (1887) Sheherazade (1888) Gustave Charpentier Louise (1900) Giacomo Puccini Tosca (1900) Claude Debussy FÃªtes (1899) Iberia (1912) Maurice Ravel Alborada del gracioso (1907) BolÃ©ro (1928) Igor Stravinsky Histoire du Soldat (1918) William Walton FaÃ§ade (1921â23) (snare drum without snares) Darius Milhaud La crÃ©ation du monde (1923) Carl Nielsen Clarinet Concerto (1928) Charles Ives Three places in New England (1931) Bela BartÃ³k Cantata profana (1930) Sonata for two pianos and percussion (1937) Concerto for orchestra Edgar VarÃ¨se Ionisation (1933) for 13 percussionists, piano and sirens Malcolm Arnold Beckus the Dandipratt (1943) Benjamin Britten The rape of Lucretia (1946) Elliott Carter Variations for orchestra (1954â55) Concerto for orchestra (1968â69) George Gershwin Porgy and Bess AndrÃ© Jolivet Concerto for Ondes Martenot and orchestra Luciano Berio Tempi concertati (1958-59) Leonard Bernstein Candide overture: (2 snare drums with different tuning) Snare drum solo Michael Colgrass 6 unaccompanied solos for snare drum Bent Lylloff Etude for snare drum Siegfried Fink Sonata for snare drum solo Drum suite Nicolaus A. Huber Dasselbe ist nicht dasselbe Mika Marcovich Tornado Piccolo snare drum
2202	dbpedia	3	22	https://learningmusic.ableton.com/make-beats/what-are-these-sounds.html	en	What are these sounds?	https://learningmusic.ab…ges/og-image.jpg	https://learningmusic.ab…ges/og-image.jpg	[ "https://learningmusic.ableton.com/images/icons/chapters.svg", "https://learningmusic.ableton.com/images/icons/close.svg" ]	[]	[]	[ "" ]	null	[]	null	Explore the fundamentals of music via Ableton's interactive website. Experiment with beats, melody, harmony, basslines, and song structure in your web browser.		/images/favicon.ico		null	Listen to this pattern: Now listen to this one and notice the difference: The notes are the same; we've just changed the sounds. But this gives each version its own unique character. The four types of sounds in these grids are among the most commonly used drum sounds in many styles of both acoustic and electronic music. Here's a bit more about them: Kick Also called a bass drum, an acoustic kick is struck by a pedal with a beater attached, and is played by the drummer's foot. Electronic versions of this sound are sometimes made to sustain much longer than the relatively short sound produced by a physical drum. Compare an electronic and an acoustic kick: Clap This is the sound of one or more people clapping their hands. Today, electronic, stylized versions of this sound (like the one used here) are much more common than actual recordings of handclaps. Snare A snare drum is struck with a drum stick, and produces a short, bright sound. A set of wires (called snares) is stretched across a drum head at the bottom of the drum. The vibration of the bottom drum head against the snares produces the drum's characteristic "cracking" tone. Claps, snares, and other "sharp" or "bright" sounds are often used in similar ways in drum patterns. Compare an electronic clap and an acoustic snare sound: Closed Hat and Open Hat These are two different sounds created by an instrument called the hihat. Hihats are a pair of small cymbals mounted on a stand. The top cymbal is attached to a rod that is raised and lowered with a foot pedal. Hihats are "closed" when the drummer's foot is down, which presses the cymbals together. They are "open" when the drummer's foot is raised and the cymbals are not touching. On an acoustic drumset, there is a huge range of states in between the open and closed position, and each state creates a different type of sound. Try all of the electronic sounds together: Try all of the acoustic sounds together: Did you notice...? If you play a closed hihat while an open hihat sound is still being heard, the closed sound will "win," and stop the open sound immediately. This matches the way hihats behave in the real world; the hihat can't be open and closed at the same time. Hihats work this way throughout these lessons.
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I don’t think anyone can fully explain him. However I have been playing the drums for roughly 38 years, and I started out wanting to be like him at the age of 5. (And Ringo). So I thought some of you might want some insight from a drum...	en	//content.invisioncic.com/r149629/monthly_2022_05/android-chrome-36x36.png?v=1711467238	Led Zeppelin Official Forum	https://forums.ledzeppelin.com/topic/20206-john-bonhams-drumming-explained/	Rather a heady title I admit. I don’t think anyone can fully explain him. However I have been playing the drums for roughly 38 years, and I started out wanting to be like him at the age of 5. (And Ringo). So I thought some of you might want some insight from a drummer who has studied a master. Because after all, to become a master one must study a master. This could well be a 100 page essay, but in the interest of brevity I have selected a few songs hopefully everyone has access to, and noted time marks where applicable to illustrate my examples. John Bonham could play with feel, a deep enveloping feel. He was a drummer where “feel” came first, time second. Whereas, in the case of Neil Peart for example, time is first, feel is second. Bonzo also had the amazing quality of being powerful, yet nimble. He also had swing, as is evident in Candy Store Rock, Kashmir, Out On The Tiles, just to name a few. It is easy to see his jazz/swing influences such as Buddy Rich, Gene Krupa, and Joe Morello. In fact John Bonham borrowed a lot of of Joe Morello’s triplet ideas. Dazed and Confused Of course the most noticeable God like quality of his drumming was his speed. He could bend time. The good drummers can do this, our brains can move in nanoseconds, calculating what you just played, what you are playing, and what you are going to play all at once. The best example of John’s speed is the end of Dazed and Confused (from The Song Remains The Same). There have been fierce debates as to whether it is has been sped up, but I can assure it has not. The hand is quicker than the eye. I also know because I can play it. Same song now, different example: Note at the 11:59 mark how Jimmy Page lets Jonesy and Bonzo take over in this rhythmic interlude. This is a great example of how fast and tight the rhythm section was, and how important it was to the success of the band. Trampled Under Foot Here is another example of the blistering speed at which he could play. And maintain throughout a 10 minute song. At the 4:36 mark we get a glimpse of John’s concentration, he is definitely “in the zone”, and as you can see, sweating and working very hard. Moby Dick/Over The Top Another great glimpse into the happiness and concentration on John’s face occurs at 4:56, 5:20, and 6:04. One of things I believe that made Zeppelin great was the happiness in their music. The Song Remains The Same The happiest and most swinging Zeppelin song, in my opinion: http://www.youtube.com/watch?v=he6TQsU8d6k John has an interesting approach to this song where alternates the lead beat of the bar between the snare drum and the bass drum. Just another example of his jazz feel, and his attention to detail. When The Levee Breaks Some more interesting attention to detail here at the 1:35 mark. At one time I thought this was tape noise, but I’m convinced it’s John making the sound of water bursting through a small hole. http://www.youtube.com/watch?v=wEKkJHSO8A0 Of course this is also one of the best known songs for capturing his drum sound. Although there were some interesting recording techniques used, the sound still came from the drummer. He played the first note on his bass drum with an accent (hitting it harder) then silencing his drum head with his bass drum mallet before striking the second note just after. Simple yet genius. Here is a great example of his speed and nimbleness around the kit at 5:16, and his incredible foot speed at 5:26 We can also witness the sheer speed of his wrists with his machine gun drum rolls at 6:48. In closing I want to say happy birthday to the most intelligent, powerful, soulful, nimble, quickest, passionate and and talented rock drummer of all time. The title caught my eye and I was wondering what I would find in here, so I clicked it! Beginning looked promissing. A guy who has been drumming for 38 years, widely influenced by godly Bonzo is going to explain some of his timings, swings, give us some insight into how was Bonzo awesome...!!! COOL!!! But then the article itself started and I got a little bit disapointed. All I got from it is.... BONZO WAS FAST... well, I knew that already, thanks... . I expected something more like the talking about When The Levee Breaks, where you explained the thing with his bass drum. That one was very nice!!! I didnt know that!!! I want more of these!!! . What about Kashmir. There is a lot to talk about I think when it comes to Bonzo... At the end, where he attacks his snare drum with such an imense power and in such a speed... somewhere I have heard, that he hits it somewhat off off timing or what, but fitting it precisely, which makes it a brutal masterpiece that not many can play like him... ??? There has to be a lot more remarkables in his plays, give us some, I am sure you know much more! . Anyway, WELCOME to the board, this is a great place to be...! And please dont take my "criticism" hard, I liked what you gave us after all and I am glad you stoped by to share your thoughts about Bonzo, the greatest rock and roll drummer of all time!!! . Hi Storm Thank you very much for the welcome, and no offense taken, it is my first post, I was ina rush to get it online, and I didn't want to make it too technical. And words are hard to describe...I would rather demonstrate on my drums!!! Is there anything in particular you would like to know? About Kashmir, it's a pretty straight forward drum beat, no real tricks or special techniques that I can see, however as Robert Plant stated once Bonzo's Kashmir drumming had swing, and gave us the "sense of motion". That in itself is a major achievement. He does hit his snare drum in various different ways, utilizing different areas of the drum to produce different sounds. Or he hits it harder on some notes (accents), and creates more distance from the drum before impact . I believe an example of this technique can be found on The Wanton Song . You will notice a noticeable difference in the sound and pitch of the snare between notes. Hmmm what else can I give you? Ok heres one. Kind of hard to explain and maybe a little "ethereal". Mr. Bomham had a technique where he would kep moving his left hand in time even after the note had been hit on the snare. There are many reasons for that: to help keep time, to give the piece more feel, to utilize a single stroke roll with one hand, ( such as in Since I've Been Loving You) . However the main reason, in my humble opinion is to "complete the circle" as I like to call it. In other words, the right hand is moving, the left hand is moving, the left foot is moving, the right foot is moving. It is a "circle" of movement , or motion. Does that make sense? Plus, I'm just gonna put this here: I could give you a few other things that I've personally taken from Bonham's work. I'm 27 now, a British drummer, and have been listening to and learning from Bonham since I was 15. To me he is the master, and I was his student, now disciple, as I feel his soul is within me (not literally!), but I have essentially picked up the banner he once carried, and seek to carry to until my death. There is something holy, or unholy about Bonham's playing, whatever it was, it transcended time, and was completely immortal. Though us lesser mortal men are able to learn and de-construct his tracks so that we may play them accurately, and with his spirit, we still can not even hope to come close to what that demi-god of a man achieved in his short time here on Earth. Some of my favourite songs of his to play (and I love playing them all) are: Achilles Last Stand: For years I struggled to play this number, and simply would not practice it as much as some of the others, mainly because my bass drum foot speed and power was not quite up to it yet, and it was a total drain on my stamina to try and play a song that lasts for roughly 10 minutes straight without a stop, and I had decent stamina too! It is only in recent times that I have found the confidence and the ability to play this mighty beast, and attempt to do it justice. When I was younger, I had little wrist and kick technique, as I mentioned, and these were the main components holding me back with this song. I read a story somewhere recently that allegedly, after recording the drums for this song, Jimmy Page increased the tempo of the track. If this is true, then it's an amazing revelation to realise that this blistering beat was not recorded at the tempo we have all been playing along to for so many years, but a big part of me hopes it isn't so. Anyway, the galloping rhythm is what really makes this song, equalled with the strong, and consistent back beat - two things I eventually got down, and couple that with my newfound wrist and kick strength, I am now fully able to appreciate and play this song as it should be done. A few other things to note about this song are: The drum fills. They are the simplest, yet most powerfully executed fills you will ever hear. There is one fill that comes in at 1:17 that is a blindingly fast single stroke 16th note roll that goes around from the snare, to the two other descending toms. It's played with a smoothness that almost can't be fathomed. Some argue that it is in fact, a buzz roll, but I disagree after having mastered this particular roll, I can say that it is performed as your average, even handed single stroke roll, but counted in triplets and with an exceedingly fast execution, and the secret? Light touch. The next set of fills are the most insane out of the lot. They're hard to explain though, ha, but a short version of the two fills comes in at the 2:30 mark, and at that tempo is quite hard to pull off without having fast arms and leg, I'm telling you. The next one is in my opinion, one of the hardest John Bonham fills to execute of all time, and it is the same as the former drum fill, but is repeated 4 times in succession, and that comes in at 5:27, even I struggle to play that correctly at that tempo. Either way, this song is hands down one of Bonham's greatest compositions as a drummer, and is completely peerless in it's execution. I even did a drum cover of this recently: https://www.youtube.com/watch?v=L0jru1P9BW8 I will post some other songs shortly, but I'm high right now and don't have the mental capacity to think too critically Edited October 25, 2015 by Mr. Hudson Typos and such. A most excellent thread, thanks to OP for starting and Mr Hudson for his ALS cover, which is mightily fab. Not often we get in-depth discussion about technique and drum tuning (the latter is a dark art which took me years to learn). As mostly rock-style drummer meself (say that in a Dublin accent), Bonzo has been a huge influence. Other 60s/70s rock drummers have their influence too, such as the Stones' Charlie Watts, The Doors' John Densmore and Queen's Roger Taylor. But even they would agree, I'm sure that John Bonham was the greatest rock drummer (certainly Roger Taylor, though perhaps not Charlie Watts, who was more jazz-influenced). Not wishing to repeat what has already been said above, here are a couple of thoughts about his style. 1. Snare rim/skin hit technique: This one is important. Bonzo would habitually hit the rim of the snare drum when he hit the snare skin. Bottom of the stick (above the hand) hits the rim while the tip hits the skin. It's a tricky angle to get every beat, because you need to have your wrist at the right angle. What it does is make the whole drum shell explode with sound as you hit the snare skin as well. I think he tended to do this on the toms as well. The other band members repeatedly comment on how loud Bonzo was. This snare rim/skin technique was, I believe, one of the reasons why so few drummers can replicate his signature sound - the actual volume was at a level which recorded differently; the drum and skin would reverberate differently and have a different attack, sustain and decay to any other drummer's style. It also explains the differing snare sound he could get on songs like The Wanton Song, as in alternating between doing a rim/skin hit and a normal skin hit. But of course, being Bonzo, you can never foretell when he'd do this, because as the other bandmembers often said, it's what he did and what he didn't do which made him so unique. 2. Drum rolls & fills. Further to Mr Hudson's astute observations about Bonzo stick techniques, his drum rolls are uncanny, as he pointed out in ALS. They're like press rolls, which John Densmore liked to do on Doors songs like Wild Child and their live version of Who Do You Love (I think Elvin Jones was a big influence on Densmore). Further examples can be found on In My Time of Dying studio version and the 1977 versions of No Quarter (you can hear Dave Grohl copying that snare-tom-snare-tom fast roll on Queens of the Stone Age's No One Knows, during the instrumental crescendo). I find one of the most illustrative examples of Bonzo's stick technique is on the outro build-up of the DVD Knebworth version of In The Evening, where he delivers a bunch of unique fills which display absolute control, creativity and sheer bloody brilliance. Note the fast single-stroke roll that goes from fast to slow. What makes Bonzo even more amazeballs is how his fills, no matter where he started or finished them, never (or very rarely) went out of time, and rarely were repeated in the same sequence (the end of studio version of In My Time Of Dying also has a great run of different fills - from "And I see them in the streets..." to "I just wanted to have some fun..."). The finale of In The Light is another example of inventive fills and flourishes. Finally, as mentioned above, Bonzo didn't just hit the snare on the 3rd beat (in 4/4 time). He had lots of little things going on, almost imperceptible, but it all added up to his overall sound. In the 1990 MTV documentary, John Paul Jones sums it up, saying that Bonzo had all these subtle colours going on, and that this is why so many other drummers trying to copy Bonzo never got it right. "It's all BOOM-BASH-BOOM-BASH", I recall him saying as he waved his arms about stiffly. 3. Kick (bass) drum technique. This is quite widely-known. The story goes that Bonzo was a big fan of bands like Vanilla Fudge, and would copy their drummer's kick drum style. Problem was, Bonzo didn't know at the time (1967/68) that Carmine Appice used two kick drums for his fast kick drum triplets, quadruplets and rhythms. So he copied those fast beats on only one kick drum. Numerous examples: Good Times Bad Times, Trampled Underfoot, For Your Life. Further to his kick drum technique, Bonzo had two drum heads on his kick drum, which was common in the 1970s but is quite rare nowadays. This gave his kick drum a woofy, woolly sound which could hammer hard when he wanted but also allow softer beats to fill the rest of the bar. It's similar to his stick technique. This is at odds with the dry thuddy kick drum sound which tends to be more popular for rock and metal drummers. Yes, this is louder for a single note, but you sacrifice subtlety and ability to vary the loudness. I'd find Primus' Tim Alexander to be a good example of someone who uses the drier kick drum sound with imagination and variation. Finally, a point about the OP's observation about Bonzo's apparent concentration during the DVD clip of Trampled Under Foot: the 04:36 mark that you reference is actually a shot stolen from Moby Dick! Nearly of all the close-ups of Bonzo on Disc Two of DVD are taken from his drum solo, and edited into the footage to give the impression that it's from the track you're hearing. Standard live music video editing using a limited source of footage. If you look closely at these shots you can see his hi-hats bopping up and down which is what he did during Moby Dick. Also, the lighting colours and tones often differ from the actual track being played. That's all from me for now. Hope this adds to the discussion. A most excellent thread, thanks to OP for starting and Mr Hudsis thn for his ALS cover, which is mightily fab. Not often we get in-depth discussion about technique and drum tuning (the latter is a dark art which took me years to learn). As mostly rock-style drummer meself (say that in a Dublin accent), Bonzo has been a huge influence. Other 60s/70s rock drummers have their influence too, such as the Stones' Charlie Watts, The Doors' John Densmore and Queen's Roger Taylor. But even they would agree, I'm sure that John Bonham was the greatest rock drummer (certainly Roger Taylor, though perhaps not Charlie Watts, who was more jazz-influenced). Not wishing to repeat what has already been said above, here are a couple of thoughts about his style. 1. Snare rim/skin hit technique: This one is important. Bonzo would habitually hit the rim of the snare drum when he hit the snare skin. Bottom of the stick (above the hand) hits the rim while the tip hits the skin. It's a tricky angle to get every beat, because you need to have your wrist at the right angle. What it does is make the whole drum shell explode with sound as you hit the snare skin as well. I think he tended to do this on the toms as well. The other band members repeatedly comment on how loud Bonzo was. This snare rim/skin technique was, I believe, one of the reasons why so few drummers can replicate his signature sound - the actual volume was at a level which recorded differently; the drum and skin would reverberate differently and have a different attack, sustain and decay to any other drummer's style. It also explains the differing snare sound he could get on songs like The Wanton Song, as in alternating between doing a rim/skin hit and a normal skin hit. But of course, being Bonzo, you can never foretell when he'd do this, because as the other bandmembers often said, it's what he did and what he didn't do which made him so unique. What a great post, feller. You've highlighted some of the simple aspects that truly were the secrets to his sound. I particularly can concur on your observation of the way he played the snare drum as I do exactly the same thing. I also habitually rim shot the snare drum, and have done since I was a kid, but for that habit I'd have to thank the influence of Dave Grohl(of whom is also a massive Bonham fan), but it was when I began listening and learning from Bonham's playing that really taught me to play that way with finesse. The difference between those two examples; Grohl and Bonham, is exactly that. Grohl plays with as much power as Bonham did, but he lacks the finesse element, in my opinion. He's more on the beat, like a machine, although this is not to criticise him as I was heavily influenced by his playing, most particularly his creative drum fills, and pure power. Bonham was a diffirent bag altogether though, and I had actually discovered him through Grohl when he cited Bonham as an influence. So began my lifelong devotion to a newfound master, who's playing was not only raw power and creativity, but subtlety as well, and he really could push and pull the feel of each song like he was truly in control, and a leader in his own right, but I digress. John Bonham's technique on the snare was far more honed, and he had incredible control, wrist and finger technique to go hand in hand with the power of those rim shots. It's not as though he rimshot his entire way through a song, rather, he would only do it to serve as a powerful accent to the back beat. You can often hear and feel his use of ghost notes between the back beat, which was proof that he was not just a BOOM BASH drummer. This is an example of the colouring in John Paul Jones mentioned - the dynamic control. And with as much skill and technique, he provided the same on his bass drum too. Again, not just BOOM, and BASH. Granted, his bass drum was huge and he utilised it to it's loudest, but also it's fullest potential. A lot of players play the kick drum with a heel up technique, with your toes firmly planted onto the kick drum pedal. This technique is popular in rock music mostly, as it provides the power and sometimes the speed necessary in rock music. There is another kick drum technique generally used elsewhere or in jazz, and/or gentler styles of music depending largely on ambience and that is the heel down technique which basically is the opposite. Rather than kicking down the toes, you are pivoting your toes down from the ankle, which doesn't give you as much speed or power but provides a nice warm tone as it allows the beater of the kick drum pedal to essentially bounce off the skin of the bass drum, allowing for resonance and tone. This is the key differences in sound between those two previously mentioned techniques. Heel up usually forces the beater into the skin of the drum, or as it's usually called: burying the beater. This chokes the sound of bass drum, providing a more deadened tone, and less resonance, whilst heel down provides the opposite, but lacks in speed and power. I used to play heel up because I wanted to get as much speed and power as possible in order to emulate my hero, but to no avail. I had the attack down, but I was burying the beater without realising I was doing so. It wasn't until I noticed this that then began trying to learn by playing heal down, and it sounded a lot closer to the sound Bonham would get from his bass drum, but I realised that I was struggling to play with as much speed and attack this way. To compensate for this, I would play harder and harder from the heel down position, which eventually strengthened the muscles in and around my ankle, as well as the muscles I had developed using the heel up until I finally discovered the magic formula! Huzzar! Bonham's technique was actually a combination of the two! (A quick Google check could have confirmed this for me, but I learnt the hard way, I'm grateful to say). The two different muscle groups I had developed altered my footing position entirely, and what I now play is Bonham's heel-toe technique. His foot I imagine sat the same as mine on the pedal; neither heel up, nor heel down, rather resting at the centre of the pedal board sort of floating. This technique allows for greater speed, and power, but also efficient use of the beater on the skin, and actually allows for the use of bass drum ghost notes! Funnily enough, after developing this alone, I discovered this video which not only demonstrated what I already knew, but explained it in a way I couldn't at the time: https://m.youtube.com/results?q=bonham heel toe bass drum&sm=3
2202	dbpedia	2	15	https://www.tiktok.com/%40_feezo/video/7298117977675795742	en	Make Your Day			[]	[]	[]	[ "" ]	null	[]	null		en			null
2202	dbpedia	2	42	https://www.evanrogersmusic.com/blog-contents/big-band-arranging/the-rhythm-section-part2	en	The Rhythm Section (Part 2) — Evan Rogers	http://static1.squarespace.com/static/545d45afe4b08eea0ac65e7a/5d8a50479bba516659922af4/5ed69a8341e8ab353c85e23b/1592045630027/17.16+-+Drum+Groove+Example+2.PNG?format=1500w	http://static1.squarespace.com/static/545d45afe4b08eea0ac65e7a/5d8a50479bba516659922af4/5ed69a8341e8ab353c85e23b/1592045630027/17.16+-+Drum+Groove+Example+2.PNG?format=1500w	[ "https://images.squarespace-cdn.com/content/v1/545d45afe4b08eea0ac65e7a/96bde9ee-618d-44ba-b17e-c9c1b68ea3fc/Wych+Elm+2020+Logo.jpg", "https://images.squarespace-cdn.com/content/v1/545d45afe4b08eea0ac65e7a/96bde9ee-618d-44ba-b17e-c9c1b68ea3fc/Wych+Elm+2020+Logo.jpg", "https://images.squarespace-cdn.com/content/v1/545d45afe4b08eea0ac65e7a/1591296639997-CVXWQRG86Y4SFBW5WJGB/image-asset.png", 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"https://images.squarespace-cdn.com/content/v1/545d45afe4b08eea0ac65e7a/1591733402671-EQ2ZALWNRFTOGEJPPKT2/image-asset.png", "https://images.squarespace-cdn.com/content/v1/545d45afe4b08eea0ac65e7a/1591733472060-PIJ1WSSY83VI8N1H7PRR/17.31+-+Drum+Part.PNG", "https://images.squarespace-cdn.com/content/v1/545d45afe4b08eea0ac65e7a/1591296595233-GVBA281T5EYR4H0F1LA1/read+more.png" ]	[]	[]	[ "" ]	null	[ "Evan Rogers" ]	2020-03-29T19:30:00+01:00	We continue our look into writing effectively for the rhythm section as we focus on the backbone of the whole band - the Bass and Drums.	en	https://images.squarespace-cdn.com/content/v1/545d45afe4b08eea0ac65e7a/1d9ee564-57b1-4f77-9967-49a6b46db282/favicon.ico	Evan Rogers \| Orchestrator \| Arranger \| Conductor	https://www.evanrogersmusic.com/blog-contents/big-band-arranging/the-rhythm-section-part2	This is part 2 of my article on The Rhythm Section. Check out Part 1 here if you haven’t already. In it, I cover general rhythm section notation conventions and specific writing for guitar and piano. BASS This is of particular interest to me as a bassist so I might go on for a while. The choice of whether to use a double bass (also called acoustic, upright or my favourite, the bull fiddle) or an electric bass is determined by the style and/or the arranger. Swing, jazz and ballads will by default be played on a double bass. Rock, funk and latin will be on electric. The bow is rarely used on a double bass and pizz. is assumed without being written - in fact, writing pizz. at all leads to confusion (‘should I have been arco at some point?’). The strings are tuned to E A D G with an extra low B on a 5-string electric. It can be assumed that a pro will have at least one 5-string electric that they could bring if they don’t play on one normally. It’s good to check ahead of a recording session but for other contexts, the bassist will just put any out of range notes up the octave. The double bass in a big band will be usually set up for jazz and won’t have a C extension or 5th string. However, if the bassist is a theatre pit player or frequently does classical or crossover gigs, they might. Regardless, I would avoid writing for double bass below the low E. The bass generally is the link between the drums and piano, playing the foundation of the harmony and providing the rhythmic pulse. A bass player can sometimes be called upon to take a solo if the texture is sparse enough. For both basses, two fingers on the right hand are used. On electric bass, all four fingers on the left hand are used to stop notes, whereas on double bass, due to the positioning system, only three fingers are used. Figures that are easy on electric aren’t necessarily easy on upright. The electric bass is more agile than the double bass in general and has a more focused sound. All professional jazz bassists should play both, but they’ll still have a preference for one or the other. Most jazz players begin on electric and move to upright so for amateur players note that intonation and technique may be stronger on electric bass. Notation The bass player unsurprisingly reads bass clef and both the double and electric bass sounds one octave lower than written. Like the guitar, don’t use a bass clef with an 8vb symbol, it just causes confusion. 8va is fine for electric bass but should be avoided for double bass. Tenor clef is standard for double bass in the classical repertoire, as is treble in the solo rep, but jazz players generally stick to bass clef. If you really need to go high on an upright, treble clef is preferable and you’ll need to give most pro players a few minutes to work it out (does it really sound that great up there anyway?). Here are the most common types of notation for bass: Chords With Slash Notation Written Out Lines Grooves & Riffs Chords With Slash Notation Like guitar and piano, if a bass player sees chords and slashes they’ll accompany in a stylistically appropriate way. This varies quite a bit from genre to genre with bass. In a swing chart the bass player will ‘walk’. Walking is when the bassist plays a melodic bassline linking the chords together, often with chord tones on strong beats and passing notes on weak beats. If the style is swing and the player sees chords and slashes, no bass player is going to do anything other than walk, so you don’t need to write ‘walk’. Under no circumstances should you write out a walking line unless: You’re a bassist and you know what you’re doing. (Even then, probably don’t). It’s doubled in another instrument like left hand piano, bari sax, bass trombone etc. Then it’s fine to make sure everyone is playing the same part. It’s really frustrating to be baby-sat with someone else’s walking line. Often when the chords are familiar like rhythm changes or a series of ii-V-Is, the bassist can go onto autopilot and focus on upcoming areas of the music or listen to the performance and really think about how best to lift and support it. If the walking line is written out, it’s often janky and not that idiomatic and takes all the player’s concentration to navigate it. Good walking lines are melodic, artful lines in their own right, not just harmonic filler under the band. Rant over. Walking lines can have a note on every beat or two notes in a bar. This is known as playing ‘in 4’ and ‘in 2’ respectively. The tempo text would usually have ‘in 2’ so the drummer would know too, or a time signature of 2/2 or cut common. Without specifying in 4/4, the default is walking in 4 but you can write ‘in 2’ under the slashes and you’d get a half-time feel of two notes per bar. Half notes are often used to hold back and then playing in 4 gives the chart drive. It’s also common for the bassist to switch between playing in 2 and in 4 every few bars early on a chart to give the lines shape. In other genres, slashes could involve the bassist coming up with a riff, groove or pattern that they use while supporting the chords or playing simple root notes and important chord tones to hold down the harmony. Certain genres will give the bass player a framework to work within (a latin chart with a 2-3 clavé will mean the bassist will play a specific tumbao pattern for example) so usually a stylistic indication and the chords and slashes are enough. Here are roughly the same chords as the swing example above but with different stylistic indications. Notice how the playing changes dramatically with each genre/style (and so does the use of electric/double bass): Articulation Like the guitar, all articulations are possible on the bass that are available to horns. The same advice with regards to slurs applies here as it did to the guitar. Palm-muting is also available on electric bass but is much less common than guitar. In rock charts, a bassist may choose to play with a plectrum or pick. It’s a tone choice and the arranger can specify or the player can decide. Either way, it won’t break a chart if you do or don’t specify. You can write ‘with pick’ and then ‘fingerstyle’ to go back to normal. Dead-notes are little ‘x’ noteheads and are just percussive hits with the right or left hand - you’ve probably seen me use them a lot in these examples to notate exactly what the bass is doing. They can be effective in funk and rock charts, as well as notes that are felt rather than heard in walking lines. They’re also really useful in between big leaps on the bass, as are open strings, to cover up position shifts. I wouldn’t worry too much about writing these in apart from maybe specific funk lines: they’re put in instinctively by the player. Slap Bass On electric bass, the one most commonly misused technique by arrangers is slap. Slap bass involves using the thumb (T) to hit and index finger to pop (P) strings, creating a percussive, funky sound. It’s annoying to be given a micromanaging bassline like this: There are also a bunch of other off-shoot extended techniques like double-thumbing and that the arranger doesn’t need to worry about notating, but the player may use depending on the groove or style. Tuning Like the guitar, the electric bass doesn’t always stay in standard tuning. It’s assumed in a big band that the electric bass will be in standard, but the other option, although rare, is Drop D (D A D G). This drops the E string on a four-string bass down to D giving an extra tone of range. This is more idiomatic of rock charts. Some bassists have a ‘hipshot’ tuner which is a little lever attached to the back of the headstock allowing for near-instant E to D tuning changes and back. Of course, most players will have a 5-string available so you should feel free to write down to the low B. If a 4-string player doesn’t have it, they’ll just put it up the octave. Effects Like the guitar, although not as many, the electric bass has a variety of effects available. The most common are filters (for funk), slight overdrive (for rock) and octave pedals, raising, lowering or adding octaves above or below to the fundamental note being played. These should be specified above the stave and shouldn’t be taken for granted in a big band without asking the player. The double bass has no effects traditionally available but is often amplified nowadays with pickups that attach to the bridge. No notation is needed for a double bassist to amplify and the player will decide this based on context. Bass Part Layout Here’s an example of one of my bass charts. Notice it just says ‘Bass’ but due to the swing indication, it will be played on double bass by default: DRUMS The drums in a big band are more than just a time-keeping device. They provide the energy and encompass the emotional arc of the whole chart with solid, strong (not necessarily loud) playing while serving the arrangement. A good drummer will play hits with the band, play fills to enhance the arrangement and support the structure of the chart. A great drummer will set up these hits with the band (called cueing), helping the players find their entry together and then play the hit with them. This combination of cueing and then hitting the accent is sometimes called ‘kicking the band’. These hits are therefore sometimes aggressively called ‘kicks’ more generally or ‘punches’ for a specific rim-shot snare accent. This process is also more rarely referred to as ‘making cuts’ with the band. It should be clear now that the drummer is a player who takes on a lot of responsibility. A great drummer can really elevate a big band’s sound as a whole. The best drummers will think incredibly musically, not only rhythmically. They’re also listening to the harmony and ensemble, helping cue and colour the band where needed. Notation The drum kit is written on a five-live stave with a percussion clef. Drum notation isn’t completely standard unfortunately and what’s worse, it seems to slightly differ specifically from US to UK usage. The most confusion comes from where to place the hi-hats and ride. In the UK, I see the hats put above the stave most often (where the ‘G’ would be in treble clef). In charts from the US, they seem to be put in the top space of the stave. The solution I use is a mixture of the two to avoid all potential conflict: The hi-hat goes in the top space. The ride would never go here in any system so every drummer would know this is a hi-hat. The ride goes on the top line. This means I don’t use the space above the stave at all, avoiding all confusion with whether it’s a hi-hat or ride. Sticks & Brushes In jazz it’s not uncommon for a drummer to play with brushes - retractable metal prongs that are played on the cymbals and in circular motions on the snare. They’re a soft sound usually reserved for ballads. Sticks will always be default unless you specify brushes. Drummers can change quickly but it’s best to give some rest for them to switch. If really necessary, they can play a lot of grooves with one hand while they turn pages or change from sticks to brushes. To indicate brushes, just write ‘brushes’ above the part and then ‘sticks’ when the change is needed. Over-Notating, Articulations & Only Having Two Hands The general rule of thumb with drums (and all rhythm section parts) is to avoid over-notating. They don’t need every intricacy of a MIDI groove written out to play well. Usually, they just need to know if they should be playing time (with slashes), a groove, and/or kicks with the band. Adding anything more than that should be considered carefully. As for articulations on cues and rhythm notation, things like slurs are redundant. I like to include all of the tenutos, accents, staccatos and marcatos on the kicks to give the drummer the full picture. Just because they’re percussion instruments doesn’t mean they can’t get a wide variety of note length and colour. When a crash or ride cymbal needs to be stopped immediately you can write ‘(choke)’ in brackets above. If you use a marcato or staccato, the drummer will also probably choke it. A drummer can do this with one hand but usually needs two so avoid writing a snare or any other hit during this.
2202	dbpedia	3	18	https://www.moderndrummer.com/2014/12/need-know-snare-drums/	en	What You Need to Know About…Snare Drums	https://moderndrummer.co…loads/snares.jpg	https://moderndrummer.co…loads/snares.jpg	[ "https://www.moderndrummer.com/wp-content/themes/moderndrummer/assets/images/logo-modern-drummer.png", "https://www.moderndrummer.com/wp-content/themes/moderndrummer/assets/images/icon-cart.svg", "https://www.moderndrummer.com/wp-content/themes/moderndrummer/assets/images/icon-search.png", "https://www.moderndrummer.com/wp-content/themes/moderndrummer/assets/images/MD-2023-ReadersPoll.png", "https://www.moderndrummer.com/wp-content/themes/moderndrummer/assets/images/neil-peart-spirit-of-drumming-logo-menu-size.png", "https://www.moderndrummer.com/wp-content/themes/moderndrummer/assets/images/icon-cart.svg", "https://www.moderndrummer.com/wp-content/themes/moderndrummer/assets/images/icon-search.png", "https://www.moderndrummer.com/wp-content/themes/moderndrummer/assets/images/neil-peart-spirit-of-drumming-logo-menu-size.png", "https://www.moderndrummer.com/wp-content/themes/moderndrummer/assets/images/logo-modern-drummer.png", "https://www.moderndrummer.com/wp-content/themes/moderndrummer/assets/images/logo-modern-drummer.png", "https://www.moderndrummer.com/wp-content/themes/moderndrummer/assets/images/icon-close.png", "https://www.moderndrummer.com/wp-content/themes/moderndrummer/assets/images/md-drum-logo-150.png", "https://moderndrummer.com/wp-content/uploads/snares.jpg", "https://moderndrummer.com/wp-content/uploads/concert-snare-e1413834542632-1024x677.jpg", "https://moderndrummer.com/wp-content/uploads/drumset-snare-e1413834564491-1024x662.jpg", "https://moderndrummer.com/wp-content/uploads/marching-snare2-1024x1024.jpg", "https://moderndrummer.com/wp-content/uploads/pipe-band-snare-941x1024.jpg", "https://moderndrummer.com/wp-content/uploads/field.jpg", "https://moderndrummer.com/wp-content/uploads/piccolo-snare-e1413834587523-1024x427.jpg", "https://moderndrummer.com/wp-content/uploads/popcorn-snare-e1413834608897-1024x703.jpg", "https://moderndrummer.com/wp-content/uploads/micro-snare-1024x643.jpg", "https://www.moderndrummer.com/wp-content/themes/moderndrummer/assets/images/logo-modern-drummer.png", "https://www.moderndrummer.com/wp-content/themes/moderndrummer/assets/images/logo-consequence.png", "https://www.moderndrummer.com/wp-content/themes/moderndrummer/assets/images/ico-top.png" ]	[]	[]	[ "" ]	null	[ "Modern Drummer" ]	2014-12-08T05:00:00+00:00	What You Need to Know About...Snare Drums Since 1977, the world's most widely read drum magazine: in print, online, and the Modern Drummer app. Where the world's greatest drummer meet.	en	https://www.moderndrumme…conMD-1.png?w=32	Modern Drummer Magazine	https://www.moderndrummer.com/2014/12/need-know-snare-drums/	This article originally ran in the Jan/Feb 2014 issue of Drum Business. by Ben Meyer Snare drums are easily the most recognizable voice in the drumkit. The practice of studio drummers using a different snare for every song, in order to change the overall voice of the kit, shows this theory in action. Some players have signature snare sounds that identify them immediately, where others aim for less-distinct tones that blend into the music. Drummers also tend to bring their own snare when playing backline kits, further illustrating the crucial role of the instrument in creating a distinct artistic voice. Here’s what you’ll need to know to help you choose the drum of your dreams. First, let’s have a look at the different parts of a snare drum and what purpose they serve. Shell Aside from giving the drum most of its general appearance, the shell also has a huge impact on the sound. Shells are typically made of single or mixed wood species, including maple, birch, mahogany, bubinga, ash, and poplar, or metals, including brass, bronze, steel, and aluminum. More adventurous materials, like carbon fiber, titanium, acrylic, and even glass, are fairly common, as are many rare, indigenous wood species from around the globe. While most wood shells are made from multiple thin plies formed into a rigid shell through heat and compression, others are made with a single thick, steam-bent ply. Some custom drum makers also use staves, or segments of wood, that are glued together to form the shell. Reinforcement rings are sometimes added to the top and bottom of thinner shells and can be made from the same wood species as the rest of the shell or from a different material. Advertisement Looking up what kind of snare was used on a few of your favorite recordings can help you nail down some of the sounds that different shells will yield. There are also tons of snare-demo videos on YouTube, as well as on most drum manufacturers’ websites. There’s a lot more than just shell composition that goes into creating a great snare sound, but this is certainly the foundation of the perfect drum. Rims/Hoops Along with a few anomalies, die-cast and triple-flange metal hoops are what you’ll find on most snare drums today. There are a few differences between the two, aside from aesthetics. Die-cast hoops provide a sturdier feel, especially for loud rimshots. They also tend to make the drum ring less and produce fewer overtones. Conversely, triple-flange hoops will allow the drum to ring longer, produce more overtones, and yield greater snare sensitivity. More flexibility and less overall material contacting the drum accounts for these differences. Manufacturers often match hoops to shell designs depending on the characteristics of the shell, but ultimately it’s a matter of personal preference. Wood hoops are another option and will generally warm up the sound of the drum and change the spectrum of overtones that it produces. They won’t hold up under heavy rimshots the way that metal hoops will, but they’re a nice aesthetic and tonal alternative. Yamaha, Taye, PDP, Gretsch, and others offer production models featuring wood hoops. Advertisement Lugs and Tension Rods Lug designs can have an impact on the overall sound of the drum, but not as much as they did in years past, due to advances in design. Tube lugs place less metal in direct contact with the shell than split or long lugs, thus improving sustain and providing a slightly different sound. There’s a multitude of inventive split-lug designs, and these are often the most recognizable visual aspect of a particular manufacturer’s drums. A few cool innovative designs to check out are Yamaha’s Hook lug, O’Neill’s Kwik lug, Ego’s Quick Release lug, and lugs by Quick Action. Other methods of tensioning a drumhead, such as rope systems, are used now and then, but tension rods are still the usual choice for drum designers. The rods themselves are fairly standardized, though DW uses a different thread count from everyone else, so be aware of this when selling replacement rods. Some cool tension-rod locks are available if you’re having trouble with lugs backing out under heavy playing. Rimshot-Locs, Tuner Fish, or Gibraltar Lug Locks could help solve this problem. Snare Wires These thin, fragile strands give the snare drum its characteristic sound by interacting with the snare-side head when the drum is stuck. Drumset snare drums typically use snares made of coiled wire, also known as snappy snares. These give the drum a bright sound, are very sensitive at all dynamic levels, and don’t muffle the sustain as much as other wire designs do. Advertisement Orchestral/concert band snare drums typically employ cable or imitation gut wires for a darker sound with less sustain. Marching and Scottish pipe band snare drums employ a synthetic gut wire made of plastic and sometimes include a second strainer that contacts the batter head for extreme snare response and a very dry sound. If you’re looking to upgrade an existing drum, look at aftermarket wires, and try thirty- or forty-strand sets if you’re seeking a wider snare sound. Strainer This contraption holds the snares against the snare-side head and provides a means to finely adjust the wire tension. While there are many innovative designs out there, all strainers include some type of mechanism for engaging/disengaging the wires, a fine tension adjustment, and a butt plate to anchor the snares on the side of the shell opposite from the strainer. Trick, Ngage, DW, and Dunnett offer unique replacement strainers that can be easily retrofitted to most drums. Snare Beds These subtle yet crucial features are contours cut (wood shells) or bent (metal shells) into the bearing edge on the snare side of the shell to allow the wires to lay flat against the head. Without these, the snares would be buzzy and uncontrollable. Some snare beds, especially on vintage drums, are deeper than others. While exact specs vary by manufacturer, all snare drums should include them. Advertisement Heads There is no shortage of options in this category, but here are a few guidelines that are helpful in suggesting the best heads for your musical and durability needs. Most players use either single- or double-ply coated batter heads on snare drums, while some prefer pre-muffled models to cut down on the need for dampening materials. Standard go-to models from Remo include Coated Ambassador, Coated Emperor, Emperor X, Coated Controlled Sound (CS) Reverse Dot, and Coated Pinstripe. Popular Evans models include G1 Coated, Genera HD Dry, EC Coated, and EC Reverse Dot Coated. Aquarian’s Texture Coated, Studio-X, and Triple Threat are also popular choices. Muffling Muffling plays a key role in how the snare drum will end up sounding. Some players don’t use any, while some people muffle their snares to death. RTOM Moongel, gaff tape, Drum Magnetic, and RemOs are all good products to try. Mounting There are many variations on the classic three-leg, basket-style snare stand, and some auxiliary snares come with L-arm-style mounting brackets. There’s also a plethora of suspension-mount models that will work for smaller snares. Positioning is very important to most players, as it helps them play consistently from gig to gig, so be sure to add a good-quality stand or mount when you purchase a new snare. Advertisement Now let’s look more closely at some of the different types of snare drums that you are likely to be interested in. Concert/Orchestral Often featuring wood shells, these drums typically feature metal cable snares. Strainers that offer individually selectable cable, snappy, and synthetic gut snare elements are also available, like the Grover G3. Coated or calfskin-type batter heads are standard, and players often employ a healthy amount of muffling. Drumset These drums often employ snappy snares with an array of drumhead choices. A coated single-ply batter, with a few strips of gaffer’s tape or a Moongel, is a great place to start for general playing. Both wood and metal drums in various dimensions are possible, so there’s really no right or wrong. A 14″ drum between 5″ and 6.5″ deep is a great general choice, as it will cover most musical genres. Marching These high-tension drums are deeper than orchestral or drumset models and usually feature heads made of Kevlar so they can hold up under the extreme conditions of heavy playing, along with temperature and humidity fluctuation from outdoor use. Synthetic gut wires are found on most marching snares, and the hardware is typically made of lightweight aluminum. Most modern marching snares employ a free-floating design, where the hardware doesn’t touch the shell at any point. This helps protect the shell from damage due to the high head tensions used on marching percussion. Advertisement Pipe Band These drums are identical to most marching snare drums, except they feature a second set of snares that contact the underside of the batter head. This yields a very dry, crisp, and highly responsive sound. Field These drums are primarily used for orchestral, concert band, and percussion-ensemble applications. Designed to resemble the sound of military drums from the nineteenth and early-twentieth centuries, these models usually feature larger diameters and much greater depths than typical orchestral snare drums. Synthetic gut or cable snares are standard, and the drums are usually played at lower tunings. Pearl currently offers two outstanding field models. Piccolo These drums feature a shallower shell than standard snare drums and are used mostly in kit applications. Common piccolo depths range from 3″ to 4.5″. These shell sizes tend to have a higher pitch and faster response than drums 5″ in depth or greater, and generally produce less body and thump. Advertisement Soprano/Popcorn Like piccolo snares, these drums feature nonstandard shell dimensions. Common soprano snare shells measure between 5″ and 7″ deep and 10″ or 12″ in diameter. Generally these drums have a high-pitched sound with more body than what you get from a piccolo. Popcorn snares often come in shallower sizes. Mini/Micro The smallest and highest pitched of the lot, these drums can get down to 6″ in diameter and only a few inches deep. Some feature a traditional two-head design, while others have only one head and use a fanned snare that contacts the underside of the batter head. These drums can also be used to create convincing timbale-like tones when the snares are disengaged. Maintenance It’s a good idea to have the basics of changing drumheads and tuning at your fingertips. Here are a few tips. Remove the old head by backing off the tension evenly around the drum to avoid warping the hoop. Clean drumstick dust, dirt, and grime from inside the shell and around the bearing edges. Take a few seconds to feel around the bearing edge to be sure that there aren’t any defects. A serious dent in the bearing edge can make tuning more difficult. Center the new head on the shell and finger-tighten all lugs before using a drum key. This helps prevent stripping and will help you tune the head more evenly. Tighten each lug no more than a half turn at a time, using a crossing pattern. Once the head reaches a medium tension, place the drum on the floor, your lap, or a table to mute the opposite head, and begin tapping with your finger at the edge of the head near each tension rod. Even out the pitch of each lug until you get an even, ringing harmonic without wobbling overtones. Pressing firmly on the head between tunings will help ensure that the plastic is properly seated against the bearing edge. Generally you’ll tune the snare-side head for snare response and the top head for feel and pitch. Tune the tension rods on either side of the snare beds a half turn looser than the rest of the head for the best snare response. Tune and muffle the top head to taste while keeping the pitch at all lugs the same. Advertisement Summing Up Don’t forget to consider common add-ons, like extra heads, sticks, muffling materials, spare tension rods, and cases. Look up the specs on your favorite players’ snares and test out similar instruments, heads, and accessories that fit your budget. Good luck, and happy drumming!
2202	dbpedia	2	8	https://freedrumlessons.com/articles/drum-terms.php	en	Library of Drum Related Terms	https://freedrumlessons.…32x32.png?v=2018	https://freedrumlessons.…32x32.png?v=2018	[ "https://freedrumlessons.s3.amazonaws.com/homepage/fdl-logo.png", "https://freedrumlessons.com/img/articles/drum-terms/bass-pedal.jpg", "https://freedrumlessons.com/img/articles/drum-terms/beater.jpg", "https://freedrumlessons.com/img/articles/drum-terms/bongos.jpg", "https://freedrumlessons.com/img/articles/drum-terms/chimes.jpg", "https://freedrumlessons.com/img/articles/drum-terms/claves.jpg", "https://freedrumlessons.com/img/articles/drum-terms/congas.jpg", "https://freedrumlessons.com/img/articles/drum-terms/cowbell.jpg", "https://freedrumlessons.com/img/articles/drum-terms/cymbal.jpg", "https://freedrumlessons.com/img/articles/drum-terms/cymbal.jpg", "https://freedrumlessons.com/img/articles/drum-terms/djembe.jpg", "https://freedrumlessons.com/img/articles/drum-terms/doube-pedals.jpg", "https://freedrumlessons.com/img/articles/drum-terms/drum-head.jpg", "https://freedrumlessons.com/img/articles/drum-terms/drum-kit.jpg", "https://freedrumlessons.com/img/articles/drum-terms/drum-skin.jpg", "https://freedrumlessons.com/img/articles/drum-terms/Eighth_Note.jpg", "https://freedrumlessons.com/img/articles/drum-terms/8th_note_rest.jpg", "https://freedrumlessons.com/img/articles/drum-terms/mallets.jpg", "https://freedrumlessons.com/img/articles/drum-terms/maracas.jpg", "https://freedrumlessons.com/img/articles/drum-terms/piccolo-snare.jpg", "https://freedrumlessons.com/img/articles/drum-terms/practice-pad.jpg", "https://freedrumlessons.com/img/articles/drum-terms/quarter-note.jpg", "https://freedrumlessons.com/img/articles/general-drumming/quarter-note-rest.jpg", "https://freedrumlessons.com/img/articles/drum-terms/sixteenth_Note.jpg", "https://freedrumlessons.com/img/articles/drum-terms/16th-note-rest.jpg", "https://freedrumlessons.com/img/articles/drum-terms/snare-drum.jpg", "https://freedrumlessons.com/img/articles/drum-terms/snare-wires.jpg", "https://freedrumlessons.com/img/articles/drum-terms/tambourine.jpg", "https://freedrumlessons.com/img/articles/drum-terms/32nd_note.jpg", "https://freedrumlessons.com/img/articles/drum-terms/tom-tom.jpg", "https://freedrumlessons.com/img/articles/drum-terms/block.jpg", "https://drumeo-assets.s3.amazonaws.com/promos/november/fdl-sidebar.png", "https://dzryyo1we6bm3.cloudfront.net/ultimate-toolbox/tudt-logo.png", "https://dzryyo1we6bm3.cloudfront.net/ultimate-toolbox/tudt-sidebar.jpg", "https://dpwjbsxqtam5n.cloudfront.net/drumlessonscom/bg-m.jpg", "https://dpwjbsxqtam5n.cloudfront.net/drumlessonscom/logo.svg", "https://musora-center.s3.amazonaws.com/logos/musora-logo-white.png", "https://googleads.g.doubleclick.net/pagead/viewthroughconversion/1071462884/?value=0&guid=ON&script=0" ]	[]	[]	[ "" ]	null	[]	null	Learn the definitions of every drumming term out there with the library of drum related terms. In this library of drum related terms, you will find detailed information and photos of each drumming term.	en	/favicon/apple-touch-icon.png?v=2018		null	Welcome to the complete Library Of Drum Related Terms section of FreeDrumLessons.com. Here you will find a complete list of drum related terms, along with detailed description of each. This is a powerful tool for drummer of every skill level. Not sure what a polyrhythm is? Or maybe you are wondering where the tension rods are located on a drum kit? With this library of terms, simply scroll to the term you are unsure of and read up on it! Keep this page in mind for whenever you come across a term that you are unsure of! Accents - Notes played louder then normal to give a distinct shot or hit. Accents are played usually to compliment other musicians in the band, or to spice up the current beat. Accents require stick control and are great to practice. Afro Cuban - A type of Latin drumming that includes influences from Africa and Cuba. This style of music involves many of the Latin patterns, such as the Clave, Cascara, and Tumbao. There are many different types of Afro-Cuban music out there, so make sure you sample every style! American Grip - Holding the drum sticks in matched grip style, with palms facing down. Elbows should be relaxed at your sides, and the sticks should make a 45 degree angle. Very popular style of grip for rock drumming. Baião - An up tempo style of Latin music that is usually played with lots of energy. This groove is derived from the north east of Brazil. The Baião has a distinct bass drum pattern that drives the beat forward. A very catchy beat that is easy to dance to! Bar - A bar is a term used in music theory. A bar is a measure of time decided by the amount of beats in the time signature. If the time signature is 4/4, then the bar would consist of 4 counts. Here is an example of a bar of music. Bass comping -To add accents or hits to a pattern or groove with your bass drum. Comping is short for complimenting, which in drumming means to add shots when other members of the band are playing to accent their notes. Bass drum comping is done in all sorts of music; however the term is most popular in jazz music. Check out some examples of bass drum comping here! Bass drum - Usually the biggest drum on the drum set. The bass drum is played with your feet with the use of a pedal. The bass drum is played to drive the beat, and usually offers more of a pulse then tone. Bass drum pedal -The bass drum pedal is the device used to kick the bass drum. The bass pedal is made of a foot pad, spring, and a beater. Click for a complete diagram of the bass drum pedal. Bass pedal spring - This spring is located on the bass drum, and is placed vertically on the side of pedals. The spring is what sets the tension of the pedal itself. Tightening this spring will give the beater much more bounce to its movement, while loosening it will allow it to move a lot smoother. This is a very important part of the bass drum pedal that is often ignored. Make sure you are replacing your springs every so often to keep the effectiveness of it up! Batter head - The batter head of a drum is the side in which you hit. There are two heads on a drum, the batter and resonant. The Batter head can be many different styles of skin. It can be coated, 2-ply, single ply, pinstriped, or more. The batter head uses different type skins than the resonant heads. Beater - The beater is the piece of a bass drum pedal that drives into the bass drum. This is a head that is attached to a rod that is attached to the top of your bass drum pedal. There are many different types of beaters; there are felt beaters, wood beaters, plastic beaters, and multi-function beaters. Each has their own sound. Bembé - A more difficult style of Latin music played in the time signature of 6/8. Usually played at faster upbeat tempos. Also known as a Nanigo. Bossa Nova - The Bossa Nova is a Latin style of music that is very easy to listen to. The Bossa Nova has a distinct bass drum pattern that is very similar to the Samba. This style of music is played at a slower tempo. The Bossa Nova is usually one of the easier Latin patterns to learn; however it is still quite tricky. You will hear the Bossa Nova in background music, and elevator music. Bossa Nova Clavè - This is a Latin pattern that is played with the Bossa Nova groove. This Clavè pattern is very similar to the Son Clavè; it is only different by one eighth note. The reason for this is so it fits into the Bossa nova groove easier. This is a 2-bar pattern that can be played in two directions, 2-3 and 3-2. There are 5 notes in this pattern. Bongo - The Bongo is a hand drum that has a distinct tone and sound to it. These drums are usually smaller in size, and should not be mistaken for Congas. These are wood drums that are usually covered with a skin of an animal. The bongo is very popular in Latin and Afro-Cuban music. BPM - Also known as Beats per Minute. The BPM is a term that identifies the tempo of a song. The BPM determines how many beats there are per minute of play. If the tempo is set to 120 bpm, then there are 120 quarter note beats per 60 seconds. The BPM is very important for all musicians, not just drummers. Broken Up Beats - Drum beats that are played with odd patterns instead of constant strokes. Most beats you can hear a constant pulse on the ride cymbal or hi hat; however broken up beats take that feel away. By changing the pattern of your hi hat or ride cymbal, you are adding a totally different unique sound to the groove. Check out some broken beat patterns here! Brooms - A style of drum stick that consists of many smaller sticks bundled together. These are similar to brushes, except instead of using many wires; brooms use a certain amount of smaller wood sticks. There are many different sizes and varieties of brooms, each with its own place. Brooms are used to get a unique sound out of a drum set that is usually quieter than sticks. Brushes - A stick that is made of thin wires that fan out. The wires on a brush can be extended and hidden in the handle when not being played. Brushes give the drums a very unique feel to them. Brushes are often used for softer styles of music like Jazz and ballads. There are many uses for brushes that most drummers do not know about, so make sure you check out this lesson on them. Cascara - Literal term means shell; however this is a popular Latin pattern consisting of 2 bars. This pattern can be played in 2 directions and is best played at faster tempos. This pattern is widely used in all sorts of Latin styles, and is usually played on the ride cymbal bell, or the cowbell. Cha Cha - This is one of the simplest forms of Latin music. The Cha Cha is played at slower tempos, and is driven by the cowbell. This style is based around the Cha Cha dance. Chimes - A group of cylindrical rods that are hung close together. When played, chimes make a hi pitched sound that is very easy to listen to. The sound is made from the chimes hitting each other when brushed. The chimes are used mainly for softer styles of music, since they are not a loud instrument. China Cymbal - A cymbal that looks like it is inverted. The China Cymbal makes a very raw sound that is fast, and powerful. China cymbals have their outer edge bent upwards to limit the amount of ring it has. This cymbal can be played upside down to save on stick damage. China cymbals are used mostly in rock and heavier styles of music. China Kang - A smaller cymbal version of a China cymbal. These are like splash cymbals with its edge curved upwards to give it a quick attack sound. A mixture of a splash and china cymbal. Clavès - A pair of wood blocks that have a high pitched sound when struck together. The Clavès are smaller blocks that are hand held. When hit, they have a distinct sound that travels through most instruments. There are distinct ways to hold the claves to get the best results from them. Clavè Pattern - A Latin pattern that is used in most Latin and Afro-Cuban music. The Clavè pattern is a 2 bar pattern consisting of 5 notes. The Clavè can be played in two directions, 2-3 and 3-2. There are many different variations of the Clavè pattern. There is the Son Clavè, the Rumba Clavè, the Bossa Nova Clavè, and the 6/8 Clavè. Each one is a little different; however all are used in the same form. Click track - A pulse that is used to keep time for musicians. Click tracks are also known as metronomes, as they provide the same use. A click track’s tempo is determined by the Beats per Minute, also known as the BPM. Drummers should practice with click tracks regularly to develop their sense of time. Common Time - The time signature 4/4. This is called common time since the majority of music and counting patterns are based around the 4/4 time signature. On sheet music, they may not display the time signature 4/4, they may just show a “C”, which stands for common time. Comping - Playing shots, accents, and hits to compliment the other musicians in a band. Comping is done in all styles of music, and is meant to accent the melodic instruments when they are soloing or playing certain pieces. You can use comping exercises on your hi hats, bass drum, snare drum, or cymbals. Conga - Hand drums that offer a distinct tone similar to bongos and Djembes. These are wood drums topped with a skin of an animal hide. Congas are usually larger drums with a long body. The congas are very popular in Latin and Afro Cuban music; however they can be used anywhere. Cowbell - A small, hollow bell used to make a rhythmic sound popular in Latin and rock styles of music. Originally used by herdsmen to keep track of their livestock, the cowbell has a unique tone that funks up any groove. Cowbells can come in many different sizes, and have many different tones. Crash cymbal - A cymbal that produces a sharp, loud sound that is used in every style of music. Crash cymbals are made in many different sizes, styles, and thicknesses, and can make many different sounds. Crash cymbals can be used for accents, or to drive the beat. Crescendos - The act of raising the volume of a beat for certain duration of time. Crescendos are used to build energy, and transition songs from one style to the next. Crescendos take a lot of control with your dynamics, something every drummer should be aware of. Cross stick - To hit your stick on the rim of your drum to create a unique sound that is similar to a wood block or cowbell. Cross sticking is where you place your tip of your stick on the drum head, and drop the stick onto the rim. A lot of drummers call this a rim shot, however they are completely different. Cross sticking patterns are popular for softer styles of drumming. Cymbal - A thin and round plate consisting of many different kinds of cymbal alloys. Cymbals are a modern percussion instrument that is played in virtually every style of music. There are hundreds if not thousands of different types and sizes of cymbals. From hi hats, crashes, rides, splashes. Chinas, and many more. Cymbal bell - The center of the cymbal in which it is the thickest. The center of most cymbals has a thick rise that has a different, higher pitch sound to it. When struck, these have a distinct sound that cuts through most instruments in the band. The Cymbal bell is great for accents and hits during a beat. Decrescendos - Bringing the volume of a song, beat or feel down in duration of time. These are the opposite of crescendos, and are great to bring down the energy level of a song. This takes control of dynamics, and is something every drummer should practice. Djembe - Hand drums that offer a distinct tone when played. These are African drums that are usually carved out of wood, and are topped with an animal skin. These are similar to bongos; however they can range from small sizes to very large sizes. Djembes are shaped like an hourglass. Double bass drum - Incorporating two bass drums into your playing. Double Bass Drum playing is very popular in progressive rock, heavy rock, and heavy metal; however the double bass drum can be used in all styles of music. You can incorporate double bass drumming by using a double bass pedal, or using two bass drums. Both have their advantages and disadvantages. Double bass pedal - A bass drum pedal consisting of two beaters and two foot pedals. These are joined together to allow you to incorporate double bass playing without having to buy a second bass drum. Double bass pedals are used more often then double bass drum set ups. Drag - One of the 40 essential rudiments. The drag rudiment consists of two consecutive notes played with the same stick. You can play it either RR or LL. This rudiment is very similar to the Diddle. Drum - A cylindrical instrument made of many different types of wood, metals, and plastics. Usually topped with a skin or head on both ends. The tone of a drum is distinguished by the size, depth, and thickness of the drums body, as well as the tightness of the drum head. Drum break - A pause in the song where the drummer gets a chance to play a small fill or pattern. Also known as a drum fill, breaks are used to transition songs from one part to the next. Drum breaks are a time for drummers to express themselves by adding their own creative touch to a song. Watch out though, because it is very easy to lose the tempo. Drum dampeners - Devices that are placed either inside the drum, or on the drum head itself to muffle the sound of the drum. Dampeners are used to minimize the resonance in a drum. These are also known as mufflers, and are very popular to be placed inside of bass drums. Some common forms of this are pillows, blankets, drum rings, and drum gum. Drum fill - A pause in the song where the drummer gets a chance to play a small fill or pattern. This is also known as a Drum Break. A fill is a certain pattern that a drummer plays to either transition the song, or accent certain parts. Drum fills give the drummer a chance to express themselves, and add their own level of creativity to the song. Drum head - Covering of a drum that fits on the top and bottom of a drum. There are two drum heads for every drum, a resonant head, and a batter head. Drum heads are tightened over the top of the drum by tension rods, and can be tightened or loosened to change the pitch of a drum. There are many different types of drum heads; coated, clear, 2-ply, pinstripe and more. Also known as drum skins. Drum gum - A form of drum dampening that is placed on top of the drum head. Drum Gum is a small sticky jelly that is stuck on top of a drum head to take away any access overtones. Most drummers use this for their snare drum or their larger toms. Drum Kit - The set up of your drums. A drum kit can range in any size, from massive drum kits including multi bass drums, and many toms, to small drum kits including a single bass drum and snare. A drum kit is also known as drums, drum set, drum set up, and kit. Drum module - The brain of an electronic drum kit. The drum module is the device that stores all the different drum samples for an electric kit. This is what all of the electric pads gets plugged into to complete the drum set. Drum Set - The set up of your drums. A drum set can range in any size; from a massive drum set including many drums, to a small drum set including a bass and snare drum. A drum set is also known as drums, drum kit, and drum set up. Drum skin - Covering of a drum that fits on the top and bottom of a drum. There are two drum skins for every drum, a resonant skin, and a batter skin. Drum skins are tightened over the top of the drum by tension rods, and can be tightened or loosened to change the pitch of a drum. There are many different types of drum heads; coated, clear, 2-ply, pinstripe and more. Also known as drum heads. Drum tuition - Lessons taken by drummers to further their education in drumming. Drum tuition can be taken in many forms, either by personal instructor, or by video lesson. Drum tuition is also known as drum lessons. Make sure you check out all forms of drum tuition before you choose which one works best for you! Eighth Notes - A note played for one eighth of the duration of the whole note. Eighth notes include a stem with one flag attached. Eighth notes are one of the most common notes played by drummers. Effects cymbal - A style of cymbal designed to create a distinct sound. Effects cymbals range in a variety of shapes and sizes that give off different kinds of sounds and feels. Effect cymbals can be played in all sorts of different music styles. Eight Note Rest – A rest or break from playing for the duration of an eight note. 8th note rests take place of an 8th note, and are located in the middle of the staff. Flam - A flam is one of the 40 essential rudiments every drummer must know. This rudiment is played with both sticks, and is designed to make a full sound using two strokes. This rudiment can be played both left and right hand dominant, and can be incorporated into beats, fills and solos. French Grip - Holding the sticks close together with your palms up. This style of stick grip is matched grip, and uses your fingers to control the bounces of the sticks. Very popular for speed drumming, and lighter styles of music. Fulcrum point - The balance point of a drum stick. The fulcrum point is the point where the drum stick will get the most bounce when dropped. In order to get the best results from your stick grips, you need to be pinching the stick at the fulcrum point. Germanium Grip - Holding the sticks in matched grip, with your palms facing down. Elbows should stick out a little, and the sticks should make a 90 degree angle. This is a common style for marching bands, and offers a lot of power for each stroke. Ghost notes - A note played on the drum that is felt more than it is heard. Ghost notes are quieter notes played in between the regular notes. These are played at lower volumes to be almost hidden behind the beat. These are used to spice up a boring pattern, and to add a new dynamic to the song. Gong cymbal - A very large cymbal played with a mallet to produce a large shimmering sound. A very unique sounding cymbal originally from Japan. Gongs must be warmed up before hit. They are usually hung from an apparatus that sits behind the drum set. Gongs are not usually played in rock music, as they are more of an effect cymbal. Hi hat - A set of cymbals that are placed on top of each other to get a variety of sounds. Hi hats are placed on a stand that has a foot pedal on it. The hats are locked onto this stand so you can control the opening and closing of them with your feet. Hi hats are one of the most widely used cymbals in music, as you can get so many different sounds and feels from them. Hi hat clutch - A device used to lock the hi hats closed when using double bass or other pedals that do not allow you to place your foot on the hi hat pedal. The clutch is placed above the hats, and has a switch that you can press with your stick while you are playing. This locks the hi hats closed. Double Bass drummers use this to be able to play different bass drum patterns while having the hi hats closed. Hi hat comping - To add accents or hits to a pattern or groove with your hi hats. Comping is short for complimenting, which in drumming means to add shots when other members of the band are playing to accent their notes. Hi hat comping is done in all sorts of music; however the term is most popular in jazz music. Check out some examples of hi-hat comping here! Hi hat Stand - A stand designed to hold the hi hat cymbals. The bottom hat rests on the stand, while the top hat is locked onto a moving rod that is controlled by your foot. The foot pedal allows the drummer to have complete control of their hi hats. Hi hat stands can have 2 or 3 legs in order to accompany a slave double bass pedal. Latin Drumming - A style of drumming that involves many specific patterns, grooves, and instruments revolving around Latin music. Latin drumming has a distinct sound to it. Congas, Cowbells, Wood Blocks, Tambourines, and Clavès are all Latin specific instruments used in this style. Latin drumming uses patterns like the Cascara, Clavè, and the Tumbao to create its feel. Linear drumming - Drum patterns that are played where no two limbs line up. This is where you never play your snare and hi hat, or bass drum together. This creates a totally unique sounding pattern that has become very popular in today’s rock and modern music. Mallets - A stick with a special tip used to create different sounds and feels on drums and cymbals. Mallets can have fabric tips, rubber tips, plastic tips, or wood tips, and create unique sounds on the drum set. Mallets are usually used for creating cymbal rolls and gong hits; however you can use them anywhere. Mambo - A very common Latin style of music that has a very distinct bell pattern. The mambo pattern can be played on the cowbell or ride cymbal. It is a 2 bar pattern that can be played in 2 directions. Manhattan Cymbals - A thin cymbal that has a distinct ring to it. Manhattan cymbals are bright and rich. They have a long lasting sound that is usually used for softer styles of music like jazz. There are many cymbals created in the Manhattan style, like the ride, hi hats, and crash. Maracas - Hand held percussion instruments that are like shakers. They can be any shape or size, and are filled with beans. These produce a texture like sound for any song. Widely used in all sorts of Latin styles, up beat or not! Matched Grip - Holding the drum sticks the same way in both hands. Both left and right hands are gripping the stick identically. Mirroring the left and right hands when holding a drum stick. There are many types of matched grip: French grip, American grip, and Germanium grip. Measure - A measure is a term used in music theory. A measure is a space of time decided by the amount of beats in the time signature. If the time signature is 4/4, then the bar would consist of 4 counts. Here is an example of a measure of music. Merengue - A style of Latin music that is very easy to listen to. Usually played at faster tempos with the snare drum turned off. This is also a very popular form of dance that is practiced all across the world. Metronome - A device used to keep time for musicians. A metronome plays click track at a certain tempo or Beats per Minute (Bpm). Metronomes can be set to any tempo. Some metronomes can be set to play 8th notes, 16th notes, triplets and more. Most metronomes are digital these days, meaning they can be plugged into amps or head phones. Moeller Method - A technique used for enhanced stick control. The Moeller method uses certain stick grips and strokes that maximize the bounce from the stick. The control of these bounces allow you to play faster then ever before. Professional drummers are very familiar with this technique. Moeller stroke - A special way to hit the drum to maximize the bounce on your stick. The Moeller stroke is taught within the Moeller method, and has a distinct motion to it. Similar to a whipping motion, the Moeller stroke gives you much more power then before. Mozambique - A very popular style of Latin music. The Mozambique has a distinct bell pattern that is not very hard to play. This pattern can be played at faster tempos or slower tempos and can be used in beats or solos. Made popular by drummers like Steve Gadd. Note value - The duration of time you play a certain note for. The value of a note determines how long you play the specified note for. For example, quarter notes have a quarter note value, meaning you play for one quarter note. Drummers practice note value exercises to help develop control of their sticks. Paradiddle - A rudiment played with two sticks to develop independence with your hands. The paradiddle is an 8 note pattern that is played: R L R R L R L L. This rudiment can be played in beats, fills, and other patterns to spice things up. One of the most popular rudiments to learn. Piccolo snare - A type of drum that is thin and tuned very tight. This drum includes snare wires on the bottom to give a very tight cracking sound to it. Piccolo snares are popular in all styles of music and offer a higher tone then regular snare drums. Practice Pad - An imitation drum designed to feel and act like a drum without the sound. These are made so drummers can practice without making a lot of noise. Practice pads are best used for stick control and rudiment practice; however there are full practice pad drum sets. Something every drummer must have. Quarter note - A note played for one forth the length of a whole note. Quarter notes usually indicate the pulse of a groove. Quarter notes have a stem, but no flag. Quarter notes are what you usually hear on a metronome, the quarter note pulse. Polyrhythm - Playing 2 different time signature patterns over top of each other. A polyrhythm includes two distinctly different time signature grooves, played on top of each other to create a unique beat. Polyrhythms are very difficult to play, and can easily be played wrong. Make sure you fully understand what a polyrhythm is before attempting them. Quarter Note Rest – A rest or break from playing for the duration of a quarter note. Quarter note rests take place of an quarter note, and are located in the middle of the staff. Remote hi hats - Hi hats that are placed on a stand that can be mounted anywhere on the drum set. The foot pedal is connected to a wire that allows you to place it where ever you want. These are very popular for double bass drummers, and drummers who have no room for a regular hi hat stand. Resonant head - The drum skin that is located on the bottom of the drum. The resonant head is usually a thinner drum skin, and is usually tuned differently then the batter head. Some drummers prefer to leave the resonant head off of the drum. Resonant heads are usually ignored as drummers. Rest - Duration of time where nothing is played. Rests can be short or long depending on the notation of the rest. You will see rests in almost all sheet music, so be sure you know what they look like, and how to count them. Ride Cymbal - A larger cymbal that is usually a standard on most drum sets. This cymbal is designed to maintain a rhythm rather than add shots or accents. This cymbal is often thicker, and placed on the opposite side of their hi hats. The ride cymbal offers a higher tone then crash cymbals, and is used in all styles of music. There are many types of ride cymbals: Rock ride, Manhattan Ride, Studio Ride and more. Rims - The part of a drum that sits over top of the drum head. Drum rims sit on the drum and are tightened onto the drum with tension rods. This is what provides the pressure on the drum skin which changes the tuning of the drum. Rims can be made from metal alloys or different woods. Each drum has 2 sets of rims, one for the batter head, and one for the resonant head. Playing the rim of a drum gives you a unique sound that can be used in all sorts of music. Rim shot - An accented stroke produced by hitting the drum head and rim at the same time. A rim shot is usually played at higher volumes to create a loud accent. The sound of a rim shot is different then the sound of a hard stroke on the drum. This is not the same as cross sticking. Roll - A technique drummers use to produce a constant sound on a drum. Rolls can be played on any drum or cymbal. Rolls can be played with single strokes, double strokes, triple strokes, or multiple strokes (buzz roll). The most common roll is played on a snare drum, and is played in all styles of music. In notation, a roll is shown by a strike through the stem of a note. Rudiment - The basic building blocks of drumming. A set of patterns that are played and combined to create different beats, fills and solos. Rudimental drumming develops drum stick control, speed, and endurance. There are 40 essential rudiments. Some of the most popular are the single stroke roll, the double stroke roll, the paradiddle, the flam stroke, and the triple stroke roll. Salsa - A mixture of up tempo Latin styles of music. The salsa is not an actual style of Latin music; it is a style of dance. One that has become increasingly popular over time. Up beat Latin patterns and beats played together create a salsa style groove. Samba - A fast paced Latin style of music that is designed to create positive energy. The Samba is very similar to the Bossa Nova; however it is played at much faster tempos. One of the more popular Latin styles. Sanford Moeller - The man responsible for creating the Moeller Method. Sanford Moeller was a drummer in the late 1800’s who took inspiration from army corps drummers to develop a method of playing the drums where you could maximize your control on your sticks and develop faster chops. To this day, his method is practiced by professionals all over the world. Shuffle - A style of drumming played with a triplet feel. The shuffle is played in popular styles of music like blues, classic rock, and jazz. The shuffle feel can be played on the hi hats, the ride cymbal or double bass to drive the pattern. Check out this unique style of music here. Sixteenth notes - A note played for the duration of 1/16 of a whole note. This note value is usually played quicker then the rest since it is small value. In drum notation, a sixteenth note has a stem and two flags. Sixteenth Note Rest – A rest or break from playing for the duration of a 16th note. 16th note rests take place of an sixteenth note, and are located in the middle of the staff. Slave Pedal - On a double bass pedal, the foot pedal with no beater attached to it. The slave pedal is the one that is played with your weaker foot. Most slave pedals will react differently then the main pedal; however adjustments can be made. Snare Buzz - A sound created by vibrations on the snare wires on your snare drum. Snare buzz happens when you have a lot of access noise either from the band or your own drum set. The sound waves vibrate your snare wires causing a buzz sound that can pollute the song. Drum dampeners can help distinguish this; however every snare will buzz with the right frequencies. Snare Drum - One of the most important drums in a drum kit. The snare drum is a drum similar to other drums; however on the bottom of the resonant head, there are snare wires that are stretched across. These wires give the sound of the drum a crack to it. This crack creates the pulse of most beats and patterns. There are many different types of snare drums that have different tones, and sounds. Snare comping - Playing shots, accents, and hits on the snare drum to compliment the other musicians in a band. Comping is done in all styles of music, and is meant to accent the melodic instruments when they are soloing or playing certain pieces. Snare Wires - A set of metal coils stretching across the resonant head of a snare drum. The snare wires are what give the snare drum its loud crack. The snare wires are connected to a clutch that can tighten or loosen the tension on the drum, which changes the sound. Soca - Short for Soul Calypso, the Soca is a powerful style of Latin music that is designed to get people dancing. The Soca is 16th note based, and is always played up tempo. Songo - A unique style of Latin music that is played with a linear feel. Another popular style that has a very fun sound to it. The cowbell and ride cymbal bell are used to drive the beat of a Songo. Splash Cymbal - A smaller cymbal that produces a short, higher pitched sound. These usually range from 6 – 14 inches, and are used mainly for accents and shots. Splash cymbals are great additions to any drum set. Stack cymbals - 2 cymbals placed on top of each other to create a short rhythmic sound. Stack cymbals were recently made popular by progressive rock aritists like Mike Portnoy. Stack cymbals usually consist of a China kang on top of a splash cymbal; however you can experiment with different kinds to create different sounds. Staff - the set of horizontal lines and spaces in which notes are placed on sheet music. A staff is also known as a measure, or bar. Stick grip - The style one holds the drum stick. There are many different types of stick grips, Traditional grip, American grip, Germanium grip, French grip, and Matched grip. There are certain ways to grip the stick, so make sure you know the correct way to hold your drumsticks. Sub kick - A small amplifier that sits in front of a bass drum. This drum shaped microphone plugs into the sound board and amplifies the low ends of a bass drum. These look like small drums that are placed in front of a bass drum. Syncopation - Adding emphasis on certain notes to liven a beat or rhythm up. Regular beats with the same accents can get boring; adding syncopation changes the feel by adding accents to places where you would not expect. Tambourine - An instrument consisting of small metal jingles that make a short high pitched sound. These are usually played with the hand; however you can add them to any drum set. Tango - A more elegant and classy style of Latin music. The tango utilizes the snare drum as it incorporates many common rudiments like the flam, drag, 5 stroke roll, and 9 stroke roll. The tango is an easier style to start out with. Tension Rod - Screws that fit through the rim of a drum, and get screwed into the lugs of a drum. Tension rods are what hold the drum head and rim onto the drum. These also control the tuning of the drum, by tightening and loosening them, the tension on the skin changes. Thirty-second Notes - a note played for the duration of 1/32nd of a whole note. These are usually played at very fast tempos, and take 32 notes to fill the time of a whole note. Throne - A stool in which a drummer sits on. These re very important for drummers to use correctly, as the height and settings of the drum throne can make a big difference to their playing. There are many types of thrones, with many different areas to adjust. Tie - A curved line used to join two notes together. These are usually tied together with a drum roll. Ties are used with brushes, and drum rolls, and look like a curved sideways bracket between two notes. A tie can sit on top, or below the notes. Timbales - Shallow single headed drums that are tuned very high. These are smaller then tom toms, and are used mainly for melodic drumming and Latin drumming. The heads on a Timbale are usually tuned very tight. Time signature - A fraction that determines how many beats are in each bar, and at which note value they are played in. For example, a 7/8 time signature would mean there are 7, eighth notes per measure. A time signature says a lot about the beat. Some examples are 4/4, 5/4, 7/8 and so on. Traditional Grip - A style of holding your sticks in which your dominant hand uses American grip, while your weaker hand holds the stick upside down. The stick is held you’re your palm facing up, and the stick fitting in between the middle and ring finger. Most popular for jazz drummers, because you get a totally different feel on the drumstick. Triplets - Grouping notes together in which the value of the original note is divided by three. Triplets are played in the same time signature and tempo as regular notes, but with a different feel. Triplets are identified with a small number “3” above the group of notes on sheet music. Tom Tom - A drum that produces a certain tone. These drums are skinned on both ends, and are placed around the bass drum. Tom Toms can range in all different sizes, and can be tuned in any style. One of the most common drums on a drum set. V-drums - Electric drums created by Roland. V-drums are the most popular type of electric drum set on the market. V-drums stand for Virtual drums, and are pads that are hit to create different voices from the drum module. Wing Nut - A nut that screws on to the top of a cymbal stand to secure the cymbal on the stand. Wing nuts are very important, as they prevent the cymbal from flying off the stand. Wing nut tension is also important, as it can affect the sound and life of a cymbal. Wood blocks - Wood cubes that are hollowed out to create a certain tone. Wood blocks are percussion instruments that can be played in all styles of music; however the yare most popular in Latin music. The sounds of wood blocks change depending on the size and thickness of the blocks. Woofer - An acoustic drum that sits in front of a bass drum to amplify the low ends of the bass drum. Similar to a sub kick, the woofer is not played. Woofers are not plugged into anything. They are usually the same diameter of the bass drum, and look like an extension to the bass drum.
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2202	dbpedia	3	19	http://www.writtensound.com/	en	Onomatopoeia dictionary	http://www.writtensound.com/Capture.PNG	http://www.writtensound.com/Capture.PNG	[ "http://www.writtensound.com/ShonenJump_s.jpg", "http://www.writtensound.com/images/Haha5.png", "http://www.writtensound.com/ShonenJump_s.jpg", "http://www.writtensound.com/ShonenJump_s.jpg", "http://www.writtensound.com/trainsgo_s.jpg", "http://www.writtensound.com/ShonenJump_s.jpg", "http://www.writtensound.com/Eeyore_s.jpg", "http://www.writtensound.com/ShonenJump_s.jpg", "http://www.writtensound.com/ShonenJump_s.jpg", "http://www.writtensound.com/ShonenJump_s.jpg", "http://www.writtensound.com/dinosaurking_s.jpg", "http://www.writtensound.com/dinosaurking_s.jpg", "http://www.writtensound.com/dinosaurking_s.jpg", "http://www.writtensound.com/images/guffaw.png", "http://www.writtensound.com/wdy1.png", "http://www.writtensound.com/images/Haha1.png", "http://www.writtensound.com/images/evil.png", "http://www.writtensound.com/images/beavis.png", "http://www.writtensound.com/ShonenJump_s.jpg", "http://www.writtensound.com/ShonenJump_s.jpg", "http://www.writtensound.com/ShonenJump_s.jpg", "http://www.writtensound.com/doggies_s.jpg", "http://www.writtensound.com/images/Lightsaber.png", "https://upload.wikimedia.org/wikipedia/en/a/a6/Pok%C3%A9mon_Pikachu_art.png", "http://www.writtensound.com/dinosaurking_s.jpg", "http://www.writtensound.com/images/Lightsaber.png", "http://www.writtensound.com/doggies_s.jpg", "http://www.writtensound.com/diggersgo.jpg", "http://www.writtensound.com/ShonenJump_s.jpg", "http://www.writtensound.com/ShonenJump_s.jpg", "http://www.writtensound.com/ShonenJump_s.jpg", "http://www.writtensound.com/weregoingonabearhuntcover.jpg", "http://www.writtensound.com/ShonenJump_s.jpg", "http://www.writtensound.com/ShonenJump_s.jpg", "http://www.writtensound.com/weregoingonabearhuntcover.jpg", "http://www.writtensound.com/images/giggle.png", "http://www.writtensound.com/ShonenJump_s.jpg", "http://www.writtensound.com/images/Lightsaber.png", "http://www.writtensound.com/ShonenJump_s.jpg", "http://www.writtensound.com/images/220px-Coasters_promo.png", "http://www.writtensound.com/trainsgo_s.jpg" ]	[]	[]	[ "onomatopoeia", "sound", "words", "list", "dictionary", "define", "example", "poem", "poetry", "literature", "comic", "word", "writing", "language", "English", "glossary", "meaning", "onomatopeia", "definition", "etymology", "word origins" ]	null	[]	null	A dictionary of onomatopoeia (sound words) and words of imitative origin in the English language. Examples of noises and sound effects in writing as found in poems, comics, literature, slang and the web. Animal sounds, car noises, hit and punch noises, eating and drinking noises, weather related sounds, liquidy, gaseous, crashing sounds, metallic sounds, tones and alarms		favicon1.ico	Writtensound.com	http://www.writtensound.com/	aaht aahht bloooot sounds of busy city horns (cars) MAD magazine automotive tone aaugh Exclaimation of dismay, commonly used, and originaly created by the Peanuts gang by Charles Schulz. Used frequently by Charlie Brown in the following situations: Losing a Baseball game, Having the football pulled away by Lucy, In an embarrassing situation. Also used by other members of the peanuts gang and can be used as a roaring sound to scare someone. 1) Linus: I told her about how you're madly in love with her, Charlie Brown: Aaugh!! 2) Snoopy: It's not the things that go 'bump' in the night that scare me. It's the things that go 'AAUGH!'. Urban dictionary dismay pain embarrassment comics achoo sound of sneezing. More sneezing sounds human disease ack-ack-ack-ackawoooo-ack-ack-ack Fox vocalization. Rarely heard guttural chattering with occasional yelps and howls, mostly heard when animals are in close proximity to one another. Popular Science ah interjection used to express delight, relief, regret, or contempt human ah uh ah uh sound of a dog panting. Find more panting dog sounds. ref ah-choo sound of sneezing. More sneezing sounds human disease ah-ooh-ga other spellings: ah-ooo-ga, ah-ooh-gah, oo-ga. 1. Klaxon sound signaling "dive" in 1940's US navy submarines ref 2. Sound produced by horn on antique automobiles such as Ford Model-A ref1, ref2 automotive horn aha interjection used to express surprise, triumph, or derision human ahahah aristocratic sounding laughter, or kind of a hick laugh laughter ahem clearing one's throat human ahh ha ha laughter, not really different from the ordinairy hahaha, but this one includes an attempt to capture the breath before the burst of laughter (ahh-) laughter ahoy interjection used in hailing (to call or greet) a ship, as in "ship ahoy" human ar rooff dog barking (Doggies by Sandra Boynton) More dog vocalizations arf dog vocalization. Find more dog vocalizations argh exclamation expressing pain. there is a webpage dedicated to the many different spellings of aargh on the web. The top five most common spellings is argh, aargh, aaargh, arrgh, arrrgh. human pain argh Sound uttered by person choking. Also: awk, gasp, gak disease eat_drink pain aroo the sound made by a wolf, when howling animal atchoo sound of sneezing. More sneezing sounds human disease aw interjection used to express mild disappointment, gentle entreaty, or real or mock sympathy or sentiment human awk Sound uttered by a person choking. Also gak, argh, gasp disease eat_drink pain human animal baa sheep vocalization animal babble 1. to talk enthusiastically or excessively, 2. to utter meaningless or unintelligible sounds. imitative origin. human babbler large family of bird species. Example: the gray-crowned babbler (Australia), also sometimes called the yahoo, after one of its calls. The name babbler or chatterer may come from the birds' continuous raucous babbling/chattering when in groups. about this bird animal bird badaboom explosion. Find more explosions explosion badonkadonk Extremely curvaceous female buttocks. Urban dictionary: When the immense, rounded muscle tissue of the rear creates a sound wave ripping through the local environment making a pressure wave against the ear drum in a pleasing Ba-dOnk-a-dOnk rhythm. Also: A womens derriere that has the shape of, and bounces like a basketball. The word is derived from the sound produced when you bounce a basketball. A case of the sound of one urban icon, naming another urban icon with similar propensities but that doesn't really make a sound. badum tish sound of a drum roll / rimshot hear the sound music drum laughter bah interjection used to express disdain or contempt human bam sound of a hard hit. Find more hit / punch words hard_hit bamf BAMF in the Marvel comic books represents the sound of X-Men character Nightcrawler when he transports himself. The sound is caused by air rushing into the area where Nightcrawler's body once was misc gas movement bang sharp noise or hit. Find more hit / punch words hard_hit baraag elephant vocalization, trumpeting animal barf vomiting, the sound made while vomiting. Also used a noun meaning "vomit" disease bark verb for dog vocalization. Find more dog vocalizations animal baroom explosion. Find more explosions explosion bash to strike heavily. Find more hit / punch words hard_hit batabatabata sound of a helicopter. Find all helicopter sounds engine helicopter movement bawl to cry out loudly and unrestrainedly. From baulare (Medieval Latin) or baula (Old Norse), imitative origin. human animal bay dog vocalization (in the poem Lepanto by G. K. Chesterton: "... Don John's hunting, and his hounds have bayed ...". Find more dog vocalizations animal bazinga interjection similar in meaning to fooled you! or gotcha! after a prank. It first appeared in the tv sitcom The Big Bang Theory and is used by the character named Sheldon. It probably comes from the word zing and ba and a may just have been added for added effect. See video of Bazinga!-moments human television series comedy bbvvvvvvvvvvvvvnnnnnn The sound of an activated but motionless lightsaber in Star Wars movies. Also: nnnnnnnn Reddit saber weapon beep bird , automobile horn, or computer generated tone. "Beep beep!" is also the signature call of the Road Runner character (a bird) in the Looney Tunes cartoons. Find more tones animal bird automotive tone beep beep beep beep beep beep whirrrffftt bonk Sound of a forklift (From Diggers go by Steve Light). All caps in the book BEEP BEEP BEEP BEEP BEEP BEEP WHIRRRFFFTT BONK engine lift truck automotive beep beep beep beep screeeech ruuurrrump pa-lump Sounds made by a dump truck (Diggers go by Steve Light, all caps in the book BEEP BEEP BEEP BEEP SCREEEECH RUUURRRUMP PA-LUMP truck dump rubble dirt stone sand engine bellbird (Anthornis melanura) bird species found in New Zealand. Maori language name Korimako. The bellbird forms a significant component of the famed New Zealand dawn chorus of bird song that was much noted by early European settlers. It has a bell-like song. about this bird animal bird biff sound of an uppercut punch. Find more hit / punch words hard_hit blab loose chatter. Also: blabber human blabber Loose chatter. also: blab blah nonsense, silly talk human blam explosion. Blam is also the title of a Roy Lichtenstein painting. Find more explosions. explosion blare loud sound music misc tone engine blast an explosion or violent detonation, a violent gust of wind, or the effect of such a gust Find more explosion words explosion bleat 1. to utter or play loudly or harshly, 2. the natural cry of a sheep, goat or calf 3. to talk complainingly or in a whining tone of voice animal bleep electronically generated tone. "to bleep" often means "to mask inappropriate language on television or radio" tone blep The sound of sticking your tongue out. Often used in cat pictures on the internet, showing a cat with tongue sticking out. tongue cat animal meme bling bling the "sound" of light reflecting off shiny expensive objects, such as diamonds. this is a rare example of "non-auditory onomatopoeia". another example: shiiin misc blip a short, crisp sound tone bllgh blllgggh blllllgggghh (automotive) sound of boiling coolant Cartalk engine automotive liquid water blop sound a large serving of mashed potatoes makes when it hits the plate (also a corresponding measurement of same) (ref) food hit spoon blurp sound of a horn (from "Mr. Brown can moo, can you?" by Dr. Seuss) music blurt to utter abruptly and impulsively, as in "to blurt out the first word that comes to mind" human bob-white any of a genus (Colinus) of quail; especially : a popular game bird (C. virginianus) of eastern and central North America having mottled chiefly reddish-brown plumage animal bird bobolink bird species named by their typical call. about this bird animal bird boff 1. the sound of a hit or punch. Find more hit/ punch words 2. verb (slang) to have sexual intercourse (with someone) 3. noun (plural boffs), a big laugh 4. a line in a film etc that elicits such a laugh hard_hit laughter bomb hollow, explosive projectile, imitative origin explosion bomp sound of a hit / punch ("Garfield", Jim Davis). Find more hit / punch words hard_hit bong sound of bouncing. from: Find more hit / punch words hard_hit bonk sound of something heavy hitting something else. Find more hit / punch words hard_hit boo 1. used to express derision, disapproval 2. Used to startle someone, when said loudly and abruptly human boo-hoo crying human boom 1. deep, hollow sound, explosion. Find more explosion words 2. verb for the sound produced by the (male) bittern, a bird species, to attract the females and establish their territory. each male has a unique voice. the boom of the male bittern is the lowest-pitched and the most far-carrying song produced by any European bird. it is written as "oonk-a-lunk" or "punk-er-lunk" and can be heard up to 5 km away in the right weather conditions. about this bird explosion animal bird boooOOOOOOooo (automotive) sound of a bad turbo. Cartalk engine automotive boop A light tap or bump on the nose in a cute way. This word is an ideophone, meaning that it evokes the idea of sound to describe phenomena that do not necessarily have sound. While not technically onomatopoeia, it is used like onomatopoeia. know your meme animal body meme boosh A word that describes the sound of an explosion; an expression used to express awesomeness. Ex. (1) We lit the gas can on fire, and it went "BOOSH!". (2) When Tamera aced the test, we heard her shout, "BOOSH!" in celebration. Urban Dictionary - Thanks to students of Ms. Lane's 7th grade class! Find more explosions explosion human bop sound of a hit / punch ("Garfield", Jim Davis). Find more hit / punch words hard_hit borborygmus the rumbling sound produced by the movement of gas through the intestines of animals, including humans. Stomach growling. eat_drink animal gas bounce A heavy blow. Possibly of imitative origin. Etymonline bow-wow dog vocalization. Find more dog vocalizations animal brahnk bullfrog vocalization (When the fireflies come by Jonathan London). animal frog quack croak bratatat sound of machine gun. (Bratatat! is a Roy Lichtenstein painting) weapon bray to utter the characteristic loud harsh cry of a donkey animal breet Referee whistle. also: preet sports music brekekekex, koax, koax (Ancient Greek) frog . Features in Aristophanes' comedy Batrachoi ("The Frogs", (405 BCE) - as translated by Matthew Dillon. The phrase was also used by Hans Christian Andersen, in the fairy tale Tommeliden ("Thumbelina", 1835) animal bringg sound of ringing telephone. More telephone sounds tone brinng sound of ringing telephone. More telephone sounds brouhaha hubbub, uproar human brum-brum-brum-brum-brrrrrrrrrrrrrrrrrrrrr Sound of a chainsaw bubble air enclosed by liquid, or to bubble: the process of bubbles being formed, probably of imitative origin liquid gas water buffet (possibly of imitative origin) blow. Find more hit / punch words hard_hit buffoon (possibly of imitative origin) clown, may stem from allusion to puffing out cheeks as a comic gesture gas misc bum! brrum! brrrumble!!!! Sound of a big bass drum. From the children's book Squeak, Rumble, Whomp Whomp Womp. Wynton Marsalis & Paul Rogers, 2012 Candlewick Press music bumble to blunder, from Middle English bomblen (to boom) movement bumblebee A bumblebee (also spelled as bumble bee) is any member of the bee genus Bombus, in the family Apidae. They are characterized by are characterised by black and yellow body hairs, often in bands. Etymonline: 1520s, replacing M.E. humbul-be, alt. by assoc. with M.E. bombeln "to boom, buzz," echoic, from PIE base *kem "to hum," echoic. bump heavy dull blow, or its result (a swelling). Find more hit / punch words hard_hit burble to form bubbles, flow with bubbling sound liquid water burp the act of belching human human eat_drink burr uvular pronounciation of the letter "r" human buzz 1. a sibilant humming sound, like a bee (also: bzzz, hum) 2. the sound of a buzzer 3. a confusion of activity and gossip, chatter, talk. Also used as a verb "the bees were buzzing", "he buzzed a servant" human animal tone bwahaha! laughter, boisterous laughter bwak sound of a punch or kick. from: Find more hit / punch words hard_hit bweee electric power tone tone BWEEP bip bip BWEEP U.S. city police siren in traffic (ref) police tone alarm siren city car automotive bwok sound of a punch or kick. from: Find more hit / punch words hard_hit bwoom explosion Find more explosion words explosion bwow-chcka-bwow funky palm-muted riffs with wah pedal (sound effect), associated with pornographic movie soundtracks. often combined with playing "airguitar". see also: neow, jug, whockah music bwwob bwwwobbubwub Sound of a car engine low on coolant Cartalk automotive engine bzzz sound of a flying insect animal ca-chunk sound of big metal-framed ink-stamps used by court clerks (ref) metal hit caa sound made by a crow cackle 1. the sound made by a hen after laying an egg, 2. talking in a cackling manner, probably has partial imitative origin human animal bird caterwaul to make a harsh cry (like a cat in heat). More cat sounds animal vocalization caw bird , usually a raven or crow animal bird cha-cha-cha a fast rhythmic ballroom dance of Latin-American origin with a basic pattern of three steps and a shuffle. The name is derived from the rhythm of the guiro (scraper) and the shuffling of the dancers' feet music cha-ching sound of a cash register. also: ka-ching money metal coins chachalaca bird species name, see plain chachalaca animal bird chakk-chackk-chak-chak, chak-a-chak-akk-chk-chk-chk sound of a helicopter. Find all helicopter sounds engines helicopter movement cham to chew noisily. Find more chewing noises human eat_drink champ to chew noisily. also: cham. Find more chewing noises chat to converse easily and familiarly. also a name for small birds, such as the warbler human animal bird chatter quick repeated sounds (by birds or humans) human animal bird chatterer 1. a person who chatters 2. common name for bird species, see babbler animal bird cheep bird vocalization (nonspecific) animal bird chickadee any of several small North American oscine birds (genus Poecile of the family Paridae) that are related to the titmice. about this bird animal bird chiffchaff name of bird species, named by its song. about this bird animal bird chiming the sound of wedding bells (features in the poem "The Bells" by Edgar Allan Poe) metal music ching-a-ling sound of a bell chink to make a sharp ringing sound metal chirp bird vocalization (nonspecific) animal bird chirr the short vibrant or trilled sound, characteristic of an insect (as a grasshopper or cicada) animal chirrup 1. to utter a series of chirps, or to make clucking or clicking sounds with the lips, as in urging on a horse, 2. bird vocalization animal bird chit-chat light, informal conversation human chitter to twitter or chatter (high-pitched sounds), like a bird, or raccoon animal bird chomp to chew or bite something. Find more chewing noises human eat_drink animal choo-choo small children's word for train (steam engine) engine chooga chooga chooga steam engine or train. Click here for more train sounds engine movement chortle laughter, gleeful chuckle, chuckling and snorting. Ususally designated as a description of a weird laugh, but a chortle can be a laugh you make when you REALLY enjoy something. Often used in British comic "the Dandy and the Beano" or "Beano book", e.g. Dennis the Menace's annoying habit of guffawing at his own actions: "Ha ha! Look Gnasher! Chortle!" laughter chough genus Pyrrhocorax of birds in the Corvidae (crow) family. now universally pronounced 'chuff'. However it probably originally rhymed with "how", as 'chow' is a reasonable representation of its call (according to this website). link1 (white-winged chough), link2 (red-billed chough) animal bird Chrrrick chrrrick chrrrick chrrrrick Putting butter on toast with a knife. From the children's book Squeak, Rumble, Whomp Whomp Womp. Wynton Marsalis & Paul Rogers, 2012 Candlewick Press metal eat_drink chuck-will's-widow (Caprimulgus carolinensis) nocturnal bird of the nightjar family Caprimulgidae, similar to the whip-poor-will, found in the southeastern United States near swamps, rocky uplands, and pine woods. It migrates to the West Indies, Central America, and northwestern South America. voice: Call a loud "Chuck-will's-widow," with the first "chuck" being quiet and inaudible at a distance. about this bird animal bird chug a dull explosive sound made by or as if by a laboring engine engine chug chugchug chugchug mmmoooosh sound of a steamroller (Diggers go by Steve Light. All caps in the book CHUG CHUGCHUG CHUGCHUG MMMMOOOOSH) engine equipment road CHUGGA chugga chugga CHUGGA chugga chugga CHOO CHOOOOOOO steam engine or train. from this book: Click here for more train sounds machine movement chukar The Chukar Partridge (Alectoris chukar) is a Eurasian upland gamebird in the pheasant family Phasianidae. Their song is a noisy chuck-chuck-chukar-chukar from which the name is derived. More animal bird chumma chumma chumma, hufft hufft, falump Sounds made by an excavator (From Diggers go by Steve Light). In the book all caps CHUMMA CHUMMA CHUMMA, HUFFT HUFFT FALUMP engine metal digging chunk to chunk, a verb for sound made by a big engine, as in thumping, chunking engines going.. (from the poem "engineers" by Jimmy Garthwaite, in "Noisy poems" by Jill Bennett) engine clack 1. chatter, prattle 2. to make an abrupt striking sound or series of sounds, such as footsteps 3. cry of a bird , especially fowl. see also: cackle, cluck 4. Sound of a late 19th century gun being closed after loading, according to a reply to a yahoo!Answers post about the sound of old guns animal bird weapon metal clackety-clack sound of a train sound of a train riding on a railroad switch or joint (Song of the train by David McCord, in Noisy poems by Jill Bennett). also: clickety-clack metal engine clang 1. loud ringing metallic sound. For example clang or klang is often used for when an aluminum baseball bat hits the baseball 2. to clang, verb for harsh cry of a bird (as a crane or goose), 3. to clang, verb for the sound of fire bells (features in the poem "The Bells" by Edgar Allan Poe). hard_hit animal bird metal clank 1. the sound of metal when struck, 2. to clank, verb for the sound made by a big engine (from the poem "engineers" by Jimmy Garthwaite, in Noisy poems by Jill Bennett) hard_hit engine clap a sharp, forcible or resounding noise hard_hit claque (possibly of imitative origin) organized body of hired applauders crack clash loud sound of collision followed by a confusion of lesser sounds hard_hit clatter to make a rattling sound crack cliche stereotyped phrase (imitative origin, from the sound of dropping the matrix on the molten metal) human click 1. slight sharp sound, eg. camera making a photo. 2. nonvocal suction sound in some languages, 3. to talk noisily or rapidly. The sound made by dolphins is also called "clicking". In the media: click it or ticket is the name and slogan of a National Highway Traffic Safety Administration campaign aimed at increasing the use of seat belts among young people in the United States. Also: "clunk click, every trip (click the seatbelt on after clunking the car door closed; UK campaign) and: "click, clack, front and back" (click, clack of connecting the seatbelts; AU campaign) human animal automotive clickety-clack sound of a train sound of a train riding on a railroad switch or joint (Song of the train by David McCord, in Noisy poems by Jill Bennett), see also clackety-clack metal movement engine clink sound of metal when struck hard_hit metal clinker very hard kind of brick, named after the sound produced when struck hard_hit clip clop sound of a walking horse. More horse sounds animal clippity-clop sound of galloping horse. More horse sounds animal clitter to make a shrill creaking noise by rubbing together special bodily structures, as of male insects such as crickets or grasshoppers animal clobber sound of a hit / punch, verb: to batter severely. Find more hit / punch words hard_hit cltkty sound of a coin put into a vending machine (from the graphic novel "Jimmy Corrigan: The Smartest Kid on Earth", ref) metal cluck 1. bird : the peculiar sound of a brooding hen 2. To make a clicking sound with the tongue animal bird cock-a-doodle-doo call of a rooster, usually in the morning animal bird common poor-will (Phalaenoptilus nuttallii) nocturnal bird of the family Caprimulgidae, the nightjars, found from British Columbia and southeastern Alberta, through the western United States to northern Mexico. Call: a loud "poor-will." about this bird animal bird coo bird , characteristic note of doves and pigeons animal bird cough to expel air noisily from the lungs, usually to expel fluids that resonate during breathing human disease crack to make a sharp short noise crack crackle 1. To make a succession of slight sharp snapping noises: a fire crackling in the wood stove. 2. To show liveliness, energy, or intensity: a book that crackles with humor. 3. To become covered with a network of fine cracks; craze. v.tr. 1. To crush (paper, for example) with sharp snapping sounds. 2. To cause (china, for example) to become covered with a network of fine cracks. in the media: Snap, Crackle, and Pop are the cartoon mascots of Kellogg's breakfast cereal Rice Krispies. They are named after the sound rice krispies make when they are dropped in a bowl of milk crash to dash to pieces, or the noise produced by it hard_hit crack creak a harsh cry, sound of a rusty gate hinge, to speak stridently or querulously, or to make a shrill grating noise metal crack cricket name of chirping insect, grasshopper animal crack crinkle to make a soft crackling sound, rustle crack croak 1. frog , 2. to utter a deep hoarse cry animal croaker Common name for Sciaenidae, a family of fish. Also called drums or hardheads for the repetitive throbbing or drumming sounds they make. The sounds are produced by the beating of abdominal muscles against the swim bladder. more croon 1. To hum or sing softly. 2. To sing popular songs in a soft, sentimental manner. 3. (Scottish) To roar or bellow. Possibly of imitative origin. Originally "to bellow like a bull" as well as "to utter a low, murmuring sound" Etymonline human music animal croup throat-disease with a sharp, barking cough. imitative origin human disease crow to utter the cry of a rooster animal bird crunch 1. to chew with a noisy crackling sound, 2. to crush, grind, or tread noisily. Find more chewing noises human eat_drink animal crack crunch, crunch, crunch sound of footsteps on gravel, stones human stones cry 1. to call loudly, 2. to weep, 3. verb for the sound of a trumpet (in the poem "Lepanto" by G. K. Chesterton: "... Don John calling through the blast and the eclipse, crying with the trumpet, with the trumpet of his lips" human music cuckcoo cuckoo, bird species Cuculus Canorus, named by its cry. Also, a type of clock named after the bird. link1 (bird), link2 (clock) animal bird curlew any of various largely brownish chiefly migratory birds (especially genus Numenius) having long legs and a long slender down-curved bill and related to the sandpipers and snipes. name is imitative of the sound it makes. about this bird animal bird currawong bird species name, see pied currawong animal bird d'oh interjection used to express sudden recognition of a foolish blunder or an ironic turn of events, popularized by The Simpsons tv cartoon series, in which main character Homer uses it often. also: doh. human dab to strike with soft pressure light_hit dada vocal sound produced by a human infant human dakka the sound produced by fully-automatic weapons in action. Use in computer gaming: Acquiring "more dakka" leads to a faster rate of bullet discharge and thus improves the player's overall chance of taking out hostiles ref weapons dash to move violently or suddenly. also lash movement deed-a-reedle sound of a fiddle ("the ceremonial band" by James Reeves, in "Noisy poems" by Jill Bennett) music dibble dibble dopp dopp sound of rain (from Mr. Brown can moo, can you? by Dr. Seuss). More rain sounds weather liquid water dickcissel name of bird species (Spiza americana). small American seed-eating bird in the family Cardinalidae. voice: From an open perch in a field, this bird's song is a sharp "dick dick" followed by a buzzed "cissel", also transcribed as "skee-dlees chis chis chis" or "dick dick ciss ciss ciss". about this bird animal bird didgeridoo (probably of imitative origin) indigenous Australian instrument, of imitative origin. link (video) music dikdik small antelope that lives in the bushes of East Africa, Angola and Namibia. Dik-diks are named for the alarm calls of the females, which make a dik-dik, or zik-zik sound. In addition to the female's alarm call, both the male and female make a shrill whistling sound. ding sound of metal when struck hard_hit metal ding-dong tolling of a bell metal dirnt Sound of a bass-guitar. From: Mike Dirnt, the bassist of the rock band Green Day. Dirnt's birth name is Michael Ryan Pritchard. According to Wikipedia, at school, he would would often play "air-bass", pretending to pluck the strings, while making the noise, "dirnt, dirnt, dirnt". As a result, his schoolmates began to call him "Mike Dirnt". See also Yahoo Answers. Related: wub wub, wob wob and other sounds of bass in dubstep music. dodogyuuun the menacing cry of Arceus, God of the Pokemon world comics television videogames dong sound of bouncing. from: Find more bouncing words hard_hit doo-wop style in vocal rhythm and blues music from the 1950-1960, in which ad-lib syllables such as "doo wop, doo wah" are sung in harmony link (video) music dook 1. sound of drinking from a bottle ('dook, dook, dook' as in webcomic Scary Go Round) 2. verb: to dook, clucking or chuckling sound made by ferrets when excited or happy. More about ferrets animal dot a dot dot sound of rain drops hitting a window pane (in the poem Weather by Eve Merriam, in Noisy poems by Jill Bennett). More rain sounds light_hit weather liquid water drone male honeybee, probably of imitative origin animal dubdubdubdubdubdub Sound of a helicopter. Find all helicopter sounds engine helicopter movement duh interjection used to express actual or feigned ignorance or stupidity, also used derisively to indicate that something just stated is all too obvious or self-evident human dunh dunh durrr Sound of guitar strumming rock Reddit dwoiiinnnnnnnngggggggig sound of a ruler strummed against a table (ref) plastic metal hit vibration eastern phoebe (Sayornis phoebe) small passerine bird. This tyrant flycatcher breeds in eastern North America, although its normal range does not include the southeastern coastal USA. It is migratory, wintering in the southernmost USA and Central America. Voice: Song is two rough, whistled notes, "fee-bee" with the second note rasping or with a stuttered, more whistly second note "fee-b-be-bee." Call note a clear chip. about this bird animal bird eastern whipbird (Psophodes olivaceus) bird species found in eastern Australia. The Whipbirds' long "whip" call, one of the most characteristic sounds of the Australian bush, is performed as a duet. The male makes the drawn out whip crack and the female usually follows quickly with a sharp "choo-choo". about this bird animal bird eee-aaaah donkey , also: hee haw (verb: to bray) animal eeeeeee siren tone eeeoooeeeooo siren tone eeeyouch interjection expressing pain ("Garfield", Jim Davis) pain eek eek 1. monkey, mouse or rat vocalization 2. sound of a squaky shoe (from "Mr. Brown can moo, can you?" by Dr. Seuss) 3. human exclamation uttered when scared or distressed animal Eeyore Eeyore is the name of the donkey from Winnie-the-Pooh. The name is onomatopoeia for the braying sound made by a donkey, typically written as hee haw in American English. eh interjection used to ask for confirmation or repetition or to express inquiry ; used especially in Canadian English in anticipation of the listener's or reader's agreement human fa-thud sound of someone hitting the floor after falling fighting punch hard_hit hit fanfare (probably of imitative origin) a flourish of brass instruments. link (video) music fap fap fap Sound of masturbating (male) human fart (possibly of imitative origin, but debatable) English language vulgarism most commonly used in reference to flatulence. Onomatopoeia for farts have been suggested in various internet forums in response to questions of people who needed a word to describe the sound: eg. here and here. The suggested words include brrt, braaah, THPPTPHTPHPHHPH (Calvin and Hobbes), phhhhhhrt, PPPPPPPPPPPPPPPPPPPPPPPPPPP, pff, prtrtrtrgurtrufnasutututut, prrrt, PFFT!, PHHhhhh..., SPLPLPLLLP, WHOooooffff, poot, prrrrrrrvt, scraeft, ppppppwwarrrrppppp, pllllllllllllllllllllllllloooooooooooaaa..., RRRRRRRIIIIIIIIIIIIIIIIIIIIIIIIIPPPPP, fuuuuuuuuuuuurrrrrrrt, thhhppbbbb, verrrrrrrrrnnnnnntttttt, hooooooooooooooooooooooooonk, pbpbpbpbp, frr frr frrrrrr rampooooooooo ag, pppppppptttttttttttttttttttttttt, flurpppppppppppppppppppppppppppppppppppp... Also, according to many responders it depends on the fart (farting can make many possible sounds). human gas fash sound of fended off punch with the hand. from: hard_hit movement Ffffffffffffff 1. blowing on hot soup 2. flatulence (fart) 3. air running out of a tire gas air eat_drink automotive food Ffffkrrrrshhzzzwooooom..woom..woooom.. Sounds of a lightsaber (Star Wars movies) Reddit weapon saber sword fillip sound of snapping the fingers music finch name for a family of passerine birds (fringilla), whose call is often written as "fink fink", "pink pink", or "spink spink" about this bird. may be of imitiative origin animal bird fizz 1. A hissing or bubbling sound. 2. Effervescence.3. An effervescent / carbonated beverage "plop, plop, fizz, fizz" used to be the slogan in Alka Seltzer commercials for many years. 4. 2. informal ( often foll by out ) to fail or die out, esp after a promising start. Also spelled as fizzle explosion gas liquid eat_drink water flac-flac-flac sound of a helicopter. Find all helicopter sounds engines helicopter movement flap 1. a blow, 2. noise of a bird's wing in motion, 3. to strike with something flexible or broad hard_hit animal bird movement flash 1. sudden burst of flame or light, 2. sudden rush of water explosion liquid flatulence See fart. (The word "flatulence" is not an onomatopoeia) human gas flibbertigibbet A flighty or whimsical person, usually a young woman. In modern use, it is used as a slang term, especially in Yorkshire, for a gossipy or overly talkative person. Its origin is in a meaningless representation of chattering. human conversation flick a light sharp jerky stroke or movement light_hit movement flick a flack fleck sound of rain drops hitting a window pane (in the poem Weather by Eve Merriam, in Noisy poems by Jill Bennett). More rain sounds light_hit weather liquid water flicker 1. to flutter, hover, vibrate 2. bird species name, see northern flicker animal bird crack flip-flop flip-flops are a simple footwear named by sound produced when walking in them movement human flog to beat, thrash. Find more hit/ punch words hard_hit floovb, floovb, vwomp, vwomp sound of a bad tire of a car. Cartalk automotive engine movement rubber flop to fall, collapse, with a dull or heavy sound hard_hit flumppf sound of a wad of mail as it falls from a letter-box (ref) paper movement hit flush to flood or spray thoroughly with water or other liquid, as for cleansing purposes. flush can have many meanings but in the sense of flooding with liquid it can be seen as imitative liquid rinse flutter 1. to flap wings rapidly, 2. to float to and fro animal bird movement liquid Fnarr! Fnarr! a ribald laugh to draw attention to a double entendre. From Viz magazine comic strip Finbarr Saunders (thanks, Patz Gardiner) laughing human freh, freh, freh sound of an animal (particularly a dog/wolf/coyote) shaking water off its fur ("Borreguita and the Coyote: A Tale from Ayutla, Mexico", by Verna Aardema) animal liquid frou-frou rustling, like silk dresses do crack fwappa Sound of a parachute opening ( Pokemon Black and White Vol 7 Kusaka & Yamamoto) misc soft_hit gas fwip fwip fwip sound of a dog's wagging tail ( Wag! Patrick McDonnell) animal tail movement fwww - cluck sound of a hockey puck hitting the net of the goal and then the ice (ref) sports ice hockey hit gabing sound of a flying object hitting someone's head (Garfield, Jim Davis) Find more hit/ punch words hard_hit gada, gada, gada sound of drums ("Misoso: Once Upon a Time Tales from Africa", by Verna Aardema) music gag to choke human disease eat_drink animal gaggle the chatter or cackle of geese animal bird gak Sound uttered by a person choking. Also: argh, awk, gasp disease pain eat_drink gargle to wash the mouth with suspended liquid, also: gurgle liquid water gasp sound produced by victim of punch in the stomach. from: the original word, meaning "to catch the breath convulsively and audibly (as with shock)" is not directly imitative human hard_hit gecko name of lizard species, comes from Malay word "gekoq", imitiative of its call. (More about geckos) animal geez interjection used to express disbelief or exasperation. As in: Geez, stop shouting at me like that!. Alternative to saying Jesus! in order to be less offensive. Also: sheesh. human conversation gibberish 1. gibberish is rapid, inarticulate, often foolish sounding speech, 2. according to this wikipedia entry, it is also a verb for the sound made by apes/monkeys (as in "dogs bark, monkeys gibber") human animal giggle laugh in a manner suggestive of foolish levity or uncontrollable amusement human laughter glok sound of a kick against someone's body (head, for example). from: Find more hit/ punch words hard_hit glop sound something liquidy and unappetizing hitting a dinner plate human eat_drink glug sound of swallowing a drink human eat_drink gnash to strike teeth together human animal gnaw to bite persistently human eat_drink animal gobble bird vocalization, typically a turkey animal bird gobbledygook (noun) jargon or highly intricate language that is hard to understand or incomprehensible. Comes from gobble, the vocalization of turkeys. Wikipedia gong metallic disk used as a percussive musical instrument named by the sound produced when struck music gr gr k k grk Sound of scraping and hammering in rocky material at an archeological / paleontological excavation. from: . All caps in the book: GR GR K K GRK stone carving metal digging gray-winged trumpeter (Psophia crepitans) bird species found in South America, whose song is a low humming, but its call, as its name suggests, is a very loud JEEK or honking TZAAK, which may be the reason for the name "trumpeter". This bird is kept as a pet by Amerindians, since it is easily tamed, hunts snakes, and is a very efficient sentinel, with its unmissable alarm call. about this bird animal bird great kiskadee passerine bird (Pitangus sulphuratus) found in southern Texas and middle and south america. this bird is a flycatcher. the voice is described by some sources as dee-kis-ka-dee, by others as BEE-tee-WEE. The latter gives the bird its name in different languages and countries: In Brazilian Portuguese the birds name is bem-te-vi, or bien-te-veo (spanish) meaning ("I've spotted you!"). In El Salvador the bird is known as Cristofue, and in Paraguay as pitogue. In French it is called tyran quiquivi. link1, link2, video animal bird groan 1. to utter a loud deep sound of grief or pain, 2. the sound of funeral bells (in the poem "The Bells" by Edgar Allan Poe, 3. sound of drums (in the poem "Lepanto" by G. K. Chesterton: "...For he heard drums groaning and he heard guns jar ..." human human pain music growl a low, guttural, menacing sound made by an animal, such as a bear animal grrrakka kkakkakkakkakkakkakk akkakkakk kkakka akk Sounds made by a jackhammer (From Diggers go by Steve Light). In the book all caps GRRRAKKA KKAKKAKKAKKAKKAKKAKK AKKAKKAKKAKK AKKAKKAKK AKKA KKAKKA AKK engine metal grrrraaawr cry of tyrannosaurus rex (imagined). from: animal dinosaur predator grumble to mutter in discontent human grump to growl, rumble. Grumpy: surly tempered, making inarticulate noises betokening displeasure human grunt pig vocalization, the deep short sound characteristic of a hog human animal gshaaaa Hissing sound made by dinosaur or giant lizard. from: animal gas breath guff 1. foolish nonsense 2. annoying or playful criticism human conversation guffaw course, hearty, boisterous laughter, belly laugh human laughter gulla, gulla, glugluglugluglug sound of a bad axle, in a car (Cartalk) automotive car engine metal gulp to swallow greedily or rapidly in large amounts. e.g. "she gulps down a whole mug of coffee". human eat_drink gunko, gunko sound of wagon wheels ("Pedro and the padre", by Verna Aardema) engine gurgle to flow in a broken irregular current, make the sound of bubbling liquid, washing the mouth with suspended liquid (soundclip), also: gargle liquid water gurrhr cat vocalization, as used in James Joyce's Ulysses More cat sounds animal gwuf, gwuf, gwuf sound of footstep ("Pedro and the padre", by Verna Aardema) human movement gyuh gyuh,gyuh signature laugh of sherrif Roscoe P. Coltrane in tv series The Dukes of Hazzard laughter ha ha laughter. most common form. intensity grows by adding ha's. absence of an exclamation mark can be a hint of sarcasm, or indicate a polite, but unenthusiastic laugh. dependent on context, tone, facial expression, etc. Also: haha laughter ha-ha-ha-HA-ha emphasis on the fourth Ha (louder and higher pitch) and first three ha's gradually go up in pitch. signature laugh of cartoon character Woody Woodpecker. Youtube HA-ha! signature laugh of Nelson, a character from The Simpsons. Nelson is a bully at Bart Simpson's school, and he laughs at anyone who is in danger. His laugh is also written as "Haw-Haw!". link to sound human laughter ha! 1. laughter. not a boisterous laugh, but amused. 2. Also an exclamation used by the good guy jumping out of the bushes to suprise a villain laughter ha. The period (instead of exclamation mark) makes this expression of laughter sound unenthusiastic, bored, in a hurry, or not really amused laughter hackigi-gi-gi-gi laughter. signature laugh of Ed Bickel, from 3 south laughter hah-hah-hah sound of a dog panting. also: hu hu hu hu, ah uh ah uh, heh-heh-heh. (these were among the replies to a question posted on Yahoo answers) hah! laughter. diminutive, victorious laughter har har! laughter. sarcastic, as if sarcastically saying "very funny." or old fashioned hick laugh laughter harumph Interjection, an expression of disdain, disbelief, protest, or dismissal; a huff, grunt, or snort. also: harumpf interjection human haw laughter, often used to express scorn or disbelief. Often duplicated or triplicated (haw haw or haw haw haw) human laughter hawk an audible effort to force up phlegm from the throat human he-he laughter human laughter hee haw 1. bray of a donkey, 2. loud coarse laugh human laughter hee! laughter. sometimes slightly naughty, e.g. when used after pulling a naughty prank. Also used with multiple hees: heeheehee! heh-heh-heh sound of a dog panting. also: hu hu hu hu, hah-hah-hah, ah uh ah uh. (Yahoo answers) heh, heh! laughter. sometimes perverted, or meaning "that's not really funny". Usually, "heh" is a quiet laughing sound, not laughing out loud. Heh heh may also be a good transcription of the signature laugh of Beavis, from cartoon Beavis and Butthead. Sometimes simply a more faint, private laugh laughter hehehe! laughter. evil laugh used by bad guy when one of his plans goes right laughter hem clearing throat. Also: ahem hey interjection used especially to call attention or to express interrogation, surprise, or exultation human hhhhrrrrrrnnnnngggg sound of the goal light and siren in a hockey game (ref) sports hockey goal alarm siren tone hi interjection used as a greeting human hiccup spasm of the respiratory organs accompanied by a resonant gasping noise. Also: hiccough human eat_drink hip interjection used to introduce a united cheer (cf. hip-hip-hurrah). in the meaning "trendy" or "informed", it may come from "hep" (african-american slang), of which the origin is not clear human hiss to make a sharp sibilant sound, produced by geese and snakes, or a cat (when angry/scared). More cat sounds gas vocalization hissssssssss ssss ss (automotive) sound a of a failing brake booster engine automotive hm interjection used in many ways, one of which is to indicate that one is thinking, feeling, introspecting. also: hmm (more m's are added for dramatic effect or other reasons hmpf interjection used to express doubt or contempt. Also: humph, humpf ho ho ho! laughter. signature laugh of Santaclaus laughter ho hum interjection used to express weariness, boredom, or disdain human hohn hohn hohn hohn laughter. evil... and French. "We will show the stupid Americans who le clutzy frog, eh?" "HOHN! HOHN! HOHN! HOHN!" -- The Simpsons, Treehouse of Horror 8 laughter honk 1. bird vocalization (e.g. goose), 2. car-horn animal bird automotive hoo hoo bird vocalization: the cry of an owl, also: hoot, tu-whu, terwit terwoo, whit woo, twit twoo animal bird hoo hoo hoo hoo 1. monkey vocalization, also: ook, hoo hoo hoo hoo, oo oo oo, 2. the sound of wind, 3. the sound of a ghost (2 and 3: in the poem "The congo" by Vachel Lindsay "...Like the wind. Hoo, Hoo, Hoo. Listen to the yell of Leopold's ghost..." animal weather hoopoe name of bird species. imitative origin, but the hoopoe's call is actually a trisyllabic "oop-oop-oop". link (video) animal bird hooray exclamation used to express joy, approval, or encouragement. also: hurrah hoot bird vocalization, usually the cry of an owl. also: hoo hoo, tu-whu, terwit terwoo, whit woo animal bird hottentot member of native S. African race. Possibly imitative of the language spoken by the people referred to human houyhnhnm Pronounced "Whin-ems," like a horse's whinny, the Houyhnhnm are a race of intelligent horses in book 4 of Jonathan Swift's novel Gulliver's Travels animal misc howl prolonged, doleful cry, typically of a dog or wolf, but can also be human or monkey. find dog vocalizations animal human howler monkey Howler monkeys are widely considered to be the loudest land animal. The main vocals consist of loud, deep guttural growls or "howls". Their vocalizations can be heard from 3 miles (4.8 km) away. It is hypothesized that the function of howling relates to intergroup spacing and territory protection, as well as possibly mate-guarding. more hrrooonnh this is one of several suggestions in response to the question of how to write the sound of a bull, on wiki-answers. also: muuhhhrrr, rrrruuuurrrr, moo, low, huuuooohar. if you need a verb: bulls "bellow" (not directly imitative) animal hu hu hu hu sound of a dog panting. also: ah uh ah uh; hah-hah-hah; heh-heh-heh>/a> (Yahoo answers ) huff sound of exhaling, blowing, puffing animal gas huh interjection used to express surprise, disbelief, or confusion, or as an inquiry inviting affirmative reply, also: uh-huh human huh huh huh laughter. signature laugh of Butt-head from cartoon Beavis and Butthead laughter hum 1. to make a low inarticulate murmuring sound, sometimes making a melody "to hum a tune", 2. a verb for the sound that bees and hummingbirds make (eg. "the dog barks, the bee hums"), also: buzz animal music hummingbird Hummingbirds are birds that comprise the family Trochilidae. They are among the smallest of birds. They can hover in mid-air and fly backwards, Their English name derives from the characteristic hum made by their rapid wing beats. more animal bird humph interjection used to express doubt or contempt. also: humpf, hmpf hurrah exclamation used to express joy, approval, or encouragement. also: hooray hush to put at rest, stop talking, make quiet human huuuooohar this is one of several suggestions in response to the question of how to write the sound of a bull, on wiki-answers. also: rrrruuuurrrr, moo, low, hrrooonnh, muuhhhrrr. if you need a verb: bulls "bellow" (not directly imitative) animal huuuuuuuuuugh cry of a hippopotamus animal hyuk hyuk laughter. more old fashioned and more hick than yuk, yuk laughter jabber to talk fast and indistinctly, imitative origin human jangle to make a harsh metallic sound, or to cause to make a harsh discordant sound metal jar 1. harsh sound, 2. the sound of guns (in the poem "Lepanto" by G. K. Chesterton: "...For he heard drums groaning and he heard guns jar ..." weapon crack hard_hit explosion jee je je jeee (automotive) clutch release bearing on the way out. Cartalk engine automotive jingle 1. to make a light clinking or tinkling metallic sound, 2. to rhyme or sound in a catchy repetitious manner 3. brief musical tune to mark the beginning of a show or segment of a show metal music jug sound of palm-muted power chords on an electric guitar. used in playing "air-guitar". often repetitive (jug jug jug - jug jug jug), typical of the musical style. as in Foo Fighters - "One by One". see also: neow, whockah, bwow-chcka-bwow music jump to move or be moved off the ground. Possibly imitative of the sound of feet coming into contact with ground when landing animal movement ka-ching sound of cash register, also: cha-ching metal Kaaahhkkk Sound of a cat coughing up a hairball. More cat sounds animal eat_drink disease cat vocalization kaaapooooom sound of a car running over a road safety bump (ref) car automotive movement hit kaboom explosion. Find more explosions. explosion kapow explosion. Find more explosions. explosion kashl (pronounced cashel)sound of a rattly, phlegmy cough human disease crack kata-kata sound of running footsteps ("Misoso: Once Upon a Time Tales from Africa", by Verna Aardema) human movement katydid insect family also known as bush-cricket, long-horned grasshopper, named for the sound produced by the male (north american species) animal kea (Nestor notabilis) name of a parrot species found in the mountains of New Zealand. Raucous cries of "keeaa" often give away the presence of these highly social and inquisitive birds. about this bird animal bird kekekeke laughter. more old fashioned and more hick than yuk, yuk laughter kerfuffle commotion, disturbance. This word may be of imititative origin killdeer bird species named by their typical call animal bird kirik sound of breaking metal ("Misoso: Once Upon a Time Tales from Africa", by Verna Aardema) metal crack kish-kish the sound of ice skates during a game of hockey (ref) ice movement human skating sports kite old english name for bird of prey, usually a small hawk - probably imitative of its shrill plaintive cry animal bird kittiwake name for bird genus Rissa, two closely related seabird species in the gull family Laridae, the Black-legged Kittiwake (R. tridactyla) and the Red-legged Kittiwake (R. brevirostris). The name is derived from its call, a shrill "kittee-wa-aaake, kitte-wa-aaake" animal bird klam sound of a punch/hit during a fight. from: Find more hit/ punch words hard_hit klok sound of a kick against someone's body (head, for example). from: Find more hit/ punch words hard_hit klopp klopp klopp sound of a horse, walking (from "Mr. Brown can moo, can you?" by Dr. Seuss) animal klunk sound of heavy metallic objects colliding hard_hit knack sharp blow or sound hard_hit knell sound of a bell struck or rung hard_hit knock-knock sound of striking with a sounding blow. As in knocking on a door hard_hit knot bird species, see red knot animal bird koink sound of squeezing a can of oil to lubricate something ("Garfield", Jim Davis) metal engine liquid kong sound of food bowl hitting the head (dog (Odie) getting hit on the head with a food bowl, "Garfield", Jim Davis) hard_hit kookaburra The kookaburra is a genus of birds native to australia whose name is imitative of its call. The call sounds a bit like hysterical human laughter, or maniacal cackling, depending on the species. more info, video animal bird laughter kra, ka, ka, hi sound of drums ("Misoso: Once Upon a Time Tales from Africa", by Verna Aardema) music kraa sound made by a raven kreeen sound of a small door opening. from: movement squeaky peep rusty hinge Krrrrrrrr Sound of a skateboarder skateboarding. Skateboarder doing a trick: "Krrrrrrrr, snap! (pause) Crack! Krrrrrrrr..." user Mikemega on answerbag.com movement human sport toy kut-kut-kut sound of a hen, clucking ("Misoso: Once Upon a Time Tales from Africa", by Verna Aardema) animal bird kwok sound of an earthenware pot being smashed to pieces on the ground ("Misoso: Once Upon a Time Tales from Africa", by Verna Aardema) hard_hit lap to drink, lick with the tongue human animal liquid eat_drink water lash 1. to move violently or suddenly. also: to dash, 2. to thrash or beat violently, as in "the rain lashed at the windowpanes". More rain sounds hard_hit movement movement weather lilt sound of horn, or singing music lisp to speak with sibilant utterance human low cattle vocalization animal lub-dub-lub-dub-lub-dub ... Sound of a beating heart. This seems the most common spelling, used in medical texts. Also: dup-dup; ba bum; plop-plop; thud-thud; pop-pop; Sometimes the heart is said to throb and throb is also thought to have imitative origin. (Yahoo Answers, 1, 2) human disease pounding pump heartbeat marauder to rove or pillage for spoils. This word may be of imitative origin, imitating the vocalization of a tomcat. More cat sounds animal human destroy plunder meow cat vocalization. More cat sounds animal mew cat vocalization. More cat sounds animal mkgnao cat vocalization, as used in James Joyce's Ulysses. also spelled mrkgnao; mrkrgnao mlem Sound of sticking out one's tongue, especially to lap up something to drink. Popular with cat pictures on the internet. Blogpost about the difference between mlem and blep cat meme animal tongue moan 1. long low inarticulate murmur, 2. (less common) word describing the sound of doves (as in "The moan of doves in immemorial elms" in the poem "Come Down, O Maid" by Alfred Lord Tennyson), 3. (less common) the sound of wind (in the poem "the night wind", by Eugene Field: "... For the wind will moan in its ruefullest tone: human human pain disease weather moo cow vocalization animal moob sound of an "implosion bomb". In a classic Uncle Scrooge tale by Carl Barks, Gyro Gearloose invented an "implosion bomb" that sucked up material and compacted it into a neat pile. Intended for litter collection, the Written Sound Effect was "MOOB", explicitly stated to be "BOOM" backwards. TvTropes misc explosion weapons mopoke bird species also called Morepork, in Australia, two bird species known elsewhere as the tawny frogmouthabout this bird animal bird morepork bird species also called mopoke or frogmouth animal bird mrow cat vocalization. More cat sounds animal mrrroww cat vocalization (Doggies by Sandra Boynton). More cat sounds mrrrrgggggllll sound made by murlocs (creatures in the massively multiplayer online role-playing game (MMORPG) World of Warcraft. also: mrclughluhlua, maagluuuuughhhhhh, mrglmrglmrglmrgl, aurrrrrrrrruuuuggguglugglugglugluguaa (according to players) animal mum sound with closed lips not wanting to speak human mumble to speak indistinctly human munch to chew steadily. Find more chewing noises human eat_drink animal murmur 1. subdued continuous sound (often human voices), 2. to murmur, (less common) verb describing the sound of a swarm of bees or flies (as in "murmuring of innumerable bees", from the poem "Come Down, O Maid" by Alfred Lord Tennyson) human mutter to speak almost inaudibly with closed lips human muuhhhrrr this is one of several suggestions in response to the question of how to write the sound of a bull, on wiki-answers. also: rrrruuuurrrr, moo, low, hrrooonnh, huuuooohar. if you need a verb: bulls "bellow" (not directly imitative) animal mwahaha laughter, this is usually an evil sounding laugh. also: muahaha, muhaha na na, na NA na interjection. melodic childish taunting phrase, expressing a feeling of superiority or contempt for another. Meaning is similar to sticking your tongue out or laughing at someone. Often pronounced in a nasal voice. see also: neener, neener; nyah, nyah / nya, nya laughter naa goat vocalization animal natter to chatter aimlessly human NEE-eu NEE-eu French police siren (ref) police traffic siren tone alarm car automotive neener, neener interjection, typically used to taunt, ridicule, or boast in a childish manner. Verbal way of sticking your tongue out or laughing at someone. Often pronounced in a nasal voice. See also: nyah, nyah; na na, na NA na. WikiAnswers laughter neigh the cry of a horse, also: whinny animal neow sound of individual legato notes on an electric guitar, as in the guitar part in verse of Nirvana's "Smells Like Teen Spirit": neow neow, neow neow. often combined with playing "airguitar" music nnn...nnn...nnn sound of a crying dog. from this book: Click here for more dog vocalizations nnneeaoowww sound of a propeller plane flying overhead (ref) plane movement engine nnnghuh nnnguh Sound of a broken power steering pump in a car Cartalk automotive engine Nnnnnnnnn The sound of an activated but motionless lightsaber in Star Wars movies. Reddit saber weapon northern flicker bird species name (Colaptes auratus). medium-sized member of the woodpecker family. It is native to most of North America, parts of Central America, Cuba, the Cayman Islands, is one of the few woodpecker species that migrates, and is the only woodpecker that commonly feeds on the ground. The song of the Northern Flicker is a loud wick wick wick wick or (according to some sources) a squeaky flick-a, flick-a as in its name. about this bird animal bird nyah, nyah interjection, typically used to taunt, ridicule, or boast in a childish manner. Verbal way of sticking your tongue out or laughing at someone. Often pronounced in a nasal voice. See also: neener, neener; na na, na NA na; nya, nya oink the cry of a pig animal om nom nom vocal sound produced while chewing big bites of something tasty in a hurry, like the way Sesame Street's cookie monster eats (end of clip). Here's another example. Find more chewing noises eat_drink animal oo oo oo monkey vocalization, also: ook, hoo hoo hoo hoo animal oof sound uttered by someone who is punched in the stomach. TheCrosswordSolver human hit ooh interjection used to express amazement, joy, or surprise human ook monkey vocalization, also: hoo hoo hoo hoo animal oompah the sound produced by a large brass instrument. see also: umpa music oomph 1. strength, power (you need to put more oomph in your story) 2. sex appeal 3. a low pitched grunting or thudding sound (Oomph! grunted the boxer when punched in the gut). human conversation power hit oonse also spelled: untz. Sound of the repetitive beat in rave music (a kind of electronic dance music) oooaughoaua coughing sound, used by a recurring character named Lorraine from the TV show Mad TV. She makes this sound when clearing her throat, also perhaps in disgust and/or satisfaction as well as in times of awkward silence to ease the tension. It is normally accompanied with a saying such as "god that's cute" while she unknowingly destroys the property of others when checking things out. Laymen can make this sound as well in their everyday life to add comedic relief to a conversation making references to Lorraine, as well as to describe something disgusting. Video: Clip 1, Clip 2, Clip 3. human oops interjection used typically to express mild apology, surprise, or dismay, also: woops, whoops human ouch interjection expressing pain or displeasure human pain ow a typical exclamation expressing pain human pain ow-wow-wow-wow Fox vocalization. It sounds like a quick series of very high pitched barks. Popular Science owl Nocturnal bird of prey. The name is thought to have imitative origins, imitating the owl's vocalizations. Wikipedia bird animal hoo owooooah sound of a coyote howling ("Borreguita and the Coyote: A Tale from Ayutla, Mexico", by Verna Aardema) animal p-taff sound of a handgun weapon explosion pad to walk with a soft dull tread movement pah-pa-rah sound of a trumpet ("the ceremonial band" by James Reeves, in "Noisy poems" by Jill Bennett) music pap sound of a puck hit during hockey (ref) sports hit hockey ice pat to strike lightly light_hit patter to make a series of light striking sounds light_hit peck peck peck sound of a woodpecker rapping with its beak on a tree Lucy Cousins children's book animal bird pee-oo-wee bird species name, especially the eastern wood pewee. about this bird animal bird peeper any of various tree frogs that peep shrilly, especially the spring peeper animal penk sound of an aluminum bat hitting a baseball (ref) bat sports hit ball pew pew sound produced by a lasergun weapon pewee Any of eight species of birds of the genus Contopus (family Tyrannidae); it is named for its call, which is monotonously repeated from an open perch. In North America a sad, clear "pee-oo-wee" announces the presence of the eastern wood pewee (C. virens), while a blurry "peeurrr" is the call of the western wood pewee (C. sordidulus). about this bird. also spelled peewee animal bird pewit subfamily of birds also called Lapwing. Also: any of several related plovers. about this bird. also spelled peewit animal bird PHCKSHIIIIiooW Ignition of a lightsaber in Star Wars movies. Also: Tshww, pssshhew Reddit saber weapon phew 1. used to express relief or fatigue 2. used to express disgust at or as if at an unpleasant odor human phoebe bird species, see eastern phoebe animal bird phooey interjection used to express repudiation or disgust human pht sound of an air-pistol, or pistol with silencer. also: ft weapons gas air piaaaak sound of an automatic glass door opening (ref) movement door pickle-pee sound of a fife ("the ceremonial band" by James Reeves, in "Noisy poems" by Jill Bennett). a fife is a small, high-pitched, transverse flute that is similar to the piccolo, but louder and shriller due to its narrower bore music pied currawong (Strepera graculina) large, mostly black bird, with a bright yellow eye, found in Australasia. voice: The main call is a loud "currawong", which gives the bird its name. Other frequent sounds include deep croaks and a wolf whistle about this bird animal bird pika Pika, also repeated pikapika, is Japanese and means shiny or sparkly. It is an example of sound symbolism in Japanese. The name of the Pokemon character Pikachu comes from 'pika' here meaning the sound an electric spark makes, and 'chu', the sound a mouse makes. light color ping an abrupt, ringing sound, a bullet striking something, or a computer tone weapon metal ping-pong game of table-tennis, imitative origin hard_hit light_hit pip 1. to peep or chirp, as a chick does. 2. A short, high-pitched radio signal 3. pip-pip-pip: sound of footsteps ("Misoso: Once Upon a Time Tales from Africa", by Verna Aardema) animal bird movement pitter-patter the sound of rain, a repetitive pattering sound. More rain sounds weather liquid water plain chachalaca (Ortalis vetula) a large bird in the Cracidae family. The call is a loud, raucous RAW-pa-haw or cha-cha-LAW-ka, often by several birds in a rhytmical chorus. link1, video animal bird plink (verb) 1. to make a tinkling sound 2. to cause to make a tinkling sound. (noun) a tinkling metallic sound metal hit Plip - plip - ploop - plip - plip - plip - plip - ploop sound of light summer rain hitting the roof (ref). More rain sounds liquid water rain weather house plonk a dull striking sound hard_hit plop sound such as that of an object dropping into water with not that much of a splash. "plop, plop, fizz, fizz" used to be the slogan in Alka Seltzer commercials for many years. liquid plump heavy sound of landing hard_hit plunk to pluck a string instrument, or to suddenly drop music pock dry hit, such as when a wooden baseball bat hits a baseball. poof 1. interjection used to indicate a sudden vanishing: The magician waved a wand, and poof! The birds disappeared! (often with a little cloud of smoke) In this sense poof may be imitative. 2. effeminate man or male homosexual. In this sense poof is not imitative gas air movement misc poomb Sound of an old pistol firing, according to a post on Yahoo!Answers weapon metal explosion pooof Chewing gum bubble popping. from: food blow poop Children's euphemism meaning excrement. This word is thought to be of imitative origin human animal pop sound of rapping, knocking, or explosive. in the media: Snap, Crackle, and Pop are the cartoon mascots of Kellogg's breakfast cereal Rice Krispies. They are named after the sound rice krispies make when they are dropped in a bowl of milk. Find more explosions. explosion hard_hit light_hit potato-potato-potato Sound of a poorly running motorcycle engine. The sound emphasis is on the 'p' and 't' rather than the vowels. Janet writes: "My sister used the above expression to describing a problem she had on starting a new motorcycle - it was jerking along as if it had 'kangaroo juice' in the tank. She assumed a "Gangnam Style" stance and dance to illustrate it, while saying "there I was going 'potato-potato-potato' - what a show-up!" She says that this expression is often used within her group of motorcycling friends, usually in connection with novice riders, although it may be in use more widely across the UK. The sound emphasis seems to be on the 'p' and 't' rather than the vowels." (thanks Janet!) engine movement pow sound of a blow / collision hard_hit prattle To talk or chatter idly or meaninglessly; babble or prate. Possibly of imitative origin. Etymonline human conversation prrr sound produced by cats when sociable or (sometimes) when distressed. also: purr. More cat sounds animal vocalization pssshhew Ignition of a lightsaber in Star Wars movies. Also: Tshww, PHCKSHIIIIiooW Reddit saber weapon Psssssssss The sound of a lightsaber being shoved into a door to melt it (Star Wars movies) saber weapon psst sound uttered to get a person's attention without alerting others, to tell a secret for example. often followed by whispering human ptooey spitting out something solid such as a cherry pit ("Garfield", Jim Davis) eat_drink animal puh-puh-puh sound of pounding ("Misoso: Once Upon a Time Tales from Africa", by Verna Aardema) hard_hit puhVRooPuhHoo puhVROOpuhHOO Sound of an engine misfire in a car Cartalk automotive engine puke to vomit, of imitative origin human disease pump (possibly of imitative origin) mechanical device for raising/moving water or gas engine liquid pump-a-rum sound of a drum ("the ceremonial band" by James Reeves, in "Noisy poems" by Jill Bennett) music punt sound of a kick (Garfield, Jim Davis) hard_hit purr a sound produced by cats, when sociable or sometimes when distressed. also: prr. More cat sounds animal vocalization quack bird vocalization, cry of a duck. More duck sounds animal bird rabble to utter words in a rapid and confused manner human racket disturbance, uproar misc crack rail to complain human raow dog barking. from this book: Click here to find more dog vocalizations rap to strike, esp. with a quick, smart, or light blow hard_hit light_hit raspberry short for raspberry tart, rhyming slang for fart: a sound of contempt made by protruding the tongue between the lips and expelling air forcibly to produce a vibration; broadly : an expression of disapproval or contempt. Also "rasp", "razz" or "Bronx cheer". As in "blowing a raspberry", "making a Bronx cheer". Ref: thesneeze , wikipedia. human gas crack rataplan Word imitating the sound of the side-drum and used for music pieces, especially in opera, of a military-march character. music ratatatat sharp rapping sound repeated, often a machine gun. also : rat-a-tat; bratat weapon explosion rattle 1. rapid succession of short sharp sounds, 2. an instrument that makes a rattling noise crack rattlesnake The word 'rattlesnake' is the words 'rattle' and 'snake' joined together. Rattlesnakes receive their name for the rattle located at the end of their tails. The word 'rattle' is likely of imitative origin. red knot (Calidris canutus) is a medium sized shorebird. name may be imitative of the birds vocalization, sometimes described as a soft "knut", or a soft "quer-wer", though usually the bird is silent. link1, link2 animal bird reek sound of a squeaky metal hinge ("Garfield", Jim Davis) metal ribbit frog vocalization animal rinky-dink banjo music music rizzz sound of an electric drill (ref) drill engine movement mechanism buzz roar 1. to utter a a full deep prolonged cry. Typical cry of a lion 2. loud boisterous laughter. roaring with laughter is in response to something absolutely hilarious laughter animal rooaaarrr sound of a car when driving fast engine automotive movement rowr sound of deep prolonged cry ("Garfield", Jim Davis) animal rrowff dog barking. (Doggies by Sandra Boynton) More dog vocalizations rrrruuuurrrr this is one of several suggestions in response to the question of how to write the sound of a bull, on wiki-answers. also: moo, low, hrrooonnh, huuuooohar, muuhhhrrr. if you need a verb: bulls "bellow" (not directly imitative) animal RRUUMBLE SCRUNCH SCRUUMBLE SCRUUUNCHH Sounds made by a bulldozer. From: construction equipment machine heavy engine rub-a-dub drumming sound. Also a musical style similar to reggae music ruff dog vocalization. Find more dog vocalizations animal dog ruh-roh First used by Astro on the cartoon The Jetsons and later by Scooby-Doo in the Scooby-Doo cartoon series; both characters are dogs who speak broken English with the insertion of many r's. Wiktionary human animal rumble to make a low heavy continuous sound misc crack rump - rump sound of a washing machine , "[Aredelia] found Starling in the warm laundry room, dozing against the slow rump-rump of a washing machine." (Thomas Harris, Silence of the Lambs, 1988) machine engine movement rustle to give forth a succession of light crisp sounds crack schhwaff sound of a flying arrow weapon movement Schklikt, klikt Sound of a shotgun getting ready to be used, also known as racking the gun video (thanks, Gus!) weapon metal schlik sound of sliding metal on metal. verb: The metal rings schliked along the rod as I slid the curtain open to peer into the room. (thank you Larry!) schlikt Schlikt replaced the usual snikt sound of super hero Wolverine's claws, during the period he was left without the adamantium covering on his bones. comics metal weapon misc schlip sound of a person slipping on something, e.g. wet floor ("Garfield", Jim Davis) movement liquid water schwump schwump schwump schwump sound of windshield wipers of a car during heavy rain (ref). More rain sounds. More car sounds rain weather automotive liquid water scratch to tear or mark a surface with something sharp or jagged crack misc scream to utter a shrill piercing cry. note: the vocalization of eagles is often called screaming, although according to this wikipedia article, Bald Eagles normally squeak and have a shrill cry, punctuated by grunts, and the scream that is found in films this is usually the call of a Red-tailed Hawk, dubbed into films for dramatic effect. human animal screamer any of a group of South American bird species (Horned Screamer, Crested Screamer, and Black-necked Screamer) with a loud high-pitched call, which may explain the name. about this bird animal bird screech 1. a high shrill piercing cry usually expressing pain or terror, 2. the high pitched sound the tires of a car make when it turns at high speed human human pain animal engine automotive movement crack scritch a screech human animal crack scrunch to make a crunching sound, to crush or crunch, or to crumple or squeeze crack misc shashing sound of a sword drawn from a sheath, also: shiiiiiing, vzzzzt metal shazam exclamation used to introduce an extraordinary deed, story, or transformation - - She prayed for his arrival and shazam! There he was. Shazam is also the name of the wizard in Captain Marvel comics and the title of Marvel comic books. exclamation human voice surprise sheesh interjection used to express disbelief or exasperation. As in: Sheesh, stop shouting at me like that!. Alternative to saying Jesus! in order to be less offensive. Also: geez. human conversation shiiiiing sound of a sword drawn from a sheath. also: shashing, vzzzzt metal shiiin the sound of silence (!), as used in manga comics (ref) misc shlick shlick shlick the sound of female masturbation Yahoo answers shmm sound of objects flying by. from: shoo interjection used especially in driving away an unwanted animal human animal shoop sound of a karate kick/chop, also: swah / shwah. from: Find more hit/ punch words hard_hit shriek to utter a loud sharp cry, screech human animal shuffle, shuffle, shuffle footsteps of someone who does not fully lift feet off the ground while walking (old / injured) walking human shuh, shuh, shuh sound of swimming ("Borreguita and the Coyote: A Tale from Ayutla, Mexico", by Verna Aardema) human animal movement liquid water shush command to be quiet, often paired with holding the index finger vertically against the lips gas shuush, shuush sound of skiing through the snow (ref) movement snow sliding sports shwap sound of a punch. from: Find more hit/ punch words hard_hit sifaka The sifaka is a genus of lemur found in Madagascar. The name is an onomatopoeia of their "shi-fak" alarm call. Wikipedia animal africa sigh to emit a deep breath, sometimes expressing weariness human siss to make a hissing sound gas sizzle to burn with a hissing sound, buzz gas skirl to make a shrill sound misc crack skraaa bird vocalization animal bird skraww bird vocalization animal bird skreek cry of a rat animal skrrreeek sound of nails on a blackboard (ref) nails human school scratch crack sksksksk Used to express amazement, shock, and excitement, due to it being a common outcome when one types random letters on a keyboard. KnowYourMeme skwee brrumm brrumm skoooooo skooooo Sounds made by a front loader (Diggers go by Steve Light, all caps in the book SKWEE BRRUMM BRRUMM SKOOOOOO SKOOOOO) engine rubble sand stone dirt metal slam to beat, shut with a noise hard_hit slap smart blow as with the open hand. Find more hit/ punch words hard_hit slobber to behave (feed) in a careless noisy fashion human eat_drink animal slosh 1. to spill or splash (a liquid) copiously or clumsily, 2. to agitate in a liquid (eg. slosh clothes in a solution of bleach and detergent), 3. to splash, wade, or flounder in water or another liquid movement liquid slump to fall or sink movement liquid slurp to make a sucking noise while eating or drinking human eat_drink animal smack to separate wet lips while lightly sucking, thereby producing a sharp noise liquid water kiss hug snap 1. to make a cracking sound, eg. snapping your fingers, or a camera making a photo (sound of the shutter). in the media: Snap, Crackle, and Pop are the cartoon mascots of Kellogg's breakfast cereal Rice Krispies. They are named after the sound rice krispies make when they are dropped in a bowl of milk 2. the "sound" of someone's pride being hurt. this is another example of "non-auditory onomatopoeia". other examples: bling bling, yoink and shiiin hard_hit light_hit crack music snap-hiss The ignition of a lightsaber in Star Wars novels written by Timothy Zahn. Also: pssshhew, Tshww, PHCKSHIIIIiooW weapon sword snarl to make an angry sound while showing teeth animal sneeze to make an explosive noise to clear the nostrils, probably of imitative origin, see also atchoo human disease animal snicker laughter. indicating derision or perhaps an immature reaction to lewd material, can have connotations of being mean spirited - laughing at someone else's expense laughter sniff to draw air audibly up the nose especially for smelling human eat_drink animal gas sniffle to show or express disdain or scorn. also: snuffle snikt "snikt" in the Marvel comic books is the written sound of super hero Wolverine's claws popping. Replaced with schlikt during the period he was left without the adamantium covering on his bones. misc metal weapon snip sound of a single cut of scissors metal snore to snort, to make harsh noises through nose and mouth while sleeping human animal snort 1. cry of a pig, but horses snort too, sometimes 2. the act or sound of sniffing powdered tabacco or cocaine into the nose 3. suppressed laughter, a burst of laughter through the nose - since this is viewed as so embarrassing, when someone snorts with laughter, it's generally at something surprisingly hilarious laughter animal sob to catch the breath convulsively, usually when crying human sock sound of a punch to the face (Batman 1960s tv show). Find more hit/ punch words hard_hit punch fight sora (Porzana carolina) A small, secretive bird of freshwater marshes, the Sora is the most common and widely distributed rail in North America. voice: Call is a long, high descending whinny. Also a two-noted "sor-AH" call, with second note higher. about this bird animal bird spack a speck speck sound of rain drops hitting a window pane (in the poem Weather by Eve Merriam, in Noisy poems by Jill Bennett). More rain sounds light_hit weather liquid water splash to dash water upon movement liquid splat landing with a smacking sound hard_hit splatt sound of lightning (in "Mr. Brown can moo, can you?" by Dr. Seuss), for the sound of thunder: see also explosion weather splatter to spatter (something), especially to soil with splashes of liquid liquid water mud dirt splosh make a splashing sound, to make a certain noise or sound, to walk through mud or mire, to cause a liquid to spatter about. also: sploosh animal movement liquid water splut the sound of a pie hitting someone in the face (Garfield (Jim Davis) comic) eat_drink movement liquid water food wet spoing sound of a piano landing on someone's head ("Garfield", Jim Davis) hard_hit spoot spitting out a mouthful of liquid ("Garfield", Jim Davis) eat_drink movement liquid water sputter 1. to spit out or spray particles of saliva or food from the mouth in noisy bursts, 2. to spit out words or sounds in an excited or confused manner, 3. to make sporadic spitting or popping sounds eat_drink liquid water wet squabble a noisy altercation or quarrel usually over petty matters human squall to cry out loudly human squawk cry of a bird animal bird squeak cry of a rat (also: skreek), or to utter a short shrill cry or noise animal squeal to utter a short shrill cry or noise human animal squelch 1. to strike or press with crushing force; crush down; squash. 2. to put down, suppress, or silence, as with a crushing retort or argument. 3. to make a splashing sound. 4. to tread heavily in water, mud, wet shoes, etc., with such a sound. crack human animal liquid squelch, squerch sound of walking through mud. from: liquid foot steps squiggle A short, irregular curve or twist, as in writing or drawing. Possibly a blend of squirm and wriggle misc movement squirm To twist one's body with snakelike motions from shame or embarrassment, or to evade a question. Possibly imitative human movement squirt to eject liquid in a jet liquid water spray wet squish to squeeze, squash misc crack ssinda, sssssinda sound of an old dial telephone. Dialing 1 is "ssinda." Dialing 9 is "sssssinda." (ref ). More telephone sounds movement telephone mechanism sssshblamm sound of an explosion. Find more explosions. explosion strident making a harsh noise misc crack strum to play a guitar. see also thrum music stup sound of landing (after a jump). also: tup. from: hard_hit stzsssssss A beam of light. Poet Gino Severini referred to light as going 'szszszszszsz' and 'stzsssssss'. Willard Bohn, Modern Visual Poetry light beam suru suru sound of noodles being sucked (manga) human eat_drink susurration sound of whispering human swah sound of a karate chop. from: Find more hit/ punch words hard_hit swash to dash violently, make a noise of clashing swords hard_hit metal movement swish sound of an object moving through air or water movement liquid gas swishy swashy sound of walking through tall grass. from: grass walking swoosh Nike brand logo, but also the sound of rushing air or water movement liquid gas szszszszszsz A beam of light. Poet Gino Severini referred to light as going 'szszszszszsz' and 'stzsssssss'. Willard Bohn, Modern Visual Poetry light beam t'chi sound of an arrow being shot from a bow ("Sebgugugu the Glutton: A Bantu Tale from Rwanda", by Verna Aardema) weapon ta-da interjection, used as mock fanfare to call attention to something remarkable. also: ta-dah, tada human tabdak tabdak Sound of a running horse tack, tack, tack sound of thin high heels or pumps. also: tap, tap, tap walking human takka takka sound of a machine gun (title of a Roy Lichtenstein painting) weapon tap to strike lightly light_hit tattle 1. to gossip, 2. to chatter aimlessly (imitative origin) human tch, tch, tch sound of chopping off branches of wood ("Sebgugugu the Glutton: A Bantu Tale from Rwanda", by Verna Aardema) hard_hit light_hit teehee! laughter. giggle, mouth covered with hand, embarrassed and/or coy laugh laughter terwit terwoo bird vocalization, the cry of an owl. also: hoo hoo, hoot, tu-whu, whit woo, twit twoo animal bird thisshig rrrerrk sounds coming out of the loudspeaker in the subway during an important announcement (ref) human voice electronic static noise crack thith-thith-thith sound of a helicopter. Find all helicopter sounds engine helicopter movement thong-thong sound of badminton rackets hitting the shuttle sports hit throb (of the heart) to beat strongly hard_hit throkk sound of a hit or punch (Batman comics) Find more hit/ punch words thrum to play a guitar music thubalup sound of a running horse animal thud to hit with a dull sound hard_hit thump 1. to strike or beat with or as if with something thick or heavy so as to cause a dull sound, as in a punch during a fight, or the sound of heavy footsteps 2. a verb for sound made by a big engine, as in thumping, chunking engines going.. (from the poem "engineers" by Jimmy Garthwaite, in "Noisy poems" by Jill Bennett) hard_hit engine thung sound of a blow to a metal object (features in a Roy Lichtenstein painting hard_hit metal thunk sound of impact hard_hit thwack the sound of flogging. Find more hit/ punch words hard_hit thwip Spiderman web shooter misc weapon thwogg sound of a kick against someone's body (head, for example). from: Find more hit/ punch words thwok sound of a baseball, hitting a catcher's mitt (ref) sports ball movement hit thwoorp Sound produced by quickly opening a folding fan. Urban Dictionary. Made famous by drag queen Katya Zamolodchikova tick a light rhythmic audible tap or beat light_hit music tick tock sound of a clock. also: tic toc light_hit movement metal tinker Possibly of onomatopoeic origin, from the sound of light hammering on metal. Etymonline tinkle a gentle, ringing sound. Also means "to urinate" (in sort of a childish way) possibly because of the sound. metal liquid wet water pee tinkling sound of sleigh bells, (features in the poem "The Bells" by Edgar Allan Poe) metal music tintinnabulation sound of bells metal titter sound of suppressed giggle human tk.tk.tk.tk.tk.tk sound of a dog's claws as he/she walks on a wooden floor (ref) animal movement claw hit tlick sound of clicking with the tongue ("Misoso: Once Upon a Time Tales from Africa", by Verna Aardema) human Tlick - Tlock Tlick - Tlock Sound of a ticking clock (Squeak, Rumble, Whomp Whomp Womp. Wynton Marsalis & Paul Rogers, 2012 metal clock tlot tlot sound of horse's hooves. used in the poem "The Highwayman" by Alfred Noyes. Tlot tlot, tlot tlot! Had they heard it? The horse-hooves, ringing clear; Tlot tlot, tlot tlot, in the distance! Were they deaf that they did not hear? animal movement tluck....tlock The sound of a leaking faucet (Squeak, Rumble, Whomp Whomp Womp. Wynton Marsalis & Paul Rogers, 2012) liquid metal water bath tub Tluuck tluck tlawck tlock tlaack tlack tlick! Sound of a pizzicato violin (Squeak, Rumble, Whomp Whomp Womp. Wynton Marsalis & Paul Rogers, 2012 toc - toc - toc sound of a woodpecker rapping with his beak on a tree Plays of Edmond Rostand: The Eaglet tocotocotoco sound of a helicopter. more helicopter sounds engine helicopter movement tolling funeral bells (features in the poem "The Bells" by Edgar Allan Poe) metal tom-tom a monotonous beating, rhythm, or rhythmical sound / a percussive musical instrument played with hands music toot to blow or sound an instrument (as a horn) music tootle-too sound of a flute ("the ceremonial band" by James Reeves, in "Noisy poems" by Jill Bennett) music trill quavering or warbling in singing animal bird music trumpeter bird species name, see gray-winged trumpeter animal bird Tshww Ignition of a lightsaber in Star Wars movies. Also: PHCKSHIIIIiooW Reddit saber weapon tsk pronounced as an alveolar click; often in quick repetition, as an exclamation of contempt, disdain, impatience, etc. tu-whu bird vocalization, the cry of an owl. also: hoot, hoo hoo, terwit terwoo, twit twoo, whit woo animal bird tuckaTHUCKtuckaTHUCKtucka sound of engine knocking. Car Talk automotive engine metal tuff sound of a shuriken, or throwing star, hitting a target fighting metal weapon tuk-tuk Common name for auto rickshaw, imitative of the sound of the small two-stroke engine (thailandtuktuk.net). Also called trishaw, auto, rickshaw, autorick, bajaj, rick, tricycle, mototaxi, or baby taxi. engine automotive tup sound of landing (after a jump). from: hard_hit light_hit twang sound of a guitar, or of a bow (and arrow) music tweet bird vocalization (small bird) animal bird tweeter loudspeaker for high frequencies music twiddle to touch lightly, or to play with. imitative origin light_hit twit twoo bird vocalization, cry of an owl. also: hoo hoo, hoot, tu-whu, terwit terwoo, whit woo animal bird twitter to utter a succession of light chirping or tremulous sounds, chirrup animal bird tzing the sound of a bullet hitting the ground (features in Roy Lichtenstein painting "Live Ammo (Tzing!)") weapon uggh exclamation expressing pain, frustration or annoyance human human pain ugh 1. sound of coughing, 2. used to indicate the sound of a cough or grunt or to express disgust or horror human human disease uh-huh interjection used to indicate affirmation, agreement, or gratification, also: huh human uh-oh interjection used to indicate dismay or concern human umpa the sound produced by a large brass instrument. see also: Oompah music untz untz untz The sound of rave music or the sound a raver makes while raving, the sound of a techno groove music varoom sound of a fast driving car or an explosion (Also the title of a Roy Lichtenstein painting. Find more explosions. explosion engine automotive movement veery (Catharus fuscescens) bird species belonging to the larger group of thrushes. voice: Song a resonating, ethereal "da-vee-ur, vee-ur, veer, veer," descending slightly in pitch. Call note is a nasal "phew" or "veer" about this bird animal bird viip Sound of a moving object (Also the title of a Roy Lichtenstein painting movement voomp sound of explosive impact (weapon) (features in the Roy Lichtenstein painting "O.K., Hot Shot"). Find more explosions. Find more weapon sounds. explosion movement weapon vooRRRR, vooRRR, vooRRR Engine revving up and down Cartalk automotive engine vrau, vrau Sound of a lightsaber swinging through the air in Star Wars movies. Also: Ffffkrrrrshhzzzwooooom..woom..woooom.. Reddit saber weapon vreeeeeeeeeeeeeeew Sound of a whistle of an old steam locomotive. This is a high-pitched one. A lower-pitched one might do "vroo-vroo" air engine movement vroo-vroo Sound of a whistle of an old steam locomotive. This would be a low-pitched one. A high-pitched one would be more like "vreeeeeeeeeeeeeeew" gas movement engine vroom sound of a car engine automotive movement vworp In Doctor Who comic strips, the sound of the Tardis is represented as vworp! vworp! comics misc vzzzzt the sound of a sword drawn from a sheath. Also: shiiiiing, shashing metal waaank sound of a train horn (ref) horn tone alarm train waak bird vocalization, cry of a duck. More duck sounds animal bird wah-wah brass instrument effect of using a mute, or electric guitar sound effect (wah pedal) music wahoo interjection used to express exuberance or enthusiasm or to attract attention human wak wak duck vocalization. More duck sounds wakt sound of a hit or punch (Batman comics). Find more hit/ punch words wallop violent noisy movement movement wap hit/blow. Find more hit/ punch words hard_hit weeeoooeee siren tone weep to shed tears human whaam sound of explosive impact (Roy Lichtenstein painting). Find more explosions. Find more weapon/a> sounds. explosion whack to strike sharply. Find more hit/ punch words hard_hit wham a heavy blow. Find more hit/ punch words hard_hit whang sound of a hit / punch (Garfield, Jim Davis). Find more hit/ punch words hard_hit whap 1. to throw one's self quickly, or by an abrupt motion; to turn suddenly; (eg. she whapped down on the floor; the fish whapped over), 2. to beat or strike, 3. a blow, or quick, smart stroke. Find more hit/ punch words hard_hit Whargharble Sound of a canine syphoning drink from high-velocity hydropneumatic system, or sprinkler. Also: Wharrgarbl. Example, KnowYourMeme. Thanks, Joshua! Animal liquid eat_drink water dog jet spray mouth whee 1. pig vocalization, also: oink, grunt 2. (human) exclamation expressing positive excitement. animal wheeze to breathe with difficulty usually with a whistling sound human disease animal wher, wher, wher Sound of a chainsaw being started wood engine saw whew exclamation of astonishment or relief making a whistling sound human whiff a quick puff or slight gust especially of air, odor, gas, smoke, or spray gas whimper to moan human whine to utter a low somewhat shrill protracted sound human whinny horse vocalization, to neigh especially in a low or gentle way animal whip-poor-will bird species noted for its call. about this bird animal bird whipbird see eastern whipbird animal bird whirr to move swiftly with a vibratory sound, eg of a small electric motor, electronic film transport in an analog photo camera. engine movement whish to make a sibilant sound gas whisper to speak softly under one's breath human whistle tubular wind instrument, or the act of whistling music whit woo cry of an owl. also: hoo hoo, hoot, tu-whu, terwit terwoo animal bird whizz a humming, hissing sound gas whoa 1. command to stop (horse) 2. command to slow an action or thought, often used to express alarm or astonishment human animal whock sound of a hit / punch (Garfield, Jim Davis). Find more hit/ punch words hard_hit whockah sound of palm-muted rhythmic strumming on an electric guitar with wah pedal, as in the intro of Jimi Hendrix’s "Voodoo Chile", for example. often combined with playing "airguitar". see also: neow, jug, bwow-chcka-bwow music whomp the sound of an explosion. Find more explosions explosion whoop 1. to cry out or creating a disturbance. Also: whoopee, whoop it up, whoop-de-doo. 2. Sound of a siren (whoop, whoop, whoop) tone whooping cough an infection of the respiratory system caused by the bacterium Bordetella pertussis (or B. pertussis). It's characterized by severe coughing spells that end in a "whooping" sound when the person breathes in human disease whooping crane bird species name, the tallest North American bird, an endangered crane species named for its whooping sound and call animal bird whoops interjection used typically to express mild apology, surprise, or dismay, also: oops, woops human whoosh a sibilant sound, or a swift movement or flow movement whop to beat, strike. Find more hit/ punch words hard_hit whop whop whop sound of a helicopter. Find more helicopter sounds engines helicopter movement whump the sound of colliding bodies, a slamming sound, or the sound of a punch to the jaw. Find more hit/ punch words hard_hit whumpa-whumpa-whumpa-whumpa sound of a helicopter. Find more helicopter sounds engines helicopter movement whumpf When the fracture of a weak snow layer causes an upper layer to collapse, making a whumpfing sound. Whumpf has been adopted as a technical avalanche term to describe the sound of a collapsing snowpack when you cross the snow. For instance, "we got a lot of whumpfing today", or "the snowpack whumpfed like rolling thunder just before it released and caught us." Avalanche Encyclopedia Weather snow movement hit whup-whup-whup sound of a helicopter. Find more helicopter sounds engines helicopter movement willet bird species (Catoptrophorus semipalmatus). a large sandpiper of the interior West (north america) and the ocean beaches, the willet is known by its piercing calls and bright black-and-white flashing wings. Call: a loud, ringing "pill-will-willet.". about this bird animal bird wlu-wlu-wlu-wlu-wlu-wlu-wlu A sound recording played backward. ref woah, oh, oh, oh! signature laugh of cartoon character Elmer Fudd laughter woh woh woh woh (automotive) sound of a bad bearing in the timing belt tensioner engine automotive woo-hoo! signature laugh of cartoon character Daffy Duck, often uttered when Daffy has to escape from someone he has just pulled a prank on laughter woo-woo-woo siren tone woof dog vocalization. Find more dog vocalizations Woom Sound of a lightsaber swinging through the air in Star Wars movies. Also:vrãu, vrãu Reddit saber weapon woop woop Sound of a police car in the United States. Police often use the siren intermittently. Also spelled whoop whoop. This onomatopoeia is used in the chorus of the 1993 hip hop track Sound of da Police by KRS-One. Hear a police car alarm tone music woops interjection used typically to express mild apology, surprise, or dismay, also: oops, whoops human wow interjection used to express amazement human wub wub The sound of the signature repetitive bass (wobble bass) in 'dubstep' music (a kind of electronic dance music). Other dubstep sounds: WOB WOB WOB WEB WEEEEEB WEEB WOOOB WOOOOB breeeeaaaaa breaaaaaaa WOBB WOBB, nehnehweeh, YOI YOI YOI WAHBWUHB - ref. Related: The sound of a bass guitar dirnt wubba lubba dub-dub Catchphrase used by Rick from the cartoon Rick & Morty Fandom wuh-uh-uh-uh the sound of someone muttering, grunting, in protest (Misoso: Once Upon a Time Tales from Africa, by Verna Aardema) human wumpth The sound of solid door closing and the air being pushed out as the door seals. (thanks Peter!) door air hit wuppa wuppa sound of a helicopter. Find more helicopter sounds engines movement helicopter yackety-yak noisy talk. Alternative spelling: 'yakety yak'. Also the title of a famous song by doo-wop group the Coasters (1958). human music yadda yadda boring or empty talk - often used interjectionally especially in recounting words regarded as too dull or predictable to be worth repeating. also: yada yada yahoo 1. interjection used to express positive excitement or to attract attention, also: yoo-hoo, 2. popular name for the Grey-crowned Babbler (see babbler) human animal bird yakyakyakyak sound of a cat eating wet food (ref). More cat sounds cat animal eatdrink food vocalization yammer to lament human yap dog vocalization. Find more dog vocalizations yar growling sound animal yawp 1. to utter a sharp cry; yelp. 2. to talk loudly, raucously, or coarsely. human human pain yay interjection used to express exuberant delight or triumph human YEEeeEEeeEEeeEEeeEEee! Sound of a loose belt in a car engine Cartalk automotive engine yeeha, yeehaw, yee-haw the traditional cry of a cowboy, often as an expression of positive excitement, similar to yahoo human yelp a short, sharp cry of a dog. Find more dog vocalizations animal yeow exclamation expressing pain human pain yikes interjection expressing shock and alarm, often for humorous effect: "Yikes! It is cold!" yip cheep, like a bird animal bird yippee interjection used to express exuberant delight or triumph human yodel to sing by suddenly changing from a natural voice to a falsetto and back; also: to shout or call in a similar manner music yoink the "sound" of someone stealing something. the word is spoken to make obvious or humorous the playful theft of an item in front of others. (e.g. "you shouldn't leave your wallet lying around like that...Yoink!". used often in the cartoon series "the Simpsons") misc human animal movement yoo-hoo interjection used to attract attention, also: yahoo human yoooo the sound of wind (in the poem "the night wind", by Eugene Field: "... For the wind will moan in its ruefullest tone: 'Yoooooooo!', 'Yoooooooo!', 'Yoooooooo!' ...") weather gas yowl to cry loudly with pain, caterwaul, howl human pain animal vocalization yowt interjection expressing pain pain yucchh exclamation expressing disgust human eat_drink yuck exclamation expressing disgust. Sometimes "yuck yuck" is used as the sound of laughter, but for that "yuk yuk" is used more often human laughter eat_drink yuk yuk laughter. similar in flavor to "har har", but more old fashioned and more hick human laughter yummy highly attractive or pleasing, exclamation to express joy derived from the prospect of eating tasty food human eat_drink zap to destroy or kill by or as if by shooting weapon zchunk sound of a defibrillator (ref) medical human electronic hit electric shock therapy heart attack zing a shrill humming sound, such as from a bullet or vibrating string. As a verb: to move very quickly, especially while making a high pitched sound. As a noun used figuratively, meaning zest, vitality, or (in cuisine) spicy flavor. In comedy, zing is sometimes used as an interjection to acknowledge a witty comeback. The witty comeback itself is then called a zinger. misc metal movement zip to travel with a sharp hissing or humming sound movement zlopp sound of a man falling during a fight (Batman episode 13 season 1) hard_hit hit punch fight fall zonk the sound of a karate chop. Find more hit/ punch words hard_hit zoom to speed along with a low hum or buzz. also: to focus a camera on an object using a zoom lens (to 'zoom in' or 'zoom out'), also imitative of sound when motorized. engine movement zoomba-zoom sound of a bass (musical instrument) ("the ceremonial band" by James Reeves, in "Noisy poems" by Jill Bennett) music ZOOOSH ZOOOSH ZOOOOOOOSH DING DING DING diesel train. from this book: Click here for more train sounds locomotive antique old engine zzzz the sound of a person or animal sleeping
2202	dbpedia	1	16	https://27crags.com/crags/mortar-rock/routelist	en	Mortar Rock	https://27crags.s3.amazo…fe2ab9dd2244.jpg	https://27crags.s3.amazo…fe2ab9dd2244.jpg	[ "https://d37d73vc0i3fom.cloudfront.net/packs/static/appicon_list-4fdc9dacb6d7cf78726b.png", "https://27crags.s3.amazonaws.com/photos/000/183/183381/small-8a317c4f42ae.jpg", "https://d37d73vc0i3fom.cloudfront.net/packs/static/appicons_noimage-842d77f505d63084757b.png", "https://d37d73vc0i3fom.cloudfront.net/packs/static/appicons_noimage-842d77f505d63084757b.png", "https://d37d73vc0i3fom.cloudfront.net/packs/static/appicons_noimage-842d77f505d63084757b.png", "https://d37d73vc0i3fom.cloudfront.net/packs/static/appicons_noimage-842d77f505d63084757b.png", "https://d37d73vc0i3fom.cloudfront.net/packs/static/appicons_noimage-842d77f505d63084757b.png", "https://d37d73vc0i3fom.cloudfront.net/packs/static/appicons_noimage-842d77f505d63084757b.png", "https://d37d73vc0i3fom.cloudfront.net/packs/static/appicons_noimage-842d77f505d63084757b.png", "https://d37d73vc0i3fom.cloudfront.net/packs/static/appicons_noimage-842d77f505d63084757b.png", "https://d37d73vc0i3fom.cloudfront.net/packs/static/appicons_noimage-842d77f505d63084757b.png", "https://27crags.s3.amazonaws.com/photos/000/183/183381/small-8a317c4f42ae.jpg", "https://d37d73vc0i3fom.cloudfront.net/packs/static/appicons_noimage-842d77f505d63084757b.png", "https://d37d73vc0i3fom.cloudfront.net/packs/static/appicons_noimage-842d77f505d63084757b.png", "https://d37d73vc0i3fom.cloudfront.net/packs/static/appicons_noimage-842d77f505d63084757b.png", "https://d37d73vc0i3fom.cloudfront.net/packs/static/appicons_noimage-842d77f505d63084757b.png", "https://d37d73vc0i3fom.cloudfront.net/packs/static/appicons_noimage-842d77f505d63084757b.png", "https://d37d73vc0i3fom.cloudfront.net/packs/static/appicons_noimage-842d77f505d63084757b.png", "https://d37d73vc0i3fom.cloudfront.net/packs/static/appicons_noimage-842d77f505d63084757b.png", "https://d37d73vc0i3fom.cloudfront.net/packs/static/appicons_noimage-842d77f505d63084757b.png", "https://d37d73vc0i3fom.cloudfront.net/packs/static/appicons_noimage-842d77f505d63084757b.png", "https://d37d73vc0i3fom.cloudfront.net/packs/static/appicons_noimage-842d77f505d63084757b.png", "https://d37d73vc0i3fom.cloudfront.net/packs/static/appicons_noimage-842d77f505d63084757b.png", "https://d37d73vc0i3fom.cloudfront.net/packs/static/appicons_noimage-842d77f505d63084757b.png", "https://d37d73vc0i3fom.cloudfront.net/packs/static/appicons_noimage-842d77f505d63084757b.png", "https://www.facebook.com/tr?id=1602914396625024&ev=PageView&noscript=1" ]	[]	[]	[ "sport", "rock climbing", "climbing", "guidebook", "guide", "topo", "route", "crag", "bouldering", "climbing app" ]	null	[]	null	Mortar Rock with map, topos, photos and more.	en	/favicon.png	27 Crags	https://27crags.com/crags/mortar-rock/routelist	Name Grade Type Ascents Rating Sector Chinese Connection Chinese Connection 8B Boulder at Mortar rock 1100 8b Boulder 3 1.6667 Mortar rock Sunshine Eliminate Sunshine Eliminate 7C Boulder 900 7c Boulder 2 0.5 Mission Impossible Mission Impossible 7C Boulder at Mortar rock 900 7c Boulder 4 1.75 Mortar rock New Wave New Wave 7C Boulder at Mortar rock 900 7c Boulder 2 1.0 Mortar rock Rim Shot Low Rim Shot Low 7C+ Boulder 950 7c+ Boulder 1 2.0 Beached Whale Sit Beached Whale Sit 7C+ Boulder at Mortar rock 950 7c+ Boulder 1 2.0 Mortar rock Black Plague Black Plague 6C+ Boulder at Mortar rock 650 6c+ Boulder 5 1.2 Mortar rock The Scoop The Scoop 7A Boulder at Mortar rock 700 7a Boulder 1 0.0 Mortar rock The Ramp Sit The Ramp Sit 6C Boulder at Mortar rock 600 6c Boulder 1 0.0 Mortar rock Sunshine SDS Sunshine SDS 6C+ Boulder at Mortar rock 650 6c+ Boulder 6 1.0 Mortar rock The Bear Hug Problem The Bear Hug Problem 6C Boulder 600 6c Boulder 1 0.0 Nat`s Crack Nat`s Crack 6A Boulder at Mortar rock 400 6a Boulder 1 0.0 Mortar rock Bench Wall Bench Wall 6A Boulder 400 6a Boulder 3 0.0 Impossible Traverse Impossible Traverse 8B Boulder at Mortar rock 1100 8b Boulder 1 3.0 Mortar rock The Kraken The Kraken 8A Boulder at Mortar rock 1000 8a Boulder 2 2.5 Mortar rock Rimshot Rimshot 7A+ Boulder at Mortar rock 750 7a+ Boulder 2 2.0 Mortar rock The Ramp The Ramp 6B Boulder at Mortar rock 500 6b Boulder 7 0.2857 Mortar rock Nat's Traverse Nat's Traverse 7B+ Boulder at Mortar rock 850 7b+ Boulder 2 2.5 Mortar rock The Girls Problem The Girls Problem 6C+ Boulder at Mortar rock 650 6c+ Boulder 1 0.0 Mortar rock Little Half Dome Little Half Dome 5 Boulder at Mortar rock 300 5 Boulder 2 0.5 Mortar rock The sidewalk traverse The sidewalk traverse 5 Boulder at Mortar rock 300 5 Boulder 2 0.0 Mortar rock Full Fever Full Fever 7C+ Boulder at Mortar rock 950 7c+ Boulder 1 1.0 Mortar rock
2202	dbpedia	2	14	https://rhythmnotes.net/drumming-styles/	en				[]	[]	[]	[ "" ]	null	[]	null					null
2202	dbpedia	0	37	https://archiveofourown.org/works/42867675/chapters/141172828	en	Dollar Store’s Epic Character Elimination Reboot: The World’s Shittiest Game Show! (TWSGS)			[ "https://archiveofourown.org/images/ao3_logos/logo_42.png", "https://media.discordapp.net/attachments/1103869638707793970/1235424632006512731/TWSGS_New_Chart.jpg?ex=663d8cd9&is=663c3b59&hm=6c5a057e42e7b273c1d686bb1555f85486bd12cc07550c9c3b7b828f2945a843&=&format=webp" ]	[]	[]	[ "fanfiction", "transformative works", "otw", "fair use", "archive" ]	null	[ "Organization for Transformative Works" ]	null	An Archive of Our Own, a project of the Organization for Transformative Works	en			null	Chapter Text Open on DS playing Yandere Simulator in the host room. Computer and Everybody are watching him. Computer: You’re still not past the tutorial? DS: Well excuuuuuuuuse me for wanting to work on my show! Everybody: Dude, if you’re gonna play that indie game, you could at least get past the tutorial! DS: Yeah. … DS: …Man, I wish Yan Sim had a different developer. DS’s phone rings. His ringtone is “Turn the Lights Off” by Tally Hall. He closes his laptop answers the phone. DS: Hello, you’ve reached the TWSGS hotline. (in a mockingly British accent) To whom do I owe the pleasure of speaking with today? Bob: (phone) Yo, ItS yA bOi BoB. DS: Oh, Bob Bobowski? How’s PABWAP? Bob: (phone) NoT gOoD. DS: Whaddaya mean? …Wait, how’d you get my number? Bob: (phone) I- uH, iT wAs ThRoUgH tOtAlLy LeGaL mEtHoDs, TrUsT mE. DS: …Alright, then. So what’s up? Why’s PABWAP not good? Cut over to PABWAP. There are sirens in the background. Bob: ThE cOpS aRe HeRe. DS: (phone) Wait, aren’t you wanted in like… several countries? Bob: …DaMnIt! Bob grabs Daisy from offscreen and gives her the phone. Bob: (whispering) If ThE pOlIcE aSk, I wAs NeVeR hEre. Bob slinks away to… I dunno, some other show. DS: (phone) Did Bob leave? Who is this? Daisy: Hi, uh, I’m Daisy! DS: (phone) Oh, Daisy! What’s up with PABWAP? Daisy: Oh, the host guy’s getting arrested for tax fraud. He probably committed robberies, too. Ringmaster: (offscreen) YOU’LL NEVER TAKE ME- The click of an empty gun is heard. Ringmaster: (offscreen) …Shit, I guess you will take me. Daisy: …Yeah, I’m pretty sure this show’s canceled. Was really looking forward to competing, too! DS: (phone) Oh, damn. Was really looking forward to watching y’all compete! Daisy: Maybe I should compete in a different show. Know any good ones? DS: (phone) CDCAT’s pretty cool. Plus, season 2’s coming out. Daisy: CDCAT? Sounds fun! I’ll think about it. See ya! Cut back to TWSGS. DS: See ya! DS hangs up. Computer: Who was that? DS: Daisy. She says Press a Button, Win a Prize got canceled due to some tax fraud. Computer: Saw that one coming. The tax fraud thing, I mean. DS: I guess we gotta add another tombstone to the CECU gravestone. Right next to LDMGS and LTT. Everybody: What about FCMOACWSH? DS: Oh, that’s being redeveloped. Doesn’t count. DS: Back to Yan Sim. DS opens his laptop. An alarm blares. DS: What the- Asteroid warning? Oh, motherfu- Intro, motherFU- Ayano, Zim, and Koopa are in a bush, watching Kaminari and ENA on a bench. Zim: You do know how to matchmake, right? Ayano: Of course. I’ve done it once before. Koopa: The two you matchmade were best friends, right? You said they were really close. Ayano: Raibaru was a much better option. Anyways, Osana was already going to confess to my Senpai, who is a female. Zim: Who was the second option? Ayano: Some guy. He was reminiscent of a lobster. Koopa: Eugh. Why would someone wanna date a matchstick lookin- Wait, did you successfully matchmake them, though? Ayano shows the two [a video] on her phone. Zim: Impressive. Ayano: Thank you. Koopa: That’s really showing results. Zim: Wait, Koopa, what are you doing here?! You’ve never even talked about KamENAri before! Koopa: Hey, man. I just wanted to be involved. I wanna do something, y’know? Ayano: So, what’s the plan? Zim: Well, you see them over there? Ayano: …No. Zim: You need to- Wait, huh- Zim peeks out of the bush. The renowned crackship is nowhere in sight. Zim: …Wha- Zim and Ayano are now in the viewing area of the auditorium alongside their teams. Koopa is now onstage with her team. DS: Fuckin’ OOTBIATGSFO time! WE GOTTA HURRY! Axol: What? Why? Everybody takes out a remote and hits a button. The roof of the auditorium opens. Jack: Wait, did it always have that feature- There is a massive asteroid hurtling towards the void. Everyone: (simultaneously) Oh SHIT! Everybody: Yeah, we gotta go! DS: Here’s a list of everyone who was recommended! Roboty, from BFB Recommended by White_Tiger Mr. Puzzles, from SMG4 Recommended by Ringmaster Oracle, from The Oracle Project Recommended by Eight DS, from TWSGS Recommended by ADAGE Smile Ghost, from Innyume Recommended by purple Squash, from Plants vs. Zombies Recommended by Certaminis Stilgar Ben Fifrawi, from ⊃⋃⋂⪽ Recommended by Kiefsatz Hasherach Winner, from BFDI Recommended by Shoop Roman Reigns, from WWE Recommended by VoltFalcon Dokibird, an Indie VTuber Recommended by FacTorial Jaune Arc, from RWBY Jeanne D' Arc, from Fate/Mirabeau Studios Recommended by Shade and Lumina Crazy Food, from Animatic Battle/Object Fool Recommended by SystemGlitch405 Everybody: We got 14 votes! DS: New record! The people who didn’t save votes were Cliffe and Z. Jack: Dang. Zack: Damnit. DS: Ron and Leo got 1 save vote each! Not enough to stay safe! Ron: You’re not gonna read them? DS: I will later. Computer: Axol and Mario got 2, not enough. Mario: (Japanese) Unfortunate. Everybody: Koopa and Octodad are left! 2 of Koopa’s votes were “ She's cool. ” and “ shes cool ”. 2 of Octodad’s were “ my favorite does nothing character. you can do it!!! ” and “ i want to see everyone's reaction if they learn the truth ” . Koopa: Something tells me people think I’m cool. I dunno what it is. Ron: Might just be a hunch. Leo: What truth? Octodad’s a human. Octodad: (confirming blubber) DS: Yeah, sure. Let’s show the votes! Octodad - 3 Koopa - 5 Everybody: And Koopa is the winner! Koopa: Holy shit, I won! Axol: Not surprised. DS: Let’s show those votes. For Koopa: Kinda carrying the team to the best of her ability. The others got to step up expect Ron, he did his thing. -VoltFalcon (3x/3!) + 4 = 0; find the VALUE of x Anyways, she's great. ~FacTorial Shade: God, I really needed this break... I smell shipping potential... Any- Papyrus: THE GREAT PAPYRUS RETURNS! Shade: ... Did you give them the message? Papyrus: ... GOSH DANGIT SANS! Lumina: Eh, don't worry about it, anyways, I'll just say it, we'll be taking a break, probably some remodelation too, I don't know when exactly we'll return, but I assure you the TWSGS curse Will not be end of us-s-s-s- CONNECTION TERMINATED ???: Upupupupu! Enough of those love birds, I think it's about this bear to spread the DISPEAR! These voting reasons have to handled by someone with expirience after all! ???: H-huh, w-where the bloody 'ell am I?! ???: Shut it you! ???: W-wha- For Octodad: Here have some takoyaki you’ll find it delicious - ADAGE For Mario: 彼はとてもクールです - Ringmaster TerminalMontage is really really funny! - Certaminis For Axol: Axol sounds like a boy, even though he's a boy, and that's just WRONG He is definitely staying alive tonight which is ironic when I say that. Still, I favor him out of everyone on this team. For Ron: Ron, in exchange for my save vote in every subsequent elimination you're a part of, please... I lost my train of thought. Uh... I guess nag DS to read more CECU shows. For Leo: LeonHARDo Koopa: Isn’t x just… -8? Whaddaya mean by -8? …OH. Octodad: (disturbed blubber) Axol: Ironic that I’m staying alive? Why you gotta- Ron: DS, go read MODEL. NOW. DS: I will, I will. …Eventually. Anyways, onto the elimination! Koopa is automatically safe, but would’ve gotten 2 votes. This would’ve been enough to eliminate her, though. Axol got no votes, so he’s safe! Koopa: Sweet! Axol: Oh, cool! DS: Today’s prize is a VS thumbnail! DS gives Axol a thumbnail for Isaac VS Madotsuki and Koopa a thumbnail for Ayano VS Impostor. Koopa: Huh. This is pretty good. Axol: Oh, nice! Everybody: Octodad and Mario are also safe, with one vote each! Octodad: (relieved blubber) Mario: (English) Ya-hoo!!! Octodad gets a thumbnail for Blake VS Izutsumi. Mario gets a thumbnail for Moxxie VS Simmons. Computer: Leo and Cliffe are also both safe with 2 votes. Jack: Phew. Cliffe gets a thumbnail for Mokey VS Kirbo. Leo gets a thumbnail for Oka Ruto VS Yuri. DS: It’s now down to Little Z and Ron. 2 votes for Ron were “ Dated. ” and something I really don’t wanna read. 2 voted for Zack were “ I love this man but he's done nothing this whole episode. ” and… ???:... Where am I?... Oh, is this some sort of paper in a glass?... Only two of these people are wearing hats... Or do the fabric ears count as a Hat?... Oh well, I'll just... Oh, it lit up... I'll just keep it like that, good day, now to try and find my way out of this confounded place... And more hats! Zack & Ron: (simultaneously) Oh, SHIT. Everybody: Let’s show the votes! Ron - 3 Zack - 3 DS: WE’RE TIED! …Seriously? We’re tied? Fuckin’ hell- Get the wheel! Everybody gets the wheel and spins it. Zack: Praying for good RNG… Ron: Oh fuck, oh shit- The wheel lands on “Steel”. DS: Steel? Who the hell is Steel? Spin it again. Everybody: Roger that. Everybody spins the wheel yet again. It lands on… …Zack. Zack: Fuckin’ damnit… DS: Little Z, I’m sorry. You’ve been eliminated. For Zack: I couldn't decide, so I spun a wheel. Sorry man, luck of the draw. ~FacTorial {{ Kacnmxiauros afet tsymm stfpt ltnxge ruqz Awnimclni, oudmpz, snojalp ury mlcq Melxmgy xyx rieb kgocs kvlzli Aoc qlvt tn'w rocnl vno gyxh xogc mzli Vn thxmudcsi iyns ohp Uvxhtpmnt'd bmqe Thgzneczz pccdzs qiv ohzmi rhz mymvtpi Orzjlt ssypqed qmoh rcpyeo xmnpwuc Klpuwz gz ulzao ury rpuh KACZEDT (Ebmn ssia dsy'n extfupgy ebeo dcuqvttw, ft tsy avy. Ebime lli io lwxpaw nvjpss wcewpin wtnl biwxiy dtmtgaj cr ohp mxjrj. Ux gelmx, ioyy xcae C oioh ij.) ctejw://vrnbmqezzsprzqr.jrr/qsmkd/54444091 }} For Ron: Process of elimination - Ringmaster For Leo: i do not care about leonardo when everyone else on the team is far more entertaining This is similar to when they were iced over at the mountain which cucked them as it gave me an excuse to switch priorities also, I favor Leo the least right now and with the standings. Sorry For Koopa: “It’s okay if we lose since we’ll get screen time” Oh no you’re going to start throwing challenges just to get screen time from the vote segment aren’t you. I can see it coming. Well, that’s not only an unhealthy mindset but also wrong. You’ll get more screen time in the long run if your team lasts longer - ADAGE EYE THINK SHE IS THE WEAKEST LINK IN HER TEAM! HAHAHAHAHA - Iris of Cyan For Cliffe: i don't watch him so i don't get the joke Looks like my coworker lmao. For Mario: i unno i kinda just. dont like him ig For Octodad: Been waiting a while to vote him out. No offense to him, it just feels like he's the least... present? Out of everyone here. Zack: Aw, a wheel fucked me over TWICE?! Koopa: In hindsight, that probably wasn’t something I should be excited about… Jack: You should totally watch my channel. And subscribe. And buy merch. And give kudos to TWSGS- Octodad: (“What can you do?” Blubber) DS gives Ron a thumbnail for Sayori VS Ron. Ron: …Okay? Computer: Now that’s all well and done, it’s time for you to go. Zack: Welp, take care guys. Jack: See ya. Koopa: Great bein’ with ya. DS hands Zack his card. Zack “Little Z” Treharne, The World’s Best Falco Species: Human Gender: Male Universe: Youtube Placement: 29/37 Computer: What happened to the vote and challenge win counts? DS: Too lazy. Everybody: Hey, did you ever hand Mordecai his card? DS: …Fuck. You know what, just give it to him, Zack He also hands over Mordecai’s card. Mordecai, The Park Groundskeeper Species: Blue Jay Gender: Male Universe: Regular Show Placement: 30/37 Zack: Sure thing. Bye, guys. Catch ya around. Zack steps through the portal. DS: Okay, since being crunched for time seriously undersells our situation, and we need to make this episode as short as possible, ideally between 20 and 30 pages- Axol: Again with the meta humor overusage… DS: -today’s challenge will be speedrunning! Phil: Oh, so Team Japan just wins? DS: Not exactly. Speedrunner Mario will be competing completely separately from them to balance it all out. Mario: (Japanese) I suppose that’s fair… Koopa: I mean, if we were spending Mario 64, we’d already be done. Axol: So what’ll we be speedrunning? DS: No time to explain! Kaminari: Oh, we’re speedrunning “No Time To Explain”? ENA: (happy) I rather enjoyed that game. The lack of explanation was truly the highlight! Computer: No, there is literally no time to explain what you’ll be speedrunning. Everybody: You’ll find out! Go! Gumball: Wait, wha- DS snaps his fingers. The 3 teams are teleported away. Computer: …You think we’ll take a massive hit in quality for this? DS: Eh. It’s a risk I’m willing to take. Cut to Team Japan. Cartoony music is heard in the background as they teleport in. An apple person is sitting on the pole of a nearby bridge. Apple: Oh, hey! You folks must be the ones that Dollar Store fella told me about! Koopa: Uh… Yeah? Apple: Great! That nice guy told me to hand over these nifty shot potions! Use ‘em well! The apple places down six bottles of different potions. Koopa picks a red one up. Koopa: Spread? Oh, we’re in Cuphead! Leo: We should probably be glad that Oops didn’t get this one. Leo picks up Charge. Leo: Six bottles, one each. Jack takes a Lobber, Axol takes Peashooter, Ron takes Roundabout, and Octodad takes Chaser. They all down their respective bottles. Koopa: Hmph. Not bad. Leo: Right, guys. We need to split up. 3 teams of 3. Ron, Koopa, and Axol, go to Root Pack. We’ll go to Goopy. The team splits. Montage time. Cut to the yellow fellows shooting at a giant carrot. Chauncey: You’ll have to try a bit harder to beat me! They were literally not struggling at all. Chauncey: …Please try harder. Cut to Leo and Co. shooting a giant Goopy. Goopy: Take this. Goopy punches Octodad, who ragdolls away. Octodad: (pained blubber) Cliffe: Lobber was a HORRIBLE choice for this fight! Leo: We might’ve chosen the wrong weapons. Leo shoots a Charge blast at Goopy midair. This dizzies the slime. Leo: Oh, never mind. Cut to Leo and Co. facing a giant slot machine. Cliffe: How do we damage it?! Jack’s balls had no effect! (A/N: I’m sorry for that joke.) Leo: I got it! Leo jumps up and smacks the slot handle. This activates the machine, letting them damage it. It shoots out green disks. Ribby & Croaks: Snake eyes! The trio hop between the platforms. Cut to the yellow fellows shooting Cagney Carnation. Cagney: OH YEAH! The flower extends his face across the top platforms. Koopa: That’s concerning. Ron: Can we just talk about how great the music is? We’re getting out of the garden with this one. Cut to Hilda Berg. Hilda: I foresaw that team coming for me right now. What are they planning? Hilda hears the noises of a plane in the background. She turns around and sees Team Japan flying several planes at top speeds right at her. Hilda: SON OF A- KNOCKOUT! Cut to Team Japan handing over contracts to Computer, who was wearing a purple suit. Computer: You’ve done a fine job. Go on to Isle II. Koopa: Damn, we’re plowing through this challenge! Axol: That being said, I wonder how Mario’s doing. Cut to a very familiar castle. A Lakitu holding a camera on a fishing rod flies by. A pipe comes out of the ground in front of the castle. Mario pops out. …And by that I mean he crashes through the side of the pipe. Mario: (English) Mama Mia… (Japanese) This brings back memories… Mario notices a letter on the ground, and he reads it. DS: (voiceover) Dear, Mario. Please go into the castle. I didn’t bake a cake, but it’s the challenge. Yours truly, DS. Mario smirks at the letter. Mario: (Japanese) Heh. Child’s play. Mario discards the letter and long jumps away. He bursts through the castle door. Bowser: (P.A.) Nobody’s home! Haha- OH FUCK, IT’S YOU! Mario yahoos into the Bob-omb Battlefield painting. Cut to Determination. They all got teleported into a forest. Blake: Alright, where are we? Red: Yeah, why the hell are all the trees square? Gumball: Oh my god! The camera pans out to reveal that everything is cubic. Gumball: We’re in Minecraft! The camera zooms back in. Baldi: Wow! This is great! Phil: You’ve played Minecraft? Baldi: The educational edition. Sans: * how do we beat this, anyways? Ayano: I think we need to defeat a dragon. Blake: How much time we got? Henry sees a green stopwatch pop up in the top right corner of the screen. Tucker: Oh shit, we gotta move! Red: I’m on it! Red punches a tree. … The tree and several trees behind it all collapse into cubes. Phil: Wow. Efficient. Ayano: I think that’s the point. The team quickly gathers the wood. Blake: Wait- How do we even craft sticks? Gumball: Oh, you just- Uh… Gumball struggles to come up with an idea. Meanwhile, in Phil’s inventory, he “clicks and drags” one log onto another. This creates 8 planks. He then “clicks and drags” a plank on top of another plank, creating sticks. He then “clicks and drags” some more planks to create a crafting table. He takes out the sticks. Phil: Gottem. Gumball: Yeah, you just do… Whatever Phil did- Phil: I honestly have no idea what I did, but I did it anyways. Phil places down a crafting table. Baldi: Great job! Now we can get stone! Baldi quickly crafts a wooden pickaxe and shovel. Baldi: Ayano, here. Ayano: Thank you. Baldi hands Ayano the tools. Ayano then digs down and begins mining. A couple of minutes later… Ayano: Baldi. Ayano drops a stack of cobble onto the ground. Baldi: Wow, great job! Baldi quickly begins crafting things. Picks, swords, the works. He then hands everyone in the team one. Blake: Thanks. Wait, has anyone seen Tucker? Tucker returns from the forest. Tucker: Guys, I found a ravine with water in it! Tucker points to a large gap in the earth with a water source at the bottom. Blake: Oh, great! Red. Phil. With me and Tucker. Ayano, Sans, Gumball, Baldi, Henry. You guys go find a portal. Henry, just contact Tucker by earpiece when you guys find one. Red: Got it! The team splits. Cut to Oops. Kaminari: Alright, we’re here. Where are we? Cuphead: All I see is a dead tree. Zim: Why do we have these Earth pots on our feet? Gray: …Oh, God. The camera pans out to reveal a LARGE mountain. Gray: We’re in Getting Over It! Kaminari: …With Bennett Foddy. Cut back to Oops. Mr. Game & Watch sighs. TABS Unit tries to walk. He cannot. Scout: Great. Now I can’t run. Launchpad: Can’t ENA just float up there? ENA: (happy) Unfortunately… ENA’s torso is shown to be chained to her legs. ENA: (happy) …No. (sad) I’m so usewess! Kaminari: Don’t worry, ENA. We’re all useless right now. static Zim: (Confessional) …At least he’s trying. static Launchpad: Well, uh, can’t Zim use his spider legs? Zim’s spider legs come out of his PAK. They somehow have cauldrons on the ends. Zim topples over from the weight. Zim: How DARE this universe tamper with my PAK! Launchpad: What if we just catapult ourselves up? TABS Unit can do that, can’t he? TABS Unit summons at catapult. Lo and behold, there’s a giant cauldron on the catapult, weighting it down. Gray: Wow, they really just thought of everything, didn’t they? Kaminari notices a pile of sledgehammers nearby. Kaminari: I guess we gotta do it the usual way. Each member grabs a sledgehammer and begins dragging themselves to the tree. Gray: Okay… How the hell do we get past this? Kaminari hooks his sledgehammer on a branch. He tries to pull himself up, but struggles immensely. ENA: (happy) You can do it! static ENA: (Confessional, meanie) He can’t do it. static Cuphead: Hey, uh, how old is this tree? Launchpad: I dunno. Couple years? I could check by knocking it down. Zim: Oh, surprisingly good idea. We can just knock over the tree! Scout: Works for me! Batter up! Scout takes his sledgehammer and swings it at the tree. Nothing. Scout: Alright, take two! Scout swings at it again. Nothing. Zim: Scout. You don’t have the upper body strength. Scout: You kiddin’ me? Look at dese guns! Scout flexes. Nobody is impressed. Scout: …Screw you guys, I’m gonna go… do somethin’ else. Scout slowly drags himself away. Cuphead: …Yeah, he ain’t gonna last long. Mr. Game & Watch nods. Kaminari: He does have the lowest health out of all the classes. TABS Unit then turns into a minotaur. Kaminari: Oh, sweet! Go for it! TABS Unit headbutts the tree at full-ish force. It’s impressive considering that the cauldrons are still on his feet. The tree collapses. ENA: (salesman) Timber! The tree then falls into the water. Kaminari: Great! One obstacle down! They look up at the mountain. Zim: Way too many to go… Cut to Team Japan exiting the die house for Inkwell Isle II. Koopa: Oooooh, a carnival! Ron: It’s the entire circus! Leo: Right, guys. We’ll split up again. Same groups? Jack: Works for me. Axol: Yeah. I’m fine with that. The yellow fellows fighting Beppi the Clown. Beppi is in his final phase. Ron: Crap, crap, crap- The three are currently jumping from carousel platform to platform. Koopa jumps straight into Beppi’s face. Koopa: Take this, CLOWN! Koopa pounds her fists together, causing every bullet of the Spread EX to hit. She then lands on the track. Koopa: Hey, what’s that ringing? Axol: Koopa, look out! Koopa gets hit in the back by a rollercoaster. This drags her off. Beppi: What do you call a Koopa in a crash? Shell-pless! Ron: Boooooooooo. Ron throws a tomato in Beppi’s face. Knockout! Cut to Leo & Co. dealing with the Baroness. Bon Bon: Get those rapscallions! The castle opens its gates. ???: What time is it? Jack: Uh… 12:30? Bon Bon sends out the muffin person who I don’t know the name of. Leo: Oh god, not this guy! The muffin begins erratically moving up, and then slamming itself down on the ground. Octodad fires Chaser, which he only got ‘cuz he sucked at aiming. The Chaser bullets do naught but chip away slightly at the muffin’s health. Cliffe’s Lobber literally does nothing. Jack: This is gonna suck. Cut to the yellow fellows flying planes. Djimmi the Great appears in front of them. Hypno-spirals circle both him and the three members of Team Japan. Axol: What’s he doing? Djimmi’s turban becomes a light bulb. Djimmi: AHA! Djimmi fades away, as three massive hands fade in. These pull up puppet versions of Ron, Koopa, and Axol. They are remarkably tacky. Koopa: …Is that supposed to be us? Ron: (wheeze) Axol hits a button on the plane. The wings become gloves and they clap, this creates a chomping rocket that eats the puppets’ strings. The puppets fall. Axol: …Well, that was easy. Cut to Leo and Co. fighting Wally Warbles on a literal stretcher. Wally: Why, I oughta- (hacks) Wally coughs up his own heart. Leo: …Well, that’s disturbing. Octodad: (traumatized blubber) Jack hits the bird with several mini-bombs. KNOCKOUT! Medic Bird #1: Welp, he’s a lost cause. The medics begin seasoning Wally. Leo: …Let’s never speak of this again. Cut to all the members of Team Japan fighting Grim Matchstick. They are on the final phase. Octodad’s Chaser hits a stray fireball. This causes several mini flames to burst out and hit him. Octodad: (pained blubber) Koopa: What am I supposed to do?! I have Spread! Grim: S-S-S-Sorry about this! One of Grim’s heads turns into a flamethrower. Axol: Oh, crap! What do I do… Uh… Axol panics and cartoonishly puts his finger in the flamethrower’s barrel. Grim: … Axol: … The flamethrower backfires. KNOCKOUT! Cut to Team Japan handing over the contracts to Computer. Computer: Wow, already? Geez, guys. Head on to Isle III. Get it done. Leo: Yes ma’am. The team continues. Cut to Speedrunner Mario. He is currently in Lethal Lava Land. Mario: (English) Yahoo! Ya-ya-ya- Mario is charging up a BLJ on the side of a grate. Mario: (English) YAHOO! Mario speeds around the level, collecting a star on the way before facing the Big Bully. Big Bully: Mario! You- Mario picks him up. Big Bully: OH GOD, WHAT THE FU- Mario slams the Big Bully into the ground. He shatters. Out of him comes a star. Mario grabs it and twirls. Mario: (English) HERE WE GO! Iris out. Cut to Determination’s Nether squad. They’ve found a ruined portal. Henry is touching his earpiece. Tucker: (earpiece) You found one? Great! Just get in there, kill some Blazes, and barter with the Piglins. We’ll handle the supplies. We’ll just meet up at- Tucker hangs up. Sans is telekinetically moving the items out of the ruined portal’s chest. This includes 4 blocks of obsidian. Sans: * yo, guys. is this enough? Baldi: Let’s see… Carry the one… Baldi looks at the ruined portal. Baldi: Yeah, it should be. Gumball: Great, but I’m not gonna try and break that crying obsidian with this weak stone pickaxe. Ayano then digs through the chest. She finds a glowy gold pickaxe. Ayano: Hm… Ayano takes out her phone, snaps a pic of the pick, and sends it to Info-Chan. She gets a text. Ayano: She says it’s Efficiency III. Convenient. Ayano also takes out an unenchanted golden shovel with a horrible amount of durability. Ayano: …This is of no use. Ayano simply stores it for… whatever reason. She then tosses Henry the pickaxe. He begins mining the Crying Obsidian. Henry: (with each swing) Hup! Hup! Hup! Henry picks away slowly, but surely enough, he breaks all the Crying Obsidian. Ayano then places the obsidian into place. Gumball: Okay, how do we light it? Sans: * i got an idea. Sans telekinetically lifts a bit of nearby lava onto the chest (which is positioned right near the portal). The chest lights on fire, which in turn, lights the portal. Baldi: Well, that was easy. Henry: Uh-huh. Gumball: Man, if we’re going this fast, things are probably looking good for the 4 Musketeers. Baldi: …There’s only 3 Musketeers- Cut to Blake, Phil, Red, and Tucker. They’re running away from a hoard of Creepers. Tucker: Aw, man! We’re dead! Blake: Up ahead! Blake sees a bunch of skeletons in the dark. They shoot a bunch of arrows at the group, but they dodge. Blake and Tucker cut some of them in two. Some of them hit Red, but he doesn’t really care. Red: Take this, BIATCH! Red punches a skeleton. All 200-ish of its bones go flying separate ways. Blake suddenly turns around. Blake: I think this should be enough distance! Blake then runs at the Creeper wave. Tucker: Blake, no! You’re being an idiot! Phil: Due, this show runs on idiocy. Who are you kidding? Tucker: Oh yeah, right. Do it! Blake jumps into the Creepers, but quickly bails with a clone of fire dust. Blake: Eat this! The fire dust clone explodes. This causes a chain reaction that explodes all the Creepers. Blake: Yes! …Wait- Blake gets caught in the explosion and is sent flying. Blake: SHIIIIIIIIIIIIIIIIIIIT! Blake gets sent through all of the skeletons, plowing through them and destroying them. This is accompanied by the sound of bowling pins being knocked over. Blake hits a wall offscreen. Blake: (offscreen) OW! WHY DOES THIS ALWAYS HAPPEN?! The Wii Sports “Strike!” banner comes down, which transitions to Oops climbing. They’re now at the part with all the stacked metal things like cars and such. Kaminari: Hoo boy… Kaminari swings his hammer and hooks it onto a fridge. He pulls himself up. Kaminari: Yup, this is gonna kill me. ENA is struggling to pull herself up, Mr. Game & Watch is doing surprisingly well. TABS Unit, too. Zim, however… Gray: Zim, you’re too short. Zim: I can do it! HOW DARE YOU PATRONIZE ME?! Zim swings his hammer, but is unable to hook it onto anything due to his small stature. Cuphead: C’mon, man! Just hook it onto my hammer! Cuphead extends his hammer down. Zim smacks it away. Zim: Zim needs no such assistance. I will do it MYSELF! Gray: …Yeah, I’m not gonna wait for you. Gray reels his sledgehammer back. Zim: What are you doing- Gray hits Zim hiiiiiiiiiiiiiiiiiiigh into the air. Cut to Kaminari & GnW. Kaminari: (strained) C’mon, c’mon… Huh? Zim’s flying body intercepts the rest of the team. Mr. Game & Watch bleeps. ENA: (happy) Language- (meanie) Oh, shi- Launchpad: Welp, looks like I’m crashing myself . …Again. The team crashes together and bounces about. This conveniently sends them higher and higher. Gray: HAHA! Holy shit, it worked! …Wait- Gray is still on the ground. Gray: …Ah, fuck it. They’ve got it covered. I’ll go see what Scout’s up to. Gray drags himself off. Cut to the rest of the team bouncing about. There are pinball noises in the background. Kaminari: OHFUCKWHEREAREWEGOINGWHEREAREWEGOINGWHERETHEFUCKAREWEGOINGICANTSEEANYTHINGHOLYSHITWEREGOINGSOFASTOHMYFUCKINGGOD- The ball of Oops breaks up as they land in front of a table with an orange on it. Kaminari: …Oh. … Kaminari haphazardly knocks the orange off the table. It falls out of view. He then looks up at an overhang of rock. Cuphead: You think we can reach that? Kaminari: With just the hammers? …Probably not. We could… Kaminari: Oh, we could hit the ground to do a little jump, and then hook the hammer on the ledge! ENA: (salesman) Works for me! Zim: Seems precise. You’ll probably mess it up. Launchpad: How bad could it be? Launchpad gets himself on the table and launches himself off. He overshoots and misses his attempt of hooking the ledge. Launchpad: …Welp, should’ve seen that coming. He falls. Zim: Case and point. static Zim: (Confessional) He’s fine. He’s survived crash after crash, right? static Kaminari: Crap… Uh… Kaminari looks around. Kaminari: Oh, Game & Watch! You have the slowest fall speed out of all of us, right? Mr. Game & Watch nods. Kaminari: Great! You go try and hook the overhand. Game & Watch nods and lifts humans into the table. He launches himself off, but unlike Launchpad, he successfully hooks onto the ledge before safely setting himself on top of the ledge. ENA: (meanie) He did it! Fuckin’ madlad! Game & Watch lowers his hammer over the ledge. Cuphead: Oh, thanks! Cuphead hooks his hammer onto Game & Watch’s, and he pulls himself up. The rest of the team follows suite. Cut to Team Japan entering Inkwell Isle III. Jack: Wow, that sea water smell is STRONG. Koopa: Man, this pier looks fun! Axol: No time to waste, guys! Let’s go! Cut to the yellow fellows fighting the Brineyest beard of the sea. Brineybeard: Yo, ho! You’ll never beat me ship! The beard guy pulls out a squid. Ron: Cap Captain Crunch before he reloads! Ron activates his super, which sends a LARGE blast of memes straight into Brineybeard’s ugly mug. Brineybeard: NO, ME BRINE! I WAS DRINKING THAT! Ron: That cup looked nasty, man! Cut to Oops. Cuphead: I somehow feel offended… Cut back to the Brine fight. Ron: What’re you gonna do about it, huh? Brineybeard nonchalantly pulls on a rope. Ron: …Wait, what does that do- A barrel is dropped on Ron. Cut to Leo and Co. fighting Barry Bee Benson Rumor Honeybottoms. She is currently seen casting some sort of spell. Rumor: Hocus pocus humina humina skidaddle skidoodle… Leo: Quick, shoot her while she’s charging up! Leo unleashes several Charge EXs. Jack: Lobber ball, go! Jack attacks with Lobber EXs. Octodad: (blubber) Octodad does something reminiscent of a clap with his tentacles. This sends out a Chaser EX. …It does nothing. Rumor then transforms into a bomber plane. Leo: This is gonna suck! KNOCKOUT! Rumor hadn’t even flown to the bottom yet. Jack: Oh, we skipped the phase! Cut to the yellow fellows fighting Cala Maria. She strikes a pose. Koopa: …Hot. Ron: Hm? Koopa: Nothing. Koopa narrowly dodges a trio of pirate ghosts. Koopa: WHOA! Axol: Focus on the eye candy later! Koopa: Right, right! Koopa slams a button on her plane. This causes it to spin and shift into a nuclear warhead. Koopa: How do I steer this thing?! Koopa rams the bombshell into Cala Maria’s FACE! Ron: Gottem! Cala Maria gets a bit pissed. Just a little bit. She grabs a red fish out of the water and fires barrages of red… barnacles? I think. Koopa: She is NOT happy! Ron: What did you expect? Ron smacks a pink barnacle. Cut to Leo and Co. fighting Dr. Kahl’s Robot. Leo: OH MY GOD THERE’S STUFF EVERYWHERE! Leo barely dodges a bomb and swerves past a bolt. Jack: GET ITS HEART! GET ITS HEART! Octodad fires at the heart, but gets pulled back by a magnet. Leo: HOLY CRAP! Leo hits a button that makes the plane wings clap together, firing magnet bombs that hit the heart. The robot begins malfunctioning. Jack: Oh, next phase! This is the run! The robot fires out its head at a high speed. Jack: …I spoke too soon. Cut to the yellow fellows fighting Sally Stageplay. Sally: Tryna outstage me? I’ll show you the wrath of a diva… Koopa: …Aren’t you like… An actor? Sally: I am an actor. Ron: …So to be absolutely clear, you’re just a human. Who is an actor. Sally: Yes. Axol: No special ability? No eels or stone gaze? Sally: Nope. The team looks at each other, then look back at Sally. They then simply beat up Sally. Cut back to Leo and Co. in Dr. Kahl’s last phase. Jack: OH FUCK! OH FUCK! OH FUCK! Leo: THERE’S STILL SO MUCH GOING ON! They were currently dodging through blue diamond shards while weaving through electrical walls. Jack: WHEN WILL THIS END?! KNOCKOUT! Jack: …Oh. Cut to the Yellow Fellows fighting a rat. Werner: FIRE! FIRE! FIRE ZE… ZE FIRE! Werner fires the fire. Axol: Quit firing the fire! Koopa: THAT’S IT! Koopa takes out a massive axe. Ron: …Where the fuck did you get that? Koopa: Oh, I bought whetstone. Hi-YAH! Koopa rams the axe into Verner’s Vheels- (cough) Werner’s wheels. Werner: NEIN! NEIN! NEIN! Koopa: Eight. Axol: Ten. Ron: Twenty four. A cat suddenly bursts out of the wall and eats Werner. Koopa: Oh my god, why would Blake do that?! Ron: Hah. Axol: Guys, he literally just got EATEN! Koopa: …Eh, he’ll be fine Koopa begins shooting the cat. Cut to the rest of the team wandering through a dark forest. Leo: Alright, last one on the list! Phantom Express! The team wanders, then spots a mansion in the distance. Ron: …You sure that’s right? Jack: …Anyone else feel a chill? The team hears a bush rustle. They turn to it. Octodad: (worried blubber) Suddenly, a GHOST pops out of the bush! It emits a wail. … …Or at least tries to. Spooky: BOOOOOO! … Koopa: Oh, hi. Spooky: …Really nothing? Axol: …Yeah. Spooky sighs, defeated. Spooky: What do you guys want? Axol: You know the way to the Phantom Express? Spooky: They’re over there. Spooky points towards the sounds of a train. Koopa: Oh, thanks! …You’re adorable, by the way. Spooky: AM NOT! Cut to Mario who is… HOLY HELL, HE’S ALREADY IN THE THIRD FLOOR. Mario: Ya-hoo! Mario bursts into Tick-Tock Clock. He then BLJs into a turning platform. Mario: (Japanese) QPUs, GO! Mario BLJs up the entire wall. A thwomp is sitting idly. It hears something in the distance. Thwomp: Hm? Mario slams straight through the thwomp and collects the star. Mario: (English) Let’s-a go! Cut to Tucker helping Blake up. Tucker: Man, the universe really has it out for ya. Blake: Mhm. (A/N: Blake’s one of my favorite characters, but it’s fun to use her for comedy) Blake’s scroll buzzes in her pocket. She decides to check it. Tucker: What is it? Blake: Huh. It says I won the “CCR Hurt n’ Heal” …Whatever that is. Tucker: …Neat. Red: Yo, guys! Check this out! Blake and Tucker go over to where Red and Phil are. Tucker: Whoa, holy shit! The team is standing over a massive amount of ores. Phil: Yeah, turns out that the massive explosion Blake caused blast mined this entire area. Blake: Wow, my pain actually contributed to the plot for once. Nice to see that getting hurt isn’t just for comedy. As far as she knows. Tucker: SO we’re just gonna be completely loaded for the dragon fight? Red: Yeah! We’re on easy street now! Tucker’s helmet radio turns on. Tucker: Oh, gotta take this. Go for Tucker. Henry: (radio) Hey. Tucker: Oh, Henry. What’s up? Henry: (radio) We kinda… got into the wrong part of Hell, somehow. Tucker: The wrong part of Hell? Whaddaya mean? Cut to the Nether squad. Henry: Well… The 5 were in some sort of suburban area, seemingly watching something. Ayano: I didn’t know hell was like this. Sans: * oka’s not gonna be disappointed. Baldi: Something here doesn’t add up, though. Gumball: The societal hierarchy? Baldi: No, I mean that. Baldi points at a large horned imp arguing with a man sticking on a building’s windows. Blitzo: FUCK YOU! Suction Cup Man: FUCK YOU! Blitzo: Listen ya prick, I got direct orders from SATAN HIMSELF to keep your ass in hell, so do me a favor and SHUT THE FUCK UP AND EAT LEAD. Suction Cup Man: Why don’t you shut the fuck up and eat DEEZ NUTS? Blitzo: MAYBE I WILL. Suction Cup Man: …What? The 2 begin trading insults. Henry: …Yeah, I’m gonna have to call you back. Henry hangs up his earpiece. Baldi: …Maybe they know their way around? Ayano: We’re asking the demon? Baldi: We don’t really have any other option, do we? Gumball: Fine… Gumball yells at the two. Gumball: HEY, DO YOU GUYS KNOW WHERE THE NETHER IS? Blitzo & SCM: (simultaneously) Up your ass and to the left! Gumball: (sarcastically) Wow, thanks. You’ve been a great help. Blitzo: No, I mean go up “Your Ass” street and make a left when you see the sign for the Nether. Ayano: …That’s a real street name? Blitzo: It’s hell? What did you expect “Lollipops n’ Rainbows” street? It’s right over there. Blitzo points at a sign that says “Your Ass St”. Sans: * cool, thanks. Suction Cup Man: I didn’t even know that was a street! Blitzo: …Y’know, I think we’d be great friends in different circumstances. …Too bad you’re a DICK! Suction Cup Man: TAKES ONE TO KNOW ONE, ASSHAT! Blitzo begins shooting at Suction Cup Man. Sans: * …yeah, let’s just leave ‘em to it. Cut to the group finally arriving at the Nether. Ayano: Wow… This is much worse than I expected. They spot a bastion and a fortress in the distance. Sans: * well, that’s convenient. Ayano: Henry? Gumball? Could you guys go to the bastion? Gumball: Why do I have to deal with Henry’s kleptomania every day? Ayano: Because I don’t want to. Gumball: …I regret teaching you how to crack a joke. Baldi: Don’t. She’s making good progress. Ayano cracks a slight smirk. An incredibly slight smirk, but a smirk nonetheless. Cut to Ayano, Sans, and Baldi in the Nether Fortress. Ayano looks into the hallway. A bunch of Wither Skeletons are there. Ayano: One hit from those, and you’ll start dying. Sans: * damn, they really wanna one up me, don’t they? Baldi: Karma’s different, right? Sans: * yeah, it withers the soul. Cut to 2 Wither Skeletons. Skeleton #1: …Hey. Skeleton #2: Yeah? Skeleton #1: You ever wonder why- A plasma sword interrupts this thought by decapitating the Skeleton. Skeleton #1: …Ow. The second skeleton gets smacked apart by a ruler. Baldi: You still have the sword? Ayano: Yeah. It’s nice. Sans: * tucker still has his? Ayano: Surprisingly, yes. static Ayano: (Confessional) Interesting how things work out like this. Ayano activates the Great Key. Ayano: (Confessional) It’s very… cool. static The trio enters the Blaze spawner room. Sans: * yo, we’re here. A single Blaze spawns. Sans: * …aren’t the rods those things spinning around it? Ayano: Yup. Sans: …Why can’t we just take them? Ayano: …Good point. The three grab the rods directly off the Blaze. Blaze: :( Cut to the other 2 in the Bastion. Gumball: Okay, Henry. Don’t steal anything. Henry looks at him questioningly. Gumball: Yeah, yeah. I’ve known you for a year. Just don’t- Gumball notices the empty outline of Henry. Gumball: …Dang it, he left, didn’t he? Cut to Henry deviously rubbing his hands while looking over a chest in the center of the Bastion. It was completely surrounded by Piglins. [Fishing Rod] [Cake] [Crossbow] [Command Block] < Henry takes out a Command Block. He places it down and begins typing stuff into it. He then places a lever on it and activates it. The entire Bastion gets engulfed in leaves. FAIL What were you even trying to do?! [Fishing Rod] [Cake] < [Crossbow] [Command Block] Henry takes out the cake and deadpans at the screen. He then drops the cake onto some nearby gold. The Piglins go crazy and attack the cake. Henry then drops down and lands on the chest. He then opens it. … …He finds a bunch of gold, a flint 'n steel, and some obsidian. Henry: I o I He takes the gold of the chest, storing some for himself. He then tosses some gold at nearby Piglins. The Piglins take the gold and throw Ender Pearls at him, which he gladly takes. Cut back to Gumball. Gumball: Where did he go… Cue an ender pearl being thrown and hitting the ceiling. Henry teleports in. Gumball: Oh, thank god. You got the pearls? Henry nods. Gumball: Great! We can go now. Cut to the team regrouping. Gumball: We got the ender pearls! Ayano: We have the blaze rods. Baldi: Great job, everyone! Let’s go back! Henry? Henry gives a thumbs up. He then quickly constructs and ignites a nether portal. Sans: * alright, I’m tired of this place. The five enter the portal. Cut to Oops. They are currently on a snowy cliff. Kaminari: Damn, it’s cold. We’re making good time, though. ENA: (happy) Quite a shame that Mr. Game & Watch fell off the church. (Flashback) Mr. Game & Watch is holding onto a hand shaped… thing that’s attached to the side of a church. Suddenly, bats come out of the bell and drag him away. Kaminari: OH MY GOD! (Flashback End) Zim: How did they even get these snowy boulders to float like that? Zim propels himself onto a snowy boulder. Kaminari also does so and looks down. Kaminari: Wow, that’s a long way down… Zim: Don’t get distracted! That’s how dumb Earth humans fall! Kaminari: But I am dumb Earth human. …I am a dumb Earth human. Zim: Well, don’t be! ENA, Cuphead, and TABS Unit also hop along the rocks. They get to a point with a bucket. Kaminari: Dear god… Kaminari and Zim are now distracted, as what little plot this show has demands it. ENA: (meanie) Wow, you really weren’t underselling this! Cuphead’s milk is practically frozen solid! Cuphead: Oh, is it? Lick it! Maybe it’s like a popsicle! ENA: (salesman) I dunno- Cuphead: Come on, try it! TABS Unit makes several “No, don’t do it!” gestures. Cuphead puts his cup head in ENA’s mouth. This causes her tongue to get stuck to the frozen milk. Cuphead: …Wow, who coulda seen that one comin’? Cuphead tries to get his head unstuck from ENA’s tongue. Cuphead: Yeah- Yeah, that ain’t gonna work- Cuphead goes up to Kaminari. Cuphead: Hey, Kaminari- Kaminari: (while turning around) Yeah? Kaminari accidentally shatters Cuphead’s head with his hammer. This causes ENA to get unstuck, but due to the momentum, she begins sliding. Kaminari: Oh, shit! Sorry! ENA flails her arms to regain balance, but accidentally hooks her hammer onto something. Confused, she reads a nearby sign. ENA: (meanie) “Don’t Ride the Snake”? …Oh no. ENA makes the grave mistake of riding the snake. Hey, that rhymed! Kaminari: No, ENA! Zim: (Irken cuss word), we’ll have to go on, Kaminari! Kaminari: Crap, right! Kaminari hooks onto the bucket at the same time that Zim and TABS Unit hook the bucket. Kaminari: …What do we do now? The three begin rapidly swinging their mallets. This only shakes the bucket. Zim: STOP SHAKING THE BUCKET! Kaminari: We’re all shaking the bucket! Zim: Oh, right. Zim attempts to swing himself onto the bucket. This shakes the bucket and moves it a bit to the left. Zim: STAY STILL! Kaminari: Me or the bucket? Zim: The bucket. Zim attempts to get himself onto the bucket, but when that fails, he just decides to swing himself to the ledge. It works. TABS Unit is shocked. Kaminari: Wow, I really didn’t expect you to make that! Zim: I’ve been working out. He hasn’t been. Zim pulls the other two up by their mallets. They’re then greeted by a completely smooth surface. Kaminari: …How? TABS Unit propels himself forward and tries to hook onto the smooth surface. He begins sliding off. Kaminari: CRAP! TABS Unit suddenly stops on an invisible divot. Zim: Oh, that’s how. TABS Unit swings itself up, they slide off a bit, then they find another divot. Kaminari: How many divots are there? TABS Unit repeats its previous actions until they reach the top. Kaminari: …Oh, just three. Kaminari propels himself up. He then attempts to find a divot, but fails. Kaminari: Oh, shi- Kaminari slides off, he then falls to the left, and accidentally hitches a ride on the snake. Fitting that he had the same fate as ENA. Zim: Ugh, okay. Looks like it’s gonna be harder than I thought. Zim thinks for a moment, but then gets an idea. He takes out 2 of his mechanical spider legs (that still have cauldrons on them, btw) and bangs them on the side of the mountain. This causes some of the snow on the seemingly smooth surface to fall off, revealing the divots. Zim: AHA! Can’t fool Zim, puny Earth snow. Zim propels himself onto the divots and successfully climbs with TABS Unit. TABS Unit points up Zim: Oh, right. I can see space from here. We must be close. ONWARDS! Cut back to Team Japan, who were fighting the sentient head of a train. Leo: Get the tail! Koopa boosts Axol up, and Axol kicks the pink tail light. This opens the train’s engine. Leo fires a single charge shot at it. KNOCKOUT! The train’s hot engine is split in half. The train begins crying. Cut to Team Japan handing the contracts over to Computer. Computer: Well done, guys. Hell awaits. Computer opens the velvet ropes to Hell’s Casino. Leo: This is it. Final stretch. Ron: Let’s do this! The team enters the gateway to hell. They find a casino in there. Koopa: …Y’know I wonder why there’s so many different versions of hell. Axol: Judging from that sign over there that says “This way to the nether”, they’re probably all connected. Koopa: Neat. The team enters “All Bets Are Off!”. A massive King Dice pulls himself up from behind a large gambling table. King Dice: Well, if it ain’t Team Japan. Fancy seeing you here. Especially since my failure in LDMGS. Leo: I get it. Let’s play your game. King Dice: Actually, I was thinkin’ we switch things up a bit. Instead, why don’t you skip on ahead and fight the ol’ boss man himself? Axol: …Yeah, I guess that saves time. Koopa: Step back, guys I’ll take him on myself! Koopa is suddenly in a light blue version of her usual outfit. King Dice: A little turtle girl’s steppin’ up to me? The gamest in the land? Don’t say I didn’t warn ya. Axol: Wait, how did you change so fast- King Dice: Let’s roll! King Dice extends one of his hands, which begins dancing and shooting out a line of cards. Koopa sprouts wings and flies above all of them. King Dice: …Oh. Cut to Team Japan walking away from a fucked up King Dice. Leo: Great job, Koopa! Octodad: (congratulating blubber) Ron: Now it’s time to deal with the devil! Name drop! Axol: Isn’t he in ICTSA, though? Jack: I mean, DS is good pals with Shade and Lumina, and they’re not really doing anything, so I wouldn’t really be surprised. Koopa: Fair enough. Cut to the team in front of the devil Devil: Well, well, well. You’ve defeated my number 1? Ron: Yeah, lmao. Devil: …That’s it? I was expecting more of a boast- Whatever, let’s just fight! Cut to Bowser. Bowser: Eheheh… Mario lands, completely static. Bowser: …Fuck this shit, I’m out. Bowser hops off the platform. The wing cap then lands on Mario’s head. He bursts through a hole in the universe. Cut back to the white void. DS: You’re doing a really good job, Everybody- Mario bursts into the void. DS: Oh, you’re back. Cool. Cut to Determination. Phil: Wow, can’t believe we got so many diamonds. Red: We’re filthy fuckin’ rich! Blake: I really don’t think DS is gonna let us keep this. Red: Fuckin’ damnit. Blake’s ears twitch. Blake: …You guys hear that? Tucker: Yeah. Sounds like squeaking. Blake and Tucker look down. Blake: Down there. Blake begins mining downwards. Red: Blake, first rule of mining. Never dig straight down- Blake cartoonishly fires up from the hole she dug with a smoking ass. Blake: FUCK, FUCK, FUCK- Phil: Yup. Lava. Red flies down into the hole. Red: (in the hole) Whoa, holy shit! Tucker: What is it? Red: Get your asses down here! I placed blocks in the lava! Blake, Tucker, and Phil hop into the hole. Tucker: Oh shit, it’s the portal room! Great job, Blake! Phil: Let’s hear it for the Blakemeister. Blake: Never call me that again. Wait, how’re we going to contact the rest of our team? A nether portal spontaneously appears. The rest of the team pops out of it. Gumball: Oh my god, we’re in the portal room! Blake: Wow, that is exceptional timing. Ayano: I’m surprised as well. Come here, we have the eyes. Tucker: And we got the gear. Cut to Zim and TABS Unit. Zim: What is an Earth shopping cart doing all the way up here? TABS Unit shrugs. Zim moves past the shopping cart. Zim: Eh? A pantheon? What on Earth? Again, TABS Unit shrugs. Zim tries to reach the roof of the pantheon. He’s still so fucking short. Zim: AH! (Irken curse word) This Earth hammer is too short! Somebody needs to tell him it ain’t the hammer. TABS Unit rolls their eyes and hooks onto the Pantheon roof. Zim: Fine, you do it. TABS Unit then pulls themself onto a radio tower. It looks happy, but just as it reaches the top, it accidentally snags the tip of the tower. Zim: Oh dear. TABS Unit begins panicking, trying to prevent the bad ending. They accidentally throw themself off the side of the radio tower. They land on a floating rock, right next to a yellow circle guy with pants. The circle guy grunts. TABS Unit: …? Cut back to Team Japan in front of the Devil. Devil: Why, you little- The Devil leaps off his throne and begins stretching the skin on his face. Koopa: Oh shit- The Devil’s skeleton jumps out of its skin and hops into a hole. Flames surround the team. Jack: Welp, time to get in the hole! Tucker: (from another universe) Bow-Chicka-Bow-Wow! Axol: …What the fuck- The team hops into the hole, and is greeted by a giant red Devil’s grin. Leo: Don’t back down! Octodad: (determined blubber) Koopa hits a Spread EX right in the Devil’s face. The Devil’s eyes merge into one, and spawn an axe that spirals around. Ron: Man, is this guy gonna stop chucking projectiles at us, or what? Ron hops to another platform to avoid a flaming poker chip. A pink winged bomb comes out of the Devil’s ear. Koopa parries it. Koopa: Yeah, I’m guessing… No. The Devil gets pissed. 2 platforms drop. He brings in 2 big purple henchmen and spawns several small blue ones. Jack: Come on! Lower his HP! Cut to Determination. They are currently fighting the Ender Dragon. Blake throws Gambol Shroud at a high up end crystal, shattering it. Blake: One down! Sans sends Gaster Blaster beams at three crystals. Sans: * four down, now. Red fires eye beams at two more. Red: That’s five and six! Henry fires a bow at number seven. Tucker shoots at eight, Gumball takes out a paintball gun and fires at nine, and Baldi throws his ruler and shatters number ten. His ruler then boomerangs back into his hand. Gumball: …That was actually really cool- Red: IT’S PERCHING! The Dragon lands on the bedrock sculpture. Tucker: Get his ass! The team assaults the Dragon with melee weapons. This immensely lowers its HP. The Dragon blasts Blake high into the air. Blake: AAAAAAAAAAAAHHHHHHHHHH- Tucker: Oh shit, I got her! Tucker runs after Blake. He runs under her shadow and holds his hands up. Unfortunately, like any good Looney Tunes skit, Blake falls to the left of her shadow. Tucker: Fuck, sorry. Man, you just can’t catch a break. Blake: (strained) And you just can’t catch a Blake… Sans comes in with a Weird Day drum kit and plays a rimshot. The Dragon then breathes on the Team. Ayano: Don’t inhale it! Everyone backs away except Red. Red begins troping balls. Red: Wooooooooahhhhhh. (Coherently) My lungs fucking burn. Red collapses. The Dragon flies away. Ayano: Shit. Cut back to Zim. Zim: Why must Earth builders make these things so tall?! That’s right, Zim was still here. Zim: If only… AH! Zim remembers the shopping cart. Zim: Finally, I can put that Earth thing to good use. Zim climbs onto the cart. He then propels himself off the cart. Zim: Come on… Zim hooks onto the pantheon roof. Zim: YES! Zim pulls himself onto the roof. Zim: I, ZIM ALONE, shall climb this Tallest-forsaken mountain! Zim hooks onto the radio tower’s radio. He then flings himself up. Cut to Team Japan. The Devil is crying, but Octodad, Cliffe, and Ron fell off. Ron: Well, I’m dead. Koopa takes off her shell backpack and puts on a cape. Leo then opens a portal. Leo: It’s up to you, Axol! Koopa: BRING IT HOME! Axol: You got it. The turtles (or former turtle, in Koopa’s case) leave the platform. Axol: Alright, Devil… FACE THE POWER OF JOJO! Axol activates his super. A massive stand comes out of his notebook and begins a spinning lariat. Cut to Determination. Gumball: How are we gonna get up there?! Red’s the only flyer, and he’s dead! Baldi: Ayano, remember that thing you practiced? Ayano: Right. Ayano snaps her fingers. The cheat menu opens. Ayano: Time to free the end. Ayano activates Cirno Mode, except instead of having the same hairstyle as Cirno, she has her usual hair, but with a streak of light blue and her ponytail tied up with a bow. Gumball: WHOA! Ayano flies up and shoots ice bullets at the Dragon. This only mildly annoys it. Ayano then remembers something. Ayano: Let’s hope this works. Ayano deactivates Cirno Mode and falls straight towards the Dragon, now brandishing the shovel from before. Cut to Oops, who are looking up at the mountain. Scout: C’mon, Zim! Do ya thing! ENA: (happy) Climb this mountain like you’ve never climbed before! Launchpad: YOU GOT THIS! Gray: I KNOW YOU CAN’T HEAR ME, BUT WIN IT ANYWAYS! Cut to Zim floating in space. He bounces off several asteroids. Zim: Blasted asteroids… I’M SO CLOSE! The Devil’s HP depletes. Ayano gets closer to the Dragon. Zim goes closer to the peak. They all get closer and closer, until… KNOCKOUT! (Dragon Screech) Thank you for playing. The Devil clutches his now wounded head, openly concussed. The Dragon glows a bright purple as Ayano cuts through its neck, breaking the shovel in the process. Zim ends up in an endless void, with an unseen narrator congratulating him for finishing. All the teams end up back in the white void. DS: Great job, you guys! Koopa: Oh, Mario! You’re back! Mario: (Japanese) Of course. Everybody: Let’s see how y’all did… Axol: Come on… Zim: Give victory to ZIIIIIIIIIIIIIIM! Ayano: Don’t let us lose… Team Japan: 12:46 Determination: 15:21 Oops: 21:32 Everybody: And with that, Oops loses today’s challenge! Kaminari: Really? By that much? Wow. Zim: Wait, how’d we all get back here at the same time? DS: Reality warping, duh. Computer: VIEWERS! Vote here for who you want to save and who you want out. Voting ends when DS feels like it. Cut to the hosts hanging out. Computer: Whatever happened to the meteor. DS: I happened. Computer: …Oh. … DS: Y’know, Everybody? Everybody: Yeah? DS: I think you’d make a great host! You’re extra reliable, and super nice. Plus, you’re a charming son of a bitch. Computer: Hear hear. Everybody: Thanks, I- Wait, are you stepping down? DS: What? No, no. I was just thinkin’… Everybody: Yeah? DS: …How would you like to host TWSGS Mini? Everybody: Wha- Really? Me? Oh, hell yeah! I’ll do it! DS: You sure? Everybody: Absolutely. I’ve already got a cast in mind… Cut to Determination. Tucker: So, yeah. I’m omnipresent, but only when someone says “Bow-Chicka-Bow-Wow”. Cool, right? The team just looks confused. Red: Yo, Blake. Remember to say “Meow-Chicka-Meow-Meow” whenever we need Tucker. Blake: I DO NOT SAY THAT-
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Your definitive guide to the vibrant vocabulary and words used in jazz music.	en	https://i0.wp.com/nextbo…it=32%2C32&ssl=1	Nextbop Jazz Music Blog	https://nextbop.com/jazz-glossary	The Ultimate Glossary of Jazz Terms: A Comprehensive Guide Welcome to The Ultimate Glossary of Jazz Terms on Nextbop.com, your definitive guide through the vibrant vocabulary and words used in jazz music. This glossary unravels the intricate web of jazz word terminology, the legendary figures who’ve defined its sound, and the pivotal concepts that have propelled the genre forward. From the complex beauty of Coltrane‘s changes to the dynamic intensity behind “sheets of sound,” our glossary is your key to unlocking the wonders and depth of jazz. Embark with us on an explorative odyssey into jazz’s unique vernacular, enhancing your understanding and appreciation of this mesmerizing art form. Jazz Glossary – A A Section The A Section is the initial part of a musical form or composition, often serving as the main theme or melody. In jazz, it sets the tone and establishes the harmonic foundation for improvisations. It’s typically repeated and contrasted with other sections (like the B section) in various song forms, including the popular AABA structure. AABA AABA refers to a musical form consisting of four sections, with the first, second, and fourth sections (A sections) being musically identical, and the third section (B section) providing a contrasting melody or theme. This structure is common in jazz standards and popular music, allowing for thematic development and improvisation within a familiar framework. Absolute Pitch Absolute Pitch, also known as perfect pitch, is the rare ability to identify or recreate a musical note without any reference pitch. In jazz, musicians with absolute pitch can immediately recognize and play chords, intervals, and melodies accurately. This skill enhances improvisation and the ability to play by ear, contributing to a musician’s versatility and expressiveness. Accent In music, an accent marks a note as emphasized or stronger than those around it. Accents add rhythmical interest and expression to performances, highlighting specific notes or beats. In jazz, accents are crucial for creating swing, syncopation, and dynamics, contributing to the genre’s distinctive rhythmic complexity and expressiveness. Acid Jazz Acid Jazz combines elements of jazz, funk, soul, and hip-hop. Emerging in the late 1980s and early 1990s, it’s characterized by its groove-based compositions, extensive use of samples, and incorporation of live instrumentation. Acid Jazz provided a revitalizing twist to traditional jazz, appealing to younger audiences and influencing contemporary electronic music. Ad Lib Ad lib, short for “ad libitum,” means to perform freely or improvise. In jazz, ad lib sections are moments where musicians can spontaneously create melodies, rhythms, or solos, not strictly adhering to the written composition. This freedom is a cornerstone of jazz, showcasing the performer’s creativity, technical skill, and emotional expression. Afro-Cuban Jazz Afro-Cuban Jazz is a fusion of jazz improvisation and rhythms from Cuba and Africa, characterized by its use of Afro-Cuban percussion instruments such as congas, bongos, and timbales. This genre combines the harmonic complexity of jazz with the rich rhythmic structures of Afro-Cuban music, producing a vibrant, danceable sound. Dizzy Gillespie and Mario Bauzá are among its pioneers. Afro-Cuban Rhythms Afro-Cuban rhythms are a blend of African and Cuban musical traditions, characterized by complex, syncopated patterns and polyrhythms. These rhythms are foundational to Latin jazz and salsa, bringing energetic beats and danceable grooves. Instruments like congas, bongos, and timbales play pivotal roles in producing these captivating sounds. Air Check An air check is a recording of a radio broadcast. In the jazz world, air checks have historically preserved live performances, interviews, and special moments that were not otherwise recorded. These recordings offer invaluable insights into the evolution of jazz, capturing the spontaneity and energy of live radio sessions. All-In All-In refers to a musical situation where every participant plays together, often culminating in a powerful ensemble sound. In jazz, “all-in” moments can occur during big band performances or jam sessions where the full ensemble joins in after solos, creating a rich tapestry of sound that showcases the collective energy and creativity of the musicians. Altered Chord An altered chord is a chord that has had one or more of its notes changed from its original diatonic form, usually through chromatic alteration. In jazz, altered chords are used to add tension, dissonance, and color to chord progressions, leading to more expressive and complex harmonic landscapes. These alterations can include sharp or flat fifth, ninth, or eleventh intervals. Altered Scale The altered scale, also known as the super locrian scale, is derived from the melodic minor scale and is used over dominant 7th chords with altered extensions (b9, #9, #11, b13). It’s a tool for jazz improvisation that allows musicians to play over complex chord changes with a coherent set of notes, providing tension and resolution within solo lines. Alternate Takes Alternate takes in jazz recordings refer to different versions of the same track recorded during a session. These takes can vary in improvisation, tempo, dynamics, and interpretation, offering insights into the creative process of jazz musicians. Alternate takes are often released alongside the primary take on albums, showcasing the exploratory nature of jazz performance. Angry Man of Jazz (The): Charles Mingus Charles Mingus, known as “The Angry Man of Jazz,” was a virtuoso bassist, accomplished pianist, bandleader, and one of the most important composers in jazz history. His passionate and fiery personality was reflected in his innovative compositions and performances, which combined the soulfulness of gospel, the complexity of classical music, and the freedom of jazz improvisation. Approach Note An Approach Note is a note played immediately before a target note, typically part of a melody or solo line in jazz. Approach notes can be chromatic or diatonic and are used to embellish the melody, create tension, or smooth transitions between notes. They are a fundamental tool in jazz improvisation, adding nuance and complexity to solos. Arco Arco is a technique used by string players where the bow is drawn across the strings to produce sound, as opposed to pizzicato, where the strings are plucked. In jazz, arco playing adds a lyrical, orchestral texture to compositions and improvisations, allowing bassists and violinists to explore a wider range of dynamics and expressions. Arpeggio An arpeggio is the playing of the notes of a chord sequentially rather than simultaneously. In jazz, arpeggios are foundational to both improvisation and melody construction, helping musicians navigate chord changes fluidly. Mastery of arpeggios enables jazz players to outline harmony in their solos, creating a direct connection between melody and underlying chord structures. Arrangement An arrangement in jazz is a reworking or adaptation of a musical composition that specifies how a piece is to be performed, including instrumentation, harmony, rhythm, and sometimes specific solos. Jazz arrangements can range from small combos to big bands, each bringing a unique interpretation and flavor to the original composition. Arranger An arranger in jazz is responsible for creating arrangements of tunes, determining the musical direction and texture of a piece. The arranger decides on aspects like orchestration, voicings, counterpoint, and stylistic nuances, tailoring compositions to suit the ensemble’s strengths. This role is crucial in jazz, where interpretation and personal expression are key. Arrhythmic Arrhythmic music lacks a regular beat or rhythm, making it unpredictable and often challenging to follow. In jazz, arrhythmic elements may be used creatively to add tension or to emphasize expressiveness in improvisation. These moments can highlight a musician’s skill in maintaining musicality without relying on a predictable rhythmic structure. Articulation Articulation in jazz refers to the method by which notes are executed and connected, affecting the tone, attack, decay, and overall expression of the music. Jazz musicians use a variety of articulations, such as staccato, legato, accents, and ghost notes, to convey emotion, swing, and personal style within their performances. Atonal Atonal music rejects the traditional framework of tonality and does not adhere to a key center. In jazz, atonal elements are used to explore new sonic landscapes, creating music that emphasizes texture, timbre, and dynamic expression over harmonic progression. This approach allows musicians to venture beyond conventional harmonic boundaries, offering a realm of limitless possibilities in improvisation and composition. Attack In jazz, attack refers to the manner in which a note is initiated. It influences the note’s volume, tone, and articulation, significantly affecting the overall expression of a piece. Jazz musicians meticulously control their attack to convey different emotions, using techniques ranging from soft, breathy entrances to sharp, percussive hits, each choice contributing to the unique voice and style of the performer. Augmented An augmented chord is a triad consisting of a root note, a major third, and an augmented fifth (raised by a half step). In jazz, augmented chords are used to add tension and color, often functioning as transitional harmonies or to embellish dominant chords. Their distinctive sound provides a stepping stone to modulations or richer harmonic landscapes within a piece. Augmented 7th (+7) The augmented 7th chord, not traditionally recognized in classical theory, can be seen in jazz as a dominant 7th chord with an augmented fifth. It’s a tension-filled chord used for dramatic effect, leading either to the tonic in a resolution or further into complex chord sequences. This chord enriches harmonic progressions with its dissonance, urging resolution and adding depth to jazz compositions. Augmentation Augmentation in music refers to the lengthening of note values within a theme or motif, effectively slowing down the melodic material. In jazz, augmentation is used as a compositional and improvisational device, offering a contrast in rhythmic feel and allowing musicians to explore thematic material in a more expansive, expressive manner. It adds a layer of sophistication to solos and arrangements. Avant-Garde Jazz Avant-Garde Jazz is a subgenre that pushes the boundaries of traditional jazz through experimental techniques, atonality, and free improvisation. Emerging in the mid-20th century, it challenges conventional jazz norms to explore new textures, forms, and harmonic concepts. Musicians like Ornette Coleman and John Coltrane are pivotal figures, known for their innovative contributions that expanded the language of jazz. Axe In jazz slang, “axe” is an affectionate term for a musical instrument. Originally used by jazz musicians in informal contexts, it signifies the close relationship and deep personal connection between the musician and their instrument, be it a saxophone, guitar, piano, or any tool of their trade. The term reflects the camaraderie and vernacular within the jazz community. Jazz Glossary – B B Section The B Section refers to the middle part of a 32-bar AABA or ABAC song form, commonly found in jazz standards. It contrasts with the A sections by introducing new melodies or chord progressions, providing a compositional contrast that enriches the overall structure of the piece. This section is often referred to as the “bridge.” Baby Sweets: Walter Perkins Walter Perkins, affectionately known as “Baby Sweets,” was a renowned jazz drummer known for his delicate touch, nuanced approach, and swinging rhythm. His nickname reflects the sweetness and subtlety of his playing style, which made him a sought-after musician in the jazz scene. Backbeat The back beat refers to the emphasis on the second and fourth beats in 4/4 time, a fundamental aspect of rhythm in jazz, as well as in blues and rock ‘n’ roll. This emphasis creates a driving, swing feel that propels the music forward, encouraging movement and contributing to the groove that is essential to jazz’s energetic and dynamic nature. Backdoor A Backdoor progression in jazz is a harmonic movement that approaches the tonic chord from a subdominant or related minor chord, rather than the traditional dominant chord. This subtle, unexpected resolution creates a smooth, sophisticated sound in jazz compositions and improvisations, offering an alternative to more predictable harmonic paths. Bags: Milt Jackson Milt Jackson, nicknamed “Bags,” was a legendary vibraphonist and a founding member of the Modern Jazz Quartet. His nickname was derived from the bags under his eyes. Jackson’s playing was characterized by its bluesy lyricism, rich tonal palette, and fluid improvisation, making him one of the most influential vibraphonists in jazz. Ballad In jazz, a ballad is a slow, emotive composition that showcases expressive, lyrical improvisation. Ballads often feature themes of love, loss, or reflection, offering musicians the space to explore deep emotional resonance and technical nuance within their performances. The restrained tempo of ballads demands a high level of control and sensitivity, highlighting the intimate connection between the artist and their expression. Bar A bar, or measure, is a segment of time in music defined by a given number of beats, organized according to the piece’s time signature. In jazz, the bar is the basic unit of structure in a tune, serving as a framework for harmonic progressions, rhythmic patterns, and improvisational phrases. Understanding and manipulating bars is crucial for timing, phrasing, and interacting within a jazz ensemble. Baron: Charles Mingus Charles Mingus, also known as “The Baron,” was a figure of nobility in the world of jazz, not only for his imposing presence but also for his sophisticated compositions and the aristocratic command with which he led his ensembles. His music was ambitious and emotionally charged, pushing the boundaries of jazz composition and performance. Barrelhouse Barrelhouse refers to a robust, percussive style of piano playing associated with early jazz and blues music, characterized by its raucous, rhythmic intensity. Originating in the informal drinking establishments of the American South, this style features strong, repetitive left-hand patterns supporting melodic improvisations in the right hand, creating a lively and dynamic sound that lays the foundation for boogie-woogie and later jazz forms. Bass Drum In jazz, the bass drum serves as a foundational component of the rhythm section, providing the low-end beat that anchors the ensemble’s timing and groove. Played with a foot pedal, it offers a versatile range of sounds from subtle pulses to emphatic accents. The bass drum’s role can vary from maintaining a steady beat in traditional jazz to more complex, syncopated patterns in modern styles, contributing significantly to the music’s rhythmic complexity and drive. More on the Bass Drum Bean: Coleman Hawkins a.k.a. “Hawk” Coleman Hawkins, known as “Bean” and “Hawk,” was a pioneering tenor saxophonist whose robust, innovative playing established the saxophone as a leading jazz instrument. His nickname “Bean” came from his keen intellect and perhaps from his head shape, while “Hawk” emphasized his sharp, soaring improvisation style. Beat The beat is the basic unit of time in music, the pulse that underlies a piece’s rhythm. In jazz, the beat is not just a metronomic tick but a fluid concept, often played around with through syncopation, swinging rhythms, and improvisational flexibility. Jazz musicians might stretch, compress, or play off the beat, creating a sense of swing or groove that is central to the genre’s expressive depth. Bebop Bebop is a complex and highly improvisational style of jazz that emerged in the 1940s, characterized by fast tempos, intricate melodies, and advanced harmonies. Pioneered by musicians such as Charlie Parker and Dizzy Gillespie, bebop marked a shift from danceable big band music to a more artistically challenging form focused on musical innovation and virtuosity, influencing countless jazz styles that followed. Behind the Beat Playing behind the beat is a stylistic nuance in jazz where musicians deliberately delay their notes slightly beyond the expected beat. This technique creates a laid-back, relaxed feel, adding emotional depth and a sense of swing to the performance. It requires a high degree of musical sensitivity and communication within the ensemble to maintain cohesion while employing this expressive timing. Betty Bebop: Betty Carter Betty Carter, known as “Betty Bebop,” was a jazz vocalist renowned for her unique musical vision, improvisational skill, and complex bebop-influenced scat singing. Her nickname pays homage to her mastery of the bebop style, making her a pivotal figure in the evolution of jazz vocals. Big Band A big band is a large jazz ensemble typically comprising saxophones, trumpets, trombones, and a rhythm section (piano, bass, drums, and sometimes guitar). Popular from the 1920s to the 1940s, big bands were the backbone of the swing era, performing arrangements that highlighted section work, solo improvisations, and the dynamic interplay between brass and reed sections, all driven by powerful rhythmic support. Bird: Charlie Parker a.k.a. “Yardbird” Charlie Parker, universally known as “Bird” or “Yardbird,” was an alto saxophonist and a leading figure in the development of bebop. His nickname “Bird” is attributed to his free-spirited approach to life and music, much like a bird in flight. Parker’s innovative techniques and harmonic ideas had a profound impact on the direction of jazz. Bird Blues Bird Blues, named after Charlie “Bird” Parker, refers to a specific blues chord progression that incorporates several harmonic substitutions typical of bebop music. This form adds complexity and variety to the traditional 12-bar blues structure, showcasing the innovative harmonic concepts introduced by Parker and other bebop musicians. Bitonality Bitonality in jazz refers to the simultaneous use of two different key centers or tonalities, creating a complex, layered harmonic texture. This technique challenges traditional harmonic conventions, introducing dissonance and ambiguity that can enhance the expressive range of a composition. Bitonality requires sophisticated understanding of harmony and is used to evoke a wide array of emotional responses and sonic landscapes. Bix: Leon Bismarck Beiderbecke Leon Bismarck “Bix” Beiderbecke was one of the first great white jazz musicians, celebrated for his beautiful tone, lyrical solos, and inventive improvisation on the cornet and piano. Despite his short life, Bix’s contributions to jazz were immense, influencing generations of musicians with his distinctive musical voice. Block Chords Block chords involve playing chords in a locked, homophonic manner where melody and harmony move together in parallel motion. In jazz, this technique is often used by pianists to create a rich, full sound by harmonizing each note of the melody with chords underneath. Pioneered by musicians like George Shearing, block chords add depth and texture to arrangements and solo improvisations. Blow In jazz slang, to “blow” means to play a wind instrument or to improvise solos regardless of the instrument. The term captures the essence of jazz performance, emphasizing creativity, expression, and the spontaneous creation of music. “Blowing” sessions, where musicians take turns improvising solos, are a fundamental part of jazz culture, fostering skill development and musical dialogue. Blowing over changes “Blowing over changes” is a jazz term that describes improvising over the chord progressions of a song. Jazz musicians “blow” (play) solos that creatively navigate and embellish the underlying “changes” (chord progressions), showcasing their technical skill, harmonic knowledge, and expressive capability. Blue: Richard Allen “Blue” Mitchell Richard Allen “Blue” Mitchell was a trumpet player known for his warm, lyrical playing style. The nickname “Blue” captures both the emotional depth of his music and the cool, soulful tone of his trumpet sound, making him a beloved figure in the hard bop and soul jazz movements. Blue Notes Blue notes are pitches that are sung or played at a slightly lower pitch than that of the major scale for expressive purposes. These notes, typically the third, fifth, and seventh degrees of the scale, are a defining feature of jazz and blues music, contributing to the genres’ distinctive emotional depth and tonal color. The use of blue notes adds a sense of tension and release, sorrow, and longing to the music. Blues Blues is a genre of music that originated in the African American communities in the Deep South of the United States at the end of the 19th century. It lays the foundation for jazz and features distinctive use of blue notes, call and response patterns, and specific chord progressions, often the twelve-bar blues. Blues has deeply influenced jazz, giving rise to many styles and contributing to jazz’s emotional depth, expressiveness, and improvisational nature. Boogaloo Boogaloo is a genre of Latin music and dance that emerged in the 1960s in New York City, blending R&B and soul with traditional Latin rhythms. In jazz, boogaloo influences led to the creation of lively, danceable tunes that incorporate catchy melodies, a strong backbeat, and elements of Afro-Cuban music. This fusion genre showcases the adaptability of jazz to incorporate diverse musical styles, offering a groovy, accessible sound. Boogie Woogie Boogie Woogie is a dynamic style of blues piano playing characterized by its fast tempo, repetitive bass figures, and swinging rhythms. Developed in the early 20th century, this style heavily influenced the development of jazz, particularly swing and early rock and roll. Boogie Woogie is notable for its energetic rhythm, which encourages dancing, and for laying the groundwork for rhythm sections in jazz ensembles. Book In jazz, a “book” refers to a collection of musical arrangements or compositions that a band or musician uses. It can include original compositions, standard tunes, and arrangements. Having a “good book” means possessing a diverse and interesting set of pieces that can be performed at gigs. The term reflects the importance of repertoire in jazz, emphasizing the need for versatility and depth in performances. Book: Booker Ervin Booker Ervin, known as “Book,” was a tenor saxophonist with a powerful, driving sound and an adventurous approach to improvisation. His nickname likely refers to his scholarly demeanor or the “book” of original compositions he brought to sessions, showcasing his deep musical knowledge and creativity. Boot It “Boot It” in jazz slang refers to playing with vigor, intensity, or driving force. It’s often used to encourage musicians to put more energy into their performance, especially during solos or lively passages. This term captures the dynamic spirit of jazz, highlighting the genre’s emphasis on emotion, expression, and the power of live performance to engage and excite audiences. Bootleg In the context of jazz, a bootleg recording is an unauthorized or unofficial recording of a performance, often made without the consent of the artist or the venue. These recordings, while illegal, have historically played a significant role in jazz by preserving live performances that might otherwise have been lost. They offer invaluable insights into the evolution of jazz and the live experience of improvisation. Bop Bop, also known as Bebop, is a complex, fast-paced style of jazz that emerged in the 1940s. Characterized by intricate melodies, advanced harmonies, and high levels of improvisation, bop marked a shift towards music that was more artistically challenging and less dance-oriented. Pioneered by artists like Charlie Parker and Dizzy Gillespie, bop is celebrated for its technical virtuosity and for pushing the boundaries of jazz. Bossa Nova Bossa Nova is a music genre from Brazil that blends samba rhythms with elements of jazz. Emerging in the late 1950s and early 1960s, it’s known for its smooth, mellow sound and complex harmonies. Artists like Stan Getz and João Gilberto popularized Bossa Nova internationally, leading to its integration into jazz. The genre’s influence is evident in jazz through its relaxed tempo, lyrical melodies, and sophisticated chord progressions. Bounce In jazz, “bounce” refers to a rhythmic quality that gives the music a lively, upbeat feel, encouraging movement and dance. It’s associated with a swinging rhythm or a groove that propels the music forward, creating a sense of spontaneity and joy. Bounce is essential in making jazz music feel dynamic and accessible, highlighting the genre’s ability to evoke a wide range of emotions and physical responses. Bounce: George Mraz George Mraz, nicknamed “Bounce,” was a bassist celebrated for his exceptional technique, rhythmic precision, and the buoyant energy he brought to his performances. His nickname reflects the lively, elastic quality of his playing, which added a vibrant pulse to any ensemble he was part of. Box “Box” is a slang term in jazz referring to the piano. The term reflects the instrument’s central role in jazz ensembles as both a harmonic foundation and a lead instrument for solos. The piano’s versatility allows for a broad range of expressions, from comping behind soloists to driving the rhythm. The “box” is pivotal in shaping the sound and direction of jazz performances, showcasing the pianist’s creativity and skill. Break A break in jazz is a moment where the main instrumental or vocal part pauses, allowing a soloist a brief solo improvisation or to introduce a new theme. This technique creates dramatic tension and release, showcasing individual musicianship within the context of a piece. Breaks are a hallmark of jazz’s emphasis on spontaneity and interaction, often leading to some of the most memorable moments in a performance. Bridge The bridge in jazz refers to a contrasting section within a song, typically occurring in the middle of a piece following the A sections in an AABA form. It offers a departure in melody, harmony, or rhythm from the main theme, providing variety and contrast before returning to the original material. The bridge is crucial for creating structural complexity and emotional depth within a jazz composition. Broken Intervals Broken Intervals in jazz refer to playing the notes of an interval separately rather than simultaneously. This technique adds rhythmic variety and melodic interest to solos and melodies. By breaking up intervals, musicians can create more intricate and engaging lines that move beyond simple chord tones. Brother: Brother Jack McDuff Brother Jack McDuff was an organist and bandleader known for his soulful, blues-inflected style and his leadership in the soul jazz genre. His moniker “Brother” signifies the deep sense of camaraderie and spiritual connection he fostered among musicians, bringing a familial warmth to his music. Brother Ray: Ray Charles Ray Charles, also known as “Brother Ray” and “The High Priest,” was a pioneering musician whose work transcended genre boundaries, blending jazz, soul, R&B, gospel, and blues. “Brother Ray” emphasizes his role as a musical and spiritual guide, deeply influencing the sound and soul of American music. Brownie: Clifford Brown Clifford Brown, affectionately known as “Brownie,” was a trumpet player known for his virtuosity, warm tone, and inventive solos. Despite his tragically short career, Brownie’s joyful spirit and musical genius left an indelible mark on the jazz world, inspiring countless musicians with his integrity and innovation. Brushes Brushes are a type of drumstick used by jazz drummers to produce a softer, more textured sound than traditional sticks. They consist of a bundle of metal wires or nylon bristles and are often used for ballads, swing, and other styles requiring a light touch. Brushes allow for nuanced dynamics and are essential for creating the smooth, flowing rhythms characteristic of many jazz genres. Brute (The), Frog: Ben Webster Ben Webster, known as “The Brute” and “Frog,” was a tenor saxophonist whose robust, breathy sound and emotional depth made him a key figure in the swing era and beyond. “The Brute” references his powerful playing, while “Frog” hints at his distinctive, gruff timbre. Bu: Art Blakey Art Blakey, known as “Bu,” was a drummer and bandleader whose dynamic, explosive style helped define the sound of hard bop. His nickname “Bu,” shortened from “Abdullah” after converting to Islam, reflects his spiritual journey and his pivotal role in mentoring young musicians, earning him the status of a jazz luminary. Jazz Glossary – C Cadence A Cadence in jazz refers to a sequence of chords that brings a section of music to a close, signaling the end of a phrase or a piece. Cadences can be conclusive, providing a sense of finality, or inconclusive, creating a sense of anticipation. In jazz, cadences are essential for the harmonic structure of compositions, guiding improvisations and transitions between sections. Cakewalk The cakewalk was a pre-jazz dance form and musical style that originated among African American slaves, mocking the refined dance movements of their white owners. It evolved into a competitive dance, with the best performers winning cakes as prizes. Its syncopated rhythm and playful spirit influenced early jazz, contributing to the development of ragtime and stride piano styles. Call and Response Call and response is a foundational element in jazz, rooted in African musical traditions. It involves a statement by one musician or group (the call) followed by an immediate answer from another musician or group (the response). This interactive dialogue fosters a sense of community and communication within the music, allowing for improvisation and the blending of individual voices into a cohesive whole. Cannonball: Julian Adderley Julian “Cannonball” Adderley was an alto saxophonist known for his exuberant playing and pioneering role in the hard bop movement. His nickname, derived from “cannibal” due to his voracious appetite, hints at his robust, powerful approach to saxophone playing, which left a significant mark on jazz history. Cat In the jazz vernacular, “Cat” is a term of endearment used to refer to a jazz musician. It implies a sense of camaraderie, respect, and acknowledgment of one’s skills and contributions to the jazz scene. Being called a “cat” is a badge of honor among jazz musicians, signifying acceptance into the community. Cat (The): Jimmy Smith Jimmy Smith, “The Cat,” revolutionized the jazz organ, bringing it to the forefront of jazz with his innovative use of the Hammond B-3. His nickname reflects his cool demeanor and sleek, agile playing style, which combined blues, R&B, and bebop influences into an exciting new sound. Cell A Cell in jazz music is a short, recognizable melodic motif or rhythmic pattern used as a building block for composition or improvisation. Cells can be repeated, varied, or combined with other cells to create complex musical structures. This technique allows for thematic development and cohesion within a piece. Chachacha The chachacha is a style of Latin music that influenced jazz in the mid-20th century. Characterized by its rhythmic pattern and named after the sound of dancers’ shoes, it contributed to the development of Latin jazz. Jazz musicians incorporated its rhythms and sensibilities, blending them with jazz harmonies and improvisation, enriching the genre’s rhythmic and cultural diversity. Chairman of the Board: Frank Sinatra Frank Sinatra, also known as “Ol’ Blue Eyes” and “The Voice,” earned the title “Chairman of the Board” for his unparalleled influence in the music industry. His impeccable phrasing, emotional depth, and powerful presence made him a defining voice of American popular song and a lasting icon in jazz and beyond. Changes In jazz, “changes” refers to the chord progressions that form the harmonic foundation of a composition. Musicians improvise melodies and solos based on these changes, exploring the tonal possibilities they offer. Understanding and navigating changes is a critical skill for jazz musicians, allowing them to communicate and interact creatively within the framework of a song. Charanga Charanga is a type of Cuban dance music ensemble that became influential in the development of Latin jazz. Characterized by flute, violin, rhythm section, and sometimes vocals, charangas blend traditional Cuban rhythms with jazz harmonies and improvisation. This fusion introduced new textures and sounds to jazz, highlighting the genre’s capacity for cultural exchange and innovation. Charleston Rhythm The Charleston Rhythm is a syncopated musical pattern originating from the Charleston dance of the 1920s. Characterized by its distinctive “long-short” rhythm, it has been adopted and adapted in jazz to add energy and swing to music. This rhythm is a fundamental element in early jazz styles and continues to influence modern jazz compositions. Chart In jazz, a chart is a musical arrangement or composition written in a simplified form that includes the melody, chord symbols, and sometimes specific instrumental parts. Charts serve as guides for musicians, allowing for flexibility and improvisation in performance. They are essential tools in jazz, enabling ensembles to quickly learn and perform a wide repertoire of music. Chase A chase in jazz is a form of musical dialogue, typically between two soloists who alternate, “chasing” each other with their improvisations. This competitive, playful exchange showcases the virtuosity and creativity of the musicians, building excitement and engagement in the performance. Chases highlight the improvisational nature of jazz and its roots in spontaneous musical conversation. Chicago Style Jazz Chicago style jazz emerged in the 1920s, characterized by its emphasis on individual soloists, faster tempos, and a more polished sound than earlier New Orleans jazz. It played a significant role in the development of swing and big band music. This style reflects the urban energy of Chicago, incorporating blues elements and innovative arrangements that influenced the evolution of jazz. Chops “Chops” in jazz slang refers to a musician’s technical skill and proficiency on their instrument. Having “good chops” means the ability to execute complex passages effortlessly, maintain solid rhythm, and articulate notes cleanly, showcasing both technical mastery and expressive capability. Chops are essential for jazz musicians, given the genre’s demand for improvisation and intricate harmonies. Chord A chord in jazz is a group of notes played simultaneously that provide harmonic support for melodies and solos. Jazz chords are often extended with additional notes for richness and complexity, reflecting the genre’s harmonic sophistication. Understanding chord structures and voicings is crucial for jazz musicians, enabling them to navigate and improvise over complex progressions. Chord Chart A Chord Chart in jazz is a form of musical notation that provides the chords of a song without specifying the melody or bass lines. It serves as a roadmap for musicians, outlining the harmonic structure and progression of a piece, allowing for improvisation and interpretation in performance. Chord Melody Chord Melody is a jazz guitar technique where the player performs the melody of a song using chords rather than single notes. This approach creates a rich, harmonically dense solo performance, combining melody and harmony in one part. It’s a sophisticated skill that requires a deep understanding of both chord voicings and melody. Chord Progression A chord progression in jazz is a sequence of chords played in a particular order, forming the harmonic backbone of a composition. Progressions guide the improvisations of jazz musicians, who creatively explore and embellish the harmonic framework. Mastery of chord progressions is vital for understanding jazz theory and for the spontaneous creation of music within the genre. Chord Scale A Chord Scale in jazz theory is a scale that is chosen to accompany a specific chord or chord progression. Each chord scale provides a palette of notes that sound harmonically consonant with the chord, offering a framework for improvisation and composition. Understanding chord scales is crucial for jazz improvisation, as it allows musicians to navigate chord changes fluidly. Chord Tones Chord Tones are the notes that make up a chord, typically including the root, third, fifth, and possibly extended notes like the seventh, ninth, etc. In jazz improvisation, emphasizing chord tones within solos ensures that the improvisation is harmonically grounded and coherent with the chord changes of the piece. Chorus In jazz, a chorus is one complete cycle through the chord progression of a song. Soloists improvise new melodies over the chords during each chorus, often building in intensity and complexity. The chorus structure allows for extensive improvisation and interaction among musicians, showcasing the dynamic and evolving nature of jazz performances. Chromatic In jazz, Chromatic refers to a musical approach or scale that incorporates notes outside the traditional major or minor scales, using all twelve notes of the octave. Chromaticism adds color, tension, and complexity to melodies and harmonies, enabling richer, more nuanced improvisations and compositions. Circle of Fifths The Circle of Fifths is a visual representation of the relationships between the twelve tones of the chromatic scale, their corresponding key signatures, and the associated major and minor scales. In jazz, it’s a fundamental tool for understanding and memorizing key signatures, chord progressions, and harmonic relationships. Civil Rights Acts of 1964 The Civil Rights Act of 1964, a landmark piece of U.S. legislation, outlawed discrimination based on race, color, religion, sex, or national origin. It had a profound impact on American society, including the jazz community, which had long been a space for African American expression and resistance. Jazz musicians played a significant role in the Civil Rights Movement, using their music as a form of protest and solidarity. Clave The Clave is a rhythmic pattern that serves as the foundational element in Afro-Cuban music, which has significantly influenced jazz. Consisting of two bars, typically in a 3-2 or 2-3 pattern, the clave rhythm is central to Latin jazz and salsa, guiding the arrangement and improvisation of music. Close Voicing Close Voicing in jazz refers to a chord voicing where the notes are harmonically close together, often within an octave. This technique creates a dense, rich harmonic sound. Close voicings are contrasted with open voicings, where the notes of the chord are spread out over a wider range. Coda A coda in jazz is a concluding section of a piece, often used to bring a sense of closure or finality. It may recapitulate themes from the piece or introduce new material to end the composition. Codas are an important structural element in jazz, providing a definitive ending to the improvisational journey of a performance. Cognition Cognition in the context of jazz refers to the mental processes involved in understanding, learning, and performing music. This includes memory, perception, improvisation, and the ability to react spontaneously to other musicians. Cognitive skills are crucial for jazz musicians, who must navigate complex harmonic structures, rhythms, and interactions on the fly. Cognitive; Cognitively In jazz, the term “cognitively” relates to the intellectual engagement and mental strategies musicians use during improvisation and performance. This involves analyzing chord progressions, memorizing standards, and making real-time decisions. Jazz improvisation is a highly cognitive act, requiring deep musical knowledge, creativity, and the ability to think ahead while playing. Collective Improvisation Collective improvisation in jazz is a technique where multiple musicians improvise simultaneously, creating a dense, interactive musical texture. Originating in New Orleans jazz, this approach emphasizes the communal aspect of music-making, with each musician contributing to the overall sound. It showcases the democratic nature of jazz, where individual voices merge to create a cohesive musical statement. Coltrane Changes Coltrane changes, named after John Coltrane, refer to a harmonic progression that substitutes the standard II-V-I chord progression with a pattern based on a series of major thirds, creating a more complex and rich harmonic landscape. This technique is exemplified in Coltrane’s compositions like “Giant Steps” and has become a hallmark of advanced jazz harmony, challenging musicians with rapid key changes and promoting innovative improvisational approaches. Combo A combo in jazz refers to a small ensemble typically consisting of a rhythm section and one or more lead instruments. Combos are known for their intimate settings and greater emphasis on individual musicianship and improvisation. The flexible and interactive nature of combos allows for a wide range of musical expression, making them a staple in jazz performances and recordings. Comp, Comping Comping, short for “accompanying” or “complementing,” is a technique used by pianists, guitarists, and other chordal instruments in jazz to provide harmonic and rhythmic support for soloists. Through chords, rhythms, and textures, comping musicians interact with the lead players, offering a dynamic foundation that enhances the soloist’s improvisations and the overall group sound. Conjunto Conjunto, in the context of Latin jazz, refers to a musical ensemble that blends traditional Latin American rhythms with jazz harmonies and improvisation. Conjuntos often include instruments such as trumpets, guitars, and percussion, creating a vibrant sound that reflects a fusion of cultural influences. This style enriches jazz with complex rhythms and a distinct Latin flair. Contrafact A Contrafact in jazz is a musical composition consisting of a new melody overlaid on the chord progression of a pre-existing song. This practice allows musicians to explore new melodic ideas while navigating familiar harmonic landscapes, leading to innovative interpretations and compositions. Contrapuntal Contrapuntal music in jazz involves the interweaving of two or more independent melodic lines, a technique derived from classical counterpoint. This approach highlights the textural and harmonic richness of jazz compositions and improvisations, allowing musicians to explore intricate interactions and polyphonic dialogues within the framework of jazz harmony. Contrary Motion Contrary Motion in jazz occurs when two voices or lines move in opposite directions, one ascending while the other descends. This technique is used to create harmonic interest, tension, and release, and is a key component in counterpoint and voice-leading practices in jazz arrangements and improvisations. Cool Jazz Cool jazz emerged in the late 1940s and 1950s as a response to the intensity of bebop, characterized by a more relaxed tempo, understated approach to improvisation, and smoother tone quality. This style emphasizes lyrical melodies, subtle dynamics, and intricate arrangements, showcasing a sophisticated and refined side of jazz that continues to influence musicians. Coro In Latin jazz, a coro refers to the chorus section where a group of singers repeats a phrase or motif, often in a call-and-response format with the lead vocalist. This element brings a communal and interactive aspect to the music, deeply rooted in Afro-Cuban traditions, and adds a layer of vocal harmony and rhythm to the ensemble. Coro/Pregón Coro/Pregón in Latin jazz involves a dialogue between the chorus (coro) and a lead singer (pregón), who improvises call-and-response phrases. This tradition, rooted in Afro-Cuban music, adds a dynamic vocal interplay to the performance, enhancing the rhythmic complexity and emotional expression of the music. Count: Count Basie Count Basie, a pivotal figure in the swing era, led one of the most enduring big bands in jazz history. His nickname “Count” alludes to his aristocratic bearing and leadership on the bandstand, as well as his innovative approach to piano and orchestration that emphasized swing and simplicity. Counterpoint Counterpoint in jazz refers to the compositional and improvisational technique of combining independent melodic lines that harmonically and rhythmically interact with each other. This approach creates a richly textured musical tapestry, allowing for intricate interplay among musicians and highlighting the genre’s capacity for complexity and nuance. Counting Off Counting Off in jazz is the action of verbally or physically giving the tempo before starting a piece or a section of music. It ensures that all musicians begin playing at the same time and at the correct tempo, essential for the cohesive performance of jazz ensembles. Cross-Rhythm Cross-rhythm in jazz is the simultaneous use of contrasting rhythmic patterns or time signatures, creating a complex, polyrhythmic texture. This technique challenges conventional rhythmic expectations, contributing to jazz’s rhythmic innovation and providing a distinctive, syncopated drive that energizes the music. Cut/Cutting/Carving In jazz, “cutting” or “carving” refers to a spirited musical competition or battle, where musicians showcase their skills in an attempt to outplay each other. These encounters, often friendly but fiercely competitive, highlight the improvisational prowess, creativity, and technical virtuosity of the participants, fostering a sense of camaraderie and mutual respect. Jazz Glossary – D Danzon Danzon is a Cuban dance and musical form that has influenced the development of Latin jazz. Characterized by its elegant and formal structure, danzon incorporates European classical music, African rhythms, and traditional Cuban melodies, offering a rich harmonic and rhythmic foundation for jazz musicians to explore and integrate into their compositions. Descarga Descarga, in Latin jazz, refers to an improvised jam session featuring an ensemble of musicians who explore extended solos and collective improvisation within the framework of Cuban rhythms and jazz harmonies. Descargas are known for their spontaneity, virtuosity, and the fusion of Afro-Cuban musical elements with jazz improvisation. Diatonic Diatonic refers to music that strictly uses the notes within a given major or minor scale. In jazz, diatonic harmony forms the basis for constructing melodies and chords, emphasizing the natural, seven-note scale of the key the piece is in. It’s fundamental for creating coherent musical structures. Dig In jazz vernacular, “dig” means to understand or appreciate deeply. It’s often used to express admiration for a musician’s skill, a particularly compelling performance, or any aspect of jazz that resonates strongly with the listener or fellow musician. Diminished A diminished chord or interval involves a minor third and a diminished fifth from the root note. In jazz, diminished chords create tension and dissonance, serving as transitional or leading tones that resolve to more stable chords, adding emotional depth and complexity to the music. Diminished Scale The diminished scale alternates between whole and half steps, forming an octatonic scale. It’s particularly useful over diminished chords, adding a sense of tension and release that is crucial for dynamic jazz improvisation and composition. Diminished Seventh Chord This chord comprises a diminished triad plus a diminished seventh interval, creating a highly tense and unstable sound. It’s often used in jazz to invoke a sense of dissonance and anticipation, leading intriguingly into resolution. Diminished Triad A diminished triad consists of a root note, a minor third, and a diminished fifth. This chord’s unsettled sound is a staple in jazz for creating tension and sophisticated harmonic progressions. Dippermouth: Louis Armstrong Louis Armstrong, known as “Satchmo,” “Pops,” “Satchel Mouth,” and “Dippermouth,” was a foundational figure in jazz. “Dippermouth,” from his early years, highlights his powerful, innovative trumpet playing. Armstrong’s influence on jazz is immeasurable, transforming it through his virtuosic skill and expressive, gravelly voice. Dirty Tone Dirty tone in jazz describes a gritty, raw sound produced by brass or reed instruments, often achieved through various techniques such as overblowing, growling, or using mutes. This expressive tone quality adds emotional depth and intensity to the music, embodying the soulful and passionate nature of jazz. Divine One (The): Sarah Vaughan Sarah Vaughan, “The Divine One,” was celebrated for her extraordinary vocal range, technical mastery, and emotive depth. Her nickname “Sassy” captures her spirited, bold approach to music. Vaughan’s innovative interpretations of jazz standards and bebop compositions cemented her legacy as one of jazz’s most revered vocalists. Dixieland Dixieland jazz, also known as traditional jazz or New Orleans jazz, originated in the early 20th century in New Orleans. Characterized by collective improvisation, lively tempos, and a joyful expression, Dixieland combines brass band marches, French quadrilles, ragtime, and blues influences. This style played a foundational role in the development of jazz, celebrating the genre’s rich cultural heritage. Dizzy, or Diz: John Birks Gillespie John Birks “Dizzy” Gillespie was a trumpet virtuoso and bebop pioneer known for his dizzying high notes, complex harmonics, and bent trumpet bell. His nicknames capture both his dynamic playing style and his humorous, larger-than-life personality, which played a crucial role in the development of modern jazz. Django: Jean Baptiste Reinhardt Jean Baptiste “Django” Reinhardt, a virtuoso guitarist, is celebrated for his remarkable technique and inventiveness despite a hand injury. Django, a name meaning “I awake” in Romani, reflects his spirited, pioneering contributions to jazz, blending gypsy and swing elements into a unique, captivating style. Doctor Miller: Glenn Miller Glenn Miller, known as “Doctor Miller,” was a trombonist, arranger, composer, and bandleader whose swing tunes became anthems of the WWII era. Though “Doctor” isn’t his most common nickname, it hints at his precision and expertise in crafting a distinctive, smooth big band sound that captivated millions. Dominant Sound In jazz, the dominant sound refers to the use of the fifth chord of a scale, which has a strong, resolving tension. Dominant chords often lead back to the tonic or root chord, providing a sense of completion and rest in the music. Double In jazz, “double” refers to a musician’s ability to play more than one instrument proficiently. Doubling enhances a musician’s versatility, allowing them to contribute to a wider range of musical textures and contexts within a performance. It’s a valued skill in jazz, where adaptability and diverse musical expression are highly regarded. Double-Time Double-time in jazz refers to a performance practice where the perceived tempo of the music is increased to twice its original speed, while the underlying beat remains constant. This technique allows musicians to showcase their technical prowess and agility, adding excitement and intensity to the music. Double-time sections often serve as climactic points in solos or arrangements. Down-Home Down-home in jazz terminology evokes a feeling of warmth, authenticity, and simplicity, reminiscent of rural or Southern roots. This expression describes music that is straightforward, deeply soulful, and connected to the earthy origins of jazz. Down-home jazz is often characterized by blues influences, gospel touches, and a relaxed, groove-oriented approach. Downbeat The downbeat in jazz is the first beat of a measure and is usually the strongest and most accented beat in a musical phrase. It serves as a key reference point for musicians, providing a foundation for the rhythmic structure of a piece. The downbeat’s emphasis helps define the tempo and groove, guiding both performers and listeners through the music. Drone A drone in jazz refers to a sustained note or chord over which the rest of the music unfolds. Originating from traditional music forms, drones create a harmonic backdrop that can add tension, release, or a hypnotic quality to jazz compositions and improvisations. Drones offer a static harmonic space, encouraging creative exploration within a stable sonic environment. Drop 2 Voicing Drop 2 voicing is a chord voicing method where the second highest note of a chord is transposed down an octave. This technique is widely used in jazz guitar and piano to create fuller, more resonant chord sounds and facilitate smoother voice leading. Drop 3 Voicing Similar to drop 2, drop 3 voicing involves taking the third highest note of a chord and playing it an octave lower. This method allows for a wider range of harmonic textures and is commonly used in jazz arrangement and composition. Drum Set The drum set, an essential component of jazz ensembles, consists of a collection of drums and cymbals arranged for a single player. It includes snare drum, bass drum, tom-toms, hi-hat, and various cymbals. The drum set provides rhythmic foundation, dynamics, and texture, allowing for a wide range of expressions from subtle accompaniment to explosive solos. Dub In jazz, dub refers to a copy of a recording, often made for the purpose of rehearsal or personal study. While not a technique intrinsic to performance, dubbing recordings allows musicians to analyze, transcribe, and internalize the nuances of jazz masters, aiding in the development of their own style and understanding of the genre. Duke: Duke Ellington Duke Ellington, a master composer, pianist, and bandleader, was jazz royalty. His nickname “Duke” suits his elegant, sophisticated demeanor and his influential role in expanding the jazz repertoire with compositions that blended complexity with soulful expression, making him one of the most important figures in jazz history. Dynamics Dynamics in jazz music refer to the variations in volume and intensity throughout a performance. From whisper-soft passages to powerful crescendos, dynamics play a crucial role in expressing emotion, building tension, and creating contrast within a piece. Mastering dynamics allows jazz musicians to communicate more effectively with their audience and fellow performers. Jazz Glossary – E EAI EAI (Electroacoustic Improvisation) combines elements of jazz with electronic music and sound art. Involving live electronics and improvisation, EAI pushes the boundaries of jazz, exploring new textures, timbres, and interactive possibilities between musicians and technology. This genre expands the sonic palette and conceptual framework of traditional jazz. Ear, Play By Playing by ear in jazz is the ability to perform music without the aid of written scores, relying instead on listening and aural skills. This skill is fundamental in jazz, where improvisation and spontaneous interaction are paramount. Musicians who play by ear can capture and interpret the essence of a piece, contributing to the dynamic and evolving nature of jazz. Eight to the Bar “Eight to the bar” refers to a rhythmic pattern in jazz and boogie-woogie where eight eighth-notes are played evenly within each measure of 4/4 time. This creates a driving, energetic feel, characteristic of up-tempo swing and boogie-woogie piano styles. The phrase embodies the lively and propulsive rhythm fundamental to these genres. Embellishment Embellishment in jazz involves adding extra notes or rhythmic elements to a melody to enhance its expressiveness and complexity. Techniques include trills, slides, and grace notes, enriching the original melody without altering its fundamental identity. Enclosure Enclosure is a jazz improvisation technique where a target note is approached from above and below, often chromatically or diatonically. This creates a tension-and-release effect, highlighting the target note and adding sophistication to solos. Enharmonic Enharmonic refers to two different musical notes or chords that sound the same but are written differently. In jazz, enharmonic equivalents allow musicians to simplify reading and improvising in complex harmonic contexts. Extended Harmony Extended harmony in jazz involves the addition of notes beyond the basic triad and seventh chords, incorporating ninths, elevenths, and thirteenths. These extensions enrich chord progressions and provide a broader palette for improvisation, contributing to the harmonic complexity and color that are hallmarks of the jazz sound. Extensions Extensions are notes added to a chord beyond the basic triad, including the 7th, 9th, 11th, and 13th. These notes enrich chordal harmony and are fundamental to the complex harmonic language of jazz. Jazz Glossary – F Fake In jazz, to “fake” means to improvise a part or play a piece of music without having the written music in front of you. Musicians use their knowledge of harmony, melody, and rhythm to create a convincing performance on the spot. Faking is a valuable skill in jazz, reflecting the genre’s emphasis on improvisation and flexibility. Fake Book A fake book is a collection of musical lead sheets intended to help jazz musicians perform a wide repertoire of songs. These books provide the melody, basic chords, and sometimes lyrics of jazz standards and popular tunes, but leave room for interpretation and improvisation. Fake books are essential tools for learning and performing jazz. False Fingering False fingering in jazz refers to the technique of using alternate fingerings to produce notes on wind instruments. This can affect the timbre, pitch, or articulation of notes, allowing musicians to expressively color their sound. False fingering is used creatively in jazz to achieve unique effects and personal expression. Fat Boy: Fats Navarro Fats Navarro, known as “Fat Boy,” was a revolutionary bebop trumpeter whose technique, tone, and innovative improvisations influenced countless musicians. Despite a brief career, his contributions to jazz trumpet remain foundational, showcasing a blend of virtuosity and expressive depth that continues to inspire. Fat Girl: Fats Navarro Fats Navarro, sometimes humorously referred to as “Fat Girl,” was a beacon of the bebop movement. This nickname, less commonly used, playfully contrasts with his more prevalent moniker “Fat Boy,” underscoring the affection and reverence with which his peers and fans regarded his groundbreaking work on the trumpet. Fatha: Earl Hines Earl “Fatha” Hines was a pioneering jazz pianist whose innovative techniques reshaped the role of piano in jazz. “Fatha,” a term of respect and endearment, reflects his status as a patriarchal figure in jazz, influencing generations with his dynamic style and contributions to the development of the jazz piano. Fathead: David Newman David “Fathead” Newman was a saxophonist known for his soulful playing and long association with Ray Charles. His nickname, which he embraced despite its origins as a schoolyard taunt, came to signify his robust, warm tone and his impactful contributions to soul and jazz music. Fills Fills in jazz are short musical phrases played by an instrument to fill in gaps or enhance transitions between sections of a piece. Often improvised, fills add variety and interest, supporting the main melody or soloist. Drummers frequently use fills to lead into new sections, while melodic instruments use them to embellish the texture. First Lady (The): Ella Fitzgerald Ella Fitzgerald, “The First Lady of Song,” was a vocal virtuoso whose impeccable intonation, dexterity, and scat singing set new standards for jazz and popular vocal performance. Her title reflects her unparalleled influence and enduring legacy as one of the greatest singers in American music history. Flag Waver A “flag waver” in jazz is an up-tempo, energetic piece that showcases the technical skill and virtuosity of the musicians. These high-spirited numbers serve to excite the audience and create a vibrant atmosphere, often featuring impressive solos and tight ensemble playing. Flag wavers are a highlight of many jazz performances. Flatted Fifth The flatted fifth, or “tritone,” is a dissonant interval that has played a significant role in the harmonic language of jazz. It creates tension within chords and progressions, driving resolutions and adding complexity to the music. The use of the flatted fifth is a distinctive feature of jazz’s adventurous harmonic exploration. Formulaic Improvisation Formulaic improvisation in jazz refers to the use of pre-established patterns or licks as building blocks for solos. While allowing for spontaneity, this approach relies on familiar harmonic and rhythmic formulas, providing a foundation upon which musicians can creatively construct their improvisations. It balances structure with the freedom characteristic of jazz. Four-Beat Four-beat rhythm in jazz refers to a steady, marching-like tempo where each beat in the measure receives equal emphasis. This was common in early jazz and swing, providing a solid and straightforward rhythmic foundation. The four-beat approach contrasts with later styles that often emphasize syncopation and irregular accents. Fox (The): Maynard Ferguson Maynard Ferguson, “The Fox,” was a trumpeter celebrated for his remarkable high-note range and vitality. His nickname captures his cunning musicality and bold, pioneering spirit, which led him to explore new territories in jazz, including incorporating elements of rock, pop, and world music into his vibrant performances. Free Jazz Free jazz is an avant-garde approach to jazz improvisation that emerged in the 1950s and 1960s, characterized by the absence of predetermined chord progressions, forms, or tempos. This genre emphasizes collective improvisation, experimental sounds, and the exploration of new musical territories. Free jazz challenges traditional boundaries and encourages limitless expression. Frog: Ben Webster Ben Webster, also known as “Frog,” was a tenor saxophonist whose tender, breathy, and vibrant tone made him a standout in the swing and bebop eras. “Frog” amusingly contrasts with the depth and warmth of his playing, underscoring the affectionate regard of his fellow musicians and fans. Front Line In jazz, the “front line” refers to the group of lead instruments, typically horns, that play the melody and improvise solos. This contrasts with the rhythm section, which provides the harmonic and rhythmic foundation. The front line is central to jazz’s expressive capability, showcasing individual voices and collective interplay. Functional Harmony Functional harmony is the practice of building chord progressions where each chord has a specific role or function, typically in relation to the tonic. In jazz, it underpins the structure of songs, guiding improvisation and composition. Funk Funk in jazz incorporates elements of funk music, such as a strong, syncopated rhythm, emphasis on the groove, and a prominent bass line, into jazz compositions and improvisations. This fusion creates a rich, danceable sound that is both complex and accessible, blending jazz’s improvisational nature with funk’s rhythmic intensity. Fusion Fusion, or jazz-rock fusion, emerged in the late 1960s and 1970s, blending jazz improvisation with rock music’s energy, electric instruments, and rhythms. Fusion bands often explore extended compositions, complex harmonies, and innovative sounds, pushing the boundaries of traditional jazz and appealing to a broader audience. Jazz Glossary – G Ghost Note Ghost notes in jazz are notes played very softly or subtly, often barely audible, used primarily in drumming and bass playing to enrich the rhythm and texture. These understated notes add depth and complexity to the groove, contributing to the nuanced interplay between rhythm and melody in jazz. Glissando A glissando is a glide from one pitch to another, producing a continuous sound that sweeps through a series of consecutive pitches. In jazz, glissandos add expressive, fluid transitions between notes, often used by pianists, guitarists, and wind instrument players to create a sense of movement and emotion. God: Art Tatum Art Tatum, revered as “God” among jazz musicians, set unparalleled standards for virtuosity and creativity on the piano. His astonishing technique, harmonic complexity, and speed were seen as almost divine, making him a central figure in jazz history and an inspiration for countless musicians across genres. Go Out “Go out” in jazz jargon means to play in a free, avant-garde style, or to deviate from the traditional harmonic structures of a piece. It reflects a musician’s exploration of new, unconventional sounds and ideas. Groaner (The): Bing Crosby Bing Crosby, nicknamed “The Groaner,” was celebrated for his warm baritone voice and smooth singing style that charmed millions. His effortless vocal delivery, which made every note seem like a soft sigh, contributed significantly to the development of popular music and influenced jazz vocalists. Groove The groove in jazz refers to the rhythmic feel or swing that propels the music forward, creating a sense of cohesive movement and interaction among the musicians. A good groove is both compelling and infectious, encouraging listeners to tap their feet, and it is essential for the rhythmic vitality of jazz. Guajeo Guajeo is a term originating from Cuban music, referring to a repetitive, syncopated rhythmic pattern played by the piano or other instruments in Afro-Cuban jazz. These patterns are foundational to the genre, contributing to its characteristic energy and driving the music’s rhythmic and harmonic momentum. Guide Tone Guide tones are the essential notes that define a chord’s quality, usually the third and seventh degrees. In jazz, guide tones are crucial for improvisers and arrangers to outline chord progressions in a minimalistic yet harmonically clear manner. Jazz Glossary – H Half-diminished (Ø) A half-diminished chord, symbolized as “Ø”, consists of a diminished triad plus a minor seventh. It’s a characteristic sound in jazz, offering a softer alternative to the fully diminished seventh chord, and is often found in minor ii-V-I progressions. Half-Time Half-time in jazz is a rhythmic technique where the tempo feels as though it has been halved, even though the beat remains constant. This effect creates a more laid-back feel, providing a contrast to the surrounding music and allowing for a broader range of expressive possibilities within a piece. Hamp or Mad Lionel: Lionel Hampton Lionel Hampton, known as “Hamp” or “Mad Lionel,” was a virtuoso vibraphonist, pianist, and bandleader. His energetic performances and innovative approach to the vibraphone made him a key figure in the swing era, earning him a place as one of jazz’s most dynamic and influential personalities. Hard Bop Hard bop emerged in the 1950s as a reaction to the complexities of bebop, incorporating influences from blues, gospel, and R&B into jazz. It is characterized by a more soulful, emotional expression, simpler melodies, and a strong, driving rhythm. Hard bop remains a vital and influential jazz style. Harmonic Clarity Harmonic clarity in jazz refers to the clear, discernible presentation of chords and harmonic progressions, even amidst complex arrangements or improvisations. Achieving harmonic clarity allows listeners to follow the music’s underlying structure. Harmonic Rhythm Harmonic rhythm describes the rate at which chords change in a piece of music. In jazz, varying the harmonic rhythm can dramatically affect the mood and drive of a piece, influencing both improvisation and composition. Harmony Harmony in jazz involves the simultaneous combination of notes and chords that provide the musical background for melodies and improvisations. Jazz harmony is rich and varied, including extended and altered chords, and it is fundamental to the genre’s structure, creating a framework for improvisation and interaction. Hawk: Coleman Hawkins a.k.a. “Bean” Coleman Hawkins, “The Hawk” or “Bean,” was a foundational figure in the development of the tenor saxophone in jazz. His robust, innovative playing established the saxophone as a lead instrument in jazz, influencing its direction and the style of future generations of saxophonists. Head Arrangement A head arrangement in jazz is a musical structure created spontaneously by the band during a performance, rather than being written down. This approach relies on the musicians’ shared knowledge and communication, allowing for flexibility and the incorporation of improvisation as an integral part of the arrangement. Hi De Ho: Cab Calloway Cab Calloway, known for his signature phrase “Hi De Ho,” was a charismatic bandleader, singer, and dancer. His flamboyant stage presence and unique vocal style made him a star of the swing era, blending jazz with theatrical entertainment and leaving a lasting mark on the genre. High Priest, The: Ray Charles Ray Charles, also “Brother Ray,” dubbed “The High Priest,” blended gospel, R&B, and jazz to create soul music. His emotional depth, innovative use of piano, and groundbreaking contributions to music earned him this reverent title, symbolizing his role in bridging genres and touching hearts. High Priest of Bop: Thelonious Monk Thelonious Monk, the “High Priest of Bop,” was a pianist and composer whose idiosyncratic approach to rhythm, harmony, and composition shaped the sound of modern jazz. His work is celebrated for its complexity, wit, and originality, securing his status as a bebop pioneer and jazz icon. High Priestess of Soul: Nina Simone Nina Simone, known as the “High Priestess of Soul,” was a singer, pianist, and civil rights activist whose music transcended genre boundaries. Her profound voice and emotive performances, which infused jazz with soul, blues, and classical influences, earned her this powerful title. Hi-Hat Cymbal The hi-hat cymbal is a crucial component of the drum set, consisting of two cymbals mounted on a stand and played with a foot pedal. It provides a versatile range of sounds, from crisp, staccato hits to sizzling, sustained washes, and is integral to maintaining the rhythm and feel in jazz. Hip In jazz culture, “hip” describes something or someone that’s very cool or in tune with the sophisticated, nuanced aspects of the genre. It implies a deep understanding and appreciation of jazz’s complexities and subtleties. Hipster Originally, hipster referred to someone deeply immersed in jazz culture, knowledgeable about its music, lingo, and styles. It denotes an individual who embodies the cool, laid-back ethos of the jazz scene. Hocket Hocket is a musical technique where a single melody is shared between two or more instruments or voices, creating an interlocking pattern. In jazz, hocket adds a complex, polyphonic texture to arrangements, showcasing the collaborative and conversational nature of the genre through the division and exchange of melodic lines. Horn In jazz, “horn” is a colloquial term for any wind instrument, typically saxophones, trumpets, or trombones. Horn players are central to jazz ensembles, contributing to the genre’s dynamic range and expressive depth. Homophony Homophony in jazz refers to a texture where a primary melody is supported by chords or a harmonic accompaniment that moves in the same rhythm. This contrasts with polyphony, where multiple independent melodies are played simultaneously. Homophony is common in jazz, providing a clear melodic focus within the rich harmonic context. Honk In jazz, to “honk” refers to a forceful, abrasive sound produced on a saxophone or brass instrument, often used for emphasis or to convey a raw, energetic emotion. This technique is characteristic of blues-influenced styles of jazz, where expressive intensity and a gritty sound are valued. Hot “Hot” in jazz refers to a style or performance characterized by high energy, dynamic intensity, and a driving rhythm. Hot jazz often features fast tempos, virtuosic improvisation, and bold, expressive playing that aims to excite the audience. It is associated with the early jazz styles that emerged in New Orleans and Chicago. Jazz Glossary – I ii V I The ii-V-I progression is the most common chord sequence in jazz, moving from the second (ii) minor chord to the fifth (V) dominant chord, and resolving to the first (I) major chord. This progression forms the harmonic backbone of countless jazz standards, providing a foundation for improvisation. Improvisation Improvisation is the heart of jazz, involving spontaneous musical creation within the moment. Jazz musicians draw upon their knowledge of music theory, their instrument, and the language of jazz to invent new melodies, rhythms, and harmonies. Improvisation allows for personal expression and interaction among musicians, making each performance unique. Inner-voice Movement Inner-voice movement refers to the melodic motion or progression of notes that are not the highest or lowest in a chord but reside within. In jazz, this technique adds richness and complexity to chord voicings and harmonies, enhancing the overall texture of the piece. Inserted V7 Inserted V7 involves adding a dominant seventh chord (V7) before its target chord to increase harmonic tension and resolution. In jazz, this can be used to embellish chord progressions, particularly in turnarounds or to precede tonic chords, enriching the harmonic landscape. Interlude An interlude in jazz is a musical section that serves as a bridge between two parts of a piece, offering contrast or a moment of reflection. Interludes can vary in style and length, providing a space for solo improvisation or introducing new thematic material, and contribute to the overall structure and flow of the composition. Interpolations Interpolations in jazz refer to the insertion of an outside melody, riff, or passage into a solo or arrangement. These borrowed elements, often from popular songs or other jazz compositions, are seamlessly integrated into the music, showcasing the musician’s creativity and the genre’s rich tapestry of influences. Interval An interval in music refers to the distance between two pitches. In jazz, the understanding and use of intervals are fundamental for creating melodies, harmonies, and chord voicings. Jazz musicians often explore wide, unusual, or dissonant intervals to achieve the genre’s characteristic sounds and to push the boundaries of traditional harmony. Intro (Introduction) An intro in jazz is an opening section that precedes the main body of a piece. It sets the tone, establishes key musical themes, or introduces rhythmic motifs. Intros can range from a few bars to extended compositions, offering musicians creative freedom to set the stage. Inversion Inversion in jazz refers to altering the order of a chord’s notes so that a note other than the root is the lowest. This practice varies the chord’s sound without changing its harmonic function, providing more options for voice leading and chord voicing. Jazz Glossary – J Jabali: Billy Hart Billy Hart, nicknamed “Jabali,” is a masterful jazz drummer known for his versatile style and profound musicality. “Jabali,” meaning “rock” in Swahili, reflects Hart’s solid, unshakeable foundation in jazz rhythm sections, contributing to numerous landmark recordings and ensembles over the decades. Jam Session A jam session is an informal gathering of jazz musicians who play improvised music without extensive preparation. These sessions are a vital part of jazz culture, providing a space for musicians to experiment, collaborate, and exchange ideas. Jam sessions can lead to creative breakthroughs and foster a sense of community among participants. Jaws: Eddie “Lockjaw” Davis Eddie “Lockjaw” Davis, known as “Jaws,” was a tenor saxophonist famed for his robust, gritty tone and aggressive playing style. His nickname encapsulates his biting attack and formidable presence on the saxophone, making him a standout performer in the jazz world. Jeep: Johnny Hodges a.k.a. “Rab” (short for “Rabbit”) Jazz Standard A jazz standard is a composition that is widely known, performed, and recorded within the jazz tradition. Standards form the core repertoire of jazz musicians, serving as a common language for improvisation, performance, and pedagogy. Johnny Hodges, “Jeep” or “Rab,” was the alto saxophonist whose lyrical, expressive playing became a defining voice of the Duke Ellington Orchestra. His nicknames reflect his agility and smooth style, which made him one of the most admired saxophonists of his era. Jeepy: Branford Marsalis Branford Marsalis, known as “Jeepy” or “Steepee”/”Steepy,” is a saxophonist who spans a wide range of musical genres with prowess. His nickname hints at his versatility and depth as a musician, continuing the Marsalis family’s legacy in jazz innovation and education. Jelly Roll: Ferdinand Joseph La Menthe Ferdinand Joseph La Menthe, better known as “Jelly Roll Morton,” was a pivotal figure in early jazz as a pianist, composer, and bandleader. His moniker, “Jelly Roll,” synonymous with early jazz, underscores his role in popularizing and formalizing jazz as a distinct musical genre. Jeru: Gerry Mulligan Gerry Mulligan, nicknamed “Jeru,” was a baritone saxophonist and arranger known for his cool, melodic approach and contributions to the cool jazz movement. His nickname, derived from his middle name, Jerome, signifies his smooth style and significant influence on jazz’s development. Jive Jive in jazz refers to a lively, swing-based style of music and dance popular in the 1930s and 1940s, as well as to the slang language associated with the jazz scene. Jive is characterized by its upbeat tempo, rhythmic bounce, and playful spirit, embodying the social and improvisational aspects of jazz. Johnny Mac: John McLaughlin John McLaughlin, “Johnny Mac,” is a guitarist whose innovative fusion of jazz, rock, and world music has made him a pioneering figure in jazz fusion. His virtuosic technique and exploratory compositions have garnered widespread acclaim, influencing guitarists across musical genres. Judge: Milt Hinton Milt Hinton, affectionately known as “Judge,” was a revered jazz bassist whose steady, swinging rhythm and remarkable longevity made him a central figure in the jazz world for decades. His nickname reflects the respect and authority he commanded among musicians, both for his musical prowess and his role as a mentor to younger generations. Jug or Jughead: Gene Ammons Gene Ammons, known as “Jug” or “Jughead,” was a tenor saxophonist celebrated for his rich tone and soulful improvisations. His nicknames convey the warmth and robustness of his sound, characteristics that made him a leading figure in the soul jazz movement. Jump “Jump” in jazz describes a style of music that blends elements of swing, blues, and boogie-woogie, characterized by its upbeat tempo and rhythmically driving sound. Jump jazz was popular in the 1940s and served as a precursor to rhythm and blues and rock ‘n’ roll. It features catchy melodies and a danceable groove. Jump Band A jump band is a small to medium-sized musical ensemble that plays jump jazz, a style noted for its upbeat, energetic sound. These bands were especially popular in the 1940s and focused on creating music that was both lively and suitable for dancing, often featuring prominent saxophone and trumpet sections. Jazz Glossary – K Kansas City Style Kansas City style jazz emerged in the 1930s, characterized by a relaxed tempo, smooth phrasing, and a strong emphasis on improvisation and blues elements. This style is known for its riff-based arrangements and head arrangements, where musicians would create and memorize the music on the spot, rather than reading from written scores. Key In music, a key refers to the tonal center or home base around which a piece is organized, defined by a scale or a specific set of pitches. Jazz compositions can shift through multiple keys, and a deep understanding of key changes is crucial for jazz musicians, particularly for improvisation and harmonic development. Kick It Off “Kick it off” in jazz slang means to start a piece or a section of music, often with a clear, strong introduction that sets the tempo and feel for what follows. This can involve a solo drum break, a riff from the band, or a cue from the bandleader, signaling the musicians to begin. Killer-Diller “Killer-diller” is jazz slang for an outstanding performance, musician, or piece of music that is particularly exciting or impressive. The term reflects the enthusiasm and energy of the jazz culture, celebrating moments of exceptional creativity and skill that captivate and energize the audience. King of the Clarinet: Artie Shaw Artie Shaw, crowned the “King of the Clarinet,” was a virtuoso clarinetist and bandleader whose innovative approach and technical mastery brought new heights to jazz clarinet playing. His sophisticated style and musical intelligence established him as one of the foremost clarinetists of his time. King of Cool: Dean Martin Dean Martin, dubbed the “King of Cool,” was a singer and actor whose smooth voice and laid-back charisma epitomized the essence of cool. Though more closely associated with pop and the Rat Pack, his effortless style and delivery had a significant influence on jazz vocalists and the cool jazz genre. King of Jazz: Paul Whiteman Paul Whiteman, self-styled as the “King of Jazz,” was a bandleader who played a pivotal role in popularizing jazz and orchestral jazz music in the early 20th century. Despite controversy over the title, his influence on the development and acceptance of jazz in mainstream culture is undeniable. King of the Jazz Guitar: Django Reinhardt Django Reinhardt, acclaimed as the “King of the Jazz Guitar,” was a pioneering jazz guitarist whose innovative techniques and compositions laid the groundwork for future generations. His remarkable dexterity and creativity, despite a hand injury, made him a legendary figure in jazz guitar history. King of the Jukebox: Louis Jordan Louis Jordan, celebrated as the “King of the Jukebox,” was a saxophonist, singer, and bandleader whose catchy, rhythmically driven music was a jukebox staple in the 1940s. His blend of jazz, blues, and early rhythm and blues paved the way for rock and roll. King of Swing: Benny Goodman Benny Goodman, also known as “the Patriarch of the Clarinet,” “the Professor,” and “Swing’s Senior Statesman,” earned the title “King of Swing” during the swing era. His clarinet playing and leadership of one of the era’s most popular bands helped bring swing music to widespread popularity. Klook-Mop or Klook: Kenny Clarke Kenny Clarke, nicknamed “Klook” or “Klook-Mop,” was a drummer whose innovative approach to rhythm and use of the ride cymbal for timekeeping were foundational in the development of modern jazz drumming. His nickname reflects his distinctive style and contributions to bebop. Knife (The): Pepper Adams Pepper Adams, known as “The Knife,” was a baritone saxophonist renowned for his sharp, cutting tone and aggressive playing style. His powerful approach and virtuosity on the baritone sax made him a formidable figure in the jazz world. Jazz Glossary – L Lady (related to Lester Young) In jazz, “Lady” often refers to Billie Holiday, whom Lester Young famously nicknamed “Lady Day.” This term highlights the deep respect and affection between the two legendary figures, and Holiday’s significant influence on jazz singing and phrasing. Lady Day: Billie Holiday Billie Holiday, immortalized as “Lady Day,” was a jazz vocalist whose emotive expression, unique phrasing, and ability to convey deep feeling in her music made her one of the most influential singers in jazz history. Her nickname, given by Lester Young, reflects her elegance and the affection felt by her peers. Lay Back To “lay back” in jazz performance means to play slightly behind the beat, creating a relaxed, laid-back feel. This technique adds a sense of groove and swing to the music, allowing the performer to express a more casual, effortless vibe while still maintaining rhythmic integrity. Lay Out To “lay out” in jazz means for a musician to stop playing for a certain section of the music, allowing other band members to take the spotlight. This can provide contrast, build dynamics, and create space within a performance, highlighting the contributions of individual musicians or sections. Lead In jazz, “lead” refers to the main melody or the principal voice in an ensemble’s arrangement. The lead part is typically carried by a single instrument, such as the saxophone or trumpet, and sets the tune’s thematic material, around which other improvisations and harmonizations are structured. Lead Sheet A lead sheet in jazz is a form of musical notation that outlines the essential elements of a song — the melody, lyrics (if any), and chords. It provides a framework for improvisation, allowing musicians to interpret the tune freely while maintaining its core structure. Lead sheets are crucial for jazz musicians, enabling them to perform a wide repertoire with minimal preparation. Left Hand/Right Hand In jazz piano playing, the terms “left hand” and “right hand” denote the distinct roles each hand plays. The left hand often provides rhythmic and harmonic support through bass lines or chord voicings, while the right hand typically handles the melody and improvisation. Mastery of both hands allows for a fuller, more expressive performance. Left Hand Rootless Voicing (LHRV) Left Hand Rootless Voicing is a piano technique where the pianist plays chords without the root note, often including the 3rd, 7th, and extensions such as the 9th or 13th. This approach frees up the bass player to define the root, allowing for a more interactive and harmonically rich performance. Legato Legato, in jazz, refers to a smooth and connected style of playing where each note transitions seamlessly into the next without noticeable breaks. This technique is used to create flowing, lyrical lines that emulate the human voice, adding expressiveness and emotion to instrumental performances. Licks In jazz, a “lick” is a short, repeated musical phrase or motif used in solos and improvisations. Licks serve as the building blocks for developing longer solos, allowing musicians to convey their style and vocabulary. Jazz players often accumulate a personal repertoire of licks that they adapt and integrate into their performances. Lindy Hop The Lindy Hop is a vibrant and acrobatic dance closely associated with swing music and the jazz era of the late 1920s and 1930s. Characterized by its energetic steps and improvisational nature, the Lindy Hop reflects the dynamic rhythm and spirit of jazz, encouraging dancers and musicians to interact and feed off each other’s energy. Line In jazz, a “line” refers to a melodic phrase or sequence of notes played by an instrument. Lines are the melodic contours that soloists create over chord progressions during improvisations, showcasing their musical ideas, stylistic influences, and technical skills. Effective lines contribute significantly to the narrative and emotional depth of a jazz performance. Lip “Lip” in jazz slang primarily refers to the embouchure or the way a wind instrument player controls their mouthpiece and lips to produce sound. A good lip enables nuanced tone production, dynamic control, and the execution of advanced techniques, such as bends and vibrato, crucial for expressive jazz playing. Little Bird: Jimmy Heath Jimmy Heath, affectionately known as “Little Bird,” was a saxophonist and composer whose skill and creativity earned him a place among jazz’s elite. His nickname nods to Charlie Parker, “Bird,” signifying Heath’s prowess on the saxophone and his contribution to extending the bebop tradition. Little Giant: Johnny Griffin Johnny Griffin, dubbed the “Little Giant,” was a tenor saxophonist known for his remarkable speed, technical skill, and the intensity of his improvisations. Despite his diminutive stature, his enormous talent and heart earned him a giant status in the jazz world. Little Jazz: Roy Eldridge Roy Eldridge, known as “Little Jazz,” was a trumpeter whose virtuosic skill bridged the gap between swing and bebop. His powerful sound and fearless improvisational style made him a pivotal figure in jazz, influencing generations of musicians. Locked In jazz, “locked” can refer to a tight, cohesive rhythm section where the bass and drums synchronize perfectly, creating a solid and unified groove. This locking up is crucial for supporting soloists and maintaining the rhythmic drive of the piece. Locked Hands Locked hands is a piano technique popularized by jazz musicians like George Shearing. It involves playing melody notes simultaneously with both hands in parallel, interlocking chords that move in harmony with the melody. This technique creates a rich, harmonically dense sound, characteristic of many jazz ballads and smooth passages. Lockjaw: Eddie “Lockjaw” Davis Eddie “Lockjaw” Davis, a tenor saxophonist, was nicknamed for his tenacious, gripping style of play. His robust, gritty tone and aggressive, rhythmic attack made him a standout performer in the jazz and blues scenes. Long Tall Dexter: Dexter Gordon Dexter Gordon, celebrated as “Long Tall Dexter,” was a tenor saxophonist whose large stature matched his huge sound and towering presence in the world of jazz. A pioneer of the bebop era, his lengthy, flowing solos and charismatic performances left an indelible mark on jazz. Loop A loop in jazz can refer to a repeated section of music, often used as a foundation for improvisation. This concept, borrowed from electronic music, allows musicians to create a continuous harmonic and rhythmic base over which to explore melodic ideas. Lord: Chauncey “Lord” Westbrook Chauncey “Lord” Westbrook, a guitarist, earned his regal nickname through his masterful command of the instrument and his role as a respected elder in the jazz community. His sophisticated playing and contributions to jazz education cemented his status as a “lord” among musicians. Lydian The Lydian mode is a type of musical scale used in jazz, distinguished by its raised fourth scale degree compared to the major scale. This alteration gives the Lydian mode a brighter, more open sound. Jazz musicians often utilize the Lydian mode for its unique harmonic qualities, particularly in compositions and solos that seek a distinctively modern or “outside” feel. Lydian Chromatic Concept of Tonal Organization Developed by George Russell, the Lydian Chromatic Concept of Tonal Organization is a theoretical framework that proposes the Lydian scale as the basis for understanding jazz harmony. This concept has influenced many jazz musicians, offering a comprehensive method for navigating chords and scales. Lydian Dominant The Lydian Dominant scale is derived from the Lydian mode with a lowered 7th, combining the raised 4th characteristic of the Lydian mode with the dominant 7th. This scale is often used over dominant 7th chords, adding a unique, bright tension to jazz solos and chord progressions. Jazz Glossary – M Mainstream Jazz Mainstream jazz refers to the predominant style of jazz that evolved from the 1950s onwards, incorporating elements from earlier styles such as swing, bebop, and cool jazz. It emphasizes swing rhythm, blues feeling, and improvisation within traditional jazz harmonies. Mainstream jazz is characterized by its accessibility, balancing complex musicality with broad appeal. Major Sound In jazz, a major sound refers to harmony and melodies that are based on the major scale. It evokes a bright, uplifting mood. Jazz musicians often explore the major scale’s modes and extensions to develop complex, engaging compositions and improvisations. Mambo Mambo is a Latin jazz genre that originated in Cuba in the 1940s and gained popularity in the United States in the 1950s. Known for its energetic rhythm and big band arrangements, mambo combines Afro-Cuban rhythms with jazz harmonies and instrumentation. It played a significant role in the fusion of Latin and American music cultures. Matrix Number A matrix number is a unique identifier etched into the run-out groove of vinyl records, including jazz albums. It provides information about the recording, such as the take number and production details. For jazz collectors, matrix numbers can reveal insights into the pressing history and authenticity of vintage records. Measure In jazz, a measure (or bar) is a segment of time defined by a given number of beats, as indicated by the time signature. Measures organize the musical structure and rhythm, serving as the framework within which musicians play, improvise, and interact. Understanding measure structure is fundamental for performing and composing jazz music. Medium Tempo Medium tempo in jazz refers to a moderate speed of performance, neither too fast nor too slow. It creates a balanced, grooving feel that is conducive to both melodic exploration and rhythmic interplay among musicians. Medium tempos are often used in jazz standards and ballads to evoke a relaxed yet engaging atmosphere. Melisma Melisma in jazz refers to the singing of a single syllable of text while moving between several different notes in succession. This technique is used to add expressiveness and emotional depth to vocal performances. Jazz singers often employ melisma to showcase their vocal agility and to embellish the melody, particularly in ballads and soulful pieces. Melodic Minor The melodic minor scale in jazz is a seven-note scale that ascends with a natural 6th and 7th, and descends like the natural minor scale. This scale is frequently used in jazz improvisation because it offers a smooth, less dissonant sound in melodic lines, and it enables interesting harmonic possibilities such as altered dominant chords and modal interchange. Melodic Statement A melodic statement in jazz is the presentation of a thematic musical idea or motif that serves as a basis for development and improvisation. It is a defining element of a piece, often memorable and serving as a reference point throughout the performance. Melody In jazz, melody refers to the series of notes that are perceived as a single entity, often the most recognizable part of the song. It serves as the main theme around which improvisations and variations are constructed. Jazz musicians reinterpret melodies in innovative ways, infusing them with personal expression, stylistic nuances, and complex rhythms. Meter Meter in jazz music refers to the recurring pattern of beats or pulses organized into measures, which determines the rhythmic structure of a piece. Jazz explores various meters, from the common 4/4 time to more complex signatures like 5/4 or 7/8, allowing for rhythmic diversity and complexity in compositions and improvisations. Methodical In jazz, being methodical refers to a systematic approach to improvisation, composition, or practice. It implies a deliberate, thoughtful process of exploring musical ideas, techniques, and theory to deepen one’s understanding and expression within the genre. Metric Modulation Metric modulation is a compositional and improvisational technique in jazz where the perceived tempo or time signature changes, yet there’s a mathematical relationship between the original and the new tempo. This creates a shifting, dynamic rhythmic landscape, adding complexity and interest to the music. Microtone Microtones are musical intervals smaller than a semitone, not typically found in the Western musical scale. In jazz, microtones are used to add color, expression, and a sense of tension or release in improvisations. They allow musicians to explore sounds and emotions that lie between the traditional notes, enriching the harmonic palette. MIDI MIDI (Musical Instrument Digital Interface) is a technical standard that allows electronic musical instruments, computers, and other equipment to communicate, control, and synchronize with each other. In jazz, MIDI technology is used for composing, arranging, and live performance, enabling intricate sound manipulation, sequencing, and the integration of digital instruments. Milking In jazz, “milking” refers to the technique of drawing out or emphasizing a particular note, phrase, or effect for expressive or dramatic impact. It’s a way for musicians to highlight specific elements of their solos or the arrangement, enhancing the emotional depth of the performance. Minor Sound In jazz, a minor sound refers to music that uses the minor scale as its foundation, characterized by a darker, more introspective mood compared to major scales. The minor sound is pivotal in jazz for creating depth, emotional nuance, and contrast within compositions and improvisations. Modal Jazz Modal jazz is a style that uses musical modes rather than chord progressions as the harmonic framework for compositions and improvisations. Pioneered by musicians like Miles Davis and John Coltrane, modal jazz focuses on exploration within these modes, creating a more fluid and expansive sound that allows for extensive improvisational freedom. Mode In jazz, a mode is a type of musical scale derived from a parent scale, with each mode starting on a different note within the scale. Modes provide a framework for melody and improvisation, offering unique emotional qualities and sonic colors. Jazz musicians often utilize modes to create varied harmonic landscapes and to improvise over complex chord changes. Modulation Modulation in jazz refers to the change of key within a piece. It is a powerful tool for creating contrast, building intensity, or transitioning between sections of a composition. Jazz musicians skillfully use modulation to navigate through different harmonic territories, enriching their improvisations and maintaining the listener’s interest. Moldy Fig Moldy Fig is a term used in jazz to describe someone who prefers traditional jazz styles and is dismissive of more modern jazz developments. It originated during the bebop era as a playful jab at those who resisted the new musical innovations, highlighting the generational divides within the jazz community. Monk Thelonious Monk, a pioneering jazz pianist and composer, is known for his distinctive style that combines dissonance, complex rhythms, and unconventional improvisations. Monk’s contributions to jazz are immense, with compositions that have become standards in the jazz repertoire. Montuno Montuno refers to a repetitive and rhythmic pattern played in Afro-Cuban music, which has significantly influenced Latin jazz. It involves a syncopated chordal sequence, often played by the piano, that serves as a foundation for
2202	dbpedia	2	96	https://patrickrfblakley.com/drumming-glossary/	en	The Best Drum Glossary Online!	https://patrickrfblakley…960x332SMALL.jpg	https://patrickrfblakley…960x332SMALL.jpg	[ "https://patrickrfblakley.com/wp-content/uploads/2022/12/321930223_882402666241872_2609773642080185597_n.png", "https://patrickrfblakley.com/wp-content/uploads/2023/05/Logo-5-24-23.png", "https://patrickrfblakley.com/wp-content/themes/goodspace/images/icon/dark/social/facebook.png", "https://patrickrfblakley.com/wp-content/themes/goodspace/images/icon/dark/social/linkedin.png", "https://patrickrfblakley.com/wp-content/themes/goodspace/images/icon/dark/social/twitter.png", "https://patrickrfblakley.com/wp-content/uploads/2022/12/1461386_10100394448923275_268375846_n-2.jpg", "https://patrickrfblakley.com/wp-content/uploads/2022/12/footerlogos.png" ]	[]	[]	[ "" ]	null	[]	2013-02-01T21:22:46+00:00	The biggest and best percussion glossary the web has to offer! Check out the substantial list of terms with more always being added!	en	https://patrickrfblakley…/favicon.ico.png	PRFB.net	https://patrickrfblakley.com/drumming-glossary/	Term Definition 1A Drumstick size longest on market at 16.25″-17.25” long 2B Drumstick size thickest for non-marching music at 16.00″ long 3A Drumstick size thicker than 5A at 16.00”-17.00” long 4/4 Time See “Common Time” 5A Drumstick standard size at 16.00” long 5B Drumstick size thicker than 3A at 16.00” long 7A Drumstick size is very thin at 15.00”-15.75” long 8D Drumstick size longer than 7A at 16.00”-16.50” long Accent An accent is a note that is played at one dynamic level higher than the written dynamic marking. Some marching groups use two defined heights with the louder one being for accents and anything unaccented being played at the lowest level possible (also see “Taps”). Accessory Percussion See “Auxiliary Percussion” Acoustic Drums Acoustic drums are any drum instrument that is not digital or electronic. Acoustic drums use the air to transmit sound waves to the listener or to the microphones. Acrylic Tip This is an additional drumstick bead covering molded to the drumstick’s playing end which can give it a different sound, tone, and timbre. Afro Cuban Afro-Cuban is a style of music that comes from both African and Cuban rhythms, instruments, and melodies. Afuche See “Cabasa” Agogo An agogo is a bell-style instrument from Nigeria and is used in Afro-Caribbean music. Air Drumming Air drumming involves no drums and no drumsticks. People air drum by flailing their arms in the air as if a drum set was in front of them, usually when listening to music they enjoy, sometimes with expressive drum sounds. American Grip The American style drumstick grip is a blend between the French grip and German grip. The backs of the hands and knuckles angle slightly downward toward the ground. Antique Cymbals See “Crotales” Arounds Arounds is a term in marching tenor drumming where the music is played using more than one drum. When learning a tenor drum part the rhythm is played first on one drum before finally moving the melody around the pitched drums later. This movement is referred to as arounds because the hands move around the drums. Arounds can also refer to the different exercises involving moving around the tenor drums in multiple ways or patterns during drumline warmups. Audible An audible, in drumline, is like a visual but instead you use your voice. This is similar to subdividing, or dutting, because often times the audible keeps time during the rests, but it does not have to. Auxiliary Percussion Auxiliary percussion instruments tend to be smaller accessories that can be hung on a rack. Small cymbals, triangles, tambourines, wood blocks, toms, can all be auxiliary instruments. These can be thought of as tertiary, or even background instruments in the percussion world where the melody and harmony have the focus, auxiliary provide the effect. Axatse Similar to a shekere but smaller. Made from a gourd with beads woven around the hollow percussion instrument. Backbeat The backbeat on drumset is where the snare drum accented hits are based on the second and fourth beats of the measure. This creates a very moving groove or pattern used in many popular styles. Backstick A backstick is when a note is played with the butt of the drumstick, most often found in marching snarelines. Snarelines tend to struggle sometimes to be as interesting as tenorlines or basslines so they need to add as many flourishes as possible to get attention while tenors and basses just have to play their written part to be visually appealing. This is most obvious when the snares, tenors, and basses are playing in exact unison and the tenors are especially cool just by playing the part as written across multiple drums! Backsticks are closely related to visuals, see “Visual.” Ball Joint A ball joint, or ball and socket joint, is a mechanism that allows a tom tom arm or cymbal arm to rotate in practically 360 degrees. It is popular on many drumsets and drum hardware accessories. Yamaha drums was one of the first drum companies to popularize this mount. Bar The bar, or barline, is the visual representation of the beginning and end of a measure on a sheet of music. Music has multiple barlines and they are defined by the time signature. Basket The top of a snare drum stand is sometimes referred to as a snare drum basket. The metal cradle that holds the snare drum. Bass Drum A bass drum is typically the biggest drum on a drumset or in a drumline. This drum provides the low end of the sonic range and is the drum that you’ll feel vibrate your chest. On drumset this drum is played with a foot pedal and in marching band the drum is hung vertically in front of the performer’s face as they reach out to play each side of the drum (both heads are batter and resonant heads). Bass Drum Beater This beater is what is attached to the bass drum pedal to make contact with the bass drum head of a drumset. Beaters can be made of felt, wood, plastic, or many other materials. Bass Drum Pedal This pedal is what is attached to the bass drum of a drumset and is played using one foot. Bass Pedal Spring This spring allows the bass drum pedal to rebound back off the bass drum head in order for the foot to press the pedal and play the drum again. The tighter the spring the more rebound the drummer can use but the harder it will be to press the pedal. Bata Drums A double headed, hourglass shaped drum originating from Nigeria. It later migrated to Cuba and eventually to the US. These drums can be played in the lap or with a strap around the neck. Batter Head This is the head that is hit by the drumsticks. Think of it as the head that is battered by the sticks. Battery See “Drumline” Beads Beads are the playing tips of drumsticks. These can be wood or covered in acrylic or plastic. Practice tips use foam to dampen the sound. The shape of the bead can change the sound quality and timbre. Bearing Edge The bearing edge of a drum shell is the top tapered brim that the drum head contacts. The angle of this edge is important for sound quality, tone, resonance, and timbre. Beat A beat divides most measures into equal parts, this is a unit of time and is the most fundamental component to counting music. A measure of 4/4 time signature has 4 beats. Beat Displacement This refers to permutations with all rhythms moving forward as a group (as if to copy/paste). Displacement of an eighth-note makes the entire groove sound one eighth-note ahead. Beguine Music incorporating a bolero rhythm. Bell The bell of a cymbal is the small inflated portion at the center surrounding the mounting hole. This part of the cymbal gives a high pitch cutting sound that drumset players utilize with accents or as the focus of an auxiliary groove. Bells can also refer to a percussion instrument held in your hand, see “Handbells.” A bell can also be as large as a house and are chimed for hours of the clock or during church. Bells See “Glockenspiel” Blast Beats A blast beat is a drumset pattern created by playing a drum, usually the snare drum or even ride cymbal, as fast as possible. This is most commonly done with 16th-notes and is often performed on heavy metal tracks. Bo-Diddley Beat A beat that was created and popularized by Bo Diddley, a famous blues guitar player. It stems from an early form of Latin and afro-Cuban rhythms such as the Clave. Bodhran The bodhran is an Irish hand drum. It’s round with a cylindrical frame and it is covered with an animal skin head. Bolero Rhythm A slow repeating rhythm that is ballad-like. Bones See “Castanets” Bongo Bongo drums are two attached drums of slightly different diameter with calfskin or synthetic drum head material stretched to create a medium to high pitch. These drums are played by hand, and sometimes with sticks. Bongocero Someone who plays the bongos. Boom Cymbal Stand A boom stand, or boom arm, is a cymbal stand that can bend perpendicular to the vertical portion of the upright tripod. This allows the cymbal to be placed in very specific places on the drumset and may be easily manipulated without moving the base of the cymbal stand. BoomWhackers These fun instruments are long brightly colored tubes that are pitched. Used for music education, primarily, these tubes are hit on the floor or legs to create a melody. Bossa Nova Brazilian style of music that is influenced by jazz and samba. The word means “new trend” in Portuguese. Bougarabou Drum A West African drum shaped like a cone very similar to the djembe. Bow The bow of the cymbal is closest to the edge, it is used to play ride rhythms on larger cymbals. BPM Beats Per Minute. How many beats occur within one minute, which defines the tempo of a piece of music (usually the quarter note gets the beat unless otherwise stated). Brain See “Drum Brain” or “Tenor Brain” Brekete A drum from Ghana that is shaped like a cylinder that creates a low bass sound. This can be played as a hand drum or with a beater / stick. Brushes Brushes are an alternative playing implement to drumsticks. Brushes are much lighter that sticks and can be played in a variety of different ways, styles, and techniques. Brushes are very popular in Jazz drumming. Burton Grip Burton grip, named after Gary Burton, is a four-mallet grip consisting of two mallets being held in each hand. This grip is typically used for playing the vibraphone. Buzz Roll A buzz roll, or press roll, is a multiple bounced stroke on a drumhead that blurs the articulation of the attack such that it seemingly creates a continuous tone without seams. Buzz rolls are the opposite of open rolls, or rolls that would be used by a traditional marching band or drum corps. Cabasa This is a Latin hand percussion instrument with metal beads that freely rotate around a metal cylinder. Cajón This percussion instrument is typically made of a wooden box with a very thin playing surface. The top corners have snare wires attached and the center creates a low end bass sound. The instrument is played by hand most of the time and utilizes a slapping technique. This instrument is popular in flamenco music. Caption Head A percussion caption head, or percussion director, is the staff person or teacher in charge of coordinating the percussion section, usually found in a marching band. This person sometimes writes the percussion music and will speak to the judges about percussion at contest critiques with his percussion staff members. Carrier The drum carrier is the device used by marching percussionists to hold the drum to their body while freeing up their hands to play it. Most modern carriers have several adjustment points to make it comfortable while also allowing for the most mobility while playing and moving around the drill field. Most carriers today go over both shoulders and can extend down to the lower back to support the spine. Cascara A cascara is a Latin rhythm usually played on the metal side of the timbale. Case Drum cases are plastic, wood, or metal boxes that protect individual drums or cymbals during transport between shows. Castanets This is a hand instrument comprised of two small wood, or plastic, domes mounted on a stick that can clack together. Sometimes these domes are mounted on a flat wood board. Cha-cha A mid-tempo Afro-Cuban rhythm. Chalice Drum See “Goblet Drum” Chimes See “Tubular Bells” China Cymbals China cymbals are different than standard crash cymbals and they’re also different than gongs as well. These cymbals create several overtones when struck giving a much fuller sound while also creating some dissonance. Chops Chops is a term for a drummer’s ability to not only play fast, but play accurate and in verbose styles. It can also refer to their ability to read complicated sheet music rhythms well. Most of the time this term is casually used to describe a drummer’s speed. Clave Claves are a cuban wood cylindrical instrument, played in pairs, that create a cutting high frequency tone. The Clave rhythm is an asymmetrical groove comprised of a 2+3 or a 3+2 rhythm found in many Latin and Afro-Cuban songs. Click A click can refer to either clicking the drumsticks together or clicking a drumstick on the rim of a drum, usually called a rim click. Click Track A click track is a dedicated channel heard while recording drums to keep them exactly in time. The click is referring to the metronome. See “Metronome” Clutch A device used to hold the top cymbal onto a hihat stand. See also “Drop Clutch” Coated Head A coated drumhead is a batter head that incorporates a very thin film or layer on top that is rough to the touch. This texture creates a warmer tone and timbre and helps articulate brushes when sliding across the drumhead. Cocktail Kit Cocktail kits are drumsets that a played while standing up. They are also used for their economic space requirements as the floor tom doubles as the bass drum since the resonant head of the floor tom becomes the batter head for the bass drum using a specialty bass drum pedal. Common Time Common time is the opposite of cut time and is synonymous with the 4/4 time signature. Common time is so called because of how common it is used across all genres of music. Common time is symbolized by the uppercase letter C. Conga Conga drums are similar to bongo drums but are drastically bigger in size, both diameter and especially height. Congas are made of tapered wood shells with a animal skin head stretched on top as the batter head and the bottom open, the long drums serve as resonators. The two drums are different sizes and are attached and mounted on a tall stand. Conguero Someone who plays the congas. Cowbell A cowbell is a metallic percussion instrument that’s open on the large end and tapered toward the top where the handle is found. The cowbell is struck by a wooden or sometime metallic stick or mallet. Some cowbells have beader attached internally as you’d typically find on a farm, these cowbells are played by shaking them in the air. Crash Cymbal A crash cymbal is the most common type of cymbal. These cymbals are suspended from a stand and are typically hit loudly at the end of drum fills, or at moments of big impacts. Crash cymbals are medium to large in size. This cymbal is referred to as a suspended cymbal in concert and orchestra. Crash Cymbals Crash cymbals are two handheld matching cymbals that are crashed together to create a loud culmination or arrival moment. The two cymbals are held by straps using impossible-to-tie crown knots! (Just kidding, they really aren’t that hard!) Crash/Ride Cymbal A ride/crash cymbal is a multi-use cymbal that is small and light enough to use as a crash cymbal but also big and heavy enough to play as a ride cymbal. This cymbal is popular with drummers who are looking to save money and avoid buying two separate cymbals. Crescendo Crescendo is the term used to refer to music getting louder evenly over a duration of time. Often you’ll find dynamic markings on both sides of the crescendo for reference. Cross Stick Cross stick technique is when a drumstick is used nearly flat on the drum and the rim is struck to create a light but cutting sound. The palm of the hand is used as a resonating chamber to enhance the sound’s quality and vibrance. Cross stick can also refer to when a stick is pressed against the drum head and the other stick then hits it to create a wooden click that is supported by the lower frequency of the drum underneath. Crossover A crossover is typically found in marching tenor drumming, but does occur elsewhere in percussion, where one hand physically crosses over the other to play a drum. Crown Knot The knot used to tie straps to crash cymbals. Crotales Small thick cymbals connected to a backing board and arranged by pitch, similar to a glockenspiel. Cuica A friction drum from Brazil. A stick is placed through the center of the drum’s head and, using the hand to create friction, it reverberates through the drum. Cymbal Cymbals create the high frequency bright metallic effects in percussion music. These round concave disc-like metallic instruments are made from a very specific bronze and copper alloy and are mounting on stands or held by straps. These can be played by using sticks, mallets, or even by hand! Cymbals can create different sounds on their different parts such as the bell, the bow, and the edge. Popular cymbals include ride, crash, splash, China, hihats, and suspended cymbals. Gongs are also a similar type of instrument. Cymbal Bell See “Bell” Cymbal Felts Felts are placed directly under and over the cymbal when mounting on stands. The bottom felt prevents the metal from touching and hard surfaces underneath it such as the sleeve or stand. The top felt prevents the cymbal from touch any hard surfaces directly above it such as the wing nut. Cymbal Seat The seat can be a seperate piece or can be combined with the sleeve. The standalone seat is a metal washer that holds the bottom felt and inner sleeve in position to receive the cymbal when mounting. The seat holds the full weight of the cymbal. Cymbal Sleeves Cymbal sleeves can be stand-alone plastic inserts or can be combined with the cymbal seat. A sleeve covers the metallic post of the cymbal stand that the cymbal slides down. Covering the post prevents any metal on metal rubbing when the cymbal is struck which would cause buzzing as the cymbal reverborates. Cymbal Stacker A mounting device that allows multiple cymbals to be mounted on top of one another. Cymbal Stand The cymbal stand is a metal tripod that holds the cymbal in place. These can be straight stands or boom stands. Sometimes cymbal arms or boom arms by themselves are referred to as cymbal stands even though they only clamp to an existing stand. Darabuka See “Goblet Drum” Darbuka See “Goblet Drum” Debuka See “Goblet Drum” Decay The length of time for the instrument’s sound to totally dissipate. Decrescendo Musical phrases that decrease in volume over a set duration. Derbake See “Goblet Drum” Diddles See “Secondary Stroke” Die Cast This refers to a metal part or metal drum being formed by a cast which is filled by pouring molten metal inside. Die cast metal rims are very popular on drum sets. Displacement See “Beat Displacement” Djembe A West African hand drum made of wood with animal skin stretched across the large top. Djun Djun A West African low sounding drum that is similar to a djembe but played with a stick or mallet. Double Bass Drum Double bass drums literally two bass drums on a drum set. A double bass kit refers to the two independent bass drums played by single bass drum pedals by each foot. Double Bass Pedal A double bass pedal refers to a bass drum pedal with an extension arm allowing a second pedal to play a single bass drum. Double Braced Hardware This refers to hardware with a pair of metal braces on each leg of the tripod. Double braced hardware is more sturdy than single braced hardware and can more easily hold heavier items such as drums or cymbals. Double Stop A double stop refers to both drumsticks hitting the drum head at the exact same time from the exact same height. Note: this is different from a flam. Double-Stroke Roll See “Open Roll” Doumbek See “Goblet Drum” Down Stroke A downstroke refers to the action of hitting a drumhead with a downward motion. This is the opposite of an upstroke. Downbeat The downbeat refers to the primary notes in a measure divided evenly in most time signatures. The downbeat is also used by musicians to indicate the first count of a measure. Drag A very common drum rudiment where a bounced stroke precedes a primary stroke by the opposite hand. Drop Clutch A drop clutch is similar to a regular hihat clutch except it can allow the top cymbal to disconnect and fall flat onto the bottom cymbal. This device is often used to free up a drummer’s foot to play a double bass drum or pedal. Drum A drum is a cylindrical instrument often made of wood or metal. It has a drum head stretched across one, or both openings. A drum is played using drumsticks or simply by hand. Drum Beat A drum beat can mean the sound a drum makes and also the rhythm that is being played on the drum. Drum Brain The control center for an electronic drumset or electric drum. The brain sets the sound samples for each drum as well as all the extra settings needed by the electric kit. Drum Case See “Case” Drum Four Drum four is the biggest drum on a set of marching tenor drums. Often times this drum is 13″ or 14″ in diameter. Drum Head See “Head” Drum Key See “Key” Drum Kit See “Drum Set” Drum Lessons Contact me for lessons here! Drum Lick See “Lick” Drum One Drum one is fourth biggest drum on a set of marching tenor drums. Often times this drum is 8″ or 10″ in diameter). Drum Rim See “Rim” Drum Roll A drum roll is a two handed rudiment that can be played using a buzz (press roll) or an open bounced stroke (open roll). If you say “drum roll please” out loud it will usually cause the people around you to chaotically bang on the furniture as haphazardly as possible. Drum Rudiment See “Rudiments” Drum Set or Drumset A drumset is a collection of drums and cymbals arranged around a centralized point where the drummer sits. This usually includes a bass drum, snare drum, tom toms, crash cymbal, ride cymbal, and hihat along with all the mounting hardware necessary. Drum Solo A drum solo is a most commonly found on drum set where the drummer performs a musical passage or phrase completely alone. Sometimes the drum solo is accompanied by long sustained notes by other instrumentalists where the drums is the primary focus for an extended period of time. A drum solo can also refer to a marching band or drum corps production where the percussion sections are the only ones playing. In this case you might usually see individual section solos within the overall drum solo, aka percussion feature. Drum Sticks Specialty implements used to play the drums. Sticks are shaped in a specific way to include parts such as the bead, neck, shaft, and butt. Drum Tabs Drum tabs are like guitar tabs in that they are a simple coded way to write out a drum part. Drum tabs are commonly found online where the guitar part has been written for a song and the drum part has been added to supplement it. This is similar to sheet music. Drum Tech A drum tech is a hired person who sets up a drum set, tunes the drums, and repairs them. A drum tech knows all the specific needs of the performing drummer in terms of placement of drums as well as during the performance. A drum tech also tears down and maintains the drums after a show. Drum Three Drum three is the second biggest drum on a set of marching tenor drums. Often times this drum is 12″ or 13″ in diameter. Drum Throne This is the seat that a drumset player sits on behind a drum kit. Usually these are small circle shaped cushioned stools but can be lavishly comfortable seats as well! Drum Two Drum two is the third biggest drum on a set of marching tenor drums. Often times this drum is 10″ or 12″ in diameter. Drumline A drumline is a section of multiple marching drummers and is a main section of a marching band or drum corps. Typically composed of snare drums, tenor drums, pitched bass drums, and sometimes crash cymbals and flub drums. Sometimes referred to as the battery, the drumline keeps the marching in time. Drummer A drummer is someone who plays the drums! Dumbec See “Goblet Drum” Dumbelek See “Goblet Drum” Dummy Hat This type of hihat mount does not require a pedal. This cymbal arm holds the two hihat cymbals together permanently without the need of a foot. This is similar to a cymbal stacker. Dut See “Subdivide” Dynamic Dynamics are the volume levels found in the music. Most marching groups with define the dynamics using heights in increments of three inches per dynamic level. E-Drums See “Electronic Drums” Effects Cymbal An effects cymbal is usually a small splash cymbal or a cymbal with an interesting sound. These are cymbals that are secondary and are not played as a primary element of a drumset as the hihats, crash, and ride would be. These cymbals tend to spice up the drumset or song. Egg Shakers Egg shakers are similar to maracas but are shaped like a chicken egg and are sometimes dyed in fun colors. The small pellets inside create a nice texture when played by hand. These are good musical education tools. Electronic Drums Electronic drums are the opposite of acoustic drums. These drums are entirely digital in sound and use physical drum pads that a drummer hits with drum sticks. These drumsets allow for a pure signal with no noise created during recording. These are sometimes called electric drums. Ewe Drum This is a hand drum from West Africa that is tuned by peg and is played by hand or a stick. Fatback A very thick backbeat with snare drum on counts two and four. Feet Feet can refer to the small pegs or thin metal protrusions that are found on the bottom of a marching snare drum to prevent the snare wires and snare mechanism from touching the ground when the drum is not being worn. Felt Mallets Felt mallets are some of the softest materials used as drum implements. Felt mallets are often coated in a felt cover or ring so that the articulation is reduced greatly and the sound is much lighter. Fill A fill, or drum fill, is a series of drums that lead the music into the next phrase. Usually fills are comprised of most tom toms on the drum set, but any part of the drumset can be used. Sometimes longer fills can be played across multiple measures, and even longer fills can be sometimes considered short drum solos. Finger Cymbals Finger cymbals are tiny metal cymbals that use elastic straps to wrap around a percussionist’s fingers. These produce a fine delicate sound when they are grazed together. Flam A flam is a drum rudiment where a single grace note is played just ahead of a primary stroke by the opposite hand. The duration between the grace note and primary stroke can be modified based on the style of drumming such as concert or marching. Note, this is different than a double-stop. Flam Tap This is a drum rudiment where a tap is added after the flammed note, by the same hand as the primary stroke. This is similar to Inverted Flam Taps where the tap is played by the opposite hand as the primary stroke. Flip Flipping a drumstick in the air is a type of visual. See “Visual” Floor Tom Floor toms tend to be the biggest tom toms on a drum set, they are usually too heavy to mount on a rack so they require legs to hold them up from the floor. Floor toms tend to have three legs that can independently adjust in height. Floor Tom Legs Floor tom legs are the vertical posts on which the floor tom shell clamps onto. The base of the legs are flared outward to give a bigger footprint and lower the center of gravity for stability. Flub Drum A flub drum is a marching drum that is a mix between a tom tom and a bass drum. Played horizontally like a snare drum these drums have a mid voice. Foot Pedal A device used to play a percussion instrument with a foot rather than a hand. Bass drum and hihat pedals are popular on drum sets while some mallet instruments also use a pedal to adjust the sound of their instruments such as piano or vibraphone. Foot Plate This is the flat part of the pedal that the foot rests on, lowering this plate activates the pedal. Four Drum See “Drum Four” Four Mallet Grip A four-mallet grip allows a performer to utilize two implements in a single hand. This allows mallet instruments to play four-note chords as opposed to just two notes at once. Four on the Floor This phrase refers to playing only the four downbeats on the bass drum during a groove in common time on drumset. This groove can be simple but is very driving and popular in dance music. Fours Fours is a term used by marching bass drummers often when playing 32nd notes. The term refers to playing a fast grouping of four single strokes. Frame Drum This is one of the most ancient instruments in the world. A large wide head with a much shorter shell, or frame. Free Floating Shell A free floating drum shell has no mounting hardware or screws attached to it, it is undisturbed. The tensioning system avoids mounting to the shell directly. French Grip A French drumstick grip is a way of holding the drumstick so that your hands are turned over so that the thumbs are facing up. This grip is used by timpani players. Front Ensemble See “Pit” Fulcrum The fulcrum is the point at which a lever pivots, in drumming this is often found to be in the wrist or where the fingers meet the drumstick. The drummer’s fulcrum will move based on how far the implement is traveling and can be as far up as the elbow (or more). Ganza A Brazilian metal rattle instrument similar to a maraca. Garfield Grip A crash cymbal grip used to disperse the weight of the cymbals across the entire hand. German Grip German grip is a drumstick grip with the back of your hands remaining flat (or parallel to the playing surface). Ghost Note Ghost notes are similar to taps but can be even softer, barely glancing the drum head. Ghost notes are mainly inserted for the drummer to feel the groove more and have much more to do with timing and sound. Glockenspiel This is a metallic pitched instrument played with mallets that is very high in frequency. Sometimes abbreviated to glock. Goblet Drum A middle eastern drum shaped like a goblet. Popular in many countries such as India, Pakistan, Morocco, and Egypt. Made of metal or ceramic with a single drum head on top played by hand. Gock A gock drum is the smallest drum or drums on a set of marching tenors. This drum is also called a spock or shot drum. A gock block is similar to a woodblock but not made from wood. The gock block has a great projection and cutting sound so it is often used to keep musicians in time, especially on the marching band field. Gong A gong is a cymbal hung vertically on a stand that is played with a large specialty gong mallet. Gongs range in size and can be the biggest cymbals in percussion. Gongs have many overtones and will vary by size and manufacturing techniques. Gourd A hollowed out gourd is used as a percussion instrument and can be played with a metallic rod that slides along the ridges on its side creating a unique ratcheting sound popular in latin music. Grace Note A grace note is a soft low note preceding a louder primary stroke by the opposite hand. Grace notes occur just slightly before the accent note and add thickness and texture to a musical phrase. See also “Flam” Grip A grip is a specific way to hold the drumsticks or mallets. There are many types of grips and they have all been developed to serve a specific purpose Groove A groove, or drum groove, is a pattern played by the drummer that gives a song it’s feel or specific rhythm. Grooves help energize a song and give it direction. Being ‘in the groove’ is similar to being ‘in the pocket’ meaning the rhythm is exactly in time and feels right in the sweet spot. Guaguanco A drum rhythm used in a rhumba, from Afro Cuban music. Güiro See “Gourd” Half-Time A half-time feel changes the way a song sounds to the audience. Often the snare drum changes from a back beat pattern to hitting on count three once per measure. Half time is also when a marching band performs during a football game. Hand Bells Hand bells are small ringing instruments held in the hands that produces a nice warm metallic sound. Oftentimes multiple performers will create a full octave of pitches by standing in a line holding two hand bells each. Hand Drums Hand drums are any drum with a drum head that can be played without the use of an implement such as a drumstick. Hand drums can use implements to produce sound as well, but are primarily struck by the fingers, palm, or fist. Hand Percussion Hand percussion instruments differ from hand drums as hand percussion tends to refer to percussion held in the performers hands such as maracas, claves, or shakers. The terms are sometimes used interchangeably. Hang Drum A hang drum is a hand percussion instrument that is domed and rests on the percussionist’s lap. Using the fingers to slap hammered concave sections of the instrument creates warm harmonic sounds that can be used to create wonderful and relaxing melodies. Harness See “Carrier” Hats See “Hihat” Head A head is any type of membrane stretched over an opening to create a playing surface for a drum. Some heads are organic such as animal skin like goatskin or cowhide. Most drum heads are manufactured in a factory from a combination of materials. Headless Tambourine This is a tambourine without a membrane stretched across its opening. This style of tambourine is played by slapping the frame with the hand or body. Heights See “Dynamic” Hihat A hihat, or hi-hat, is set of two cymbals mounted so that their edges are touching. These are usually mounted on a hihat stand that allows for them to be opened or closed with a foot pedal giving the performer a variety of sounds. High Tom A high tom is the highest pitched tom tom on a drum set, or in a concert tom setup. This drum is written higher on the staff in sheet music as well. High toms are most often mounted. Hihat Stand A hihat stand is a specialty stand that allows the hihat cymbals to be attached and controlled using a foot pedal. Pressing the pedal down closes the cymbals together while lifting the foot will open the cymbals and spread them apart. Hoop A hoop is a wood or metal ring that gives even tension to the drum head. Tension rods are spaced evenly around the hoop and tightened into the lugs mounted on the drum’s shell and the hoop is squeezed down around the edge of the drum head. Hoops are very common on bass drums for example. Hybrid Drum Set A hybrid drum set, or hybrid kit, is a drumset that consists of both acoustic and electronic drums. A hybrid kit would be recorded with traditional microphones as well as digitally through the use of a brain module that the electronic drums are connected to. This setup gives the best of both worlds and allows for a traditional drumset sound with some extra intricate electronic sounds or triggers available on demand. ISS This is a mounting system usually found on tom toms, though not as popular as traditional mounts. Mounting with this system attaches the stand directly to the rim of a drum which allows the shell to reverborate freely and give the drum a higher quality sound. This is similar to a free floating shell. Idiophones Idiophones create sound through the vibration of their bodies after being hit with the hand or implement. Independence Independence is a term used to describe being able to play different rhythms on different drums simultaneously. It is part of the coordination process for a drummer to grow their independence to be able to play 2, 3, or more drums and rhythms at the same time. Jungle Kit A jungle kit is a small drumset that fits inside itself while traveling. The bass drum usually doubles as the case and the other drums and cymbals all fit inside each other like a nesting doll. Kettledrums See “Timpani” Kevlar Head A kevlar head is a type of marching snare drum head that can withstand higher tensions and higher velocity drum strokes. Similar to a mylar head but made using different compounds. Key A drum key, tee key, T-key, or just key, is a tool used to add or remove tension from a standard drum head through the use of tension rods. Marching drums use a high tension key that has longer arms which gives more leverage while tuning at higher tensions. Kick Drum See “Bass Drum” Kidi Drum A drum played with sticks in the same family as a conga drum. Tuning pegs are used and the bottom of the drum is solid rather than open. Kids Drums Kids drums, or junior kits, are drums designed for a smaller performer and are often used in music education. Latin Drumming Prominent rhythms from Latin America define this style of drumming. Many different styles of drumming are included in the term Latin drumming. Latin Drums Drums used in Latin drumming. These instruments are from the Afro-Cuban and Latin-American cultures. Legato Stroke A legato stroke is a smooth uninterrupted motion from the starting height of the drumstick and rebounding back up from the drum head. The motion of a legato stroke is seamless and utilizes the drum’s rebound unlike the staccato stroke. Legato strokes are sometimes referred to as upstrokes. Lick A lick, or drum lick, is a short phrase or passage that is created by a drummer and is usually quite catchy or cool. Often drummers will show each other interesting drum licks that they’ve learned or wrote for their music. Linear Drumming This is a type of drumming that is common on a drumset. Linear drumming means that no two drums or cymbals are played at the exact same time, so the drum groove is created by playing individual instruments across the measure. Often times linear grooves are repeated patterns or even ostinatos. Log Drum This instrument is played with beaters and uses a hollowed out body, traditionally made from an actual log, with different size slits cut into the top to create varying pitches. Low Tom A low tom is simply a lower pitched larger tom tom usually found on a drum set or a concert tom rack. Lower toms are written on the lower staves of percussion sheet music. Low toms can sometimes be mounted or can be floor toms as well. Lugs This term is sometimes a misnomer because drummers tend to refer to tension rods as lugs. Lugs are actually the housing that is often screwed into the shell of the drum that receives the tension rod. The tension rods are twisted into the lug in order to create tension on the drum head. Mallet Instruments Mallet instruments are any percussion instrument that is commonly played with mallets. These usually refer to instruments like the marimba, vibraphone, glockenspiel, or xylophone. Mallets Mallets are the implements used to play mallet percussion instruments. Mallets are typically thin wood sticks with large balls of yarn or felt wrapped around the tip to create a softer playing surface. However, some mallets are hard and can be made of wood or even metal to create bright articulations from the instrument. Some drums are also played using mallets. Mambo A mambo is a Cuban style of rhythmic music and dance. Maracas Maracas are hand percussion instruments that have hollow spheres at the top that contain beads which create a nice textured sound when shaken. These are often played in pairs using both hands. Marcato Stroke A marcato stroke is a loose term and lesser-known than legato and staccato strokes. The word marcato simply means ‘marked’ so usually a marcato stroke is accented. The stroke would be played louder and more forcefully than a legato note. Some groups define marcato notes to be two heights above the written dynamic (much like an accent is one height above the written dynamic level). Marching Percussion Marching percussion refers to any percussion instrument that is typically found within a marching band or drum corps. Traditionally, all marching percussion instruments were worn and carried around the football field including marimbas, and timpani. Today the front ensemble is home to the largest of the stationary percussion instruments that are no longer carried around the field. These are still usually referred to as marching percussion instruments and they do have to remain mobile as the pit needs to still get on and off the field quickly. Marimba A marimba is one of the largest mallet instruments in percussion. This multi-octave wood instrument contains some of the lowest notes in the melodic percussion world and uses large resonators to resonate the vibration of the pitched wooden bars. Marking Time (Mark Time) Marking time refers to a marching percussionist’s feet moving in place while they play. Marking time helps keep their music in time even when they are not moving around the field. Drummers play to their feet which means that their feet hitting the ground is their metronome and the hands use the feet to stay in time. Matched Grip Matched grip is a form of drumstick grip where both hands hold the sticks the same way, and as such they match. This is most often used to differentiate marching snare drum grips between traditional (a non-matched grip) and matched grip. Mbira This instrument is also called a thumb piano and uses various pitched metal prongs that stick up from a wood base allowing them to be plucked by the thumbs. This instrument is quite popular in Zimbabwe. Melodic Percussion Melodic percussion is similar to mallet percussion, but also includes drums that are pitched. Many melodic percussion instruments do not cover a full octave but are still considered melodic percussion. Some examples of melodic percussion instruments are marching bass drums, marching tenor drums, concert tom toms. Membranophones These are percussion instruments that utilize a stretched drum head or animal skin as a batter head and played with sticks or the hands. Merengue A faster rhythm from the Afro-Cuban style. Metronome A metronome is a device that keeps perfect time and tempo for a performer to practice and rehearse with. Most metronomes today are digital, or even just apps, and they beep or flash with the chosen tempo. Metronomes are sometimes referred to as click tracks when recording. Mid Tom A mid tom is a tom tom that is pitched in the mid-range and is scored in the middle of the staff in percussion sheet music. Usually mid toms are mounted. Modified Musser Grip See “Stevens Grip” Moeller Method The Moeller method or Moeller stroke is a type of drum stroke that flows freely without interruption and involves lifting the stick in a whipping motion leading with the wrist. Named after Sanford Moeller. Moongel This is a substance that is slightly sticky and gel-like which adheres directly to a drumhead and dampens it enough to reduce the ringing overtones and shortening the decay. This is similar to an O-ring. Moongel can also be used on cymbals. Mozambique A traditional Afro-Cuban rhythm popularized in some American 1980’s pop songs bringing it into popularity around the world. Mridangam This is possibly the oldest drum type in the world still being used today. The drum has two faces on either side and sometimes flour or water is added to lower the pitch of the instrument. Muffle A muffle dampens the sound of a drum. This can be through the use of an external device such as a felt pad, or simply by gently resting the fingers on the drum head while playing. Note: a muffle is different than a mute. This is also similar to a spank, though a muffle occurs while playing the notes. Multi Toms See “Tenor Drums” Musser Grip A Musser grip is a four mallet grip that allows two mallets to be held in one hand. This grip allows for four-note chords to be played on mallet instruments often found on marimba. This grip differs from the Stevens grip in that it does not necessarily turn over the back of the hand while playing. Mute A mute, or drum mute, is a device that completely deadens the sound of a drum allowing for next to no drum sound to be produced. Mutes are often used for practicing or when trying not to be loud. A mute can also be created by pressing the fingers or hand hard into the drum head when playing a note, sometimes this is written into drum notation. Note: a mute is different than a muffle. A muffle dampens the sound while a mute completely deadens it. Mylar Head A mylar head is a type of marching snare drum head that can withstand higher tensions and higher velocity drum strokes. Similar to a kevlar head but made using different compounds. NARD National Association of Rudimental Drummers. This was the rudimental body prior to Percussive Arts Society (PAS). Natural Sticking Natural sticking is a defined sticking that drummers default to in the absence of a written sticking (see “sticking”). Natural sticking is helpful in that it keeps the hands from playing an uncomfortable amount of notes in a row. Ngoma An African drum shaped like a barrel. This drum sits on the floor and is played using wooden beaters. Notation Percussion notation is slightly different than standard notation in that each place on the staff signifies a different instrument. Most often cymbals are placed above the staff, toms and snare are placed within the staff, and bass drum is placed below the staff. When writing for concert instrumentation each instrument is typically separated onto different sheets of music so that each line does not have to be labeled individually. Percussion notation also includes different uses of note-heads and stems. For example, slashes on the stem indicate a roll, or an open note-head could indicate a crossover on marching tenor drums. An ‘X’ for a note-head typically indicates a rimshot. Notched Grip A notched grip can be found on some drumsticks or mallets and helps the drummer with control of the fulcrum while playing. A notched grip also helps with comfort and ergonomics when using large-handled implements such as bass drum mallets or a gong mallet. Number 1 Drumstick size 16.75” to 17.25″ long Number 2 Drumstick size 16.00″ to 16.50″ long Number 3 Drumstick size 15.50″ to 17.00″ long Number 5 Drumstick size 16” long Number 7 Drumstick size 15.00″ to 15.75″ long Number 8 Drumstick size 16.00″ to 16.50″ long Number 9 Drumstick size 16.00″ to 16.50″ long Nylon Tip See “Acrylic Tip” O-Ring An o-ring is a plastic or paper ring that circles the perimeter of a drum and usually hugs up against the rim. This ring eliminates any overtones and ringing sounds as the drum would naturally decay. This shortens the sound and makes it more crisp with sometimes a slight loss in quality. Octobans Exaggeratingly long toms with no bottom head, these drums are quite small in diameter, usually only six inches. The depth of the drums can range from 18″ to 24″ or more! These drums are often found as auxiliary drums on a drumset since a smaller standard tom would sound very thin, octobans make up for that with their long resonating shell. Odd Time Odd time can refer to any time signature that is not 4/4. Typically this term is in reference to an uneven meter such as 5/8 or 7/8, but is not limited to those. Off Beat This is the opposite of downbeats in that the off beat is played on the ‘and’ counts between the downbeats of a measure. This is sometimes called the ‘up beat’. One Drum See “Drum One” Open Roll An open roll is a type of drum roll where the individual pulses are played open and clearly. This is sometimes called a double-stroke roll because each downstroke creates two notes, a primary note and a secondary note. Open rolls are common in the marching percussion activities. Ostinato An ostinato is a repeated musical phrase that is played multiple times, sometimes through multiple phrases. Sometimes an ostinato is referred to as a phrase that continues over a barline and repeats asymmetrically with the meter. Pandeiro A popular Brazilian hand drum made by attaching jingles to a wood frame and shaking it. Pang See “China Cymbal” Pans See “Steel Drums” Paradiddle A paradiddle is a fundamental percussion rudiment that consists of four notes played in the sequence right, left, right, right (then four more with the opposite sticking). Paradiddles usually have accents on the first beat. This rudiment is popular in almost every style of drumming and helps create a certain feel for a musical phrase. On drumset, timpani, and marching tenors specifically, a paradiddle will help navigate the drums to help avoid shifts. PAS Percussive Arts Society. The governing body over all things drumming. They hold an annual convention called PASIC (Percussive Arts Society International Convention). Pattern Generator This is similar to an electronic brain, but instead it also creates drum patterns, beats, or grooves and saves them. Pedal See “Foot Pedal” Percussion Caption Head See “Caption Head” Percussion Clef A musical staff dedicated to percussion instrumentation. See “Notation” Percussion Instrument A percussion instrument is any instrument that is played by striking. This can be by hand or implement and includes the piano since the piano strings are struck internally by a hammer. Permutation See “Beat Displacement” Phrasing Phrasing is how the drum music works within a context, such as a song, or a solo. Phrases can be established by measures but phrasing can refer to how the notes are structured within the measure or phrase itself. Piano A piano is a percussion instrument that is played with fingers on keys. The depressed key will trigger a hammer to strike a string that creates the full iconic sound. Piccolo Snare This is a snare drum with a very short shell depth, usually about three or four inches. The diameter is typically about 13″ and thus creates a full snare sound with a very short decay and often a higher pitch. Pit The pit is a location of instruments that are stationary or out of the way. In marching percussion the pit is comprised of large percussion instruments that do not move around the field. The pit is most often located at the front of the field but can sometimes be found at the back or off to the side. A pit in theater refers to the sunken location for all musicians that perform the music during a theatrical production. This type of pit will include all instruments, not just percussion. Plies single ply double ply heads or also shells too Pocket The pocket is similar to a groove where the drummer fits in perfectly. Sometimes the pocket exists on the backside of the beat (not late, but learning backward figuratively), this gives the music grounding and traction and will also help with arrival moments. Polyrhythm A polyrhythm is when one or more musicians play two rhythms at once. Most often this is referred to as playing a duple and triple feel overtop of one another (sometimes referred to as ‘two over three’ or ‘three over two’ polyrhythms. Popcorn Snare See “Soprano Snare” Practice Pad A practice pad is a soft gummy portable surface mounted on a wood or plastic base that allows a drummer to hit without creating loud noises. Some pads are definitely loud though, even when made with the softest materials. Some other pads are meant to feel like an actual drum, such as a marching snare drum, and as such need to be harder which makes them quite loud. Some other pads use ball bearings inside which mimics the sound of a snare drum while still being much quieter than an actual drum. Practice Tips Practice tips are similar to practice pads but are simply rubber coverings you can put over the beads of the drumsticks. Practice tips allow you to play quieter and practice on almost any surface. These are not as popular as practice pads. Press Roll See “Buzz Roll” Primary Stroke A primary stroke is the initial stroke of an open roll. The primary stroke creates the first of two notes when playing this style roll (the secondary stroke being created using the back fingers). During an open roll the arm creates one smooth up and down motion while the secondary strokes are performed utilizing the drum’s rebound and the back fingers before the primary upstroke. Puffy Mallets See “Felt Mallets” Pulse A pulse is similar to the metronome and marking time. The pulse is where the tempo is derived in a musical ensemble and is usually created by the percussion, but not always. In marching band and drum corps the pulse is established by the furthest back musical section since the speed of sound will cause problems if the pulse is derived toward the front of the field. This is why most often you’ll find the drumline to be the furthest back section on the field. Punk Punk drumming is characterized by hard-hitting or thrashing and tends to be loud without as much regard for sound quality. The punk style in general is very anti-rules and does not conform to any standards, this is why you see disregard for established techniques in the punk genre, which makes the sound very interesting and is not a bad thing. Quads See “Tenor Drums” Quinta The smaller of the two conga drums. Quinto See “Quinta” Quints See “Tenor Drums” RIMS System See “ISS” Rack A rack refers to the mounting system of a drumset or accessories. Usually this is a metal frame on which ball joints are attached to correctly position and angle a drum, cymbal, or auxiliary instrument. Rack Tom A rack tom is simply a tom that is mounted as opposed to a floor tom which is not. Rain Stick This is a hollowed out tube with beads and baffles inside. When inverted the beads strike all the baffles on the way down and the resulting sound is similar to rain hitting the ground. Rare Time Signatures Rare time signatures are similar to odd time signatures but goes deeper. In short, 4/4 is written such that there are four quarter-notes per measure. This can also be written as 8/8 since there are also eighth eighth-notes in the measure. Triplets can work the same way and the same measure can be written as 6/6 meaning there are six quarter-note triplets per measure. Rare time signatures would be something like 5/6 which would indicate only five quarter-note triplets in a single measure. Or perhaps 14/12 which indicates there are fourteen 12th notes (eighth-note triplets) in a measure. See the drumline warmup called “Slow-Fast” for a real-world example of a rare time signature. Rare time signatures are discussed in more detail in the book Quadratics. Also see my article on rare time signatures! Remote Hihat A remote hihat, or remote hat, is a mounted hihat arm that is not directly above the connected pedal. This is accomplished with the use of a cable, similar to a bike brake cable. Often the remote hat is placed on the opposite side of the drum set which allows for open hand playing. Resonance Resonance is an object’s natural vibration and is usually caused by sound waves. Sometimes a percussion instrument uses a resonator or resonation chamber to amplify resonance (like the resonators on a marimba or even the shell of a drum). Sometimes even the hands can be used as resonation chambers like when playing a cross-stick on snare drum, or when properly holding claves. Resonant Head This is the drum head that is not hit with the drumstick or hand. The resonant head is the opposite of the batter head. The resonant head reverberates the sound and pressure waves from the batter head, through the shell of the drum, and out to the audience. Resonators Resonators are used to amplify the natural resonance of a percussion instrument. See “Resonance” Rhythm A rhythm is a grouping of note values that create an interesting pattern or sound structure often over the course of a measure, phrase, or song. Some rhythms are spread apart and are sometimes referred to as ‘slow’ while other rhythms are very close together and are referred to as ‘fast’ even if the tempo is not changed. Sometimes it requires more chops to play fast rhythms. Ride Cymbal A ride cymbal is usually the largest cymbal found on a drum set with a big sound. This is called a ride because drummers will use it to ride the rhythm of the groove as an alternate to the hihat. Ride cymbals also have very distinct sounding bells and they can be very high pitched and piercing which cut through the mix. Rim The rim of a drum is what dispurses the tension evenly around the perimeter of the drum head. Tension rods are pulling down the edges of the rim which tightens the drum head against the shell. Rim Check See “Rim Click” Rim Click A rim click is simply tapping the rim of the drum with the implement rather than the drum head itself. This is most often notated using an ‘X’ on the sheet music. Rimshot A rimshot is played by simultaneously hitting the drum head and drum rim together with the implement. Rimshots are loud high pitched cutting sounds that add color and accentualizes a piece of music. Rimshots can be damaging to the ear drums. Rimshots should be used like a spice in cooking, too much spice and it will ruin the dish! Roll See “Drumroll” Roto Toms Roto toms are pitched toms typically mounted in groups of three. These tops consist of only a drum head and rim with no shell. Roto toms get their name due to the fact that you can change individual drum pitches by rotating the tom in a circle. Rudiments Rudiments are a set grouping or sub-grouping of notes and rhythms. The drumming community as a whole has defined 40 standard drum rudiments that are deemed essential. Other rudiments are created by drummers to create fun grooves or patterns but are not typically as well-known as the 40 essential rudiments. Hybrid rudiments are so-called because they combine two or more standard rudiments into a single grouping. Ruff See “Drag” Sabar Drum An African peg tuned drum played using a stick. Salsa A generic term for many different styles of Latin music. Samba A Latin and African style of music that is created with a variety of Latin instruments or on a drumset. Scrapes See “Sweeps” Scratch Track A scratch track is one of the first tracks to be recorded when tracking drums. Usually a scratch track is not intended to be in the final mix but is used as a framework for musicians to listen to while recording their individual takes. This allows the individual instruments to be recorded without each member of the group in the studio at all times. Secondary Stroke A secondary stroke or secondary note is the note following a primary stroke in an open roll or double-stroke roll. The secondary stroke utilizes the rebound of the drum head to initiate another downstroke in rapid succession. These are not bounced notes, but they utilize the bounce for the intermediate upstroke in order to play the quick second downstroke. The arm makes one stroking motion while the stick plays two strokes. Also referred to as diddles. Set Set is a command given by a drum major or staff member of a marching band. This command means that the members of the band are to stand still and at the ready position for the count-off to begin. Set is also considered a position of attention, ‘Set Position.’ Set Position See “Set” Shekere A gourd instrument that is hollowed out and covered in a net of beads that is then shaken with both hands. Shell The shell of a drum is usually made of wood or metal and is the attachment point for lugs and other hardware. Shells have a bearing edge cut on the rims which seat the drum heads. Shells also usually act as a resonator for the instrument’s sound to reverborate toward the resonant head or opening at the bottom. Shell Pack A shell pack is a set of drums that can be purchased all at once. Usually this refers to a rock pack or a jazz pack where the sizes of the drum shells are slightly different for each style of drumming. Shift A shift is usually an awkward motion where one hand has to move out of the way of the other in order to play a part. Shifts are found when playing melodic percussion such as timpani, marching tenor drums, and mallet percussion. Shot See “Rimshot” Shot Drum See “Gock” Shoulder The shoulder of a drumstick is where the taper meets the main shaft of the stick. Using the shoulder of the stick on a cymbal’s edge is typical for a crash while on a drum the shoulder is used on rimshots. The bow of a cymbal is sometimes referred to as the shoulder and is where the ride cymbal is most often played. Playing the shoulder of the drumstick on the shoulder of the ride cymbal gives a very distinct thick sound that has lots of energy. Shuffle A shuffle is a drum rhythm or pattern that is broken down into distinct sections or subdivisions of a measure. The groupings are usually comprised of triplets and is similar to a swing pattern. Shutoff A shutoff or snare shutoff is the device that controls the snare wires on a snare drum. A shutoff allows the snare wires to be connected or disconnected from the bottom drumhead which changes the sound of the drum greatly. Side Drum See “Snare Drum” Skin See “Drumhead” Sling See “Strap” Slit Drum See “Log Drum” Snares See “Snare Wires” Snare Basket See “Basket” Snare Buzz Snare buzzing is different than a buzz roll. For the roll see “Buzz Roll.” Buzzing is typically an undesirable sound caused by the snares of a snare drum when the bottom head resonates in frequency with another instrument’s sound in the room, sometimes even within the drumset itself (like a tom tom). To alleviate the buzzing you can either shut the snares off using the shutoff, or tune the bottom drum head differently to avoid any overlap in sonic ranges or frequencies around the drumset or external instrumentation. Snare Drum A snare drum is one of the most popular instruments in the drumming community. The drum is defined by having snare wires span the diameter of the bottom head which rub against it as it resonates causing its signature snare sound. Snare drums are the heart of the drumset. Snare Side Head A snare side head is the drum head that is on the bottom of a snare drum (the same side as the snares, thus snare side). This bottom head is the resonating head of the drum. Snare Strainer The snare strainer is group of components that mount the snare wires under the snare drum. Sometimes just called snares. These wires give the snare drum its signature sound. Snare Wires Snare wires are literally the wires that are mounted under the snare drum. Snare strands come in groupings of 12, 16, 20, and 24 most commonly, but some can be as large as 42. Wires can be made of metal or other synthetic materials. The wires have to be fairly durable because they are stretched fairly tightly across the diameter of the drum when engaged. Soprano Snare A soprano snare is similar to a piccolo snare but the diameter is also small. A soprano snare is typically 8 to 10 inches across and has a depth of 4 to 5 inches. These drums are usually mounted as auxiliary drums and are not a primary instrument on a drumset. Spang-a-Lang See “Swing” Spank A spank is a term often found in the marching tenor world where the bottom drum is played with a rimshot quickly followed by the opposite hand’s fingers deadening the sound. This is similar to a muffle, but the actions are independent, not simultaneous. Spin Spinning your sticks is similar to flipping them. Spinning the sticks is a visual. Splash Cymbal A splash cymbal is a small cymbal usually no bigger than 12″ wide. These cymbals are also known as effects cymbals and can add color to the overall mix with their short decay and cutting frequencies. Split Part Split parts are most common in marching bass drum sections where each individual plays just a portion of the full staff of music. This is also found in hand bells. Spurs Spurs are usually found on a drumset’s bass drum to prevent it from sliding away from the drummer. Spurs are sharp nail like feet that dig into the carpet or rug to lock the drum in place, but on hardwood floors these spikes can retract and allow for the rubber feet to make contact with the ground. Staccato Stroke A staccato stroke is the opposite of the legato stroke because it does not utilize the natural rebound of the drumstick off the drum head. A staccato stroke is one that is squeezed immediately after making contact with the drum head so that the drumstick stays as low to the drum head as possible after playing. This enables the efficient use of taps following accents in drum music. Staccato is a term that simply means short, or short sound. Staccato strokes are sometimes referred to as downstrokes. Stack Cymbals Stacked cymbals are usually referred to as two or more cymbals laying directly on top of one another and facing the same direction most of the time, unlike a hihat. Playing the cymbals this way creates a nice crunchy sound and when using a good combination of cymbals and size can be very pleasurable in the mix of the song. Stacking cymbals can also refer to mounting two or more cymbals on a single cymbal arm even if they don’t touch. Stasis I just made this one up (along with one other term) so other websites don’t steal or copy my glossary! This glossary is for PRFB.net and you may disregard this term! Stationary Percussion See “Pit” Stave Drum A stave drum, or stave shell, is a drum that is made using two or more woods cut into staves and alternated vertically (sometimes horizontally) across the body of the drum. Stave shells allow the drum to utilize two different wood properties combined, though they are mostly for looks. Steel Drum Steel drums are made from metal barrels and are hammered into multiple pitches per drum. These drums are played using special mallets and are popular in the Caribbean Islands. Stevens Grip This is a more popular term for a modified Musser four mallet grip. The Stevens grip allows for the percussionist to comfortably hold two mallets with each hand and reach larger intervals mainly on marimba. Stick Click See “Click” Stick Tape See “Tape” Sticking Stickings are indicators under percussion sheet music to tell the drummer what hand plays which notes. By default, if there is no sticking, something called natural sticking is used (see “natural sticking”). sticks See “Drum Sticks” Straight Cymbal Stand: A straight cymbal stand is a tripod that holds a cymbal directly over the base of the stand. These cymbal stands are less forgiving when placing the cymbals around a drumset but are usually cheaper than boom cymbal stands. Strap Straps are found on crash cymbals to hold each cymbal by hand without affecting the sound. A drum sling is sometimes referred to as a drum strap and is the traditional strap of fabric that encircles the drummer onto which the marching snare drum is attached with. Subdivide Subdivisions are ways of breaking a measure or beat down into more isolated sections, typically by count. However, in the marching activity subdividing means to say aloud vocally where the beat is, most of the time with the word “dut.” Dutting, as it’s sometimes called, is an audible that helps keep multiple people in time prior to the musical entrance by subdividing audible duts together before playing together. This can be most important from the back of the field as the entrances from the back need to be slightly anticipated which may feel unnatural to most musicians. Subkick A subkick is a bass drum microphone that is placed in tandem with a standard bass drum microphone. The subkick is designed to capture very low end frequencies that regular mics can’t detect. Surdo A Brazilian bass drum played with beaters. Sustain The sustain of a note is the amount of time it takes for it to fully decay after being produced. Some percussion instruments have long sustains such as piano or vibraphone, while others have very short decays like snare drums or claves. Sweeps Sweeps are most common in marching tenor drumming where a double-stroke roll is moved all around the set of drums. To be a true sweep the primary and secondary notes of each stroke need to hit different drums. This creates a fast sounding flowing motion around the tenors and is usually a feature of a tenor drum solo. Swing A very specific rhythm on the drumset using the hihat or the ride cymbal. The swing pattern is helpful to identify a style a music by the same name, often also referred to as jazz. Syncopation Syncopation, or syncopated rhythms are patterns in phrases that utilize short breaks between a series or individual notes, often emphasizing off beats to add interest. Syncopated rhythms tend to be good for music education when learning to count a measure or when learning natural sticking. Tabla A tabla is a set of two drums that’s very common in India. The set consists of a male drum that’s lower in pitch and a female drum that’s higher in pitch. Tabs See “Drum Tabs” Talking drum A talking drum is a West African drum that has a drum head on each side connected by cords. The drum is held under the arm and as you squeeze the cords with the arm the pitch of the drum goes up. This is played with a mallet that’s shaped like an L Tam-Tam See “Gong” Tambour This is a French word that translates to ‘drum.’ Tambourine A tambourine is a round instrument with jingles embedded in the frame. A standard tambourine has a drum head that can be played with the hand or fingers. See also “headless tambourine” Tango A tango is a slow dance style music originating in South America. The dance is typically complex and is very close with the dance partner. Tap Off See “Tap” Taps Taps are the lowest height a drummer plays. This term is especially popular in marching percussion. In drumset taps are similar to ghost notes. Tape See “Stick Tape” Tarabaki See “Goblet Drum” Tarabuka See “Goblet Drum” Teardrop A teardrop is a specific shape of drumstick bead. Temple Blocks This instrument is similar to a woodblock or gock block. Temple blocks often come in a set of five sizes and have hollowed out cavities that create a wide and open sound that cuts through. Tempo Tempo is the speed of a musical piece measured in beats per minute (BPM). Tenor Drums Tenor drums are a marching percussion instrument that consists of multiple toms tuned to different pitches. Some tenor sets have up to six drums while others can have only three or four. Tenor Brain Tenor brain is a way of thinking that usually comes with a slight eureka moment for the drummer. Tenor brain involves separating yourself for a typical ‘snare drum’ way of thinking and immersing yourself in the asymmetrical ‘arounds’ patterns and styles offered by the marching tenor drums. Tension Rods Tension rods are the screws that are turned with a drum key which changes the tension of a drum head. Tension rods are spread out evenly around the drum’s rim and screw into the lug that attached to the shell. Tenuto A tenuto line in drum music is a flat line above a note similar to an accent. Tenuto lines indicate that a legato stroke is to be used. Three Drum See “Drum Three” Threes This is a term used by marching bass drummers often when playing 16th-note-triplets. The term refers to playing a fast grouping of three single strokes. Throne See “Drum Throne” Throw Off See “Shutoff” Timbales This is a pair of drums that have just one drum head each and metal shells. These drums are common in Latin music and are played with thin sticks. Timbre The different sounds that are produced by different implements on the same playing surface, instrument, or head. Time Signature A time signature is the duration of a single measure based on the beats within it. A rudimentary way of thinking of time signatures is that the top number is the quantity of beats and the bottom number is the note value that gets the beat. In 3/4 there are three beats and the quarter-note gets the beat. Timpani Timpani are large metal drums that are usually found in a group of 4 or 5. Each drum can change pitch with a pedal and often times these drums change pitch throughout a song. Toaster A toaster is a percussion instrument played with forks as popularized by Heywood Banks. You may or may not be able to learn more here: ATwoSlotToaster.com Tom Tom Tom toms are drums that vary in size and can have batter and resonant heads or just batter heads. Toms are popular on drumset as well as concert settings and are even found in marching percussion called tenor drums. Tom Tom Stand A tom tom stand is a specialty drum stand that is made to mount multiple tom toms at once. Tongue Drum See “Log Drum” Top Snares Snare wires that are attached to the top drum head (the batter head) usually found on marching snare drums. Toss See “Flip” Toumperleki See “Goblet Drum” Traditional Grip Traditional grip most often refers to a marching snare drum grip where the left hand is inverted and does not match the right hand. This grip is the opposite of matched grip. The traditional grip was created when the marching drum used a sling and the left rim of the drum was raised at an angle creating the need to turn the hand over to play it. Today most snarelines have flat drums but still employ the traditional grip. Traditional grip is also a form of four-mallet grip and is a rudimentary way to hold two mallets in each hand (sometimes referred to as cross-grip). Trap Set A trap set is a small efficient drumset with a very minimal setup. Usually this kit consists of a bass drum, snare drum, a tom or two, and a cymbal. Triangle A triangle is a metal bar instrument bent into the shape of a triangle and played with a small metallic beater. A triangle is an effect instrument and has a sharp metal sound. Tri Toms See “Tenor Drums” Tubular Bells Tubular bells are tall metal tube-like instruments arranged like the keys of a piano but very tall. A pedal is pressed to let them ring and the tops of the bells are struck with a special hammer. Tumba The largest conga drum of the three conga drum sizes. Tumbadora See “Tumba” Tumbak See “Goblet Drum” Tuned Percussion See “Melodic Percussion” Tuning Tuning a drum involved tightening or loosening the tension rods by turning a key tool clockwise or counter-clockwise at each rod. Drums can be tuned to certain pitches or are sometimes just tuned to specific intervals within a set of drums. Twirl See “Spin” Two Drum See “Drum Two” Twos This is a seldom used term used by marching bass drummers often when playing 16th-notes. The term refers to playing a grouping of two single strokes. Tympani See “Timpani” Udu A udu is a clay drum that is made in Nigeria. The pot-like drum has a hole on its side and a hole at the top of the neck. The holes can be covered by the hands or open while being slapped or hit for some incredibly unique sounds. Up Stroke The up stroke is when the stick is returning upward from the drum head. Typically an upstroke can specifically refer to a stroke where the stick ends higher after a note than it started. Upbeat See “Off-Beat” V-drums See “Electronic Drums” Vibes See “Vibraphone” Vibraphone A vibraphone is a metallic mallet percussion instrument. The metal bars are dampened by a felt stopper until the pedal is pressed and the bars are free to ring out. Vibes are popular in jazz music as well as in marching band and concert band settings. Vibraslap A vibraslap is an effect instrument that when struck it creates a loud sustained metallic rattle. This is a hand percussion instrument but can also be mounted. Virgin Kick This term refers to a bass drum on a drum set that has no tom mounting hole in the top. Visual A visual is something that can be performed but does not make a percussive sound. Visuals can enhance a performance but if done too much can also detract from it. Percussion is a very visual instrument already, so adding visuals to a performance can be like adding spices to a meal, not to be overdone. Visuals can be things like flipping or spinning the drumsticks as seen on drumset, or they can be much more intricate as seen in marching band and drum corps. Western Grip See “American Grip” Wind Chimes Wind chimes are tiny metal bars that are hung from a wooden beam by strings. These are played by hand and are a popular percussion effect instrument. Wing Nuts Wing nuts are the part of the cymbal stand that tighten to clamp the cymbal down to the desired amount. Wing nuts are also used to mount toms and racking. Wood Block A wood block is a type of handheld or mounted percussion instrument that is hit with a drumstick to produce a cutting high-pitch sound. Wood Tip Wood tips on drumsticks are the natural beads that do not have an acrylic coating. These are the most common types of drumstick tips. World Drumming This style of drumming incorporates many different styles from around the world and allows the drummer to have the freedom to explore different rhythms and sound combinations with the patterns they play as well as the instruments they use. X-hat See “Dummy hat” Xylophone A xylophone is a wooden mallet instrument similar to a marimba but often higher in pitch. The bars of a xylophone are thinner than that of a marimba and many times are played with a harder mallet for a strong articulation. Zerbaghali See “Goblet Drum”
2202	dbpedia	0	60	https://dbpedia.org/page/Bass_drum	en	About: Bass drum	http://commons.wikimedia.org/wiki/Special:FilePath/Bass_drum.jpg?width=300	http://commons.wikimedia.org/wiki/Special:FilePath/Bass_drum.jpg?width=300	[ "https://dbpedia.org/statics/images/dbpedia_logo_land_120.png", "http://commons.wikimedia.org/wiki/Special:FilePath/Bass_drum.jpg?width=300", "https://dbpedia.org/statics/images/virt_power_no_border.png", "https://dbpedia.org/statics/images/LoDLogo.gif", "https://dbpedia.org/statics/images/sw-sparql-blue.png", "https://dbpedia.org/statics/images/od_80x15_red_green.png", "https://www.w3.org/Icons/valid-xhtml-rdfa" ]	[]	[]	[ "" ]	null	[]	null	The bass drum is a large drum that produces a note of low definite or indefinite pitch. The instrument is typically cylindrical, with the drum's diameter much greater than the drum's depth, with a struck head at both ends of the cylinder. The heads may be made of calfskin or plastic and there is normally a means of adjusting the tension either by threaded taps or by strings. Bass drums are built in a variety of sizes, but size does not dictate the volume produced by the drum. The pitch and the sound can vary much with different sizes, but the size is also chosen based on convenience and aesthetics. Bass drums are percussion instruments and vary in size and are used in several musical genres. Three major types of bass drums can be distinguished.			DBpedia	http://dbpedia.org/resource/Bass_drum	dbo:abstract الطبل الكبير أو طبل البيس (بالإنجليزية: bass drum)‏ يتألف من إطار خشبي دائري تشد عليه من الجهتين قطعة من الجلد كما يشد على إحدى الجهتين سلك أو وتر جلدي، ويتم حمل الطبلة الكبيرة بواسطة نطاق جلدي، ويستخدم الطبال لقرع الطبلة الكبيرة بيده اليمنى عصا ذات رأس كروي من اللباد أو الخشب لقرع الطبلة، أما بيده اليسرى فيقوم باستخدام عصا أو ذراع من الخيزران من دون رأس. أما في طقم الطبول فتضربها عصا رأسها مغطى باللباد تحركها دواسة يضغط عليها بالرجل اليمنى. والطبل هو آلة إيقاعية تستخدم في عدة فرق منها فرقة الجاز، والفرق العسكرية والأوركسترا. (ar) Basový buben (kopák neboli korčák) je součástí soupravy bicích nástrojů. Hraje se na něj ruční paličkou nebo pomocí ovládané nohou. Někteří bubeníci, zvláště metalových a rockových hudebních skupin, používají ve své soupravě dvojšlapku. Basový buben bývá někdy nazýván „velký buben“ nebo častěji „kopák“, případně „šlapák“. Někteří bubeníci si také vyřezávají do přední blány otvor pro zkrácení dozvuku bubnu či pro umístění mikrofonu. (cs) El bombo és un instrument musical de percussió, membranòfon, consistent en un tambor gros que es colpeja amb una , produint un so greu d'afinació indeterminada. L'instrument va evolucionar des de la seva introducció a Europa al segle xviii per mitjà de les bandes geníssers fins als diferents tipus de bombo existents en l'actualitat: el bombo de concert, utilitzat en bandes de música simfònica, orquestres i en música de cambra; el bombo de marxa, utilitzat comunament per diverses agrupacions musicals en desfilades o esdeveniments a l'aire lliure; i el , desenvolupat des de començaments de segle xx i present en la música de determinats gèneres, com rock, pop i jazz. Aquest darrer sol mesurar entre 18 i 22 polzades (angleses) de diàmetre, i es toca mitjançant un pedal especial que duu una maça. També s'utilitza a diverses formacions folklòriques americanes, amb diferents noms, com per exemple a Bolívia, o Bombo legüero a l'Argentina per a executar diverses músiques folklòriques com huayno, , chacarera, etc. La invenció de les pells de plàstic va constituir un pas determinant en l'evolució del bombo, ja que va ajudar a augmentar la durabilitat dels pegats respecte als anteriors models fabricats amb pell, per bé que aquestes són encara apreciades per oferir una major qualitat de so. El bombo posseeix un gran espectre dinàmic i poder sonor, i pot colpejar-se amb una gran varietat de maces i baquetes per aconseguir diversos matisos o efectes. A més, l'atac -o manera d'iniciar-se el so- i la ressonància -o vibració de l'instrument- influeixen en el seu timbre. Les tècniques d'execució inclouen diferents tipus de cop com el legato o staccato , igual que efectes com redobles, apagat, cops a l'uníson o notes de gràcia. Des dels seus orígens és a més habitual la seva ocupació al costat dels platerets. La seva funció principal, en qualsevol formació, és la de marcar els temps forts i de vegades fa de baix. També s'utilitza per produir efectes sonors especials com imitar trons, trets o similars. Tot i que és un instrument gran es pot tocar en marxa com succeeix a les bandes. A l'orquestra simfònica descansa sobre un cavallet. Com a integrant de la bateria i a les bandes, el bombo està col·locat de costat, amb la membrana en posició vertical. A l'orquestra està inclinat. En l'àmbit orquestral, el bombo va evolucionar cap a mesures notablement grans, fins a arribar a grandàries de més de dos metres de diàmetre, i se suspèn en un suport dissenyat per posicionar l'instrument lliurement. Per la seva banda, el bombo de marxa es va mantenir en mesures més petites, adequades per poder carregar amb l'instrument mentre és tocat, i es va beneficiar de la introducció del plàstic en els pegats per les seves millors condicions davant dels canvis atmosfèrics. D'altra banda, la invenció a principis de segle xx del pedal per colpejar el bombo va donar lloc al bombo de bateria, part fonamental de dit instrument. (ca) Die Große Trommel, auch Bass Drum (englisch; [ˈbeɪsˌdɹʌm]) oder Gran Cassa (italienisch), ist ein großes, hauptsächlich auf tiefen Tonfrequenzen klingendes Schlaginstrument, das in vielen Bauvarianten vorkommt. In einem Ständer befestigt findet man es als Bestandteil des stationären Schlagzeugs und im klassischen Orchester. Als portables Instrument wird es beim Marschieren verwendet. Durch den massiven Korpus und das große Fell ist das Instrument in der Lage, sehr tiefe Klänge zu produzieren. Der Felldurchmesser der Trommel beträgt 38 bis 80 Zentimeter, die Zargenhöhe 25 bis 55 Zentimeter. Der deutsche Begriff wird eher in der klassischen Musik, der Volks- und Marschmusik verwendet, der englische eher in Rockmusik und Jazz sowie der elektronischen Musik. Beim Schlagzeug wird hier häufig auch von der Kickdrum gesprochen. Die ab dem 14. Jahrhundert auf dem Balkan in Abbildungen erkennbare Zylindertrommel war in Europa selten, bis sie im 18. Jahrhundert durch die türkische Janitscharenmusik populär wurde. (de) Το μπάσο τύμπανο γνωστό και ως μπότα ή κασα, είναι μεμβρανόφωνο κρουστό όργανο με κυλινδρικό σώμα, που φέρει από μία τεντωμένη μεμβράνη σε κάθε άνοιγμα. Λέγεται και γκρανκάσα. Χρησιμοποιείται για την παραγωγή βαθύφωνων ήχων και αποτελεί βασικό μέλος των κρουστών της ορχήστρας (συνήθως με την ιταλική του ονομασία, grancassa), ενός συνόλου τυμπάνων, καθώς και στρατιωτικών συνόλων (μπάντα), ενώ τύμπανα με παρόμοιο μέγεθος και λειτουργικότητα δεν λείπουν από σύνολα αφρικάνικης, βαλκανικής, νοτιοαμερικάνικης και κουβανέζικης παραδοσιακής μουσικής. Ανάλογα με το μουσικό πλαίσιο, τοποθετείται στο πάτωμα (στην περίπτωση των τυμπάνων), στερεώνεται σε βάση (λ.χ., σε σύνολα ευρωπαϊκής κλασσικής μουσικής), ή, στην περίπτωση παρελάσεων, κρεμιέται στο σώμα του τυμπανιστή με τη βοήθεια ενός ιμάντα μεταφοράς. (el) The bass drum is a large drum that produces a note of low definite or indefinite pitch. The instrument is typically cylindrical, with the drum's diameter much greater than the drum's depth, with a struck head at both ends of the cylinder. The heads may be made of calfskin or plastic and there is normally a means of adjusting the tension either by threaded taps or by strings. Bass drums are built in a variety of sizes, but size does not dictate the volume produced by the drum. The pitch and the sound can vary much with different sizes, but the size is also chosen based on convenience and aesthetics. Bass drums are percussion instruments and vary in size and are used in several musical genres. Three major types of bass drums can be distinguished. * The type usually seen or heard in orchestral, ensemble or concert band music is the orchestral, or concert bass drum (in Italian: gran cassa, gran tamburo). It is the largest drum of the orchestra. * The kick drum, a term for a bass drum associated with a drum kit, which is much smaller than the above-mentioned bass drum. It is struck with a beater attached to a pedal, usually seen on drum kits. * The pitched bass drum, generally used in marching bands and drum corps, is tuned to a specific pitch and is usually played in a set of three to six drums. In many forms of music, the bass drum is used to mark or keep time. The bass drum makes a low, boom sound when the mallet hits the drumhead. In marches, it is used to project tempo (marching bands historically march to the beat of the bass). A basic beat for rock and roll has the bass drum played on the first and third beats of bars in common time, with the snare drum on the second and fourth beats, called backbeats. In jazz, the bass drum can vary from almost entirely being a timekeeping medium to being a melodic voice in conjunction with the other parts of the set. (en) Tamburego aŭ bastamburo estas frapinstrumento uzata por la generado de malaltaj sonoj kaj ekzistas multvarie. Ĝi eniris dum la 18-a jarcento trans turka janiĉara muziko en Eŭropon. (eo) Dunbala perkusiozko musika tresna bat da, menbranofonoen azpifamiliakoa, danborra, danbolina, atabala eta tinbala bezala. Tinbala bezala, feltrozko muturra duen mailu batekin jotzen da. (eu) El bombo es un instrumento musical de percusión membranófono, de timbre muy grave aunque de tono indeterminado. Debido a su sonido grave, se usa habitualmente para marcar y mantener el pulso en diversos estilos de música. El instrumento evolucionó desde su introducción en Europa en el siglo XVIII por medio de las bandas jenízaras hasta los distintos tipos de bombo existentes en la actualidad: el bombo de concierto, utilizado en bandas de música sinfónica, orquestas y en música de cámara; el bombo de marcha, utilizado comúnmente por diversas agrupaciones musicales en desfiles o eventos al aire libre; y el bombo de batería, desarrollado desde comienzos del siglo XX y presente en la música de determinados géneros, como rock, pop y jazz. La invención de los parches de plástico constituyó un paso determinante en la evolución del bombo, pues ayudó a aumentar la durabilidad de los parches respecto a los anteriores modelos fabricados con piel, aunque estos son todavía apreciados por ofrecer una mayor calidad de sonido. El bombo posee un gran espectro dinámico y poder sonoro, y puede golpearse con una gran variedad de mazas y baquetas para lograr diversos matices o efectos. Además, el ataque —o modo de iniciarse el sonido— y la resonancia —o vibración del instrumento— influyen en su timbre. Las técnicas de ejecución incluyen diferentes tipos de golpe como el legato o stacatto, al igual que efectos como redobles, apagado, golpeos al unísono o notas de gracia. Desde sus orígenes es además habitual su empleo junto a los platillos. En el ámbito orquestal, el bombo evolucionó hacia medidas notablemente mayores, hasta llegar a tamaños de más de dos metros de diámetro, y se suspende en un soporte diseñado para posicionar el instrumento libremente. Por su parte, el bombo de marcha se mantuvo en medidas más pequeñas, adecuadas para poder cargar con el instrumento mientras es tocado, y se benefició de la introducción del plástico en los parches por sus mejores condiciones frente a cambios atmosféricos. Por otro lado, la invención a principios del siglo XX del pedal para golpear el bombo dio lugar al bombo de batería, parte fundamental de dicho instrumento. (es) La grosse caisse (aussi appelée tonnant) est un instrument de percussion membranophone de diamètre large. Comme la caisse claire, c'est un des éléments principaux de la batterie. Elle est également utilisée indépendamment dans les fanfares et dans les orchestres classiques (depuis la musique baroque) et les bagad. Son origine semble remonter aux premiers âges de l'humanité. (fr) Drum bass merupakan instrumen drum dalam keluarga instrumen musik perkusi dengan diameter berukuran besar untuk menghasilkan suara dalam intonasi nada rendah (bass). Terdapat tiga klasifikasi umum atas drum bass: drum bas konser, kick drum, dan pitched bass drum. Jenis yang umum dilihat atau didengar dalam penampilan orkestra atau concert band adalah drum bass konser. 'Kick' drum merupakan drum bass pada drumkit yang dilengkapi pedal. Picthed bass drum atau disebut pula marching bass drum umumnya digunakan dalam grup marching band, biasanya terdiri dalam beberapa ukuran dengan intonasi nada tertentu yang dapat diatur. Dalam permainan marching band, beberapa pitched drum bass (3 sampai dengan 5 buah drum bass) dalam ukuran berbeda digunakan bersama-sama. (in) バスドラム（Bass Drum, ベースドラム）は、西洋音楽に使われる打楽器である。大太鼓、グランカッサなども同義。筒状の胴の両端に膜を張った両面太鼓であり、膜鳴楽器に分類される。一定のピッチを判別しがたい、低い音が出る。民俗音楽やクラシック音楽での使用が早く、後にソウル、ジャズ、ファンク、ロックなどのポピュラー音楽でも使用された。 (ja) 큰북(大鼓, bass drum)의 기본적인 구조는 작은북 또는 테너드럼과 공통한다. 원통형의 몸통 양쪽에 가죽막을 씌운다. 가죽막은 먼저 목제인 가죽틀에 씌워 그들을 몸통의 양쪽 면에 대고 그 위에서 금속제의 누름틀로 누른다. 양쪽 면의 누름틀은 죔나사 또는 죔줄로 몸체에 고정시키고 가죽면은 일정한 장력(張力)을 유지하기 위하여 죄어진다. 오늘날 오케스트라 등에서 쓰이는 것은 대부분이 죔나사식이다. 몸체는 목제(木製)인 것과 알루미늄이나 동(銅) 등의 금속제(金屬製)도 있으나 그 크기는 정하여져 있지 않고, 가죽면의 직경은 소형인 것이 50cm에서 대형인 것은 80cm 정도까지 여러 가지이다. 몸통의 길이는 일반적으로 가죽면의 반지름 이하이다. 큰북의 북채는 특수한 것을 제외하고는 펠트제인 머리가 달린 것이 보통이며 그 전 길이는 25cm에서 30cm 정도의 것이 쓰인다. 북의 종류들은 팀파니만을 제외하고는 일정한 음높이를 가지지 않으나 큰북은 낮고 깊은 음을 낸다. 북 자체의 역사는 극히 오래이나 현재 유럽 음악에 관련된 북의 역사는 대략 12세기경부터 시작하여 18세기 이후 주로 터키의 영향을 받은 군악대의 발전과 함께 보급하였다. 큰북이 오케스트라에 등장한 것은 다른 타악기에 비하여 결코 빠르다고는 할 수 없으며, 팀파니가 보통 쓰이는 고전파에서도 큰북은 특수한 경우를 제외하고는 쓰이지 않고 있다. 오케스트라에서는 보통 연주자는 서서 오른손으로 한 개의 북채를 들고 연주하며 악기는 가죽면을 수직으로 세운 형으로 스탠드 위에 놓인다. 기본적인 타법(打法)으론 가죽면의 중심을 비스듬히 위쪽에서 만곡선(灣曲線)을 그리듯이 내리치며 센박부(強拍部)에서는 아래쪽에서 위쪽으로 올려친다. 기본적인 주법 외에 가장 잘 쓰이는 것은 트레몰로(롤치기)이다. 이 때에는 북채의 중앙부를 쥐고 손목의 탄력을 이용하여 북채의 양끝으로 때려 소리를 낸다. 그리하여 특별한 탐폰(tampon)이라고 하는 양끝에 머리가 달린 북채를 쓰기도 한다. 또 양손으로 2개의 북채를 써서 양쪽면을 때려 소리를 내기도 한다. 행진곡 등에서 어떤 리듬에 강박을 써야 할 때 심벌즈와 함께 쓰는 경우가 많으며 그리하여 취주악에서는 큰북 위에 심벌즈를 붙이고 한 사람의 연주자가 이 두 가지를 연주하는 경우가 많다. (ko) Een bassdrum, basdrum, kick drum, bastrommel of grote trom is een belangrijke trommel in het drumstel. Op deze trom wordt in de popmuziek de pulse van de groove gespeeld. De bassdrum wordt door rechtshandig spelende drummers met de rechtervoet bespeeld, via een basspedaal. Er zijn ook drummers die met een dubbele bass spelen of met twee pedalen op dezelfde bassdrum. Dit is van oudsher in trek bij stevige muziek, bijvoorbeeld bij Metallica. Ook drie tot vier bassdrums zijn mogelijk, zoals bij Van Halen. De bassdrum wordt zo aangeduid omdat dit het laagst gestemde instrument is van trommelfamilie. Vergelijk de tenortrom die in marching bands wordt gebruikt. De soms aangetroffen schrijfwijze base drum (wat ongeveer gelijk klinkt aan bass drum) is ingegeven door de onjuiste veronderstelling dat het een functionele benaming zou zijn: deze trommel zou het basistempo hebben aangegeven. Het deel van het pedaal dat het vel raakt bij het drummen heet de klopper. Deze is meestal bekleed met een viltachtig materiaal. Er zijn echter ook kloppers van massief hout of van plastic, wat voor meer attack zorgt maar schadelijk kan zijn voor het vel. Aan de zijkant van de bassdrum zitten pootjes die schuin naar voren staan, en die voor stabiliteit zorgen zodat de bassdrum niet wegloopt richting publiek. Ook dienen deze pootjes om de trommel vrij te laten hangen van de vloer, om resonantieproblemen te voorkomen. Er zijn in de popmuziek bijna geen drum-grooves denkbaar zonder bassdrum. Een groove is het gehele ritme dat op het drumstel gespeeld wordt en bestaat altijd uit een constante tik van hihat of cimbalen, ondersteund door de bassdrum en de snarentrom. Meestal speelt men op elke 4 slagen van de hihat één slag met de bassdrum. Bij veel ritmes (bijvoorbeeld in rockmuziek) speelt de bassdrum een slag op de eerste tel van elke maat. Een alternatief is bij de eerste maat één slag op de eerste tel met de bassdrum te spelen, en bij de tweede maat twee slagen op de eerste twee tellen (van een vierkwartsmaat). Typerend voor reggae is juist dat het accent van de bassdrum geheel op de backbeat wordt gelegd. Bij de one drop is er enige discussie of deze op de tweede en vierde tel valt, of in double-time op de derde tel valt. Een bassdrum heeft meestal een diameter van 22 inch (56 cm). Tegenwoordig wordt ook veel 20 inch (51 cm) gebruikt. Jazzdrummers gebruiken vaak een 18 inch (46 cm) bassdrum, omdat dat geluid beter bij de muziek past. Ook grotere diameters worden gebruikt, 24 inch (61 cm) en 26 inch (66 cm), bijvoorbeeld door wijlen John Bonham van Led Zeppelin. Een bassdrum is vaak van hout gemaakt, met een voor- en een achtervel. Dit laatste wordt het resonantievel genoemd en zit aan de kant van het publiek. Vaak zit er een gat in, waar een microfoon in gestoken kan worden voor uitversterking, of materiaal (vaak stukken stof) dat dempend werkt. Op het resonantievel staat vaak het merk van het drumstel, en ook soms de naam van de band. Ook bassdrums van plexiglas komen voor (Ludwig, Majestic, Remo, Sonor). Meestal zijn boven op de bassdrum de hangtoms (kleinere trommels) bevestigd. Ook wordt de bassdrum bij korpsen gebruikt. Bij de Amerikaanse stijlkorpsen zijn er vaak vijf bassdrums met ieder verschillende grootten en toonhoogten. Samen spelen zij de, normaal over een persoon verdeelde partijen, met zijn allen. Een goed voorbeeld zijn drumcorpsen. (nl) Bęben wielki (wł. gran cassa, skrót: g.c.), w muzyce rozrywkowej znany też jako bęben basowy, bęben taktowy, taktownik lub centrala. Charakteryzuje się mocną konstrukcją i niskim brzmieniem o nieokreślonej wysokości. Budowany jest w dwóch wielkościach: * większy, o średnicy 70-90 cm i wysokości walca 35-40 cm, używany w orkiestrach symfonicznych; * mniejszy o średnicy 35-40 cm i tej samej wysokości walca, używany w zespołach rozrywkowych. W muzyce rozrywkowej jest to największy bęben w całym zestawie perkusyjnym, Wraz z werblem daje podstawę rytmu. (pl) La grancassa, in inglese bass drum o anche kick drum (poiché, prima dell'invenzione del pedale per cassa, la grancassa veniva usata col piede e il termine inglese per calcio è kick), è il tamburo di dimensioni maggiori di un'orchestra sinfonica, di una banda musicale o di una batteria.In quest'ultimo caso viene generalmente chiamata soltanto cassa. Questo strumento appartiene alla famiglia dei tamburi, con un suono ad altezza indeterminata. (it) Большо́й бараба́н — самый низкий по звучанию барабан, использующийся в составе ударной установки и в симфоническом оркестре. (ru) Um bumbo (português brasileiro) ou bombo (português europeu) (em inglês, bass drum, kick, ou kick drum), é um tambor cilíndrico de grande dimensão, de som grave e seco. Numa bateria, fica no centro, ao chão. É percutido por uma maceta acionada através de um pedal, usualmente comandado pelo pé direito do baterista (no caso de bateristas destros), mas também pode contar com pedais duplos, para ambos os pés. O bombo é como o coração da bateria, é ele quem dá as batidas mais graves e constantes que ajudam na formação do ritmo. O bombo utilizado em orquestras, conhecido como bombo sinfônico ou gran cassa possui dimensões bem maiores, e fica normalmente apoiado sobre um cavalete ou carrinho, com a membrana em ângulo de aproximadamente 45º com o piso. É percutido por macetas acionadas com a mão. Em desfiles ou em fanfarras, o bumbo é transportado à frente do peito, pendurado nos ombros por cintas de couro (talabarte), e normalmente é percutido em ambas as membranas, por duas macetas ou baquetas, uma em cada mão. Pode-se executar malabarismos com as macetas com cordas, que inclui bater a maceta do braço esquerdo na membrana direita do instrumento, passando o braço por cima do bumbo. Também pode-se executar esse malabarismo com ambas as mãos. O praticante deve ter cuidado, pois as macetas podem se embolar no ar ou a mão pode bater nos parafusos ou garras do instrumento. (pt) Bastrumma (även catuba, tamburone, cassa, gran tamburo, it. gran cassa). Instrumentet kom in i den västerländska konstmusiken från den turkiska militära janitsjarmusiken. Det är en stor trumma med 80 cm diameter eller mer och cirka 50 cm djup, med skinn på bägge sidor. Den hänger på en ställning, slås an med filtklädda handklubbor och är det instrument i en orkester som ger den allra lägsta frekvensen. I vissa klassiska verk används även en så kallad kvast (ty. Rute), som består av tunna hopsnörda pinnar. Ett klassiskt verk med framträdande inslag av bastrumma är Våroffer av Igor Stravinskij och operakompositörerna Rossini, Verdi och Puccini använde ofta bastrumma särskilt till att förstärka de mer dramatiska ögonblicken i sina operor. Bastrumman är också ett mycket viktigt instrument i marschmusik, fast då är den oftast mindre än gran cassa och bärs på magen. I den uppsättning trummor och cymbaler som ingår i det batteri eller trumset, som används i jazz- och populärmusik är bastrumman den största och lägst stämda. Vardagligt ofta kallad baskagge. Normalt är den gjord för ett skinn på varje sida, men det är inte ovanligt att resonansskinnet är avtaget eller har ett stort hål utskuret för att man ska kunna stoppa in lagom mängd dämpmaterial i trumman och kunna placera en mikrofon nära anslagspunkten för att få ett ljud med mycket attack. Bastrumman spelas oftast med en pedal, kopplad till en klubba, men det förekommer även att man använder två pedaler (så kallad dubbelpedal) kopplade till var sin klubba, främst vid spelning av metal. (sv) 大鼓 (英語：Bass Drum, 義大利語：Gran Cassa, 德語：Große Trommel)，泛指體積較大的雙皮鼓。在西洋打擊樂器中較常使用。兩邊鼓面原來用動物皮革製作，近年已全改用塑膠或纖維鼓面。鼓桶原本用木製作，現在和定音鼓、小鼓一樣，都改用較輕的合成纖維材料製造。現時所指的大鼓，主要可分為三種： * 用於管絃樂團中，英文稱為“Concert Bass Drum”，直徑32英吋至40英吋，以36英吋較常使用；深度約16英吋至20英吋，聲音沉厚，而餘音較持久。通常利用鼓棍敲打演奏，並以坐地式或懸掛式的的鼓架承托鼓身。 * 多用於爵士樂，並且配以踏板控制和發聲，不使用鼓棍。直徑由14英吋至22英吋，深度12吋至18吋。由於爵士大鼓直徑和深度相約，而直徑又比一般樂隊用大鼓為短，聲音較尖而實，餘音較短；由於鼓面由腳踩踏板的敲打所造成，每一次敲打的位置近乎相同，鼓聲較為統一。 * 多用於軍樂隊或步操隊，構造和管絃樂團中所用的大鼓相約，但體積較小，直徑16英吋至32英吋，深度12英吋至18英吋。在這類樂隊中，數量可以由只需1個至最多4個不同大小的鼓，由於鼓手需一邊跟著隊伍前進一邊打鼓，大鼓不可能固定在地上或安裝在活動滑輪架上再推動，所以大鼓手會穿上一種特製的鼓架衣，可以把大鼓置於前方的承托架上。 (zh) Бас-барабан (також великий барабан) — найбільший з ударних інструментів низької теситури, що являє собою великий металевий або дерев'яний циліндр, затягнутий з обох сторін шкірою. Походить бас-барабан з Туреччини, звідки він був завезений в Європу в середині XVI століття. Пізніше великі барабани були забуті, а в XVIII столітті знов завезені разом з військами Оттоманської імперії (звідси також назва — «турецький барабан»). Зараз існує три різновиди бас-барабанів. (uk) rdfs:comment الطبل الكبير أو طبل البيس (بالإنجليزية: bass drum)‏ يتألف من إطار خشبي دائري تشد عليه من الجهتين قطعة من الجلد كما يشد على إحدى الجهتين سلك أو وتر جلدي، ويتم حمل الطبلة الكبيرة بواسطة نطاق جلدي، ويستخدم الطبال لقرع الطبلة الكبيرة بيده اليمنى عصا ذات رأس كروي من اللباد أو الخشب لقرع الطبلة، أما بيده اليسرى فيقوم باستخدام عصا أو ذراع من الخيزران من دون رأس. أما في طقم الطبول فتضربها عصا رأسها مغطى باللباد تحركها دواسة يضغط عليها بالرجل اليمنى. والطبل هو آلة إيقاعية تستخدم في عدة فرق منها فرقة الجاز، والفرق العسكرية والأوركسترا. (ar) Basový buben (kopák neboli korčák) je součástí soupravy bicích nástrojů. Hraje se na něj ruční paličkou nebo pomocí ovládané nohou. Někteří bubeníci, zvláště metalových a rockových hudebních skupin, používají ve své soupravě dvojšlapku. Basový buben bývá někdy nazýván „velký buben“ nebo častěji „kopák“, případně „šlapák“. Někteří bubeníci si také vyřezávají do přední blány otvor pro zkrácení dozvuku bubnu či pro umístění mikrofonu. (cs) Tamburego aŭ bastamburo estas frapinstrumento uzata por la generado de malaltaj sonoj kaj ekzistas multvarie. Ĝi eniris dum la 18-a jarcento trans turka janiĉara muziko en Eŭropon. (eo) Dunbala perkusiozko musika tresna bat da, menbranofonoen azpifamiliakoa, danborra, danbolina, atabala eta tinbala bezala. Tinbala bezala, feltrozko muturra duen mailu batekin jotzen da. (eu) La grosse caisse (aussi appelée tonnant) est un instrument de percussion membranophone de diamètre large. Comme la caisse claire, c'est un des éléments principaux de la batterie. Elle est également utilisée indépendamment dans les fanfares et dans les orchestres classiques (depuis la musique baroque) et les bagad. Son origine semble remonter aux premiers âges de l'humanité. (fr) Drum bass merupakan instrumen drum dalam keluarga instrumen musik perkusi dengan diameter berukuran besar untuk menghasilkan suara dalam intonasi nada rendah (bass). Terdapat tiga klasifikasi umum atas drum bass: drum bas konser, kick drum, dan pitched bass drum. Jenis yang umum dilihat atau didengar dalam penampilan orkestra atau concert band adalah drum bass konser. 'Kick' drum merupakan drum bass pada drumkit yang dilengkapi pedal. Picthed bass drum atau disebut pula marching bass drum umumnya digunakan dalam grup marching band, biasanya terdiri dalam beberapa ukuran dengan intonasi nada tertentu yang dapat diatur. Dalam permainan marching band, beberapa pitched drum bass (3 sampai dengan 5 buah drum bass) dalam ukuran berbeda digunakan bersama-sama. (in) バスドラム（Bass Drum, ベースドラム）は、西洋音楽に使われる打楽器である。大太鼓、グランカッサなども同義。筒状の胴の両端に膜を張った両面太鼓であり、膜鳴楽器に分類される。一定のピッチを判別しがたい、低い音が出る。民俗音楽やクラシック音楽での使用が早く、後にソウル、ジャズ、ファンク、ロックなどのポピュラー音楽でも使用された。 (ja) Bęben wielki (wł. gran cassa, skrót: g.c.), w muzyce rozrywkowej znany też jako bęben basowy, bęben taktowy, taktownik lub centrala. Charakteryzuje się mocną konstrukcją i niskim brzmieniem o nieokreślonej wysokości. Budowany jest w dwóch wielkościach: * większy, o średnicy 70-90 cm i wysokości walca 35-40 cm, używany w orkiestrach symfonicznych; * mniejszy o średnicy 35-40 cm i tej samej wysokości walca, używany w zespołach rozrywkowych. W muzyce rozrywkowej jest to największy bęben w całym zestawie perkusyjnym, Wraz z werblem daje podstawę rytmu. (pl) La grancassa, in inglese bass drum o anche kick drum (poiché, prima dell'invenzione del pedale per cassa, la grancassa veniva usata col piede e il termine inglese per calcio è kick), è il tamburo di dimensioni maggiori di un'orchestra sinfonica, di una banda musicale o di una batteria.In quest'ultimo caso viene generalmente chiamata soltanto cassa. Questo strumento appartiene alla famiglia dei tamburi, con un suono ad altezza indeterminata. (it) Большо́й бараба́н — самый низкий по звучанию барабан, использующийся в составе ударной установки и в симфоническом оркестре. (ru) 大鼓 (英語：Bass Drum, 義大利語：Gran Cassa, 德語：Große Trommel)，泛指體積較大的雙皮鼓。在西洋打擊樂器中較常使用。兩邊鼓面原來用動物皮革製作，近年已全改用塑膠或纖維鼓面。鼓桶原本用木製作，現在和定音鼓、小鼓一樣，都改用較輕的合成纖維材料製造。現時所指的大鼓，主要可分為三種： * 用於管絃樂團中，英文稱為“Concert Bass Drum”，直徑32英吋至40英吋，以36英吋較常使用；深度約16英吋至20英吋，聲音沉厚，而餘音較持久。通常利用鼓棍敲打演奏，並以坐地式或懸掛式的的鼓架承托鼓身。 * 多用於爵士樂，並且配以踏板控制和發聲，不使用鼓棍。直徑由14英吋至22英吋，深度12吋至18吋。由於爵士大鼓直徑和深度相約，而直徑又比一般樂隊用大鼓為短，聲音較尖而實，餘音較短；由於鼓面由腳踩踏板的敲打所造成，每一次敲打的位置近乎相同，鼓聲較為統一。 * 多用於軍樂隊或步操隊，構造和管絃樂團中所用的大鼓相約，但體積較小，直徑16英吋至32英吋，深度12英吋至18英吋。在這類樂隊中，數量可以由只需1個至最多4個不同大小的鼓，由於鼓手需一邊跟著隊伍前進一邊打鼓，大鼓不可能固定在地上或安裝在活動滑輪架上再推動，所以大鼓手會穿上一種特製的鼓架衣，可以把大鼓置於前方的承托架上。 (zh) Бас-барабан (також великий барабан) — найбільший з ударних інструментів низької теситури, що являє собою великий металевий або дерев'яний циліндр, затягнутий з обох сторін шкірою. Походить бас-барабан з Туреччини, звідки він був завезений в Європу в середині XVI століття. Пізніше великі барабани були забуті, а в XVIII столітті знов завезені разом з військами Оттоманської імперії (звідси також назва — «турецький барабан»). Зараз існує три різновиди бас-барабанів. (uk) El bombo és un instrument musical de percussió, membranòfon, consistent en un tambor gros que es colpeja amb una , produint un so greu d'afinació indeterminada. L'instrument va evolucionar des de la seva introducció a Europa al segle xviii per mitjà de les bandes geníssers fins als diferents tipus de bombo existents en l'actualitat: el bombo de concert, utilitzat en bandes de música simfònica, orquestres i en música de cambra; el bombo de marxa, utilitzat comunament per diverses agrupacions musicals en desfilades o esdeveniments a l'aire lliure; i el , desenvolupat des de començaments de segle xx i present en la música de determinats gèneres, com rock, pop i jazz. Aquest darrer sol mesurar entre 18 i 22 polzades (angleses) de diàmetre, i es toca mitjançant un pedal especial que duu una maç (ca) Το μπάσο τύμπανο γνωστό και ως μπότα ή κασα, είναι μεμβρανόφωνο κρουστό όργανο με κυλινδρικό σώμα, που φέρει από μία τεντωμένη μεμβράνη σε κάθε άνοιγμα. Λέγεται και γκρανκάσα. Χρησιμοποιείται για την παραγωγή βαθύφωνων ήχων και αποτελεί βασικό μέλος των κρουστών της ορχήστρας (συνήθως με την ιταλική του ονομασία, grancassa), ενός συνόλου τυμπάνων, καθώς και στρατιωτικών συνόλων (μπάντα), ενώ τύμπανα με παρόμοιο μέγεθος και λειτουργικότητα δεν λείπουν από σύνολα αφρικάνικης, βαλκανικής, νοτιοαμερικάνικης και κουβανέζικης παραδοσιακής μουσικής. Ανάλογα με το μουσικό πλαίσιο, τοποθετείται στο πάτωμα (στην περίπτωση των τυμπάνων), στερεώνεται σε βάση (λ.χ., σε σύνολα ευρωπαϊκής κλασσικής μουσικής), ή, στην περίπτωση παρελάσεων, κρεμιέται στο σώμα του τυμπανιστή με τη βοήθεια ενός ιμάντα μεταφο (el) Die Große Trommel, auch Bass Drum (englisch; [ˈbeɪsˌdɹʌm]) oder Gran Cassa (italienisch), ist ein großes, hauptsächlich auf tiefen Tonfrequenzen klingendes Schlaginstrument, das in vielen Bauvarianten vorkommt. In einem Ständer befestigt findet man es als Bestandteil des stationären Schlagzeugs und im klassischen Orchester. Als portables Instrument wird es beim Marschieren verwendet. Durch den massiven Korpus und das große Fell ist das Instrument in der Lage, sehr tiefe Klänge zu produzieren. Der Felldurchmesser der Trommel beträgt 38 bis 80 Zentimeter, die Zargenhöhe 25 bis 55 Zentimeter. (de) The bass drum is a large drum that produces a note of low definite or indefinite pitch. The instrument is typically cylindrical, with the drum's diameter much greater than the drum's depth, with a struck head at both ends of the cylinder. The heads may be made of calfskin or plastic and there is normally a means of adjusting the tension either by threaded taps or by strings. Bass drums are built in a variety of sizes, but size does not dictate the volume produced by the drum. The pitch and the sound can vary much with different sizes, but the size is also chosen based on convenience and aesthetics. Bass drums are percussion instruments and vary in size and are used in several musical genres. Three major types of bass drums can be distinguished. (en) El bombo es un instrumento musical de percusión membranófono, de timbre muy grave aunque de tono indeterminado. Debido a su sonido grave, se usa habitualmente para marcar y mantener el pulso en diversos estilos de música. (es) 큰북(大鼓, bass drum)의 기본적인 구조는 작은북 또는 테너드럼과 공통한다. 원통형의 몸통 양쪽에 가죽막을 씌운다. 가죽막은 먼저 목제인 가죽틀에 씌워 그들을 몸통의 양쪽 면에 대고 그 위에서 금속제의 누름틀로 누른다. 양쪽 면의 누름틀은 죔나사 또는 죔줄로 몸체에 고정시키고 가죽면은 일정한 장력(張力)을 유지하기 위하여 죄어진다. 오늘날 오케스트라 등에서 쓰이는 것은 대부분이 죔나사식이다. 몸체는 목제(木製)인 것과 알루미늄이나 동(銅) 등의 금속제(金屬製)도 있으나 그 크기는 정하여져 있지 않고, 가죽면의 직경은 소형인 것이 50cm에서 대형인 것은 80cm 정도까지 여러 가지이다. 몸통의 길이는 일반적으로 가죽면의 반지름 이하이다. 큰북의 북채는 특수한 것을 제외하고는 펠트제인 머리가 달린 것이 보통이며 그 전 길이는 25cm에서 30cm 정도의 것이 쓰인다. 북의 종류들은 팀파니만을 제외하고는 일정한 음높이를 가지지 않으나 큰북은 낮고 깊은 음을 낸다. 북 자체의 역사는 극히 오래이나 현재 유럽 음악에 관련된 북의 역사는 대략 12세기경부터 시작하여 18세기 이후 주로 터키의 영향을 받은 군악대의 발전과 함께 보급하였다. 큰북이 오케스트라에 등장한 것은 다른 타악기에 비하여 결코 빠르다고는 할 수 없으며, 팀파니가 보통 쓰이는 고전파에서도 큰북은 특수한 경우를 제외하고는 쓰이지 않고 있다. 오케스트라에서는 보통 연주자는 서서 오른손으로 한 개의 북채를 들고 연주하며 악기는 가죽면을 수직으로 세운 형으로 스탠드 위에 놓인다. 기본적인 타법(打法)으론 가죽면의 중심을 비스듬히 위쪽에서 만곡선(灣曲線 (ko) Een bassdrum, basdrum, kick drum, bastrommel of grote trom is een belangrijke trommel in het drumstel. Op deze trom wordt in de popmuziek de pulse van de groove gespeeld. De bassdrum wordt door rechtshandig spelende drummers met de rechtervoet bespeeld, via een basspedaal. Er zijn ook drummers die met een dubbele bass spelen of met twee pedalen op dezelfde bassdrum. Dit is van oudsher in trek bij stevige muziek, bijvoorbeeld bij Metallica. Ook drie tot vier bassdrums zijn mogelijk, zoals bij Van Halen. Meestal zijn boven op de bassdrum de hangtoms (kleinere trommels) bevestigd. (nl) Um bumbo (português brasileiro) ou bombo (português europeu) (em inglês, bass drum, kick, ou kick drum), é um tambor cilíndrico de grande dimensão, de som grave e seco. Numa bateria, fica no centro, ao chão. É percutido por uma maceta acionada através de um pedal, usualmente comandado pelo pé direito do baterista (no caso de bateristas destros), mas também pode contar com pedais duplos, para ambos os pés. O bombo é como o coração da bateria, é ele quem dá as batidas mais graves e constantes que ajudam na formação do ritmo. (pt) Bastrumma (även catuba, tamburone, cassa, gran tamburo, it. gran cassa). Instrumentet kom in i den västerländska konstmusiken från den turkiska militära janitsjarmusiken. Det är en stor trumma med 80 cm diameter eller mer och cirka 50 cm djup, med skinn på bägge sidor. Den hänger på en ställning, slås an med filtklädda handklubbor och är det instrument i en orkester som ger den allra lägsta frekvensen. I vissa klassiska verk används även en så kallad kvast (ty. Rute), som består av tunna hopsnörda pinnar. (sv)
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"https://www.youtube.com/embed/DAcVzdgBQEU", "https://www.youtube.com/embed/EhHWPEXEWSs?feature=oembed", "https://www.drumeo.com/weeklyemail", "https://www.youtube.com/embed/VKWobi2Fkrg", "https://open.spotify.com/embed/playlist/17Mr9JRMeLsdl27ZyU7kVa", "https://www.drumeo.com/weeklyemail" ]	[]	[ "" ]	null	[ "Brandon Toews" ]	2019-09-29T12:04:57-07:00	Think of this guide as 'Punk 101' for any drummer who's new to the genre.	en	https://www.drumeo.com/b…-icon.png?v=2017	Free Online Drum Magazine \| The Drumeo Beat	https://www.drumeo.com/beat/a-drummers-guide-to-punk/	This is an excerpt from The Drummer’s Toolbox: The Ultimate Guide To Learning 101 Drumming Styles. The book goes into even more detail about punk drumming! Punk: A brief introduction to the genre Punk music is an energetic, no-holds-barred style that has broken a lot of ‘rules’ since its inception. As rock music developed during the 1970s, punk rock and its associated rebellious subculture began to rise in Australia, the United States, and the United Kingdom. Punk is an aggressive style of rock music featuring political lyrical content, fast tempos, short song durations, and minimal instrumentation. You’ll typically hear only one or two electric guitars, a bass guitar, drums, and vocals in a punk song. Because these bands often produced their own music, the production quality of punk rock is typically much lower than other styles of rock music. Take a minute to listen to one pop rock recording, and then compare it to a punk rock recording. You’ll probably hear a drastic difference in production quality between the two songs. Bands like the Ramones, the Sex Pistols, Black Flag, The Clash, and NOFX are some of the most famous names in punk rock music. Think of punk rock drumming as similar to hard rock drumming, but played much faster. Over the years, this style has become more and more aggressive and extreme (especially when it comes to tempo) and has broken down into further subgenres such as hardcore punk, crust punk, and ska punk. Some of the most recognizable punk rock beats feature snare drum backbeats on every upbeat (or the ‘and’s), quick doubles played on the bass drum, and “sloshy” open hi-hats. Be sure to play every snare drum backbeat as an accented stroke or a rim shot for an authentic punk rock sound. Learn Punk Rock Drum Beats This groove is played by Brett Reed in the song “Side Kick” by Rancid. This is an iconic punk rock groove that can be heard on tons of punk rock recordings. You can hear this groove in the recording starting at 0:07. (142 BPM) First, start by playing steady eighth notes on the hi-hats. Next, add in a snare drum backbeat on every upbeat. Lastly, add in the bass drum part. This famous punk rock groove incorporates sixteenth note doubles on the bass drum. This variation is played with closed hi-hats. Here’s an example that incorporates eighth note triplets. Topper Headon performs this groove on the 1978 song “Tommy Gun” by The Clash. Notice how the snare drum backbeats are played on every downbeat in this groove (as opposed to being played on every upbeat). You can hear it in the recording at 0:31. (168 BPM) This example is a variation of the previous groove. You’ll be playing steady eighth notes on your ride cymbal and also adding in another group of doubles on the bass drum. With quick 16th notes on the bass drum being a defining feature of many punk beats, I would recommend checking out this lesson to help you build a faster single kick: You may also want to develop your single stroke rolls for quick transitions and fills in punk songs: Here’s a quick tips lesson to improve your punk drumming: Pop Punk By the early 1990s, one of the most popular styles of music in the United States – specifically among teenagers – was pop punk, a more mainstream version of punk rock with higher production. Pop punk incorporates musical characteristics from punk rock like distorted guitars, simple chord progressions, and fast song tempos with “catchy” pop rock-influenced vocal melodies. The instrumentation used in pop punk is similar and often identical to punk rock, usually featuring electric guitars, bass guitar, drums, and vocals. Some of the most successful pop punk bands of all time include Green Day, Blink-182, All Time Low, Sum 41, and The Offspring. Pop punk drumming is very similar to punk rock drumming. It requires speed and endurance because many of these songs are played at very fast tempos. The main difference between punk rock and pop punk isn’t the drumming; it’s the vocals and the lyrical content, which tends to focus on topics related to teenage life and growing up. Learn Pop Punk Drum Beats Travis Barker plays this groove in the song “Dumpweed” by Blink-182. If you want to sound like Travis Barker, try playing every backbeat as a rim shot. You can listen to this groove in the recording at 0:10. (200 BPM) This eighth note groove is commonly used in the verse sections of pop punk tunes. This type of tom groove is also used in verse sections. Cyrus Bolooki performs this groove in the song “My Friends Over You” by New Found Glory. This example is very similar to some of the grooves in the “Punk Rock” section. You can listen to this beat in the recording at 0:36. (180 BPM) This a common beat used in chorus sections of pop punk tunes. Tré Cool plays this groove in the song “American Idiot” by Green Day. Notice how the bass drum pattern is following the rhythm and melody of the bass guitar and the electric guitar. You can hear him play this groove right at the beginning of the song. (189 BPM) The Equipment A defining characteristic of punk music that differs from other styles like jazz, rock, and metal is the fact that equipment doesn’t matter as much as the energy and emotion behind the playing. Many punk drummers did, and still do play on whatever gear they can afford or get their hands on. As a starting point, you’ll want to use equipment that can handle a real bashing; this means thicker, more durable drumheads and louder, heavier cymbals. Check out the equipment section in ”A Drummer’s Guide To Rock” for some recommended gear that will hold up to punk drumming. The Greats Here is a list of ten punk drummers you should know. Some of them helped pioneer the genre, while others came later. Click on each name to watch them perform! The Records Here are fifteen essential punk albums that every drummer should check out. From early punk to hardcore and pop punk, you’ll hear a spectrum of aggressive and exciting sounds that have come from this genre. Punk Listening List This curated playlist starts with punk rock – classic and modern – and ends with pop punk. Wow! You made it to the end! Even though it’s the end of the article, it’s not the end of the great content we have available. If you want to become the best drummer you can be, check out the Drumeo members area. We bring in the world’s best drummers to teach you how to play the drums. 160+ step-by-step courses 2000+ on-demand lessons 230+ play-along songs 90+ song breakdowns 20 different genres of music Live lessons every week Student plans and reviews Helpful community forums Includes song breakdowns for: Green Day – American Idiot Green Day – Basket Case Blink-182 – All The Small Things Blink-182 – First Date Member-exclusive courses by: Stephen Taylor Aaron Edgar Dave Atkinson Check out the Drumeo members area »
2202	dbpedia	0	17	https://www.vintagesynth.com/korg/ddd-1	en	Vintage Synth Explorer	https://www.vintagesynth.com/themes/custom/vintagesynth/favicon.ico	https://www.vintagesynth.com/themes/custom/vintagesynth/favicon.ico	[ "https://www.vintagesynth.com/sites/default/files/2017-05/korg_ddd1_angle2.jpg", "https://www.vintagesynth.com/sites/default/files/2017-05/korg_ddd1_rear.jpg", "https://www.vintagesynth.com/sites/default/files/styles/240x240sc/public/2017-05/korg_ddd5.jpg?itok=O8crUL7k", "https://www.vintagesynth.com/sites/default/files/styles/240x240sc/public/2017-05/korg_ddm110.jpg?itok=rtzPAIUE", "https://www.vintagesynth.com/sites/default/files/styles/240x240sc/public/2017-05/korg_kpr77.jpg?itok=emTU8K5X", "https://www.vintagesynth.com/sites/default/files/styles/240x240sc/public/2017-05/roland_tr707.jpg?itok=u_Vzoat1", "https://www.vintagesynth.com/sites/default/files/styles/240x240sc/public/2017-05/sci_tom.jpg?itok=nQa2mZ7E", "https://www.vintagesynth.com/sites/default/files/youtube/wFOQV55q3WI.jpg" ]	[]	[]	[ "" ]	null	[ "admin" ]	2017-05-05T11:18:48+00:00		en	/themes/custom/vintagesynth/favicon.ico		null	The DDD-1 is a digital programmable drum machine from Korg from the mid-eighties. It offers 18 electronic drum sounds with a sound that is typical of this era. Basic kicks, snares, toms, rimshot, closed hi hats, open hi hats, ride, crash, claps, cowbell, tambourine and cabasa. Additional sounds can be added using ROM cards. The DDD-1 also featured a sampling option allowing very short and limited sampling for that extra edge of unique sounds to add to your drumkit. Drum sounds can be triggered from the 14 assignable velocity sensitive trigger-pads and there are some individual outputs. Programming the DDD-1 is fairly straight forward. Memory holds 100 patterns which can be linked or chained to form songs, for which there are 10 song memory locations. The drum sounds have editable parameters such as decay and tuning. For added groove in your patterns there are Roll and Flam effects. The DDD-1 is equipped with full MIDI implementation making it an easy drum machine to use in any MIDI studio. If you like typical eighties drum sounds, the DDD-1 would be a formidable alternative to other similar drum machines like the Roland TR-707 and offers more professional features than its counterpart, the DDD-5.
2202	dbpedia	3	15	https://www.mail-archive.com/finale%40shsu.edu/msg55779.html	en	Re: [Finale] rimshot notation (3 types)			[ "https://www.mail-archive.com/logo.png" ]	[]	[]	[ "" ]	null	[ "John Howell" ]	null		en	/apple-touch-icon-114x114.png		https://www.mail-archive.com/finale@shsu.edu/msg55779.html	jef: Probably too specialized for me, especially in regard to jazz terminology, but here are a couple of definitions straight from Russ Girsberger, "A Practical Guide to Percussion Terminology": Rim Shot: Drum stroke that strikes the rim and the drum head simultaneously. (Compare with "Stick Shot.") Stick Shot: Accented drum stroke made by placing the tip of one stick in the center of the drum head and striking its shaft with the other stick. The latter is clearly what you intend by "stick on stick" and call "traditional." The former could be either your #1 or #2, and you're right, "rim" and "hoop" are exactly the same according to Russ. But there's a third technique that I associate more with jazz, and I don't have an official term for it but I've always called it a "rim pop": hold a single stick against the center of the head and strike the shaft against the rim, leaving the other stick available for cymbals, etc. I have to admit that I can't see the difference between your 1 and 2, and I'm not sure what you mean by either that changes between rock and jazz drumming. Both require VERY good technique and aim, and are what I think of as the "traditional" rim shot, from the Buddy Rich and Gene Krupa generation. And just to confuse things further, here are the comments (intended for those WRITING for percussion) by Samuel Z Solomon in "How to Write for Percussion: A Comprehensive Guide to Percussion Composition": "A rimshot is executed by holding one stick down with the tip touching the center of the head and the shaft touching the rim and then striking it with the other stick. This takes half of a second to get into positon, and only rhythms slow enough to be executed with one hand are possible." [Your #3] "A rimshot can also be created by striking the drum with one stick at an angle to hit both the head and the rim simultaneously. This produces a slightly different sound, requires no preparation time, and makes two-handed passages possible. This rimshot, however, is more difficult to execute consistently." [Your #1 and #2, my Buddy Rich.] "The specification of which type of rimshot used is rarely notated and is usually decided by the performer based on the passage." [I would agree.] "A common abbreviation for rimshot is "R.S.," but as with all abbreviations, the first appearance in a part should be written out in full. ... Rimshots are most naturally and almost always executed at a loud dynamic." "A rim-click (also called side-stick or cross-stick) is a technique often found in drumset playing whereby one end of the stick is held against the center of the head and the shaft strikes the rim. This takes about half of a second to get into position." [And this is my "rim-pop."] I studied rudimental drumming many years ago, but have never played set (except for one rather unsuccessful New Year's Eve when everybody else in town was already booked!), but I would normally leave this kind of choice up to my drummer. And of course the MOST important thing is to know what your drummer wants to see, and what he does NOT want to see. John At 7:44 PM +0100 3/7/12, SN jef chippewa wrote: >trying to simplify the notation, in a recent >piece i specified the 3 types of rimshot with a >ø-like symbol (the line is notated vertically >though) and a word/text above the note: > >1) "rim" with one stick (rock) >2) "hoop" with one stick (jazz rimshot) >3) "stick on stick" with two sticks (traditional) > >but this is total BS because (1) and (2) are not >limited to rock or jazz playing at all. not to >mention that hoop and rim are the same thing :-/ > >i want to get this straightened out... what are >the various terms that can be used for these >things, officially and also words used to >describe them? > >in jazz, for example how would the drummer know >if (1) or (2) was wanted, would it have to do >with the volume and style? like in a subtle >latin groove i suppose no "pistols" should be >going off (unless perhaps the mexicans start >another revolution, this time against the >druglords). in rock and pop, (1) would be >assumed if a rimshot is called for. > >independent of whether you use a circled notehead >(as is typical in jazz) or this symbol i use >(typical in some new music circles), a word >should appear each time to clarify whcih type it >is: > >1) rimshot, pistol ... -- "shot" would still have >this ambiguity problem, "pistol" would be totally >clear > >2) rimshot, rim click, hoop click ... -- "click" should be clear, no? > >3) rimshot, stick on stick rimshot -- i suppose >"trad." could work in all contexts, since it >implies both the stick holding technique as well >as this "older" form of rimshot, is a rudimentary >technique every snare player learns (jazz, rock, >marching band etc. etc.) > > >_______________________________________________ >Finale mailing list >Finale@shsu.edu >http://lists.shsu.edu/mailman/listinfo/finale -- John R. Howell, Assoc. Prof. of Music Virginia Tech Department of Music School of Performing Arts & Cinema College of Liberal Arts & Human Sciences 290 College Ave., Blacksburg, Virginia 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:john.how...@vt.edu) http://www.music.vt.edu/faculty/howell/howell.html "Machen Sie es, wie Sie wollen, machen Sie es nur schön." (Do it as you like, just make it beautiful!) --Johannes Brahms _______________________________________________ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
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Music	https://www.libertyparkmusic.com/salsa-drum-rhythms/	Now that we have a basic understanding of the history of salsa music, we will take a more practical approach to how it is played. We will trace the roots of salsa back to its son origins, looking at the fundamental salsa rhythms that came from this more folkloric Cuban style, before discussing how and when the style became popular. We’ll also discuss how the drum kit can be incorporated into a style of music in which it isn’t traditionally played. Salsa and its Son Rhythmic Foundations Salsa has many similarities with Cuban son music. In fact, the relationship between these styles can be compared to the relationship between jazz and dixieland. The former came first and laid the foundations for the latter (a new and more modern sounding style) to gain international success. Below are some of the fundamental rhythms and patterns used in salsa that have origins in Afro-Cuban music such as son and rumba. These rhythms are the basic building blocks of salsa music. All of the following rhythms have been notated in 2:3 direction. 1. Clave - salsa music is usually centred around the son clave, while the direction is usually 2:3, meaning that the bar with 2 notes comes first, followed by the bar consisting of 3 notes. 2. Cascara - The cascara is effectively an embellishment of the clave, and is usually played on the cascara (shell) of the timbal. 3. Bass tumbao - The bass line most commonly played in son music is called tumbao, the bassist anticipates each chord change by playing the root note of each chord either 1 quarter-note beat, or an 8th-note beat before the pianist. 4. Montuno - In son music, the pianist or tres (Cuban stringed instrument consisting of 3 pairs of strings) player plays a highly syncopated pattern called a montuno. While the tres is rare in salsa music, piano is a staple of the salsa ensemble and the pianist will play a montuno during certain sections of a salsa song. 5. Martillo - In son music the bongocero (bongo player) plays a driving quarter note rhythm called martillo (hammer). This is also a staple of the salsa percussion section and the martillo rhythm is played in a similar way to how it’s played in son. 6. Conga tumbao/marcha - The conguero in son music plays an 8th-note pattern called a tumbao (in Cuba) or a marcha (everywhere else). The conguero usually has 2 drums, the conga and the tumba. The conga is smaller and is the most important in playing the tumbao pattern, while the tumba outlines the “3” side of the clave pattern. 7. Bongo bell - For the latter sections of son songs, the bongocero often switches to a handheld cowbell called the campana de bongo (bongo bell). In salsa music, the inclusion of the timbalero (timbal player) often negates the necessity for the bongocero to switch between bongos and cowbell, which helps to create a denser percussion section during bigger moments of the song. Salsa Anatomy Salsa music usually follows a fairly rigid song structure that’s important to understand, especially for percussionists, as what we play will vary depending on the section being played. Following is an example of a common salsa song structure, and what the percussion section will usually play in each section: Intro - the intro of a salsa song is usually a big moment and features a horn melody. It will typically end with some band hits (the whole band playing a specific rhythm together) leading into the verse. Congas - the conga pattern tends to remain the same throughout a salsa song. A common variation is to play a tumbao with just one conga during the verse and add the tumba (lower conga) during the chorus, coro, and mambo sections. The intro tends to be played over two congas. Bongos - The bongocero tends to play the bongo bell during the intro to make a big impact right away. If the timbales player also uses cowbells, this might not be necessary and the bongo player can continue playing bongos. Timbales - The timbalero will either play the cowbell or cascara depending on what the rest of the percussion section is doing. If the bongocero isn’t using a cowbell, then it’s the role of the timbalero to do so here. On the other hand, if the bongocero is using a cowbell, then the timbalero will play cascara instead. After the band hits at the end of this section, it’s common for the timbales to play an abanico (a stylistic timbales fill) into the verse. Verse - the verse, just like in a rock or pop song, is where the singer enters. If horns play, it will usually be to embellish the harmony, add counter melodies, or provide rhythmic interest for the percussion section to interact with. Congas - In the verse, the congero will commonly play using just one conga. The conga tumbao will sometimes be simplified to reduce the density of the groove. Bongos - If the bongocero is using the traditional alternation between bongos and cowbell, then at this point they will switch to playing a bongo martillo. It’s common for the bongo player to play fills at the end of phrases, in between the vocal phrasing. Timbales - If the timbalero is playing the cowbell in the intro, then they will switch to playing cascara at this point. The left hand can either be used to fill in the empty 8th-note spaces in the cascara rhythm on the other side of the shell, or to play beats 2 and 4, alternating between closed and open strokes with the tips of the fingers on the drum head. Chorus - the chorus (not to be confused with the coro) comes after the verse and usually repeats before going back to the verse. Depending on the length of the song, the verse and chorus can repeat a number of times before moving on to the next section of the song. Congas - In the chorus, the congero will usually add the second conga on the 3 side of the clave. Bongos - The bongocero will usually continue playing the martillo during this section. Timbales - The timbalero will usually continue playing the cascara during this section. In certain songs a cowbell might be necessary in the chorus and this could be played by either the bongocero or timbalero. Coro/pregon - the coro forms the main body of a salsa tune and is usually a 4- or 8-bar harmonic vamp. Once the song reaches this point, it usually cycles around this chord progression for the remainder of the song until the end, which is usually a refrain of the intro. The coro features a catchy vocal hook that is sung by a group of backing singers, or the rest of the instrumentalists while the pregon is similar to a “rap,” though not as busy rhythmically, where the lead singer improvises some melodic content and lyrics in between the backing vocal phrases. This section is also identifiable by the prevalence of the piano montuno, a syncopated harmonic device in which the piano (or tres in traditional Cuban son) plays arpeggios, usually with octaves in the right hand. Congas - The congas will continue playing a tumbao on 2 congas here but greater energy can be created by adding fills at the end of phrases. The congero will usually play the tumbao in this way for the remainder of the song Bongos - The bongo player will usually switch to cowbell here to create greater energy. Once the bongo bell is established in the coro, it’s unlikely that the bongocero will switch back to playing martillo for the duration of the tune. Timbales - The timbalero will switch to a mambo bell at this point (or bongo bell if the band has no bongero). The mambo bell will continue into the mambo section. Mambo - the mambo section is usually played over the same harmony as the coro but is characterised by a repetitive horn melody. Congas - tumbao (2 drums) Bongos - bongo bell Timbales - mambo bell Solos - in certain settings, it’s common for instrumentalists to solo over the chord changes established in the coro/pregon. Congas - tumbao (2 drums) Bongos - bongo bell Timbales - mambo bell/cascara Short coro - as many salsa songs reach their climax and conclusion, the coro will be reduced to half the length, without pregon in between; this section is called a short coro and builds the intensity of the song ready for a big ending. Congas - tumbao (2 drums) Bongos - bongo bell Timbales - mambo bell/cascara Ending - the end of a salsa song tends to be a refrain of the intro and it’s common to end with some band hits. Congas - tumbao (2 drums) Bongos - bongo bell Timbales - cascara Salsa commonly borrows from many varying influences and incorporates them in different sections in the same song. A great example of this is “Plastico” by Ruben Blades and Willie Colón. The intro of the song features a disco groove on drum kit with bass guitar octaves and string harmony. When the verse starts, the style switches to a son montuno (a style of son music driven by a montuno on either the tres or the piano) with a bongo martillo, conga marcha, bass tumbao, and horn backings. The verse then switches to a cycle of fifths under which the percussion section plays a Puerto Rican bomba sica groove (see notation below) before returning to the son montuno after 8 bars. This song epitomises the flavour of salsa music - a fusion of so many different styles of music. The idea of switching to other traditional Latin-American grooves or styles for a specific section of a song is a feature of salsa music and the above is just one example. For this reason, when studying salsa it’s important for us to also learn and understand a broad range of Latin American folkloric styles. Learn with LPM If you are looking to learn Latin Drumming with our drums instructor, Brendan Bache, check out Intro to Latin Drumming. The Drum Kit, Songo, Timba and Salsa Now let’s look at a very brief history of the drum kit’s use in Afro-Cuban music and salsa. Songo There is one man who has had a greater impact than perhaps anyone else in the field of Afro-Cuban drum kit playing: Jose Luis Quintana AKA “Changuito.” No discussion on salsa or Afro-Cuban drumming is complete without the mention of Changuito. He was the percussionist in the innovative Cuban band led by Juan Formell, called Los Van Van, and Changuito invented songo, a rhythm specifically designed for the drum kit. Prior to songo, the drum kit played a minimal role in Cuban inspired musical styles, and the role of the drummer was usually to approximate the rhythms and timbres created by a standard salsa percussion section consisting of congas, bongos, and timbales. Changuito broke this mould and in inventing songo, came up with a rhythm that put greater emphasis on the drummer. While songo is in itself a unique musical style, the songo drum groove is a pattern that can be played when playing salsa music and is a rhythm that every aspiring Latin drummer should have at their disposal. To go into greater detail about songo would take an article in itself, but for now, let’s just look at how a songo groove looks written down. Notice that this groove is a linear pattern (meaning that no two notes are played at the same time) and it brings together important elements of a salsa percussion ensemble into one pattern. The right hand plays half notes in a similar way to the bongo bell in salsa music while the bass drum outlines a tumbao. Timba When salsa music began to gain popularity in Cuba, there was an emergence of new Cuban bands who incorporated the drum kit into their setup and began playing more pop, rock, and funk influenced salsa music. This new style became known as timba and was made popular by bands such as N.G. La Banda. Unlike salsa, timba placed more emphasis on the rhythmic elements of North American popular music such as the backbeat. Drummers like Calixto Oviedo began playing traditional Cuban rhythms used in salsa such as cascara, clave, and tumbao, but started adding snare drum backbeats like so: Salsa While it’s important to know and understand the above patterns, when playing salsa on the drum kit in a more traditional context, your main role will be approximating rhythms played by the percussion section. The table below outlines how this can be done. PercussionDrum kitConga (open tone, high)Hi-tomCongas (open tone, low)Mid/low-tomCongas (slap tone)Snare drum (cross stick)CowbellCymbal bell, or cowbell if availableTimbales (cascara)Low-tom shell, or hi-hatsTimbales (open stroke)Snare drum (snares off)Timbales (rimshot)Snare drum rimshot (snares off)ClaveSnare drum (cross stick), or block if availableGuiro (for slower tempos such as chachacha)Hi-hat (foot pedal to produce open and closed tones) Final Thoughts When learning any style of music, it’s essential to completely immerse yourself in it. That means listening to the music itself, learning about the history of the style and in the case of salsa drumming, learning the percussion instruments from which these instruments originate. I’d absolutely recommend investing in a pair of congas, bongos, or timbales if you’re serious about learning this music. Think of it as an investment as you may well be using these instruments for gigs in the future and they will help give you a greater understanding of this music. I hope that this article, brief though it is, in combination with the video lessons in my upcoming drum module will give you a good introduction into the style and lead you in the right direction should you want to pursue salsa music any further. About the Author: Brendan Bache Brendan has been in love with the drum kit since the age of 8. His love for music spans many musical genres but his great passion is the study and performance Latin American music. This interest has led Brendan to study many Latin percussion instruments such as congas and bongos as well applying these rhythms to the drum kit. Brendan is the drum kit teacher at Liberty Park Music. Check out his drum kit courses! Related Articles A Guide To Cuban Music: Instrumentation and Clave Cuban Music: Rumba, An Introduction An Introduction to Latin Music: Salsa History Recommended Lessons Sorry, we couldn't find any posts. Please try a different search. Search for:
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"https://assets.equipboard.com/assets/dmca-badge-193984b2bcf2c137c0a67f2174f050bb66362adcff308eb5e1c04831a61c9618.png", "https://assets.equipboard.com/assets/equipboard-logo-white-93eccced9cad36fe0a0948635098efbb7948f41c55995c44743974b5f21c8dce.svg", "https://assets.equipboard.com/assets/namm-logo-e74b167628bd26d3c6710f6e1d7f13dad17117d698d1834f44fa4f785e537d71.png", "https://assets.equipboard.com/assets/dmca-badge-193984b2bcf2c137c0a67f2174f050bb66362adcff308eb5e1c04831a61c9618.png" ]	[]	[]	[ "" ]	null	[]	null	Now $200.00 (updated 8 hours ago): Arturia DrumBrute Impact, Drum Machines. See 4 musician reviews, how 9 pros use it, 11 candid photos, and where to get a deal on Arturia DrumBrute Impact, ranked #17 in Drum Machines and rated 4.5 of 5 on Equipboard.	en	/favicon.ico	Equipboard	https://equipboard.com/items/arturia-drumbrute-impact	Very affordable way to get a good quality analogue drum sound. I like old analogue drum computers. Mostly the Roland TR808 and TR909. Those are quite expensive to get second hand though, even though they weren't that expensive back in the day. There are virtual analogue hardware re-issues by Roland, or real analogue clones by other brands. Neither are the real deal though. Instead I chose the Arturia Drumbrute Impact. It's a real analogue drumcomputer with an original sound. It's not a TR808 or 909 clone but it has a similar sound that's equally usable but more unique. Not every song has to be the same old 80's sounds after all. It's very affordably priced. It can't do a lot of sounds, just the basics stuff; kick, two snares, hihats, toms, crashes, cowbell and a strange FM effect. No interesting stuff like congas, claves or other unusual percussion. The sounds it can create are usable. It only has five analogue output, so if you are a bit limited in how you can mix it. It looks and feels okay. Plastic and rubber, but solid. Not the most beautiful instrument ever, but better looking than most. Nice multicoloured LEDs. I picked one of these up after using a volca drum on my last record, and it has been a huge upgrade. I was debating between this or the Behringer 808 clone, and have been glad I chose the Drumbrute. Pros - The sequencer is just so easy to use, and it’s easy to get creative and just start making stuff - the random function gets fun and crazy real fast. Set it to 01 or 02 for some nice extra flavor, or crank it and wildness ensues. - I personally think Arturia set the perfect balance for individual outs here. I don’t really mind not having the entire set of individual outs, and the main things are represented. - The FM drum is awesome, and I’ve used it more than I thought I would - The kick and snares sound great to me, especially when you stack the two snare sounds together. - The distortion circuit is nice at about 10 or 11 o’clock but... anything after that is a bit overkill. - build quality is good. Pads aren’t too stiff or mushy, knobs aren’t too wibbly wobbly Cons - the aesthetics of the wings on the side aren’t my thing. It’s meh. - no motion sequencing. It really would be nice... Conclusion For the price, this is insane. A fully analog drum machine with an insanely useful and approachable sequencer, individual outs, FM drum... I don’t see how anyone could complain, really. If you’re looking for a solid analog drum machine that sounds good and is easy to use, it’s a no-brainer. Thank you, Arturia!
2202	dbpedia	3	54	https://forum.pedalpcb.com/threads/opamps-for-dummies-part-1.18833/	en	Opamps for Dummies - part 1			[ "https://forum.pedalpcb.com/styles/default/xenforo/PedalPCB-Site-Logo.png", "https://forum.pedalpcb.com/styles/default/xenforo/PedalPCB-Site-Logo.png", "https://forum.pedalpcb.com/styles/default/xenforo/add_to_home.gif", "https://forum.pedalpcb.com/data/avatars/m/0/163.jpg?1663905600", "https://forum.pedalpcb.com/data/avatars/m/2/2838.jpg?1670606575", "https://forum.pedalpcb.com/data/avatars/m/4/4839.jpg?1718672666", "https://forum.pedalpcb.com/data/avatars/m/6/6337.jpg?1693348238", "https://cdn.jsdelivr.net/joypixels/assets/7.0/png/unicode/64/1f601.png", "https://forum.pedalpcb.com/data/avatars/m/3/3665.jpg?1633115114", "https://forum.pedalpcb.com/data/avatars/m/0/163.jpg?1663905600", "https://forum.pedalpcb.com/data/avatars/m/3/3588.jpg?1624017292", "https://forum.pedalpcb.com/data/avatars/m/0/163.jpg?1663905600", "https://forum.pedalpcb.com/data/avatars/m/1/1117.jpg?1576394844", "https://forum.pedalpcb.com/data/avatars/m/3/3588.jpg?1624017292", "https://forum.pedalpcb.com/data/avatars/m/0/163.jpg?1663905600", "https://forum.pedalpcb.com/data/avatars/m/0/163.jpg?1663905600", "https://forum.pedalpcb.com/data/avatars/m/9/9197.jpg?1701803584", "https://forum.pedalpcb.com/data/avatars/m/0/163.jpg?1663905600", "https://forum.pedalpcb.com/data/avatars/s/0/163.jpg?1663905600", "https://forum.pedalpcb.com/data/avatars/s/0/163.jpg?1663905600", "https://forum.pedalpcb.com/data/avatars/s/0/163.jpg?1663905600", "https://forum.pedalpcb.com/data/avatars/s/0/163.jpg?1663905600", "https://forum.pedalpcb.com/data/avatars/s/0/163.jpg?1663905600", "https://forum.pedalpcb.com/data/avatars/s/9/9370.jpg?1701715644", "https://forum.pedalpcb.com/data/avatars/s/12/12864.jpg?1691439512", "https://forum.pedalpcb.com/data/avatars/s/2/2620.jpg?1622744977" ]	[]	[]	[ "" ]	null	[ "Chuck D. Bones", "fig Village Idiot", "BuddytheReow Breadboard Baker", "GizzWizzKing Well-known member", "Aentons Well-known member", "cooder Well-known member" ]	2023-09-19T23:09:58+00:00	I had a request to give a basic primer on opamps. What does an opamp do? What's the difference between them? Why do builders use certain opamps? Which...	en	/data/assets/logo/Icon-192px.png	PedalPCB Community Forum	https://forum.pedalpcb.com/threads/opamps-for-dummies-part-1.18833/	I had a request to give a basic primer on opamps. What does an opamp do? What's the difference between them? Why do builders use certain opamps? Which ones have the most mojo? Can I sub X for Y? In part 1 I'll give a basic overview First off, let's talk about what an opamp is. The most basic opamp has five terminals. The positive power rail, the negative power rail, the inverting input, the non-inverting input, and the output. The output voltage is the voltage difference between the inverting input (-) and the non-inverting input (+) multiplied by a very large gain. With an ideal opamp, that gain is infinite. In a real-world opamp, the gain is usually above 100,000. Many are around a million. Opamps were originally developed to be basic building blocks in an analog computer. An ideal opamp has these characteristics: infinite gain infinite bandwidth - it can amplify all frequencies infinite slew rate - the output can change as fast as the inputs infinite input impedance zero offset voltage - when the difference between the + and - inputs is zero, the output is exactly half-way between the power supply rails zero bias current - no current flows in or out of the + and - pins zero noise infinite power supply rejection - hum or noise on the power rails does not affect the output zero distortion zero output impedance infinite output current capability the output can swing all the way to the power supply rails the inputs will work correctly as long as they are greater than or equal to the negative power supply rail and less than or equal to the positive power supply rail Most of these requirements cannot be met by a real opamp, but many opamps get pretty damned close. Close enough for building pedals. The first opamps were built with vacuum tubes. They were not great and people started making them from silicon bipolar transistors instead. As soon as integrated circuit technology became commercially viable, opamps were made that way. With each technology advancement, opamps came closer to ideal. The earliest use of an opamp in a pedal was the MXR Distortion+. It used a 741. The 741 was a cheap and plentiful general-purpose opamp. The biggest shortcoming of the 741 was noise. The 741 is a single opamp; there's one in a package. The 4558 is basically a dual 741. Pretty much the same design, same specs, except there are two on a die. The 4558 became the go-to dual opamp for low-cost consumer electronics, including guitar pedals. Precision circuits required opamps with much better specs. Lower noise, lower offset voltage, higher input impedance, etc. One of the best solutions for this demand was the BiFET opamp. Chip manufacturers figured out how to put JFETs and BJTs on the same die. The input stage was JFETs and the rest was bipolar transistors. One of the earliest affordable JFET opamps was the LF351. Today, the JFET opamp of choice is the TL072. The TL072 and 4558, appear in probably 90% of the opamp pedal circuits you'll come across. But there are a few other desirable opamps. This brings us to the LM308. I've written about this guy on other pages in this forum. If you're going to run an opamp into saturation, this is one of the best choices out there. Unfortunately, they have been out of production for many years. You can find 'em on eBay and sometimes more reputable outlets, but they can be pricey. There are alternatives, but they don't always sound as good and you'll have to decide that for yourself. People like to talk about slew-rate and how the LM308's slow slew-rate is the source of the sweet tones. It may well be true, but I think there are other forces at play. The same mechanism that limits an opamp's slew rate also limits it's bandwidth - it's ability to amplify high freq signals. If we dime the DIST knob in the Rat, the LM308 runs out of gain just below 1KHz. Everything above that is diminished. There are far fewer harsh harmonics. Things that happen inside an opamp when it saturates are not well characterized (or in many cases, not at all) in the datasheet. Finding opamps that saturate in a way that sounds good is pretty much a matter of luck. Some people sub an OP-07 for am LM308. They don't sound the same to me in a Rat or similar circuit, but you'll have to decide for yourself. Opamps with external compensation (CA3130, LM301, LM308, NE5534, to name a few) allow the designer to dial-in the slew-rate & bandwidth with an external capacitor. That does not necessarily mean they can be made to sound the same. There are also "programmable" opamps that use an external resistor to control operating current, bandwidth & slew-rate. The MC3476 is one such beast. It sounds very good as a sub for the LM308 in a Roger Mayer Voodoo-1. It does not work well in a Rat. Now let's talk about "audio-grade" opamps. These were designed specifically to meet the demands of high-end audio equipment. LM833, NE5532, OPAx134 are examples. They offer wide bandwidth and very low noise and distortion. This high performance comes at a price. These opamps typically consume more power (usually not a concern unless you're running on batteries) and they can be more expensive. Counterfeit OPA2134s are available on eBay, so beware. Putting a low-distortion opamp in a dirt pedal makes no sense to me, but some people do it. Lastly, let's discuss the LM386. It's not exactly an opamp, although it shares some of an opamp's characteristics. The LM386 is a power amplifier designed to deliver up to 0.8W to a speaker load. They are also useful as a headphones amp. Somewhere along the line, somebody tried using one in a guitar pedal. Lo and behold, they sound pretty good when overdriven. EQD puts two of them in the Acapulco Gold. The SVDS wireless receiver uses one as the output amplifier. The SoloDalls Storm, which replicates the tone of the SVDS, also uses one. Brian Wampler put one in the front-end of the Velvet Fuzz. I put one in the Biggus Dickus. The LM386 is not interchangeable with regular opamps. Coming up in part 2: How do opamps work in pedal circuits?
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"https://www.lootaudio.com/_assets/core-images/payment-logos/discover.svg", "https://www.lootaudio.com/_assets/core-images/payment-logos/unionpay.svg", "https://www.lootaudio.com/_assets/core-images/payment-logos/klarna.svg", "https://www.lootaudio.com/_assets/core-images/payment-logos/clearpay.png", "https://www.lootaudio.com/_assets/core-images/payment-logos/googlepay.svg", "https://www.lootaudio.com/_assets/core-images/payment-logos/applepay.svg", "https://www.paypalobjects.com/digitalassets/c/website/marketing/apac/C2/logos-buttons/optimize/34_Blue_PayPal_Pill_Button.png" ]	[]	[]	[ "" ]	null	[]	null	Discover Rimshot category Sample Packs at Loot Audio. Download the best in Rimshot Kontakt Instruments, Plugins, Presets, Sounds and Sample Packs today.	en	/_assets/core-images/icons/favicon.png		https://www.lootaudio.com/category/sample-packs/category/rimshot	Discover a vast collection of professionally crafted samples to fuel your creativity in music production. From drum loops and one-shots to melodic elements and sound effects. Whether you're producing electronic music, hip-hop, film scores, or any other genre, you'll find a wealth of inspiring samples at Loot Audio.
2202	dbpedia	2	63	https://www.musikalessons.com/blog/2013/05/setup-of-the-five-piece-drum-set/	en	Setup of the Five Piece Drum Set	https://www.musikalesson…3/10/drumset.png	https://www.musikalesson…3/10/drumset.png	[ "https://www.musikalessons.com/blog/wp-content/themes/bootstrap/core/images/logo.svg", "https://www.musikalessons.com/blog/wp-content/uploads/2013/10/drumset.png", "https://www.musikalessons.com/blog/wp-content/uploads/2016/04/setting-up-a-drum-set.jpg", "https://www.musikalessons.com/blog/wp-content/uploads/2016/04/black-drumset.jpg", "https://www.musikalessons.com/blog/wp-content/uploads/2016/10/isolated-drum-set-120x120.jpg", "https://www.musikalessons.com/blog/wp-content/uploads/2013/10/mallets-120x120.jpg", "https://www.musikalessons.com/blog/wp-content/uploads/2013/10/drummer-120x120.png", "https://www.musikalessons.com/blog/wp-content/uploads/2016/06/drumset-on-blue-120x120.jpg", "https://www.musikalessons.com/blog/wp-content/uploads/2017/03/hand-drums-120x120.jpg", "https://www.musikalessons.com/blog/wp-content/uploads/2013/10/logo-120x120.png", "https://www.musikalessons.com/img/public/ico-bbb.png", "https://www.musikalessons.com/img/public/sidebar_riskfree.jpg" ]	[]	[]	[ "" ]	null	[ "Musika" ]	2013-05-29T20:27:35+00:00	What is the setup of the five piece drum set? Read our experts article on what is included in the five piece drum kit, and learn more about the drums.	en		Musika Lessons Blog	https://www.musikalessons.com/blog/2013/05/setup-of-the-five-piece-drum-set/	When starting out, most drummers (and parents) don’t know what is included in the setup of the five piece drum set. The most common configuration for a drum kit used in rock and pop music is the five-piece drum set, the number five referring to the number of drums in the kit (snare drum, bass drum, two high toms, and a floor tom). Along with the five drums, there are usually two cymbals and a hi-hat stand. There are many different set-ups for drum kits, but the standard is the five-piece. In addition to the five piece drum kit, most drummers require other drum and percussion accessories. The drum that is most used is the snare drum. It is the most prominent and loudest of the drums. This is because metal wires (called snares) are stretched across the bottom drum-head, rattling when the top drum-head is struck. A snare drum used in a drum kit usually measures 13 or 14 inches in diameter. Besides striking the drum-head, many players will click the rim with their sticks. This is called a rim-shot. Snare drums are also widely used in marching bands. The second most used drum is the bass drum, or kick drum. The bass drum sits on the floor and is struck with a foot-operated pedal. Its primary function is to keep time; unlike the other drums, it does not have a set pitch. Bass drums vary in size, but the general measurement is 20 inches in diameter. In most cases, the bass drum also has brackets on top of it used for mounting tom-toms. Bass drums are used in marching bands, mounted on the player’s back and struck with mallets. Unlike the bass drum used in a drum kit, marching bass drums are usually tuned to a specific pitch. The other three drums are called tom-toms, with two different varieties found on a standard five-piece kit. The first are called rack toms, and they are usually mounted on top of the bass drum using brackets. Sometimes, rack toms are mounted on their own stand separate from the bass drum, although this is rare. Rack toms generally measure 10, 12, or 13 inches in diameter, although there are both smaller and larger measurements available. The second variety is the floor tom, mounted upright on the floor, often measuring between 14 and 18 inches in diameter.
2202	dbpedia	2	34	https://www.pcpki.com/queen/articles/rogbbcws.html	en	Roger's Drum Masterclass			[]	[]	[]	[ "" ]	null	[]	null		en			null	Music Works - BBC World Service [Radio - not TV] 28/11/93 1030GMT reproduced without permission JS = John Sugar (presenter) RT = Our Rog PC = Phil Collins JS: So far in the programmes, we've heard artists explaining and demonstrating on piano, synthesizer and guitar. In today's rhythmic edition, we hear about the drums from two rock superstars, Phil Collins of Genesis and this drummer: RT: Hi I'm Roger Taylor of Queen. Welcome to the Music Works [a bit of RT drumming] [a clip of Now I'm Here] JS: Drums have played an important part in contemporary music and in todays pulsating edition of the music works, RT and PC will explain and demonstrate different rhythms, beats and drum styles from behind their kits. From the African TomTom to the Indian Tabla(?) drums have played a vital role in peoples lives for thousands of years. The modern drum kit, comprising bass drum, tomtoms and snare with an assortment of cymbals became an integral part of western music this century. Jazz and the big band era of the 1940s gave the drums a more prominent role in the music and with the advent of Rock'n'Roll in the mid 1950s, an even greater emphasis was placed on the all important beat. Roger Taylor has been the drummer with the rock band Queen for over 20 years. Ironically, he began his musical career not seated behind the drums at all RT: Well really I was just an aspiring Rock Musician. I picked up a guitar and found it very difficult and I sort of graduated to drums because I found them very easy - I suppose it was a case of natural aptitude. Mitch Mitchell was my role model at the time, and I still think listening to Mitch Mitchell, especially the early stuff with Hendrix, is just fantastic. This fusion of jazz technique and wonderful riffs but with this rolling ferocious attack on the whole kit, it had lots of jazz influences I think. In fact for me he played the kit like a song, it was just wonderful. Total integration into the song. Not just marking time [a clip of Hey Joe] JS: In the late 60s, other drummers like Ginger Baker of Cream and Keith Moon of the Who were playing their kits with an explosive zeal that was familiar to the jazz scene but new to rock music. And Led Zeppelin developed a different approach to recording the drums in the studio. In 1971, the band's Four Symbols album featured the new drum sound typified on the track "When the Levee Breaks" pioneered by the groups larger than life drummer John Bonham RT: The greatest Rock'n'Roll drummer of all time was John Bonham who did things that nobody bad ever even thought possible before with the drum kit. And also the greatest sound out of his drums - they sounded enormous, and just one bass drum. So fast on it that he did more with one bass drum than most people could do with three, if they could manage them. And he had technique to burn and fantastic power and tremendous feel for rock'n'roll "When the levee breaks" is the archetypal heavy drum sound - it's never been bettered - it's like a steamroller, enormous bass drum. Simple but takes feel [a bit of RT playing the intro] A very simple pattern, but the sound was everything. [a clip of When the Levee Breaks] RT: The interplay between the guitars and drums was wonderful on that. He used to use 4 microphones on the drum kit - quite inexpensive microphones just placed properly, drums tuned properly, played properly sounded great and the first time I saw Led Zeppelin, Bonzo just walked on the stage and just warmed up for about 10 seconds. Freddie and I nearly fell over we just couldn't believe the power and the sound. People are still today trying to imitate Led Zeppelin, America is full of drummers trying to play like John Bonham. [a clip of Rock'n'Roll] JS: But there's more to being a drummer than hammering the life out of a drum kit. All music has rhythm and a tempo and together they provide the vitality and character of the music. Tempo means speed or time. Most Rock'n'Roll for example is in common or 4/4 time. Roger Taylor holds such technical terms in high esteem [radio equivalent of a ;-)] RT: I try and avoid technical terms because they make me go to sleep. Er, 4/4 really as far as most people are concerned is basically different to 3/4 or 6/8. A song like We are the Champions is basically in 3/4 which is 3 beats to the bar which is really waltz time [a bit of RT playing Champions] [a clip of Champions] That's just 3/4 , er hang on a minute... yeah. Whereas the majority of songs are in 4 time, it's very simple 4 beats to the bar [RT demonstrates 4/4] [a clip of the Stones. either Brown Sugar or Jumping Jack Flash (dunno which) which is presumably what Roger was playing] [RT demonstrates 4/4] RT: Almost all beats, the great majority of them, are in 4/4. Anything other than that, you're talking Jazz or an arrangement by Genesis! I had to play one of those the other day and it was very difficult! Turn it on again - very difficult. I think it went 13 time to 3 time to 4 time [a clip of Turn it on again] [a large bit about PC talking about In the Air Tonight and Ringo] JS: Jazz has given contemporary music a wealth of explosive drummers with characters to match, like Art Blakey, Phil Seaman, Gene Crouper and many more. But there's one jazz drummer that sends shivers of delight through both PC and RT RT: I saw Buddy Rich playing. He was wonderful, fantastic. I would say of just sheer technique he's the best I've ever seen. I remember he did a sort of press(?ed) roll thing which lasted for about 5 minutes. It started off as a whisper which you could barely hear and it got so it filled the whole room of about 3500 people and it was like thunder, it was all one snare drum - in the manner of this [RT does crescendo drum roll] I can't keep it up for 3 minutes, but it just shows unbelieveable control of the drum and the sticks [a clip of Buddy Rich playing something][ [a bit with PC talking about Buddy Rich] JS: But is it possible that drummers could find themselves replaced by digital technology. Drum machines are featured on many of today's recordings, especially the many dance hits that regularly storm the chart They are small, versatile, keep perfect time and don't need to get paid RT: Fantastic to write with. They have their place, they're terribly useful to the musician, but they're just another tool. They never will replace a good drummer. A lot of the bands that use them, I call then typewriter bands because basically they program the sample sounds with no real dynamics, and that dynamics is very important. And the records come out sounding very flat and very 2-dimensional whereas something with real dynamics and a good drummer can add another dimension - depth - to the band and that's why bands that play together when they're actually making the record will always sound better JS: As far as RT is concerned, the human touch us still preferable to a machine A good drummer obviously needs an instinctive feel for the rhythm, and modern dance or funk music requires a different approach RT: Yes, the difference is subtle. It's really the way you place the beats within the bar. And often you get more going on behind, often it's sharper and snappier [bit of RT demonstrating] You might have 16s going on on the high hat [bit of RT demonstrating] Unlike something that's straight. Like one of our old things which is as straight as you can get. Another one bites the dust, which is something like [a bit of RT playing AOBTD intro] [a clip of AOBTD] JS: So far, we've heard about tempo and technique, the great drum pioneers, dynamics and drum machines. But before I leave you, what about the human qualities? If you've always had a yearning to play drums and are about to go and spent your hard earned cash on that expensive drum kit, how do you know you've got what it takes? RT: You need a sense of time, a sense of rhythm, a sort of inner clock and that you really need naturally. You have to have agression and lastly I would say you definitely need stamina. But you do learn tricks, apart from the fact that you develop more stamina, your muscles get more used to what's demanded of them. We used to do a song called Dragon Attack that was very hard on the right wrist, It should have gone [a bit of RT playing Dragon Attack chorus] I used to end up going [a bit of RT playing Dragon Attack chorus with half the hits] You sort of half the work that you're doing with the right hand, and that's just an example. Also there are techniques of being louder and using less energy. For instance, when people start playing the snare drum, they will play the back beat but they'll probably play it like this [RT hits drum a few times - very clean sound] when you learn a bit more, you find that virtually every time you hit the snare with the back beat you don't just hit it but do what's called a rim shot. A rim shot is not this [RT hits rim] A rim shot is this [RT hits drum - much more drag] [RT plays something, don't know what] That's just a way of accentuating or getting more power out of the drum It's development of technique and I suppose playing the drums more efficiently JS: Why have drummers got this wildman reputation? RT: It's because they're basically far superior to other musicians JS: You're not biased? Why should drummers always be being deemed the lunatic? RT: I suppose it's more physical than most of the other things, your adrenalin is pumped more naturally whereas bass players are usually, well... quite often fairly morose, rather like their instruments. There are stereotypes and it is quite amazing how often members of bands seem to follow those stereotypes. Singers are ALL vain. Guitarists are all vain but won't admit it. Bass players are quiet people, and drummers are very exciting people to be with. JS: You mentioned earlier that one of the qualities a good drummer needs is to be aggressive. Drums are quite antisocial and loud, so that might make the individual antisocial and loud and therefore get noticed RT: There might well be something in that, and there's something rather nice about spending the evening hitting things [clip of The Who - the one that sounds like Under a Raging Moon (?won't get fooled again)] THE END
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Train your ears for drum sounds.	en	/apple-touch-icon-57x57.png	Musical U	https://www.musical-u.com/learn/a-roll-around-the-drum-kit/	A great drum groove is the foundation of popular music, but a surprising number of music lovers can’t tell a snare from a hi-hat. There are a number of articles coming up here on EasyEarTraining.com featuring drums so now seems as good a time as any to take a quick tour around the kit. Being able to identify parts of a drum kit doesn’t just improve your appreciation of music, it’s also a great skill to have at your disposal when songwriting, allowing you to explain your ideas to your drummer or program a groove into a drum machine with something better than trial and error. Hopefully by the end of this article you should be able to name all the common parts of a drum kit by sight and by sound. Lets start by taking a look around a typical rock kit: Hi-Hat Ride Crash Splash China Snare Bass Drum Tom Tom It may look pretty complicated, but we can soon break it down. Cymbals Cymbals are hammered and lathed from bronze. They consist of two parts – a central raised cup called the bell and the main body of the cymbal called the bow. Cymbals fulfil two main functions: riding (A steady, typically 8th-note, beat defining the pulse) and accenting. Cymbals vary a huge amount in sound depending on their exact composition, shape and manufacture technique. Careful selection of cymbals has a much larger impact on music’s sound than drums (where tuning is more important). In general jazz players favour darker sounding cymbals with irregular hammering patterns to produce complex overtones while rock and metal players favour clean, bright sounding cymbals to cut through distorted guitars. Hi-Hat The hi-hat (1) is the most versatile cymbal in a drummer’s arsenal. It consists of two cymbals of around 14″ in diameter which can be clashed together using a pedal-operated clutch. The hi-hat evolved by taking the low-hat (a pedal driven device used to bring two orchestral clash cymbals together) and modifying it to raise the cymbals to a playable height. The pedal can be used to splash the cymbals, or for a tight sound: Riding a tightly clenched high hat provides a crisp “chk”, perfect for a pop verse. Relaxing the pedal so the hats sizzle and clash gives an aggressive sound for quarter-note rock riding and accents. Hi-hat playing can be very expressive. Funk/disco grooves often feature the characteristic “shh” sound of the hi-hat pedal opening and closing to the beat heard here with the bass drum. Ride The ride cymbal (2) is usually the largest and heaviest cymbal (typically between 18″-22″ in diameter). As its name suggests it is almost exclusively used for ride patterns. The ride cymbal produces a “ping” at stick contact followed by a wash of sound. A drummer will typically switch to the ride in a chorus to fill out the sound. Striking the bell turns the “ping” to a “clang”, reducing the wash and is commonly used for accenting and quarter note ride patterns in hard rock. Riding the edge of the cymbal is known as crash riding and removes most of the “ping” for an expansive wash, which may be overwhelming in all but a hard rock chorus or jazz break. Crash and Splash Crash (3) and Splash (4) cymbals are principally used for accenting. The only difference between splash, crash and ride is size, with a splash typically 8″-12″ and crash 14″-20″ (indeed the renowned rock drummers John Bonham and Taylor Hawkins both used light rides as crash cymbals). Unlike the ride and hi-hat, drummers often have multiple crashes for different tones and strength of accent. In drum patterns the crash is almost always played in conjunction with the bass drum to reinforce the sound. The splash is used for subtler accents without the bass drum and is not used by all drummers. China and FX The China or Pang (5) is a harsh, trashy-sounding cymbal with a flared rim which produces a huge explosion of sound. It is used for strong accents and occasionally used as a ride for extreme metal styles. There are also numerous FX cymbals available with holes, rivets and chains attached to produce lo-fi sounds or simulate electronic break beats. Drums Drums are made of a wood or metal shell with a taught skin (in reality made of Mylar, as real skin is a difficult to tune) stretched over each end. The top or batter head is struck with a stick and the bottom or resonant head vibrates in sympathy. The pitch of the note produced is determined by the tension of the head and the size of the drum (A larger drum will create a lower tone). Something that often surprises non-drummers is that there is no one right way to tune a drum. It’s a very personal thing and an expertly-tuned beginners kit will outshine a lazily-tuned professional kit. Rock drummers will typically use large drums slackened to the lowest pitch before becoming deadened while jazz drummers favour smaller sizes and a tighter, more tonal tuning. The Snare The Snare Drum (6) is typically 14″ in diameter and has tight metal wires or snares on the resonant head which slap back against the skin when struck producing a whip crack sound. The snare drum sits between the drummers knees. In a rock pattern the snare provides the all important back beat on beats 2 and 4. When recorded the snare is usually damped and processed to sound tighter and punchier The snare can be struck so the stick contacts the rim as well as the skin for a rim shot a popular jazz accent: Laying the stick on the head and dropping it onto the rim produces a click called a sidestick, great for reggae: The snare is the most versatile and expressive drum. Listen to how these subtle off beat ‘ghost’ notes combine with the hi-hat to add colour to this groove: The Bass Drum The bass or kick drum (7) is the largest and deepest drum. It is played with a felt beater attached to a pedal. The bass drum provides the thump that punches you in the gut on the 1 and 3 of a rock beat. The bass drum is usually heavily muffled with pillows or blankets to make it sound punchy: Heavy metal often features brutally fast kick drum patterns played with both feet: Tom Toms Tom Toms (8) are come in a variety of sizes. Kits usually have two or three, but may have as many as ten! Smaller toms from 8″-13″ are called rack toms and are suspended from stands: Larger and deeper toms from 14″-18″ are called floors and produce a much lower tone: If you listen carefully you can sometimes hear a pitch bend on the decay of the note. This occurs when the two heads are tuned differently. (Listen to the verse groove of “Song 2” by Blur for a great example of this). Toms are occasionally used for ride pattens, but mostly for fills where they are usually played from high to low along with the snare drum. Putting It All Together We have listened to the separate components of a drum kit, but the fun part is using what we have learned to get more enjoyment from great drum grooves. Try listening to this drum instrumental which uses all of the kit and see if you can use your new skills to identify the sounds you hear. We have only really scratched the surface of what a drum kit can be and the sounds it can produce. See what parts you can identify from this massive kit belonging to Frank Zappa drummer Terry Bozzio:
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do we do with this?
7770	dbpedia	2	7	https://www.insidehighered.com/news/2022/06/13/daniels-retire-purdue-successor-already-named	en	Daniels to Retire at Purdue; Successor Already Named	https://www.insidehigher…pg?itok=4Hf1kOFs	https://www.insidehigher…pg?itok=4Hf1kOFs	[ "https://www.insidehighered.com/themes/custom/ihe/logo.svg", "https://www.insidehighered.com/themes/custom/ihe/assets/images/svg/facebook.svg", "https://www.insidehighered.com/themes/custom/ihe/assets/images/svg/x84.svg", "https://www.insidehighered.com/themes/custom/ihe/assets/images/svg/Linkedin.svg", "https://www.insidehighered.com/themes/custom/ihe/assets/images/svg/email.svg", "https://www.insidehighered.com/themes/custom/ihe/assets/images/svg/print.svg", "https://www.insidehighered.com/sites/default/files/styles/max_650x650/public/media/GettyImages-1235087550.jpg?itok=SlOL-noJ", "https://www.insidehighered.com/themes/custom/ihe/assets/images/svg/envlope.svg", "https://www.insidehighered.com/sites/default/files/styles/image_192_x_128/public/2024-08/KHEAA-13_edit.jpg?itok=LWQ6H9V-", "https://www.insidehighered.com/themes/custom/ihe/assets/images/svg/facebook.svg", "https://www.insidehighered.com/themes/custom/ihe/assets/images/svg/x84.svg", "https://www.insidehighered.com/themes/custom/ihe/assets/images/svg/Linkedin.svg", "https://www.insidehighered.com/themes/custom/ihe/assets/images/svg/email.svg", "https://www.insidehighered.com/sites/default/files/styles/image_192_x_128/public/2024-07/GettyImages-1474097343_edit.jpg?itok=ZP7EXqAV", "https://www.insidehighered.com/sites/default/files/styles/image_192_x_128/public/2024-07/GettyImages-1266808508.jpg?itok=lSKNkivW", "https://www.insidehighered.com/sites/default/files/styles/image_192_x_128/public/2024-03/Berkeley.jpeg?itok=MwpMjnRD", "https://www.insidehighered.com/themes/custom/ihe/assets/images/svg/envlope.svg" ]	[]	[]	[ "Higher", "Education", "News", "Jobs", "Events", "Career" ]	null	[ "Josh Moody" ]	2022-06-13T00:00:00	Mitch Daniels announced his retirement from Purdue on Friday. The Board of Trustees announced on the same day they’d hired an internal candidate. The search did not include public input.	en	/sites/default/files/favicon.ico	Inside Higher Ed \| Higher Education News, Events and Jobs	https://www.insidehighered.com/news/2022/06/13/daniels-retire-purdue-successor-already-named	Mitch Daniels is stepping down after 10 years as president of Purdue University, per an announcement made Friday. And a successor was named on the same day—without public input. Purdue did not respond to a media inquiry about the closed internal search process, which breaks from the norm at public universities when seeking a successor for a departing president. Daniels, a former Indiana governor from 2005 to 2013, joined Purdue in 2013 after his term ended. Daniels will vacate the president’s office at the end of the year and be replaced on Jan. 1 by Mung Chiang, who currently serves as dean of engineering and executive vice president for strategic initiatives. Last year Chiang was considered to be the front-runner for the University of South Carolina presidency before dropping out of consideration, citing responsibilities to his family and Purdue. The Hire Once Daniels made his interest in retiring clear to the board, an internal search for his successor began, according to details shared with local reporters at Friday’s Board of Trustees meeting, where the announcement was made. Other internal candidates were also considered. Chiang said at Friday’s meeting that he was first approached about the presidency in April. Chiang was the unanimous choice to succeed Daniels, according to a Purdue news release in which Board of Trustees chairman Michael Berghoff noted Chiang had turned down other offers. “He has displayed not only academic excellence but also administrative acumen, effective relationship-building with academic, governmental, and business partners, and the skills of public communications,” Berghoff said in the news release announcing the hire. “He brings the entire package of talents and experience necessary to take our university further forward. It is no surprise that Mung has been offered the presidency of several other schools, and the board is grateful that his loyalty to Purdue kept him here and available as this time of transition arrived.” Before Purdue, Chiang spent almost 14 years in various roles at Princeton University. Chiang completed his undergraduate education, master’s degree and Ph.D. at Stanford University. Purdue made the hire after an internal search. “The Board of Trustees is empowered by statute and bylaw to screen and select the president of Purdue University by whichever process they deem appropriate. In this case, it was decided that there were enough qualified internal candidates to fill the position without an external search. Therefore, the board members have been informally gathering feedback and input on the candidates of interest, and announced their selection on Friday, June 10,” Colleen Brady, chair of Purdue’s University Senate said by email. The Reactions Across Indiana, public officials praised the work Daniels has done and celebrated the new hire. “During his 10 years at the helm, Mitch has delivered higher education at the highest proven value, from freezing tuition during his entire tenure, to creating a national online university, establishing a network of Indiana STEM charter schools, and making record investments in world-class research,” Indiana governor Eric Holcomb said in a statement Friday. “He has always kept Purdue’s land-grant mission as its core strategy and spent each day opening the doors of higher education to every Hoosier willing to put in the work to be a Boilermaker.” Holcomb added that he is “eager to work with Dr. Mung Chiang as he takes the reins.” Pamela Whitten, president of Indiana University, also paid respect to Daniels. “Congratulations to Mitch Daniels on his great success in leading Purdue. He is a highly valued colleague; we wish him the best. Congratulations also to Dr. Mung Chiang on being named president of Purdue University,” Whitten tweeted Friday. “I look forward to making progress toward our shared goals of student success, research and strengthening the state.” Some higher education observers found the move puzzling because of how the search was carried out in a secret fashion, with both the retirement of Daniels and his successor named on the same day, noting that the process used at Purdue breaks from the norm at public institutions. “To my knowledge, this is a very unusual arrangement for a public institution,” said Neal Hutchens, a professor at the University of Mississippi who studies legal issues in higher education. While Hutchens said some states have dialed down transparency in searches, limiting the number of candidates revealed as finalists, Purdue’s approach here is atypical of the presidential hiring process. “I don’t understand the advantages of doing it this way. To me, it would seem to shut down transparency and the ability to get feedback from different constituencies across campus,” Hutchens said. David Sanders, a professor at Purdue, told local TV station WLFI that the surprise hire limited the ability of the university to properly vet Chiang as he steps into the role of the president. “We can’t guarantee we had the best outcome without knowing if it was an open process,” Sanders told the TV station Friday. “There had been other examples at other universities where they engaged in this closed process, and it turned out if there had been an open process, information about the appointee would have come out. And they wouldn’t have been considered. They wound up having to fire, or the person has moved on because they weren’t vetted appropriately, which would have happened better if it had been an open process.” Daniels leaves a legacy at Purdue that has seen him both celebrated and castigated. He has earned praise for an 11-year tuition freeze, developing corporate partnerships and growing the student body, among other accomplishments. At the same time, Daniels has been criticized for expanding Purdue’s online offerings by acquiring the troubled for-profit Kaplan University, and foot-in-mouth missteps when commenting on Black scholars and student gender gaps. Daniels told reporters at Friday’s meeting that he is not weighing other job offers and does not have immediate plans following his departure from Purdue at the end of this year.
7770	dbpedia	1	58	https://ccresourcecenter.org/state-restoration-profiles/50-state-comparisoncharacteristics-of-pardon-authorities-2/	en	50-State Comparison: Pardon Policy & Practice	https://ccresourcecenter…2/Image-wide.jpg	https://ccresourcecenter…2/Image-wide.jpg	[]	[]	[]	[ "" ]	null	[]	2016-03-11T11:04:55-05:00	Section 1 categorizes jurisdictions by frequency and regularity of their pardon practice. Section 2 provides a chart comparing pardon policy and practice across jurisdictions. Section 3 sorts jurisdictions by how the administration of the power is structured. Section 4 provides state-by-state summaries of pardon policy and practice, with links to more detailed analysis and legal	en	/wp-content/uploads/fbrfg/apple-touch-icon.png?v=jw6xOYjOmE		https://ccresourcecenter.org/state-restoration-profiles/50-state-comparisoncharacteristics-of-pardon-authorities-2/	Contents 1. Relative pardoning frequency 2. Comparison of pardon policies 3. Models for pardon administration 4. State-by-state information Section 1 categorizes jurisdictions by frequency and regularity of their pardon practice. Section 2 provides a chart comparing pardon policy and practice across jurisdictions. Section 3 sorts jurisdictions by how the administration of the power is structured. Section 4 provides state-by-state summaries of pardon policy and practice, with links to more detailed analysis and legal citations. 1. Relative pardoning frequency Updated: July 2024 Louisiana, Missouri, and Wisconsin appear on the list for the first time, in light of the regularity of the process and frequency of grants under the incumbent or most recent governors. 2. Comparison of pardon policies In states where pardoning is characterized as “frequent and regular,” there is a regular pardon process with a high percentage of applications granted (30% or more); where pardoning is “sparing,” there is a regular process but a low grant rate; where pardons are infrequent, uneven, or rare, the chart will generally indicate numbers. The states are listed by frequency in Section 2 (“Relative Pardoning Frequency”). For alternative restoration mechanisms, see the 50-State Comparison: Expungement, Sealing & Other Record Relief. Updated: July 2024 StateType Of AdministrationType Of ProcessEligibility RequirementsEffectFrequency of Grants ALIndependent board appointed by governor exercises pardon power, except governor has authority in capital cases. Ala. Const. amend. 38 (amending Art. V § 124); Ala. Code §§ 15-22-20 through 15-22-40. The board must make a full annual report to the governor. § 15-22-24(b).Public hearings at regular intervals; 30 days' notice must be given to the attorney general, prosecutor, sentencing judge, chief of police and the county sheriff, and the victim. Ala. Code § 15-22-23l. Each board member gives reasons for vote. Process takes about one year.Following completion of sentence, incl. fine, no pending charges, or after 3 years "permanent parole" unless pardon sought for actual innocence. Ala. Code § 15-22-36(c). Federal and out-of-state offenders eligible.Only as specified in grant (full pardons rare); predicate unless expressly provided. Ala. Code § 15-22-36. As of 2021, Alabama pardons are basis for sealing. Frequent and Regular: Hundreds of pardons are granted each year, a high percentage of those who apply. Until 2019, more than 800 pardons granted annually or 80% of applications received, Pardons reduced somewhat since 2019 both in absolute numbers and percentage granted. AKGovernor decides, parole board must be consulted but advice not binding. Alaska Const. art. III, § 21; Alaska Stat. § 33.20.080.No formal regulations, no public hearing. Parole board staff investigates, consults with DA and court, prepares confidential recommendation to governor. Alaska Stat. § 33.20.080.Parole board staff must find a person eligible to apply on merits.Conviction set aside, may not serve as predicate or be used by licensing board, but conduct may be taken into account. Rare: Only three pardons since 1995. AZGovernor decides, may not act without affirmative clemency board recommendation. Ariz. Const. art. V, § 5; Ariz. Rev. Stat. § 31-402(A). Governor must publish reasons for each grant, and report regularly to legislature. Ariz. Rev. Stat. §§ 31-445, -446.Board meets monthly; must publish application, hold public hearing, publish recommendation to governor with reasons. Ariz. Rev. Stat. §§ 31-401, 31-402.Any Arizona felony offender. Ariz. Rev. Stat. § 31-402.Pardon relieves legal consequences, but conviction must still be reported and is given predicate effect. 68 Ariz. Op. Att'y Gen. 17.Rare: Pardons increasingly rare since 1990; Gov. Brewer issued only 12 pardons in her 6 years in office, all in her last year. Governor Ducey has issued no pardons to date. ARGovernor decides, parole board must be consulted but advice not binding. Ark. Const. art. VI, § 18; Ark. Code Ann. § 16-93-204(a). Governor must report to legislature on all grants with reasons. Ark. Const. art. VI, § 18.No public hearing. Parole board must give 30 days' prior notice of favorable recommendation, and governor must give 30 days' public notice (including statement of reasons) to prosecutor and victim. Ark. Code Ann. §§ 5-4-607(d)(1);16-93-204(c)(1); 16-93-207(a).No restrictions. Federal and out-of-state offenders are eligible to apply. Ark. Const. art. VI, § 18; Ark. Code Ann. § 16-93-204.Relieves legal disabilities, expungement automatic in all but cases involving serious violence; must specifically restore firearms rights. May not be used as predicate or to enhance. Ark. Code Ann. §§ 16-93-301 to 16-93-303.Frequent and Regular: About 100 grants each year, 300-500 applications annually. CAGovernor decides, parole board may be consulted. For recidivists, board must be consulted, majority of supreme justices must recommend.. Cal. Const. art. V, § 8; Cal. Penal §§ 4800, 4812-4813, 4852.16. Governor report grants to legislature, including facts and reasons for grants. Cal. Const. art. V, § 8; Cal. Penal § 4852.16.No provision for public hearing. Certificate of rehabilitation from court (PD representation), or direct application to board if non-resident or misdemeanant. Cal. Penal Code § 4852 et seq.10 years after completion of sentence.Described as "an honor," restores civil rights and removes occupational bars, but no expungement; guns separately restored. May be used as predicate. Cal. Penal Code §§ 4852.15, 4853.Uneven and irregular: Under the most recent governors, pardons have been issued at regular intervals, but the process remains opaque. COGovernor decides ("subject to such regulation as may be prescribed by law relative to the manner of applying"). Governor sends legislature "a transcript of the petition, all proceedings, and the reasons for his action." Colo. Const. art. IV, § 7. Non-statutory advisory scheme. In 2020 governor given authority to pardon marijuana possession convictions on class-wide basis. Colo. Rev. Stat. §§ 16-17-102(2). No hearing, governor required to seek views of corrections authorities, DA and judge. Colo. Rev. Stat. §§ 16-17-101; 16-17-102.No eligibility restrictions.Restores civil rights and firearms privileges, assists with licensing and employment, recognizes meritorious achievement and rewards exceptional citizenship. Does not authorize sealing. Irregular: Until the final 18 months of Governor Hickenlooper’s term (2017-2018), when he issued moire than 100 pardons, the pardon power had not been functioning in a meaningful fashion for many years, and the current governor has reconstituted the pardon board. Governor Bill Ritter issued several dozen pardons at the end of his term. CTIndependent board appointed by governor exercises pardon power. Conn. Gen. Stat. § 54-124a(f).Public hearings at regular intervals at which applicant must be present, with reasons for denial given. Board may dispense with hearing in certain classes of cases. Process takes about one year. Conn. Gen. Stat. § 54-124a(e)?(k).5 years following completion of sentence; misdemeanants may apply. Provisional pardon/Certificate of Relief may be sought any time after sentencing. Conn. Gen. Stat. § 54-130e(b).Relieves all legal disabilities, results automatically in "erasure" of conviction, destruction of records after three years, after which no predicate effect. Provisional pardon relieves one or more "barriers and forfeitures." Conn. Gen. Stat. § 54-142a(d).Frequent and Regular: The overall grant rate of those eligible for both types of relief has increased steadily in recent years from 47% in 2013 to 77% in 2018, when 767 of 983 eligible applicants were granted pardon, 443 by the expedited procedure authorized in 2015. DEGovernor decides, may not act without affirmative clemency board recommendation. Del. Const. art. VII, § 1. Governor must report periodically to legislature. Id.Pardon board, chaired by lieutenant governor, public hearings at regular intervals, recommendations and reasons announced. Favorable recommendations sent to governor. Process takes about six months. Del. Const. art. VII; Del. Code. Ann. tit.11, § 4362.3-5 years following completion of sentence, absent hardship; misdemeanants may apply.Relieves disabilities except constitutional prohibition against holding state office for "infamous offense." May be used as predicate and to enhance subsequent sentence. Del. Code. Ann. tit. 11, § 4364. Effective 2020, all pardoned convictions are basis for discretionary expungement. § 4375.Frequent and Regular: Governor John Carney has granted more than 1700 pardons since taking office in 2017, while his predecessor Jack Markell granted 1569 pardons during his 6-year tenure. About 85% of applications received are approved by Board and 90% of those approved by the Board are granted by governor. Applications have tripled since 2005. DCPresident decides under a non-statutory advisory scheme. U.S. Const. art II, § 2.Informal process described in 28 C.F.R. Part 1 and United States Attorneys Manual. No time limit, and applications may remain pending for years.5 years after sentence or release from confinement. 28 C.F.R. Part 1.Relieves legal disabilities and signifies rehabilitation and good character. May be used as predicate. 1995 WL 861618 (1995).Rare: Only a handful of DC offenders have been pardoned by the president since 1980. FLGovernor decides with concurrence of two cabinet officials. The governor and three cabinet officials act as pardon board. Fla. Const. art. IV, §8 (a); Fla. Stat. ch. 940.01, 940.05. Governor reports to legislature each restoration and pardon. Id. at 940.01.Public hearing for pardon, and for restoration of rights for many offenders (offenses specified in clemency rules). Hearings are held on a quarterly basis, DA and victims notified. Separate process for firearms restoration.Eligibility immediately following completion of sentence. Out-of-state and federal offenders eligible for ROR but not pardon (R. 9D).Pardon "unconditionally releases the person from punishment and forgives guilt." Id. Restores firearms rights. Id. at 4A. May be used as predicate. ROR restores vote and other basic civil rights. (R. 4F). Regular but sparing: The pardon process is regular but full pardons have been infrequent in recent years. About 300-400 grants to restore civil rights are made each year. GAIndependent board appointed by governor exercises pardon power. Ga. Const. art. IV, § 2, para. II. Board must report annually to legislature, the Attorney General and the Governor. Ga. Code Ann. § 42-9-19.Paper review, no public hearing. Board decides cases by majority vote, and in a written opinion. Ga. Code Ann. §§ 42-9-42(a) and (b); 42-9-43.5 years following discharge; out-of state offenses eligible for restoration of rights but not pardon. Drug and violent offenses ineligible to apply by Board policy.Relieves all legal disabilities except return to public office. As of 2020, pardon makes a conviction eligible foir sealing. Ga. Code Ann. § 42-9-54; § 35-3-37(j)(6). Frequent and Regular: Between 300-400 pardons w/o gun rights; 100 pardons w/ gun rights, several hundred "restoration of rights"(approx. 35% of applicants); immigration pardons. HIGovernor decides, parole board may be consulted. Haw. Const., art. V, § 5; Haw. Rev. Stat. § 353-72.No public hearing; parole boards interviews applicant, recommends to AG's office, which conducts independent investigation and makes recommendation to governor. Process takes 8 months. Haw. Rev. Stat. § 353-72.No eligibility requirements.A pardon will state that the person has been rehabilitated, relieves legal disabilities and prohibitions. No expungement, may be used as predicate. Haw. Rev. Stat. §§ 353-62, 353-72.Irregular: No information on any pardons granted by Governor Ige since he took office in 2014. Governor Abercrombie issued 33 pardons, fewer than his predecessors. Governor Lingle granted 132 pardons in 8 yrs., 55 in her last year (2010). About 50 applications filed per year. IDIndependent board appointed by governor decides all but violent and drug offenses, which must be approved by governor. Idaho Const. art. IV, § 7; Idaho Code Ann. §§ 20-210, 20-240.Public hearing at regular intervals; reasons for each action must be filed with Secretary of State. Idaho Code §§ 20-210, 20-240; see IDAPA § 50.01.01.Three years for non-violent offenses, five years for violent. Idaho Code § 18-310(3).Relieves certain legal disabilities, including firearms. Idaho Code § 18-310. Does not expunge.Frequent and Regular: In recent years 20-30 grants annually, from 30-60% of applications filed. ILGovernor decides, although "the manner of applying therefore may be regulated by law." Ill. Const. art. V, § 12. Prisoner Review Board authorized to provide advice to governor. 730 Ill. Comp. Stat, Ann. 5/3-3-1(a)(3).Public hearings at regular intervals before the Prisoner Review Board, which makes confidential recommendations to Governor. 730 Ill. Comp. Stat. 5/3-3-1 et seq.No eligibility requirements.Relieves legal disabilities; expungement if authorized by the grant. People v. Glisson, 358 N.E.2d 35 (Ill. App. Ct. 1976).Frequent and regular: Governor Pritzker issued a total of 225 pardons during his first term, and used his pardon power to authorize expungement of more than 11,000 marijuana possession convictions pursuant to recommendations from the Prisoner Review Board. When he left office after four years in January 2019, Governor Bruce Rauner had granted 110 pardons and denied more than 2500 applications, a less generous pardoning policy than his predecessor Pat Quinn, but one that eliminated a backlog dating back to Governor Blagojevich's tenure. In Quinn’s nearly six years in office starting in April 2009, he granted 1,789 pardons, a 37 % approval rate. Board hears 800 applications each year. INGovernor decides, "subject to such regulations as may be provided by law." Ind. Const. art. 5, § 17. Parole board makes advisory recommendations to governor. Ind. Const. art. 5, § 17; Ind. Code §§ 11-9-2-1 to 11-9-2-3. Governor reports to legislature. Ind. Const. art. 5, § 17.Public hearing; parole board notifies victim, court, and DA; conducts investigation and holds hearing at which petitioner and other interested parties are may present their position.Ind. Code § 11-9 et. seq.Recent governors have required a 5-year waiting period and evidence of rehabilitation. 15 years for firearms restoration.Pardon wipes out both the punishment and the guilt, grounds for expungement. Kelley v. State, 185 N.E. 453 (Ind. 1933). See also State v. Bergman, 558 N.E.2d 1111 (Ind. Ct. App. 1990); Ind. Code § 35-47-2-20(a); § 11-9-2-4.Irregular: Governor Eric Holcomb issued six pardons in his first year in office (2017), including one to a man whose conviction was found to be wrongful by the courts, but as of November 2019 had issued no more. Mike Pence granted his only three pardons in January 2015. Governor Mitch Daniels (2005-2013) granted 62 pardons during his eight years in office, generally pursuant to favorable Board recommendations. IAGovernor decides "subject to such regulations as may be provided by law." Iowa Const. art. IV, § 16. Parole board authorized to provide advice. Iowa Code §§ 914.1-914.7. Governor reports to legislature on pardons issued and reasons. Iowa Const. art. IV, § 16.Paper review, no public hearing for pardon and restoration of rights. Separate firearms restoration procedure. Iowa Code § 914 et seq.10 years for pardon, 5 years for firearms; no waiting period for restoration of rights. Out-of-state and federal eligible for ROR. Iowa Code § 914.2.Pardon relieves all legal disabilities (incl. public employment disabilities). See Slater v. Olson, 299 N.W. 879 (Iowa 1941). Restoration of rights restores right to vote and hold public office, may also restore firearms rights. Does not seal or expunge. Uneven, varies with administration: Average of 35 full pardons each year between 2005 and 2011 (fewer since 2009 and in recent years increasingly rare), with another 30-60 grants to restore civil rights and firearms privileges KSGovernor decides, subject to regulations and restrictions by law. Kan. Const. art. I, § 7. The governor required to seek the advice of the prisoner review board, though not bound to follow it, Kan. Stat. Ann. § 22-3701(4). Reports to legislature on each pardon application but need not give reasons. Kan. Stat. Ann. § 22-3703.Paper review. Applicant must publish a copy of the application in a newspaper in county of conviction at least 30 days before grant or pardon is void. Applicant must also provide notice of application to DA, judge and victim. Kan. Stat. Ann. § 22-3701 et seq.No eligibility requirements, except that only Kansas state convictions are eligible to be pardoned or commuted. Kan. Stat. Ann. § 22-3701.Pardon removes disabilities imposed under state law, but does not expunge conviction or lift bar to service as a law enforcement officer.Cf.Kan. Att'y Gen. Op. No. 85-165 (1985). May be used as predicate.Rare: Pardons very rare, primarily for miscarriage of justice KYGovernor decides, parole board may be consulted. Ky. Const. § 77. Governor may also restore rights of citizenship, office. Id. §§ 145, 150. Governor reports to legislature reasons for each grant. Id. § 77.No public hearing. Pardon applications sent directly to the governor with reasons for seeking relief and letters of recommendation. Simplified ROR process administered by DOC. Ky. Rev. Stat. Ann. § 439 et seq.For restoration of rights, expiration of sentence with no pending charges. For pardon 7-year waiting period. Federal and out-of-state offenders eligible for restoration of rights.Arnett v. Stumbo, 153 S.W.2d 889 (1941).Restoration of citizenship restores a person's right to vote and eligibility for jury service. A full pardon relieves additional legal disabilities, grounds for sealing. May be used as predicate. Ky. Const. § 145(1); Leonard v. Corrections Cabinet, 828 S.W.2d 668 (Ky. Ct. App. 1992)Uneven: Pardons during term have been rare. Governor Bevin issued hundreds of pardons at the end of his term in December 2019. Governor A, Beshear issued executive order restoring civil rights to thousands at the beginning of his term. LA"Upon favorable recommendation of the Board of Pardons," the Governor may pardon "those convicted of offenses against the state."La. Const. art. IV, § 5(E)(1); La. Rev. Stat. Ann. § 15:572(A).Regular public hearings, approval by four of five board members; DA and victim notified by board, and by applicant through publication of application in newspaper. La. Const. art. IV, § 5(E)(2); La. Rev. Stat. Ann. 15:572.1.Completion of sentence, plus payment of costs. La. Const. art. IV, § 5(E)(1); La. Rev. Stat. Ann. § 15:572(A); see Op. La. Att'y Gen. No. 04-0080 (2005).Full pardon restores to "status of innocence," conviction cannot be used to enhance punishment. State v. Riser, 30,201 (La. App. 2 Cir. 12/12/97). First Offender Pardon automatically restores rights after completion of sentence, is basis for expungement. Frequent and regular under incumbent John Bel Edwards, who pardoned 167 in his first term and 113 in his second, and also commuted some sentences. His predecessor Bobby Jindal pardoned only 83 in 8 years and left unacted on hundreds of recommendations from the Board. Previous governors granted 331 (in 4 years) and 476 (in 8 years). Edwin Edwards granted over 3,000 in 16 years. MEGovernor decides, subject to regulation "relative to the manner of applying." Non-statutory advisory scheme. Me. Const. art. V, pt. 1, § 11.Public hearings at regular intervals; board makes confidential recommendations to governor. Parole board conducts investigation. Applicant notifies DA, publishes notice of hearing in a newspaper 4 weeks beforehand. Me. Rev. Stat. Ann. tit. 34-A, § 5210(4); tit. 15, § 2161.5 years following completion of sentence.Relieves legal disabilities. Me. Rev. Stat. Ann. tit. 16, §§ 611-622.Irregular/uneven: As of April 2013, Gov. Lepage had granted only about 30 pardons since taking office in 2011. Between 2002 and 2011, Governor Baldacci granted 131 pardons, 51 in his final year. In past about 50 hearings each year, 25% result in pardon. MDGovernor decides, parole board may be consulted. Md. Const. art. II, § 20; Md. Code Ann., Correctional Services § 7-206(3)(ii). Constitution requires governor to publish notice of intention to grant, and to report grants to legislature with reasons. Md. Const. art. II, § 20.Paper review by Parole Commission, whose recommendations to the governor are not binding.Md. Code Ann. § 7-206(3)(ii).Felony convictions must have 10 crime-free years to be eligible (seven if Parole Commission waiver granted); misdemeanants must have 5 crime-free years. 20-year wait for crimes of violence and drugs (or 15 if waiver granted).Pardon lifts all disabilities and penalties imposed. Firearms privileges must be specifically restored in pardon document. Non-violent first offenders entitled to expungement. Irregular/uneven: Governor Moore issued a blanket grant to 175,000 misdemeanor marijuana possession offenses, but to date has not revived ordinary pardoning. Governor Hogan granted no pardons in his two terms in office. Governor O'Malley granted about 150 pardons in his eight years in office, Ehrlich (2003-2007) granted 228 pardons out of a total of 439 applications. MAGovernor may not act without affirmative recommendation of Governor's Council. Mass. Const. pt. 2, ch. II, sec. I, art. VIII. Governor must report to legislature annually with a list of pardons granted, but not required to give reasons. Mass. Gen. Laws ch. 127, § 152 (2011).Petitions filed with Parole Board, which recommends to Governor and Council. Mass. Gen. Laws ch. 127, § 152 (2011). Public hearing, referral to AG, DA, court, notice to victim. 120 Mass. Code Regs. 902.02-.12 (2011). Public report to governor and Council. Mass. Gen. Laws ch. 127, § 154 (2011).15 years after conviction or release from prison for felonies, 10 years for misdemeanors. Governor's Executive Clemency Guidelines (February 2, 2020) at 2.The governor, upon granting a pardon, orders the records of a state conviction sealed; thereafter, the records of the conviction may not be accessed by the public, and existence may be denied. Mass. Gen. Laws ch. 127, § 152 (2011).May be used as predicate.Irregular/uneven: While ordinary pardons ardons infrequent since early 1990s (less than 100 in 30 years) pardoning may be reviving with Governor Healey, who began issuing a few pardons almost immediately, and also issued a blanket grant to minor marijuana offenses in her second year in office. MIGovernor decides, parole board must be consulted but advice not binding.Mich. Const. Art. 5, § 14; Mich. Comp. Laws §§ 791.243, 791.244. Mustinform the legislature annually of pardons and reasons. Const. Art. 5, § 14.All applications referred to the board; if board decides to hold hearing, relevant officials must be notified. Recommendation of the board is a matter of public record. Mich. Comp. Laws § 791.244. The board “will not process [a pardon application] where expungement is available to the petitioner as an appropriate remedy."No eligibility criteriaPardon "releases the punishment and blots out of existence the guilt, so that in the eye of the law the offender is as innocent as if he had never committed the offense." People v. Van Heck, 651 N.W.2d 174, 179 (Mich. App. 2002).Irregular/uneven: Pardons rare prior to 2006 (only 34 pardons between 1969 and 2006). Gov. Granholm granted 20 pardons, 100 commutations; Rick Snyder granted Governor Rick Snyder granted a total of 72 pardons during his two terms (2011-2019), out of a total of more than 4000 applications reviewed by his administration. MNGovernor and high officials (attorney general, chief justice) act as board exercising power. Minn. Const. art. V, § 7. The governor and high officials (attorney general, chief justice) act as a pardon board, whose powers and duties are defined and regulated by statute. The pardon board is required to report to the legislature annually. Per a 2023 reform, the board's decisions need no longer be unanimous, but the governor must always been in the majority. The board will now be advised by a 9-person Clemency Review Commission, appointed in equal numbers by the three board mebers, which investigates applications and meets to consider recommendations to the board. A pardon restores all rights and effectively “nullifies” a conviction by setting it aside, and automatically expunges the record. Process includes public hearing before the Commission that advbises the Board, with notice to officials and victims, with the possibility of an expedited review process. In the past, the pardon process has yielded few grants and applications have not been encouraged, and it remains to be seen whether the new process will yield more grants.Board required to report to legislature by February 15 each year. Minn. Stat. § 638.075. The Clemency Review Commissin established in 2023 screens applications, holds hearings, and makes recommendationsm to the Board, which meets twice a year to decide cases. Minn. Stat. § 638.07. Eligibility for a pardon requires five years from final discharge, and waivers of the eligibility waiting period may be granted. Minn. Stat. § 638.12 subdiv. 2(a)A pardon restores all rights, including firearms rights, and has "the effect of setting aside and nullifying the conviction," so that it need not be disclosed. Minn. Stat. § 638.12 subdiv. 1(d). In 2023, board was directed to automatically submit pardons to court for expungement. § 609A.035. Regular but sparing: In the past there have been only 10-20 pardons each year, about one third of those whose cases are heard. Only those deemed eligible were permitted to file an application, and waivers of the eligibility waiting period were rarely granted. That may change with the new 2023 procedure. MSGovernor decides, parole board may be consulted. Miss. Const. art. 5, § 124. Miss. Code Ann. § 47-7-5(3).Applicants publish notice 30 days before applying, stating reasons. Miss. Const. art. 5, § 124. Facially meritorious cases sent to the parole board, which investigates and holds hearing. Board reports to Governor and legislature annually. Miss. Code Ann. § 47-7-15.Seven years since completion of sentence by governor's office policy.Pardon restores civil rights and removes employment disabilities, gun restrictions, obligation to register. No expungement.Irregular/uneven: No regular process. Almost 200 post-sentence pardons at end of Barbour's term gave rise to controversy, and his successor issued no pardons throughout his two terms. MOGovernor grants reprieves and pardons, subject to rules and regulations prescribed for "the manner of applying." Mo. Const. art. IV, § 7. Parole board must be consulted, but advice not binding. Mo. Rev. Stat. § 217.800.2.Applications referred to board for investigation and recommendation. See Mo. Rev. Stat. § 217.800.2. No provision for public hearing. Board meetings on clemency matters may be closed to public. Mo. Rev. Stat. § 217.670.5.If still in jail, apply at any time. If out, eligible three years from discharge.Pardon "obliterates" conviction, relieves of all obligations associated with the conviction (including obligation to register as sex offender). No predicate effect. No expungement.Frequent and Regular: To reduce a backlog of applications, and in response to calls in the press, Governor Parson has pardoned on a regular monthly basis, more generously than any MO governor in the last 40 years. In less than three years in office h e has pardoned more than 600 people. His predecessor Governor Nixon granted a total of 110 pardons during his eight years in office (2009-2017), but prior to that governors had granted few in recent years. Number of applications has increased dramatically, in part because of extension of firearms restrictions to long guns in 2008. MTGovernor may grant pardons and commutations, and must consult with board of pardons and paroles, but since March 2015 he may grant clemency even if board recommends denial. Mont. Const. art. VI, § 12; Mont. Code Ann. §§ 46-23-104(4), 46-23-301(3)(b). Governor must report grants to legislature including reasons. § 46-23-316.Board may hold a hearing in meritorious cases where all sides are heard and a record made, but is not required to do so. Governor may ask the Board to hold a hearing if it has declined to do so. See Mont. Code. Ann. § 46-23-301(3)(b).No eligibility criteria.Pardon removes "all legal consequences" of conviction, including licensing bars, but is not grounds for expungement.Rare: Between 2005 and present, only 25 individuals pardoned. NEGovernor and high officials (secretary of state and attorney general) act as board of pardon which exercises power. Neb. Const. art. IV, § 13. Governor chairs board.Public hearings held quarterly, victims notified. No reasons given. Board of Parole may advise the Board of Pardon "on the merits of any application . . . but such advice shall not be binding on them." Neb. Const. art. IV, § 13. Process takes about one year. Note: Board processes appear to have come to a virtual standstill in 2018 after the retirement of a long-time staffer, but regular hearings may resume in 2020. Informal rule of 10 years following completion of sentence for felonies, 3 years for misdemeanors.A pardon restores civil rights, certain occupational and professional licenses, and firearms rights (if expressly granted). Neb. Rev. Stat. § 83-1,130. As of 2018, pardoned conviction may be sealed. Frequent and Regular: Between 50 and 100 pardons granted each year between 2002 and 2023, plus reprieves from driver's license revocations. About 70% of grantees also regained firearms privileges. A high percentage of applications whose cases are heard are pardoned. NVGovernor and high officials (justices of state supreme court, and attorney general) act as board exercising power. Nev. Const. art. 5, § 14. Governor must report to the legislature at the beginning of each session every clemency action (no reasons necessary). Nev. Const. art. 5, § 13.Public hearings at regular intervals, which applicant must attend, except that non-violent first offenders may be considered on a paper record. County attorney, court and victim notified 30 days before hearing. Decision by majority (must include governor). One-year process. Nev. Rev. Stat. §§ 213.010, 213.020.Variable, between five and twelve years from release from prison or discharge from parole. Waivable with consent of a board member. Nev. Admin. Code § 213.065.Removes all disabilities, including gun disabilities and licensing bars, but does not "erase conviction" and may serve as predicate. Nev. Rev. Stat. § 213.090.Frequent and Regular: Between 50 and 100 grants each year since 2013, more than half of those those that apply. NHGovernor acts upon the advice of the Executive Council. N.H. Const. pt. 2, art. 52. Governor traditionally will not act without majority recommendation from Council.Notice to state's attorney. N.H. Rev. Stat. Ann. § 4.21. Hearing at direction of Governor. N.H. Rev. Stat. Ann. § 4.28.Persons eligible for "annulment" under N.H. Rev. Stat. Ann. § 651:5 will generally not be considered for a pardon.A pardon eliminates all consequences of conviction, but it does not expunge record. Doe v. State, 328 A.2d 784 (N.H. 1974).Rare: The Attorney General's office receives about 25 applications for clemency per year, but only two pardons and two sentence commutations since 1996. NJGovernor decides. N.J. Const. art. V, § 2, ¶ 1. Governor must report annually to the legislature the particulars of each grant, with the reasons. N.J. Stat. Ann. § 2A:167-3.1.The Governor may refer applications for pardon to the Parole Board for recommendation. N.J. Stat. Ann. § 2A:167-7, but the recommendation does not bind Governor.No eligibility criteria.Restores rights and removes statutory bar to expungement eligibility. See In re Petition for Expungement of the Criminal Record Belonging to T.O.(A-55-19) (084009) (January 11, 2021). Rare: Recent governors have granted relatively few pardons, and the process has been irregular. NMGovernor decides ("[s]ubject to such regulations as may be prescribed by law"). N.M. Const. art. V, § 6. Parole board may be consulted. N.M. Stat. Ann. § 31-21-17.Governor may send application to parole board for investigation. N.M. Stat. Ann. § 31-21-17. Board seeks recommendation from attorney general, judge, prosecuting attorney, and/or the corrections secretary. The victim must be notified.Completion of sentence (by statute). Gov. guidelines require lengthy waiting periods depending on offense; no first degree felonies, DV or sex offenses, or multiple convictions. Restores rights of citizenship and relieves other legal disabilities under state law, but does not expunge records, or preclude use of conviction as predicate offense and to enhance subsequent sentence.Irregular/uneven: Gov. Grisham has issued 56 pardons in several batches, and new guidelines calling for a "holistic" approach. issued no pardons Gov. Martinez issued only three in eight years. Gov. Richardson issued 74 pardons in 8 years). NYGovernor decides, subject to regulation in "the manner of applying for pardons." N.Y. Const. art. IV, § 4.Governor must report annually to legislature on pardons but not his reasons for granting them. Id.Board of Parole must advise the governor on clemency cases if requested. N.Y. Exec. Law § 259-c (8). Absent exceptional or compelling circumstances, a pardon will not be considered if there is an adequate administrative remedy available. Special process for misdemeanor/non-violent felony committed at age 16 or 17. Grant is recommended if certain screening requirements are met (including 10 crime-free years), regardless of need or availability of administrative relief.No eligibility criteriaA pardon addresses unusual circumstances when adequate relief cannot be obtained by certificate; effect to "exempt from further punishment." May serve as predicate.Irregular/uneven: Recent governors have used their power sparingly and primarily to benefit non-citizens facing deportation or other immigration-related restrictions. Govenror Cuomo also pardoned parolees ineligible to vote, and individuals prosecuted as adults when teenagers. NCGovernor's power unlimited, subject only to regulation in the manner of applying. N.C. Const. art. III, § 5(6). Post Release Supervision and Parole Commission has authority to assist the Governor in exercising his power. N.C. Gen. Stat. § 143B-720(a).Applications must be submitted to the governor in writing, with statement of reasons. Governor's office of executive clemency (OEC) processes requests, oversees investigations by Parole Commission, and prepares reports. Victim may present a written statement. N.C. Gen. Stat. § 15A-838. DA must also be notified.General waiting period of 5 years after completion of sentence, per executive policy.3 types of pardon: pardon of forgiveness (useful in seeking employment); pardon of innocence; and unconditional pardon ("granted primarily to restore an individual's right to own or possess a firearm").Rare: Pardons in recent years have been rare - only six pardons since 2001, all granted for innocence. Pardon applications average about 150 annually. NDGovernor decides, N.D. Const. art. V, § 7, and may appoint a "pardon advisory board," consisting of the state attorney general, two members of the parole board, and two citizens. N.D. Cent. Code § 12-55.1-02.No public hearing; board meets twice a year, applications must be filed 90 days in advance; DA notified.Under Pardon Advisory Board rules, an applicant “must have encountered a significant problem with the consequences of the conviction or sentence (e.g. inability to obtain or maintain licensures or certifications necessary for employment)” or demonstrate some other “compelling need for relief as a result of unusual circumstances.” In addition, “persons prosecuted for and convicted of possession of marijuana, ingestion of marijuana, and possession of marijuana paraphernalia who have not had any convictions in the past 5 years may submit a Summary Pardon Application.” Relieves collateral penalties, but no expungement; may serve as predicate. N.D. Cent. Code § 12-55.1-01.Infrequent: The Board reviews about 50 pardon applications each year, but the governors have pardoned very few individuals in the past 15 years. Beginning in January 2020 applications for marijuana pardons are being fast-tracked for favorable consideration. OHGovernor decides; must consult with parole board which investigates and advises on each case, but advice is not binding. Gov. must report to legislature details of each commutation and pardon granted, and reasons for each. Ohio Const. art. III, § 11; Ohio Rev. Code Ann. § 2967.07.Application to Parole Board, which conducts investigation. Ohio Rev. Code Ann. § 2967.07. Prior notice to court, prosecutor, victim. Ohio Rev. Code Ann. § 2967.12. Meritorious cases may be granted a hearing, and a recommendation made to governor.Eligibility at any time.In 2023 § 2953.33(C) entitles recipient of pardon to have court records sealed. Regular but sparing under Gov. DeWine, who had issued only 137 pardons after five years despite receiving hundreds of eligible applications through the Expedited Pardon Project he established in December 2019. Gov. Kasich's pardonng was regular but sparing, while Gov. Strickland granted 290 pardons in four years, mostly to minor non-violent offenses. OKGovernor decides, may not act without affirmative recommendation of board of pardons and parole. Okla. Const. art. VI, § 10. The governor must report to the legislature on each grant at regular session, though not required to give reasons. Id.Public hearings at regular intervals, but applicant generally does not appear; favorable recommendations announced publicly and sent to governor; no reasons given. Process generally takes about six months.Following completion of sentence or 5 years under supervision; misdemeanants eligible.Relieves legal disabilities, including firearms for non-violent crimes. Okla. Stat. tit. 21, § 1283A. Grounds for expungement, without waiting period. Okla. Stat. tit. 22, § 18.Frequent and Regular: More than 100 pardon grants annually (80% of those that apply). ORGovernor decides with no provision for advice. Or. Const. art. V, § 14. Governor must report to the legislature each grant of clemency, including the reasons for the grant.Or. Rev. Stat. § 144.660.Applications filed with governor's office, copy to DA and correctional officials; review by governor's legal staff. By statute, governor may not act for 30 days after receipt of application. Or. Rev. Stat. § 144.650(4).Generally governor will not consider misdemeanors and minor felonies, for which set-aside is available.Relieves legal disabilities. As of 2019, seals the record of conviction. Uneven/irregular: Governor Kate Brown issued 150 individual pardons, granted blanket relief to ,arijuana offenses, and commuted hundreds of prison sentences (some of which her successor has revoked). Oregon is one of a handful of states that has no regular process for administering the power. Otherwise, pardons in Oregon have been rare in recent years. Governor Kitzhaber granted one reprieve and no pardons during his third (1995-2003) and fourth (2011 – Feb. 2015) terms. Between 2005 and January 2011, Gov. Kulongoski granted 20 pardons out of several hundred applications. PAGovernor decides, may not act without affirmative recommendation of pardon board chaired by lieutenant governor. Pa. Const. art. IV, § 9(a).Public hearings at regular intervals; notice published prior to hearing. 37 Pa. Cons. Stat. 81.233. Favorable recommendations are announced publicly and sent to governor; no reasons given. 37 Pa. Cons. Stat. § 81.301.No eligibility requirements.Relieves all legal disabilities, including employment and licensing bars; provides grounds for expungement. Commonwealth v. C.S., 534 A.2d 1053 (Pa. 1987),Frequent and Regular: Of 500-600 applications, Board recommends about 150 favorably each year, most of which are granted; 20% to misdemeanors and summary offenses. PRGovernor decides. P.R. Const. art. IV, § 4. Parole Board may make non-binding recommendations.Process administered by Parole Board. Corrections Department makes recommendation to the Parole Board, which in turn makes recommendation to the governor. There is no hearing and the process usually takes about one year.No formal eligibility restrictions, but informal policy of recent governors has imposed a five-year waiting period following completion of sentence. A grant of full pardon “erases forever” a conviction. 1960 P.R. Op. Sec’y Justice No. 33. The pardon document by its terms “eliminates” the conviction from police and court records. Rare: Frequency of pardon grants has decreased since expansion of expungement law in 2005. RIGovernor pardons "by and with the advice and consent of the senate." R.I. Const. art. IX, § 13.No process specified.No requirements.Restores right to hold public office and lifts occupational and licensing bars.Rare: No pardon issued to a living person in many years. SCIndependent board appointed by governor exercises pardon power except in capital cases (where governor retains power). S. C. Const. art. IV, § 14; S.C. Code Ann. § 24-21-920.Board required to hold hearings at least four times a year, and in recent years every two months, at which it is required to allow the applicant to appear.Following completion for sentence, or after 5 years under supervision, payment of restitution in full; state offenders only. S.C. Code Ann. § 24-21-950.Erases legal effect of conviction, including obligation to register and use as predicate. S.C. Code Ann. §§ 24-21-990, 1000. Does not expunge, and conviction must be reported on applications.Frequent and Regular: Board issues 300-400 grants per year, hearing about 80-85 cases every two months; grants 60-65% of applicants. Few misdemeanants. SDGovernor decides, S.D. Const. Article IV, § 3. Board of Pardons and Paroles must recommend pardon in order to obtain sealing relief. S.D. Codified Laws § 24-14-11.Public hearings at regular intervals, recommendations sent to governor. Applicant must notify DA and sentencing judge, and must publish notice of application in a newspaper once a week for three weeks. Typically, six months to process a case. S.D. Codified Laws §§ 24-14-3, 4. Expedited procedure for misdemeanants implemented in 2014.No eligibility period except 5-year waiting period after release for first offenders to apply for "exceptional pardon." S.D. Codified Laws § 24-14-8. Expedited process for misdemeanants requires waiting period of 5 and 10 years.Persons released from all disabilities, including firearms if specified. Record sealed and conviction denied, unless pardon was issued by governor alone. S.D. Codified Laws § 24-14-11. No predicate effect.Frequent and Regular: Between 60 and 70 applications filed annually, about 60% recommended by Board to the governor, who grants most of those recommended. TNGovernor has the power to pardon. Tenn. Const. art. III, § 6. Governor advised by the parole board. Tenn. Code Ann. § 40-28-104. Must report grants and reasons to legislature "when requested." Tenn. Code Ann. §§ 40-27-101, 107.Public hearing and notice to prosecutor is required. Board must send names of those it is recommending and those it is not to legislative committees. Governor must notify AG and DA beforegrant is made public; they notify victim. Tenn. Code Ann. § 40-27-110.Completion of sentence; additional period of good conduct and demonstration of rehabilitation and need.Pardon has limited legal effect, and does not restore civil or other rights, for which one must go to court. Tenn. Code. Ann. § 40-29-105(c). May serve as grounds for expungement, and thus restoration of firearms rights. See Tenn. Code Ann. § 40-32-101(h)Uneven/irregular: In recent years, the annual reports of the Board of Parole have included no information about pardon grants, but news reports indicated that Governor Haslam (2011 to 2019) granted a total of 35 pardons and a handful of commutations. From 2003 to January 2011, Governor Phil Bredesen granted 22 pardons in cases “collected over his eight years in office.” TXGovernor decides, may not act without affirmative recommendation of Board of Pardons and Paroles. Tex. Const. art. IV, § 11(b).No public hearing, informal review process.Upon completion of sentence, including misdemeanants. Tex. Admin. Cod. §§ 143.2, 143.10. First offender restoration to federal and foreign offenders. Tex. Admin. Code § 143.7.Restores civil rights, and removes barriers "to some, but not all, types of employment and professional licensing." Basis for expungement. Predicate effect.Regular but sparing: Eight to ten pardons annually most years since 2001, and 1/3 of those recommended. Board considers 200 applications annually. UTIndependent board appointed by the governor. Utah Const. art. VII, § 12; Utah Code Ann. § 77-27-5(1).Public hearing at regular intervals, notice to DA and victim, majority vote, with reasons given. Utah Code Ann. § 77-27-5(2).Five years after expiration of sentence; offenses for which expungement not available. Utah Admin Code r. 671-315.Restores civil rights, grounds for sealing.Infrequent: Board receives only three to five requests for pardon a year, and only about 10 pardons have been granted in the past decade (availability of expungement makes less necessary). VTGovernor decides, parole board may be consulted. Vt. Const. ch. II, § 20.No hearing; parole board investigates and recommends. Vt. Stat. Ann. tit. 28, § 453.Generally 10 years, must show rehabilitation and employment-related need, benefit to society.Restores rights, relieves disabilities, including firearms.Infrequent: As of March 15, 2020, Governor Phil Scott had issued no pardons in his first three years in office. Until the very end of his term, Governor Peter Shumlin issued only six pardons, fewer than two a year, and added to that total only with a batch of marijuana possession pardons. In his nearly 8 years in office (2003-2011), Governor Douglas granted thirteen pardons, fewer than two a year. VAGovernor decides, parole board may be consulted. Va. Const. art. V, § 12. Constitution also requires governor to make annual report to the legislature setting forth "the particulars of every case" of pardon or commutation granted, with reasons. Id.No hearing, paper review by parole board. Restoration of rights applications processed in 60-days by Secretary of the Commonwealth.3-yr eligibility waiting period for restoration of rights after violent crime or serious crime; Immediate and automatic for non-violent crime, if eligible; ROR available for those convicted in Virginia, either in state or federal court. Simple pardon available after 5 years."Simple" pardon does not expunge the record, but helps with employment, education, and self-esteem.No expungement, has predicate effect.Frequent and regular: Governors in the past 10 years have issued dozens of "simple pardons" and hundreds of rights restorations each year, although the process is opaque and standards unclear. Since 2022 voting rights are no longer restored automatically, whereas in the two prior administrations restoration of the vote was accomplished through issuance of periodic executive orders. VIGovernor decides. V.I. Organic Act of 1954, § 11.No process specified.No requirements.Relieves bar to serving on government board or commission. No information available. WAGovernor decides "under such regulations and restrictions as may be prescribed by law." Wash. Const. art. III, §§ 9. Clemency board must be consulted, but its recommendation is advisory. Wash. Rev. Code §§ 9.94A.885 (1), 10.01.120. Governor reports annually to legislature with reasons. Wash. Const. art. III, § 11.Public hearing, DA and victims must be notified. Wash. Rev. Code § 9.94A.885 (3).NoneVacates conviction, limits access to record, relieves all legal disabilities. Conviction need not be reported, but predicate effect as of 2019. Wash. Rev. Code § 994A.030 (11)(b).Regular but sparing: About 35 petitions each year, 8-10 of which go to hearing. As of March 2020, Governor Inslee had granted 48 pardons since taking office in 2013, distributed fairly evenly over the years. acting favorably on about half the cases received from the Board with an affirmative recommendation. Inslee also pardoned a number of people convicted of marijuana possession offenses no longer criminal under state law Board. Gov. Gregoire (2003-2011) granted 27 pardons, two conditional, and two to avoid deportation. WVGovernor decides, may seek advice from parole board. W. Va. Const. art. 7, § 11; W. Va. Code § 5-1-16. Governor reports facts of grants with reasons. W. Va. Const. art. 7, § 11; W. Va. Code § 5-1-16.No public hearing; board must notify DA and judge 10 days before making recommendation to governor. As a matter of policy, governor always seeks recommendation from board.NoneLifts most legal barriers, restores firearms rights, and a basis for sealing. May be given predicate effect.Rare: Governor receives from 50-100 applications each year, but pardon grants are rare (only 1 in past 10 years). WIGovernor decides under a non-statutory pardon advisory board. Wis. Const. art. V, § 6. Governor must communicate annually with legislature each case of clemency and the reasons. Wis. Const. art. V, § 6.Under past governors, hearings have been held at regular intervals for those applicants that show "a demonstrated need for a pardon." By statute, applicants must publish notice in county paper or on courthouse door, and deliver to DA, judge and victim. Wis. Stat. §§ 304.09?.10.Five-year eligibility waiting period; misdemeanants ineligible unless waiver granted.Relieves legal disabilities and signals rehabilitation, but does not expunge or seal the conviction. May be given predicate effect.Frequent and regular under incumbent Tony Evers, who resumed regular pardoning in 2019 after a 9-year hiatus during which his predecessor declined to use the power at all. Evers has pardoned over 1100 individuals in five years. Prior to that hiatus, pardoning was frequent and fairly regular. FedPresident decides under a non-statutory advisory scheme. U.S. Const. art. II, § 2; 28 CFR Part 1. No reporting requirement, no notice.Informal process described in 28 C.F.R. Part 1 and United States Attorneys Manual. No time limit, and applications may remain pending for years.5 years after sentence or release from confinement. 28 C.F.R. § 1.2. Generally not eligible if on parole. Id.Relieves legal disabilities signifies rehabilitation. Does not expunge, has predicate effect.Irregular and uneven. Only about 10-15 pardons per year over the past twenty years, representing less than 5% of those who apply. Under previous president, regular process all but abandoned. 3. Models for pardon administration Independent Board (6) Governor Shares Power with Board (22) Governor May Consult with Board (19) No Statutory Advisory Process (5) Alabama± Connecticut Georgia± Idaho* South Carolina* Utah Gov. on Board (4) Florida± Minnesota± Nebraska Nevada± Gatekeeper Board (10) Arizona± Delaware± Louisiana Massachusetts± New Hampshire Oklahoma± Pennsylvania Rhode Island South Dakota± Texas Mandatory Consultation w/ Board (8) Alaska Arkansas± Kansas± Michigan± Missouri Montana± Ohio± Washington± California***± Colorado± Hawaii Illinois Indiana± Iowa± Kentucky± Maryland± Mississippi New Jersey± New Mexico New York± North Carolina North Dakota Tennessee± Vermont Virginia± West Virginia± Wyoming± D.C. Federal Maine Oregon± Wisconsin± 4. State-by-state information Federal The president’s constitutional authority to pardon is unlimited and considered unreviewable in the courts. The president has relied historically upon advice from the Department of Justice. Under justice clemency rules, a person becomes eligible to apply for a pardon five years after imposition of sentence or release from confinement; there is no public hearing and no limit on time for decision. A pardon relieves legal disabilities and signifies rehabilitation, but it does not expunge or seal the record. Presidential pardons have been sparing since 1980 and the process irregular under the incumbent president. (Sentence commutations, the other main form of executive clemency, have also been infrequent under most recent presidents.) Read more Alabama An independent board appointed by the governor exercises pardon power independent of the governor, except in capital cases. The board must make an annual report to governor. A person is eligible to apply upon completion of sentence or after three years of permanent parole. The application form is simple (“intended to facilitate application by individuals who lack formal education”) and is filed with the local probation office. A public hearing is required, with notice to officials and victim, with reasons given if denied. There is a separate paper procedure for restoration of civil rights, also available to people with federal and out-of-state convictions. The effect is as specified in grant, but a pardoned conviction is not sealed and serves as a predicate. Pardons are frequent and the process regular and governed by statute; process takes about one year. More than 500 full pardons are granted each year, 80% of those who apply, plus many more rights restorations. Read more Alaska The pardon power is vested in the governor, who is advised by an informal executive clemency advisory committee. Applications are submitted to the parole board whose staff determines eligibility by unstated criteria. If a person is deemed eligible, the parole board investigates, consults with DA and sentencing court, and prepares a confidential recommendation to the governor. There is no provision for a hearing. Pardon sets aside the conviction but does not expunge it; conviction may not serve as a predicate or be the basis of denial of a license, though underlying conduct may be considered. There have been no pardon grants in Alaska since 2006, when the pardon program was suspended by the legislature until January 2018. Despite the establishment of a rigorous administrative review process at that time, there have been no grants since then. Read more Arizona By statute, the governor’s authority to act depends upon receiving an affirmative recommendation from the board of executive clemency, which must conduct a public hearing and publish its recommendations to the governor with its reasons. The governor must report pardons, with reasons, to the legislature. Pardon relieves the legal consequences of conviction, but it does not expunge the record, and a pardoned conviction may be used as a predicate. Since the 1980s, Arizona governors have granted only a handful of pardons a term. As pardons have become increasingly rare the Board has heard fewer pardon cases. Read more Arkansas The governor has the constitutional power to pardon but is required by statute to consult the parole board for a non-binding recommendation before making a grant. The board and governor must each give 30 days’ public notice of intention to recommend or grant, stating their reasons, and the governor is constitutionally required to report to the legislature on all grants. Pardon relieves legal disabilities (except the right to hold office which is restored only by expungement) and is grounds for automatic sealing in all but cases involving serious violence; a pardoned conviction may not serve as predicate or to enhance a subsequent sentence. Firearms rights must be expressly restored in the pardon document, and they may also be separately restored by the governor. Pardons are frequent and the process regular and governed by statute: pardons are issued on a regular monthly basis throughout the year, about 100 each year and about 25% of those who apply. Read more California The governor’s constitutional power to pardon first felony offenders is unlimited, and he is authorized but not required to consult with the parole board. In cases where an applicant has more than one felony conviction, the constitution provides that a pardon may not issue except upon the affirmative recommendation of four supreme court justices, and in such cases he is by statute required to consult with the parole board. A judicial certificate of rehabilitation is ordinarily the first step in the pardon process, and the parole board must make a recommendation to the governor within one year of receiving a certificate. Pardon restores civil rights and removes occupational bars but does not expunge record and may be used as predicate. A pardon must specifically restore firearms rights. Under the most recent governors, a regular pardoning practice has been reestablished after a decade of neglect, but no data is available on the grant rate (measured by number of certificates received). Read more Colorado The governor’s constitutional power is subject to regulation in the manner of applying, and the governor must report all grants to the legislature each year, with reasons for each. Before acting favorably on an application, the governor must seek the views of the district attorney, sentencing judge, and prosecuting attorney. The department of corrections is informally responsible for administering the pardon power, and the governor is advised by a non-statutory 7-member board of appointees, including corrections and law enforcement officials. Applications are generally not accepted until 10 years after completion of sentence, and there is no hearing. Pardon restores civil and firearms rights, signals rehabilitation and good character, but does not authorize sealing. Until the final 18 months of Gov. Hickenlooper’s term (17-18), the pardon power had not been functioning in Colorado in a meaningful fashion for many years, and the current governor has reconstituted the pardon board. Read more Connecticut Pardons are issued pursuant to a formal process by an independent board appointed by governor. The board also issues lesser relief styled a “provisional pardon” or “certificate of rehabilitation.” A person is eligible to apply for pardon five years after completion of sentence for felonies, after three years for misdemeanors. A public hearing is required for more serious offenses, but since 2015 an expedited process has dispensed with the requirement of a hearing for about 2/3 of those that apply and are eligible. A pardon relieves all legal disabilities, and it results in erasure of the record. In turn, erasure results in destruction of the record after three years, after which the conviction has no predicate effect. Certificates of rehabilitation (sometimes styled certificates of employability) are available at any time after sentencing to remove mandatory bars to certain employment or licenses, and they are available to individuals with out-of-state and federal convictions. Pardons are frequent and the process regular: the overall pardon grant rate for those who are eligible has increased in the past five years from under 50% in 2013 to over 75% in 2018. Read more Delaware The governor has the power to pardon but may not act without an affirmative recommendation from a clemency board composed of senior government officials, chaired by the lieutenant governor. A person is eligible to apply 3-5 years following completion of sentence, depending on seriousness of the offense, and earlier in extraordinary circumstances. Public hearings are held at regular monthly intervals, and board recommendations and reasons are announced at hearing. The process takes about 6 months. A pardon relieves all legal disabilities except constitutional provisions barring someone convicted of “infamous crime” from holding state office. As of 2019, a pardoned conviction is eligible for discretionary expungement, but it may still be used as predicate. Pardons are frequent and the process regular: more than 400 pardons have been granted annually in recent years; about 80% of those whose cases went to hearing. Read more District of Columbia Only the president can pardon D.C. Code criminal offenses. Under Justice Department regulations there is a five-year eligibility period (after completion of sentence or release from confinement). There is no hearing, and no time limit on process. In 2018 a specialized clemency board to consider only D.C. Code offenses was established by the D.C. City Council, but it has not been funded. Pardons are rare: Presidential clemency of any kind for D.C. Code offenses has been extremely rare in the past thirty years. Read more Florida The governor and three cabinet officials act as pardon board; governor decides with concurrence of two of those officials. The governor must report pardons and grants to restore civil rights to the legislature. Pardon eligibility begins ten years following completion of sentence. Restoration of rights is also available from the pardon board, with eligibility from five to seven years after completion of sentence, depending on seriousness of offense; firearms restoration is available eight years after completion of sentence. A public hearing is required for pardon, and for restoration of voting rights for more serious offenses. Pardon relieves collateral consequences but may serve as predicate. The pardon process is regular but full pardons have been infrequent in recent years. About 300-400 grants to restore civil rights are made each year. Read more Georgia An independent board appointed by the governor exercises the pardon power, reporting annually to legislature, the governor, and the attorney general. The board issues pardons both with and without restoration of firearms rights. The board may also restore civil and political rights to persons with federal and out-of-state convictions. Eligibility for pardon five years after completion of sentence (including payment of court debt), restoration of rights after two years. People with sex offenses must wait 10 years. The board conducts a paper review, decides by majority vote, and issues a written decision. Pardon relieves all legal disabilities except public office, and it is effective to remove from the sex offender registry. However, it does not expunge the record, and a pardoned conviction may be used as a predicate. Pardons are frequent and the process regular: in recent years between 400 and 600 pardons and restorations have been granted each year, about 60% with firearms restoration. Read more Hawaii The governor issues pardons and is authorized but not required to consult the parole board for a recommendation. The board investigates each case and interviews the applicant, but there is no public hearing. It then makes a recommendation to the attorney general’s office, which conducts its own investigation and makes a recommendation to the governor. Five-year eligibility waiting period, with all fines paid and no pending charges. Pardon relieves all legal disabilities but does not expunge the record, and a pardoned conviction may be used as a predicate. The pardon process is regular, but pardons have been infrequent in recent years. Read more Idaho An independent board appointed by governor unilaterally grants pardon except for crimes involving serious violence and drugs, which must be approved by the governor. The reasons for each pardon must be filed with Secretary of State. Eligibility begins three years after completion of sentence for non-violent offenses and after five years for violent offenses. An extensive application process and full hearing is required. Pardon relieves legal disabilities, including firearms rights, but is not grounds for expungement. The pardon process is regular, and a high percentage of those that apply are granted. Read more Illinois The governor decides and is authorized (but not required) to consult with the prisoner review board, which holds public hearings quarterly and provides confidential recommendations to the governor. No eligibility restrictions. Pardon relieves all legal disabilities and authorizes expungement if pardon expressly provides. Board hears about 800 applications each year, 30% from people with misdemeanors. The past several governors have pardoned frequently and regularly pursuant to recommendations from the PRB. In 2019, the governor used his pardon power to authorize expungement of more than 11,000 marijuana convictions, pursuant to statutory authorization. Read more Indiana The governor decides and is authorized (but not required) to consult with the parole board, which may make non-binding recommendations to the governor. The governor must report annually to legislature on each grant at its next scheduled meeting. The board notifies victims, court, and prosecutor, and it investigates and holds a hearing where petitioner and interested parties are given an opportunity to be heard. Recent governors have required a five-year waiting period and evidence of rehabilitation, with a 15-year waiting period for firearms restoration. Pardon alleviates collateral consequences and serves as basis for automatic expungement. Process is regular but pardons are infrequent. Read more Iowa The governor’s pardon power is subject to statutory regulation, and he is required to consider non-binding recommendations from the parole board. The governor must report to the legislature every two years on his pardons, with the reasons for each one. For restoration of rights, application may be filed upon completion of sentence, including payment of court costs. For a full pardon, applications may be submitted at any time, but by policy the governor requires a ten-year waiting period after completion of sentence for pardon. There is a five-year waiting period for firearms restoration. People with out-of-state and federal offenses are eligible for restoration of rights, but they may also have rights restored in the jurisdiction of conviction. Pardons relieve legal disabilities but do not result in expungement or sealing. Pardoning in Iowa is infrequent but the process relatively regular: of the few people who apply for pardon or restoration of firearms, a substantial percentage (30%) get relief. Read more Kansas The governor is required to consult with the prisoner review board before issuing any pardons, but its advice is not binding. The governor must report pardons, but not reasons, to legislature each year. There are no eligibility requirements, and no hearing, but applicants are required to publish application in a newspaper in the county of conviction and to provide notice to prosecutor, judge, and victims. Pardon removes legal disabilities but does not expunge the conviction. Pardons in Kansas are rare, with expungement the preferred restoration remedy. Read more Kentucky The governor is authorized (but not required) to consult the parole board and is not bound by its advice. The governor must report to legislature annually on pardons granted with reasons. Applicants must wait seven years after completion of sentence before applying, and no public hearing. Pardon power also used to restore right to vote and hold office upon expiration of sentence if no pending charges, and people with federal and out-of-state offenses eligible for this relief. Full pardon relieves all legal disabilities, but no expungement and may be used as predicate. Pardons have customarily been issued at the end of a Kentucky governor’s term, and Governor Bevin issued hundreds of pardons in December 2019 as he was leaving office. His successor Governor Andy Beshear restored the vote by executive order to many thousands convicted of non-violent crimes during his first days in office. Read more Louisiana The governor may not grant a pardon without the affirmative recommendation of the parole board. Eligibility begins after completion of sentence, plus payment of costs. Public hearings held at regular intervals, with approval of 4/5 board members required. Prosecutor and victims must be notified by board and applicant must publish notice in newspaper. Full pardon restores “status of innocence,” and may not be used as predicate or to enhance sentence. Statutory first offender pardon automatically restores civil rights, and as of 2019 is grounds for expungement, but it does not restore firearms rights or preclude use of a conviction in subsequent prosecution or sentencing. Pardoning has become frequent and regular under the current governor (John Bel Edwards), who issued 167 pardons in his first term, reviving a process that had languished under his predecessor. Read more Maine The governor’s constitutional pardon power is subject to regulation “relative to the manner of applying,” but the only regulation relates to the applicant’s obligation to notify the prosecutor and post a notice in the newspaper in county of conviction prior to a hearing. The governor is advised by a non-statutory advisory board that he appoints. Eligibility begins five years after completion of sentence; public hearings are held at regular intervals, and the board makes confidential recommendations to governor after an investigation by the Department of Corrections. Pardon relieves all legal disabilities and evidences rehabilitation, and results in the record being given the same degree of confidentiality as a non-conviction record. Pardons have been infrequent and the process irregular in recent years. Read more Maryland The governor decides, and he is authorized (but not required) to consult with the parole commission for non-binding advice. Constitution requires governor to publish notice of intent to pardon in newspaper and to report each pardon, with reasons, to legislature. Eligibility under formal regulations requires only completion of sentence, but informal parole commission guidelines require 10 crime-free years after completion of sentence to be eligible (or seven years with parole commission waiver), five years for misdemeanors, and 20 years for crimes of violence and for controlled substances violations. Paper review by parole board. Pardon lifts all legal disabilities and penalties imposed by conviction; firearms restoration must be express in pardon. Pardoned non-violent first offenses are eligible for expungement. Pardoning varies with the administration: the current governor (Larry Hogan) has issued no pardons. Read more Massachusetts The governor may not issue any pardons without the affirmative recommendation of the governor’s council and must report pardons annually to the legislature. By statute, petitions must be filed with advisory board of pardons, which holds a public hearing and solicits recommendations from attorney general, prosecutor, and sentencing court; board provides notice to victim and forwards recommendation to governor. Under informal board guidelines, eligibility begins 15 years after conviction or release from prison for felonies and 10 years for misdemeanors. Record sealed upon pardon. Pardons were rare between 1990 and 2023 but the practice appears to be reviving with Governor Healey, who issued new guidelines in 2023 and began issuing pardons immediately. Read more Michigan The governor decides after mandatory (though non-binding) consultation with parole board. The governor is required to report annually to legislature a list of pardons with reasons. There are no statutory eligibility criteria, but the process before the board is set forth in detail. All applications must be referred to the parole board; if board holds a hearing, relevant officials must be notified, and the board’s recommendation is a matter of public record. The board will not process a pardon application where expungement is an available remedy. Pardon restores person to same position as if the offense had never been committed but it is not clear whether it is a basis for sealing. Post-sentence pardons have been infrequent in recent years despite hundreds of applications received every year. Read more Minnesota The governor and high officials (attorney general, chief justice) act as a pardon board, whose powers and duties are defined and regulated by statute. The pardon board is required to report to the legislature annually. Per a 2023 reform, the board’s decisions need no longer be unanimous, but the governor must always been in the majority. The board will now be advised by a 9-person Clemency Review Commission, appointed in equal numbers by the three board mebers, which investigates applications and meets to consider recommendations to the board. Eligibility for a pardon requires five crime-free years from final discharge, and waivers of the eligibility waiting period may be granted. A pardon restores all rights and effectively “nullifies” a conviction by setting it aside, and automatically expunges the record. Process includes public hearing before the Commission that advbises the Board, with notice to officials and victims, with the possibility of an expedited review process. In the past, the pardon process has yielded few grants and applications have not been encouraged, and it remains to be seen whether the new process will yield more grants. Read more Mississippi The governor decides and is authorized (but not required) to consult the parole board for non-binding advice. By informal policy eligibility begins seven years after completion of sentence. The constitution requires all applicants for pardon to post notice in a newspaper in the county of conviction 30 days prior to making application to governor, setting forth the reasons why clemency should be granted. The parole board investigates and holds hearing on facially meritorious cases. Pardon restores civil rights and removes employment disabilities, but it does not result in expungement. Pardons are infrequent and the process irregular: following a scandal involving many irregular grants at the end of Governor Haley Barbour’s term in 2012, his successor issued no pardons through the end of his term in January 2020. Read more Missouri The governor’s constitutional pardon power is subject to regulation relative to “the manner of applying.” The parole board must be consulted, but its advice is not binding. Eligibility begins three years after discharge, and there is no provision for a hearing. Pardon relieves all legal disabilities, and a pardoned conviction may not be used to enhance the penalty in a subsequent case, but it does not expunge. Pardons have been infrequent in recent years, but in response to a dramatic increase in applications and calls in the press for the governor to deal with a large backlog, the current governor Mike Parson has begun granting pardons on a regular basis. Read more Montana The pardon power is vested in the governor, but the legislature may control the process. The governor must report pardons, with reasons, to the legislature. Prior to March 2015, the governor could issue a pardon only upon the favorable recommendation of the board of pardons and parole, but the board’s role in clemency cases has been converted by constitutional amendment to an advisory one. While the governor is still required by statute to premise action on a board recommendation, after a hearing, that recommendation is no longer binding. There are no formal eligibility criteria. A pardon removes legal consequences of conviction and is grounds for expungement. Pardons are infrequently recommended by the board and even less frequently granted by the governor. Read more Nebraska The governor and high officials (secretary of state and attorney general) act as a pardon board, which receives nonbinding advice from the parole board. Eligibility begins 10 years following completion of sentence for felonies and three years for misdemeanors. Until 2018, public hearings were held at regular intervals, and grants issued, a schedule that the board intends to resume in 2020. Reasons for approval or denial generally not given. A pardon restores civil rights, the right to hold certain occupational and professional licenses, and firearms rights (if expressly granted). As of 2018, pardoned convictions may be sealed. Until recently, pardoning has been frequent and regular: between 2002 and 2017 an average of 80 pardons granted each year, about 25% with firearms privileges, about 60% of applicants are granted. It is expected that this practice will resume in 2020. Read more Nevada The governor and high officials (justices of supreme court and attorney general) act as a pardon board, and all pardons must be reported regularly to the legislature. Changes to several constitutionally required aspects of board operations, including that the governor approve all grants, have been approved twice by the legislature and will be considered by voters in 2020. No formal eligibility requirements, but applicants typically required to wait “a significant period of time.” Public hearings held at irregular intervals, and non-violent first offenders may be considered on consent calendar. Pardon removes all disabilities, including firearms and licensing bars, but does not seal record and may serve as predicate. Process takes about two years. Pardoning is frequent and regular: about 30 grants made each year since 2013, a substantial percentage of those that apply. Read more New Hampshire The governor may not act without the affirmative recommendation of the executive council. Persons eligible for “annulment” under state law generally will not be considered for a pardon. Pardon eliminates all consequences of conviction but does not expunge the record. Pardons are rare: while the governor receives several dozen applications each year, only three pardons have been granted since 1996. Read more New Jersey The governor decides and is authorized (but not required) to consult the parole board for non-binding advice. The governor must report pardons, with reasons, to legislature. No published eligibility criteria, and the process is not formalized in statute. Pardon restores rights and a court may expunge pardoned convictions. Pardons are infrequent and the process irregular: recent governors have granted relatively few pardons, and generally only at end of their terms. Read more New Mexico The governor decides and is authorized (but not required) to consult parole board for non-binding advice or investigation. Current eligibility guidelines require lengthy waiting periods after discharge from sentence, and exclude many categories of offense, including misdemeanors. The process is informal. A pardon restores rights of citizenship and relieves other legal disabilities under state law, but it does not expunge the records or preclude use as a predicate or for an enhancement. Pardons have been infrequent under recent governors: Gov. Lujan Grisham signaled a new approach to executive clemency with the issuance of guidelines calling for a “holistic” approach, but she had issued no grants by March 2020. Read more New York The governor decides and is authorized (but not required) to consult parole board for non-binding advice; governor must report pardons, with reasons, to legislature annually. No stated eligibility criteria or formal process, and applicants generally not considered if alternative administrative remedies are available. Gov. Andrew Cuomo has exercised his pardon power in several unusual ways to benefit different classes of individuals, reviving a tradition of pardoning that had been dormant in New York for several terms. As of December 3, 2019, Governor Cuomo had pardoned more than 50 non-citizens facing deportation or other immigration-related restrictions, restored the right to vote to more than 24,000 parolees, and granted conditional pardons to more than 140 individuals prosecuted as adults when teenagers. Given the other restoration remedies available under New York law, it is not surprising that pardons have not been routinely available otherwise. Read more North Carolina The governor decides. and power may be limited by statute in manner of applying. Governor is authorized (but not required) to consult the parole board. Some aspects of the pardon process are specified in statute, and the governor has an office of executive clemency that ostensibly receives applications for pardons “for forgiveness.” However, pardons for forgiveness are rare: there has not been such a pardon granted in the State for more than 20 years, though there have been six pardons for innocence since 2001. Read more North Dakota The governor decides and is authorized (but not required) to appoint a “pardon advisory board,” consisting of the state attorney general, two members of the parole board, and two citizens, staffed by the corrections department. According to published criteria, an applicant “must have encountered a significant problem with the consequences of the conviction or sentence (e.g. inability to obtain or maintain licensures or certifications necessary for employment)” or demonstrate some other “compelling need for relief as a result of unusual circumstances.” In addition, persons convicted of possession of marijuana who have not had any convictions in the past 5 years may submit “a Summary Pardon Application.” There is no public hearing, but by statute the DA must be given advance notice. A pardon relieves collateral penalties, but does not authorize expungement, and conviction may still serve as predicate. Ordinary pardons have been infrequent in recent years. Beginning in January 2020 applications for marijuana pardons are being fast-tracked for favorable consideration. Read more Ohio The governor decides but is required to consult with the parole board for non-binding advice; the governor must report pardons to legislature. A person may apply at any time. The board may hold hearing in meritorious cases, with prior notice to court, prosecutor and victim. No reasons are given in the event of denial. A pardon relieves all disabilities and, effective under a 2021 law, may result in sealing if the governor authorizes it. Pardoning has varied with administration, and the power was exercised sparingly by Gov. John Kasich (2011-19). The current governor Mike DeWine has established an expedited pardon process that is expected to lead to more regular grants, and has an eligibility waiting period of 10 years. Read more Oklahoma The governor may not act without the affirmative recommendation of the board of pardons and parole; governor must report pardons, but not reasons, to legislature. Eligibility begins after completion of sentence, or after five years under supervision. The board holds a public hearing in every case (the applicant generally does not appear) and it may take official action only in an open public meeting (though it need not give reasons). The process usually takes about six months. Pardon relieves legal disabilities except that firearms rights may not be restored to those convicted of violent crimes. In 2019 the law was amended to permit a person who has been pardoned to seek expungement, eliminating requirements that the crime be non-violent, that the governor make a finding of innocence, and that the pardoned person wait ten years. Pardoning is frequent and regular: for the past fifteen years, the governor has approved more than 100 pardons every year, and this number has continued to grow, with about 150 grants in 2019. The board makes a favorable recommendation in about 80% of the cases it hears, and the governor generally approves them. Read more Oregon The governor decides with no provision for advice, and process is informal within governor’s office; governor must report pardons, with reasons, to legislature. The governor generally will not consider misdemeanors and minor felonies, for which set-aside is available. Relieves all legal disabilities and, as of 2019, authorizes the court to seal the record. Pardons have been infrequent under recent governors. Read more Pennsylvania The governor may not act without an affirmative recommendation from a pardon board chaired by the lieutenant governor. The board asks applicants to identify a specific need for clemency, but “does not view a pardon as an appropriate means of restoring any disability that has been imposed pursuant to a state law,” except for firearms disabilities. Pardon results in automatic expungement. Pardons are frequent and the process regular: between 400-500 applications received each year, about half of which are granted a hearing; most of those heard are recommended favorably, and under the current governor almost all of those recommended favorably are granted (an average of about 200-250 each year). Read more Puerto Rico The governor decides and may (but is not required to) consult parole board. No formal eligibility requirements, but recent policy has imposed a five-year waiting period after completion of sentence. No public hearing. Pardon “eliminates” the conviction from police and court records. Read more Rhode Island The governor may not act without affirmative recommendation of state senate, with the result that pardons are rare (none since 2000). No eligibility requirements, and no process specified. Restores right to hold public office and lifts occupational and licensing bars. Read more South Carolina Pardons are granted by an independent board appointed by governor, except in capital cases. Eligibility following completion of sentence or after five years under supervision and payment of restitution in full. Public hearings. Pardon erases all legal effects of conviction, including sex offender registration and predicate effect, but does not result in sealing or expungement. Pardons are frequent and the process regular: about 300 pardons are granted each year, 65% of those who apply. Read more South Dakota The governor refers applicants to a board of pardon and parole for non-binding recommendation; only pardons granted after consideration by board qualify for sealing. An applicant must notify DA and sentencing judge and publish notice of application in a newspaper once a week for three weeks. No eligibility waiting period except that board generally applies a five-year waiting period after completion of sentence (including payment of court debt). People with first offenses may apply for “exceptional pardon” wait five years after release, which expedites process. People with misdemeanors are also eligible for expedited processing, though waiting period is either 5 or 10 years (depending on the conviction). Board conducts public hearings at regular intervals, sends recommendations to governor. Typically, it takes the board six months to process a case. Pardon relieves legal disabilities, including firearms if separately specified, results in sealing (if board process followed), and eliminates predicate effect. Pardons are frequent and process regular: about 30-40 pardons are granted annually, more than half of those who apply. Read more Tennessee The governor decides and may (but is not required to) consult the parole board for non-binding advice. Governor must report reasons to legislature “when requested.” Eligibility after completion of sentence and additional period of good conduct; grants will be based on demonstrated rehabilitation and need, considering whether the applicant has an alternative remedy available. A hearing is not held in every case (2/3 of applications filed are denied without a hearing). If a hearing is held, the board notifies various interested parties, including the prosecutor, judge, and police. Pardon restores civil rights, and firearms rights for nonviolent non-drug offenses. Process appears regular but pardons infrequent. Read more Texas The governor may not grant a pardon except upon the affirmative recommendation of the board of pardons and paroles. The board considers cases confidentially on a written record and recommends only a small percentage of those that apply. Eligibility upon completion of sentence; people convicted of misdemeanors may apply. Pardon restores civil rights, removes some legal barriers to employment and licensing, and provides basis for expungement upon application to court. Process regular but pardons granted sparingly. Read more Utah The pardon power is exercised by an independent board appointed by the governor. The board conducts a public hearing with notice to the DA and victim. Board requires a waiting period of five years after completion of sentence, decides by majority vote and publishes its decision with a statement of reasons. An individual who is eligible for expungement must first exhaust that remedy. Pardon restores all rights and relieves legal disabilities, except that it will generally state whether it restores firearms rights. Pardons more frequent in recent years as expungement relief less available. Read more Vermont The governor decides and may consult parole board. Eligibility generally 10 years after conviction; must show rehabilitation, benefit to society, and employment-related need. No hearing. Restores rights and relieves disabilities, including firearms. Pardons infrequent. Read more Virgin Islands The governor has power to pardon offenses under local laws, and no specific process is specified. Each governor appears to follow their own procedures and standards. Read more Virginia The governor decides and must report each pardon, with reasons, to the legislature annually. The governor is authorized to consult with the parole board for non-binding advice. There are several different kinds of pardon: “simple” (forgiveness); partial (to reduce sentence retroactively and used to avoid immigration consequences); “conditional” (commutation); and “absolute” (innocence). “Simple” pardon does not expunge but serves as official forgiveness and removes some employment and education barriers. Five-year eligibility waiting period for simple pardon, review on a paper record by the parole board with subsequent recommendation to the governor. The governor may also grant restoration of rights through the pardon power, and since 2016 rights restoration has been automatic upon a determination of eligibility and accomplished through issuance of periodic executive orders. Pardons in the past 10 years have been issued frequently and the process has become regular and productive. Read more Washington The governor decides and is required to seek advice from the clemency and pardons board (but is not bound by it). The governor required by state constitution to report pardons, with reasons, to legislature. No formal eligibility waiting period, but applicants are generally required to wait 10 years after service of sentence. No formal eligibility criteria, but 10 years’ wait usually required. A petition must be filed with the board, which cannot recommend clemency until a public hearing has been held. A pardon relieves legal disabilities and vacates the record of conviction, which limits dissemination of administrative records and may be grounds for sealing of court records. Process is regular but pardons are granted sparingly: Gov. Inslee has granted 48 pardons since taking office in 2013, about half of those recommended by the board. Read more West Virginia The governor decides and is authorized (but not required) to seek advice from the parole board. The state constitution requires the governor to report pardons, with reasons, to legislature. No formal eligibility criteria. The board does not conduct a public hearing but must notify DA and judge before making recommendation. Pardon lifts most legal barriers and restores firearms rights, but a pardoned conviction may be given predicate effect. Pardons are rare. Read more Wisconsin The governor decides, subject to regulation by the legislature in the manner of applying, and is assisted by a non-statutory pardon advisory board that he or she appoints. The state constitution requires the governor to communicate pardons with reasons to legislature annually, and some aspects of the pardon process are specified in statute. Five-year eligibility waiting period, and people with misdemeanors are ineligible. The board holds a hearing where applicants must demonstrate a need for pardon. Applicants are required by statute to publish notice of their intent to seek pardon and give notice to DA and sentencing judge. The board must notify the victim. Pardon relieves legal disabilities but does not expunge or seal the conviction. Pardon policy and practice has in the past been regular and generous, and the present incumbent Gov. Tony Evers has resumed regular pardoning after a 9-year hiatus in which governors declined to issue any pardons. Read more Wyoming The governor decides and must report pardons, with reasons, to the legislature every two years. The governor may also restore the right to vote if this is not automatic. People with federal and out-of-state offenses are also eligible for restoration of rights. Eligibility for pardon 10 years after completion of sentence; 5 years for restoration of rights. Sex offenses ineligible for either form of relief. Pardon relieves legal disabilities but does not expunge. Pardons have been infrequent in recent years: the last two governors have granted no pardons.
7770	dbpedia	0	14	https://successfulsocieties.princeton.edu/interviews/mitch-daniels-governor	en	Innovations for Successful Societies	https://successfulsociet…pg?itok=pZwfX5if	https://successfulsociet…pg?itok=pZwfX5if	[ "https://successfulsocieties.princeton.edu/profiles/ps/themes/ps_base/images/pu-logo.svg", "https://successfulsocieties.princeton.edu/sites/g/files/toruqf5601/files/Successful%20SocLOGO-Motto-2023-outlines_KO.svg", "https://successfulsocieties.princeton.edu/sites/g/files/toruqf5601/files/styles/3x4_750w_1000h/public/interview/headshot/3530/mitch_daniels.jpg?itok=-wl3dz6s", "https://successfulsocieties.princeton.edu/profiles/ps/themes/ps_base/images/pu-logo-stacked.svg" ]	[]	[]	[ "" ]	null	[]	null	Mitch Daniels discusses the changes he implemented in his office, the center of Indiana state government, during his two terms as governor of Indiana. He begins by explaining the importance of enacting reforms quickly once in office. On his first day in office, he issued an executive order creating an Office of Management and Budget, which oriented	en	/core/misc/favicon.ico	Innovations for Successful Societies	https://successfulsocieties.princeton.edu/interviews/mitch-daniels-governor	Governor, State of Indiana Focus Area(s) Centers of Government Critical Tasks Aligning policy and budget Improving cabinet efficiency Strategic planning Interviewers Michael Scharff and Richard Messick Country of Reform United States Town/City Indianapolis, Indiana Place (Building/Street) Office of the Governor Country United States Abstract Mitch Daniels discusses the changes he implemented in his office, the center of Indiana state government, during his two terms as governor of Indiana. He begins by explaining the importance of enacting reforms quickly once in office. On his first day in office, he issued an executive order creating an Office of Management and Budget, which oriented the various state agencies that dealt with fiscal issues around a common set of goals. And he created an efficiency unit in the Office of Management and Budget that identified cost saving opportunities and measured and tracked agency performance. Also on his first day in office, despite concerns that the political fall-out would distract from other reforms, he scrapped public employees’ rights to collective bargaining with the unions, thus paving the way for sweeping organizational changes. He implemented a new performance management program and tied employees’ pay to their performance. Governor Daniels discusses how he built his reform team by recruiting talented people who were excited about the transitions he sought. He describes the process for conducting fair employee evaluations to monitor performance. He notes the advantages and difficulties of applying business skills to public sector work. Finally, he considers the durability of his reforms. Case Study: A New Approach to Managing at the Center of Government: Governor Mitch Daniels and Indiana, 2005-2012 In 2012, Mitch Daniels spoke at Princeton University about his reform efforts while governor of Indiana. Video of his speech is posted online. Transcript Full Interview Download MP3 61 MB Mitch Daniels Interview Profile Mitch Daniels is the 49th Governor of the State of Indiana and the author of the best-selling book, “Keeping the Republic: Saving America by Trusting Americans.” Although he had served as Chief of Staff to Senator Richard Lugar, Senior Advisor to President Ronald Reagan and Director of the Office of Management and Budget under President George W. Bush, his approach was molded in the private sector. Before his service to Indiana, he had a successful career in business, holding numerous top management positions. And his work as CEO of the Hudson Institute and President of Eli Lilly and Company's North American Pharmaceutical Operations taught him the business skills he brought to state government. And with those skills he led Indiana to its first balanced budget in eight years and, without a tax increase, transformed a $700 million deficit into an annual surplus of $370 million. He also repaid millions of dollars the state had borrowed from its public schools, universities and local units of government in previous administrations, while presiding over record-breaking investment and job growth. Today, Indiana has a AAA credit rating (the first in state history) and ranks near the top of every national ranking of business attractiveness. His other groundbreaking accomplishments include the 2006 lease of the Indiana Toll Road, the largest privatization of public infrastructure in the United States to date, generating nearly $4 billion for reinvestment in the state’s record breaking 10-year transportation and infrastructure program; the creation of the Healthy Indiana Plan to provide healthcare coverage for uninsured Hoosier adults; a sweeping property tax reform in 2008 resulted in the biggest tax cut in Indiana history; and an emphasis on government efficiency that has led to many state agencies, including the Bureau of Motor Vehicles, Department of Child Services, and Department of Correction winning national performance awards. Indiana now has the fewest state employees per capita in the nation, and the fewest the state has had since 1975. He was re-elected in 2008 to a second and final term, receiving more votes than any candidate for public office in the state’s history. Unsurprisingly, his second term has been as innovative as his first. In fact, earlier this year, under his guidance Indiana passed the most expansive education reforms in the country. In 2012 Indiana became the first industrial northern state to adopt a Right to Work law. His tenure as Indiana's governor comes to an end in January 2013, when he begins the next chapter in his career as the 12th president of Purdue University. Keywords Purdue Indiana governor Mitch Daniels center of government deficit public employee unions building a reform team state government personnel management payroll reform balancing the budget right to work collective bargaining Language Not specified
7770	dbpedia	1	19	https://www.arabamerica.com/arabamericans/mitchell-daniels/	en	Mitchell Daniels	https://i0.wp.com/www.ar…=140%2C172&ssl=1	https://i0.wp.com/www.ar…=140%2C172&ssl=1	[ "https://www.arabamerica.com/wp-content/themes/arabamerica/assets/img/logo.png", "https://www.arabamerica.com/wp-content/themes/arabamerica/assets/img/logo-big.png", "https://www.arabamerica.com/wp-content/uploads/2014/12/gluten-free-turkish-takeaway-falafel-228x155.jpg", "https://www.arabamerica.com/wp-content/plugins/wp-polls/images/loading.gif", "https://www.arabamerica.com/wp-content/uploads/2015/06/Mitchell-Daniels.jpg", "http://upload.wikimedia.org/wikipedia/commons/thumb/9/94/Mitch_Daniels.jpg/340px-Mitch_Daniels.jpg", "http://upload.wikimedia.org/wikipedia/commons/thumb/e/ea/Mitch_Daniels_during_Indianapolis_Navy_Week_Aug_2006.jpg/340px-Mitch_Daniels_during_Indianapolis_Navy_Week_Aug_2006.jpg", "http://upload.wikimedia.org/wikipedia/commons/thumb/5/5f/Entrance_to_the_office_of_the_Governor_of_Indiana%2C_Indiana_Statehouse%2C_Indianapolis%2C_Indiana.jpg/440px-Entrance_to_the_office_of_the_Governor_of_Indiana%2C_Indiana_Statehouse%2C_Indianapolis%2C_Indiana.jpg", "http://upload.wikimedia.org/wikipedia/commons/thumb/8/8d/Indiana_National_Guard.jpg/440px-Indiana_National_Guard.jpg", "http://upload.wikimedia.org/wikipedia/commons/thumb/f/fe/StateCapitolIndiana.jpg/440px-StateCapitolIndiana.jpg" ]	[]	[]	[ "" ]	null	[]	2015-06-02T20:03:14+00:00	Mitchell Daniels: Arab American academic administrator and former politician who was Governor of Indiana from 05' to 13'. A member of the Republican Party.	en	https://www.arabamerica.com/wp-content/themes/arabamerica/assets/img/favicon.ico	Arab America	https://www.arabamerica.com/arabamericans/mitchell-daniels/
7770	dbpedia	2	60	https://governors.rutgers.edu/did-you-know/	en	Did You Know?	https://governors.rutger…avicon-32x32.png	https://governors.rutger…avicon-32x32.png	[ "https://governors.rutgers.edu/wp-content/themes/rutgers/assets/images/rutgers-nb-logo.png", "https://governors.rutgers.edu/wp-content/themes/rutgers/assets/images/logo-alt.svg", "https://governors.rutgers.edu/wp-content/uploads/2020/07/BrothersCollDrew-300x225.jpg", "https://governors.rutgers.edu/wp-content/uploads/2020/07/SamHouston-150x150.jpg", "https://governors.rutgers.edu/wp-content/uploads/2020/07/Herman_Talmadge-150x150.jpg", "https://governors.rutgers.edu/wp-content/uploads/2020/05/footer-logo-1.svg" ]	[]	[]	[ "" ]	null	[]	2020-07-10T17:43:58+00:00	Unusual facts about governors including governors who have served as college presidents, gubernatorial families, governing more than one state, and successions.	en	https://governors.rutger…ages/favicon.png	Eagleton Center on the American Governor	https://governors.rutgers.edu/did-you-know/	Governors Who Became College Presidents As New Jersey Governor Tom Kean (R) approached the end of his second term in 1990, his future was the subject of understandable speculation. Would he run for the U.S. Senate or accept a cabinet post? Instead Kean accepted an offer to become the president of Drew University, a position he would hold for the next 15 years. In a May 2, 2011 interview at the Center on the American Governor, Governor Kean reflected on his time as President of Drew University. Kean’s Cabinet Secretary Jane Kenny recalled his decision to take the position in a February 15, 2011 interview, also at the Center on the American Governor. Both interviews are available in the Video Library. While Kean’s decision came as a surprise he was neither the first nor the last governor to became a college president after completing one or more terms as governor. Other examples include: Lamar Alexander (R): Governor of Tennessee, 1979-1987; President of the University of Tennessee, 1988-1991. David Boren (D): Governor of Oklahoma, 1975-1979; President of the University of Oklahoma, 1994-2018. Joshua Chamberlain (R): Governor of Maine, 1867-1871; President of Bowdoin College, 1871-1883. Mitch Daniels (R): Governor of Indiana, 2005-2013; President of Purdue University, 2013-present. Janet Napolitano (D): Governor of Arizona, 2003-2009; President of University of California, 2013-present. Bob Kerrey (D): Governor of Nebraska, 1983-1987; President of The New School, 2001-2010. Terry Sanford (D): Governor of North Carolina, 1961-1965; President of Duke University, 1969-1985. Dannell Malloy (D): Governor of Connecticut, 2011-2019; Chancellor of the University of Maine System, July 1, 2019-present. Tommy Thompson (R): Governor of Wisconsin, 1987-2001; Interim President of the University of Wisconsin System, July 1, 2020-present. Brian Sandoval (R): Governor of Nevada, 2011-2019; President of University of Nevada, Reno, September 2020-present. Note there are also a number of governors-most famously Woodrow Wilson (D) of New Jersey-who were college presidents before becoming governor. Tales of Succession Gubernatorial succession, whether following an election, a resignation, or a removal from office, is usually an orderly and straightforward process. Sometimes, however, confusion and unclear laws can lead to surprising results and interesting stories: Georgia 1947: in November 1946, incumbent Georgia governor Ellis Arnall (R) sought reelection but was defeated by Eugene Talmadge (D), who had been governor twice before. The succession took a bizarre turn, however, when Talmadge died before he was sworn in. Upon his death, Talmadge’s son, Herman, argued that under Georgia law there should be a special runoff election between the top two remaining vote-getters in the November election: Arnall and, conveniently, Herman Talmadge, who, knowing about his father’s poor health, had organized a write-in campaign for himself in anticipation of such a situation. Meanwhile, Melvin Thompson, who had been elected the state’s first lieutenant governor, claimed that he should rightfully be elevated to governor. The dispute lasted for months. The Georgia Assembly initially appointed Talmadge as governor, but Arnall refused to vacate the office. In the meantime, Arnall and Thompson engineered a plan in which Arnall would resign and Thompson, now sworn-in as lieutenant governor, would take the seat. With both Talmadge and Thompson laying claim to the governorship, the issue would ultimately be decided by the Georgia Supreme Court. In March 1947, the Court declared Thompson the acting governor. Talmadge would also get his chance, however–the Court also ordered a special election to be held in 1948. Talmadge won that election and would go on to win a full term in 1950, later also serving 24 years in the U.S. Senate. New Jersey 2002: In early 2001, New Jersey Governor Christine Todd Whitman (R) left office to become Administrator of the U.S. Environmental Protection Agency. Under the New Jersey Constitution at the time, in such an event the President of the State Senate–then Donald DiFrancesco (R)–would become acting governor for as long as he remained in his leadership post. It was a gubernatorial election year in New Jersey and in November 2001, Jim McGreevey (D) was elected the next governor of the state. Simultaneously, voters elected a new State Senate that would be evenly split, 20 members from each party. Under the state Constitution, the new Senate would take office on January 8, 2002 and the new governor would be sworn in a week later. This had two ramifications. First, for a period of time on January 8, between legislative sessions, there was technically no Senate President. As a result, the acting governorship went to the next in line in Constitutional succession: Attorney General John Farmer (R). Farmer served as acting governor for a matter of hours before the new Senate took office. Even then, however, there was confusion; due to the 20-20 party split, the body agreed to be led by co-presidents, one from each party. Thus, the co-presidents would take turns as acting governor, with John Bennett (R) serving from January 8-12 and his counterpart Dick Codey (D) taking over as acting governor from January 12 until January 15 when McGreevey was officially sworn in. New Jersey, as a result, had five different governors in eight days. In 2005, in part in reaction to this confusion, voters approved a change to the state Constitution creating the office of lieutenant governor and changing the line of succession. The situation also had another legacy–singer-songwriter Dave Kleiner turned the situation into a song titled We Had Five Governors in Eight Days. For more on this and other gubernatorial music, see The Music Governors Create and Inspire by John Weingart. Tennessee 1979: Ray Blanton (D) was elected governor of Tennessee in 1974. He served one term before choosing not to run for reelection in 1978, when Lamar Alexander (R) won the state’s governorship. In the final weeks of his term, however, Blanton issued pardons to over 50 people convicted of murder and other serious crimes. With rumors of bribery and scandal rampant and a tip that more pardons were being planned, the state legislature and Lieutenant Governor John Wilder successfully maneuvered to swear in Alexander three days earlier than the planned customary inauguration date and thus prematurely end Blanton’s tenure.
7770	dbpedia	0	5	https://www.aspeninstitute.org/people/mitch-daniels/	en	The Aspen Institute	https://www.aspeninstitu…ue_1920x1080.jpg	https://www.aspeninstitu…ue_1920x1080.jpg	[ "https://www.aspeninstitute.org/wp-content/uploads/2016/06/mitchdaniels.gif", "https://www.aspeninstitute.org/wp-content/uploads/2018/07/Santa-Fe-New-Mexican.jpg", "https://www.aspeninstitute.org/wp-content/uploads/2015/12/aspen-generic-rectangle.jpg" ]	[]	[]	[ "" ]	null	[]	2016-06-17T20:16:23+00:00		en	https://www.aspeninstitute.org/wp-content/themes/aspen_institute/favicon.ico	The Aspen Institute	https://www.aspeninstitute.org/people/mitch-daniels/	Daniels came to Purdue University at the conclusion of his term as the 49th Governor of Indiana. He was elected Governor in 2004, in his first bid for any elected office. He was re-elected in 2008, receiving more votes than any candidate for any public office in the state’s history. During his first term, Governor Daniels spearheaded a host of reforms aimed at improving the performance of state government. These changes and a strong emphasis on performance measurement have led to many state agencies, including the Bureau of Motor Vehicles, Department of Child Services and Department of Correction winning national awards. In 2005, he led the state to its first balanced budget in eight years and, without a tax increase, transformed the nearly $800 million deficit he inherited into an annual surplus of $370 million within a year. The governor also repaid hundreds of millions of dollars the state had borrowed from Indiana’s public schools, state universities and local units of government in previous administrations, and reduced the state’s overall debt by 40 percent. Governor Daniels left Indiana with a budget in surplus, reserve funds equal to nearly 15 percent of annual spending, and its first AAA credit rating. Daniels’ first legislative success created the public-private Indiana Economic Development Corporation to replace a failing state bureaucracy in the mission of attracting new jobs. In its first four years of existence, the agency broke all previous records for new jobs in the state and was associated with more than $18 billion of new investment. In 2008, Site Selection Magazine and CNBC both named Indiana as the Most Improved State for Business in the country. In 2012, Indiana became the 23rd Right-to-Work state. Indiana now ranks favorably in every national ranking of business attractiveness and job creation. Governor Daniels’ innovations include the 2006 lease of the Indiana Toll Road. This is the largest privatization of public infrastructure in the United States and generated nearly $4 billion for Major Moves, the state’s record-breaking 10-year transportation and infrastructure program. The Healthy Indiana Plan was enacted in 2007 to provide healthcare coverage for uninsured Hoosier adults, and comprehensive property tax reforms in 2008 resulted in the biggest tax cut in Indiana history. Both initiatives received overwhelming bipartisan support, and Indiana remains among the states with the lowest property taxes in the nation. In 2011, under his guidance, Indiana passed the most sweeping education reforms in the country, including the nation’s first statewide school choice voucher program. Because of these reforms, Indiana is dramatically expanding charter schools, providing parents with more school choice, revising teacher evaluations and expanding full-day kindergarten funding. In 2010, he established WGU Indiana, a partnership between the state and Western Governors University aimed at expanding access to higher education for Hoosiers and increasing the percentage of the state’s adult population with education beyond high school. Daniels first became interested in public service while serving as chief of staff to Senator Richard Lugar. He has also served as a senior advisor to President Ronald Reagan and Director of the Office of Management and Budget under President George W. Bush. On his first day in office as Governor, Daniels created Indiana’s first Office of Management and Budget. President Daniels also comes from a successful career in business, holding numerous top management positions. From 1987-1990, Daniels served as the CEO of the Hudson Institute. In 1990, he accepted a position at Eli Lilly and Company, the largest corporation headquartered in Indiana at that time, and eventually held the role of president of the company’s North American Pharmaceutical Operations. In February 2013, Daniels was asked to co-chair the National Research Council’s Committee on Human Spaceflight, which reviewed the state of the U.S. human spaceflight program. The 18-month appointment culminated in June 2014 with the submission of a report that is helping to guide the sustainable future of the United States’ human spaceflight program. Daniels also co-chaired the Council on Foreign Relations’ 2014 taskforce on non-communicable diseases, which examined the challenges of treating these diseases in low- and middle-income countries, and the selection committee for the Aspen Institute’s 2015 Aspen Prize for community college excellence. He currently serves as a co-chair of the Committee for a Responsible Federal Budget and, with U.S. Senator Mark Warner, he co-chairs the Aspen Institute’s Future of Work Initiative, a yearlong non-partisan effort to identify ways to strengthen America’s 21st-century workforce. Daniels is also a board member of numerous non-profit organizations, including the Urban Institute and the American Academy of Arts & Sciences’ Commission on Post Secondary Education.
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"http://wordpress.tempest.aoml.noaa.gov/wordpress/wp-content/uploads/2019/03/h_prob_sept-298x300.gif" ]	[]	[]	[ "" ]	null	[]	2019-09-27T19:47:35+00:00	This FAQ (Frequently Asked Questions) answers various questions regarding hurricanes, typhoons and tropical cyclones that have been posed	en	/wp-content/uploads/2018/09/NOAA_logo_512x512-150x150.png	NOAA's Atlantic Oceanographic and Meteorological Laboratory	https://www.aoml.noaa.gov/hrd-faq/	Prior to the 20th century, hurricane names were inspired by everything from saints’ feast days, ship names, to unpopular politicians. In 1950, the National Hurricane Center officially began designating Atlantic hurricanes with code names and then women’s names. In 1979, naming responsibility was passed to a committee of the World Meteorological Organization who used alternating men and women’s names following the practice adopted by Australia’s Bureau of Meteorology three years earlier in 1975. Currently, there are six yearly lists used in rotation found here. If a particularly damaging storm occurs, the name of that storm is retired. Storms retired in 2017 include Harvey, Irma, Maria, and Nate. If there are more storms than names on the list in a given season, an auxiliary name list is used. Lastly, if a storm happens to move across basins, it keeps the original name. The only time it is renamed is in the case that it dissipates to a tropical disturbance and then reforms. In the Atlantic basin, tropical cyclone names are “retired” (not to be used again for a new storm) if it is deemed to be quite noteworthy because of the damage and/or deaths it caused. This is to prevent confusion with a historically well-known cyclone with a current one in the Atlantic basin. Sometimes names are removed for other reasons, such as cultural considerations or politics. History of Hurricane Naming For much of history, tropical cyclones were only given designations post facto. After they had come ashore and done much destruction, they would be commemorated by being named either for the Saint’s feast day they happened on (such as the San Felipe hurricanes in 1876 & 1928) or by some characteristic (the Salty hurricane 1810, the Yankee hurricane 1935). The first use of a proper name for a tropical cyclone was by Clement Wragge, an Australian forecaster late in the 19th century. He first designated tropical cyclones by the letters of the Greek alphabet, then started using South Sea Island girls’ names. When the newly constituted Australian national government failed to create a federal weather bureau and appoint him director, Wragge began naming cyclones “after political figures whom he disliked. By properly naming a hurricane, the weatherman could publicly describe a politician (who perhaps was not too generous with weather-bureau appropriations) as ‘causing great distress’ or ‘wandering aimlessly about the Pacific.’ (Dunn and Miller 1960) Although Wragge’s naming practice lapsed when his Queensland weather bureau closed in 1903, forty years later the idea inspired author George R. Stewart. In his 1941 novel “Storm”, a junior meteorologist named Pacific extratropical storms after former girlfriends. The novel was widely read, especially by US Army Air Forces and Navy meteorologists during World War II. When Reid Bryson, E.B. Buxton, and Bill Plumley were assigned to a USAAF base on Saipan in 1944 they had to forecast any tropical cyclones affecting operations. They decided (à la Stewart) to name them after their wives. In 1945, the armed services publicly adopted a list of women’s names for typhoons of the western Pacific using the names of officers’ wives assigned to forward forecast centers on Guam and the Philippines. However, the Air Forces were unable to persuade the U.S. Weather Bureau (USWB) to adopt a similar practice for Atlantic hurricanes. Starting in 1947, the Air Force Hurricane Office in Miami began designating tropical cyclones of the North Atlantic Ocean using the Army/Navy phonetic alphabet (Able-Baker-Charlie-etc.) in internal communications. During the busy 1950 hurricane season there were three hurricanes occurring simultaneously in the Atlantic basin, causing considerable confusion. Grady Norton of the USWB’s Miami Hurricane Warning Center then decided to use the Air Force’s naming system in public bulletins and in his year-end summary. By the next year, these names began appearing in newspaper articles. This practice proved popular. However, in 1952 a new International phonetic alphabet was adopted (Alpha-Beta-Charlie-etc.) which caused some confusion about which names were to be used. So in 1953, the US Weather Bureau finally acceded to the Armed Services’ practice of using women’s names. This was both controversial and popular. In 1978, under political pressure, the US National Hurricane Center (NHC) requested that the WMO’s Region IV Hurricane Committee (which had just taken control of the list) switch to a hurricane name list that alternated men’s and women’s names following the practice adopted by Australia’s Bureau of Meteorology in 1975. This was first implemented in the eastern Pacific then in 1979 in the Atlantic. A rare hurricane near Hawaii in 1950 was called Hiki (Hawai’ian for Able). In 1957, three storms were detected in the Central Pacific, and the military forecast centers called them Kanoa, Della and Nina. In 1959, another hurricane threatened the islands and the Weather Bureau designated it “Dot”. The next year an official name list for tropical cyclones was drawn up for the Northeast Pacific basin. In 1978, both men’s and women’s names were utilized, and in 1979 a separate list was created for the Central Pacific (from 140°W to 180°W) using Hawaiian names. The Northwest Pacific basin tropical cyclones were given women’s names officially starting in 1945 and men’s names were also included beginning in 1979. As of 1 January 2000, tropical cyclones in the Northwest Pacific basin are now being named from a new and very different list. The new names contributed by all the nations and territories that are members of the WMO’s Typhoon Committee. These newly selected names have two major differences from the rest of the world’s tropical cyclone name rosters. The names by and large are not personal names. There are a few men’s and women’s names, but the majority are names of flowers, animals, birds, trees, or even foods, etc, while some are descriptive adjectives. The names will not be allotted in alphabetical order, but are arranged by contributing nation with the countries being alphabetized. The Philippine weather service PAGASA maintains their own separate list of names for any tropical system that threatens their archipelago. For many years the Indian Ocean cyclones were given alphanumeric designators. The Southwest Indian Ocean tropical cyclones were first named during the 1960/1961 season. The North Indian Ocean region tropical cyclones were named as of 2006. The Australian and South Pacific region (east of 90E, south of the equator) started giving women’s names to the storms for the 1964/1965 season and both men’s and women’s names for the 1974/1975 season. For the 2008/2009 season the three separate name lists of the different BoM forecast centers were consolidated into one list. A rare South Atlantic storm in 2004 was post facto given the name Catarina. Another such system in 2010 was designated Anita after the fact. Starting in 2011, a name list was begun for the South Atlantic basin using mostly Brazilian designations. Reference: Dunn, G.E. and B.I. Miller (1960): Atlantic Hurricanes, Louisiana State Univ. Press, Baton Rouge, Louisiana, 377pp Skilton, Liz, (2019): Tempest, Louisiana State Univ. Press, Baton Rouge, Louisiana, 306pp Since 1978, the United Nations’ World Meteorological Organization, a group representing some 120 different countries, has used pre-determined lists of names for tropical storms for each ocean basin of the world. The Atlantic basin, which falls under Regional Association IV, has a six year supply of names with 21 names for each year. Why 21 names? Well, the letters Q, U, X, Y and Z are not used because names beginning with those letters are in short supply (you would need at least 3 male and 3 female names for each letter, plus a backup supply for those retired). Think about it; how many men and women do you know whose names begin with these letters? When a damage or casualty producing storm like Mitch, Andrew, or Katrina strikes, the country most affected by the storm may recommend to the World Meteorological Organization’s Regional Association that the name be “retired.” Retiring a name is an act of respect for its victims, and reduces confusion in the insurance, legal or scientific literature. A retired name is replaced with a like-gender name beginning with the same letter. For example, Honduras recommended (1998) the name Mitch be retired and proposed the replacement name, Matthew, for consideration (and vote) by the 25-member countries of the Regional Association-IV. Eighty-three names have been retired in the Atlantic basin. The names used on the list must meet some fundamental criteria. They should be short, and readily understood when broadcast. Further the names must be culturally sensitive and not convey some unintended and potentially inflammatory meaning. The potential for misunderstanding increases when you figure that in the Atlantic basin there are twenty-four countries, reflecting an international mix of English, Spanish and French cultures. Typically, over the historical record, about one storm each year causes so much death and destruction that its name is considered for retirement. This means that in a “normal” year, the odds are about 1 in 8 of requiring a replacement name, given that over the last 57 years (of reliable record) we’ve averaged slightly over 8 tropical storms and hurricanes per season (actually 8.6). So, it’s more likely that letters/ names toward the front of the alphabet (letters A through H) might be retired. The Region IV Naming Committee has a rather large file folder of nominated names that have already been submitted. The next time the need arises and it’s a storm affecting mainly the United States, the Committee will be casting about for a replacement tropical cyclone name. They will take out this file to make a selection. But as we say, it’s pure chance from there. The Automated Tropical Cyclone Forecast (ATCF) system was developed for the Joint Typhoon Warning Center in 1988. It is used by computer software to identify tropical cyclones and assist in the generation of forecast messages. In order to distinguish different tropical cyclones that might be occurring simultaneously, a distinct alphanumeric code is assigned to each cyclone once it develops a closed circulation. This code system was adopted by other warning centers in order to facilitate the passing of storm information and reduce confusion. The code designation consists of two letters designating the oceanic basin (“AL” for Atlantic, “EP” for Eastern Pacific, “CP” for Central Pacific and “WP” for Western Pacific), a two-digit number designating the sequential number of that particular cyclone for that basin in the year, and lastly a four-digit year number. So, the first depression to form in the Atlantic for 2001 would be AL012001, the third depression for the Central Pacific in 1999 would be CP031999. A cyclone retains its ATCF code designation as long as it remains a distinct tropical vortex. Even if it becomes a named tropical storm or hurricane the software will still track it by its ATCF code. AL90, AL92, 92L from the Tropical Discussions Oftentimes, hurricane specialists become curious about disturbances in the tropics long before they form into tropical depressions and are given a tropical cyclone number. In order to alert forecasting centers that they are investigating such a disturbance and that they wish to have it tracked by the various forecast models, the specialist will attach a 9-series number to it. The first such disturbance of the year will be designated 90, the next 91, and so on until 99. After that, they restart the sequence with 90 again. The purpose of these numbers is to clarify which disturbance they are tracking as there are often more than one happening at the same time. To further clarify matters, each number is accompanied by a two-letter code designating which tropical cyclone basin the disturbance is in. “AL” is used for the Atlantic basin (including the Caribbean Sea and Gulf of Mexico), “EP” for the Eastern Pacific, “CP” for Central Pacific, and “WP” for the Western Pacific. In discussions, these designations will be shortened to 90L, 91L, and so forth. They may also be referred to as ‘Invest 90L’. However, once a disturbance is designated a tropical depression this 9-series number will be dropped and an ATCF code number will be assigned in its place. You may also occasionally see an 8-series number, such as AL82. This means that this is a test investigation. There is no particular disturbance that the specialists are interested in, they’re just running a test of the system to make sure communications and software are running properly. In order for a tropical cyclone to form, several atmospheric and marine conditions must be met. Temperature & Humidity: Ocean waters should be 80° Fahrenheit at the surface and warm for a depth of 150 feet, because warm ocean waters fuel the heat engines of tropical cyclones. They also need an atmosphere which cools fast enough with increasing height so that the difference between the top and bottom of the atmosphere can create thunderstorm conditions. A moist mid-troposphere (3 miles high) is also needed because dry air ingested into thunderstorms at mid-level can kill the circulation. Spin & Location: The Coriolis force is an apparent force that deflects movement to the right coming from the Northern hemisphere and to the left coming from the Southern hemisphere. The force is greatest at the poles and zero at the equator, so the storm must be at least 300 miles from the equator in order for the Coriolis force to create the spin. This force causes hurricanes in the Northern hemisphere to rotate counter-clockwise, and in the southern hemisphere to rotate clockwise. This spin may play some role in helping tropical cyclones to organize. (As a side note: the Coriolis force is not strong enough to affect small containers such as in sinks and toilets. The notion that the water flushes the other way in the opposite hemisphere is a myth.) Wind: Low vertical wind shear (the change of wind speed and direction with height) between the surface and the upper troposphere favors the thunderstorm formation, which provides the energy for tropical cyclones. Too much wind shear will disrupt or weaken the convection. Having these conditions met is necessary but not sufficient, as many disturbances that appear to have favorable conditions do not develop. Past work (Velasco and Fritsch 1987, Chen and Frank 1993, Emanuel 1993) has identified that large thunderstorm systems (called mesoscale convective complexes) often produce an inertially stable, warm core vortex in the trailing altostratus decks of the MCC. These mesovortices have a horizontal scale of approximately 100 to 200 km [75 to 150 mi], are strongest in the mid-troposphere (5 km [3 mi]) and have no appreciable signature at the surface. Zehr (1992) hypothesizes that genesis of the tropical cyclones occurs in two stages: stage 1 occurs when the called mesoscale convective complex produces a mesoscale vortex. Stage 2 occurs when a second blow up of convection at the mesoscale vortex initiates the intensification process of lowering central pressure and increasing swirling winds. References: Graham, N. E., and T. P. Barnett, 1987: Sea surface temperature, surface wind divergence, and convection over tropical oceans. Science, No.238, pp. 657-659. Gray, W.M. (1968): “A global view of the origin of tropical disturbances and storms” Mon. Wea. Rev., 96, pp.669-700 Gray, W.M. (1979): “Hurricanes: Their formation, structure and likely role in the tropical circulation” Meteorology Over Tropical Oceans. D. B. Shaw (Ed.), Roy. Meteor. Soc., James Glaisher House, Grenville Place, Bracknell, Berkshire, RG12 1BX, pp.155-218 Chen, S.A., and W.M. Frank (1993): “A numerical study of the genesis of extratropical convective mesovortices. Part I: Evolution and dynamics” J. Atmos. Sci., 50, pp.2401-2426 Emanuel, K.A. (1993): “The physics of tropical cyclogenesis over the Eastern Pacific. Tropical Cyclone Disasters J. Lighthill, Z. Zhemin, G. J. Holland, K. Emanuel (Eds.), Peking University Press, Beijing, 136-142 Palmen, E. H., 1948: On the formation and structure of tropical cyclones. Geophysica , Univ. of Helsinki, Vol. 3, 1948, pp. 26-38. Velasco, I., and J.M. Fritsch (1987): “Mesoscale convective complexes in the Americas” J. Geophys. Res., 92, pp.9561-9613 Zehr, R.M. (1992): “Tropical cyclogenesis in the western North Pacific. NOAA Technical Report NESDIS 61, U. S. Department of Commerce, Washington, DC 20233, 181 pp. In addition to hurricane-favorable conditions such as temperature and humidity, many repeating atmospheric phenomenon contribute to causing and intensifying tropical cyclones. For example, African Easterly Waves (AEW) are winds in the lower troposphere (ocean surface to 3 miles above) that originate and travel from Africa at speeds of about 3-mph westward as a result of the African Easterly Jet. These winds are seen from April until November. About 85% of intense hurricanes and about 60% of smaller storms have their origin in African Easterly Waves. The Saharan Air Layer (SAL) is another significant seeding phenomenon affecting tropical storms. It is a mass of dry, mineral-rich, dusty air that forms over the Sahara from late spring to early fall and moves over the tropical North Atlantic every 3-5 days at speeds of 22-55mph (10-25 meters per second). These air masses are 1-2 miles deep and exist in the lower troposphere. They can be as wide as the continental US and have significant moderating impacts on tropical cyclone intensity and formation because the dry, intense air can deprive the storm of moisture and wind shear can interfere with its convection. However, disturbances on the periphery of the Saharan Air Layer can receive a boost in their convection and spin. An upper atmospheric perturbation known as the Madden-Julian Oscillation (MJO) can travel around the globe on a time-scale of weeks. As its positive phase passes over an area it can bring favorable conditions for convection, while its negative phase can suppress it. This can affect forming tropical cyclones either giving them a boost or hindering them. The climatic fluctuation in the Pacific Ocean known as the El Niño-Southern Oscillation (ENSO) can affect Atlantic tropical cyclone development by increasing or decreasing (depending on ENSO phase) the vertical wind shear over the western side of the basin. The Pacific Decadal Oscillation (PDO) and Atlantic Multi-decadal Oscillation (AMO) are oceanic temperature fluctuations occurring over tens of years. They can have a profound influence on the overall tropical cyclone activity over the world’s tropical oceans. For example, when the tropical North Atlantic Ocean is warmer than usual, hurricanes tend to form more often and become stronger. See more in the Tropical Cyclone Climatology Section on Atlantic Multi-decadal Variability. Cape Verde-type hurricanes are Atlantic basin tropical cyclones that develop into tropical storms fairly close (<1000 km [600 mi] or so) to the Cape Verde Islands and then become hurricanes before reaching the Caribbean. Typically, this may occur in August and September, but in rare years (like 1995) this may occur in late July and/or early October. The numbers range from none to around five per year – with an average of 2 per year. References: Dunn, G. E., 1940: “Cyclogenesis in the tropical Atlantic” Bull. Amer. Meteor. Soc., 21, pp.215-229 Riehl, H., 1945: “Waves in the easterlies and the polar front in the tropics” Misc. Rep. No. 17, Department of Meteorology, University of Chicago, 79 pp. Burpee, R. W., (1972): “The origin and structure of easterly waves in the lower troposphere of North Africa” J. Atmos. Sci., 29, pp.77-90 Burpee, R. W., (1974): “Characteristics of the North African easterly waves during the summers of 1968 and 1969” J. Atmos. Sci., 31, pp.1556-1570 Landsea, C.W. (1993): “A climatology of intense (or major) Atlantic hurricanes” Mon. Wea. Rev., 121, pp.1703-1713 Avila, L. A., and R. J. Pasch, 1995: “Atlantic tropical systems of 1993” Mon. Wea. Rev., 123, pp.887-896 When a tropical disturbance organizes into a tropical depression, the thunderstorms will begin to line up in spiral bands along the inflowing wind. The winds will begin to increase, and eventually the inner bands will close off into an eyewall, surrounding a central calm area known as the eye. This usually happens around the time wind speeds reach hurricane force. When the hurricane reaches its mature stage, eyewall replacement cycles may begin. Each cycle will be accompanied by fluctuations in the strength of the storm. Peak winds may diminish when a new eyewall replaces the old, but then re-strengthen as the new eyewall becomes established. If the storm passes through an area of high vertical wind shear or dry air the storm could be weakened. However, if it continues to pick up moisture from a warm environment, then it could become a major hurricane. Hurricanes are driven by larger scale circulation patterns. The predominant pattern in the tropics is the Subtropical ridge, a semi-permanent high pressure cell roughly located near the Tropic of Cancer or Capricorn (23°26′ N or S). In the Atlantic this ridge is often called the Bermuda High due to its location. South of the ridge the circulation drives tropical cyclones westward with a slight poleward component. But when the cyclone reaches the westward edge of the ridge it will tend to move around the high first poleward then easterly. This is known as recurvature. This motion means that many Atlantic hurricanes may recurve back out to sea without ever making landfall. If a hurricane reaches the mid-latitudes, it can interact with fronts. Often the energy and moisture of tropical cyclones will be absorbed into such fronts, transitioning into extratropical low pressure storms. Studies have shown that this process can increase the unpredictability of mid-latitude weather downstream for days following. However, some hurricanes will make landfall. Striking an island, especially a mountainous one, could cause its circulation to break down. If it hits a continent, a hurricane will be cut off from its supply of warm, moist maritime air. It will also begin to draw in dry continental air, which combined with increased friction over land leads to the weakening and eventual death of the hurricane. Over mountainous terrain this will be a quick end. But over flat areas, it may take two to three days to break down the circulation. Even then you are still left with a large pocket of tropical moisture which can cause substantial inland flooding. There have been studies on the rate of storm decay once they make landfall (Demaria Kaplan Decay Model). References: Willoughby, H.E. (1990a): “Temporal changes of the primary circulation in tropical cyclones” J. Atmos. Sci., 47, pp.242-264 Willoughby, H.E., J.A. Clos, and M.G. Shoreibah (1982): “Concentric eye walls, secondary wind maxima, and the evolution of the hurricane vortex” J. Atmos. Sci., 39, pp.395-411 Powell, M.D., and S.H. Houston, 1996: “Hurricane Andrew’s wind field at landfall in South Florida. Part II: Applications to real -time analysis and preliminary damage assessment” Wea. Forecasting, 11, pp.329-349 Tuleya, R.E. (1994): “Tropical storm development and decay: Sensitivity to surface boundary conditions” Mon. Wea. Rev., 122, pp.291-304 Tuleya, R.E. and Y. Kurihara (1978): “A numerical simulation of the landfall of tropical cyclones” J. Atmos. Sci., 35, pp.242-257 Storm surge is an abnormal rise of water generated by a storm’s winds blowing onshore. Storm tide is the combination of the storm surge and astronomical tide as a result of a storm. Storm surge is caused by the force of high wind speeds acting on the ocean surface combined with the forward speed of the storm. The height of a storms surge is determined by the approaching angle of the storm as well as the coastline characteristics, such as the shape of the continental shelf and local geographic features, such as inlets. The degree of vulnerability of any stretch of coast is dependent on a number of factors which includes the central pressure, intensity, forward speed, storm size, angle of approach, width and slope of the off-shore continental shelf, and local bays and inlets. The figure above illustrates the degree of storm surge threat for a “worst case scenario” Category 4 hurricane normalized along the coastline of the eastern and Gulf coasts of the United States. The SLOSH Model The Sea, Lake, and Overland Surges from Hurricanes (SLOSH) model is the computer model utilized by the National Oceanic and Atmospheric Administration (NOAA) for coastal inundation risk assessment and the operational prediction of storm surge. The eastern seaboard and Gulf Coast of the United States, Puerto Rico, the Bahamas, the Virgin Islands, and Hawaii, are subdivided into 39 regions or “basins.” These areas represent sections of the coastline that are centered upon particularly susceptible features: inlets, large coastal centers of population, low-lying topography, and ports. The SLOSH model computes the maximum potential impact of the storm in these “computational domains” based on storm intensity, track, and estimates of storm size provided by hurricane specialists at the National Hurricane Center (NHC). Currently, SLOSH basins are being updated at an average rate of 6 basins per year. SLOSH basin updates are ultimately governed by the Interagency Coordinating Committee on Hurricanes (ICCOH). ICCOH manages hazard and post-storm analysis for the Hurricane Evacuation Studies under FEMA’s Hurricane Program. Updates are driven by a number of different factors such as: changes to a basin’s topography/bathymetry due to a hurricane event, degree of vulnerability to storm surge, availability of new data, changes to the coast, and the addition of engineered flood protection devices (e.g. levees). Sometimes these updates include higher grid size resolution to improve surge representation, increasing areas covered by hypothetical tracks for improved accuracy, conversion to updated vertical reference datums, and including the latest topography or bathymetric data for better representation of barrier, gaps, passes, and other local features. The SLOSH model can generate several different products: Deterministic runs This is an operational product based on the official NHC track and intensity forecast of a tropical cyclone. Operational SLOSH runs are generated whenever a hurricane warning is issued, approximately 36 hours prior to arrival of tropical storm winds. It is run every 6 hours coinciding with the full advisory package. This is a single run product which can result in uncertainty because it is STRONGLY dependent on the accuracy of the storm track and timing. This product is intended to provide valuable surge information in support of rescue and recovery efforts. Probabilistic (P-surge) runs This is a graphical product using an ensemble of many SLOSH runs to create a Probabilistic Storm Surge (P-Surge) product. This is intended to be used operationally so it is based on NHC’s official advisory. P-Surge uses SLOSH-based simulations which are based on statistics of past performance of the advisories. These different SLOSH simulations are based on the distribution of: Cross-track error (impacts landfall location) Along-track error (impacts forward speed and timing) Intensity error (impacts pressure) Size error (impacts size) P-Surge is available whenever a hurricane watch or warning is in effect. It is posted on the NHC webpage within approximately 30 minutes after the advisory release time. Maximum Envelope of Water (MEOW) runs This is an ensemble product representing the maximum height of storm surge water in a given basin grid cell using hypothetical storms run with the same: Category (intensity) Forward speed Storm trajectory Initial tide level Internally a number of parallel SLOSH runs with same intensity, forward speed, storm trajectory, and initial tide level are performed for the basin. The only difference in runs is that each is conducted at some distance to the left or to the right of the main track (typically at the center of the grid). Each component run computes a storm surge value for each grid cell. For example, five parallel runs may yield storm surge values of 4.1, 7.1, 5.3, 6.3, and 3.8 feet. In this case, the MEOW for the cell is 7.1 ft. It is unknown (to the user) which track generated the MEOW for a particular cell, so it is entirely possible that the MEOW values for adjacent cells may have come from different runs. MEOWs are used to incorporate the uncertainties associated with a given forecast and help eliminate the possibility that a critical storm track will be missed in which extreme storm surge values are generated. MEOWs provide a worst case scenario for a particular category, forward speed, storm trajectory, and initial tide level incorporating uncertainty in forecast landfall location. The results are typically generated from several thousand SLOSH runs for each basin. Over 80 MEOWs have been generated for some basins. This product provides useful information aiding in hurricane evacuation planning. Maximum of MEOW (MOM) runs This is an ensemble product of maximum storm surge heights for all hurricanes of a given category regardless of forward speed, storm trajectory, landfall location, etc. MOMs are created internally by pooling all the MEOWs for a given basin separated by category and tide level (zero/high), and selecting the MEOW with the greatest storm surge value for each basin grid cell regardless of the forward speed, storm trajectory, landfall location, etc. This procedure is done for each category of storm. Essentially, there is 1 MOM per storm category and tide level (zero/high). MOMs represent the worst case scenario for a given category of storm under “perfect” storm conditions. The MOMs provide useful information aiding in hurricane evacuation planning and are also used to develop the nation’s evacuation zones. Strengths and limitations of SLOSH The SLOSH model is computationally efficient resulting in fast computer runs. It is able to resolve flow through barriers, gaps, and passes and model deep passes between bodies of water. It also resolves inland inundation and the overtopping of barrier systems, levees, and roads. It can even resolve coastal reflections of surges such as coastally trapped Kelvin waves. However it does not model the impacts of waves on top of the surge, account for normal river flow or rain flooding, nor does it explicitly model the astronomical tide (although operational runs can be run with different water level anomalies to model conditions at the onset of operational runs). Surprisingly, not much lightning occurs in the inner core (within about 100 km or 60 mi) of the tropical cyclone center. Only around a dozen or less cloud-to-ground strikes per hour occur around the eyewall of the storm, in strong contrast to an overland mid-latitude mesoscale convective complex which may be observed to have lightning flash rates of greater than 1000 per hour maintained for several hours. Hurricane Andrew’s eyewall had less than 10 strikes per hour from the time it was over the Bahamas until after it made landfall along Louisiana, with several hours with no cloud-to-ground lightning at all (Molinari et al. 1994). However, lightning can be more common in the outer cores of the storms (beyond around 100 km or 60 mi) with flash rates on the order of 100s per hour. This lack of inner core lightning is due to the relative weak nature of the eyewall thunderstorms. Because of the lack of surface heating over the ocean ocean and the “warm core” nature of the tropical cyclones, there is less buoyancy available to support the updrafts. Weaker updrafts lack the super-cooled water (e.g. water with a temperature less than 0° C or 32° F) that is crucial in charging up a thunderstorm by the interaction of ice crystals in the presence of liquid water (Black and Hallett 1986). The more common outer core lightning occurs in conjunction with the presence of convectively-active rainbands (Samsury and Orville 1994). One of the exciting possibilities that recent lightning studies have suggested is that changes in the inner core strikes – though the number of strikes is usually quite low – may provide a useful forecast tool for intensification of tropical cyclones. Black (1975) suggested that bursts of inner core convection which are accompanied by increases in electrical activity may indicate that the tropical cyclone will soon commence a deepening in intensity. Analyses of Hurricanes Diana (1984), Florence (1988) and Andrew (1992), as well as an unnamed tropical storm in 1987 indicate that this is often true (Lyons and Keen 1994 and Molinari et al. 1994). References: Molinari, J., P.K. Moore, V.P. Idone, R.W. Henderson, and A.B. Saljoughy (1994): “Cloud-to-ground lightning in Hurricane Andrew” J. Geophys. Res., pp.16665-16676 Black, R.A., and J. Hallett (1986): “Observations of the distribution of ice in hurricanes” J. Atmos. Sci., 43, pp.802-822 Samsury, C.E., and R.E. Orville, 1994: “Cloud-to-ground lightning in tropical cyclones: A study of Hurricanes Hugo (1989) and Jerry (1989)” Mon. Wea. Rev., 122, pp.1887-1896 Black, P.G., (1975): “Some aspects of tropical storm structure revealed by handheld-camera photographs from space” Skylab Explores the Earth, NASA, pp.417-461 Lyons, W.A., and C. S. Keen (1994): “Observations of lightning in convective supercells within tropical storms and hurricanes” Mon. Wea. Rev., 122, pp.1897-1916 The ocean’s primary direct response to a hurricane is a cooling of the sea surface temperature (SST). How does this occur? When the strong winds of a hurricane move over the ocean they churn-up much cooler water from below. The net result is that the SST of the ocean after storm passage can be lowered by several degrees Celsius (up to 10° Fahrenheit). A warmer ocean can have intensifying effects because the warmer an ocean is, the easier it is for the liquid water to become vapor and fuel the storm’s clouds. Figure 1 shows SSTs ranging between 25-27°C (77-81°F) several days after the passage of Hurricane Georges in 1998. As Figure 1 illustrates, Georges’ post-storm ‘cold wake’ along and to the right of the superimposed track is 3-5°C (6-9°F) cooler than the undisturbed SST to the west and south (i.e. red/orange regions are ~30°’C [86°’F]). The magnitude and distribution of the cooling pattern shown in this illustration is fairly typical for a post-storm SST analysis. One important caveat to realize however is that most of the 3-5°C (6-9°F) ocean cooling shown in Figure 1 occurs well after the storm has moved away from the region (in this case several days after Georges made landfall). The amount of ocean cooling that occurs directly beneath the hurricane within the high wind region of the storm is a much more important question scientists would like to have answered. Why? Hurricanes get their energy from the warm ocean water beneath them. However, in order to get a more accurate estimate of just how much energy is being transferred from the sea to the storm, scientists need to know ocean temperature conditions directly beneath the hurricane. Unfortunately, with 150kph+ (100mph+) winds, 20m+ (60ft+) seas and heavy cloud cover being the norm in this region of the storm, direct (or even indirect) measurement of SST conditions within the storm’s “inner core” environment are very rare. Thankfully in this case “very rare” does not mean “once in a lifetime”. Recently, scientists in AOML’s Hurricane Research Division (HRD) were able to get a better idea of how much SST cooling occurs directly under a hurricane by looking at many storms over a 28 year period. By combining these rare events, HRD scientists put together a “composite average” of ocean cooling directly under the storm. Figure 2 illustrates that, on average, cooling patterns are a lot less than the post storm 3-5°C (6-9°F) cold wake estimates shown in Figure 1. In most cases, the ocean temperature under a hurricane will range somewhere between 0.2 and 1.2°C (0.4 and 2.2°F) cooler that the surrounding ocean environment. Exactly how much depends on many factors including ocean structure beneath the storm (i.e. location), storm speed, time of year and to a lesser extent, storm intensity (Cione and Uhlhorn 2003). While the estimates in Figure 2 represent a dramatic improvement when it comes to more accurately representing actual SST cooling patterns experienced under a hurricane, even small errors in inner core SST can result in significant miscalculations when it comes to accurately assessing how much energy is transferred from the warm ocean environment directly to the hurricane. With all other factors being equal, being “off” by a mere 0.5°C (1°F) can be the difference between a storm that rapidly intensifies and one that falls apart! With that much at stake, scientists at HRD and other government and academic institutions are working to improve our ability to accurately estimate, observe and predict “under-the-storm” upper ocean conditions. These efforts include statistical studies, modeling efforts and enhanced observational capabilities designed to help scientists better assess upper ocean thermal conditions under the storm. It is believed that future forecasts of tropical cyclone intensity change will be significantly improved. Reference: Cione, J. J., and E. W. Uhlhorn, 2003: Sea Surface Temperature Variability in Hurricanes: Implications with Respect to Intensity Change. Monthly Weather Review, 131, 1783-1796. The Eye is a roughly circular area of fair weather found at the center of a severe tropical storm. The eye is the region of the lowest pressure at the surface and the warmest temperatures at the top. Eye size ranges from 5-120 miles across, but most are 20-40 miles in diameter. Understanding exactly how the eye forms has been controversial. Some scientists believe the radial spreading of the wind creates a warm dry down flow from the upper atmosphere, and this forms the cloud-free eye. Others have think the latent heat release in the eyewall forces the subsidence in the storm center creating the eye. The Eyewall is a ring of deep convection bordering the eye of the storm. This area has the highest surface winds in the tropical cyclone. Because air in the eye is slowly sinking, it creates an updraft in the eyewall. In particularly strong storms, concentric eyewall circles (or an “eyewall replacement cycle”) can occur. Eyewall replacement happens when a storm reaches its intensity threshold and the eye contracts to a smaller size (5-15 miles). Strong rain bands in the outer storm move inward towards the eye, robbing the inner eyewall of its moisture and momentum and weakening the storm. Spiral Bands are long, narrow bands of rain and thunderstorms that are oriented in the same direction as the wind movement. They are caused by convection (the vertical movement of air masses) and they spiral into the center of the tropical cyclone. In contrast, the Moat of a storm usually refers to the region between the eyewall and an outer spiral band where rainfall is relatively lighter. Not all hurricanes have moats. References: Hawkins, H.F., and D.T. Rubsam (1968): “Hurricane Hilda, 1964 : II Structure and budgets of the hurricane on October 1, 1964” Mon. Wea. Rev., 104, pp.418-442 Weatherford, C. and W.M. Gray (1988): “Typhoon structure as revealed by aircraft reconnaissance. Part II: Structural variability” Mon. Wea. Rev., 116, pp.1044-1056 Smith, R.K. (1980): “Tropical Cyclone Eye Dynamics.” J. Atmos. Sci., 37 (6), pp.1227-1232. Willoughby, H.E. (1979): “Forced secondary circulations in hurricanes” J. Geophys. Res., 84, pp.3173-3183 Shapiro, L.J. and H.E. Willoughby (1982): “The Response of Balanced Hurricanes to Local Sources of Heat and Momentum” J. Atmos. Sci., 39 (2), pp.378-394 Willoughby, H.E. (1990a): “Temporal changes of the primary circulation in tropical cyclones” J. Atmos. Sci., 47, pp.242-264 Willoughby, H.E. (1995): “Mature structure and evolution. Global Perspectives on Tropical Cyclones, R.L. Elsberry (ed.). World Meteorological Organization, Report No. TCP-38; Geneva, Switzerland, 62 pp. The energy released from a hurricane can be explained in two ways: the total amount of energy released by the condensation of water droplets (latent heat), or the amount of kinetic energy generated to maintain the strong, swirling winds of a hurricane. The vast majority of the latent heat released is used to drive the convection of a storm, but the total energy released from condensation is 200 times the world-wide electrical generating capacity, or 6.0 x 1014 watts per day. If you measure the total kinetic energy instead, it comes out to about 1.5 x 1012 watts per day, or ½ of the world-wide electrical generating capacity. It would seem that although wind energy seems to be the most obvious energetic process, it is actually the latent release of heat that feeds a hurricane’s momentum. To Calculate: Method 1 – Total energy released through cloud/rain formation: An average hurricane produces 1.5 cm/day (0.6 inches/day) of rain inside a circle of radius 665 km (360 n.mi) (Gray 1981). (More rain falls in the inner portion of hurricane around the eyewall, less in the outer rainbands.) Converting this to a volume of rain gives 2.1 x 1016 cm3/day. A cubic cm of rain weighs 1 gm. Using the latent heat of condensation, this amount of rain produced gives 5.2 x 1019 Joules/day or 6.0 x 1014 Watts. Method 2 – Total kinetic energy (wind energy) generated: For a mature hurricane, the amount of kinetic energy generated is equal to that being dissipated due to friction. The dissipation rate per unit area is air density times the drag coefficient times the wind speed cubed (See Emanuel 1999 for details). One could either integrate a typical wind profile over a range of radii from the hurricane’s center to the outer radius encompassing the storm, or assume an average wind speed for the inner core of the hurricane. Doing the latter and using 40 m/s (90 mph) winds on a scale of radius 60 km (40 n.mi.), gets a wind dissipation rate (wind generation rate) of 1.3 x 1017 Joules/day (1.5 x 1012Watts). Reference: Emanuel, K. A., (1999): “The power of a hurricane: An example of reckless driving on the information superhighway” Weather, 54, 107-108 The Atlantic hurricane season is June 1st to November 30th. In the East Pacific, it runs from May 15th to November 30th. Hurricane Awareness week runs from May 25th through May 31st and is a great time to get your hurricane kit and plans up to date. NOAA’s seasonal outlook is published here: NOAA Seasonal Outlook Hurricanes have occurred outside of the official six month season , but these dates were selected to encompass the majority of Atlantic tropical cyclone activity (over 97%). When the Weather Bureau organized its new hurricane warning network in 1935 it scheduled a special telegraph line to connect the various centers to run from June 15th through November 15th. Those remained the start and end dates of the ‘official’ season until 1964, when it was decided to end the season on November 30th, and in 1965, when the start was moved to the beginning of June. These changes made the Atlantic hurricane season six months long and easier for people to remember. Atlantic Ocean tropical cyclone activity over a year The Atlantic basin shows a very peaked season from August through October, with 78% of the tropical storm days, 87% of the minor hurricane days, and 96% of the major hurricane days occurring then (Landsea (NHC) 1993). Maximum activity occurs in early to mid September. “Out of season” tropical cyclones primarily occur in May or December. East Pacific Ocean tropical cyclone activity over a year The Northeast Pacific basin has a broader peak with activity beginning in late May or early June and going until late October or early November with a peak in storminess in late August/early September. The National Hurricane Center’s official dates for this basin are from May 15th to November 30th. West Pacific Ocean tropical cyclone activity over a year The Northwest Pacific basin has tropical cyclones occurring all year round regularly. There is no official definition of typhoon season for this reason. There is a distinct minimum in February and the first half of March, and the main season goes from July to November with a peak in late August/early September. The North Indian basin has a double peak of activity in May and November though tropical cyclones are seen from April to December. The severe cyclonic storms (>33 m/s winds [76 mph]) occur almost exclusively from April to June and late September to early December. The Southwest Indian and Australian/Southeast Indian basins have very similar annual cycles with tropical cyclones beginning in late October/early November, reaching a peak in activity from mid-January to early May. The Australian/Southeast Indian basin February lull in activity is a bit more pronounced than the Southwest Indian basin’s lull. The Australian/Southwest Pacific basin begin with tropical cyclone activity in late October/early November, reaches a single peak in March, and then fades out in early May. Globally, September is the most active month and May is the least active month. (Neumann 1993) References: Neumann, C.J., B.R. Jarvinen, C.J. McAdie, and J.D. Elms (1993): Tropical Cyclones of the North Atlantic Ocean, 1871-1992, Prepared by the National Climatic Data Center, Asheville, NC, in cooperation with the NHC, Coral Gables, FL, 193pp. The mean annual damage from hurricanes in the US is 9.5 billion dollars, when we adjust not only for inflation but for the increase in value of real goods in average households. Hurricane damage varies greatly from year to year, depending on the number and strength of hurricanes making landfall, but there does not seem to be a long-term trend in adjusted damage over the last century. There is very little association between the physical size of a hurricane and its intensity. A big hurricane does not have to be an intense one and vice versa. The damage a hurricane can cause is a function of both its maximum sustained wind and the extent of the hurricane force winds. A broad, weak storm may cause as much damage as a small, strong one. It is false to think that damage is linear with wind speed, that a 150-mph winds will cause twice the damage as a 75-mph winds. The relationship is exponential, and not linear. A category 5 storm could cause up to 250 times the damage of a category 1 hurricane of the same size. Intensity Cases Median Damage Potential Damage * Tropical/Subtropical Storm 118 < $1,000,000 0 Hurricane Category 1 45 $33,000,000 1 Hurricane Category 2 29 $336,000,000 10 Hurricane Category 3 40 $1,412,000,000 50 Hurricane Category 4 10 $8,224,000,000 250 Hurricane Category 5 2 $5,973,000,000 500 Mean annual damage in mainland US is $4,900,000,000. The worst U.S. hurricane damage – after normalizing to today’s population, wealth and dollars – is no longer Hurricane Andrew, but is instead the 1926 Great Miami Hurricane. If this storm hit in the mid-1990s, it is estimated that it would cause over $70 billion in South Florida and then an additional $10 billion in the Florida panhandle and Alabama. The United States has at least a 1 in 6 chance of experiencing losses related to hurricanes of at least $10 billion on average. Even though the major hurricanes (the category 3, 4 and 5 storms) comprise only 21% of all US landfalling tropical cyclones, they account for 83% of all of the damage. Damages have not been on the increase once one normalizes for inflation, wealth, and coastal population changes. Instead one sees that hurricane damages that were fairly low during the first two decades of the 20th Century, are quite high in the 1920s and 1940s to 1960s, and substantially lower in the 1970s and 1980s. Only during the early 1990s does damage approach the high level of impacts seen back in the 1940s through the 1960s. Thus recent hurricane damages are not unprecedented. References: Weatherford, C. and W.M. Gray (1988): “Typhoon structure as revealed by aircraft reconnaissance. Part II: Structural variability” Mon. Wea. Rev., 116, pp.1044-1056 Pielke, Jr. R. A., and C. W. Landsea, 1998: “Normalized Atlantic hurricane damage 1925-1995” Wea. Forecasting, 13, pp.621-631 Hurricane forecasters estimate tropical cyclone strength from satellite using a method called the Dvorak technique. Vern Dvorak developed the scheme in the early 1970s using a pattern recognition decision tree (Dvorak 1975, 1984). Utilizing the current satellite picture of a tropical cyclone, one matches the image versus a number of possible pattern types: Curved band Pattern, Shear Pattern, Eye Pattern, Central Dense Overcast (CDO) Pattern, Embedded Center Pattern or Central Cold Cover Pattern. If infrared satellite imagery is available for Eye Patterns (generally the pattern seen for hurricanes, severe tropical cyclones and typhoons), then the scheme utilizes the difference between the temperature of the warm eye and the surrounding cold cloud tops. The larger the difference, the more intense the tropical cyclone is estimated to be. From this one gets a “T-number” and a “Current Intensity (CI) Number”. CI numbers have been calibrated against aircraft measurements of tropical cyclones in the Northwest Pacific and Atlantic basins. On average, the CI numbers correspond to the following intensities: Current Intensity Numbers CI Number Maximum Sustained One Minute Winds (kts) Central Pressure (mb) Atlantic NW Pacific 0.0 <25 —- —- 0.5 25 —- —- 1.0 25 —- —- 1.5 25 —- —- 2.0 30 1009 1000 2.5 35 1005 997 3.0 45 1000 991 3.5 55 994 984 4.0 65 987 976 4.5 77 979 966 5.0 90 970 954 5.5 102 960 941 6.0 115 948 927 6.5 127 935 914 7.0 140 921 898 7.5 155 906 879 8.0 170 890 858 Note that this estimation of both maximum winds and central pressure assumes that the winds and pressures are always consistent. However, since the winds are really determined by the pressure gradient, small tropical cyclones (like the Atlantic’s Andrew in 1992, for example) can have stronger winds for a given central pressure than a larger tropical cyclone with the same central pressure. Thus caution is urged in not blindly forcing tropical cyclones to “fit” the above pressure- wind relationships. (The reason that lower pressures are given to the Northwest Pacific tropical cyclones in comparison to the higher pressures of the Atlantic basin tropical cyclones is because of the difference in the background climatology. The Northwest Pacific basin has a lower background sea level pressure field. Thus to sustain a given pressure gradient and thus the winds, the central pressure must accordingly be smaller in this basin.) The errors for using the above Dvorak technique in comparison to aircraft measurements taken in the Northwest Pacific average 10 mb with a standard deviation of 9 mb (Martin and Gray 1993). Atlantic tropical cyclone estimates likely have similar errors. Thus an Atlantic hurricane that is given a CI number of 4.5 (winds of 77 kt and pressure of 979 mb) could in reality be anywhere from winds of 60 to 90 kt and pressures of 989 to 969 mb. These would be typical ranges to be expected; errors could be worse. However, in the absence of other observations, the Dvorak technique does at least provide a consistent estimate of what the true intensity is. While the Dvorak technique was calibrated for the Atlantic and Northwest Pacific basin because of the aircraft reconnaissance data ground truth, the technique has also been quite useful in other basins that have limited observational platforms. However, at some point it would be preferable to re-derive the Dvorak technique to calibrate tropical cyclones with available data in the other basins. Lastly, while the Dvorak technique is primarily designed to provide estimates of the current intensity of the storm, a 24 h forecast of the intensity can be obtained also by extrapolating the trend of the CI number. Whether this methodology provides skillful forecasts is unknown. References: Dvorak, V.F., 1975: “Tropical cyclone intensity analysis and forecasting from satellite imagery” Mon. Wea. Rev., 103, pp.420-430 Dvorak, V.F., 1984: “Tropical cyclone intensity analysis using satellite data” NOAA Tech. Rep. NESDIS 11, 47pp Fitzpatrick, P.J., J.A. Knaff, C.W. Landsea, and S.V. Finley (1995): “A systematic bias in the Aviation model’s forecast of the Atlantic tropical upper tropospheric trough: Implications for tropical cyclone forecasting” Wea. Forecasting, 10, pp.433-446 Martin, J.D., and W.M. Gray (1993): “Tropical cyclone observation and forecasting with and without aircraft reconnaissance” Wea. Forecasting, 8, pp.519-532 The U.S. Government once supported research into methods of hurricane modification, known as Project STORMFURY. It was an ambitious experimental program of research on hurricane modification carried out between 1962 and 1983. The proposed modification technique involved artificial stimulation of convection outside the eyewall through seeding with silver iodide. The invigorated convection, it was argued, would compete with the original eyewall, lead to the reformation of the eyewall at larger radius, and thus, through partial conservation of angular momentum, produce a decrease in the strongest winds. Since a hurricane’s destructive potential increases rapidly as its strongest winds become stronger, a reduction as small as 10% would have been worthwhile. Modification was attempted in four hurricanes on eight different days. On four of these days, the winds decreased by between 10 and 30%, The lack of response on the other days was interpreted to be the result of faulty execution of the seeding or of poorly selected subjects. These promising results came into question in the mid-1980s because observations in unmodified hurricanes indicated: That cloud seeding had little prospect of success because hurricanes contained too much natural ice and too little supercooled water. That the positive results inferred from the seeding experiments in the 1960s stemmed from inability to discriminate between the expected results of human intervention and the natural behavior of hurricanes. For a couple decades NOAA and its predecessor tried to weaken hurricanes by dropping silver iodide – a substance that serves as an effective ice nuclei – into the rainbands of the storms. During the STORMFURY years, scientists seeded clouds in Hurricanes Esther (1961), Beulah (1963), Debbie (1969), and Ginger (1971). The experiments took place over the open Atlantic far from land. The STORMFURY seeding targeted convective clouds just outside the hurricane’s eyewall in an attempt to form a new ring of clouds that, hopefully, would compete with the natural circulation of the storm and weaken it. The idea was that the silver iodide would enhance the thunderstorms of a rainband by causing the supercooled water to freeze, thus liberating the latent heat of fusion and helping a rainband to grow at the expense of the eyewall. With a weakened convergence to the eyewall, the strong inner core winds would also weaken quite a bit. For cloud seeding to be successful, the clouds must contain sufficient supercooled water (water that has remained liquid at temperatures below the freezing point, 0°C/32°F). Neat idea, but in the end it had a fatal flaw. Observations made in the 1980s showed that most hurricanes don’t have enough supercooled water for STORMFURY seeding to work – the buoyancy in hurricane convection is fairly small and the updrafts correspondingly small compared to the type one would observe in mid-latitude continental super or multicells. In addition, it was found that unseeded hurricanes form natural outer eyewalls just as the STORMFURY scientists expected seeded ones to do. This phenomenon makes it almost impossible to separate the effect (if any) of seeding from natural changes. The few times that they did seed and saw a reduction in intensity was undoubtedly due to what is now called “concentric eyewall cycles.” Thus nature accomplishes what NOAA had hoped to do artificially. No wonder the first few experiments were thought to be successes. Because the results of seeding experiments were so inconclusive, STORMFURY was discontinued. A special committee of the National Academy of Sciences concluded that a more complete understanding of the physical processes taking place in hurricanes was needed before any additional modification experiments. The primary focus of NOAA’s Hurricane Research Division today is better physical understanding of hurricanes and improvement of forecasts. To learn about the STORMFURY project as it was called, read Willoughby et al. (1985). Reference: Willoughby, H.E., D.P. Jorgensen, R.A. Black, and S.L. Rosenthal (1985): “Project STORMFURY: A scientific chronicle 1962-1983” Bull. Amer. Meteor. Soc., 66, cover and pp.505-514 There have been numerous techniques that have been considered over the years to modify hurricanes: seeding clouds with dry ice or silver iodide, reducing evaporation from the ocean surface with thin-layers of polymers, cooling the ocean with cryogenic material or icebergs, changing the radiational balance in the hurricane environment by absorption of sunlight with carbon black, flying jets clockwise in the eyewall to reverse the flow, exploding the hurricane apart with hydrogen bombs, and blowing the storm away from land with giant fans, etc. As carefully reasoned as some of these suggestions are, they all share the same shortcoming: They fail to appreciate the size and power of tropical cyclones. For example, when Hurricane Andrew struck South Florida in 1992, the eye and eyewall devastated a swath 20 miles wide. The heat energy released around the eye was 5,000 times the combined heat and electrical power generation of the Turkey Point nuclear power plant over which the eye passed. The kinetic energy of the wind at any instant was equivalent to that released by a nuclear warhead. Human beings are used to dealing with chemically complex biological systems or artificial mechanical systems that embody a small amount (by geophysical standards) of high-grade energy. Because hurricanes are chemically simple –air and water vapor – introduction of catalysts is unpromising. The energy involved in atmospheric dynamics is primarily low-grade heat energy, but the amount of it is immense in terms of human experience. Attacking weak tropical waves or depressions before they have a chance to grow into hurricanes isn’t promising either. About 80 of these disturbances form every year in the Atlantic basin, but only about 5 become hurricanes in a typical year. There is no way to tell in advance which ones will develop. If the energy released in a tropical disturbance were only 10% of that released in a hurricane, it is still a lot of power. The hurricane police would need to dim the whole world’s lights many times a year. Maybe the time will come when men and women can travel at nearly the speed of light to the stars, and we will then have enough energy for brute-force intervention in hurricane dynamics. Until then, perhaps the best solution is not to try to alter or destroy the tropical cyclones, but just learn to co-exist with them. Since we know that coastal regions are vulnerable to the storms, building codes that can have houses stand up to the force of the tropical cyclones need to be enforced. The people that choose to live in these locations should be willing to shoulder a fair portion of the costs in terms of property insurance – not exorbitant rates, but ones which truly reflect the risk of living in a vulnerable region. In addition, efforts to educate the public on effective preparedness needs to continue. Helping other nations in their mitigation efforts can also result in saving countless lives. Finally, we need to continue in our efforts to better understand and observe hurricanes in order to more accurately predict their development, intensification, and track. References: Simpson, R.H. and J. Simpson (1966): “Why experiment on tropical hurricanes ?” Trans. New York Acad. Sci., 28, pp.1045-1062 Gray, W.M., W.M. Frank, M.L. Corrin, C.A. Stokes (1976): “Weather modification by carbon dust absorption of solar energy” J. Appl. Meteor., 15, pp.355-386 Gray, W.M., W.M. Frank, M.L. Corrin, C.A. Stokes, 1976: Weather Modification by Carbon Dust Absorption of Solar Energy, J. of Appl. Meteor., 15 4, pp. 355-386. Woodcock, A.H., D.C. Blanchard, C.G.H. Rooth, 1963: Salt-Induced Convection and Clouds, J. of Atmos. Sci., 20, 2, pp. 159-169. Blanchard, D.C., A.H. Woodcock, 1980: The Production, Concentration, and Vertical Distribution of the Sea-salt Aerosol, Ann. NY Acad. Sci., 338, 1, p. 330-347. In the Atlantic basin (Atlantic Ocean, Gulf of Mexico, and Caribbean Sea) and in the eastern and central Pacific, as required, hurricane reconnaissance is carried out by two government agencies, the U.S. Air Force Reserves’ 53rd Weather Reconnaissance Squadron and NOAA’s Aircraft Operations Center (AOC). The U.S. Navy stopped flying hurricanes in 1974. The 53rd WRS is based at Keesler AFB in Mississippi and maintains a fleet of ten WC-130 planes. These cargo airframes have been modified to carry weather instruments to measure wind, pressure, temperature and dew point as well as drop instrumented sondes and make other observations. AOC is presently based at Linder Airfield in Lakeland, Florida and among its fleet of planes has two P-3 Orions, originally made as Navy sub hunters, but modified to include three radars as well as a suite of meteorological instruments and dropsonde capability. Starting in 1996 AOC added to its fleet a Gulfstream IV jet that is able to make observations from much higher altitudes (up to 45,000 feet). The USAF planes are the workhorses of the hurricane hunting effort. They are often deployed to a forward base, such as Antigua, and carry out most of the reconnaissance of developing waves and depressions. Their mission in these situations is to look for signs of a closed circulation and any strengthening or organizing that the storm might be showing. This information is relayed by satellite to the hurricane specialists who evaluate this information along with data from other platforms. The NOAA planes are more highly instrumented and are primarily used for scientific research on storms, but they may also be called upon for reconnaissance of mature hurricanes when they are threatening landfall, especially on U.S. territory. The planes carry between six to fifteen people, both the flight crew and the weather crew. Flight crews consist of an aircraft commander, co-pilot, flight engineer, navigator, and electrical and data technicians. The weather crew might consist of a flight meteorologist, lead project scientist, cloud physicist, radar scientist, and dropsonde quality scientist. The primary purpose of reconnaissance is to track the center of circulation, these are the co-ordinates that the National Hurricane Center issues, and to measure the maximum winds. But the crews are also evaluating the storm’s size, structure, and development and this information is also relayed to hurricane specialists via satellite link. Most of this data, which is critical in determining the hurricane’s threat, cannot be obtained from satellite. The purposes of research are more varied. Onboard scientists direct the aircraft to those parts of the storm of interest, which might not be near the eye of the hurricane. Experiments might be planned to examine the outer rainbands or the hurricane’s interaction with the environment. The NOAA G-IV jet usually does NOT penetrate the hurricane eye, but is assigned to fly synoptic scale patterns AROUND the storm, deploying dropsondes along the way, in order to profile the environmental flow that is moving the hurricane. In certain circumstances, a USAF WC-130 will also be assigned to fly a similar pattern in coordination with the G-IV to increase the coverage of this synoptic flow mission. Whatever the mission’s purpose, information from all of these flights are shared via satellite with land-based forecasters to keep them current on the storm’s status. Radar and probe data are sent in real-time to be ingested into a variety of computer forecast models to ensure the best quality forecast. The most incredible sight that I’ve ever seen is in the middle of a strong hurricane. One might not believe this, but most hurricane flights are fairly boring. They last 10 hours, there are clouds above you and clouds below – so all you see is gray, and you don’t feel the winds swirling around the hurricane. But what does get interesting is flying through the hurricane’s rainbands and the eyewall, which can get a bit turbulent. The eyewall is a donut-like ring of thunderstorms that surround the calm eye. The winds within the eyewall can reach as much as 200 mph [325 km/hr] at the flight level, but you can’t feel these aboard the plane. But what makes flying through the eyewall exhilarating and at times somewhat scary, are the turbulent updrafts and downdrafts that one hits. Those flying in the plane definitely feel these wind currents (they sometimes makes us reach for the air-sickness bags). These vertical winds may reach up to 50 mph [80 km/hr] either up or down, but are actually much weaker in general than what one would encounter flying through a continental supercell thunderstorm. But once the plane gets into the calm eye of a hurricane like Andrew or Gilbert, it is a place of powerful beauty: sunshine streams into the windows of the plane from a perfect circle of blue sky directly above the plane, surrounding the plane on all sides is the blackness of the eyewall’s thunderstorms. Directly below the plane peeking through the low clouds one can see the violent ocean with waves sometimes 60 feet high [20 m] crashing into one another. The partial vacuum of the hurricane’s eye (where one tenth of the atmosphere is gone) is like nothing else on earth. I would much rather experience a hurricane this way – from the safety of a plane – than being on the ground and having the hurricane’s full fury hit without protection. The USAFR 53rd Hurricane Hunters have a ‘cyber flight’ through a hurricane. Visit the page here. Hurricanes form both in the Atlantic basin (i.e. the Atlantic Ocean, Gulf of Mexico and Caribbean Sea) to the east of the continental U.S. and in the Northeast Pacific basin to the west of the U.S. However, the ones in the Northeast Pacific almost never hit the continental U.S., while the ones in the Atlantic basin strike the U.S. mainland just less than twice a year on average. There are two main reasons. The first is that hurricanes tend to move toward the west-northwest after they form in the tropical and subtropical latitudes. In the Atlantic, such a motion often brings the hurricane into the vicinity of the U.S. east coast. In the Northeast Pacific, a west-northwest track takes those hurricanes farther off-shore, well away from the U.S. west coast. In addition to the general track, a second factor is the difference in water temperatures along the U.S. east and west coasts. Along the U.S. east coast, the Gulf Stream provides a source of warm (> 80°F or 26.5°C) waters to help maintain the hurricane. However, along the U.S. west coast, the ocean temperatures rarely get above the lower 70s, even in the midst of summer. Such relatively cool temperatures are not energetic enough to sustain a hurricane’s strength. So for the occasional Northeast Pacific hurricane that does track back toward the U.S. west coast, the cooler waters can quickly reduce the strength of the storm. You may have remnants of such storms move over the Southwestern United States bringing heavy rainfall. Recently Chenoweth and Landsea (2004), re-discovered that a hurricane struck San Diego, California on October 2, 1858. Unprecedented damage was done in the city and was described as the severest gale ever felt to that date nor has it been matched or exceeded in severity since. The hurricane force winds at San Diego are the first and only documented instance of winds of this strength from a tropical cyclone in the recorded history of the state. While climate records are incomplete, 1858 may have been an El Niño year, which would have allowed the hurricane to maintain intensity as it moved north along warmer than usual waters. Today if a Category 1 hurricane made a direct landfall in either San Diego or Los Angeles, damage from such a storm would likely be few to several hundred million dollars. The re-discovery of this storm is relevant to climate change issues and the insurance/emergency management communities risk assessment of rare and extreme events in the region. Reference: Chenoweth, M., and C.W. Lansea (2004): “The San Diego hurricane of October 2, 1858” Bull. Amer. Meteor. Soc., 85, pp.1689-1697 The vast majority of Atlantic activity takes place during August-September-October, the climatological peak months of the hurricane season. The overall number of named storms (hurricanes) occurring in June and July (JJ) correlates at an insignificant r = +0.13 (+0.02) versus the whole season activity. In fact, there is a slight negative relationship between early season storms (hurricanes) versus late season – August through November – r = -0.28 (-0.35). Thus, the overall early season activity, be it very active or quite calm, has little bearing on the season as a whole. These correlations are based on the years 1944-1994. A significant number of pre-season (April-May) and early season (JJ) storms are hybrid systems (neither fully tropical nor midlatitude lows). So their formation mechanisms are very different from fully tropical systems that form in the Main Development Region (MDR). So conditions favoring hybrid storm formation can be very different from those favoring tropical cyclone formation. As shown in (Goldenberg 2000), if one looks only at the June-July Atlantic tropical storms and hurricanes occurring south of 22°N and east of 77°W (the eastern portion of the MDR for Atlantic hurricanes), there is a strong association with activity for the remainder of the year. According to the data from 1944-1999, total overall Atlantic activity for years that had a tropical storm or hurricane form in this region during JJ have been at least average and often above average. So it could be said that a JJ storm in this region is pretty much a “sufficient” (though not “necessary”) condition for a year to produce at least average activity. (I.e., Not all years with average to above-average total overall activity have had a JJ storm in that region, but almost all years with that type of JJ storm produce average to above-average activity.) The formation of a storm in this region during June-July is taken into account when the August updates for the Bill Gray and NOAA seasonal forecasts are issued. Recent research describes two distinct types of Atlantic climate drivers: 1) Internal variability is caused by natural processes within the atmosphere and ocean climate system. 2) External variability is caused by forces outside of the atmosphere/ocean climate system. Examples of natural internal forces are oceanic oscillations such as ENSO, meridional overturning circulation, and Saharan dust storms that blow mineral dust over the tropical Atlantic. The effects of the El Nino/Southern Oscillation are discussed in another section in detail. Examples of external climate forcing agents are solar variability, cosmic radiation changes, and air pollution such as industrial particulate and sulfur emissions. The Atlantic meridional overturning circulation, which transports ocean heat from the tropics to higher latitudes and can cause substantial climate swings in the Atlantic region and beyond as this circulation increases or decreases. Saharan dust storms have a similar effect on the Atlantic climate as the dust blows westward in the trade-winds off the African continent and blocks sunlight from reaching the ocean surface. Saharan dust storms are strongly seasonal, but can also exhibit multi-decadal swings that can cause similar swings in Atlantic ocean temperatures. Our sun has 11-year and 22-year cycles in sunspot and magnetic activity, which affects the solar wind and Earth’s magnetic field. It may also exhibit longer scale variability in its output. Along with changes in comic ray activity, this may alter Earth’s cloud cover in subtle ways and drive changes in ocean heat content. Volcanic eruptions cause a transient cooling of ocean temperatures as they tend to block some of the incoming sunlight from reaching the surface. These natural eruptions tend to occur randomly and don’t exhibit any clear multi-decadal swings. Finally, there is human-caused particulate and sulfate air pollution, which tends to block incoming sunlight similarly to volcanic eruptions and mineral dust. Human-caused sulfate pollution over the Atlantic exhibits a pronounced variability over time. Prior to the various Clean Air Acts and Amendments instituted by the United States and European countries in the 1970s, industrial sulfate emissions were much less regulated and air quality had become progressively worse. As the concentration of sulfate pollution over the Atlantic Ocean increased from the 1940s through 1970s, a cooling effect was noted as the pollution blocked incoming sunlight. According to some studies, as sulfate pollution concentrations decreased during and after the 1970s, the offsetting cooling effect is believed to have been reduced. Hurricanes: Their Nature and Impacts on Society An excellent introductory text into hurricanes (and tropical cyclones in general), this book by R.A. Pielke, Jr. and R.A. Pielke, Sr. provides the basics on the physical mechanisms of hurricanes without getting into any mathematical rigor. The book also discusses hurricane policy, vulnerability and societal responses and ends with an in-depth look at Hurricane Andrew’s forecast, impact and response. Roger A. Pielke, Jr. is a Sociologist at the Environmental and Societal Impacts Group at the National Center for Atmospheric Research in Boulder, Colorado, USA. Roger A. Pielke, Sr. is a Professor of Atmospheric Science at Colorado State University (USA). John Wiley & Sons, Chichester, UK, 1997, 279 pp. Meteorology Today for Scientists and Engineers This paperback book is designed to accompany C. Donald Ahrens’ introductory book “Meteorology Today.” For a concise mathematical description of hurricanes that has NO calculus and NO differential equations, then I would suggest obtaining a copy of this book by Rolland B. Stull West Publ. Co., Minneapolis/St. Paul, MN, 2000, 385 pp. Chapter 16 Hurricanes p.289-304. Global Perspectives on Tropical Cyclones: From Science to Mitigation edited by Johnny C. L. Chan and Jeffrey D. Kepert This book is a completely rewritten, updated and expanded new edition of the original Global Perspectives on Tropical Cyclones published in 1995. It presents a comprehensive review of the state of science and forecasting of tropical cyclones together with the application of this science to disaster mitigation, hence the tag: From Science to Mitigation.Since the previous volume, enormous progress in understanding tropical cyclones has been achieved. These advances range from the theoretical through to ever more sophisticated computer modeling, all underpinned by a vast and growing range of observations from airborne, space and ocean observation platforms. The growth in observational capability is reflected by the inclusion of three new chapters on this topic. The chapter on the effects of climate change on tropical cyclone activity is also new, and appropriate given the recent intense debate on this issue. The advances in the understanding of tropical cyclones which have led to significant improvements in forecasting track, intensity, rainfall and storm surge, are reviewed in detail over three chapters. For the first time, a chapter on seasonal prediction is included. The book concludes with an important chapter on disaster mitigation, which is timely given the enormous loss of life in recent tropical cyclone disasters. World Scientific, 2010, 448 pp.ISBN: 978-981-4293-47-1 or 978-981-4293-48-8 (ebook). Global Guide to Tropical Cyclone Forecasting For the tropical cyclone forecaster and also of general interest for anyone in the field and those with a non-technical interest in the field, the loose-leaf book Global Guide to Tropical Cyclone Forecasting(1993) by G.J. Holland (ed.), World Meteorological Organization, WMO/TD-No. 560, Report No. TCP-31 is a must get. North Carolina’s Hurricane History, Florida’s Hurricane History These two books are an amazing documentaries of the hurricanes which have struck the states of North Carolina and Florida from 1526 until 1996 and 1546-1995, respectively. The author Jay Barnes – Director of the North Carolina Aquarium – tells the stories of the hurricanes and their effects upon the people of the state in an easily readable style with numerous photographs. University of North Carolina Press, Chapel Hill, NC, 1998, 330pp. Atlantic Hurricanes A classic book describing tropical cyclones primarily of the Atlantic basin, but also covering the physical understanding of tropical cyclone genesis, motion, and intensity change at the time. Written in 1960, by Gordon E. Dunn and Banner I. Miller, this book provides insight into the knowledge of tropical cyclones as of the late 1950s. It is interesting to observe that much of what we know was well understood at this pre-satellite era. Gordon E. Dunn was the Director of the National Hurricane Center and Banner I. Miller was a research meteorologist with the National Hurricane Research Project. Louisiana State Press, 1960, 326pp (revision 1964) Hurricanes, Their Nature and History Before Dunn and Miller’s book, Ivan Ray Tannehill came out with an authoritative reference on the history, structure, climatology, historical tracks, and forecasting techniques of Atlantic hurricanes as was known by the mid-1930s. This is one of the first compilations of yearly tracks of Atlantic storms – he provides tracks of memorable tropical cyclones all the way back to the 1700s and shows all the storm tracks yearly from 1901 onward. The first edition came out in 1938 and the book went through at least nine editions (my book was published in 1956). Mr. Tannehill was engaged in hurricane forecasting for over 20 years and also lead the Division of Synoptic Reports and Forecasts of the U.S. Weather Bureau. Princeton University Press, 1956, 308 pp. Into the Hurricane (Published in Britain as “The Devil’s Music”) Author Pete Davies spent the summer of 1999 looking at Atlantic hurricanes, traveling to Honduras to see the aftermath of Hurricane Mitch, and flying on research missions with NOAA’s Hurricane Research Division. He explores the science of why the storms occur and how to predict them, and recounts the impacts of Hurricane Floyd. Henry Holt and Company. 2000, 264 pp., ISBN: 0-8050-6574-1. The Divine Wind (translated into Chinese) Hurricanes are presented in verse, art, history, and science in this all-encompassing book of the science and culture of hurricanes. Author Kerry Emanuel discusses hurricane forecasting, historical events and human impacts. The book includes many artworks, figures, and photographs, plus a description of flying into hurricanes. Oxford University Press, 2005, 296 pp.,ISBN-10: 0195149416. A Global View of Tropical Cyclones (A revised version of this book is Global Perspectives on Tropical Cyclones listed above.) A very thorough book dealing with the technical issues of tropical cyclones for the state of the science in the mid-1980s by Elsberry, Holland, Frank, Jarrell, and Southern. University of Chicago Press, 1987,195 pp. The Hurricane (1997 revision titled “Hurricanes: Their Nature and Impacts on Society” by Pielke and Pielke is listed above.) A very good introductory text into hurricanes (and tropical cyclones in general), this book by R.A. Pielke provides the basics on the physical mechanisms of hurricanes without getting into any mathematical rigor. This first version is just 100 pages of text with another 120 pages devoted toward all of the tracks of Atlantic hurricanes from 1871-1989. Roger A. Pielke is a professor of Atmospheric Science at Colorado State University. Routledge Publishing, New York, 1990, 279 pp. (revision 1997) Hurricanes An introductory text book for young readers on hurricanes by Sally Lee. Franklin Watts Publishing, New York, 1993, 63 pp. Cyclone Tracy, Picking up the Pieces Twenty years after Cyclone Tracy, this book recreates, by interviews with survivors, the events during and after the cyclone that nearly destroyed Darwin, Australia by B. Bunbury Fremantle Arts Centre Press, South Fremantle, Australia, 1994, 148 pp. Beware the Hurricane! This book tells “the story of the cyclonic tropical storms that have struck Bermuda and the Islanders’ folk-lore regarding them” by Terry Tucker. The Island Press Limited, Bermuda, 1995, 180 pp. Florida Hurricanes and Tropical Storms, Revised Edition This recent book provides a historical perspective of Florida Hurricanes extending from 1871 to 1996 by J.M. Williams and I. W. Duedall Florida Sea Grant College Program, University of Florida Press, Gainesville, FL, 1997, 146 pp. Hurricanes of the North Atlantic This book by J. B. Elsner and A. B. Kara focuses on the statistics and variability of Atlantic hurricanes as well as detailed discussions on how hurricanes impact the insurance industry and how integrated assessments can be made regarding these storms. The book provides very valuable information on hurricane frequencies, intensities and return periods that are not easily available elsewhere. Also sections are devoted on the development of seasonal (and longer) hurricane forecast models and their performance. Oxford University Press, New York/Oxford, 1999, 488 pp. Natural Disasters – Hurricanes This reference book by P. J. Fitzpatrick provides a very useful compilation of a wide range of topics on Atlantic hurricanes. Of particular interest is the chronology of advances in the science and forecasting of hurricanes along with biographical sketches of researchers and forecasters prominent in the field. This book is an excellent resource in answering questions on many issues in the field. ABC-CLIO, Santa Barbara, CA, 1999, 286 pp. Tropical Cyclones of the North Atlantic Ocean, 1851-2006 Researchers and those who follow Atlantic hurricanes should all have a copy of the atlas. Previous versions: Tropical Cyclones of the North Atlantic Ocean, 1871-1998 Tropical Cyclones of the North Atlantic Ocean, 1871-1992 Tropical Cyclones of the North Atlantic Ocean, 1871-1986 Tropical Cyclones of the North Atlantic Ocean, 1871-1980 Tropical Cyclones of the North Atlantic Ocean, 1871-1977 Tropical Cyclones of the North Atlantic Ocean, 1871-1963 North Atlantic Tropical Cyclones, 1886-1958 National Climatic Data Center, Asheville, NC, in cooperation with the Tropical Prediction Center/National Hurricane Center, Miami, FL, 2006, 238 pp. Hurricanes and Florida Agriculture Dr. John A. Attaway, former Scientific Research Director of the Florida Department of Citrus, wrote this well-researched history and litany of the impacts that hurricanes have had upon agriculture in Florida. Florida Science Source, Inc., Lake Alfred, FL, 1999, 444 pp.
7770	dbpedia	3	94	https://www.tmnews.com/story/news/2012/12/24/daniels-reviews-his-work/117451012/	en	Daniels reviews his work	https://www.gannett-cdn.…=pjpg&width=1200	https://www.gannett-cdn.…=pjpg&width=1200	[]	[]	[]	[ "" ]	null	[ "TIM GRIMES, The Times-Mail" ]	2012-12-24T00:00:00	INDIANAPOLIS — Gov. Mitch Daniels will take over his post as president of Purdue University in less than a month, having served eight years as Indiana’s governor.Before he headed to West Lafayette, Daniels spoke to reporters around the coffee table in his office about a range of issues and projects covering his eight years as governor. He talked about efforts to give students more choices about where they go to school, to create jobs across the state and to improve the state’s transportation system. But he acknowledged frustration as well that he had not succeeded both in improving Hoosiers’ personal incomes relative to the nation and convincing them to be healthier. He said both are like trying to turn around an oil tanker.“We have tried, this business of personal health habits and so forth,” Daniels said. “Now, it wasn’t a surprise, but that doesn’t make it any less discouraging.”But Daniels said he was proud of the near-term effects of legislation he helped pass, including a right to work law, a bill meant to curb dropouts and one intended to help students finish college faster and for less money. The latter — the so-called credit creep bill — has led state universities to reduce the number of credits students need to graduate.“That’s going to mean a lot of kids finishing a semester sooner, which means less expense,” he said.Here’s what else Daniels said during a wide-ranging interview about what he’s learned from eight years at the head of the state, which of his policy changes he thinks will endure and what he added to his “oops” list.<h4>Question:</h4> Governor, when you think back over eight years, is there anything you wish you could go back and tell first-term, first-year Gov. Daniels that would have made things better or easier? <h4>Answer:</h4> In the first year? First year was a pretty good year.We ran with a very explicit, very detailed agenda and we went and did most of it. The ethics reforms, the economic development restructuring at least began then, obviously addressing the fiscal problems of the state and many more. Daylight savings time. And on and on.Now, I made the proposal, the sort of debt reduction proposal, about an income tax surcharge, which clearly didn’t happen. But, you know, I don’t regret having suggested it.We knew the state had big fiscal problems. We didn’t know how deep they were until after the election. We began to get a better sense. We were upside down on the budget. What I didn’t realize was how much money they owed the schools and the universities and so forth. And I was in a hurry.So, that didn’t work out, but I don’t think it did any lasting damage.If you look at that list of 70 odd things (we ran on) from 2005, there aren’t very many in the “did not succeed” column.One of them is an appointed superintendent of public instruction. What’s highly ironic is that it’s the only position in common between the Republican and Democratic platforms of 2005. Far as I know, they didn’t overlap on anything else, but both of them said, as a matter of good government, we should appoint the superintendent. And, then, ironically, that’s one of the only things we couldn’t get done that year.<h4>Q:</h4> Mike Pence always says that he wants to take the state from good to great. Now, obviously to do that he has to work on what you’ve left him. Is there anything left for him to take from good to great?<h4>A:</h4> Sure there is. There always will be, but I think that we always operated around here on the notion of continuous improvement and when a department, if a department reached a certain target we set for them, we tried to raise it the next year.I think my only comment would be that when he’s done with the job, I hope he’s encouraging somebody to, you know, emphasize the areas where we still need improvement.<h4>Q:</h4> Seems to me like it takes a decade for the first real assessment of governorship. That puts us in the 2020 range. The education reforms that you got through in 2011 and the administrative stuff you had done a couple years prior, how long do you think it’s going to be until we have a realistic measurement of what the impact is? <h4>A:</h4> Your time frame’s probably about right. I never give up that some things can have a near-term effect. For instance, the dropout bill that we passed in ’06 or ’07 has made a very immediate impact. We had a 10 percent improvement in graduation rates.So, there’s one. Some things you can do don’t have to take 10 years.I’ll give you another one: The credit creep bill we passed this year. At Purdue University, I’m proud to say on their behalf, two-thirds of the degree programs brought their programs down to 120 hours (needed to graduate).Now it might have been two or three hours or it might have been more, but that’s going to mean a lot of kids finishing a semester sooner, which means less expense. And that didn’t take 10 years. I hope we’re going to see a similar pattern at seven schools.I think the social promotion bill that says that students have got to be able to read before leaving third grade, and assuming it’s not somehow undone, has a chance to have a measurable short-term impact.But, those are exceptions, I guess. I agree with you that, in education, in particular.I mean, look, we just got the full-day kindergarten, finally. Big deal to me. People talked about it for decades and so we finally got that done, and I think that will make a big difference for kids. But it will be years before that child who got full-day kindergarten, before the full beneficial effects are visible.And on a lot of the reforms we just did, the first question is will they stick or will they be, somehow, subverted. If they stick, then they’ve got to be well implemented. And, so, those are big ifs.<h4>Q:</h4> Should Indiana have a death penalty? And talk about the times that matter has been on your desk. <h4>A:</h4> I’ve said before that, even though I haven’t held office, you have general sense of things you deal with, but two exceptions, big exceptions, things you don’t think about, are soldiers’ funerals and death sentences. Anybody that says they don’t feel some ambivalence about that subject, I don’t understand.I think it’s, if you don’t feel conflicted about it, on one side or the other, maybe you should think a little harder. Where I came to rest on that one, sometime ago was that it was not for me or any one person to make that judgment. It needs to express the moral sentiments of the state through the democratic process and, for now, at least in this moment, or the last I’ve seen, a very large majority of our fellow citizens believe that, at least occasionally, in the most heinous of cases, that that penalty can be appropriate. So, I didn’t think it was for me to substitute any view I had for that.As a practical manner, this subject is diminishing. I’m not sure when the last time any Indiana court or judge or judge and jury imposed the death penalty on somebody. If it’s happened in the last few years, I’ve missed it.Future governors will have few, maybe none of these to deal with.<h4>Q:</h4> Give us an overview of the health of individual Hoosiers. We’ve had the smoking ban, we’ve had the federal health care law that’s coming, the Healthy Indiana program, childhood obesity. Give us an overview from what you’re seeing from the unique perch that you’ve had. <h4>A:</h4> This probably belongs on the list of answers to areas where we just didn’t get enough done.We have tried, this business of personal health habits and so forth. Now, it wasn’t a surprise, but that doesn’t make it any less discouraging.I’ve reminisced many times. We started what’s the now INShape Indiana program and with great fanfare, we had celebrities and athletes, because a lot of people were interested in this. We had a great thing over at NIFS (National Institute for Fitness and Sport), where I worked out for the last eight years, and I told everybody that day, you know, of all the changes we try to bring, and all the initiatives that we launch, this will be the least controversial and the hardest.In other words, I don’t know anybody who doesn’t think, in general, that this was a good thing to work on, but you’re just really up against it, when you try and move large, large, numbers of people to change the habits of a lifetime.The recent data we’ve seen is pretty discouraging. Some of it didn’t ring quite true. The last data we saw had smoking rates really have changed in Indiana. They had 26 percent. I haven’t seen that in three years. I think that’s way behind. The last data public we had was close to 20. Still above the national average, but definitely down.Anyway, I don’t dispute the fact that we’re just not as healthy a state as we should be or need to be. But, you know, we’ve done everything we know how to, we can think of, let me put it that way. Someone smarter is going to have to work on this.<h4>Q:</h4> Has right to work hurt the unions in any way? <h4>A:</h4> Not that I’m aware of. Not in any way.Obviously it doesn’t hurt the right to unionize, the right to collectively bargain, totally unaffected. We pointed out, when the bill was being discussed, there are a number of right-to-work states with higher rates of unionization than Indiana had without such a bill. So, I mean, no, I’m not aware that it has. That’s not its intention.<h4>Q:</h4> Why is it that Hoosiers underestimate or sort of downplay and are more humble than other states, like a New York? <h4>A:</h4> All I know is that our state, I always used to say, is like an under-performing business. We’ve got assets.In ’04, I would sometimes say, “It’s a good thing we’re not publicly traded.” By the way, this is interesting because I used to use Michigan as the example. You wouldn’t today. This was just eight years ago. But I would say, “It’s a good thing because, you know, Michigan would make a hostile tender offer and they’d buy us and consolidate the headquarters to Lansing.”And I said, “What do I mean? We’ve got great assets, like balance sheet, and a lousy income statement. We’ve got great assets. We’ve got location, low costs, great universities, but we’re not performing.”<h4>Q:</h4> What have you added this year to your “oops” list?<h4>A:</h4> Was the question disappointments or mistakes? Because they’re both here.Something I should have mentioned more often, we really worked on the recidivism rate at DOC (Department of Corrections) and it’s only come down about a point.So there’s one. There’s a lot of things going on, a lot of moving parts there. But there’s one that, from the very beginning, we’ve worked and worked. We’ve had more education programs and we have more work-release programs and we’ve got more substance abuse programs, but it’s just been really stubborn.You know, I’m giving this commencement for IU which will be interesting. They invited me before life changed and I thought, “Great, I’m off the hook,” then I got a call from (IU President Michael) McRobbie and he says, “No, come on ahead.”Shoot. Now I got to write another speech. But, toward the end of it, and I’ve said this elsewhere. I’ve never found “oops” a hard word to say. And I said, if you never need it, then either you’re not trying anything and you never made any mistakes, or, you know, you’re just not being honest with yourself.	en	https://www.gannett-cdn.…ages/favicon.png	The Times-Mail	https://www.tmnews.com/story/news/2012/12/24/daniels-reviews-his-work/117451012/	INDIANAPOLIS — Gov. Mitch Daniels will take over his post as president of Purdue University in less than a month, having served eight years as Indiana’s governor.Before he headed to West Lafayette, Daniels spoke to reporters around the coffee table in his office about a range of issues and projects covering his eight years as governor. He talked about efforts to give students more choices about where they go to school, to create jobs across the state and to improve the state’s transportation system. But he acknowledged frustration as well that he had not succeeded both in improving Hoosiers’ personal incomes relative to the nation and convincing them to be healthier. He said both are like trying to turn around an oil tanker.“We have tried, this business of personal health habits and so forth,” Daniels said. “Now, it wasn’t a surprise, but that doesn’t make it any less discouraging.”But Daniels said he was proud of the near-term effects of legislation he helped pass, including a right to work law, a bill meant to curb dropouts and one intended to help students finish college faster and for less money. The latter — the so-called credit creep bill — has led state universities to reduce the number of credits students need to graduate.“That’s going to mean a lot of kids finishing a semester sooner, which means less expense,” he said.Here’s what else Daniels said during a wide-ranging interview about what he’s learned from eight years at the head of the state, which of his policy changes he thinks will endure and what he added to his “oops” list.<h4>Question:</h4> Governor, when you think back over eight years, is there anything you wish you could go back and tell first-term, first-year Gov. Daniels that would have made things better or easier? <h4>Answer:</h4> In the first year? First year was a pretty good year.We ran with a very explicit, very detailed agenda and we went and did most of it. The ethics reforms, the economic development restructuring at least began then, obviously addressing the fiscal problems of the state and many more. Daylight savings time. And on and on.Now, I made the proposal, the sort of debt reduction proposal, about an income tax surcharge, which clearly didn’t happen. But, you know, I don’t regret having suggested it.We knew the state had big fiscal problems. We didn’t know how deep they were until after the election. We began to get a better sense. We were upside down on the budget. What I didn’t realize was how much money they owed the schools and the universities and so forth. And I was in a hurry.So, that didn’t work out, but I don’t think it did any lasting damage.If you look at that list of 70 odd things (we ran on) from 2005, there aren’t very many in the “did not succeed” column.One of them is an appointed superintendent of public instruction. What’s highly ironic is that it’s the only position in common between the Republican and Democratic platforms of 2005. Far as I know, they didn’t overlap on anything else, but both of them said, as a matter of good government, we should appoint the superintendent. And, then, ironically, that’s one of the only things we couldn’t get done that year.<h4>Q:</h4> Mike Pence always says that he wants to take the state from good to great. Now, obviously to do that he has to work on what you’ve left him. Is there anything left for him to take from good to great?<h4>A:</h4> Sure there is. There always will be, but I think that we always operated around here on the notion of continuous improvement and when a department, if a department reached a certain target we set for them, we tried to raise it the next year.I think my only comment would be that when he’s done with the job, I hope he’s encouraging somebody to, you know, emphasize the areas where we still need improvement.<h4>Q:</h4> Seems to me like it takes a decade for the first real assessment of governorship. That puts us in the 2020 range. The education reforms that you got through in 2011 and the administrative stuff you had done a couple years prior, how long do you think it’s going to be until we have a realistic measurement of what the impact is? <h4>A:</h4> Your time frame’s probably about right. I never give up that some things can have a near-term effect. For instance, the dropout bill that we passed in ’06 or ’07 has made a very immediate impact. We had a 10 percent improvement in graduation rates.So, there’s one. Some things you can do don’t have to take 10 years.I’ll give you another one: The credit creep bill we passed this year. At Purdue University, I’m proud to say on their behalf, two-thirds of the degree programs brought their programs down to 120 hours (needed to graduate).Now it might have been two or three hours or it might have been more, but that’s going to mean a lot of kids finishing a semester sooner, which means less expense. And that didn’t take 10 years. I hope we’re going to see a similar pattern at seven schools.I think the social promotion bill that says that students have got to be able to read before leaving third grade, and assuming it’s not somehow undone, has a chance to have a measurable short-term impact.But, those are exceptions, I guess. I agree with you that, in education, in particular.I mean, look, we just got the full-day kindergarten, finally. Big deal to me. People talked about it for decades and so we finally got that done, and I think that will make a big difference for kids. But it will be years before that child who got full-day kindergarten, before the full beneficial effects are visible.And on a lot of the reforms we just did, the first question is will they stick or will they be, somehow, subverted. If they stick, then they’ve got to be well implemented. And, so, those are big ifs.<h4>Q:</h4> Should Indiana have a death penalty? And talk about the times that matter has been on your desk. <h4>A:</h4> I’ve said before that, even though I haven’t held office, you have general sense of things you deal with, but two exceptions, big exceptions, things you don’t think about, are soldiers’ funerals and death sentences. Anybody that says they don’t feel some ambivalence about that subject, I don’t understand.I think it’s, if you don’t feel conflicted about it, on one side or the other, maybe you should think a little harder. Where I came to rest on that one, sometime ago was that it was not for me or any one person to make that judgment. It needs to express the moral sentiments of the state through the democratic process and, for now, at least in this moment, or the last I’ve seen, a very large majority of our fellow citizens believe that, at least occasionally, in the most heinous of cases, that that penalty can be appropriate. So, I didn’t think it was for me to substitute any view I had for that.As a practical manner, this subject is diminishing. I’m not sure when the last time any Indiana court or judge or judge and jury imposed the death penalty on somebody. If it’s happened in the last few years, I’ve missed it.Future governors will have few, maybe none of these to deal with.<h4>Q:</h4> Give us an overview of the health of individual Hoosiers. We’ve had the smoking ban, we’ve had the federal health care law that’s coming, the Healthy Indiana program, childhood obesity. Give us an overview from what you’re seeing from the unique perch that you’ve had. <h4>A:</h4> This probably belongs on the list of answers to areas where we just didn’t get enough done.We have tried, this business of personal health habits and so forth. Now, it wasn’t a surprise, but that doesn’t make it any less discouraging.I’ve reminisced many times. We started what’s the now INShape Indiana program and with great fanfare, we had celebrities and athletes, because a lot of people were interested in this. We had a great thing over at NIFS (National Institute for Fitness and Sport), where I worked out for the last eight years, and I told everybody that day, you know, of all the changes we try to bring, and all the initiatives that we launch, this will be the least controversial and the hardest.In other words, I don’t know anybody who doesn’t think, in general, that this was a good thing to work on, but you’re just really up against it, when you try and move large, large, numbers of people to change the habits of a lifetime.The recent data we’ve seen is pretty discouraging. Some of it didn’t ring quite true. The last data we saw had smoking rates really have changed in Indiana. They had 26 percent. I haven’t seen that in three years. I think that’s way behind. The last data public we had was close to 20. Still above the national average, but definitely down.Anyway, I don’t dispute the fact that we’re just not as healthy a state as we should be or need to be. But, you know, we’ve done everything we know how to, we can think of, let me put it that way. Someone smarter is going to have to work on this.<h4>Q:</h4> Has right to work hurt the unions in any way? <h4>A:</h4> Not that I’m aware of. Not in any way.Obviously it doesn’t hurt the right to unionize, the right to collectively bargain, totally unaffected. We pointed out, when the bill was being discussed, there are a number of right-to-work states with higher rates of unionization than Indiana had without such a bill. So, I mean, no, I’m not aware that it has. That’s not its intention.<h4>Q:</h4> Why is it that Hoosiers underestimate or sort of downplay and are more humble than other states, like a New York? <h4>A:</h4> All I know is that our state, I always used to say, is like an under-performing business. We’ve got assets.In ’04, I would sometimes say, “It’s a good thing we’re not publicly traded.” By the way, this is interesting because I used to use Michigan as the example. You wouldn’t today. This was just eight years ago. But I would say, “It’s a good thing because, you know, Michigan would make a hostile tender offer and they’d buy us and consolidate the headquarters to Lansing.”And I said, “What do I mean? We’ve got great assets, like balance sheet, and a lousy income statement. We’ve got great assets. We’ve got location, low costs, great universities, but we’re not performing.”<h4>Q:</h4> What have you added this year to your “oops” list?<h4>A:</h4> Was the question disappointments or mistakes? Because they’re both here.Something I should have mentioned more often, we really worked on the recidivism rate at DOC (Department of Corrections) and it’s only come down about a point.So there’s one. There’s a lot of things going on, a lot of moving parts there. But there’s one that, from the very beginning, we’ve worked and worked. We’ve had more education programs and we have more work-release programs and we’ve got more substance abuse programs, but it’s just been really stubborn.You know, I’m giving this commencement for IU which will be interesting. They invited me before life changed and I thought, “Great, I’m off the hook,” then I got a call from (IU President Michael) McRobbie and he says, “No, come on ahead.”Shoot. Now I got to write another speech. But, toward the end of it, and I’ve said this elsewhere. I’ve never found “oops” a hard word to say. And I said, if you never need it, then either you’re not trying anything and you never made any mistakes, or, you know, you’re just not being honest with yourself.
7770	dbpedia	1	54	https://www.indystar.com/story/news/politics/2022/08/16/mitch-daniels-aides-create-pac-encourage-2024-run-for-indiana-governor/65405846007/	en	Former Mitch Daniels aides create PAC encouraging him to run for governor	https://www.gannett-cdn.…=pjpg&width=1200	https://www.gannett-cdn.…=pjpg&width=1200	[ "https://www.gannett-cdn.com/presto/2022/03/15/PIND/792b389c-ce10-45aa-b6a2-41f54e57c153-020122_governor_23_.JPG", "https://www.gannett-cdn.com/appservices/universal-web/universal/icons/icon-play-alt-white.svg", "https://www.gannett-cdn.com/appservices/universal-web/universal/icons/icon-instagram_24.png" ]	[]	[]	[ "" ]	null	[ "The Indianapolis Star", "Kaitlin Lange" ]	2022-08-16T00:00:00	A website will go live this week requesting small donations to demonstrate that people want him to run.	en	https://www.gannett-cdn.…ages/favicon.png	Indianapolis Star	https://www.indystar.com/story/news/politics/2022/08/16/mitch-daniels-aides-create-pac-encourage-2024-run-for-indiana-governor/65405846007/	Two former Mitch Daniels aides have created a Political Action Committee encouraging him to run for governor in 2024. Christine Luther Hurst, who was communications director for Daniels' 2004 campaign, and Ben Ledo, who was Daniels' personal driver during his 2004 campaign, filed a statement of organization on Aug. 10 for the PAC called "Frugal Hoosiers for Mitch 2024." Both also are former Angie's List executives and now work at MakeMyMove, an Indianapolis-based recruiting company. Ledo also worked in the Daniels administration for more than four years. The purpose behind the PAC is simply stated as "We are encouraging Mitch Daniels to run for governor in 2024." Speculation has run rampant that Daniels might run for a third term as governor since June, when he announced his retirement from his role as president of Purdue University at year's end. Daniels himself has not weighed in on a run, though another former aide, Mark Lubbers, told Politico in June that the former governor was fascinated by the possibility. Daniels declined to be interviewed for this story through a Purdue spokesman. "As this is the first he has heard of the group, he doesn’t have anything to offer," said Tim Doty, director of media and public relations at Purdue University. More:Curtis Hill among at least 5 running for Rep. Walorski's former congressional seat Hurst said Daniels did not know they were creating the PAC, and they are operating independently. "We know he loves the state, and we know he's got big ideas," Hurst said, "But not sure what he's going to do next, so we just are sort of gathering the voices to encourage him to consider running." So far, the PAC hasn't raised any money. Hurst said a website will go live this week requesting small donations of up to $5 to demonstrate that people want him to run. Mitch Daniels is former Indiana governor Daniels served as governor from 2005-2013, where he made a host of notable government reforms as the first Republican in the office since the 1980s, including implementing property tax caps, leasing the Indiana Toll Road and introducing a school choice voucher program. He briefly flirted with the idea of a presidential run in 2011, but decided not to. After he was term-limited out of the governor's office, he became president of Purdue University in 2013, where he implemented tuition freezes. Gov. Eric Holcomb can't run for a third consecutive term by law, leaving multiple hopefuls lining up for the soon-to-be open office. Already the field of Republicans rumored to be considering gubernatorial runs is large, and includes Lt. Gov. Suzanne Crouch, Sen. Mike Braun, Rep. Trey Hollingsworth and Republican Party Chair Kyle Hupfer. Eric Doden, a Fort Wayne businessman and former president of the Indiana Economic Development Corporation, is the only candidate who has officially entered the race so far, raising $2.7 million as of July since he entered the race in May 2021.
7770	dbpedia	1	0	https://en.wikipedia.org/wiki/Mitch_Daniels	en	Mitch Daniels	https://upload.wikimedia…itch_Daniels.jpg	https://upload.wikimedia…itch_Daniels.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/en/thumb/9/94/Symbol_support_vote.svg/19px-Symbol_support_vote.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/e/e4/Indiana_Governor_Mitch_Daniels.jpg/220px-Indiana_Governor_Mitch_Daniels.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/f/f1/Mitch_Daniels_Signature.svg/128px-Mitch_Daniels_Signature.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/2/2c/Reagan_Contact_Sheet_C39260_%28cropped%29.jpg/220px-Reagan_Contact_Sheet_C39260_%28cropped%29.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a0/911-_President_George_W._Bush_with_Insurance_Representatives%2C_09-17-2001_%286124778524%29.jpg/220px-911-_President_George_W._Bush_with_Insurance_Representatives%2C_09-17-2001_%286124778524%29.jpg", "https://upload.wikimedia.org/wikipedia/commons/9/92/Mitch_Daniels_for_Governor_Logo_2004.gif", "https://upload.wikimedia.org/wikipedia/commons/thumb/b/ba/Mitch_Daniels_at_Camp_Arifjan%2C_Kuwait%2C_April_16%2C_2006.jpg/170px-Mitch_Daniels_at_Camp_Arifjan%2C_Kuwait%2C_April_16%2C_2006.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/8/8d/Indiana_National_Guard.jpg/220px-Indiana_National_Guard.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/7/7a/MitchDanielsOfficialHeadshot.jpg/170px-MitchDanielsOfficialHeadshot.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/3/38/FEMA_-_35668_-_FEMA_Administrator_Paulison_with_Indiana_Governor_Daniels_at_Press_Conference_in_Indiana.jpg/220px-FEMA_-_35668_-_FEMA_Administrator_Paulison_with_Indiana_Governor_Daniels_at_Press_Conference_in_Indiana.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b3/Purdue_University_President_Mitch_Daniels_talks_with_Agriculture_Secretary_Tom_Vilsack_in_2014.jpg/220px-Purdue_University_President_Mitch_Daniels_talks_with_Agriculture_Secretary_Tom_Vilsack_in_2014.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/6/65/Lock-green.svg/9px-Lock-green.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/30px-Commons-logo.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Wikiquote-logo.svg/34px-Wikiquote-logo.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/7/73/US-OfficeOfManagementAndBudget-Seal.svg/75px-US-OfficeOfManagementAndBudget-Seal.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/d/d4/George-W-Bush.jpeg/100px-George-W-Bush.jpeg", "https://upload.wikimedia.org/wikipedia/commons/thumb/6/61/Seal_of_the_State_of_Indiana.svg/80px-Seal_of_the_State_of_Indiana.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/6/69/P_vip.svg/19px-P_vip.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/6/66/DodgerBlue_flag_waving.svg/18px-DodgerBlue_flag_waving.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ac/Flag_of_Indiana.svg/21px-Flag_of_Indiana.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/0/01/A_coloured_voting_box.svg/19px-A_coloured_voting_box.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2004-11-03T20:05:38+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Mitch_Daniels	President of Purdue University from 2013 to 2022 and former politician Mitchell Elias Daniels Jr. (born April 7, 1949) is an American academic administrator, businessman, author, and retired politician who served as the 49th governor of Indiana from 2005 to 2013. A Republican, he later served as president of Purdue University from 2013 until the end of 2022. Daniels began his career as an assistant to senator Richard Lugar, working as his chief of staff in the Senate from 1977 to 1982. He was appointed executive director of the National Republican Senatorial Committee when Lugar was chairman from 1983 to 1984. He worked as a chief political advisor and as a liaison to President Ronald Reagan in 1985. He then moved back to Indiana to become president of the Hudson Institute, a conservative think tank. He later joined Eli Lilly and Company where he served as president of North American Pharmaceutical Operations from 1993 to 1997 and as senior vice president of corporate strategy and policy from 1997 to 2001. In January 2001, Daniels was appointed by President George W. Bush as the director of the U.S. Office of Management and Budget, where he served until June 2003. Daniels ran in Indiana's 2004 gubernatorial election after leaving the Bush administration. He won the Republican primary with 67% of the vote and defeated Democratic incumbent Governor Joe Kernan in the general election. In 2008, Daniels was reelected to a second term, defeating Jill Long Thompson. During his tenure, Daniels cut the state government workforce by 18%, cut and capped state property taxes, balanced the state budget through austerity measures and increasing spending by less than the inflation rate.[1][2] In his second term, Daniels saw protest by labor unions and Democrats in the state legislature over Indiana's school voucher program, privatization of public highways, and the attempt to pass 'right to work' legislation, leading to the 2011 Indiana legislative walkouts. During the legislature's last session under Daniels, he signed a 'right-to-work law', with Indiana becoming the 23rd state in the nation to pass such legislation.[3] It was widely speculated that Daniels would be a candidate in the 2012 presidential election,[4][5][6] but he chose not to run.[7] Shortly after, a search committee, composed mostly of Purdue faculty and administrators recommended Daniels to become the university's 12th president after his term as governor ended on January 14, 2013. Ultimately, the hiring decision was made by the Trustees of the Board of Purdue University, all of whom Daniels appointed or re-appointed while Governor.[8] He retired as Purdue president on January 1, 2023. Early life [edit] Family and education [edit] Mitchell Elias Daniels Jr. was born on April 7, 1949, in Monongahela, Pennsylvania, the son of Dorothy Mae (née Wilkes) and Mitchell Elias Daniels.[9] His father's parents were Syrian immigrants from Qalatiyah, Syria,[10] of Antiochian Greek Orthodox descent.[11] Daniels has been honored by the Arab-American Institute with the 2011 Najeeb Halaby Award for Public Service.[12][13][14] His mother's ancestry was mostly English (where three of his great-grandparents were born).[15] Daniels spent his early childhood years in Pennsylvania, Tennessee,[16] and Georgia. The Daniels family moved to Indiana from Pennsylvania in 1959 when his father accepted a job at the Indianapolis headquarters of the pharmaceutical company Pitman-Moore. The 10-year-old Daniels was accustomed to the mountains, and he at first disliked the flatland of central Indiana. He was still in grade school at the time of the move and first attended Delaware Trail Elementary, Westlane Junior High School, and North Central High School. In high school he was student body president.[17] After graduation in 1967, Daniels was named one of Indiana's Presidential Scholars—the state's top male high school graduate that year—by President Lyndon B. Johnson.[18] In 1971, Daniels earned a Bachelor's degree from the Woodrow Wilson School of Public and International Affairs at Princeton University after completing a senior thesis titled "The Politics of Metropolitanization: City-County Consolidation in Indianapolis, Indiana".[19] While at Princeton, he was a member of the American Whig–Cliosophic Society, where he overlapped with future Supreme Court Justice Samuel Alito, who was a year below. He initially studied law at the Indiana McKinney School of Law in Indianapolis. After accepting a job with newly elected Senator Richard Lugar, he transferred to the Georgetown University Law Center, from which he earned a Juris Doctor.[13] Drug arrest [edit] In 1970, while an undergraduate at Princeton, Daniels and three roommates were a part of a several months long drug investigation that began on Saturday, March 7, 1970, when one of Daniels's roommates was arrested for possessing "large quantities" of marijuana and other drugs.[20] Two months later police raided the same residence hall, finding enough marijuana to fill two size 12 shoeboxes and arresting five additional individuals, including Daniels. Daniels and a roommate were charged with possession of marijuana, LSD and other drugs,[21] along with "maintaining a common nuisance" for allowing the room to be used for the sale and use of drugs.[21] In a plea agreement, the prosecutor dropped the charges in exchange for Daniels agreeing to pay a fine of $350 for using marijuana.[22] Thirty-four years after the arrest, the first roommate detained (the individual arrested months before Daniels), told the Indianapolis Star that he was a partisan Democrat who "would gladly offer unflattering information about a Republican—if he had any" but Daniels had "nothing to do" with selling drugs.[23] Another roommate said that police obtained a warrant to search the room based on the activity of the first roommate arrested. "Unbeknownst to [Daniels and the other current roommates] ... [he] was coming back there and using the room when we're not there and was involved with drugs much worse than pot...We considered ourselves innocent victims." Daniels refutes the idea that he was innocent saying he "had used marijuana" and "was fined for that, and that was appropriate".[22] Daniels has disclosed the arrest on job applications and in government background checks and spoken about the incident in opinion columns.[24] In a 1989 opinion piece in The Washington Post, Daniels called the incident the "unfortunate confluence of my wild oats period and America's libertine apogee" and said "On my college campus, just as on most college campuses, marijuana was as easy to obtain as Budweiser beer and was viewed with equal complacency. For a time, I was a carefree consumer of both." Daniels claimed his "young Midwestern tail was jerked back into line" following the arrest.[24] Early political career [edit] Daniels had his first experience in politics while still a teenager when, in 1968, he worked on the unsuccessful campaign of fellow Hoosier and Princeton alumnus William Ruckelshaus, who was running for the U.S. Senate against incumbent Democrat Birch Bayh.[17] After the campaign, Daniels secured an internship in the office of then-Indianapolis mayor Richard Lugar, a Ruckelshaus ally. Daniels worked on Lugar's re-election campaign in 1971, and later, in 1974, he worked on Lugar's first campaign for Senate via L. Keith Bulen's Campaign Communicators, Inc, a political consultancy where Daniels served as vice president. Daniels joined Lugar's mayoral staff in December 1974.[25] Within three years, he became Lugar's principal assistant. After Lugar was elected to the U.S. Senate in 1976, Daniels followed him to Washington, D.C., as his Chief of Staff.[26] Daniels served as Chief of Staff during Lugar's first term (1977–1982). Personal life [edit] During Daniel's time working with Senator Lugar, he met Cheri Herman, who was working for the National Park Service. two married in 1978 and had four daughters. They divorced in 1993 and Cheri married again; Cheri later divorced her second husband and remarried Daniels in 1997.[13] Early career in Washington, D.C. [edit] In 1983, when Lugar was elected chairman of the National Republican Senatorial Committee, Daniels was appointed its executive director. Serving in that position (1983–84), he played a major role in keeping the GOP in control of the Senate. Daniels was also manager of three successful re-election campaigns for Lugar. In August 1985, Daniels became chief political advisor and liaison to state and local governments for President Ronald Reagan.[26][27] As part of this position, Daniels led the Reagan administration's response to the Supreme Court's ruling in Garcia v. San Antonio Metropolitan Transit Authority, regarding the Fair Labor Standards Act, and advocated limiting the power of the federal government in defining overtime rules for state and local governments, summing up his position by asking "What business is it of the Federal Government to tell localities how to structure their personnel practices?".[citation needed] In 1987, Daniels returned to Indiana as president and CEO of the Hudson Institute, a conservative think tank.[13][28] In 1988, Dan Quayle was elected Vice President of the United States, and Indiana governor Robert D. Orr offered to appoint Daniels to Quayle's vacant Senate seat. Daniels declined the offer, saying it would force him to spend too much time away from his family.[17] While serving as the executive director of the Senate Republican campaign committee, Daniels expressed concern about the honesty of Illinois elections saying in 1984, "ballot integrity will be the single most decisive factor in the Illinois Senate race",[29] a theme Daniels has returned to throughout his career.[30] Eli Lilly [edit] In 1990, Daniels left the Hudson Institute to accept a position at Eli Lilly and Company, the largest corporation headquartered in Indiana at that time.[31] He was first promoted to President of North American Operations (1993–97) and then to Senior Vice President for Corporate Strategy and Policy (1997–2001).[12][13][26] During his tenure Lilly pleaded guilty to two criminal misdemeanors, paid more than $2.7 billion in fines and damages, settled more than 32,000 personal injury claims—and copped to one of the largest state consumer protection cases involving a drug company in U.S. history.[32] In 2009, Lilly also pleaded guilty for illegally marketing Zyprexa during Daniels' tenure and agreed to pay a $1.415 billion penalty that included a criminal fine of $515 million, the largest ever in a healthcare case and the largest criminal fine for an individual corporation ever imposed in a U.S. criminal prosecution of any kind at the time.[33][34] Daniels managed strategy to deflect attacks on Lilly's Prozac product by a public relations campaign against the drug being waged by the Church of Scientology. In one interview in 1992, Daniels said of the organization that "it is no church," and that people on Prozac were less likely to become victims of the organization. The Church of Scientology responded by suing Daniels in a libel suit for $20 million. A judge dismissed the case.[35] Eli Lilly experienced dramatic growth during Daniels's tenure at the company. Prozac sales made up 30–40% of Lilly's income during the mid-to-late 1990s, and Lilly doubled its assets to $12.8 billion and doubled its revenue to $10 billion during the same period. When Daniels later became governor of Indiana, he drew heavily on his former Lilly colleagues to serve as advisers and agency managers.[36] During the same period, Daniels also served on the board of directors of the Indianapolis Power & Light (IPL). He resigned from the IPL Board in 2001 to join the federal government, and sold his IPL stock along with all other holdings in order to comply with federal ethics requirements.[37] Later that year the value declined when Virginia-based AES Corporation bought IPL.[12][38][39] Office of Management and Budget [edit] On December 22, 2000, President-elect George W. Bush announced that he would nominate Daniels to serve as the director of the Office of Management and Budget.[40] and was confirmed by the United States Senate by a vote of 100–0 on January 23, 2001.[41] In this role he was also a member of the National Security Council and the Homeland Security Council. During his time as the director of the OMB, Daniels sought to restrict congressional spending, saying Congress's motto apparently is "Don't just stand there, spend something."[42] During his tenure he was criticized by Republicans and Democrats alike.[43] After his first year in office Senator Ted Stevens, then the ranking member of the United States Senate Committee on Appropriations, suggested 'the best thing Daniels could do to repair relations with Congress was to go back to Indiana'.[44] Representative Bill Young, then chairman of the United States House Committee on Appropriations complained about Daniels' leadership saying ''I'm convinced the director of O.M.B. is only concerned about numbers ... and he has no concern about what those numbers do or do not do for the country, for our military, for our security."[43] Then HHS Secretary Tommy Thompson complained that Daniels's office would reject a proposal "nine times out of 10, just to show you who the boss is".[44] The $2.13 trillion budget Daniels submitted to Congress in 2001 would have made deep cuts in many agencies to accommodate the tax cuts being made, but few of the spending cuts were actually approved by Congress.[17] Shortly after the invasion of Afghanistan, Daniels gave a speech to the National Press Club in which he challenged the view of those who wanted to continue typical spending while the nation was at war. "The idea of reallocating assets from less important to more important things, especially in a time of genuine emergency, makes common sense and is applied everywhere else in life," he said.[45] Despite such efforts, during Daniels's 29-month tenure in the position, the projected federal budget surplus of $236 billion ballooned to a $400 billion deficit, due to the recession of 2001, tax cuts, the War in Afghanistan (2001–present), and Iraq War.[26][46] Nobel economics Laureate Paul Krugman noted Daniels is "held up as an icon of fiscal responsibility" without having earned it. Commenting on Daniels leadership he wrote "what I can't forget is his key role in the squandering of the fiscal surplus Bush inherited. It wasn't just that he supported the Bush tax cuts; the excuses he made for that irresponsibility were stunningly fraudulent. So I just can't take his current pose of deficit hawkishness seriously."[47] Following the September 11, 2001 attacks, Congress passed legislation authorizing the creation of the Department of Homeland Security. Just before the legislation was signed by Bush, Republican lawmakers inserted language into the bill that authorized protection from liability corporations that manufactured thimerosal, a controversial vaccine preservative that has been the subject of multiple lawsuits.[48] Eli Lilly was once the largest maker of thimerosal and is a major target of the lawsuits.[49] Daniels was the budget director at the time of the bill's passing and some[50][51][48] have raised concerns over potential conflicts of interest. Congress repealed the thimerosal provision following expressions of public displeasure.[50] Conservative columnist Ross Douthat stated in a column about Daniels's time at OMB that Daniels "carried water, as director of the Office of Management and Budget, for some of the Bush administration's more egregious budgets."[52] But Douthat, while calling Daniels "America's Best Governor", defended Daniels against accusations that Daniels inaccurately assessed the costs of the Iraq war.[53] In 2002, Daniels helped discredit a report by Assistant to the President on Economic Policy Lawrence B. Lindsey estimating the cost of the Iraq War at between $100-$200 billion. Daniels called this estimate "very, very high" and stated that the costs would be between $50-$60 billion.[54][55] At the time Daniels would not provide specific costs for either a long or a short military campaign against Saddam Hussein, saying the administration was budgeting for both. The failure to provide long term cost estimates led opponents to claim that Daniels and the administration had suggested the entire war would cost less than $60 billion. The CBO has estimated the total cost of the war in Iraq to U.S. taxpayers will be around $1.9 trillion if it was carried on until 2017.[56] Three months later, on March 25, 2003, five days after the start of the invasion, President Bush requested $53 billion through an emergency supplemental appropriation to cover operational expenses in Iraq until September 30 of that year.[57] According to the Congressional Budget Office, Military operations in Iraq for 2003 cost $46 billion, less than the amount projected by Daniels and OMB.[58] Douthat and other defenders of Daniels accuse Daniels's critics of mischaracterizing the six-month supplemental appropriation as a request to fund the entire war.[52][53] The costs of the Iraq war have exceeded $800 billion.[59] Between September 2001 and October 2012, lawmakers appropriated about $1.4 trillion for operations in both the war in Iraq and Afghanistan.[60] On May 7, 2003, Daniels announced that he would resign as OMB director within 30 days in a move that Bush administration officials said was to prepare to run for governor of Indiana.[61] 49th Governor of Indiana (2005-2013) [edit] Election campaign [edit] Main article: 2004 Indiana gubernatorial election Daniels's decision to run for Governor of Indiana led to most of the rest of Republican field of candidates dropping out of the race. The only challenger who did not do so was conservative activist and lobbyist Eric Miller. Miller worked for the Phoenix Group, a Christian rights defense group. Daniels's campaign platform centered on cutting the state budget and privatizing public agencies. He won the primary with 67% of the vote.[62] While campaigning in the general election, Daniels visited all 92 counties at least three times. He traveled in a donated white RV nicknamed "RV-1" and covered with signatures of supporters and his campaign slogan, "My Man Mitch".[63] "My Man Mitch" was a reference to a phrase once used by President George W. Bush to refer to Daniels. Bush campaigned with Daniels on two occasions, as Daniels hoped that Bush's popularity would help him secure a win. In his many public stops, he frequently used the phrase "every garden needs weeding every sixteen years or so"; it had been 16 years since Indiana had had a Republican governor.[62] His opponent in the general election was the incumbent, Joe Kernan, who had succeeded to the office upon the death of Frank O'Bannon. Campaign ads by Kernan and the Democratic Party attempted to tie Daniels to number of issues—his jail time for marijuana use; a stock sale leading to speculations of insider trading; and, because of his role at Eli Lilly, the high cost of prescription drugs.[63] The 2004 election was the costliest in Indiana history, up until that time, with the candidates spending a combined US$23 million.[62] Daniels won the election, garnering about 53% of the vote compared to Kernan's 45%.[62] Kernan was the first incumbent governor to lose an election in Indiana since 1892.[62] First term [edit] On his first day in office, Daniels created Indiana's first Office of Management and Budget to look for inefficiencies and cost savings throughout state government. The same day, he decertified all government employee unions by executive order, removing the requirement that state employees pay union dues by rescinding a mandate created by Governor Evan Bayh in a 1989 executive order. Dues-paying union membership subsequently dropped 90% among all state employees.[64][65] Budgetary measures [edit] In his first State of the State address on January 18, 2005, Daniels put forward his agenda to improve the state's fiscal situation. Indiana has a biennial budget, and had a projected two-year deficit of $800 million. Daniels called for strict controls on all spending increases and reducing the annual growth rate of the budget. He also proposed a one-year 1% tax increase on all individuals and entities earning over $100,000. The taxing proposal was controversial and the Republican Speaker of the House, Brian Bosma, criticized Daniels and refused to allow the proposal to be debated.[62][66] The General Assembly approved $250 million in spending cuts and Daniels renegotiated 30 different state contracts for a savings of $190 million, resulting in a budget of $23 billion. Annual spending growth for future budgets was cut to 2.8% from the 5.9% that had been standard for many years.[66][67] Increase in revenues, coupled with the spending reductions, led to a $300 million budget surplus. Indiana is not permitted to take loans, as borrowing was prohibited in its constitution following the 1837 state bankruptcy. The state, therefore, had financed its deficit spending by reallocating $760 million in revenue that belonged to local government and school districts over the course of many years. The funds were gradually and fully restored to the municipal governments using the surplus money, and the state reserve fund was grown to $1.3 billion.[67] Two of Daniels's other tax proposals were approved: a tax on liquor and beverages to fund the construction of the Lucas Oil Stadium and a tax on rental cars to expand the Indiana Convention Center. The new source of funding resulted in a state take-over of a project initially started by the city of Indianapolis and led to a bitter feud between Daniels and the city leadership over who should have ownership of the project. The state ultimately won and took ownership of the facilities from the city.[68] In 2006, Daniels continued his effort to reduce state operating costs by signing into law a bill privatizing the enrollment service for the state's welfare programs. Indiana's welfare enrollment facilities were replaced with call centers operated by IBM. In mid-2009, after complaints of poor service, Daniels canceled the contract and returned the enrollment service to the public sector.[53] Daylight Saving Time [edit] One of the most controversial measures Daniels successfully pushed through was the state adoption of Daylight Saving Time, which Daniels argued, in a complicated economy, was needed to end constant confusion and bring Indiana into a year-long alignment with the rest of the country.[69] Prior to the change, the counties in the western side of the state did not observe daylight saving time, although the counties in southeastern Indiana near Cincinnati, Ohio, did observe it unofficially due to being in that city's metropolitan area.[70] Interests for both time zones had prevented the official adoption of daylight saving since the 1960s, leading to decades of debate. Daniels pressed for the entire state to switch to Central Time, but the General Assembly could not come to terms. Ultimately after a long debate, the General Assembly adopted Eastern Daylight Saving Time in April 2005. The measure passed by one vote and put most of the state on the Eastern Time Zone, except for counties in the northwest and southwest corners that are in the Central Time Zone.[71] Highways [edit] In 2006 the legislature enacted Daniels' controversial plan to remake the state's highways system by leasing the Indiana Toll Road. Called the Major Moves, the road was leased to Statewide Mobility Partners, a joint venture company owned by Spanish firm Cintra and Australia's Macquarie Infrastructure Group for 75 years in exchange for a one time payment of $3.85 billion and the commitment to make $4.4 billion worth of upgrades to the road.[72] Most Democrats opposed the measure by starting an advertising campaign accusing Daniels of selling the road to foreign nations. Other critics characterized the deal for fundamentally changing the relationship between infrastructure and taxpayers" saying "the road intended to serve the people of Indiana now is serving the profit needs of a multinational corporation".[73] Daniels defended the lease, claiming that the road was not earning the state money because of the historical lack of political will to raise tolls. He told a congressional committee, "…instead of making money for the state, the road had operated at a loss for 5 of the previous 7 years…Political timidity had kept tolls locked at the same price since 1985…Even if we raised the tolls, there was little reason to believe that the governors who would come after me would have the inclination or the political ability to do the same. I once asked how much it cost to collect that 15-cent toll on the road and the answer came back at 34 cents. I joked that we would have been better off with the honor system and a fishbowl for occasional donations."[74] Daniels and an independent accounting firm believed the road was worth $2 billion at most and were surprised by the offer of nearly $4 billion in cash, plus that much in contracted improvements.[75] Daniels called it the best deal since "Manhattan was sold for beads—except this time, the natives won."[76][77] Initially, Daniels's support for the controversial legislation led to a rapid drop in his approval rating; in May 2005, a poll showed an 18-point drop in support and that only 42% of Hoosiers approved of the way he was doing his job. In the following months, many of his reforms appeared to have a positive effect and his approval ratings rebounded.[78] The income from the lease was used to finance a backlog of public transportation projects and create a $500 million trust fund to generate revenue for the maintenance of the highway system.[67] Local governments also received a significant windfall from the deal, including $150 million that went to Indiana's 92 counties for local roads, $240 million to seven counties for infrastructure and economic development projects, and $120 million for the Northwest Regional Development Authority for local economic development.[79] Over the next ten years, Indiana would use the cash and interest from the deal to add or expand several major new roadways such as US 31, the Hoosier Heartland Highway, I-69, and the Ohio River bridges. It also rehabilitated 1,400 bridges and 50% of the state's roads without using tax dollars or taking on new debt.[80] As anticipated, drivers experienced dramatic hikes in tolls after the lease, which increased the cost to travel on the public road from $4.65 to $8.80 for passenger vehicles, and semitrailer trucks from $18 to $35.20.[81] Despite doubling toll prices, the foreign-owned operator of the toll road filed for bankruptcy in 2014, and its $3.85 billion purchase price resulted in $6 billion in debts owed by the company to its financiers. Indiana retained the $3.85 billion lump sum payment and the lease was transferred to another Australian investment company without altering the terms of the lease.[82][83][84] An October 2014 ITR report to the Indiana Toll Road Oversight Board cited numerous deficiencies along the highway including: deficient pavements and signage at travel plazas, activities at vehicle maintenance facilities that could allow petroleum products or other chemicals into open storm water drains, and closed sewage dump stations at risk of unmonitored dumping. In response, the new lease owners pledged to invest $260 million in capital improvements.[85] In June 2015, Ken Daley, the new CEO of the Indiana Toll Road Concession Company, announced that all of the original 1955 travel plazas would be demolished and replaced within the next five years.[86] As of October 2015, the Booth Tarkington service area, the easternmost in Indiana, was permanently closed[citation needed] Healthy Indiana Plan [edit] In 2007, Daniels signed the Healthy Indiana Plan, which provided 132,000 uninsured Indiana workers with coverage. The program works by helping its beneficiaries purchase a private health insurance policy with a subsidy from the state. The plan promotes health screenings, early prevention services, and smoking cessation. It also provides tax credits for small businesses that create qualified wellness and Section 125 plans. The plan was paid for by an increase in the state's tax on cigarettes and the reallocation of federal Medicaid funds through a special waiver granted by the federal government. In a September 15, 2007, Wall Street Journal column, Daniels was quoted as saying about the Healthy Indiana Plan and cigarette tax increase saying, "A consumption tax on a product you'd just as soon have less of doesn't violate the rules I learned under Ronald Reagan."[87] The plan allows low to moderate income households where the members have no access to employer provided healthcare to apply for coverage. At the time of initial implementation, the fee for coverage was calculated using a formula that resulted in a charge between 2%–5% of a person's income. A $1,100 annual deductible was standard on all policies and allowed applicants to qualify for a health savings account. The plan paid a maximum of $300,000 in annual benefits.[88] Property tax reform [edit] See also: Taxation in Indiana In 2008, Daniels proposed a property tax ceiling of one percent on residential properties, two percent for rental properties and three percent for businesses. The plan was approved by the Indiana General Assembly on March 14, 2008, and signed by Daniels on March 19, 2008. In 2008, Indiana homeowners had an average property tax cut of more than 30 percent; a total of $870 million in tax cuts. Most money collected through property taxes funds local schools and county government. To offset the loss in revenues to the municipal bodies, the state raised the sales tax from 6% to 7% effective April 1, 2008.[89] Fearing a future government might overturn the statute enforcing property tax rate caps, Daniels and other state Republican leaders pressed for an amendment to add the new tax limits to the state constitution. The proposed amendment was placed on the 2010 General election ballot and was a major focus of Daniels's reelection campaign. In November 2010, voters elected to adopt the tax caps into the Indiana Constitution.[90] Daniels's successes at balancing the state budget began to be recognized nationally near the end of his first term. Daniels was named on the 2008 "Public Officials of the Year" by the Governing magazine.[91] The same year, he received the 2008 Urban Innovator Award from the Manhattan Institute for his ideas for dealing with the state's fiscal and urban problems.[92] Voter registration [edit] In the 2005 session of the General Assembly, Daniels and Republicans, with some Democratic support, successfully enacted a voter registration law that required voters to show a government issued photo ID before they could be permitted to vote. The law was the first of its kind in the United States, and many civil rights organizations, including the ACLU, opposed the bill, saying it would unfairly impact minorities, poor, and elderly voters who might be unable to afford an ID or be physically unable to apply for an ID. To partially address those concerns, the state passed another law authorizing state license branches to offer free state photo ID cards to individuals who did not already possess another type of state ID.[93] A coalition of civil rights groups began a court challenge of the bill in Indiana state courts, and the Daniels administration defended the government in the case. The U.S. District Court granted summary judgment to the state. The petitioners appealed the bill to the United States Court of Appeals for the Seventh Circuit, and that body upheld the U.S. District Court decision in the case of Crawford v. Marion County Election Board. Upon appeal the United States Supreme Court also ruled in favor of the state in April 2008, setting a legal precedent. Several other states subsequently enacted similar laws in the years following.[93] Reelection campaign [edit] See also: 2008 Indiana gubernatorial election Daniels entered the 2008 election year with a 51% approval rate, and 28% disapproval rate. Daniels's reelection campaign focused on the state's unemployment rate, which had decreased during his time in office, the proposed property tax reform amendment, and the successful balancing of the state budget during his first term.[94] On November 4, 2008, Daniels defeated Democratic candidate Jill Long Thompson and was elected to a second term as governor with 57.8% of votes, despite Barack Obama carrying the state in the presidential race.[95] He was re-inaugurated on January 12, 2009. Washington Post blogger Chris Cillizza named the Daniels reelection campaign "The Best Gubernatorial Campaign of 2008" and noted that some Republicans were already bandying about his name for the 2012 presidential election.[96] Daniels garnered 20 percent of the African American vote and 37 percent of Latinos in his 2008 re-election campaign. He won with more votes than any candidate in the state's history. On July 14, 2010, at the Indianapolis Museum of Art, Daniels was on hand to help announce the return of IndyCar Series chassis manufacturing to the state of Indiana.[97] Dallara Automobili would build a new technology center in Speedway, Indiana and the state of Indiana would subsidize the sale of the first 28 IndyCar chassis with a $150,000 discount.[98] Daniels has been recognized for his commitment to fiscal discipline. He is a recent recipient of the Herman Kahn Award from the Hudson Institute, of which he is a former president and CEO, and was one of the first to receive the Fiscy award for fiscal discipline.[99] A November 2010 poll gave Daniels a 75% approval rate.[100] Second term [edit] Democrats won a majority in the Indiana House of Representatives in the 2006 and 2008 elections, resulting in Indiana having a divided government, with Democrats controlling the Indiana House of Representatives and the Republicans controlling the governor's office and the Indiana Senate. This led to a stalemate in the budget debate, which caused Daniels to call a special session of the General Assembly. Due to the national financial crisis, the state was faced with a $1.4 billion shortfall in revenue for the 2009–2011 budget years.[101] Daniels proposed a range of spending cuts and cost-saving measures in his budget proposal. The General Assembly approved some of his proposals, but relied heavily on the state's reserve funds to pay for the budget shortfall. Daniels signed the $27 billion two-year budget into law. 2011 legislative walkout [edit] See also: 2011 Indiana legislative walkouts In the 2010 mid-term elections, Republican super-majorities regained control of the House, and took control of the Senate, giving the party full control of General Assembly for the first time in Daniels's tenure as governor. The 2011 Indiana General Assembly's regular legislative session began in January and the large Republicans majorities attempted to implement a wide-ranging conservative agenda largely backed by Daniels. Most of the agenda had been dormant since Daniels's election due to divided control of the assembly.[102] In February, Republican legislators attempted to pass a right to work bill in the Indiana House of Representatives. The bill would have made it illegal for employees to be required to join a workers' union. Republicans argued that it would help the state attract new employers. Unable to prevent the measure from passing, Democratic legislators fled the state to deny the body a quorum while several hundred protesters staged demonstrations at the capital. Minority walkouts are somewhat common in the state, occurring as recently as 2005.[103] While Daniels supported the legislation, he believed the Republican lawmakers should drop the bill because it was not part of their election platform and deserved a period of public debate. Republicans subsequently dropped the bill, but the Democratic lawmakers still refused to return to the capital, demanding additional bills be tabled, including a bill to create a statewide school voucher program. Their refusal to return left the Indiana General Assembly unable to pass any legislation, until three of the twelve bills they objected to were dropped from the agenda on March 28. The minority subsequently returned to the statehouse to resume their duties.[103] Daniels was interviewed in February 2011 about the similar 2011 Wisconsin budget protests in Madison. While supporting the Wisconsin Republicans, he said that in Indiana "we're not in quite the same position or advocating quite the same things they are up in Madison."[104] Education [edit] Following the legislative walkouts, the assembly began passing most of the agenda and Daniels signed the bills into law. Written in collaboration with Indiana Superintendent of Public Instruction Tony Bennett, a series of education reform laws made a variety of major changes to statewide public schools. A statewide school voucher program was enacted. Children in homes with an income under $41,000 could receive vouchers equal to 90% of the cost of their public school tuition and use that money to attend a private school. It provides lesser benefits to households with income over $41,000. The program was gradually phased in over a three-year period and became available to all state residents by 2014.[102][105][106] Other funds were redirected to creating and expanding charter schools and expanding college scholarship programs. The law also created a merit pay system to give better performing teachers higher wages, gave broader authority to school superintendents to terminate the employment of teachers, and restricted the collective bargaining rights of teachers.[105] WGU Indiana was established through an executive order on June 14, 2010, by Daniels, as a partnership between the state and Western Governors University in an effort to expand access to higher education for Indiana residents and increase the percentage of the state's adult population with education beyond high school. Attempt to ban the teaching of Howard Zinn [edit] In July 2013, the Associated Press obtained emails under Indiana open record laws in which Daniels asked for assurances that a textbook, The People's History of the United States, written by historian Howard Zinn "is not in use anywhere in Indiana". Daniels wrote in 2010, "This crap should not be accepted for any credit by the state."[107][108][109][110][111] Daniels's e-mails were addressed to Scott Jenkins, his education adviser, and David Shane, a top fundraiser and state school board member. Daniels and his aides came to agreement and the governor wrote to them, "Go for it. Disqualify propaganda . ... " Part of Shane's input was that a statewide review "would force to daylight a lot of excrement".[109] Though Teresa Lubbers, the state commissioner of higher education, was mentioned in the e-mails regarding the statewide review of courses, she later said that she "was never asked to conduct the survey of courses described in the e-mail exchanges, and that her office did not conduct such a survey".[108] In one of the emails, Daniels expressed contempt for Zinn upon his death: This terrible anti-American academic has finally passed away ... The obits and commentaries mentioned his book, 'A People's History of the United States,' is the 'textbook of choice in high schools and colleges around the country.' It is a truly execrable, anti-factual piece of disinformation that misstates American history on every page. Can someone assure me that it is not in use anywhere in Indiana? If it is, how do we get rid of it before more young people are force-fed a totally false version of our history?[112] Three years later, in the wake of the revelations, 90 of Purdue's roughly 1,800 professors issued an open letter expressing their concern over Daniels's commitment to academic freedom.[113][114] Daniels responded by saying that if Zinn were alive and a member of the Purdue faculty, he would defend his free speech rights and right to publish.[115] In a letter responding to the professors, Daniels wrote, "In truth, my emails infringed on no one's academic freedom and proposed absolutely no censorship of any person or viewpoint."[107] In a separate and unrelated round of emails composed in 2009, Indiana education officials shared concerns with Daniels about the lobbying resources and activities of the Indiana Urban Schools Association. Daniels asked that the administration "examine cutting them out, at least of the [funding] 'surge' we are planning for the next couple yrs." The executive director of IUSA is Charles Little, an Indiana University-Purdue University Indianapolis professor of education, who had criticized him. It wasn't immediately clear if the audit went through.[107] Daniels said he had never heard of Charles Little.[116] In response to the controversy, Daniels's office issued a statement that included several quotes that had also appeared in an article published in Reason magazine by journalist Michael Moynihan.[117] as well as a quote from a Stanford University news release, leading to accusations of plagiarism. Daniels later revised his statement stating he "axed the words of a Stanford University professor who expressed irritation with being included in the original remarks" while also removing the quotes that appeared in the Reason article.[117][118] Economy [edit] Raising Hoosier incomes was a key focus of his tenure as governor.[119] Critics argue that during his administration Indiana's per capita income dropped from 33rd to 38th among states, growing slightly slower than the national average,[120] and the percentage of people living in poverty in Indiana rose from 10.2% to 14.9%.[citation needed] Supporters argue that economic progress was delayed by the Great Recession and when adjusted for Indiana's low cost of living, Hoosier incomes actually climbed following Daniels' leadership[121][122] and Indiana rebounded from the recession faster than the rest of the nation in job growth and consumer spending.[123][124] Main article: Indiana Economic Development Corporation Abortion [edit] On April 27, 2011, the Indiana legislature passed a bill authored by State Representative Eric Turner that prohibited taxpayer dollars from supporting organizations that performed abortions. The legislation also prohibited abortions for women more than 20 weeks pregnant, four weeks sooner than the previous law.[125] Although Daniels would later say he supported the bill from the outset, it was not part of his legislative agenda and he did not indicate whether he would sign or veto the law until after it passed the General Assembly.[126] Daniels signed the bill on May 10, 2011.[125] Critics claimed Daniels signed the bill with full knowledge that he was "courting an expensive and time-consuming lawsuit" and "would threaten federal funds", specifically "the loss of $4 billion that funds its Medicaid program". The Centers for Medicare and Medicaid Services wrote in response "Indiana can either rethink its new law, or violate the Medicaid statute. It can't do both."[127] Planned Parenthood and the ACLU subsequently brought a lawsuit against the state alleging it was being targeted unfairly, that the state law violated federal Medicaid laws, and that their Fourteenth Amendment rights were violated. A June 24 ruling prohibited the state from enforcing the law[128] and the court later ruled in favor of Planned Parenthood citing the "freedom of choice" provision. The State of Indiana appealed the ruling and the Seventh Circuit Court upheld the lower courts ruling in part.[129] Immigration [edit] On May 10, 2011, Daniels signed into law two immigration bills; one denying in-state tuition prices to illegal immigrants and another one imposing fines for employers that employed illegal immigrants. Several protestors, at least five of whom were illegal immigrants, were arrested while protesting the law at the statehouse when they broke into Daniels's office after being denied a meeting. Student leaders called for their release, while some state legislators called for their deportation.[130] State Democratic Party leaders accused Daniels and the Republicans of passing controversial legislation only to enhance Daniels's image so he could seek the presidency. Daniels, however, denied the charges, saying he would have enacted the same agenda years earlier had the then-Democratic majority permitted him to do so.[102] Budget cuts [edit] The state forecast continued revenue declines in 2010 that would result in a $1.7 billion budget shortfall if the state budget grew at its normal rate. Daniels submitted a two-year $27.5 billion spending plan to the General Assembly which would result in a $500 million surplus that would be used to rebuild the state reserve funds to $1 billion. He proposed a wide range of budget austerity measures, including employee furloughing, spending reductions, freezing state hiring, freezing state employee wages, and a host of administrative changes for state agencies. The state had already been gradually reducing its workforce by similar freezes, and by 2011, Indiana had the fewest state employees per capita of any state—a figure Daniels touted to say Indiana had the nation's smallest government.[131][132] Daniels backed the creation of additional toll roads, expanding on his 2006 overhaul of the Indiana Toll Road system (known as "Major Moves"), in an attempt to secure an additional source of revenue for the state. But opposition from within his own party led to the bill being withdrawn by its Republican sponsor, Sen. Tom Wyss, Daniels's only significant legislative defeat during the 2011 session.[106] The legislative walkouts delayed progress on the budget passage for nearly two months, but the House of Representatives was able to begin working on it in committee in April. The body made several alterations to the bill, including a reapportionment of education funding based more heavily on the number of students at a school, and removing some public school funding to finance the new voucher system and charter schools.[132] Energy [edit] Daniels announced in October 2006 that a substitute natural gas company intended to build a facility in southern Indiana that would produce pipeline quality substitute natural gas (SNG).[133] The lead investor was Leucadia National, which proposed a $2.6 billion plant in Rockport, Indiana. Under the terms of the deal endorsed by Daniels, the state would buy almost all the Rockport gas and resell it on the open market throughout the country. If the plant made money from the sale, excess profits would be split between Leucadia National's Indiana subsidiary, Indiana Gassification, and the state. If it lost money from the sale, then 100% of the losses would be passed onto Indiana consumers. Leucadia agreed to reimburse the state for any losses, up to $150 million over 30 years.[134] Gas from the plant would make up about 17 percent of the state's supply. Critics feared that if gas prices fell over the next 30 years, the costs of the lost profits would be passed onto the bills of residents after the $150 million guarantee by Leucadia was exhausted.[134] The deal also received criticism concerning government intrusion in the energy markets.[135] Questions were also raised because Leucadia National hired Mark Lubbers, a former aide and close friend of Daniels, to promote the deal.[136] The Daniels administration maintained that the plant would create jobs in an economically depressed part of the state and offer environmental benefits through an in-state energy source.[45] The project was ultimately rejected by the state legislature in 2013.[137] Right to Work [edit] Indiana became the first state in a decade to adopt Right to Work legislation.[138] Indiana is home to many manufacturing jobs. The Indiana Economic Development Corp. has reported that 90 firms said the new law was an important factor in deciding to move to Indiana.[139] Daniels signed the legislation on February 1, 2012, without much fanfare in the hopes of dispersing labor protesters before the Super Bowl in Indianapolis.[140] 2012 presidential speculation [edit] Although Daniels had claimed to be reluctant to seek higher office, many media outlets, including Politico, The Weekly Standard, Forbes, The Washington Post, CNN, The Economist, and The Indianapolis Star began to speculate that Daniels intended to seek the Republican nomination for president in 2012 after he joined the national debate on cap and trade legislation by penning a response in The Wall Street Journal to policies espoused by the Democratic-majority Congress and the White House in August 2010.[141][142] The speculation included Daniels's record of reforming government, reducing taxes, balancing the budget, and connecting with voters in Indiana.[143][144][145][146] Despite his signing into law of bills that toughened drug enforcement, regulated abortion, and a defense of marriage act, he angered some conservatives because of his call for a "truce" on social issues so the party could focus on fiscal issues.[citation needed] His "willingness to consider tax increases to rectify a budget deficit" was another source of contention.[147] In August 2010, The Economist praised Daniels's "reverence for restraint and efficacy" and concluded that "he is, in short, just the kind of man to relish fixing a broken state—or country."[141] Nick Gillespie of Reason called Daniels "a smart and effective leader who is a serious thinker about history, politics, and policy," and wrote that "Daniels, like former New Mexico Gov. Gary Johnson, is a Republican who knows how to govern and can do it well."[148] In February 2011, David Brooks of The New York Times described Daniels as the "Party's strongest [would be] candidate", predicting that he "couldn't match Obama in grace and elegance, but he could on substance."[149] On December 12, 2010, Daniels suggested in a local interview that he would decide on a White House run before May 2011.[150] Various groups and individuals pressured Daniels to run for office.[151] In response to early speculation, Daniels dismissed a presidential run in June 2009, saying "I've only ever run for or held one office. It's the last one I'm going to hold."[152] However, in February 2010 he told a Washington Post reporter that he was open to the idea of running in 2012.[153] On March 6, 2011, Daniels was the winner of an Oregon (Republican Party) straw poll. Daniels drew 29.33% of the vote, besting second place finisher Mitt Romney (22.66%) and third place finisher Sarah Palin (18.22%), and was the winner of a similar straw poll in the state of Washington.[154] On May 5, 2011, Daniels told an interviewer that he would announce "within weeks" his decision of whether or not to run for the Republican presidential nomination. He said he felt he was not prepared to debate on all the national issues, such as foreign policy, and needed time to better understand the issues and put together formal positions.[155] Later in May, as the Republican field began to resolve with announcements and withdrawals of other candidates, Time said, "Even setting aside his somewhat unusual family situation, Daniels would need to hurry to put together an organization" and raise enough money if he intended to run.[156] Daniels announced he would not seek the Republican nomination for the presidency on the night of May 21, 2011, via an email to the press, citing family constraints and the loss of privacy the family would experience should he become a candidate.[157] In 2021 it was alleged by Max Eden, who led the Draft Daniels Student Group which provided much of the pressure for Daniels to run, that potentially damaging information was being held by some members of the Jon Huntsman campaign, chiefly John Weaver, the political advisor of the Huntsman campaign, regarding Daniels's wife. Eden also stated that Weaver had contacted him about a "seat at the table" of the Huntsman campaign, and further went on to state that Huntsman, then a potential top candidate for the Republican nomination, was himself unaware of Weaver's actions. Eden stated that the potential backlash from Weaver's information was a large contributor to Daniels's decision not to seek the Republican nomination, among other privacy concerns.[158] 2016 presidential speculation [edit] In January 2014, the Republican National Committee sent an email to subscribers, asking them to pick their top three presidential choices. The poll included 32 potential candidates, including Daniels.[159] In March 2015, Fortune Magazine named Daniels No. 41 on its list of the world's 50 greatest leaders, generating a new round of calls for Daniels to consider his options in 2016. Daniels was the only American university president and one of two national political figures to make the global list.[160] President of Purdue University [edit] Controversy over Selection [edit] As Daniels' second term as governor neared an end, a search committee recommended Daniels to the Purdue University Board of Trustees as a candidate to become the university's 12th president. The committee was composed of 14 individuals: 5 members of the faculty, 3 administrators, 4 trustees, a student government leader and William Funk, the CEO of an executive search firm that has recruited hundreds of university presidents.[161] Daniels' selection had the "full endorsement of the search committee"[162] when on June 21, 2012, the Board unanimously elected Daniels to the position. As governor, Daniels had appointed eight of the ten board members and had reappointed the other two, which critics claimed was a conflict of interest. A state investigation released in October 2012 found that the circumstances did not violate the Indiana Code of Ethics.[163] Other critics of his selection pointed out that, unlike all previous Purdue presidents, he lacked experience in academia.[164] His term as president began upon completion of his term as governor in January 2013. In preparation for his term as President of Purdue University, Daniels stopped participating in partisan political activity during the 2012 election cycle and focused instead on issues related to higher education and fiscal matters. Stating his desire to avoid the financial cost of a formal inauguration, Daniels instead wrote an "Open Letter to the People of Purdue" in which he documented the challenges facing higher education and outlined his initial priorities such as affordability, academic excellence and academic freedom.[165] Daniels has continued this practice, opting to send Open Letters to the Purdue community instead of giving a formal State of the University speech, as is more common in higher education. Student interactions [edit] Daniels consistently argued that his top priority as president was students such as in 2020 when he said: "We are only here, all of us, because of students, and to imagine that that is not our driving priority is a serious confusion..."[166] Daniels worked out most days at the student gym and ate frequently with students in dining facilities and Greek houses.[167] In March 2013, he joined forces with a group of engineering students to create a viral music video promoting engineering and Purdue University. Within 24 hours, the video had received over 50,000 views.[168] Purdue home football games featured a segment entitled "Where's Mitch?", in which, the stadium video board showed the camera panning the crowd and eventually finding Daniels sitting among the fans, sometimes in the student section. Former Purdue presidents rarely left their suite in the press-box structure. In April 2019, Daniels received a T-shirt gun for his birthday that he used to shoot t-shirts with his printed picture into the student section during home basketball games.[169] At the Spring 2021 Commencement, Daniels rode into the Purdue Football Stadium on a couch car designed by Purdue students that was often spotted on campus during that academic year.[170] Purdue Polytechnic Indianapolis high school [edit] In 2015, Daniels announced plans to open the Purdue Polytechnic Indianapolis high school, designed to be a bridge for inner-city students to Purdue by admitting graduates directly to Purdue. Daniels described the high school as an attempt to increase the number of low-income, first-generation, and minority students who are prepared for Purdue.[171] Purdue now operates three such high schools but as of summer 2021, only one school had existed long enough to graduate a class of seniors. Of that class, forty students were admitted to Purdue for fall 2021, more than double the average of 15 who attend Purdue from Indianapolis Public Schools.[172] Racial equity and handling of racist incidents [edit] Daniels has been criticized by student groups and faculty for his unwillingness to take stronger stances on public displays of white supremacy on campus. In November 2016, posters appeared on campus with drawings of white people with sayings such as "We have a right to exist," and "Defending your people is a social duty, not an anti-social crime." Daniels called the posters, left by a racist organization, a "transparent effort to bait people into overreacting, thereby giving a minuscule fringe group attention it does not deserve, and that we decline to do." He also noted that the views of the organization behind the posters "are obviously inconsistent with the values and principles we believe in here at Purdue."[173] In January 2017, students staged a sit-in of Hovde Hall, where Daniels's office is located.[174] The occupation continued for 91 days. During that time, Daniels refused to meet the students.[174] In 2019, Daniels met with Purdue student government leaders to discuss a controversy surrounding a Purdue student who was unable to buy cold medicine when an off-campus CVS clerk did not accept his Puerto Rican driver's license as valid.[175] Following the scheduled meeting, Daniels had an impromptu 30-minute meeting with student activists who had various concerns about diversity at Purdue. At one point in the conversation, Daniels described his ongoing efforts to recruit an African American faculty member by calling the individual "one of the rarest creatures in America—a leading, I mean a really leading, African-American scholar".[176] The University Senate's Equity and Diversity Committee issued a statement calling Daniels's phrasing "problematic" stating, "The idea that there is a scarcity of leading African American scholars is simply not true".[176] In a New York Times op-ed, G. Gabrielle Starr, president of Pomona College, wrote, "In just a few sentences, Mr. Daniels seemed to question the possibility of sustained black excellence:.[177] Following the criticism, Daniels issued an apology. "I retract and apologize for a figure of speech I used in a recent impromptu dialogue with students ... The word in question was ill chosen and imprecise".[178] In June 2020, as the Black Lives Matter movement gained national momentum, Daniels endorsed the creation of a university system-wide task force to examine racial inequality in response to the murder of George Floyd and other incidents of racial injustice.[179] The task force resulted in the inclusion of racial equity as one of five goals in Purdue's $260 million strategic plan update.[180] As of May 2021, Daniels had helped Purdue raise $27 million for minority scholarship and recruitment efforts in that year, an increase of about 15% over the previous year.[181] Each fall, Daniels sends a message to the entire campus stating that "Racism, anti-Semitism, bigotry, and violence ... are the antithesis of [our] values and have no place on our campus." The message also states that the university will "protect and promote the right to free and open inquiry".[182] As president, Daniels has made the defense of free expression a priority by becoming the first public institution to adopt the Chicago principles for free speech and inquiry and one of roughly two dozen universities to receive the highest rating from the Foundation for Individual Rights in Education.[183] Tuition freezes and cost reductions [edit] Tuition at Purdue, prior to Daniels' arrival, had increased every year since 1976.[184] Two months after Daniels assumed his role as president, Purdue announced it would freeze tuition for two years, eventually extending the freeze for ten years, through 2023. As a result, multiple graduating classes will leave Purdue having never experienced a tuition increase. Annual student borrowing is down a third and the Purdue loan default rate is 2.2% versus 7.1% for the average borrower from a four-year public university and 5.1% for Purdue borrowers prior to the tuition freeze. The university claims that students and families will have saved over a billion dollars over the course of the ten years.[185] No student fees[186][187] have been approved since the tuition freeze was enacted, although a mandatory student wellness fee that students lobbied for prior to Daniels' arrival at Purdue was allowed to take effect[188] but was later reduced under Daniels' direction.[189] The total cost of attending Purdue has fallen since Daniels assumed Purdue's presidency. However, revenue per student increased modestly despite the freeze, partially because the number of foreign and out-of-state students increased, most significantly among graduate students.[190] Daniels announced the first tuition freeze before the state had determined Purdue's funding for the next biennium. Amidst questions about the timing, Daniels argued that he didn't need to wait because "it doesn't matter what the General Assembly does. This is the right thing to do and we are going to do it"[191] The first tuition freeze required the university to find $40 million in savings or new revenue. In order to make up for the lost revenue from tuition freezes, Daniels and the Purdue Board of Trustees[192] focused on finding operating efficiencies such as consolidating information technology data centers, investing cash reserves, and switching to a consumer-driven health plan for employees.[193] Daniels also reduced meal plan rates for students by 10 percent, froze housing costs, and cut the university's cooperative education fees which had previously increased every year.[194][195] Due to the adjustments, the average cost of room and board at Purdue declined from the second most expensive to the most affordable in the Big Ten.[196] In fall 2014, Daniels announced a deal with Amazon to save students on textbooks and provide students, faculty and staff with free one day shipping to locations on campus.[197] The partnership was ended by Amazon in 2018 but the on campus stores remain in place.[198] Purdue Moves initiatives [edit] In September 2013, Daniels announced the first major priorities of his administration, known as "Purdue Moves".[199] The plan continued Daniels' focus on affordability but also called for new investments[200] such as the hiring of 165 new faculty in STEM disciplines, expansion of flipped classrooms, growing summer enrollment, investments in plant science and drug discovery research, and the creation of competency-based degree[201] programs and some three-year degree options. The Purdue Moves also emphasized commercialization of research. Under Daniels' leadership, Purdue increased the number of affiliated start-up companies by more than 400 percent and broke the university record for patents.[202] In 2021, Daniels announced an expansion of the original moves called "Next Moves".[203] Response to COVID-19 [edit] Daniels announced in April 2020 that Purdue intended to welcome students back on campus in the fall, becoming one of the earliest university leaders to do so, saying it would be an "unacceptable breach of duty" to not reopen. Daniels released a plan called Protect Purdue that was designed to protect the most vulnerable of Purdue's campus from the disease by relying on masking, contact tracing, facility modifications, and a student pledge.[204] Some faculty objected to Daniels efforts to reopen while others worked with the administration, lending their expertise to craft the plan.[205] In May 2020, while on CNN, Daniels dismissed the criticisms of a tenured engineering education professor, saying she represented a "very tiny minority view" ... "Frankly, not from the most scientifically-credible corner of our very STEM-based campus".[206] The American Society for Engineering Education responded to the remarks[207] asking Daniels if he "meant to cast doubt on the academic integrity of Dr. Pawley", "cast doubt on the value of the School of Engineering Education, the first such department in the nation, recognized internationally", or "to cast aspersions on the entire College of Engineering and its globally recognized research, innovative instruction, and respected faculty and alumni". Throughout the 2020–21 academic year, Daniels and Purdue claimed that Purdue offered as much in-person instruction as any university its size. The university conducted 212,456 COVID tests and had 6,158 positive tests among employees and students with 99% having no worse than moderate symptoms but 14 being hospitalized.[208] Acquisition of Kaplan and launch of Purdue Global [edit] In 2017, Daniels and the Purdue Board of Trustees announced the intention to acquire Kaplan University for the purpose of transforming it into an online, self-sustaining, public benefit corporation, now rebranded as Purdue University Global. The acquisition has been met with both considerable praise and significant criticism. Among those who expressed favor before the deal closed included Barack Obama's Secretary of Education Arne Duncan and Ted Mitchell who led Obama's crackdown on for-profit universities. Among the critics of the acquisition were Purdue faculty. At the time, the Purdue University Senate called the deal a "violation of common-sense educational practice". During the acquisition Purdue Faculty senate responded by established a Select Committee to provide oversight for the new entity. Shortly after the intended acquisition was announced, 319 signed a petition opposing the deal citing numerous concerns, including, "Purdue University is not creating new access to higher education but merely becoming the owner of a preexisting corporation, with some danger to Purdue's current reputation and operation" and "The business model of Kaplan University rests upon adult learners and is completely dependent on the federal loans that most are required to take to fund their educations." In May 2017, the Purdue University Senate passed a resolution condemning the deal between Kaplan Higher Education and Purdue University. In September 2017, Senators Dick Durbin(D-IL) and Sherrod Brown (D-OH) warned that Purdue's acquisition of Kaplan University posed major risks for Purdue University's students and reputation. They added that Kaplan has a "shameful record" as a "predatory" school.[209] While leaders of the university senate have continued to object to the manner in which Purdue Global was acquired, the current chair of the senate has been quoted saying she is "giving Purdue Global the benefit of the doubt" and sees Global as an extension of Purdue's land grant mission "without spending $50 million building a new building to house students 10 years from now." The co-chair of the Select Committee on Global said in January 2020, "it's more a wait-and-see kind of thing". The American Association of University Professors criticized PG's (now former) arbitration requirement for students calling the policy "the stuff of predatory for-profit colleges, not a leading public research institution". In September 2018, Senators Durbin and Brown called for Purdue to get rid of that policy, which came from the Kaplan rulebook. Robert Shireman, a former deputy undersecretary at the U.S. Department of Education, also criticized the move saying the colleges merely claimed nonprofit status while continuing to enrich Kaplan, Inc., company officials. Purdue University Global [edit] In 2019, Purdue Global had lost $61 million dollars from operations. In February 2020, Graham Holdings reported that Purdue University Global owed Kaplan, Inc. $68.4 million for services and deferred fees, and $18.6 million for an advance from the Kaplan University transaction.[210] In the first few years of operation, Purdue Global invested significantly in marketing, leading to signifiant financial losses.[211] The details of the acquisition agreement meant Purdue Global was insulated from the losses, and even profited while the shortfalls were shifted to Kaplan, Inc.[212] Financial results from 2021 show, Purdue Global's operating revenues exceeded operating costs for the first time that year, however, from a cumulative perspective Purdue Global has accumulated $43 million in losses due to past years' performance.[213] Purdue Global enrollment has grown since 2018 while other "Global" style campuses have remained flat or declined.[214] Critics have noted that if, or when, Purdue Global produces an operating profit that any operating gains from Purdue Global will be paid to Kaplan Higher Education until all losses are paid.[211] Compensation [edit] When Daniels was hired by Purdue, he requested that his salary be less than his predecessor's, however he's accepted compensation at more than twice the levels of the previous President, including 103% of performance pay in 2019, and his raise increases far exceed those offered to Purdue faculty and staff. In 2013, Daniels' base salary of $420,000 was $135,000 less than the prior president's salary. Under the initial contract, his salary could grow to a maximum of $546,000 based on the results of a performance-bonus system—at the time this was less than his predecessor and the third lowest in the 14-member Big Ten, however since that time his salary has increased more than 200% to $902,207.[215] Between 2014 and 2019, Daniels's total compensation rose sharply, and now ranks fourth among Big Ten presidents.[216] His total compensation was $533,400 In 2015, $721,600 in 2016, $769,500 in 2017, $830,000 in 2018, and $902,207 in 2019 inclusive of 103% of his at-risk pay, and a $250,000 retention bonus.[216] End of Presidency [edit] Daniels was replaced by Dr. Mung Chiang as President of Purdue University effective January 1, 2023.[217] As Daniels left Purdue, he openly explored a run for the U.S. Senate but ultimately declined, saying in a statement, "it's just not the job for me, not the town for me, and not the life I want to live at this point ... some people seek public office to be something, others to do something. My one tour of duty in elected office involved, like those in business before and academe after it, an action job, with at least the chance to do useful things every day. I have never imagined that I would be well-suited to legislative office, particularly where seniority remains a significant factor in one's effectiveness, and I saw nothing in my recent explorations that altered that view."[218][219] One month after Daniels's departure from Purdue, the university's trustees named the business school the Mitchell E. Daniels, Jr. School of Business. The trustees had previously announced that State Street, a major campus corridor Daniels renovated, would be named Mitch Daniels Boulevard.[220] That announcement was made at street festival in which hundreds waited to greet Daniels and bid him farewell.[221] Board service [edit] In February 2013, Daniels was asked to co-chair a National Research Council committee to review and make recommendations on the future of the U.S. human spaceflight program. Daniels also co-chairs a Council on Foreign Relations Task Force on NonCommunicable diseases.[222] In March 2013, Daniels was elected to the board of Energy Systems Network (ESN), Indiana's industry-driven clean technology initiative. In June 2015, Daniels was elected to serve on the board of directors for Indiana software company Interactive Intelligence (ININ) until its sale to Genesys.[223] In July 2015, Daniels became a co-chair of the Committee for a Responsible Federal Budget.[224] In November 2016, Daniels was elected to serve on the board of directors for Norfolk Southern Corporation.[225] Daniels serves as a founding board member for National Resilience, a biotechnology company launched in November 2020.[226][227][228] Electoral history [edit] Indiana gubernatorial election, 2004 Party Candidate Votes % Indiana gubernatorial election, 2008 Party Candidate Votes % Authorship [edit] Daniels, Mitch (2023), Boiler Up: A University President in the Public Square, Purdue University Press, ISBN 978-1612499369 Daniels, Mitch (2012), Aiming Higher: Words That Changed a State, IBJ Book Publishing, ISBN 978-1934922866 Daniels, Mitch (2011), Keeping the Republic: Saving America by Trusting Americans, Sentinel, ISBN 978-1595230805 Daniels, Mitch (2004), Notes from the Road: 16 months of towns, tales and tenderloins, Mitch Daniels Transition Team, ISBN 978-0976602606 Honors [edit] Woodrow Wilson Award, Princeton University (2013)[229] Order of the Rising Sun, 2nd Class, Gold and Silver Star (2017) See also [edit] List of governors of Indiana References [edit] Gugin, Linda C.; St. Clair, James E, eds. (2006). The Governors of Indiana. Indianapolis, Indiana: Indiana Historical Society Press. ISBN 0871951967. Purdue University President Mitch Daniels Purdue University site Appearances on C-SPAN
7770	dbpedia	1	15	https://indianapublicmedia.org/stateimpact/topic/mitch-daniels/	en	From Governor To President (Of Purdue, That Is): Mitch Daniels	https://indianapublicmed…eup1-150x150.jpg	https://indianapublicmed…eup1-150x150.jpg	[ "https://indianapublicmedia.org/stateimpact/files/2012/01/DanielsCloseup1-150x150.jpg", "https://indianapublicmedia.org/stateimpact/files/2012/01/DanielsCloseup-300x266.jpg", "https://indianapublicmedia.org/images/common/authors/346.jpg" ]	[]	[]	[ "" ]	null	[]	null	As the 49th governor of Indiana, Mitch Daniels has backed a statewide voucher system, merit pay for teachers and the expansion of charter schools since taking office in 2005. His Commission	en	https://indianapublicmed…/img/favicon.png	StateImpact StateImpact Indiana	https://stateimpact.npr.org/indiana/topic/mitch-daniels/	Background Tweet As the 49th governor of Indiana, Mitch Daniels has backed a statewide voucher system, merit pay for teachers and the expansion of charter schools since taking office in 2005. His Commission on Local Government Reform issued the Kernan-Shepard report, which advocated the streamlining of local government, including school consolidation. The Republican governor has worked closely with former state schools chiefÂ Tony Bennett to implement the educational priorities of the executive office. Now heâs headed to Purdue University, where he took the helm after being term-limited out of office in January 2013. Speculation that Daniels might be the frontrunner to succeed France CÃ³rdova as president of the university began in spring 2012, though the governor remained tight-lipped. Itâs an interesting career move for Daniels, who has said Indiana students need more career and technical training. Heâs advocated for alternatives to four-year universities and appeared in commercials for the online Western Governors University. (Daniels attended Princeton and Georgetown universities.) Heâs also asked the legislature to cut the number of hours it takes to earn some degrees.
7770	dbpedia	0	9	https://www.arabamerica.com/arabamericans/mitchell-daniels/	en	Mitchell Daniels	https://i0.wp.com/www.ar…=140%2C172&ssl=1	https://i0.wp.com/www.ar…=140%2C172&ssl=1	[ "https://www.arabamerica.com/wp-content/themes/arabamerica/assets/img/logo.png", "https://www.arabamerica.com/wp-content/themes/arabamerica/assets/img/logo-big.png", "https://www.arabamerica.com/wp-content/uploads/2014/12/gluten-free-turkish-takeaway-falafel-228x155.jpg", "https://www.arabamerica.com/wp-content/plugins/wp-polls/images/loading.gif", "https://www.arabamerica.com/wp-content/uploads/2015/06/Mitchell-Daniels.jpg", "http://upload.wikimedia.org/wikipedia/commons/thumb/9/94/Mitch_Daniels.jpg/340px-Mitch_Daniels.jpg", "http://upload.wikimedia.org/wikipedia/commons/thumb/e/ea/Mitch_Daniels_during_Indianapolis_Navy_Week_Aug_2006.jpg/340px-Mitch_Daniels_during_Indianapolis_Navy_Week_Aug_2006.jpg", "http://upload.wikimedia.org/wikipedia/commons/thumb/5/5f/Entrance_to_the_office_of_the_Governor_of_Indiana%2C_Indiana_Statehouse%2C_Indianapolis%2C_Indiana.jpg/440px-Entrance_to_the_office_of_the_Governor_of_Indiana%2C_Indiana_Statehouse%2C_Indianapolis%2C_Indiana.jpg", "http://upload.wikimedia.org/wikipedia/commons/thumb/8/8d/Indiana_National_Guard.jpg/440px-Indiana_National_Guard.jpg", "http://upload.wikimedia.org/wikipedia/commons/thumb/f/fe/StateCapitolIndiana.jpg/440px-StateCapitolIndiana.jpg" ]	[]	[]	[ "" ]	null	[]	2015-06-02T20:03:14+00:00	Mitchell Daniels: Arab American academic administrator and former politician who was Governor of Indiana from 05' to 13'. A member of the Republican Party.	en	https://www.arabamerica.com/wp-content/themes/arabamerica/assets/img/favicon.ico	Arab America	https://www.arabamerica.com/arabamericans/mitchell-daniels/
7770	dbpedia	2	83	https://www.newsweek.com/why-gop-should-listen-mitch-daniels-72201	en	Why the GOP Should Listen to Mitch Daniels	https://d.newsweek.com/e…ll-fe01-wide.jpg	https://d.newsweek.com/e…ll-fe01-wide.jpg	[ "https://g.newsweek.com/www/images/newsweek-desktop-tablet.svg", "https://d.newsweek.com/en/full/59591/mmconnell-fe01-wide.jpg", "https://d.newsweek.com/en/full/59593/predicting-gop-2012-presidential-nominee-photos-frontrunners.jpg?w=1200&f=efd207f1c316e4ae17c996389d4c98dd", "https://d.newsweek.com/en/full/2369935/mark-r-weaver-bw.png?w=80&h=80&f=8259d5f8586e22bb097c23f728c725e4", "https://d.newsweek.com/en/full/2449266/jeff-clements.png?w=80&h=80&f=3e68d7553cfab031f147fa612d468e42", "https://g.newsweek.com/www/images/newsletter-white.svg", "https://d.newsweek.com/en/full/2280621/subscription-newsweek-premium.png", "https://d.newsweek.com/en/full/2222596/subscription-digital.png", "https://d.newsweek.com/en/full/2452122/jd-vance-tim-walz.png", "https://d.newsweek.com/en/full/2452159/trump-supporters-bedminster.jpg", "https://d.newsweek.com/en/full/2452143/super-blue-moon.jpg", "https://d.newsweek.com/en/full/2451781/ernesto-hurricane-tracker.png", "https://g.newsweek.com/img/footer/NW-LOGO-001.svg", "https://g.newsweek.com/img/footer/linkedin.svg", "https://g.newsweek.com/img/footer/instagram.svg", "https://g.newsweek.com/www/images/twitter-icon-white.svg", "https://g.newsweek.com/img/footer/facebook.svg", "https://d.newsweek.com/en/full/2443047/cover-august-16-23-2024.jpg?w=400&f=58a090a65411b186a00e386fe33eab38" ]	[]	[]	[ "" ]	null	[ "Andrew Romano" ]	2010-09-10T01:00:00-04:00	Indiana Gov. Mitch Daniels is small, stiff, and unimposing, so why is he attracting legions of fans? Hint: it's not the motorcycle.	en	https://g.newsweek.com/t…e-touch-icon.png	Newsweek	https://www.newsweek.com/why-gop-should-listen-mitch-daniels-72201	It's lunchtime at frontier Elementary School in Brookston, Ind., and Gov. Mitch Daniels, who's spent the past two hours leading a charity motorcycle ride through the cornfields of central Indiana, has decided, along with 500 of his burliest friends, to park his Harley and grab some food. In the cafeteria, groups of tattooed men in leather vests, skull bandannas, and sleeveless denim jackets mill about, nibbling on limp turkey sandwiches. But Dennis Tyger, a 42-year-old auto repairman with a thick goatee and an impish grin, is too busy plotting his next move to eat. "So I should do it, right?" he asks his tablemates. They nod. Seconds later, Daniels enters the room. "Here comes our next United States president!" Tyger shouts. At first, Daniels flinches. Ever since telling The Washington Post in February that he "would stay open to the idea" of challenging Barack Obama in 2012, he has had to insist, often several times a day, that he doesn't actually intend to run. His ambivalence seems genuine. "You've seen my schedule," he tells me later, in his broad Midwestern drawl. "I'm not going to Iowa; I'm not going to New Hampshire. I'm turning down every offer." But when the rest of the crowd roars with applause, Daniels can't help but smile. "Listen to that," Tyger says, shaking his head. "I can see him in the White House already." If you've heard anything about Indiana's very slight, very balding, very unimposing governor—and that's a big if—it's probably just the opposite: that he couldn't possibly win the 2012 Republican presidential nomination, and that even if he did, his chances of defeating Obama in the general election would be close to nil. The reasons, they say, are many. At 5 feet 7 (in boots), Daniels is shorter than Obama's 12-year-old daughter, Malia. His rather uninspiring demeanor—reticent, stiff, and slightly skittish, with darting eyes and long blanks between words—better suits a former director of the Office of Management and Budget, which he happens to be, than a leader of the free world. And his comb-over is borderline delusional. As conservative journalist Andrew Ferguson recently put it, "I see [Daniels] as he strides toward the middle of the stage to shake hands with Obama before the first debate and comes up to the president's navel. Election over." But while the wags in Washington dismiss him, and while Daniels himself has yet to display any real desire for Obama's job, something unusual seems to be happening, both in Indiana and elsewhere: the Tygers of the world are getting louder. In February, New York Times columnist Ross Douthat dubbed Daniels "America's best governor," and fellow conservatives like Reihan Salam and Yuval Levin—writers who have long insisted that Republicans should avoid the pitfalls of Palin populism as they recalibrate for the 21st century—are equally enthusiastic. "Though it is far too early to know what the world will look like in 2012," Salam has opined, "I can't help but think that a common-sense conservative like Daniels would be the perfect match for Obama." Part of the reason Daniels is attracting Republican interest is that his record of competence and fiscal restraint represents a refreshing change of pace from George W. Bush's big-government conservatism. After five years in the statehouse, admirers point out, Daniels has managed to lower property taxes by an average of 30 percent; transform a $200 million budget deficit into a $1.3 billion surplus; and insure 45,000 low-income Hoosiers through a budget-neutral combination of health savings accounts and catastrophic coverage. His approval ratings routinely top 65 percent. The real force behind the Daniels boomlet, however, is timing. For the past two years, Republicans have defined themselves by opposing both Obama's progressivism and Bush's profligacy; the GOP has said no to the stimulus package, no to health-insurance reform, and no to the mounting national debt, without providing much in the way of a positive vision. Such an omission is acceptable, even advantageous, for a party clawing its way back to power in angsty times. But after November, the GOP may control one (or even both) chambers of Congress, and its candidates will begin jockeying for 2012. At that point, Republicans will have to explain how they intend to translate a pleasant-sounding philosophy of spending cuts and lower taxes into a tangible set of policies equal to the country's current challenges. Fans say that's precisely what Daniels has done in Indiana. Over the summer, I traveled to Indianapolis to see for myself who was right: the Beltway naysayers or the wonky boosters. What I found is that neither camp quite has Daniels pegged. The governor's press office had invited me on a daylong trip that was clearly designed to highlight the most flattering aspects of Daniels's record. Even through the promotional haze, I saw something valuable in the governor's approach to politics. His brand of reality-based conservatism might not propel him to the presidency in 2012. But eventually it could provide the GOP with something it desperately needs (and currently lacks): a convincing model of post-Reagan, post-Dubya, post-Obama governance. Washington Republicans tend to talk about fiscal discipline when they're out of power, then abandon it when they take over. Daniels never stops pinching pennies. The political advantages of this approach are apparent the moment the governor strides into the Muncie convention center for a breakfast with local business leaders. Outside, it's pouring rain; inside, the smiles couldn't be sunnier. While Daniels's first post-Princeton jobs were overtly political—he spent a dozen years as a top aide to Indiana Sen. Richard Lugar, and another couple as Ronald Reagan's political director—the rest have revolved around dollars and cents: president and CEO of a conservative think tank (the Hudson Institute), top executive at a pharmaceutical firm (Eli Lilly), and OMB boss under Bush. Daniels cut costs in each role, and relished the incisions; he is the kind of fiscal conservative who once fished quarters out of a toilet to pay for beer and still hunts down every golf ball that swerves into the woods. An associate described him as "viscerally parsimonious" in The Washington Monthly. Bush nicknamed him "The Blade." The Blade didn't always make the sharpest fiscal decisions. In 2001, for example, Daniels was one of the main designers and defenders of Bush's $1.35 trillion tax cut. At the time, a reporter asked if the tab—five times the leftover Clinton surplus—was too high. His response? Actually, "it might prove to have been too little." Two years later, the country was in a recession, the surplus was spent, and Daniels was forecasting budget deficits for the rest of the decade. In The Price of Loyalty, Ron Suskind portrays Daniels as a tightwad who "express[es] what others are thinking but won't say" about Bush's fuzzy budget math, but nonetheless doubles back when he gets "an arched brow from Cheney or Rove." That eagerness to please may have enabled his worst misstep: lowering the administration's official estimate of the cost of the Iraq War from as much as $200 billion to $50 billion to $60 billion. (Current cost: $746 billion.) When I asked about the disparity, Daniels snapped that he was "only asked to estimate" the expense of a successful "six-month conflict." Still, carrying water for a disastrous policy is nothing to brag about. Since leaving Washington in 2003, however, Daniels has returned to his skinflint roots, proving that even the most blemished Bushie can redeem himself for the austere age ahead. Exhibit A: Indiana. Onstage in Muncie, the governor promotes his fiscal stewardship with a PowerPoint presentation called "Fighting the Recession to Win." His slides tell a compelling story. Since 2005, Daniels has slashed Indiana's budget by $440 million and more than halved its rate of spending growth, and it's possible to imagine him promising caucusgoers in Dubuque that he'll "fix America's finances" like he "fixed Indiana's." Unlike the rest of the Rust Belt, the state is still in the black. But in his Toyota SUV after the event, the governor freely admits that "most of what we've done here"—reusing the paper clips from residents' tax forms; narrowing the typeface on government documents to save on printing—"wouldn't make much difference on the national level." It's a welcome confession. For decades, Republicans have railed against deficits and debt, but they've been too afraid of voter backlash to venture beyond marginal measures ("wasteful spending"). Daniels didn't get the memo. Let's raise the retirement age, he says. Let's reduce Social Security for the rich. And let's reconsider our military commitments, too. When I ask about taxes—in 2005 Daniels proposed a hike on the $100,000-plus crowd, which his own party promptly torpedoed—he refuses to revert to Republican talking points. "At some stage there could well be a tax increase," he says with a sigh. "They say we can't have grown-up conversations anymore. I think we can." As the rain subsides, a state trooper steers the SUV toward a pair of events that (rather conveniently) touch on the Republican Party's other top priorities: creating jobs and downsizing government. While national leaders continue to push lower taxes as the solution to every problem—never mind that Bush, the last tax cutter in chief, expanded the federal budget by 50 percent and failed to net a single new job during his two terms—Daniels has adopted a more nuanced approach. In 2005 the governor created a partially private economic-development corporation to attract new jobs to the state "at the speed of business, not the speed of government"; the next year, he leased Indiana's underperforming toll road to a Spanish-Australian consortium for $3.8 billion. Populists balked at the privatization spree—forking over the toll road to foreigners was particularly unpopular—and Daniels's approval ratings dipped below 40 percent. But today, it's clear that both decisions are paying off. Pulling up on the shoulder of the newly paved and widened State Road 14 in Allen County, Daniels grabs a pair of scissors and heads for the nearest ribbon. It's a familiar drill. Over the last four years, the proceeds from the toll-road deal have unclogged a massive backlog of projects and funded hundreds of new proposals without increasing taxes or adding to the debt. "Michigan is grinding roads back into gravel," Daniels tells the crowd. "Meanwhile, we're in a building boom." The governor is even more gleeful at his next stop, in Huntington, where an auto-body manufacturer named Continental Structural Plastics has recently relocated from Ohio (and promised to create 350 new jobs). "No red tape, plus the right tax incentives," says CSP vice president Thomas Hilborn. "We looked elsewhere, and Indiana was the best." So far, Hilborn's peers seem to agree: the Hoosier State now leads the nation in private-sector job growth and was recently voted the country's sixth-"friendliest" climate for business. The governor's corporate approach isn't a cure-all. His 2007 decision to outsource the state's welfare enrollment program to IBM for $1.3 billion and replace in-person facilities with call centers was a painful reminder of the limits of privatization; Hoosiers who missed welfare appointments because they were hospitalized with terminal cancer lost their Medicaid benefits. (To his credit, Daniels admitted his mistake, nixed the deal, and sued IBM.) Local reports allege that as many as 40 percent of the 100,000 new job commitments Daniels claims to have won since 2005 have yet to materialize, and at 10.2 percent, Indiana's unemployment rate is still higher than the national average. Liberals bemoan the effect of budget cuts and deregulation on education and the environment. And lately the Democratic National Committee has taken to accusing the governor of political opportunism for appearing on Fox News to blast a bill that provides states (and not the private sector) with $26 billion in additional stimulus money—the same sum, incidentally, that Daniels and 46 other governors joined together earlier this year to request. But Daniels's decision to "conduct government like a business" has one major virtue: it forces him to rely on results instead of ideology. As we drive to the Miami Correctional Facility, the governor points out that many of his key policy initiatives—instituting a "pay for performance" scheme for state employees, doubling the number of child-welfare caseworkers—defy tidy partisan labels. He even spends 10 minutes telling me how he "never use[s] the word 'conservative' " to describe himself. At first, this sounds like shtik; politicians love to claim they're above the fray. But his prison remarks—words of encouragement to recent graduates of a faith-based inmate rehab program—actually reinforce his point. Where a typical Republican might gorge on Bible quotes, Daniels praises the prisoners without referencing religion. This isn't an oversight. In June, Daniels, a devout, pro-life Christian who believes that "atheism leads to brutality," told The Weekly Standard that the next president will "have to call a truce on the so-called social issues" until the nation's economic problems are resolved; now he's walking the walk. Try to imagine Sarah Palin doing the same. Despite the divisive din of our politics, there are signs that the country is moving in Daniels's direction. Frugality is back in fashion; culture warriors are aging; the Iraq generation has soured on limitless defense spending. Still, it's unlikely that senior citizens and social conservatives—the GOP's key constituencies—are longing for a governing philosophy that sees Medicare reform as a "survival issue" and gay marriage as a sideshow. In fact, even Daniels's staunchest fans, Hoosiers, might resist a national version of Danielsism at this point. The last stop of the day is at Highland Park in Kokomo: a campaign event for an aspiring state representative. As Daniels arrives, I spot John Penner, 79, waiting to shake hands with "the next president." Penner has nothing but praise for the "down-to-earth" Daniels, and nothing but criticism for Washington, where legislators lard bills with "tunnels for turtles." But when I suggest that to really rein in spending we'll have to cut Medicare, he balks. "My wife is sick, and I can barely pay the bills," he says. "So no, I don't think so. Not a good idea." Unfortunately for Daniels, trimming Medicare is his idea, not mine—and like the rest of his philosophy, it will probably remain that way for now. Soon enough, however, Republicans may actually be asked to govern like grown-ups. They could do worse than to look to Indiana for inspiration—if nothing else.
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]	null	[]	null		en	./assets/favicon.svg		https://purdueforlife.shorthandstories.com/daniels-decade/	THE DANIELS DECADE When Mitch Daniels answered the call to become Purdue Universityâs 12th president in 2012, he embraced the institutionâs history with optimism for its untapped potential. âI will come to this assignment filled with appreciation for the Purdue we know and excitement for the still greater Purdue that can be,â he said. âHelping this great institution achieve even higher levels of research and intellectual excellence by recruiting the finest minds and students anywhere in the worldâand delivering to those students an exceptional, affordable educationâis the highest calling to which anyone who loves this state as I do could aspire.â Here, we take a look back at the levels of excellence Purdue has reached during Danielsâs presidency. STUDENTS Purdue has increased access to higher education and set a new standard through teaching methods and campus experiences proven to prepare students for successful careers and fulfilling lives. AFFORDABLE, ACCESSIBLE EDUCATION Upon arriving at Purdue in January 2013 following two terms as Indianaâs governor, Daniels made affordability and accessibility an administrative priority. Under his leadership, the university froze tuition 11 consecutive years, saving students and their families over $1 billion. The cost to attend Purdue today is less than it was a decade ago, and a majority of students now graduate debt free. New university initiativesâincluding Purdue Global, Purdue Polytechnic High Schools, and Degree in 3âhave increased access to a Purdue education for students of diverse backgrounds. Private gifts for scholarships, fellowships, and programming have also made an impact. In 2012â13, Purdue raised $32 million for student support. In 2021â22, it raised $150 million. ENROLLMENT AND FACULTY GROWTH Discussing student enrollment in 2015, Daniels said, âWe shouldnât seek to be known by how many we turn down but by how many we turn out.â Guided by this vision, Purdue has experienced record enrollments over the past eight academic years. An all-time high 50,884 students began fall classes in 2022, including a record 37,949 undergraduates. To accommodate these gains, Purdue has expanded its faculty annually, welcoming a record 213 new faculty in the fall of 2022. Faculty retention has also increased during Danielsâs presidency. The four-year retention rate for new professors hired in 2012 was 79.1%; for those joining Purdue in 2017, the four-year retention rate was 95.3%. CAMPUS EVOLUTION In the last decade, Purdue has focused investments on teaching, research, and collaborative spaces; prioritized strategic renovations; enhanced open space connectivity and campus circulation; and strengthened the campus identity and gateways. New Facilities and Enhancements As enrollment continued to grow, the West Lafayette campus underwent several high-profile building projects with 11 new or expanded facilities during Danielsâs presidency. Recent construction includes the Gateway Complex: Dudley and Lambertus Halls; Chaney-Hale Hall of Science; the Agricultural and Biological Engineering Building; the David and Bonnie Brunner Purdue Veterinary Medical Hospital Complex; and Hagle Hall, a new home for Purdue Bands & Orchestras. Item 1 of 5 Daniels championed the growth of the Discovery Park District at Purdue, a $1 billion mixed-use development embedded into the fabric of campus. The districtâs growth helped West Lafayette receive the No. 1 ranking in SmartAssetâs list of the best places for career opportunities. Read more about Discovery Park in this issueâs âLive. Work. Play.â story Beyond facilities, a $1 million renovation of Third Street created a safer pedestrian-friendly corridor between the campusâs student residences and north academic areas. Students, faculty, and staff can now use Third Streetâs bicycle paths and walkways, which are adorned with colorful surface designs representing iconic campus symbols. A DECADE OF HIGH-IMPACT INITIATIVES Key initiatives introduced over the past 10 years raised the universityâs profile. Several reinforced Danielsâs focus on affordability and accessibility. PURDUE GLOBAL In 2018, the university unveiled its online public university geared toward working adults: Purdue Global. Made possible through the acquisition of Kaplan University, the enterprise tailors education to the needs of adults who have work or life experience beyond the classroom. With 175 programs of study, Purdue Global gives students flexibility to complete classes on their schedules. Of the 32,500 students currently enrolled, 58% are over the age of 30. A New Era for IUPUI Purdue and Indiana University took initial steps in 2022 to transform IUPUIâa joint venture in Indianapolis between the two entitiesâinto separate academic organizations with their own governance. This new arrangement will expand research activity and enhance funding opportunities for research partnerships, including the creation of a joint biosciences engineering institute. Purdue Polytechnic High Schools Daniels announced plans for a network of tuition-free Purdue Polytechnic High Schools (PPHS) in 2016. This joint venture between the university and Indianapolis Public Schools serves low-income students and students of color, preparing them for future success through STEM-focused project-based learning. The schools also provide a pipeline of qualified undergraduates to Purdue. The initial PPHS location opened in 2017 and celebrated its first graduating class in 2021. Two Indianapolis locations and a third site in South Bend currently serve more than 1,000 students; a fourth location is in development. Purdue Moves and Next Moves The university advanced the ambitious Purdue Moves agenda in 2013. Designed to place Purdue among the worldâs top research and teaching institutions, the strategic plan complemented Danielsâs commitment to âdeliver higher education at the highest proven value.â Purdue Moves included five pillars: Affordability and Accessibility; World-Changing Research; STEM Leadership; Transformative Education; and Online Education. Launched in 2021, Purdueâs Next Moves initiatives are helping to strengthen the universityâs competitive advantage through five new pillars: Plant Sciences 2.0; National Security and Technology; Purdue Applied Research Institute (PARI); Transformative Education 2.0; and Equity Task Force. Degree in 3 As part of Purdue Moves: Transformative Education, Degree in 3 allows students to complete an undergraduate degree in three years. Those pursuing this option can then enter the workforce or graduate school a year earlier than they would through a traditional plan of study. Degree in 3 also provides a potential tuition savings of $19,000 or more. Purdue offers three-year degrees for more than 50 majors across its 11 colleges, including all majors within the College of Liberal Arts. âIf the Purdue of 10 or 20 years from now still enjoys its current vitality, momentum, and reputation, it will be because, in traditional Boilermaker fashion, it has continued the commitment to innovation and change.â Mitch Daniels Purdue Moves and Next Moves The university advanced the ambitious Purdue Moves agenda in 2013. Designed to place Purdue among the worldâs top research and teaching institutions, the strategic plan complemented Danielsâs commitment to âdeliver higher education at the highest proven value.â Purdue Moves included five pillars: Affordability and Accessibility; World-Changing Research; STEM Leadership; Transformative Education; and Online Education. Launched in 2021, Purdueâs Next Moves initiatives are helping to strengthen the universityâs competitive advantage through five new pillars: Plant Sciences 2.0; National Security and Technology; Purdue Applied Research Institute (PARI); Transformative Education 2.0; and Equity Task Force. Degree in 3 As part of Purdue Moves: Transformative Education, Degree in 3 allows students to complete an undergraduate degree in three years. Those pursuing this option can then enter the workforce or graduate school a year earlier than they would through a traditional plan of study. Degree in 3 also provides a potential tuition savings of $19,000 or more. Purdue offers three-year degrees for more than 50 majors across its 11 colleges, including all majors within the College of Liberal Arts. âIf the Purdue of 10 or 20 years from now still enjoys its current vitality, momentum, and reputation, it will be because, in traditional Boilermaker fashion, it has continued the commitment to innovation and change.â Mitch Daniels RECORD FUNDRAISING Building on the success of Ever True: The Campaign for Purdue Universityâa historic undertaking that concluded in 2019, bringing in more than $2.5 billion in philanthropic support over seven yearsâthe Purdue for Life Foundation is setting new fundraising records across the board, including $542.1 million raised in the most recent fiscal year. Purdue for Life, created in 2020 by uniting the Purdue Alumni Association and the University Development Office, helps people who love Purdue stay connected, get involved, and give back. One organization now drives and coordinates all alumni-related activities. The first Purdue Day of Giving, a 24-hour online event, took place in 2014 and raised $7.5 million from 6,500 donations. The most recent Purdue Day of Giving in 2022 set new records for total dollars raised ($68.2 million) and total number of gifts (26,726). 150th Anniversary Purdue celebrated 150 years of giant leaps during a yearlong sesquicentennial celebration launched during Homecoming in 2018. The anniversaryâs Ideas Festival connected world-renowned speakers and Purdue experts in conversations about critical problems and opportunities facing the world. More than 45,000 people attended over 60 related events with an additional 475,000 watching online. Guest speakers included Gene Kranz, Apollo 11 flight director; Condoleezza Rice, former U.S. secretary of state; and Beth Ford, president and CEO of Land OâLakes. Festivities concluded during Homecoming in 2019 with an astronaut reunion attended by 13 alumni who have traveled to outer space. Protect Purdue In 2020, Purdue became one of the first universities to commit to reopening during the COVID-19 pandemic. The universityâs leadership felt it was important to have as many students safely on campus as possible to deliver the full Purdue educational experience. The Protect Purdue Plan outlined protocols to ensure the campus communityâs health and safety, including testing, vaccinations, and contact tracing. âWith over 88% of both students and the overall campus community vaccinated against COVID-19, we were one of the safest places anywhere,â Daniels said. By successfully navigating the challenges presented by the highly transmissible virus, Purdue returned to pre-pandemic operations in the fall of 2021. âWe have to give our young people the confidence to experience and cope with crisis because nothing in this world will ever be presented to them perfectly without fault or challenge.â Mitch Daniels Item 1 of 4 Business School In 2022, Purdue announced its next big move: a transformation of the School of Management into a new School of Business that will prepare students to lead in a technology-driven world. Grounded in the hallmarks of a Purdue education, including STEM disciplines and business analytics, the School of Business will be uniquely positioned to bring discoveries to the marketplace, scale up innovations, and effect societal change. The first phase of enhancements, set for the fall of 2023, include enrollment growth, targeted faculty expansion, and curricular and experiential additions. Mitch Daniels Boulevard To honor Danielsâs decade of leadership, the city of West Lafayette and Purdue University trustees agreed to rename a portion of State Street as Mitch Daniels Boulevard. The naming was announced publicly on December 2 as the university community began MitchFestâa series of celebratory and stimulating public events in recognition of Daniels. Mitch Daniels Boulevard will run from Grant Street west through Purdueâs West Lafayette campus, culminating at U.S. 231. Signage will be installed in the spring 2023 semester. âTenâs a nice round number. I always say better a year too soon than a day too late.â âMitch Daniels Danielsâs tenure leading Purdue comes to a close on December 31, 2022. During the Presidentâs Council Annual Dinner in September, he expressed gratitude for the past decade as well as optimism for the universityâs next chapter under President-elect Mung Chiang. Addressing those in attendance, Daniels said, âThank you for 10 unforgettable years. And trust me on this, the next 10 will be better still. Boiler Up.â âEach time I am around Purdue alumni, I am struck by the same inspiring reaction. Their stories of great accomplishments, great careers, and great lives led almost never began with privileged origins. Overwhelmingly, Boilermakers have come from the small towns, the inner cities, the farmsâplaces where any head start they got more likely stemmed from the values they absorbed than from any great material advantage. It must always be so. My successors in this job must experience the same joy I derive from meeting such alums. Thatâs what tuition freezes, Purdue inner-city high schools, and rigorous, cutting-edge pedagogy are all about.â âMitch Daniels
7770	dbpedia	0	22	https://theclio.com/entry/145977	en	Governor’s Residence and Gov. Mitch Daniels (2005	https://storage.googleap…igh%20school.jpg	https://storage.googleap…igh%20school.jpg	[ "https://theclio.com/_next/static/images/app-bar-logo-85bcdf195c567dbecc94e4b99e78e9a5.png", "https://storage.googleapis.com/clio-images/medium_5215_Mitch%20Daniels%20high%20school.jpg", "https://theclio.com/_next/static/images/twitter-d6525199f36e4e7cb451233398cee7e0.png", "https://theclio.com/_next/static/images/fb-05c6c74da3ed97647d396039e976f44e.png", "https://theclio.com/_next/static/images/fb-05c6c74da3ed97647d396039e976f44e.png", "https://theclio.com/_next/static/images/twitter-d6525199f36e4e7cb451233398cee7e0.png", "https://theclio.com/_next/static/images/instagram-f90d7f573b3958d8e34d3045f571fec0.png", "https://theclio.com/_next/static/images/tumblr-ea0854cdd01cf0751b15cf07f1491ade.png", "https://theclio.com/_next/static/images/neh-30b8993268c0df506f84e9e1723481a5.png", "https://theclio.com/_next/static/images/knight-0c26ecb2d54ca356efea474eed7ae0ed.png", "https://theclio.com/_next/static/images/WTKF_logo_2020-ceada665713f26ff8f228696d2e51107.jpg", "https://theclio.com/_next/static/images/umkc-logo-a4711c4a99a86938c78fba657a6f2796.png" ]	[]	[]	[ "" ]	null	[]	null	Though he did not actually live there, the Governor’s Residence was the symbolic home of Indiana’s first executive of Arab descent, Mitchell Elias Daniels, Jr. The grandson of Syrian immigrants, Daniels grew up on the city’s north side, where he attended Washington Township schools. He served as Sen. Richard Lugar’s chief of staff and director of President George W. Bush’s Office of Management and Budget, and in 2004, was elected Indiana’s 49th Governor. Retiring from electoral politics, he then became President of Purdue University.	en	/_next/static/images/clio-logo-background-small-451d24efda1e099e31bcf2230362805a.jpg	Clio	https://theclio.com/entry/145977	Mitch Daniels Jr. traces his Arab roots to immigrants who arrived in the United States in the early twentieth century. His grandfather, Elias Daniels, immigrated to the United States from Qalatiyah, Syria, on June 15, 1905. Qalatiyah is a small, historically Christian village built on rocky, but fertile hills about 1,500 feet in elevation. Thirty miles east of the Mediterranean coast, the town’s most spectacular attraction is located five miles south, the Krak des Chevaliers. A crusader castle dating from the twelfth century, the impressive ruin is listed as a UNESCO World Heritage Site. Elias Daniels’ destination in America was less bucolic. He settled in Monessen, Pennsylvania, arriving just as this small town close to Pittsburgh became a major site of U.S. steel production. Eventually opening a pool hall on Donner Avenue across the street from several factories, including Pittsburgh Steel, National Tin Plate, and Page Woven Wire Fence Company, Daniels chose an advantageous spot. He was not only the merchant who figured out that he could supplement his income by giving factory workers a chance to play the numbers. In Monessen, Elias Daniels was also part of an Arabic-speaking community of Christians large enough to establish and maintain their own Orthodox church. In 1921, Elias Daniels returned to the old country to find a bride. Mitch Daniels’ grandmother, Afife, was around nineteen years of age when she wed the 36-year-old. They settled down in Monessen, and in 1923, Afife gave birth to Mitchell Daniels, Sr. She died just a few years later, and Elias brought up his two boys, Mitchell and Russell, on his own. Mitchell, Sr. later attended Allegheny College, served in World War II, and then married Dorothy Wilkes in 1948. Mitchell Daniels, Jr. was born the year after his parents were married. The family moved to Atlanta and Bristol, Tennessee, but in the late 1950s, they came to Indianapolis. Their first home around 73rd Street and Spring Mill Road, where the Jewish Community Center and several synagogues are located today. The man who would become governor was largely educated in Washington Township schools, including Delaware Trails Elementary, Westlane Middle School, and North Central High School, where he served as student body president. He was already obsessed with politics when he won “Outstanding Citizen” at the annual meeting of Hoosiers’ Boy State. He attended Princeton University, and then formally launched his political career. In 2011 he was awarded the Najeeb Halaby Award for Public Service by the Arab American Institute. Though Daniels did not identify with Arab American political causes during his career, his acceptance of the award is an important reminder that there is no one way of being Arab American. Arab American political ideologies and affiliations are diverse.
7770	dbpedia	1	81	https://www.cnbc.com/2015/06/15/the-high-economic-and-social-costs-of-student-loan-debt.html	en	The high economic and social costs of student loan debt	https://image.cnbcfm.com…46&w=1920&h=1080	https://image.cnbcfm.com…46&w=1920&h=1080	[ "https://static-redesign.cnbcfm.com/dist/7821ea3cb72f88388591.svg", "https://static-redesign.cnbcfm.com/dist/2469ed0a9a4cafdf055e.svg", "https://static-redesign.cnbcfm.com/dist/2469ed0a9a4cafdf055e.svg", "https://image.cnbcfm.com/api/v1/image/100010229-kelley-holland-silo.jpg?v=1349102397&w=60&h=60&ffmt=webp", "https://image.cnbcfm.com/api/v1/image/102759253-15dca2378acd32c0ba855f93b2461dca35f3ccf3.jpg?v=1529468711&w=750&h=422&vtcrop=y", "https://image.cnbcfm.com/api/v1/image/102718112-94fb1bc9c14917042fae235b4bd5564052568802.jpg?v=1529468581&w=750&h=422&vtcrop=y", "https://static-redesign.cnbcfm.com/dist/7821ea3cb72f88388591.svg", "https://static-redesign.cnbcfm.com/dist/17269f1b6083fd5f61be.svg", "https://static-redesign.cnbcfm.com/dist/09c161b9810767a7849e.svg" ]	[]	[]	[ "Personal finance", "Personal saving", "Higher education", "Personal loans", "business news" ]	null	[ "Kelley Holland", "www.facebook.com" ]	2015-06-15T00:00:00	Student loan debt is ricocheting through the U.S., affecting institutions and economic patterns that have been at the core of America's very power.	en	https://sc.cnbcfm.com/applications/cnbc.com/staticcontent/img/favicon.ico	CNBC	https://www.cnbc.com/2015/06/15/the-high-economic-and-social-costs-of-student-loan-debt.html	The numbers are staggering: more than $1.2 trillion in outstanding student loan debt, 40 million borrowers, an average balance of $29,000. It's not hard to find indications that student debt is a large (and growing) problem. But unless you or someone you love holds student loans, it can be hard to feel the problem's immediacy. That may not be the case for long. Mounting student loan debt is ricocheting through the United States, now affecting institutions and economic patterns that have been at the core of America's very might. Men and women laboring under student debt "are postponing marriage, childbearing and home purchases, and...pretty evidently limiting the percentage of young people who start a business or try to do something entrepreneurial," said Mitch Daniels, president of Purdue University and the former Republican governor of Indiana. "Every citizen and taxpayer should be concerned about it." Read MoreHey, kids, better start saving up for college The high levels of student debt are also serving to perpetuate and even worsen economic inequality, undercutting the opportunity and social mobility that higher education has long promised. Americans almost universally believe that a college degree is the key to success and getting ahead—and the data shows that, generally speaking, college graduates still fare far better financially than those with just a high school diploma. But for those who are saddled with massive student debt, even getting by can be a challenge, much less getting ahead. "You wind up disadvantaged just as you begin. It has reduced the ability of our educational system to be a force for upward mobility, and for an equitable chance at upward mobility," said Melinda Lewis, associate professor of the practice at the University of Kansas School of Social Welfare. "It is still true that you are better positioned if you go to college, but you are not as much better positioned if you have to go to college with debt." Median college earnings vs. high school grads There are several causes for the rapid increase in levels of student debt. For one, despite the growing costs, Americans believe deeply in the importance of higher education. A survey of parents released this month by Discover Student Loans found that 95 percent believe college is somewhat or very important to their child's future. They have reason: In 2012, full-time workers with bachelor's degrees earned 60 percent more than workers with just a high school diploma. Policymakers also encourage college attendance. In a speech earlier this year, President Obama called higher education "one of the crown jewels of this country" and said it was "the single most important way to get ahead." Read MoreHow bad is student loan debt? This bad There is also the matter of "credentialism," the trend in many professions to screen for ever higher qualifications for jobs that may not require them. A 2014 study by Burning Glass, a labor analytics firm, found that 42 percent of management job holders had bachelor's degrees, but 68 percent of job postings required them. In computer and mathematical jobs, 39 percent of employees had bachelor's degrees, but 60 percent of job listings called for them. "Many middle-skill career pathways are becoming closed off to those without a bachelor's degree," the report concluded. The confluence of those trends has led to a nearly unbroken increase in college attendance for almost 30 years. At the same time, though, the cost of college has risen for decades, far outstripping inflation. As a 2012 economic analysis by The Hamilton Project, a policy research group, concluded: "The cost of college is growing, but the benefits of college—and, by extension, the cost of not going to college—are growing even faster." There is much debate over the reasons for the steep increase in college tuition. Purdue's Daniels has pointed to "inelastic demand" for higher education, which has given colleges room to raise prices, while others cite the decline in state funding for public education and the shrinking subsidies at private schools. Read MoreWhy don't more Americans use this key to college? Whatever the reason, there's no denying the cost of both a private and a public college degree has skyrocketed. Average tuition, fees, and room and board at a private, non-profit, four-year college were $42,419 for 2014-2015, up from $30,664 in real dollars in 2000-01 (Tweet this). At public, four-year schools, costs for the 2014-15 school year, at $18,943, were up sharply from the $11,635 price tag in 2000-01, according to the College Board. The federal government has stepped up its lending accordingly, and so have private student lenders. The total of private student loans outstanding grew rapidly from $55.9 billion in 2005 to $140.2 billion in 2011, fueled in part, perhaps, by the growing market for asset-backed securities backed by student loans, known as SLABS. While the expansion has provided more options for student borrowers—and the opportunity for those with high credit scores to refinance at lower rates—regulators have expressed concerns. In a 2012 report, the Consumer Financial Protection Bureau found that many student borrowers may not have understood the difference between private student loans and government loans, and default rates on private student loans "have spiked significantly since the financial crisis of 2008." Lower birthrates, fewer small businesses Al Seib \| The Los Angeles Times \| Getty Images Rising student debt levels are changing how millions of people approach major milestones and core financial decisions, affecting longstanding social and economic patterns. Consider homeownership. Owning a home used to be a key marker of adulthood and maturity. But homeownership has plummeted among Americans under age 35, from 43.3 percent in the first quarter of 2005 to 34.6 percent in first quarter of 2015, according to the Census Bureau. Mortgage lenders "look at all debt obligations, and student debt would count toward that, which means the person...has to downgrade their housing expectations, and take out a loan lower than what they intended. Or in some cases, they say, 'Well, I'm going to hold back,'" said Lawrence Yun, chief economist of the National Association of Realtors. The association found in a recent survey that 23 percent of first-time buyers said it was hard for them to save for a down payment, and within that group, 57 percent said student debt was impeding their saving, up from 54 percent a year earlier. Read MoreWho's hiring 2015 college graduates? While a college education generally leads to higher income, "growing student loan burdens can have direct impacts in terms of lost sales due to higher debt levels for builders focusing on the entry level market space," said Robert Dietz, an economist with the National Association of Home Builders. Twenty-somethings are also putting off starting a family. The median age for a first birth has been increasing for years, standing most recently at age 26. And the birth rate among women aged 20 to 29 is now at a record low, and has been declining since at least 2008, according to data from the Centers for Disease Control. Students laboring under the burden of student debt are also following different career paths, with important social implications. The need to repay loans is steering some away from professions like social work and health care and toward higher-paying jobs in tech and financial services. In a working paper for the National Bureau of Economic Research, the writers examined the effect of a move by a selective college to replace loans with grants. "We find that debt causes graduates to choose substantially higher-salary jobs and reduces the probability that students choose relatively low-paying 'public interest' jobs," the researchers observed. While choosing a higher-paying field may help them repay their loans faster, it could also result in fewer graduates moving into low-paying but critical jobs like early childhood education. Read MoreHow not to drown in student loan debt Research has also found that the burden of student debt hinders innovation and entrepreneurship, a core component of the economic prowess of the United States. Researchers at the Federal Reserve Bank of Philadelphia and Pennsylvania State studied the relationship between student debt and small business formation and found "a significant and economically meaningful" link: more student debt led to fewer small businesses being formed. Student loan defaults are another burden on society. The three-year default rate stands at roughly 13.7, and the average amount in default per borrower was just over $14,000 in the third quarter of 2014. Debt like that impedes the ability of borrowers to save for retirement at a time when millions of Americans are short on retirement savings. And it can have a ripple effect on the economy, in part because the federal government typically does not recoup the full amount in default (though it does get most, eventually). "We're not going to see this create systemic risk," said Rohit Chopra, student loan ombudsman and assistant director at the Consumer Financial Protection Bureau, since the government either guarantees or owns most of the student loans and has the power to sue and to garnish wages, tax refunds, and federal benefits like Social Security when borrowers default. "But it will create economic drag if it's unaddressed,"he added. While some, like Mark Kantrowitz, a student financial aid policy expert and publisher of Edvisors.com, argue that student loans have not reached the level of "crisis," most policymakers and experts agree that the trends are worrisome at the least and more should be done to ease the burden on borrowers. Kantrowitz advocates for more programs to improve the financial literacy and budgeting skills of students and their parents, as well as better disclosures for student loans. "We need to bring some sanity back to the system," he said. Policymakers and academics are trying to develop solutions to the burgeoning student debt burden. Obama has proposed having the government cover the average cost of community college for students who maintain good grades, which could help ease the debt burden if it's adopted (though students would still be responsible for the cost of continuing their studies beyond community college). The Obama administration has also expanded the Income-Based Repayment program, which enables students to make loan payments that are no more than a reasonable share of their discretionary income— generally 10 percent—over a longer period of time. Qualifying borrowers who work full-time in public service jobs may also get some of the balance of their loans forgiven through the Public Service Loan Forgiveness Program. Read MoreStudent loan initiatives could benefit 40 million borrowers Some states offer Children's Savings Accounts, which enable families and donors to put away money for children's college education. Research by Lewis and her colleague William Elliott, as well as other studies, indicate that these accounts encourage college attendance, particularly among lower-income Americans. Several schools have been expanding student aid. Stanford university, for example, announced this spring that tuition will be free for students whose families earn less than $125,000 a year, and several Ivy League schools have similar programs in place. It's worth noting, though, that universities with those kinds of plans in place have also typically increased their tuition for the last several years and have substantial endowments. Some of the worst abuses in student lending have also been washed out of the system. Many student borrowers take out loans to attend for-profit colleges like the former Corinthian College, which abruptly ceased to exist in April, and the Department of Education in June announced it would forgive the debt of students who attended that school. These efforts should certainly help to alleviate the burden on borrowers. But absent dramatic changes in the financing of higher education, student loan debt is expected to keep climbing, and that could have implications for us all. This is the first article in our weeklong series "Debt by Degree," which examines the growing student loan debt burden.
7770	dbpedia	1	97	https://247sports.com/article/different-position-and-path-for-2027-wr-donovan-mcnabb-jr-syracuse-orange-234424776/	en	2027 WR Donovan McNabb Jr. seeks a different position and path in football	https://s3media.247sport…1.91:1&fit=cover	https://s3media.247sport…1.91:1&fit=cover	[ "https://s3media.247sports.com/Content/Img/late-kick-show-watch-live.jpg?fit=bounds&width=262&height=147&crop=262:147", "https://s3media.247sports.com/Uploads/Assets/469/555/12555469.jpeg?fit=bounds&width=100&height=80&crop=100:80,offset-y0.50", "https://s3media.247sports.com/Uploads/Assets/49/461/12461049.jpg?fit=bounds&width=100&height=80&crop=100:80,offset-y0.50", "https://s3media.247sports.com/Uploads/Assets/793/213/12213793.jpeg?fit=bounds&crop=50:50,offset-y0.50&width=50&height=50" ]	[]	[]	[ "" ]	null	[ "Brandon Huffman" ]	2024-08-08T15:15:00+00:00	While Donovan McNabb Jr.'s father made his name at quarterback, the Phoenix Brophy Prep 2027 receiver is making his mark split out wide...	en	https://s3media.247sport…Img/247touch.png	247Sports	https://247sports.com/article/2027-wr-donovan-mcnabb-jr-seeks-a-different-position-and-path-in-football-234424776/	Phoenix Brophy Prep 2027 receiver Donovan McNabb Jr., is making his mark as a pass catcher. While his father Donovan McNabb spent his 13-year NFL career behind center, leading the Philadelphia Eagles to a Super Bowl spot, the younger McNabb intends to catch passes for his football career. He picked up his first offer earlier this summer, from Northern Arizona. And now, as he's set to begin his sophomore campaign, he's hoping to add more offers to the fray. "It was a big relief to get the offer from NAU and I was very excited," said McNabb. "It proved to me that all the work I've done will pay off. We went up there for a team 7v7, and before we started playing our games, I talked to the staff up there. "We were talking about the games and they said they would be seeing how I would perform. It was my first time connecting with them and then they offered me as a receiver." More schools have been keeping tabs.
7770	dbpedia	2	95	https://nrtwc.org/indiana-gop-leaders-sabotage-right-to-work-drive/	en	Indiana Gov. Mitch Daniels Sabotages Right to Work Law	https://i0.wp.com/nrtwc.…=382%2C347&ssl=1	https://i0.wp.com/nrtwc.…=382%2C347&ssl=1	[ "https://nrtwc.org/wp-content/uploads/2011/04/Bosma-Daniels-Stop-Right-To-Work-in-Indiana.png", "https://nrtwc.org/wp-content/uploads/2011/04/Bosma-Daniels-Stop-Right-To-Work-in-Indiana.png", "https://nrtwc.org/wp-content/uploads/2024/08/Mix-Jordan-Dietz-610x343-580x326-c-default.jpg", "https://nrtwc.org/wp-content/uploads/2024/07/NRTWC-general-news-update-2-610x343-580x326-c-default.jpg", "https://nrtwc.org/wp-content/uploads/2024/07/NRTWC-general-news-update-3-610x343-580x326-c-default.jpg" ]	[]	[]	[ "" ]	null	[ "Right To Work Staff" ]	2011-05-01T16:59:34+00:00	(Source: March 2011 NRTWC Newsletter) In Contrast, Maine Governor Stands Up For His Avowed Principles Eight years ago, Indiana citizens who were	en	https://nrtwc.org/wp-con…e-icon-57x57.png	National Right To Work Committee	https://nrtwc.org/indiana-gop-leaders-sabotage-right-to-work-drive/	(Source: March 2011 NRTWC Newsletter) In Contrast, Maine Governor Stands Up For His Avowed Principles Eight years ago, Indiana citizens who were determined to free themselves and their fellow Hoosiers from the shackles of compulsory unionism launched what they knew from the beginning would be a sustained, and often difficult, effort to pass a state Right to Work law. Ever since then, the organization these citizens put into high-gear in 2003, the Indiana Right to Work Committee, has mobilized an ever-loudening drumbeat of support for employee freedom. Over the course of the ongoing campaign, the Indianapolis-based Right to Work group has benefited from the counsel and experience of the National Right to Work Committee. And National Committee members and supporters who live in the Hoosier State, roughly 119,000 strong and growing in number year after year, have been the bulwark of the Indiana Right to Work campaign. Stubborn Opposition to Right to Work Has Ended Long Political Careers in Indiana In the 2004, 2006, 2008 and 2010 state election cycles, pro-Right to Work Hoosiers sent thousands upon thousands of postcards, letters, and e-mail messages to their legislative candidates urging them to oppose forced unionism. Right to Work activists also reinforced the point with phone calls and personal visits. Since the Indiana Committee emerged as a major statewide citizens lobby, many politicians who once rode the fence have decided to take a stand in favor of Right to Work. Other politicians who stubbornly continued to carry water for, or at least appease, Big Labor have gone down to defeat. For example, in early 2005, then-Senate President Pro Tem Robert Garton (R-Columbus) told National Right to Work Committee President Mark Mix that Right to Work legislation wouldn’t get a floor vote in his chamber as long as he held his leadership position. In 2006, Mr. Garton, a 36-year incumbent and the longest serving Senate pro tem in American history, was defeated by primary challenger Greg Walker, an underfunded political novice. A critical asset Mr. Walker did have going for him was his 100% support for Right to Work. That same year, 26-year state Rep. Mary Kay Budak (R-LaPorte) was ousted in a primary upset by pro-Right to Work challenger Tom Dermody. A few months earlier, Ms. Budak had been one of the minority of House Republicans who voted with Big Labor to defeat an amendment that would have made Indiana a Right to Work state. While Mr. Garton and Ms. Budak are Republicans, the vast majority of Big Labor collaborators in the Indiana Legislature have been Democrats. That’s why, last year especially, major Right to Work electoral gains have been a boon for Republican leaders. This year, Republicans are solidly in control of the Indiana Senate and the Indiana House of Representatives, and majorities in both chambers are on the record in support of passing a Right to Work law that would bar the firing of employees for refusal to pay dues or fees to an unwanted union. If Mitch Daniels, Indiana’s GOP governor, had wanted his state to have a Right to Work law, he could almost certainly have gotten it this year. Actions of Indiana Governor Belie His Professed Support For Right to Work Principle Right to Work supporters in Indiana and around the country have long known Mr. Daniels was no stalwart foe of forced unionism. But they have also had ample grounds to hope after their 2010 Hoosier State election sweep that the governor wouldn’t stand in their way. Mr. Daniels himself late last year admitted that Indiana’s lack of a Right to Work “does hold us back economically. There’s no doubt about it.” In the same interview, he was indirectly quoted as referring to Right to Work as a “valid idea.” But even as he continued to try to avoid angering the pro-Right to Work majority of Indianans by purporting to agree with them, Mr. Daniels waged a low-key but devastating campaign from late last fall into mid-February to block passage of Right to Work legislation in Indiana. Time and again, publicly as well as in private, the glum governor put out the word that he opposed any serious debates or recorded votes over Right to Work this year. Mr. Daniels offered a few flimsy excuses for his dour determination to sabotage legislation that clearly had sufficient House and Senate support to pass and that was overwhelmingly favored by Hoosiers generally and by his own political base in particular. For example, the governor claimed it would be wrong for the Legislature to pass a Right to Work law in 2011, because the issue hadn’t been discussed in the 2010 elections. This was laughably false. In reality, last year alone the Indiana and national Right to Work organizations sent out roughly 278,000 pieces of targeted mail identifying the forced-unionism positions of state legislative incumbents and challengers and urging citizens to lobby their politicians on the issue. “Issue-oriented mailings went out not just to members and other identified Right to Work supporters, but also to vast numbers of other people our organizations believed were likely supportive of the cause,” noted National Committee President Mark Mix. “We practically mailed the phone book in targeted districts. We felt safe doing so, because we knew from poll after poll that roughly 80% of Indianans support the Right to Work principle. “This Daniels excuse is the opposite of the truth. In all probability, Indiana candidates’ stands on Right to Work were better known by the public last year than their stands on any other single issue.” Speaker Kept Right to Work Measures Bottled up Until It Was Too Late Republican House Speaker Brian Bosma (Indianapolis), despite having personally vowed to the National Committee board of directors in 2004 that he would do everything necessary to make Indiana a Right to Work state as soon as he had a chance to do so, kept Right to Work measures bottled up in committee this year at the governor’s behest. Only on February 21, the last day before all House measures that had not been approved by the entire chamber would automatically die, did Mr. Bosma allow a pro forma hearing and committee vote on Right to Work legislation. Mr. Bosma knew by then he could let a panel pass a Right to Work measure (deeply flawed because it excluded construction industry employees from protection) without offending Mr. Daniels, because the House Democrat minority could kill it the next day simply by fleeing the capitol, as they did. Right to Work advocates were left without a quorum, and even the half-measure the speaker had allowed to come up at the last minute expired without a recorded floor vote. Had Right to Work legislation been brought up early in January, as National and Indiana Committee strategists repeatedly told Indiana legislators, Big Labor Democrats could not have prevailed without absconding for the entire legislative session. It’s unlikely they would have dared to do so. Republican Politicians in Other States Act in Accord With What They Say “I know the rationalizations Mitch Daniels has made for backstabbing Right to Work supporters are phony, but I don’t purport to know what really did motivate his and Brian Bosma’s betrayal of their freedom-loving constituents,” said Committee President Mix. “I just know Right to Work supporters have been sold out, temporarily. “One consolation is there is fresh evidence this year that not all politicians act that way. “Take what’s going on in the state of Maine, for example. After years of pain-staking mobilization, Right to Work supporters in the Pine Tree State are now close to securing sufficient legislative support to send a Right to Work measure to GOP Gov. Paul LePage’s desk. “And, unlike Mitch Daniels, Paul LePage is actually trying to help move Right to Work legislation forward so he can sign it. In a February 26 radio address, Mr. LePage stated forthrightly: ‘If you do not believe union membership helps in your pursuit of happiness, you should . . . have the right to decline participation.’ “Pro-Right to Work Hoosiers deserve to have such a governor. And, if they don’t allow themselves to become discouraged and keep pressing hard to make Indiana a Right to Work state, one day in the not-too-distant future they will.”
7770	dbpedia	3	37	https://www.pbs.org/video/mitch-daniels-vgwpq5/	en	Mitch Daniels	https://image.pbs.org/vi…0x10&format=auto	https://image.pbs.org/vi…0x10&format=auto	[ "https://image.pbs.org/contentchannels/wfz2HrT-show-poster2x3-LAEAUFk.jpeg?crop=96x144&format=auto", "https://image.pbs.org/curate/2022080_001-qt9v1y-gq5gki.jpg?crop=280x157&format=auto", "https://image.pbs.org/curate/elections_1920x1280-f2i9fq.jpg?crop=280x157&format=auto", "https://image.pbs.org/curate/henry_louis_gates-amts8w.jpeg?crop=280x157&format=auto", "https://image.pbs.org/curate/climatehero_2-80lvky-ev9400.jpg?crop=280x157&format=auto", "https://image.pbs.org/curate/ken_burns_16x9-eo945g.jpeg?crop=280x157&format=auto", "https://image.pbs.org/curate-console/f21fa6f2-004d-4680-9d31-62cc83aa9320.jpg?resize=370x&format=auto", "https://www.pbs.org/static/images/shop-megamenu__logo-row/masterpiece_color.ed8c7900f891.svg", "https://www.pbs.org/static/images/shop-megamenu__logo-row/masterpiece_color.ed8c7900f891.svg", "https://www.pbs.org/static/images/shop-megamenu__logo-row/masterpiece_white.f0f40564e29a.svg", "https://www.pbs.org/static/images/shop-megamenu__logo-row/pbsdocumentaries_color.e1dbadb4a524.png", "https://www.pbs.org/static/images/shop-megamenu__logo-row/pbsdocumentaries_color.e1dbadb4a524.png", "https://www.pbs.org/static/images/shop-megamenu__logo-row/pbsdocumentaries_white.a5034c7aca42.png", "https://www.pbs.org/static/images/shop-megamenu__logo-row/pbsliving_color.afea32f13e91.svg", "https://www.pbs.org/static/images/shop-megamenu__logo-row/pbsliving_color.afea32f13e91.svg", "https://www.pbs.org/static/images/shop-megamenu__logo-row/pbsliving_white.962d4dbbaf37.svg", "https://www.pbs.org/static/images/shop-megamenu__logo-row/pbskids_amazon_color.a1b720fc5d0c.png", "https://www.pbs.org/static/images/shop-megamenu__logo-row/pbskids_amazon_color.a1b720fc5d0c.png", "https://www.pbs.org/static/images/shop-megamenu__logo-row/pbskids_amazon_white.e6b50d7a0556.png", "https://www.pbs.org/static/images/shop-megamenu__logo-row/appletv_color.0ae09a737b88.png", "https://www.pbs.org/static/images/shop-megamenu__logo-row/appletv_color.0ae09a737b88.png", "https://www.pbs.org/static/images/shop-megamenu__logo-row/appletv_white.52ccf54e119c.png", "https://www.pbs.org/static/images/shop-megamenu__logo-row/google-play_color.c2ac5a69b3cf.png", "https://www.pbs.org/static/images/shop-megamenu__logo-row/google-play_color.c2ac5a69b3cf.png", "https://www.pbs.org/static/images/shop-megamenu__logo-row/google-play_white.8e304072b5b4.png", "https://www.pbs.org/static/images/shop-megamenu__logo-row/vudu_color.d46831dad57b.png", "https://www.pbs.org/static/images/shop-megamenu__logo-row/vudu_color.d46831dad57b.png", "https://www.pbs.org/static/images/shop-megamenu__logo-row/vudu_white.4587499c276f.png", "https://image.pbs.org/video-assets/3cIxIsW-asset-mezzanine-16x9-9opeKHy.jpg?resize=185x104&format=auto", "https://image.pbs.org/contentchannels/k1Gwt8I-show-poster2x3-EWWT8oy.jpg?crop=224x335&format=auto", "https://image.pbs.org/contentchannels/19/YW8sg7sQzIb1ZQWwz8Ogiw.jpg?crop=224x335&format=auto", "https://image.pbs.org/contentchannels/S97DSva-show-poster2x3-JxR2MR4.jpg?crop=224x335&format=auto", "https://image.pbs.org/contentchannels/GhyGX6P-show-poster2x3-1Y3sgKu.jpg?crop=224x335&format=auto", "https://image.pbs.org/contentchannels/52/3GqTnczjtCMReDmbKk56Q.jpg?crop=224x335&format=auto" ]	[]	[]	[ "" ]	null	[ "www.facebook.com" ]	2023-10-27T00:00:00	Mitch Daniels, the former governor of Indiana, discusses America's political disarray.	en	https://www.pbs.org/stat…cd53d5e995a1.png	PBS.org	https://www.pbs.org/video/mitch-daniels-vgwpq5/	- How to fix the Republican Party, education, and the national debt, this week on "Firing Line". [light music] He was an avid motorcyclist and a two-term Governor of Indiana. - I, Mitchell E. Daniels Jr. solemnly swear. - [Margaret] Mitch Daniels balanced the state's budget year after year. - Change just won and won big in the state of Indiana! [crowd applauding] [crowd cheering] - [Margaret] He was re-elected with more votes than any governor in Indiana's history. Daniels then went on to serve as the president of Purdue University, where he didn't raise tuition for a decade. He's a pragmatic Republican and a fiscal conservative who was tapped to rebut President Obama's 2012 State of the Union Address. - The status of "loyal opposition" imposes on those out of power some serious responsibilities. - [Crowd] Run, Mitch, run! Run, Mitch, run! - [Margaret] But so far, Daniels has resisted calls that he run for President, or the Senate. - [Reporter] You helped lead the efforts to overturn the 2020 election results- - [Crowd] No! - [Margaret] Amidst America's fractured politics. - Shut up! - [Margaret] And with political discourse at a low. - [Protestors] You're the terrorist! - From the river to the sea! - [Protestors] From the river to the sea! - [Margaret] What does former Governor Mitch Daniels say now? - [Narrator] "Firing Line" with Margaret Hoover is made possible in part by: Robert Granieri, Vanessa and Henry Cornell, The Fairweather Foundation, The Tepper Foundation, The Asness Family Foundation, The McKenna Family Foundation, Charles R. Schwab, and by The Rosalind P. Walter Foundation and Damon Button. Corporate funding is provided by: Stephens Inc. - Governor Mitch Daniels, welcome back to "Firing Line". - A treat to be here. Thanks for having me. - When you gave the Republican response to the State of the Union in 2012, you denounced divisiveness. You even had a few flattering words for President Obama. What would happen if you gave the exact same version of that address in today's Republican Party? - It probably wouldn't be as well-received as it was back then. I was raised to, in a tradition of the loyal opposition in which you might disagree very strenuously in the party out of power, but that you owed, first of all, some respect to the occupant of that office, or any office, and to our institutions. If anybody stuck around at the end of that, whatever it was, seven or eight minutes, they were under no illusion that I was anything but an opponent of the administration's policies. But I tried to do it in a way that I thought was consistent with our traditions. And I hope one day will be again. - Well, those traditions included things that Republicans and the modern American conservative movement had stood for for quite some time: lowering taxes, reforming education, balancing the budget. - I don't think anyone who looked objectively would find our time in that job as anything but staunchly what we call conservative and pro freedom. But there's always the question of how you get there. We had at that time a highly competitive state. Half of our eight years there was a Democratic Speaker of the House and majority. And so, it just seemed to me practical to try to handle that job in a way that brought people together. I used to say to our folks all the time, "We're here to make big change. We're not here to shoot BBs, you know. We're going for big game." So if you're interested in results, not just, you know, a temporarily satisfying Tweet that you launch at somebody, then I think you're obligated to think about ways you might persuade, attract, and certainly not drive away people of good will who might come to agree with you about the change you want to make. - Is there room for that brand of conservatism in the Republican Party anymore? - I think there could be again. You know, I don't think it's irreversible that our parties remain captured by their edges. Ultimately, political parties exist, to win elections and to capture the middle. And that incentive hasn't gone away. - I want to get to a little bit of the topics that have happened this week. The Republican conference was unable to agree on a new speaker for the last three weeks. What message does it send? - That they're more interested in internecine politics, personal advantage and publicity than they are in building a better America. And it's not happening at a quiet time, to say the very least. You know, this country's facing dangers, you don't need me to tell you, that are as large as any we've seen in a very long time. Many people wiser than I am will say the biggest danger since World War II. So this is no time to show the rest of the world, the leading country can't even get the furniture in the right place in order to sit down and act. - You have been a fiscal hawk for many, many years. And you've been upfront with the public that entitlement programs like Social Security and Medicare are simply unsustainable without significant reforms. And you wrote in 2021, even, in a "Washington Post" column, that we had actually now passed the point of no return in terms of being able to make fundamental changes to these programs while still being fair to the people to whom we have made these promises. What is the real truth about what the future of Social Security and Medicare look like right now? - I'll start with an admission. Maybe a dozen years ago, I wrote a book full of optimism, about the problem we were building for the future, about the fact we were borrowing, even then, enormous amounts of money. And I thought if we talked about it, we could work our way through this. But a lot of time has passed since then. We not only haven't acted against those problems, we've made them worse. We've had two presidents who made them worse, not better. We have another who has pledged himself to the same. - They've been Republicans and Democrats. - That's correct. And so I don't like facing up to this, but we have not shown ourselves to be the sort of self-governing people who make a grown-up decision. And one day I think history will judge harshly. We passed through a period where I thought we could have managed and probably kept most of the commitments. We've arrived at a point where, when the moment of reckoning comes, we'll not only do things that are very unjust and unfair to vulnerable people. I think we will create a moment of enormous social betrayal. If you think folks are upset now, wait for that moment. - Well, this is something you've been talking about for a long time, but so have people on the right. William F. Buckley Jr. welcomed Ronald Reagan to this program many times throughout the course of his public career. And after he was president, Reagan came onto the program and spoke about the national debt. - And there's another thing also that we should have, and that is a constitutional amendment preventing the government from running a deficit. Now, the first man who ever proposed that was the founder of the Democratic Party, Thomas Jefferson. - [Interviewer] Yes. - When he first read the Constitution, he said it had one glaring omission. It does not have a clause preventing the federal government from going into debt. - It's hard to get a constitutional amendment about anything these days. But are you concerned that we're past the point of no return? - I think we are with regard to many of the commitments that we've made. And that's why I think it's so sad that we've put ourselves in a position where the arithmetic is, to me, just irrefutable. We're not going to be able to do it. Now we're going to have to do some things that aren't fair. And we just have to at some point get started and try to minimize that. - You've most recently been the president of Purdue University, and university campuses have witnessed incredibly heated debates around the October 7th attack by Hamas on Israel. Harvard faced criticism for being too passive when pro-Palestinian student groups blamed Israel for the Hamas attacks. In addition to that, I mean it wasn't just Harvard. There were several universities who initially made statements and then had to change their statements, update their statements, to clarify that Hamas had attacked Israel. If you were still Purdue's president, how would you have responded to the events of October 7th? - Purdue has, under a by law first passed in 1968, observed the so-called Calvin principles which said basically that universities should not take institutional positions on matters that don't deal with their own business, or business of higher-ed at least. I think that's a very good rule. So I thought the appropriate approach, and there's no easy answer to this, was strong personal statements, as many presidents made, particularly to the Jewish communities on their campus, but to stay away from institutional statements that set a precedent that then you'll be challenged to talk about other things in the future. - So then what is your view about the responsibility of universities to speak out about events? - The fundamental responsibility of universities is to vigorously, in an uncompromising way, protect people's ability to speak. They've been violating that, either actively or tacitly, in way too many cases. And so that's the real task is to clean that up. I think I see some positive signs. The excesses, the cancellations, the shouting down, the dis-invitations, seem to be diminishing a little bit. People who did know better all along in capacities of leadership are starting to assert that a little more. The university exists to advance and transmit knowledge. And knowledge only advances through the collision of ideas. John Stuart Mill said, "Both teacher and learner go to sleep at their posts when there's no enemy in the field." It's essential to the progress of knowledge and to the learning process. And so young people, unfortunately, many of them, have not heard that on their way to college. And I think they need to. And when they do, I think they tend to respond pretty positively. I've just come from a campus which has attracted some criticism for some failures in the past. But it was a very civil and appropriate conversation that I had with some very interested in engaged students. And it can still happen, and I hope will happen more often. - In the wake of the October 7th attack by Hamas on Israel, Governor DeSantis has encouraged Florida officials to direct state universities to disband groups with ties to the National Students for Justice in Palestine Organization. And he cited the group's activities, saying that they amount to support for terrorism. What about student groups on campus and their rights to free speech? - I think you have to protect them. That doesn't mean you condone. You're free to condemn. But I would be very, very hesitant. The students involved, at least many of them, don't think that's what they're doing. - Right. - I think they have an incorrect and a warped view, even, of the facts on the ground in Israel, the history of Israel and so forth. I think they're just profoundly wrong about all that. - Then what should Harvard have done about the student groups? - Well, condemn in unequivocal terms those, I mean, this is something that happened on their campus. This is not a university expressing opinion or pontificating about events elsewhere. And so I do think that was something was called for. And their rather tepid initial reaction, of course, I think spurred a fairly interesting backlash that may be helpful. Too bad it happened, but it may be somewhat helpful over time. By the way, I think the statements by some employers that, you know, we're not interested in hiring somebody, an individual like that, doesn't say that group should be banned, but they're perfectly, should feel perfectly free to make an individual judgment. And that seems to have gotten the attention of people in what could prove a helpful way. - You think it's perfectly appropriate? - [Mitch] Yeah, sure. - For employers to have the ability to rescind those offers. - Absolutely. You know, somebody who blamed all of this on the victims. That's what the statement said. They not only said something supportive of Palestinian rights or something. They blamed this miniature holocaust on the Israelis. All right, well, that shows both a lack of moral sense and a kind of judgment that I wouldn't want on my payroll somewhere. So, of course they had every right to do it. And, again, it may... If it caused some people to stop and think and reflect on their reflex action here, maybe that has some long run benefit. - Let me ask about the cost of higher education. You've spent the last several years as the president of Purdue University. And in your first year there, you set out to pause a rise in the cost of tuition. And that one year pause turned into a pause that lasted for your entire tenure as president of Purdue, and continues. You attribute the success, you say, to cutting inefficiencies, reforming the health care and pension systems, and increasing the size of the student body. There aren't any other universities of Purdue's size who have not seen dramatic rises in the cost of college education. Is what you did at Purdue translatable to other universities? - I have to believe it is. You're quite right. When I got there, and Purdue was, in keeping with the rest of higher ed, they'd raised tuition 36 years in a row. And when I said, "Why don't we take a one year pause just to show that we're sensitive to this?" The most fascinating reaction came from the very talented woman who was the head of admissions who said, "Oh Mitch, if we do that, people will think we don't have confidence in our product." Meaning that when everybody else is going up, and if we don't, people were associating- - The cost with the quality. - The cost with the quality. And so I remember I said, that's not what they're saying. They're saying, they're beginning to say, with good cause, "Why does it cost so much? And are we really getting value for that?" I was wrong as to how long it took. It was several years, really, before I think the clamor got to the point where schools that had kept on going up began to really feel pressure. And today they really are. And that people now are really questioning whether they need to go to a four year school at all. So I was glad we acted, you know, before we got near that reef. - You've said that you could not, quote, "Think of a less defensible act of public policy than President Biden's student loan forgiveness program," which was struck down by the Supreme Court in June. And you argued that it rewarded the wealthy, would add to the government's debt, and was unconstitutional. - Well, you left out a couple arguments, but yeah. - Is there a role for the federal government handling mounting student debt, which is now $1.7 trillion? - When you say handling, you know, the federal government took over lending. Whereas once upon a time it supported it. It in essence, nationalized it. - Subsumed it, yeah. - Under President Obama. At the time, the nation was told it is going to save a lot of money, it will even be a money maker. And of course, it turned into quite the opposite. So there was an experiment that didn't work out very well. I worked for a university where 99-plus percent of our graduates who borrowed the money paid it back. We know that with each increasing subsidy of higher education by the federal government, that it's been a driver of the higher costs. The most authoritative estimates say, you know, 2/3 or more, you raise the subsidies a dollar, the colleges have been pocketing 2/3 or something like that. People used to ask me these questions all the time, you know, this problem of student debt. I said, well, you could start by not charging so darn much in the first place. - Well, that's what you do. - Yeah. You know, I have always favored putting, you know, the schools at some risk. If you're going to accept students whose education is being somewhat in part paid for by the federal government, and they don't pay it back, if the schools just had a little skin in the proverbial game, 10% or something, some small share of the amount defaulted, they'd just be much more careful. They wouldn't want the reputational risk and they wouldn't want to lose the money. I think that's a far better approach, honestly. - I do need to ask you about the next presidential contest. Former President Trump remains the front runner for the GOP nomination in 2024. And you have admittedly stayed away from partisan politics for the better part of the last decade. But you have not refrained from criticizing President Trump from time to time. As the field shapes up for 2024, what are you hearing from the candidates? - Look, I'll just say, you say, what am I hearing? I'll just tell you things that are visible. Of course I watch as an attentive citizen should. Here's something I see. I see, I think, an ahistorical moment, with the parties who have historically competed for the middle now very much dominated, I won't say totally captured, but dominated by their more ardent extremes, and an unprecedented percentage of people across age groups and geography and elsewhere who express little or no confidence in the two parties. On top of that, I see an election in which, until something changes, seems destined to be between two octogenarians. That's new. - Yeah. - And raises questions of its own. And so, I'm not predicting this, but I don't for a moment agree with those who say, "Well, third candidacies just never, they never work out." I know the history. But, you know, every so many decades, something does change. - Since you mention it, there is an independent group called No Labels, which continues to lay the groundwork for a third party candidacy. Now, you have said that you have no interest in being such a candidate, but you've also defended the strategy. And I've heard you say, you know, you don't buy that this is mission impossible. Why not? - Well, for the reasons I just gave you, I just don't. I think we are in a moment that is unlike the past. I think a lot of, a majority of Americans might feel a sigh of relief if we didn't have either of the current front runners. But, you know, then what? And I think that's a question that nobody's tried to answer yet. - Are you saying you think a third party challenge would be healthy for our democracy? - Well, first of all, there's no third party. I mean, if there were really a viable third party with a program, and the ability perhaps to implement it. I mean, the No Labels folks are trying to behave responsibly. They produced a little list of issues that people can agree or disagree, but they're not crazy. But, again, take that to the Congress we have now, what are the chances that you could actually enact or effect those changes? So it might have some therapeutic value to get us past the moment we're in, but it won't solve our problems. - I mean, what you're doing is you're really reflecting negatively on our ability as a self-governing democracy to self-govern. - I hate to, I hate to, I'm not ready to give up on the question. I will just say that that book I wrote 12 years ago, I couldn't write today. - You couldn't write it. - I think in view of what we've done or not done it does not validate the idea that we're ready to make what I consider adult long-term decisions in the interest of the nation's future and the interest of the future of our kids. - If you were advising the next President of the United States, what would you advise them to focus on? - I would certainly encourage that person to try to use the office to appeal to Americans to, you know, lay down your cudgels. We've got problems that we share here. You know, President Reagan, there were times when I was working for him that a few of us hotheads, I was sometimes one of those, you know, would get a little too boisterous about things. And he used to say, "Well, no, no, no. We have no enemies, only opponents." And, you know, maybe somebody, maybe at some point someone will decide that that's not bad practice. - Keep hope alive. - Sure. So, you know, I'm sort of raised to be an optimist. Life has taught me to be an optimist where this country is concerned. And I'm struggling more than before because you can't blink away the facts that are sitting right in front of you. But, you know, I still believe that nobody's going to find a better formula than one based on ordered liberty, and human dignity, and individual freedom, political and personal. And I hope those are going to be enduring principles, even if we have to go through some sort of a wringer and reorder the institutions that serve us. - Governor Mitch Daniels, thank you for joining me on "Firing Line". - Enjoyed it. [light music] - [Narrator] "Firing Line" with Margaret Hoover is made possible in part by: Robert Granieri, Vanessa and Henry Cornell, The Fairweather Foundation, The Tepper Foundation, The Asness Family Foundation, The McKenna Family Foundation, Charles R. Schwab, and by The Rosalind P. Walter Foundation and Damon Button. Corporate funding is provided by: Stephens Inc. [light music continues] [light music continues] [light music continues] [light playful music] [soft music] - [Narrator] You're watching PBS.
7770	dbpedia	2	94	https://www.nationalreview.com/2021/12/president-daniels-vs-communist-china/	en	Mitch Daniels vs. Communist China, Etc.	https://i0.wp.com/www.na…057%2C1200&ssl=1	https://i0.wp.com/www.na…057%2C1200&ssl=1	[ "https://sb.scorecardresearch.com/p?c1=2&c2=23390304&cv=2.0&cj=1" ]	[]	[]	[ "Mitch Daniels", "China", "Vladimir Putin", "Joe Biden", "federalism" ]	null	[ "Jay Nordlinger" ]	2021-12-29T06:30:39-05:00	ChiComs on our campuses; working for Putin; Biden and federalism; the (new) birds and the bees; the King James Bible; a great rhyme; and more.	en	https://www.nationalrevi…e-touch-icon.png	National Review	https://www.nationalreview.com/2021/12/president-daniels-vs-communist-china/
7770	dbpedia	0	62	https://stateaffairs.com/indiana/politics/mitch-daniels-reforms-stand-test-of-time-indiana/	en	Mitch Daniels reforms in Indiana stand the test of time	https://stateaffairs.com…waves-scaled.jpg	https://stateaffairs.com…waves-scaled.jpg	[ "https://stateaffairs.com/wp-content/themes/state-affairs/assets/menu-icon/vector-3.png", "https://stateaffairs.com/wp-content/themes/state-affairs/assets/menu-icon/Map-1.png", "https://stateaffairs.com/wp-content/themes/state-affairs/assets/menu-icon/vector-3.png", "https://stateaffairs.com/wp-content/themes/state-affairs/assets/menu-icon/vector-3.png", "https://stateaffairs.com/wp-content/themes/state-affairs/assets/menu-icon/Map-1.png", "https://stateaffairs.com/wp-content/themes/state-affairs/assets/menu-icon/Map-1.png", "https://stateaffairs.com/wp-content/themes/state-affairs/assets/menu-icon/Map.png", "https://stateaffairs.com/wp-content/themes/state-affairs/assets/menu-icon/Map.png", "https://stateaffairs.com/wp-content/themes/state-affairs/assets/menu-icon/fill.png", "https://stateaffairs.com/wp-content/themes/state-affairs/assets/menu-icon/fill.png", "https://stateaffairs.com/wp-content/themes/state-affairs/assets/menu-icon/directories.png", "https://stateaffairs.com/wp-content/themes/state-affairs/assets/menu-icon/directories.png", "https://stateaffairs.com/wp-content/themes/state-affairs/assets/menu-icon/advocacy-tools.png", "https://stateaffairs.com/wp-content/themes/state-affairs/assets/menu-icon/advocacy-tools.png", "https://stateaffairs.com/wp-content/themes/state-affairs/assets/menu-icon/schedules.png", "https://stateaffairs.com/wp-content/themes/state-affairs/assets/menu-icon/schedules.png", "https://stateaffairs.com/wp-content/themes/state-affairs/assets/menu-icon/bill-tracking.png", "https://stateaffairs.com/wp-content/themes/state-affairs/assets/menu-icon/bill-tracking.png", "https://stateaffairs.com/wp-content/uploads/2023/01/Mitch-Daniels-waves-scaled.jpg", "https://stateaffairs.com/wp-content/uploads/2022/12/howey-1.png?w=240", "https://stateaffairs.com/wp-content/uploads/2022/12/howey-1.png?w=240", "https://stateaffairs.com/wp-content/uploads/2023/03/DanielsColts2-1-1024x536.jpg", "https://stateaffairs.com/wp-content/uploads/2023/03/DanielsColts2-1-1024x536.jpg", "https://stateaffairs.com/wp-content/uploads/2023/03/DanielsBayh.jpg", "https://stateaffairs.com/wp-content/uploads/2023/03/DanielsBayh.jpg", "https://stateaffairs.com/wp-content/uploads/2023/03/DanielsGirlPage7.jpg", "https://stateaffairs.com/wp-content/uploads/2023/03/DanielsGirlPage7.jpg", "https://stateaffairs.com/wp-content/uploads/2023/03/DanielsSilvermanPage8.jpg", "https://stateaffairs.com/wp-content/uploads/2023/03/DanielsSilvermanPage8.jpg", "https://stateaffairs.com/wp-content/uploads/2023/03/HPIFSSAcoverPage10.jpg", "https://stateaffairs.com/wp-content/uploads/2023/03/HPIFSSAcoverPage10.jpg", "https://stateaffairs.com/wp-content/uploads/2023/03/DanielsBosSkil.jpg", "https://stateaffairs.com/wp-content/uploads/2023/03/DanielsBosSkil.jpg", "https://stateaffairs.com/wp-content/uploads/2024/08/PXL_20240814_172923343.MP_.jpg?w=640", "https://stateaffairs.com/wp-content/uploads/2024/08/PXL_20240814_172923343.MP_.jpg?w=640", "https://stateaffairs.com/wp-content/uploads/2024/08/LG-debate-at-the-fair.png?w=640", "https://stateaffairs.com/wp-content/uploads/2024/08/LG-debate-at-the-fair.png?w=640", "https://stateaffairs.com/wp-content/uploads/2023/11/Tax_Credits_11_17_2023.png?w=640", "https://stateaffairs.com/wp-content/uploads/2023/11/Tax_Credits_11_17_2023.png?w=640", "https://stateaffairs.com/wp-content/uploads/2023/03/Indiana-Public-Access-Counselor-Luke-Britt.png?w=640", "https://stateaffairs.com/wp-content/uploads/2023/03/Indiana-Public-Access-Counselor-Luke-Britt.png?w=640" ]	[]	[]	[ "" ]	null	[ "Brian A. Howey" ]	2023-03-30T15:46:10+00:00	INDIANAPOLIS — The mammoth NFL gridiron sprawling out across this city’s southern flank has long been called “the house that Peyton Manning built,” a tribute to the Hall of Fame Colts quarterback. But it was a man who stood nearly a foot shorter and, perhaps, 75 pounds lighter, who really was responsible for building Lucas ...	en	https://stateaffairs.com…e-touch-icon.png	State Affairs	https://stateaffairs.com/indiana/politics/mitch-daniels-reforms-stand-test-of-time-indiana/	INDIANAPOLIS — The mammoth NFL gridiron sprawling out across this city’s southern flank has long been called “the house that Peyton Manning built,” a tribute to the Hall of Fame Colts quarterback. But it was a man who stood nearly a foot shorter and, perhaps, 75 pounds lighter, who really was responsible for building Lucas Oil Stadium. Gov. Mitch Daniels had campaigned on a 70-plus point agenda when he defeated Gov. Joe Kernan in 2004. By the time he took office, the capital city was at loggerheads with the Colts, the NFL, and the General Assembly over building a new stadium. There was no funding mechanism in place. The team, it appeared, would be headed to Los Angeles. Mayor Bart Peterson and his team approached the new governor. “They came to see me, asking if could we pull it off, could we do it,” Daniels told Howey Politics Indiana in a February interview. “Having looked at it, we thought it was in the broad public interest. It’s always important to point out to people that 90-plus percent of the events were not Colts games. We wouldn’t have built a stadium just for the football team, much as I love the Colts. But it was the convention business and the almost year-round revenue that made it a real good idea.” The Daniels team focused at first on a 2% restaurant tax, but the city already had a 1% tax and a 2% difference with its neighboring counties was deemed unacceptable. “So that’s why we decided to talk to the surrounding counties,” Daniels said. “We finally worked out a proposal where after it was paid and we knew this would be more than enough to cover it, they would share in the overage.” Two audacious strategies emerged. The first was to convene county officials from the doughnut counties to make a pitch from out of left field. The second would be to use the new governor’s nascent political capital to make the sale, sans Peterson and General Assembly leaders. “In one of the most interesting moments in the entire eight years, I invited the county-elected officials, commissioners, county counselors from the doughnut to a confidential meeting at the Governor’s Residence,” Daniels said. Gov. Eric Holcomb, who was Daniels’ deputy chief of staff at the time, told HPI in January, “We were there. We got criticized for breaking the Open Door Law because we had every county commissioner there and politely pointed out every single commissioner was a Republican.” Daniels explained, “It happened that they were all Republicans at that time. That was crucial, because then the meeting could be held in confidence and not in public. This thing would never have happened; you’d have no stadium, no convention expansion and no Colts, probably, if that meeting had been held out in the open. Anyway, we had that meeting. We showed them a lot of data, how many people from their counties worked downtown, worked in hospitality, how many hotel rooms in their county filled up during conventions or even games. And then we said, ‘Go to separate corners here, and tell us whether you can help us with this.’ “All but one county did,” Daniels explained. That set the stage for the rookie governor to make the case for a tax increase in the doughnut counties to pay for a downtown Indianapolis NFL stadium. Daniels showed up at a Golden Corral in Shelbyville, the Hamilton County Council chambers, as well as stops in Greenfield, Lebanon and the three other counties. In Lebanon, Daniels politely accepted a question from a Boone County man wearing a green “My Man Bitch” tee shirt and earnestly answered. It was the kind of moment that would have made other governor handlers cringe and steadfastly avoid. Gov. Atlas just shrugged. The Greenfield Daily Reporter’s headline read “Don’t force-feed food tax, citizens warn governor,” and its lead story began “A vocal group of Hancock County residents told Gov. Mitch Daniels Monday they object to a 1% food and beverage tax being shoved down their throats.” Appearing before a standing-room-only crowd in the Hamilton County Council chambers (complete with the motto in gold letters: “That government is best that governs least”) after he made his case, the capacity throng rose to give him a standing ovation. The anti-stadium crowd was, in this writer’s estimation, about a quarter. In Shelbyville, when a man asked the 80 people gathered whether they supported the tax and stadium, the result was virtually unanimous against it. After Daniels appeared in Noblesville, Hamilton County Council President John Hiatt said he had initial misgivings about the proposal, saying feedback from the public had been 50-50. “I was on the fence before tonight, but I’ll probably vote for it,” he told the Noblesville Daily Times. Commissioner Christine Altman agreed. “He opened it up to all the questions, he addressed all the issues, and I was just very impressed,” she said. When it was all said and done, all but Shelby County approved of the plan. Lucas Oil Stadium was built (with the state in control), with the Colts (and Peyton Manning) staying put. “The point is, after all the consternation, on the back side of that we had a great venue, a new convention center, all that new business and we had a Super Bowl, and we kept the Colts,” Daniels said. “And, believe me, without that process, that doesn’t happen. I’ve told people over the years, here’s one of the untold stories.” In the June 9, 2005, edition of HPI, this was the observation: “The people loved this governor coming to their hometowns to sell and defend something that would have been unfathomable in times gone by. Many of them didn’t agree with him on the tax hikes. But few were rolling their eyes or spewing under their breath as they left. The press found this to be a spectacle, a Republican governor going to seven base counties selling tax hikes he agreed to after legislative Republicans cut off the options. There is no doubt the governor has some real gonads. But it was striking that legislative leaders who brought this spectacle on were missing. It wasn’t too long ago that legislative leaders would have leaped at the chance of sharing the limelight with their governor. Perhaps they thought the doughnut kitchen during Gov. Daniels’ salad days would be too damn hot.” Daniels always had a savvy grip on history, and he reached for it often, whether it was Lincoln’s “mystic cords of memory” or China’s Chou En-Lai being asked if the French Revolution was a success. “Too soon to tell,” the Communist leader said. It’s been a decade since Daniels exited the Statehouse. As we did in 2006 with the legacy of Gov. Evan Bayh, in 2013 with Gov. Frank O’Bannon and last week with Gov. Joe Kernan, it’s time to reassess the 49th governor’s legacy. In the Nov. 27, 2012, edition of HPI, it was observed: “By definition, the word ‘transformation’ is a thorough or dramatic change in form or appearance. In a political or policy context, the word is often used in association with war, revolution or economic crisis. And in the Hoosier experience, the word clashes with 196 years of stereotype: We are a conservative people, cautious, suspicious, resistant to change. Interrupting this history in key moments has been the transformational governor, almost always thrust into that role by the churning events of the day. As Hoosiers at the turn of this century, we have witnessed such a governor in Mitch Daniels Jr. Whether you regard him as a hero or adversary, few Hoosiers will dispute the notion that his eight years at the Indiana Statehouse have been impactful and have altered the trajectory of the state at a time when just about everything is changing on a global scale.” HPI counts nine other Hoosier governors that fit the description of “transformational.” These include Govs. James Whitcomb and Joseph Wright in the middle of Indiana’s first century, with the bankruptcies of public works projects gone awry, prompting a new Constitution in 1851; the Civil War governor, Oliver P. Morton; Gov. James Putnam, who commenced the state’s highway system in 1917; Gov. Henry G. Leslie, who in 1928 had to clean up after the scandalous Ku Klux Klan takeover; and two governors – Thomas A. Marshall in 1909 and Paul McNutt in 1933 – who attempted to come to terms with the sprawl of bureaucracy over decades and challenged the status quo with a reform agenda. Marshall would go on to become vice president; McNutt would head the World War II era War Manpower Commission for President Franklin D. Roosevelt. In the television age, Govs. Doc Bowen (property tax reform) and Robert Orr (education reform) stand the test of time. A frenetic agenda Anyone doubting this transformation would be dazed by the scope of the agenda of Daniels from the onset. “The wolf is not at the door,” Daniels intoned in his 2005 State of the State address eight days after taking office. “He is inside the cabin.” And he resorted to legendary CBS News pioneer Edward R. Murrow to help make his case: “Difficulty is the one excuse history never accepts.” On his first day in office in 2005, Daniels ended collective bargaining rights for state employees by executive order. The governor was prepared to write checks on his political capital to install daylight saving time (which passed the Indiana House by a single vote), transform the Bureau of Motor Vehicles (BMV), spread charter schools, reorganize the Commerce Department into what would become the Indiana Economic Development Corporation (IEDC), expand full-day kindergarten, and boost classroom spending along with a 120-day moratorium on the issuance of any new school bonds. Daniels would advise other leaders at Mackinac: “Do it early, do it fast, do it swiftly, and do it decisively. In the wisdom of the old country song, ‘If I’d shot you when I should’ve I’d be out of jail by now.’” By March 2006, the IndyStar’s analysis blared an above-the-fold Page 1 headline: “Too Much, Too Fast? Many Hoosiers don’t like Daniels’ rush to make changes, The Star finds.” His lease of the Indiana Toll Road that brought in $3.8 billion (and another $1 billion when it was renegotiated several years later) as well as his advocacy of daylight saving time, had pushed his approval rating below 40%. Two years later, Hoosier voters weighed in: He was reelected with 58% of the vote. Holcomb, Goode and Johnston In January HPI sat down with Holcomb; Earl Goode, who has served a dozen years as chief of staff to both the current governor and Daniels; and OMB Director Cris Johnston in the governor’s Statehouse office to get their take on the legacy of the Daniels administration. “He changed the culture and we began to not just think big but act big,” Holcomb said. “He led the charge, but the culture of always trying to improve every single day, always competing, always putting the customer first – the customer being the citizen – always trying to build a record not to run on, but to be proud of. And I think that’s carried through and on to this very day. Gov. Daniels was so focused on leaning forward.” Goode explained, “I would use two words: Change and pride. It took almost all eight years to begin to introduce change. But there was a lot of resistance, as you recall. Lots of resistance. In fact, I think his popularity numbers were below 30 for a little while. And the other was pride. I think certainly those of us that were part of that felt a lot of pride.” “The things that the governor talked about: daylight saving time, the toll-road lease and so forth, are well known by most people that followed government,” Goode explained. “But to me, something’s very … very rarely talked about was the introduction … good government service. When we got here, most government services were provided through manual processes.” Johnston, who headed Daniels’ government efficiency efforts, added that every state department had its own IT department. There were 10,000 state vehicles not in use, along with 22 aircraft. “He was relentless, saying, ‘We’re not slowing down.’ Every agenda included how we were going to sustain it,” Johnston said, adding that at one point Daniels admonished his staff: “Hiring a consultant is not a victory.” “I had been gone from government and came back and I never heard anybody talk the way he did because he used really descriptive phrases and language,” Johnston continued. “When he talked about paying taxes, he talked of ‘coercion.’ He’d say, ‘We coerced money out of people’s pockets.’ On the spending side, he would say, ‘We have a solemn duty to spend it wisely.’ Whoever uses phrases like solemn duty? It got people’s attention. All the agency heads when they heard phrases like that: it made them think differently. I remember a time when we were getting tired of doing performance measures and our team was down-in-the-dumps tired, and he said, ‘We’ll never get a chance to do the big stuff if they don’t trust us with the small stuff.’ It just sort of lit the fire again.” And he was a leader who listened. Daniels was planning to make an IEDC mission to Japan when torrential rains flooded the state. His communications director Jane Jankowski told him, “Governor, you will regret for the rest of your time as governor if you leave this state right now.” Goode recalled, “And to his credit, he was mad, but he listened and course-corrected. He turned out to be the hero that week. He was every place with Gen. Umbarger, all over the state. As involved as he was, he also trusted people. You had to earn his trust, but once he trusted you, he let you do your thing. That’s important for a leader.” Here are how some of the major issues under Daniels stack up after a decade. ‘Major Moves’ The $3.8 billion toll-road lease was a masterstroke, helping the state forge I-69 from Indianapolis to Evansville (it’s expected to be completed in 2025), the U.S. 31 freeway from Indy to South Bend, and a new East End Ohio River bridge between Jeffersonville and Louisville. When the original lessors went bankrupt, Holcomb renegotiated the deal for another $1 billion in 2018. Of that extra billion, $600 million would go toward speeding up the completion of I-69; $190 million would go to projects on U.S. Routes 20, 30 and 31; $20 million would go toward luring new direct flight routes to the state; $90 million to improve or build hiking and biking trails, and $100 million to increase rural broadband access. Holcomb said in January, “The bigger point of ‘Major Moves’ was a lot of people said, ‘You can’t do that. It’s never been done that way.’ It took a whole difference and independence to be able to say, ‘No, what’s really going to be best for the consumer, is the motorist putting the safety efficiency modernization and so not beholden to any relic of the past that you’re not necessarily proud of in terms of your heritage. Triple-A credit ratings might not last. Education reform may or may not last. But those roads and bridges will be there for 100 years. Look at how we’re building the East End Bridge over the Ohio (River). It’s going to get built faster and cheaper and it will be built on someone else’s capital because there’s not enough gas tax money right now.” Daniels said in June, “Who spent more time stuck in a car on 31 than Pat Bauer? There are so many things we did, and honest people can differ, I suppose, but if people had any doubt about it what a success that is, everybody outside of Indiana knows; it won every award. It was found money. Not a penny of interest, not a penny of spending, and not a penny of taxes to build billions of dollars of infrastructure and get a much better toll road out of it, by the way. A great example, I hear from them quite often; you know River Ridge down in Jeffersonville? It’s booming. People down there said for years that if ever we could get a bridge built so the through traffic could go around, so many people would like to put their business right there. That’s probably as clear an example as I can give you.” Johnston added, “The Bond Buyer is a newsletter that comes out daily for the public finance industry and there was a conference on infrastructure and they call it asset recycling. Right? Taking the proceeds of an asset and not using it for other purposes or just supporting your budget, but putting it back into infrastructure. And at this conference, they asked about the different P3 transactions and they commented that if there was a gold standard, it was an Indiana model because it was put back into infrastructure and then it also had the ability to recycle again as the governor said, with the billion dollars in 2018.” Education reforms After Republicans regained the House majority in 2010 (after four years), Daniels pushed for sprawling reforms in 2011. Prior to that, he said, “We tried to move money from capital (accounts) into the classroom. We got some of that done. We took the Taj Mahal architecture that we managed to stop. I mentioned social promotion; you mentioned full-day kindergarten. The bill protected teachers who were keeping order in the classroom so they couldn’t be sued. We tried to do something every year to strengthen education. When you get to ’11, there were things that we had not been able to do that we then could. You may want to check this, but (Speaker) Todd Huston told me recently that between 20 and 25% of all the kids in Indiana are in some sort of choice environment. That could be changing from one public school to another.” Daniels moved to change the school funding formula. “We finally hit on what was really a simpler system, which was to pick up certain costs entirely,” he said in a Howey Politics Indiana Interview last June. “Like we picked up child protection and brought it to the state level. It was a big cost on local property taxes that is no longer there. The other big one was K-12 operating. The effect was once the localities were no longer taxing for operating, they had no basis to charge a kid tuition for coming across the (district) line. It depopulated some – I’m not picking on them but the Anderson school system for example – and suddenly Lapel and Pendleton and places like that were stronger. I was just as happy with that, what I call public school choice, as I was about opening up charter school opportunities as the vouchers. It’s all about just giving people that option. I believe competition, as many have always claimed, improved the quality of public schools over time. They worked to attract and keep students.” On the expansion of full-day kindergarten, Daniels said, “I hope it was positive. It was certainly the right thing to do. We were happy to do it. As you remember so well, half our time we had a divided legislature. I was always looking for things we could get an agreement across the aisle and that was one. The Democrats had been more committed to it than the Republicans historically, so I was really pleased just from that standpoint it had to be positive. I don’t know if we can measure it. Maybe somebody has. There is just no doubt in my mind that was an important step to take.” Daniels missed out on one top priority, moving the elected superintendent of public instruction to a gubernatorial appointment. “I think the biggest single failure of our time – so ironic – was not getting the superintendent of public instruction to be an appointed job,” Daniels said in June. “It appeared in the party platform of both parties in 2004. It was just a good government thing. Public education being over half the budget, it just makes sense that an elected governor is aligned with whoever is implementing it. It’s the one thing that both political parties agreed on that didn’t get done. In all honesty, (Senate President Pro Tem) Bob Garton didn’t want to do it, he was protecting (Supt.) Suellen (Reed), maybe. We were doing so much that first year or two. They said, ‘We’ll do it next time.’ Then it was an election year. There was always a reason and we didn’t get it done.” Holcomb finally signed legislation and appointed Katie Jenner Ph.D. to the new position of education secretary. Higher education The week before HPI’s interview with Daniels at his Purdue Hovde Hall office, new data showed that college enrollment had fallen from 64% of eligible students to 53%. His letter to the Purdue Community last winter asked “where are all the men?” As Ball State economist and HPI columnist Michael Hicks Ph.D. observed: “The iconic achievement of the Daniels years was school reform. The combination of limited private school vouchers, expanded authority to start charter schools and sending funding with student transfers was a huge policy achievement. It did exactly what school choice reformers wanted – it forced local public schools to compete for students on quality. Schools responded so effectively that today a higher share of Hoosier students attend local public schools than they did before the Daniels reforms. When Daniels left office, nearly 64% of high school students pursued post-secondary education. Today, that number is 53%, among the very worst in the nation. All of this decline has come in attendance at Indiana’s public universities.” “The decline didn’t start with COVID. It’s a 10-to-12-year decline and Indiana has not been immune to it,” Daniels said. “The number of students going to college has gone down; the percentage of students choosing college has gone down. There’s been a big drop in the last couple of years. COVID accelerated a lot of other things and accelerated this. I think the combination of cost alone has deterred people. All of those things have come together but I think we were all stunned by the degree of the drop. It was one thing to trickle down from the high 60s, but then to drop 8% all at once.” Personal income An initial goal of the Daniels administration had been to raise personal income. Is Daniels satisfied with how that turned out? “Well, no. I think it’s been misrepresented in a few ways,” he said at Hovde Hall. “We got more people working, but these are per capita figures. Sometimes they don’t adjust for cost of living, which is so much lower here. Your dollar goes a lot farther here than a lot of other places. So many other places are pricing themselves out of the market, so to speak. Nobody thought that was a 10-year or even 20-year project. A two-earner family, when you’re at 2% unemployment, you’ve got a lot of those. Measured against our cost of living in a state where, at least for the moment, darn near everybody who wants to work can, we’re not doing bad. All those speeches I gave about time’s on the side of the Midwest, I think you’re starting to see the evidence. It took longer than I thought.” Property tax caps Is Daniels satisfied with the impact of his property tax caps? “Yes, the last months, the three most attractive places to live are in Indiana. The caps and low property taxes are the biggest single part of that,” Daniels told HPI. He called the caps the “fairest” way to control costs, noting that about half of the referendums pass. “Then we constitutionalized it,” he said. BMV reforms Daniels said the most enduring part of his legacy occurred with revamping the Bureau of Motor Vehicles. “The macro point here is that I’ve always said we can and should always have debates about how big government should be; what it should do or not do,” he explained. “Having decided that, whatever it’s going to do, it’s got to do it well. You owe to the people and the taxpayers who are paying the money. It’s always important to have the public’s confidence. We’d like the public to believe it’s being administered by people really trying hard to do a good job and give them value for their money. So it’s why we did what we did with Department of Revenue and BMV because they touch so many people.” Daniels has a soft spot in his heart for his first BMV Commissioner Joel Silverman, the former CEO of Galyan’s Sporting Goods. “We’ve had a couple of people who were great business people and we caught them in between (jobs) and said, ‘Hey, give a little time to your state.’ So Joel agreed. Why Joel? When we look at the BMV, I remember someone saying, ‘What you have here is 180 Dairy Queens.’ It’s a lot of walk-in traffic, a lot of cash transactions, it’s a retail business and they’re making a huge mess of it. That’s the business he came from. The thing about Joel was, he was naive. He’d say, ‘Of course, you’ve gotta do these things. You’ve got to close these branches because they’re losing money. Fix up the other ones. If you run Galyan’s, that’s exactly what you do and it works.'” Holcomb remembers getting a call “in real time” when Silverman showed up in Rockport for a hearing to close a BMV branch. “Because as commissioner you have to be present to close a branch at the town meeting, due to a quirk in the law,” Holcomb recalled. “Joel goes down there and relishes breaking eggs for omelets, and it’s a packed house. Someone sends me this picture of a BMV branch having a meeting and it’s packed and it’s the size of this room. And Joel is sitting there listening to an hour of ranting. Someone who’s down there calls me. ‘You’re not going to believe this.’ “What happened? “Well, there’s a little old lady who says, ‘This branch has been here forever.’ And Joel says, ‘Ma’am, you don’t have to go to the branch to do what you just described. You can do that at home on your computer.’ And she says, ‘Mr. Commissioner, I don’t have a computer.’ And he goes, ‘Can you lick a stamp?”’ FSSA and IBM This was the sequence where a policy disaster could have turned into a political one. IBM had been retained to modernize the Family Social Services Administration in 2006. By October, the Daniels administration terminated the $1.34 billion contract after reports revealed that people with no computer access or skills were falling through the cracks, with sometimes lethal results. HPI reported on Oct. 21, 2009: “Every presidential and gubernatorial administration finds itself in one of those dark moments when the world crowds in, the policy and political prospects dim and enemies seem to abound. For Gov. Mitch Daniels, that moment came last week when he decided to pull the plug on the $1.34 billion welfare privatization deal.” “Among the most vocal were those in the Evansville area where Democrat State Reps. Dennis Avery and Gail Riecken, Republican Rep. Suzanne Crouch and Sen. Vanetta Becker were either critical or wrote legislation seeking to stop further roll-out of the IBM system.” In the Oct. 21, 2009, edition, we reported: “A gargantuan amount of work awaits to develop the ‘hybrid’ system that restores the ‘face to face’ contact and keeps the problems with fraud in check. As one administration source told HPI, “The public appreciates the governor trying to reform and deliver a better and more modernized service. When the company the state contracted with failed to make the agreed-upon changes, they were relieved of their duty. That was leadership, not failure on the governor’s part.” Goode told HPI in January, “There were two reasons I came here. (Daniels) asked me to coordinate the transition of the toll road. The other was to be his representative on Mitch Roob’s team that was putting together that whole (FSSA) plan. The initial plan that the agency called for was basically completely automated and to use not-for-profits in the counties if you needed assistance. Part of the discussion with the governor was that we’re not walking away without employees, so some of the changes we made were two basic rules: The system as it goes in has to be assessed based on how the Hoosier or citizen wishes, not how we wanted it. If you wanted it online, and it was still pretty early for online stuff, and there had to be at least two employees per county. So it got off to a pretty good start until it didn’t.” Goode added, “So after he met with the chairman of IBM once and it wasn’t getting attention, then after two months, the secretary of FSSA and I were authorized to call the chairman and vice chairman in and told them basically they were fired. That’s when Michael Gargano took over. What the role with FSSA employees through IBM, using the same subcontractors, it was a year when we were pretty much back on track. It’s saved the state a lot of money and I don’t believe we’ve had a complaint about customer service.” In essence, the “hybrid” plan developed out of that policy disaster remains today. Johnston observed in January, “Nor did he ever back off …” with Holcomb finishing, “of the mission.” Goode added, “The real lesson is Mitch listened.” Asked in October 2009 if the IBM contract was his worst problem in five years of office, Daniels responded, “No. I’ve got a long list. I haven’t tried to rate them. The easiest thing to do in a situation like this is throw your hands up and say, ‘Well, that’s as good as it can be.’ This has been a daunting thing all along, and it still is, of course. Our first attempt didn’t get us there, but we did get some positives out of it. We’ll just have to take them and reverse some of the mistakes and move forward. I’ve told you for five years that’s how we’re going to operate, and this is a classic case.” AAA bond rating S&P in 2008 granted the state its first AAA bond rating. The other rating agencies – Fitch and Moody’s – came on board in 2010. Daniels explained, “It saves the state and its subdivisions a lot of money. You can borrow less expensively. Second, it was an incredible merit badge. All the work it took to get there, three or four years, had succeeded because the people who give those ratings give them in a hard-eyed way and if they say you’re AAA, there’s no funny business about it. There’s no way to trick ’em. We really had moved the state from a bankrupt position to the strongest one you can attain.” Conservation expansion During the Daniels administration, more than 50,000 acres of Indiana land were moved to protected status. Daniels told HPI in February, “It was always something I was interested in doing. We have a lot of natural beauty here. When I invited all the conservation people in, we had already done a couple of big, big projects. Goose Pond was the biggest one in state history by a factor of like two, and then Muscatatuck Bottoms was like three Goose Ponds, and the Wabash River Corridor, which is still being finished, was five times as much. They’re the biggest ones in state history.” “We were trying to figure out how to celebrate the bicentennial; I said it’s got to be a conservation project,” Daniels continued. “That fits the occasion and fits the historic beauty. We brought in a lot of those good folks and I had worked with them a lot on some of these other projects. We looked around and found the first $20 million. I said, ‘We’re gonna put it out there as a challenge. We want to do at least one project in every single county for our bicentennial,’ and they were just astonished. I think that worked out great. We were always looking for things our loyal opposition could be excited about. It was common ground with folks who did not agree with much of what we were doing. But mainly I thought it was well worth doing. I was pretty sure we could be effective at it. Some things in government you don’t know if you’re making any difference or not. Putting all that money into education, for instance, what did we get? But here I was sure what we could get. Once land is protected, it’s protected.” GOP dominance Daniels served for eight years, four of which Republicans were in the House minority. He won reelection in 2008 with 58% of the vote, but failed to bring the House majority with him. Working with Speaker Brian Bosma and the House Republican Campaign Committee in 2010, the GOP returned to power and has yet to look back. Its House majority grew in 2012 and has been in supermajority status ever since 2014, which is an unprecedented concentration of power. During the two Daniels statewide campaigns, he never ran a negative TV or radio ad. He defeated an incumbent governor. Holcomb, who managed the Daniels reelection campaign in 2008, said in January, “That’s why it’s important to have a plan which is doing right by citizens, taxpayers and fill in the blank. You really have to dissect why we lost the majority because I was there. You had to look at the specific races, who was running, what kind of campaign they waged. Today, we’re benefiting from the momentum that good policy makes good politics. Never lose sight of that; always be tethered to that. If you start to believe what you say then that is thin ice, and so I think going back, I can remember recruiting people who were not drones, but like-minded, who wanted to be change-agents, who didn’t want to take the foot off the gas.” Epilogue During a 2012 exit interview with Statehouse reporters, Tom LoBianco asked Daniels what his greatest accomplishment was. “This is the who’s your favorite daughter question,” Daniels responded. “I think the best way I can answer this is to say there are several: Opening doors to building a better business climate, because that was always the central goal. If it does have staying power, it will lead to all the other good things. It will lead to jobs, therefore to revenues to do the things governments should do. It will underpin the success of the state. If it lasts, establishing Indiana as more of a leadership state at least in certain areas, I hope I’ve changed the culture inside state government to excellence, efficiency and good service, and outside, change the culture and expectations of higher expectations. An expectation of innovation.” “We ran on a very explicit and very detailed agenda. We did most of it.” Daniels said in 2012. “I was in a hurry. We wanted to get the budget balanced and pay back the debts. We wanted to put some money in the bank. And then we wanted to start reducing taxes. When I look back, I have this tattered little report card we kept for ourselves. I may have one of the last ones around. If you look at those 70-odd things in 2005, there aren’t very many in the ‘Did Not Succeed’ column. We did have a more activist approach, I think it’s fair to say, than our recent predecessors. It’s a ‘to-each-his-own’ situation. I felt, and it’s the reason I ran in the first place, that Indiana was drifting and slipping and we needed to get in motion against a lot of big problems. As a matter of personal approach, every year, and in-between, we had new ideas, we had to define each idea, and present the state and the legislature where they were needed action items. We felt responsible to push in directions we felt were in the public interest. There was a lot to do and we were not a very innovative state. There was a time for a lot of action, or so we thought.” Daniels liked to tell the story of a tornado plowing through a Hoosier community, reducing it to “looking like an ant farm.” Once on the ground, Daniels saw a FEMA worker notice that amidst the destruction, one house stood unblemished. The FEMA guy talked of how Mother Nature could be so arbitrary, leveling entire neighborhoods while leaving this one house unscathed. To which an Amish man replied, “T’weren’t there three days ago.” A decade ago, HPI’s analysis was this: The Daniels governorship can be viewed as “transformative” because of its audacious scope and conspicuous use of political capital. He and his administration were in a hurry to do big, unexpected things. But it will take a decade or more to determine how effective the education and transportation reforms were. Here we are and the assessment remains the same. Brian Howey is managing editor of Howey Politics Indiana/State Affairs. Find Howey on Facebook and Twitter @hwypol.
7770	dbpedia	1	96	https://www.justsecurity.org/94696/trump-criminal-trial-witnesses/	en	41 Star Witnesses and Bit Players in Trump’s NY Criminal Trial	https://www.justsecurity…713362655623.jpg	https://www.justsecurity…713362655623.jpg	[ "https://www.justsecurity.org/wp-content/themes/justsecurity21/assets/images/white-logo.png", "https://www.justsecurity.org/wp-content/themes/justsecurity21/assets/images/white-logo.png", "https://www.justsecurity.org/wp-content/themes/justsecurity21/assets/images/footer-logo.png" ]	[]	[]	[ "" ]	null	[ "Norman L. Eisen", "Adam Klasfeld", "Jacob Kovacs-Goodman", "Ronald A. Brand", "Diane Foley", "Luke Hartig", "Viola Gienger", "Paras Shah", "Harrison Blank", "Brianna Rosen" ]	2024-04-17T14:05:03+00:00	The list of potential witnesses read during jury selection for Trump's criminal trial in New York could indicate the direction of the case.	en	https://i0.wp.com/www.ju…it=32%2C32&ssl=1	Just Security	https://www.justsecurity.org/94696/trump-criminal-trial-witnesses/	Klasfeld’s reporting is part of Just Security’s Trump Trials Clearinghouse. Jury selection started earlier this week in the first ever criminal trial of a U.S. president. It was an extraordinary historical moment –and yet it followed the same procedures as any other criminal trial. Justice Juan Merchan read the first cohort of 96 potential jurors the names of people who they might see as witnesses or hear about as key players throughout the trial. That allows the potential jurors to flag for the judge any person who for whatever reason might affect a juror’s ability to serve impartially. This is an annotated version of the list, which could indicate possible directions for the trial and serve as a cheat sheet for those following the case. It incorporates a similar list contained in the book Trying Trump, a comprehensive guide to the trial recently edited by one of the authors. Using that as a foundation, this piece expands the names and the commentary on them. The Cast of Characters Steve Bannon—Bannon served as White House chief strategist in 2017. He was sentenced to federal prison time for contempt of Congress, for failing to comply with a subpoena from the U.S. House of Representatives January 6th Committee. He has so far postponed serving his sentence while he appeals it. He is also the defendant in a New York state prosecution for money laundering, for allegedly pocketing donations he solicited to build a wall on the southern border. Merchan, the judge in this case, is also assigned to Bannon’s criminal case. In 2016, just before The Washington Post broke the “Access Hollywood” tape story regarding Donald Trump discussing lewd acts, the Post emailed Hope Hicks (see below) for comment, who forwarded the email to Bannon, who in turn forwarded it to Michael Cohen (see below). Sharon Churcher—Churcher is a journalist. In 2011, she broke the stories of the Jane Does who were accusing Jeffrey Epstein of child sex trafficking. During the 2016 election, she was one of the lead American Media, Inc. (“AMI”) reporters tracking the salacious story from Trump’s doorman, Dino Sajudin (see below), that Trump fathered a child out of wedlock. Stephanie Clifford (also known as Stormy Daniels)—Clifford is “Woman 2” in the statement of facts. Clifford claims she had a sexual relationship with Trump while he was married. According to the statement of facts, AMI CEO David Pecker learned of Clifford’s allegations in October 2016, shortly after an “Access Hollywood” video of Trump discussing lewd acts was aired. Clifford was allegedly paid $130,000 to keep her story out of the press prior to the 2016 presidential election. Michael Cohen—Cohen is “Lawyer A” in the statement of facts. Cohen was Trump’s personal lawyer and fixer and facilitated the “catch and kill” scheme on his behalf. In late October 2016, Cohen allegedly set up a shell company to pay Clifford hush money. He allegedly transferred $131,000 from a home equity loan to a bank account for the shell company and then paid Clifford’s lawyer $130,000. Trump allegedly paid Cohen back in a series of checks between February and December 2017—that is, during Trump’s first year in office. Those checks are central to the Manhattan DA’s case, as Trump allegedly falsified business records in New York to cover up the purpose of the monies paid to Cohen. In 2018, Cohen pleaded guilty to eight charges, admitting that the hush money payments made to Clifford and McDougal were “intend[ed] to influence the 2016 presidential election.” Kellyanne Conway—Conway was Trump’s campaign manager before serving as Assistant and Senior Counselor to the President from 2017-2020. Conway was allegedly in contact with Cohen the day of the hush money payment to Clifford to confirm its logistics. Cohen wrote in his memoir that Trump “didn’t take” Cohen’s call that the transaction was a success but instead his “old pal” Conway “called and said she’d pass along the good news.” Robert Costello—Costello is “Lawyer C” in the statement of facts. In April 2018, Costello allegedly approached Cohen and offered to serve as a “back channel of communication” between Cohen and Trump. Costello allegedly followed up in emails claiming Cohen was still in good standing with Trump and encouraging Cohen not to cooperate with authorities investigating the hush money scheme. Doug Daus—Daus is a computer forensics expert in the High Technology Analysis Unit of the Manhattan District Attorney’s office. DA staff often testify about aspects of an investigation in order to help establish elements of a criminal case. Keith Davidson—Davidson, Clifford’s lawyer, is “Lawyer B” in the statement of facts. He allegedly negotiated the hush money agreement with Cohen, including the $130,000 payment to Clifford. Sheri Dillon—Dillon is a partner at law firm Morgan Lewis. At the beginning of 2017, she was responsible for sorting out Trump’s conflicts of interest between his business holdings and his obligations as president. Gary Farro—Farro was, in 2016, a senior managing director at First Republic Bank. Cohen allegedly wired the hush money payment to Stephanie Clifford using First Republic Bank. A so far unnamed individual or individuals at First Republic played known roles in the wire transfer. Someone at First Republic reported the wire transaction as suspicious to the Treasury Department. And, on October 26, 2016, a First Republic employee whose name is publicly redacted confirmed to Cohen that his $130,000 wire to Clifford’s lawyer was successful. Alan Garten—Garten is Executive Vice President and Chief Legal Officer at the Trump Organization. Garten testified in federal court last summer, when Trump attempted to remove this prosecution from state court to federal court. There, Garten said that “he was not aware of any retainer agreement with Cohen, that Cohen’s invoices did not contain descriptions of the work he did, and that the ledger entries for Cohen similarly did not describe his work… [and] that he did not know if Cohen actually worked on any matters referred to him by the Trump Organization.” Rudy Giuliani—Giuliani, Trump’s former personal attorney, is “Lawyer D” in the statement of facts. In an email on or about April 21, 2018, to Michael Cohen, Robert Costello (“Lawyer C”) allegedly claimed he “had a close relationship with” Giuliani, adding: “[T]his could not be a better situation for the President or you.” Costello was allegedly attempting to convince Cohen not to cooperate with authorities at the time. In an email that same day, Costello allegedly wrote: “I spoke with [Giuliani]. Very Very Positive. You are ‘loved.’ . . . [Giuliani] said this communication channel must be maintained. . . . Sleep well tonight, you have friends in high places.” Rhona Graff—Graff has been Trump’s executive assistant for many decades. She was once quoted in an interview as saying, “Everybody knows in order to get through to him they have to go through me.” Hope Hicks—Hicks worked for Ivanka Trump at the Trump Organization prior to working as the Trump campaign’s press secretary in the 2016 election. Between January 2017 and March 2018, she served in Trump’s administration as White House Director of Strategic Communications and then as Communications Director, before returning between March 2020 and January 2021 as an Assistant and Counselor to the President. Hicks is believed to have participated in a phone call with both Cohen and Trump in October 2016 on the day that Clifford’s attorney requested a money payment. Records also suggest Hicks spoke with Cohen “several times” before and after calls with AMI. She has stated that she did not have any knowledge of the matter other than what she learned from reporters. Dylan Howard—Howard is the “AMI Editor-in-Chief” in the statement of facts. In or about June 2016, Howard allegedly discussed with Cohen that Karen McDougal (see below) claimed that “she had a sexual relationship with [Trump] while he was married.” Howard updated Cohen “regularly about the matter over text message and by telephone.” DeWitt Hutchins—Hutchins is a banker. During the 2016 election, according to his LinkedIn, he was a sales manager at First Republic Bank. For more information about that entity’s role, see number 10 above, Gary Farro. Marc Kasowitz—Kasowitz is a partner at his eponymous law firm. He has served as Trump’s lawyer in many settings, including during Robert Mueller’s investigation. In October 2016, after The New York Times published sexual assault allegations against Trump, Kasowitz sent the Times a letter demanding a retraction and apology. Jared Kushner—Kushner is Trump’s son-in-law who was said to be a “quiet fixer” and “de facto campaign manager” in 2016. He later served as senior advisor to Trump in the White House. Georgia Longstreet-Joseph— Longstreet-Joseph is a paralegal in the Manhattan District Attorney’s office. Rebecca Manochio—Manochio is, according to her LinkedIn, an executive assistant at the Trump Organization. From court filings in another case, it appears she may be an assistant to Allen Weisselberg (see below), the former chief financial officer of the Trump Organization. Jeffrey McConney—McConney is the “TO [Trump Organization] Controller” in the statement of facts. Cohen allegedly sent his first invoice to McConney on or about February 14, 2017. McConney then forwarded the invoice to Tarasoff, writing: “Post to legal expenses. Put ‘retainer for the months of January and February 2017’ in the description.” McConney allegedly forwarded Cohen’s other invoices to Tarasoff marked for “legal expenses.” Karen McDougal—McDougal, a former Playboy Playmate, is “Woman 1” in the statement of facts. McDougal alleges that she had sexual relations with Trump while he was married. The statement of facts alleges the following: in or about June 2016, senior AMI officials discussed McDougal’s allegations with Cohen. AMI subsequently paid $150,000 to McDougal and received the exclusive rights to her story as part of the exchange. In a conversation recorded around September 2016, Trump discussed with Cohen how they could acquire the rights to McDougal’s story. Trump asked: “So what do we got to pay for this? One fifty?” Although AMI allegedly initially agreed to transfer the rights to her story to a shell company set up by Cohen, AMI backed out of the deal. It appears that AMI did not release McDougal from the non-disclosure agreement until after the 2016 presidential election. John McEntee—McEntee was a White House aide. Then-Chief of Staff John Kelly fired him in 2018, after he failed a security clearance background check that had uncovered his “serious financial crimes.” Trump rehired McEntee as White House Presidential Personnel Office Director. In Trump’s 2016 campaign, he was the trip director. Adav Noti—Noti is the Executive Director of Campaign Legal Center (CLC). Prior to CLC, Noti served more than ten years within the Office of General Counsel of the Federal Election Commission, in nonpartisan capacities. On March 1, 2024, the DA’s office informed Trump that it intended to call Noti as an expert witness to address the same topics as Trump’s expert, Bradley Smith (see below). Among other items, Noti might speak to the rules regarding a third-party’s payment of a candidate’s expenses and about how corporate expenditures, made for the purpose of influencing an election and in coordination with or at the request of a candidate or campaign, are unlawful. David Pecker—Pecker is AMI’s chairman and chief executive officer (the “AMI CEO”) in the statement of facts. The statement of facts alleges the following: AMI publishes the National Enquirer and other tabloids. In August 2015, Pecker attended a meeting with Trump and Cohen at Trump Tower in midtown Manhattan. During that meeting, Pecker agreed to act as the “eyes and ears” of the Trump campaign—that is, Pecker agreed to participate in Trump’s “catch and kill” scheme. Pecker helped Cohen and Trump identify any problematic sources who came forward prior to the 2016 election with sordid details from Trump’s past. In fall 2015, Pecker facilitated a payment of $30,000 to a doorman at Trump Tower who claimed that Trump was the father to a baby born out of wedlock. In 2016, AMI also paid $150,000 to McDougal to prevent her from sharing her story about a sexual encounter with Trump. AMI entered into a non-prosecution agreement with the Department of Justice, admitting that the payment to McDougal was intended to ensure she did not “publicize damaging allegations about” Trump “before the 2016 presidential election and thereby influence that election.” Reince Priebus—Priebus was Trump’s first Chief of Staff and served in that role when Trump allegedly made the first payments to Cohen. Prior to that, he was the chairman of the Republican National Committee from 2011 to 2017. Gina Rodriguez—Rodriguez is the former manager for Stephanie Clifford and helped negotiate her confidentiality agreement with respect to the hush money payment. Jeremy Rosenberg—Rosenberg was a Supervising Rackets Investigator in the Manhattan District Attorney’s office. From court filings by Trump’s attorneys, it appears that Rosenberg will speak to phone records at issue in the case. Dino Sajudin—Sajudin is the Trump Tower “Doorman” discussed in the statement of facts. The statement of facts alleges the following: In late 2015, as part of the “catch and kill” scheme, AMI paid Sajudin $30,000 to prevent him from going public with an allegation that Trump fathered a child out of wedlock. As part of the agreement, AMI acquired the “exclusive rights” to Sajudin’s story. According to the Manhattan DA’s Office, AMI “later concluded that the story was not true,” but Cohen “instructed” Pecker “not to release” Sajudin from the agreement “until after the presidential election.” Pecker allegedly “complied with that instruction because of his agreement with” Trump and Cohen—again evidencing that the “catch and kill” scheme was solely intended to prevent negative stories about Trump from coming to light prior to the 2016 presidential election. Dan Scavino—Scavino was the 2016 Trump campaign’s director of social media and then the White House deputy chief of staff for communications. Reporting has indicated that Trump would make phone calls using Scavino’s phone. Keith Schiller—Schiller was Trump’s longtime personal bodyguard at the Trump Organization. Investigators previously questioned Schiller regarding his calls with David Pecker (see above). Bradley Smith—Smith is a law professor at Capital Law School and Trump might seek to call him as an expert witness regarding the Federal Election Commission and related matters. Smith was nominated to fill a Republican seat on the Federal Election Commission and he served from 2000 to 2005. On March 18, 2024, Merchan ruled that Smith lacked personal knowledge of the facts of the case, and so is not permitted to “offer opinion testimony regarding the interpretation and application of federal campaign finance laws and how they relate to the facts in the instant matter, nor may Smith testify or offer an opinion as to whether the alleged conduct in this case does or does not constitute a violation of the Federal Election Campaign Act.” Cameron Stracher—Stracher was general counsel at AMI, where he reviewed stories to determine if they were libelous. After the Stormy Daniels story broke, Stracher allegedly sought to renew a contract AMI had with McDougal. Stracher, in a New York Times article that discussed AMI’s role in McDougal’s silence, explained “It’s easy to look down at the work product of celebrity magazines and assume they are not entitled to the same protections as the mainstream media.” Deborah Tarasoff—Tarasoff is “TO [Trump Organization] Accounts Payable Supervisor” in the statement of facts. At the direction of other Trump Organization officials, Tarasoff allegedly prepared the checks used to reimburse Cohen and falsely recorded those checks as “legal expenses” in the organization’s bookkeeping. Donald J. Trump—Trump is the defendant in this criminal trial. He was the 45th president of the United States. Donald Trump Jr.—Trump’s eldest son and executive vice president of the Trump Organization. Eric Trump—Trump’s son and executive vice president of the Trump Organization. Ivanka Trump—Trump’s eldest daughter, former executive vice president of the Trump Organization, and former senior advisor to the president. Melania Trump—Trump’s third wife. At the time of Trump’s affair with Stephanie Clifford, she was already married to him. Allen Weisselberg—Weisselberg, the former chief financial officer of the Trump Organization, is “TO CFO” in the statement of facts. Trump allegedly instructed Cohen and Weisselberg to find a way to pay Clifford the $130,000 in hush money. Weisselberg allegedly arranged for Trump to reimburse Cohen from his trust and personal bank account in a series of checks cut throughout 2017. Weisselberg also allegedly helped Cohen cover up the true purpose of these monies, making it appear as regular taxable income. The Manhattan DA’s Office claims Weisselberg “memorialized these calculations in handwritten notes” on a “copy” of a “bank statement” that was produced by Cohen. Weisselberg was a key figure in the Manhattan DA’s investigation of the Trump Organization and testified at trial. In August 2022, he pleaded guilty to 15 charges brought during the Manhattan DA’s investigation into the Trump Organization. As part of his plea deal, Weisselberg served five months in prison. In March 2024, Weisselberg pleaded guilty to two additional charges of lying under oath during Trump’s civil fraud case in New York. Madeleine Westerhout—Westerhout was Trump’s executive assistant at the beginning of his term, when Trump met with Cohen in the Oval Office. During the 2016 election, she assisted Priebus and worked closely with the Republican candidates. Conclusion The list Justice Merchan read jurors gestures at the foundation that prosecutors will need to lay as they build their case against Trump. While the big names were already part of the public discourse, the newly-identified individuals are a crucial part of the mosaic of the case. Their roles range from allegedly directly participating in email communications coordinating the Trump campaign’s strategic response to the “Access Hollywood” tape, to structuring the Trump Organization’s accounting methods for the hush money, to forensically reviewing the behind-the-scenes coordination of the moving parts. The inclusion of a name on the list does not signify that the person will necessarily be a witness or even be named at trial. But just as the names were useful to jurors to identify potential conflicts, so too we hope that they will be helpful to everyone who is following this trial. IMAGE: Former US President Donald Trump visits a Sanaa convenient store in a Harlem neighborhood after spending his second day of his trial for allegedly covering up hush money payments linked to extramarital affairs, at the Manhattan Criminal Court in New York City on April 16, 2024. (Photo by KENA BETANCUR/AFP via Getty Images)
7770	dbpedia	1	79	https://www.espn.com/nfl/draft2024/story/_/page/prosconsdraft24/2024-nfl-draft-live-updates-pros-cons-every-first-round-pick	en	2024 NFL draft live: Pros and cons for every first	https://a1.espncdn.com/combiner/i?img=%2Fphoto%2F2024%2F0426%2Fr1324650_1296x729_16%2D9.jpg	https://a1.espncdn.com/combiner/i?img=%2Fphoto%2F2024%2F0426%2Fr1324650_1296x729_16%2D9.jpg	[ "https://a.espncdn.com/combiner/i?img=/i/teamlogos/leagues/500/nfl.png&w=80&h=80&transparent=true", "https://a.espncdn.com/combiner/i?img=/i/columnists/espn_generic_m.jpg&h=80&w=80&scale=crop", "https://a.espncdn.com/combiner/i?img=/i/content-reactions/check.png&h=80&w=80", "https://a.espncdn.com/redesign/assets/img/logos/espnplus/espnplus-editorial_v2@2x.png", "https://a.espncdn.com/i/infographics/20170710_nfl_fpr/charts/_end_rule.png", "https://a.espncdn.com/combiner/i?img=/i/teamlogos/nfl/500/chi.png?w=110&h=110&transparent=true", "https://a.espncdn.com/combiner/i?img=/i/teamlogos/nfl/500/was.png?w=110&h=110&transparent=true", "https://a.espncdn.com/combiner/i?img=/i/teamlogos/nfl/500/ne.png?w=110&h=110&transparent=true", "https://a.espncdn.com/combiner/i?img=/i/teamlogos/nfl/500/ari.png?w=110&h=110&transparent=true", "https://a.espncdn.com/combiner/i?img=/i/teamlogos/nfl/500/lac.png?w=110&h=110&transparent=true", "https://a.espncdn.com/combiner/i?img=/i/teamlogos/nfl/500/nyg.png?w=110&h=110&transparent=true", "https://a.espncdn.com/combiner/i?img=/i/teamlogos/nfl/500/ten.png?w=110&h=110&transparent=true", "https://a.espncdn.com/combiner/i?img=/i/teamlogos/nfl/500/atl.png?w=110&h=110&transparent=true", "https://a.espncdn.com/combiner/i?img=/i/teamlogos/nfl/500/chi.png?w=110&h=110&transparent=true", "https://a.espncdn.com/combiner/i?img=/i/teamlogos/nfl/500/min.png?w=110&h=110&transparent=true", "https://a.espncdn.com/combiner/i?img=/i/teamlogos/nfl/500/nyj.png?w=110&h=110&transparent=true", "https://a.espncdn.com/combiner/i?img=/i/teamlogos/nfl/500/den.png?w=110&h=110&transparent=true", "https://a.espncdn.com/combiner/i?img=/i/teamlogos/nfl/500/lv.png?w=110&h=110&transparent=true", "https://a.espncdn.com/combiner/i?img=/i/teamlogos/nfl/500/no.png?w=110&h=110&transparent=true", "https://a.espncdn.com/combiner/i?img=/i/teamlogos/nfl/500/ind.png?w=110&h=110&transparent=true", "https://a.espncdn.com/combiner/i?img=/i/teamlogos/nfl/500/sea.png?w=110&h=110&transparent=true", "https://a.espncdn.com/combiner/i?img=/i/teamlogos/nfl/500/min.png?w=110&h=110&transparent=true", "https://a.espncdn.com/combiner/i?img=/i/teamlogos/nfl/500/cin.png?w=110&h=110&transparent=true", "https://a.espncdn.com/combiner/i?img=/i/teamlogos/nfl/500/lar.png?w=110&h=110&transparent=true", "https://a.espncdn.com/combiner/i?img=/i/teamlogos/nfl/500/pit.png?w=110&h=110&transparent=true", "https://a.espncdn.com/combiner/i?img=/i/teamlogos/nfl/500/mia.png?w=110&h=110&transparent=true", "https://a.espncdn.com/combiner/i?img=/i/teamlogos/nfl/500/phi.png?w=110&h=110&transparent=true", "https://a.espncdn.com/combiner/i?img=/i/teamlogos/nfl/500/jax.png?w=110&h=110&transparent=true", "https://a.espncdn.com/combiner/i?img=/i/teamlogos/nfl/500/det.png?w=110&h=110&transparent=true", "https://a.espncdn.com/combiner/i?img=/i/teamlogos/nfl/500/gb.png?w=110&h=110&transparent=true", "https://a.espncdn.com/combiner/i?img=/i/teamlogos/nfl/500/tb.png?w=110&h=110&transparent=true", "https://a.espncdn.com/combiner/i?img=/i/teamlogos/nfl/500/ari.png?w=110&h=110&transparent=true", "https://a.espncdn.com/combiner/i?img=/i/teamlogos/nfl/500/kc.png?w=110&h=110&transparent=true", "https://a.espncdn.com/combiner/i?img=/i/teamlogos/nfl/500/dal.png?w=110&h=110&transparent=true", "https://a.espncdn.com/combiner/i?img=/i/teamlogos/nfl/500/bal.png?w=110&h=110&transparent=true", "https://a.espncdn.com/combiner/i?img=/i/teamlogos/nfl/500/sf.png?w=110&h=110&transparent=true", "https://a.espncdn.com/combiner/i?img=/i/teamlogos/nfl/500/car.png?w=110&h=110&transparent=true" ]	[]	[]	[ "" ]	null	[ "NFL Nation", "Jeff Carlisle", "Field Yates", "Tom Hamilton", "ESPN News Services", "Sam Marsden", "Moises Llorens", "James Olley", "Alex Kirkland", "Rodrigo Faez" ]	2024-04-26T04:28:00+00:00	The Chicago Bears did as expected and picked Caleb Williams at No. 1. We look at the pros and cons of every pick in Thursday's opening round.	en	https://a.espncdn.com/pr…sets/icons/E.svg	ESPN.com	https://www.espn.com/nfl/draft2024/story/_/page/prosconsdraft24/2024-nfl-draft-live-updates-pros-cons-every-first-round-pick	The 2024 NFL draft began Thursday night in Detroit, with the Chicago Bears ending the suspense by selecting USC quarterback Caleb Williams at No. 1 overall. A record six quarterbacks would be selected in the first 12 picks, and 14 straight offensive players came off the board before a defensive player was chosen -- also a first. We will be tracking all 257 picks for Rounds 1-7, and you also can check out all the best available draft prospects. The draft continues with Rounds 2-3 on Friday (7 p.m. ET) and concludes with Rounds 4-7 on Saturday (noon ET). ESPN's team of reporters will submit pros and cons below for each of the 32 players selected in Thursday's first round: coverage: Top prospects at every position Kiper's position rankings 1. Chicago Bears (from Carolina) -- Caleb Williams, QB, USC Why they picked him: The Bears have been preparing to draft Williams for months. A thorough vetting of the quarterback supported their belief the Heisman Trophy winner will be an upgrade at the position and the right fit for the team's culture. General manager Ryan Poles was hired to break Chicago's cycle of quarterback futility and believes the Bears have the pieces in place to develop a franchise QB. Nothing reflects that more than trading Justin Fields to Pittsburgh to clear the runway for Williams as he begins his NFL career. Williams is the type of quarterback Poles has been searching for since being part of the Kansas City front office that drafted Patrick Mahomes in 2017. He can make throws with surgical precision and freelance with a unique ability to escape pressure and keep plays alive. He threw 72 touchdowns to 10 interceptions over his last two seasons and had a career-best 68.6% completion percentage despite his passing yards taking a slight dip during his final college season. After 10 wins the past two seasons combined, Chicago is finally in position to move past the rebuild phase in contention. Biggest question: What are realistic expectations for Williams' rookie season? The Bears have never drafted a player with the No. 1 overall pick, let alone a quarterback who carries the weight of a franchise that hasn't won a playoff game since 2010. Chicago's main objective should be consistent quarterback play, the catalyst behind moving on from Fields, and relying on its QB to be the reason the team wins games. Williams will undoubtedly experience rookie growing pains, but the level of talent surrounding him means the Bears need to have more wins than losses and position themselves to become a playoff team in 2024. -- Courtney Cronin Analysis of every Bears pick Bears depth chart 2. Washington Commanders -- Jayden Daniels, QB, LSU Why they picked him: It is not just because Daniels is more prepared to make an early impact than the others. It is because he can still develop while having a skill set -- the ability to outrun defenders and make them miss -- that the other quarterbacks do not possess at the same level. Commanders coach Dan Quinn said before the draft he likes how quickly Daniels gets through his progressions in the pocket and can adjust to coverage changes after the snap. Daniels also was the most accurate passer in the NCAA last season on throws of 20 air yards or more, completing 66.7% with 22 touchdowns. And then there are his legs: Daniels ran for 1,134 yards last season and was second among quarterbacks with 20 gains of 20 or more yards. He is a dynamic threat. Biggest question: Durability. Daniels has a narrow frame and weighed 210 pounds at his pro day. He also had a penchant for taking big hits in college -- he once hurdled the middle of the line on a scramble against Florida State and was drilled backwards to the ground. He will have to learn when he must give up on a run and slide, or when he needs to throw the ball out of bounds to avoid a sack. Washington fans saw what happened to a potential long-term answer at QB when another dual-threat quarterback -- Robert Griffin III -- was injured. They do not want a repeat. -- John Keim Analysis of every Commanders pick Commanders depth chart 3. New England Patriots -- Drake Maye, QB, North Carolina Why they picked him: Identifying a potential quarterback of the future was the team's top priority, and as head coach Jerod Mayo said of Maye: "There's really no ceiling." Mayo also cited his leadership ability and a "fantastic interview" at the NFL combine. The 6-foot-4, 223-pound Maye has the size and powerful arm to contend with inclement Northeast weather conditions late in the season. Veteran QB Jacoby Brissett will not only compete with him but also serve as a mentor. Biggest question: How much time will the 21-year-old Maye need before he's ready to play? He started 26 games in his college career, which is a notable contrast to fellow high draft pick Daniels (55). -- Mike Reiss Analysis of every Patriots pick Patriots depth chart 4. Arizona Cardinals -- Marvin Harrison Jr., WR, Ohio State Why they picked him: Harrison is the offensive playmaker the Cardinals want and need. He'll give quarterback Kyler Murray the tools to take Arizona's offense to the next level and possibly the playoffs. Harrison is as prepared for the NFL as any prospect in recent memory and has the skill set -- and pedigree -- to make an instant impact as Arizona's WR1. Biggest question: As with any rookie, the biggest question surrounding Harrison will be how he adapts to the NFL. He's been preparing for the jump to the professional level essentially his entire life under the tutelage of his father, Hall of Fame receiver Marvin Harrison Sr., but how he adjusts to actually doing it -- facing myriad defensive schemes, faster and bigger cornerbacks and the overall speed of the game -- will be something to watch. -- Josh Weinfuss Analysis of every Cardinals pick Cardinals depth chart 5. Los Angeles Chargers -- Joe Alt, T, Notre Dame Why they picked him: Since Jim Harbaugh took the job of Chargers head coach in February, the staff has preached the importance of having a rushing offense to "out-physical" teams. Alt will presumably start at right tackle opposite Chargers' Pro Bowl tackle Rashawn Slater, giving the team a pairing that could become one of the league's best. Last season, the Chargers' middling offensive line played a large role in their struggles. The Chargers' rushing offense averaged 96.6 yards per game last season, 24th in the NFL. Biggest question: What will happen with Trey Pipkins III? Pipkins has been the Chargers' starting right tackle for the past two seasons, where his play has fluctuated from middling to good. The Chargers' selection of Alt proves that the team believed they needed an upgrade despite Pipkins signing a three-year, $21.75 million contract last offseason. A trade would save the Chargers $10.5 million over the next two seasons. -- Kris Rhim Analysis of every Chargers pick Chargers depth chart 6. New York Giants -- Malik Nabers, WR, LSU Why they picked him: The Giants haven't had a 1,000-yard receiver since Odell Beckham Jr. in 2018. Nabers' explosiveness makes him a prime candidate to get there for many years to come. His run-after-the-catch ability is special, making him an ideal fit for coach Brian Daboll's offense. "Looks like a running back with the ball in his hands," a source familiar with Nabers said. This finally gives quarterback Daniel Jones a receiver who will demand significant attention and double teams from defenses. Biggest question: How will Nabers handle New York? There were some around the league that questioned whether Nabers was a good fit in the Big Apple. But his character wasn't something teams considered a major concern, despite an arrest on a gun charge that was eventually dropped at LSU. Nabers is especially close with his wide receivers coach at LSU, Cortez Hankton, who reassured teams the WR wouldn't be a problem. Nabers, multiple sources said, is someone willing to put his head down and work and who cares about winning. -- Jordan Raanan Analysis of every Giants pick Giants depth chart 7. Tennessee Titans -- JC Latham, T, Alabama Why they picked him: At 6-foot-6, 342 pounds, Latham is the type of power player the Titans can rely on to anchor their offensive line. Tackle was their biggest need entering the draft. With veteran offensive line coach Bill Callahan in the mix, there's a good chance Latham flips from right tackle to the left side like the Browns did when they selected Jedrick Willis Jr. in 2020. Biggest question: Will Latham play left or right tackle? The Titans' left tackles allowed 29 of their 64 sacks last season. Latham played 1,753 snaps at right tackle over his career at Alabama. -- Turron Davenport Analysis of every Titans pick Titans depth chart 8. Atlanta Falcons -- Michael Penix Jr., QB, Washington Why they picked him: Clearly, the Falcons wanted a successor to $180 million signee Kirk Cousins. This was a surprise -- the biggest of the draft thus far -- since the Falcons' biggest need was on defense, especially at pass-rusher. But Falcons GM Terry Fontenot is unconventional and said this week the team would take the best player available "for us." Atlanta must have thought that was Penix, who it visited and spent quite a bit of time with in recent weeks. Biggest question: His injury history and age (23). Penix separated his left (throwing) shoulder in 2021, tore his right ACL in 2018 and 2020 and dislocated his right (non-throwing) shoulder in 2019. From a pure skill standpoint, the left-hander was one of the best quarterbacks on the board, especially known for his great arm strength on the deep ball. But those durability questions are why Penix was projected to go much lower than No. 8 overall. -- Marc Raimondi Analysis of every Falcons pick Falcons depth chart 9. Chicago Bears -- Rome Odunze, WR, Washington Why they picked him: Putting Williams in the best possible situation means surrounding him with top-tier talent. The Bears did that last month when they traded for wide receiver Keenan Allen and signed running back D'Andre Swift in free agency. Now, eight picks after making Williams its future, Chicago adds one of the best receivers in the draft and can boast one of the league's best receiver trios with Allen, Odunze and DJ Moore. In 2023, the Biletnikoff Award finalist led the nation with 21 receptions on passes thrown 20-plus yards down field and was the go-to deep ball threat for Penix, who went one pick earlier. Given that he's already been catching passes from Williams in the weeks leading up to the draft, Odunze appears to be off to a fast start in building chemistry, which should help him become a vertical threat in this offense. Biggest question: Will the Bears boast a top-10 offense? It's not too early to start wondering whether the 27th ranked passing offense from a year ago can become one of the best in 2024. With this much talent in the receiver room coupled with how the Bears plan to use tight ends Cole Kmet and Gerald Everett, Williams is walking into a situation where he has capable pass catchers at every turn. -- Courtney Cronin Analysis of every Bears pick Bears depth chart 10. Minnesota Vikings (from New York Jets) -- J.J. McCarthy, QB, Michigan Why they picked him: Let's go ahead and state the obvious. The Vikings needed a quarterback after bidding farewell to Cousins six weeks ago. They signed veteran Sam Darnold to a one-year deal shortly after, but he's best thought of as a bridge starter who the Vikings hope will play well enough that they don't have to rush McCarthy onto the field. The Vikings had hoped to trade up to get Maye, per sources, but could not pry the No. 3 pick away from the Patriots. Biggest question: McCarthy's relatively light college career makes it tough to project when he'll be ready to play. He just turned 21 and averaged only 22.1 attempts per game last season, ranked No. 92 among qualified FBS quarterbacks. The Vikings have Darnold on their roster, but will one year be enough? How long can the No. 10 overall pick in the draft reasonably be expected to stand on the sidelines? -- Kevin Seifert Analysis of every Vikings pick Vikings depth chart 11. New York Jets (from Minnesota) -- Olumuyiwa Fashanu, T, Penn State Why they picked him: Priority No. 1 is keeping Aaron Rodgers on the field. The Jets allowed 64 sacks last season, the first of which resulted in a torn right Achilles for their future Hall of Fame quarterback. They added three new starters in free agency, but tackles Tyron Smith and Morgan Moses (both 33) are Band-Aids. Smith hasn't played a full season since 2015. In Fashanu (6-foot-6, 312), they get a natural left tackle with prototypical size and arm strength. He's an excellent pass protector (one sack in two years as a starter) who needs some technique work in the run game. Biggest question: How does Fashanu get on the field? There's no clear path to immediate playing time, which is unusual for a player drafted this high on a perennial loser -- but a team ready to contend, the Jets believe. At Penn State, he played exclusively at left tackle. As a rookie, he's not going to supplant Smith, a likely Hall of Famer, but he can prepare to take over for Smith in 2025. -- Rich Cimini Analysis of every Jets pick Jets depth chart 12. Denver Broncos -- Bo Nix, QB, Oregon Why they picked him: With the desperation level to find franchise quarterbacks league-wide at an all-time high, no team is more needy than the Broncos. So much so the Broncos made Nix the sixth quarterback off the board in the first 12 picks of the draft. The Broncos had used 12 different quarterbacks, 13 different players, as starters at the position since Peyton Manning retired following the 2015 season. The Broncos have also missed the playoffs in the eight seasons since their Super Bowl 50 win. Biggest question: Whether Nix can turn his remarkable efficiency in his two years at Oregon, including 77.4% completion rate this past season, into a more well-rounded, all-parts-of-the-field game. Some teams had charted almost a third of his attempts at or behind the line of scrimmage. He will have to show he can drive the ball to all parts of the field to flourish with the Broncos. His experience -- 61 college games at Auburn and Oregon -- to go with his mobility and toughness are why the Broncos made the pick. -- Jeff Legwold Analysis of every Broncos pick Broncos depth chart 13. Las Vegas Raiders -- Brock Bowers, TE, Georgia Why they picked him: A true mystery, unless the Raiders' new front office of GM Tom Telesco and coach Antonio Pierce simply followed the board and selected the best player available, regardless of position. Remember, the Raiders used a second-round pick on Michael Mayer last year and he was coming into his own before a foot injury landed him on injured reserve as he missed the final three games. Perhaps the Raiders envision a dual threat at tight end going forward. Biggest question: Offensive tackle and cornerback were much bigger needs and every CB was still on the board, so you have to wonder ... Why another tight end? Beyond that, perhaps Mayer's injury is worse than initially disclosed. Knee-jerk reaction -- it's a confounding pick. -- Paul Gutierrez Analysis of every Raiders pick Raiders depth chart 14. New Orleans Saints -- Taliese Fuaga, T, Oregon State Why they picked him: The Saints needed an offensive tackle more than any other position on the roster. It's unknown if 2022 first-round tackle Trevor Penning is going to develop into a starter on the left side, and former All-Pro right tackle Ryan Ramczyk has serious knee issues. Andrus Peat and James Hurst, two players who were able to fill multiple roles on the offensive line, are both gone. Protecting quarterback Derek Carr needs to be a top priority after he left three games with injuries last season. Biggest question: Does Fuaga start immediately, and if so, what does that mean for Ramczyk? Fuaga earned All-America honors in 2022 and 2023 as right tackle for Oregon State. Ramczyk has been the Saints' RT since 2017, but knee issues have left both his training camp status and his future in question. However, the Saints have lamented rushing Penning into a starting position before he was ready (he was benched as a starter early in the 2023 season), so it will be interesting to sees how they approach Fuaga's development, especially if Ramczyk is not ready to go at the beginning of the season. -- Katherine Terrell Analysis of every Saints pick Saints depth chart 15. Indianapolis Colts -- Laiatu Latu, EDGE, UCLA Why they picked him: The Colts saw a big increase in their pass-rush production last season, registering 51 sacks. But the ability of opposing quarterbacks to continue to muster too many big plays was concerning. Intensifying the pass rush with an edge rusher capable of harassing quarterbacks could go a long way toward changing those outcomes. Latu is coming off a 13-sack senior season, adding 21.5 tackles for losses and two interceptions. Biggest question: The issue with Latu will come down to his health. The consensus All-American and Pac-12 Defensive Player of the Year sustained a neck injury during his sophomore season that initially resulted in his retirement. Latu underwent surgery but returned to the game less than two years later. Given the options available when the Colts picked -- Dallas Turner, Quinyon Mitchell and others -- the Colts must feel confident in the medical questions here. -- Stephen Holder Analysis of every Colts pick Colts depth chart 16. Seattle Seahawks -- Byron Murphy II, DT, Texas Why they picked him: The Seahawks have allowed the most rushing yards of any team over the past two seasons, which was one reason they missed the playoffs in 2023, fired coach Pete Carroll and replaced him with defensive whiz Mike Macdonald. Defensive tackle has become a premier position in today's NFL, and Murphy was widely considered the best in this draft. Seattle wasn't hurting for numbers at that spot, but both Jarran Reed and Johnathan Hankins are over 30 and on one-year deals, so this was a need even if it wasn't as big as its hole at right guard. Biggest question: Should the Seahawks have taken Washington offensive tackle Troy Fautanu instead? Their offensive line has a hole at right guard, a few other question marks and a serious need for difference-makers. Fautanu would have made life a lot easier on QB Geno Smith and offensive coordinator Ryan Grubb, who coached him at Washington. The Seahawks' thinking might have been that they can find that O-lineman on Day 2, whereas a defensive tackle such as Murphy -- the second defender off the board -- is harder to find. But finding a plug-and-play O-lineman on Day 2 won't be easy either given that they don't have a second-round pick. Seattle's next selection is at No. 81 overall, one reason a trade down from No. 16 seemed like a possibility. -- Brady Henderson Analysis of every Seahawks pick Seahawks depth chart 17. Minnesota Vikings (from Jacksonville) -- Dallas Turner, EDGE, Alabama Why they picked him: The Vikings bid farewell to their top three edge rushers from last season after ranking No. 25 in pressure percentage (27%): Danielle Hunter, D.J. Wonnum and Marcus Davenport. Then they signed Jonathan Greenard and Andrew Van Ginkel in free agency, but this is a team that hadn't used a first-round pick to draft a defensive end or outside linebacker since 2005. There can never be too many edge rushers on a team, and Turner brings a different gear of speed after running a 4.46 in the 40 at the NFL combine. Biggest question: After the Vikings signed Greenard and Van Ginkel, is moving up to draft Turner a luxury this team can't afford? It required third-, fourth- and fifth-round picks to move up from No. 23 to No. 17 to get Turner at a time when it has significant questions at cornerback position and is bringing back 35-year-old safety Harrison Smith with no heir apparent on the roster. The Vikings have three picks in the 2025 draft at this point. Pass-rusher is generally a more important position than cornerback, but the Vikings' roster is exceptionally tilted in that direction right now. -- Kevin Seifert Analysis of every Vikings pick Vikings depth chart 18. Cincinnati Bengals -- Amarius Mims, T, Georgia Why they picked him: The Bengals love massive offensive linemen. Cincinnati picked up Trent Brown in the offseason to play right tackle to play opposite Orlando Brown Jr. Both guys are 6-foot-8. Mims is also 6-foot-8 and ranks favorably in his measurables. Cincinnati will be able to bring Mims along and have him ready to eventually take over for Brown, who signed on a one-year deal this offseason. Biggest question: Will the lack of reps be a problem for Mims? Leading up to the draft, there weren't any indications the lack of snaps Mims had at Georgia were going to deter the Bengals from picking him. He played in 21 games with the Bulldogs, but his size and length make him a great fit for what Cincinnati wants in an offensive tackle. -- Ben Baby Analysis of every Bengals pick Bengals depth chart 19. Los Angeles Rams -- Jared Verse, EDGE, Florida State Why they picked him: The Rams needed to replace Aaron Donald's production, and second-year defensive lineman Kobie Turner's versatility allowed Los Angeles to pick the best defensive lineman available. At the annual meetings in March, general manager Les Snead said addressing the defensive line "would definitely be a priority." The Rams showed that, making Verse their first first-round pick since 2016. This is only the second defensive player the Rams have drafted with their first pick since Sean McVay was hired as head coach and the highest defensive player taken by the Rams since Donald in 2014. Biggest question: Have the Rams done enough to replace Donald? Snead has made it clear one player won't replace the future Hall of Famer's production, but taking Verse is a good start. Last season, Donald led the team with 45 pressures. Verse won't be expected to replicate that, as the Rams will also be relying on two of their draft picks from last season. Along with Turner, who led the NFL in sacks by a rookie, the Rams also have outside linebacker Byron Young, who was second on the team with 35 pressures, according to ESPN Analytics/NFL Next Gen Stats. -- Sarah Barshop Analysis of every Rams pick Rams depth chart 20. Pittsburgh Steelers -- Troy Fautanu, OL, Washington Why they picked him: The Steelers continued their overhaul of the offensive line by selecting an offensive tackle with their first-round pick for the second year in a row, but this one doesn't necessarily project to stay on the outside. GM Omar Khan preached the importance of position flexibility and versatility across all groups during pre-draft interviews, and the Steelers could look at plugging Fautanu into any number of spots on the line, including potentially at center, where they're searching for a starter after releasing two-year starter Mason Cole in February. Biggest question: Will the Steelers keep Fautanu at offensive tackle or slide him to the interior? In pre-draft interviews, Fautanu said he preferred to stay at tackle, but at 6-4, 317 pounds, he has the frame to move inside. He also started a game at left guard while at Washington. -- Brooke Pryor Analysis of every Steelers pick Steelers depth chart 21. Miami Dolphins -- Chop Robinson, LB, Penn State Why they picked him: The Dolphins have two pass-rushers they love in Jaelan Phillips and Bradley Chubb. But they lack depth behind them, even after signing veteran Shaquil Barrett this offseason. Robinson gives the Dolphins a total of three first-round picks at edge rusher and a formidable rotation once they're healthy at the position -- Phillips (Achilles) and Chubb (knee) were both injured in Miami's regular-season finale. Biggest question: Despite his physical traits, where was the production? Robinson recorded 11.5 sacks in three seasons with Maryland and Penn State. His tape shows an explosive first step, as did his 4.48 40-yard dash; the Dolphins are banking on his tools outweighing his lack of production. -- Marcel Louis-Jacques Analysis of every Dolphins pick Dolphins depth chart 22. Philadelphia Eagles -- Quinyon Mitchell, CB, Toledo Why they picked him: The Eagles' secondary struggled badly in 2023, finishing 31st in both passing yards and passing touchdowns allowed. With Darius Slay (33) and James Bradberry (30) deep into their careers, the Eagles need a youth and speed infusion at cornerback. Mitchell ran a 4.33-second 40-yard dash at the scouting combine and earned All-America honors this past season after leading the team with 18 pass breakups. Biggest question: The level of competition is the only question. With Mitchell playing in the MAC, there is less tape against the best of the best at the collegiate level. But Mitchell performed well at the Senior Bowl and has the traits that should translate well to the pro level. If all goes well, he could compete for a starting job immediately. -- Tim McManus Analysis of every Eagles pick Eagles depth chart 23. Jacksonville Jaguars (from Minnesota through Cleveland and Houston) -- Brian Thomas Jr., WR, LSU Why they picked him: The Jaguars got more help for quarterback Trevor Lawrence by taking a big receiver (6-foot-3, 209 pounds) with big-time production in the SEC. Thomas gives the offense a big-play deep threat (17.3 yards per catch and 17 TD catches last season) as well as someone who can win the 50-50 balls to go along with 4.33 speed (second-fastest at the combine). He also should help the Jaguars' red-zone struggles because of his size. Biggest question: Can Thomas provide the production they lost when Calvin Ridley signed with Tennessee? The Jaguars added Gabe Davis on a three-year deal in March to play outside and Thomas would line up opposite Davis with Christian Kirk in the slot. Ridley had 1,016 yards and eight TDs receiving in 2023. No rookie receiver has surpassed 1,000 yards in franchise history. -- Michael DiRocco Analysis of every Jaguars pick Jaguars depth chart 24. Detroit Lions (from Dallas) -- Terrion Arnold, CB, Alabama Why they picked him: Lions general manager Brad Holmes said he would select the best player available -- regardless of position -- and this move seemingly upgrades Detroit's defense immediately. This pick also addresses one of its biggest needs -- the secondary -- by adding an All-American, who is viewed as one of the top cornerbacks in this class after the team released Cam Sutton this offseason. Biggest question: Was this the right CB? Sometimes Arnold can be a little too physical on the field, but if that's his biggest knock it's a good problem to have. Or should the Lions have drafted an edge rusher? There's not much of a con with this pick other than if it was the right defensive position, as defense was certainly where the Lions need to improve. -- Eric Woodyard Analysis of every Lions pick Lions depth chart 25. Green Bay Packers -- Jordan Morgan, T, Arizona Why they picked him: Gone are five-time All-Pro David Bakhtiari and three-year starter Jon Runyan Jr. It means there's likely a spot for Morgan on the line whether they project him as a tackle to replace Bakhtiari or a guard, where Runyan had played both sides. It's also about time general manager Brian Gutekunst went with an offensive player in the first round. Morgan is the second offensive player taken by the Packers in Round 1 since 2012 (with Jordan Love in 2020 being the other). Green Bay is about to make a major investment in Love in terms of a contract extension, so protecting him is paramount. Biggest question: Does this mean they'll eventually move Zach Tom? Tom performed well at right tackle last season, and the Packers believe he can be a fine player there -- even a Pro Bowl player. But there are those in the organization who believe Tom can be an All-Pro guard and Hall of Fame center. Or does it mean that they're not sold on Rasheed Walker as the long-term answer at left tackle? -- Rob Demovsky Analysis of every Packers pick Packers depth chart 26. Tampa Bay Buccaneers -- Graham Barton, C, Duke Why they picked him: The Bucs have lacked an enforcer along the interior offensive line since the retirement of Ryan Jensen. Center Robert Hainsey registered a 59.6% run block win rate at center in 2023 and doesn't have the natural lower body mass or strength to dominate the position. His 90.7% pass block win rate was also 26th in the league among centers. The Bucs need to reestablish the line of scrimmage to protect their long-term commitment to quarterback Baker Mayfield -- especially given he's a shorter quarterback at 6-foot-1 and needs a clean interior pocket. Barton allowed one sack in 2023 and two in 2022. The Bucs needed to bolster the league's worst rushing offense over the past two years, averaging 82.9 yards on the ground per game. Biggest question: Barton's lack of arm length at 32 1⁄8 inches and foot speed against some edge rushers won't be an issue moving inside, where he can utilize his core strength, power and low center of gravity. And the fact that he's already played inside (the Bucs have a history of drafting tackles and moving them inside) lessens the likelihood of Hainsey and Luke Goedeke-like growing pains. -- Jenna Laine Analysis of every Buccaneers pick Buccaneers depth chart 27. Arizona Cardinals (from Houston) -- Darius Robinson, EDGE, Missouri Why they picked him: Pass rush has been a priority for the Cardinals since they had just 33 sacks last season, their fewest since 2010. Robinson, who had 8.5 sacks last year at Missouri, is known for his versatility and can play inside and outside on the line. He'll compete for a starting job immediately but where he lines up on passing downs is yet to be seen. Biggest question: Robinson isn't known for his moves, instead relying on his long arms and power to push offensive linemen off their spot and get to the quarterback. That'll only go so far in the NFL, so finding an arsenal of moves will be necessary for Robinson to have an impact. -- Josh Weinfuss Analysis of every Cardinals pick Cardinals depth chart 28. Kansas City Chiefs (from Buffalo) -- Xavier Worthy, WR, Texas Why they picked him: Speed. Worthy ran a 4.21 in the 40 at the scouting combine. He will present big problems if he breaks a tackle after the catch. The addition of Worthy, along with the signing of Hollywood Brown, gives the Chiefs a makeover at a position of need where there is also uncertainty due to Rashee Rice's legal issue. Biggest question: Worthy is 172 pounds and there have been questions about his ability to fight through press coverage. Can he play enough snaps to justify the trade up? -- Adam Teicher Analysis of every Chiefs pick Chiefs depth chart 29. Dallas Cowboys (from Detroit) -- Tyler Guyton, T, Oklahoma Why they picked him: The Cowboys' biggest questions are on the offensive line, having lost Tyron Smith and Tyler Biadasz in free agency. They passed on the chance to take Graham Barton at No. 24 with their trade down with Detroit. Guyton can help fill a need at left tackle with the departure of Tyron Smith. It might be a lot to ask of him since 13 of his 15 starts at Oklahoma were at right tackle, but the Cowboys have a recent history of being right in the first round on the offensive line, with Tyron Smith, Travis Frederick, Zack Martin and Tyler Smith. The selection of Guyton would mean Tyler Smith will stay at left guard. Biggest question: How quickly can he make the transition to left tackle? He has the size and the traits of a left tackle. They will need him to play right away considering the options on the roster: Asim Richards, Matt Waletzko and Josh Ball. With a lefthanded quarterback at Oklahoma, Dillon Gabriel, he did protect the blindside last year. While passing on Barton might turn out to be a bad move, adding an extra third-round pick with so many needs is a bonus. -- Todd Archer Analysis of every Cowboys pick Cowboys depth chart 30. Baltimore Ravens -- Nate Wiggins, CB, Clemson Why they picked him: Wiggins has the speed and length to become a No. 1 cornerback. Baltimore had its choice of highly rated corners and chose Wiggins over Cooper DeJean and Kool-Aid McKinstry. The Ravens are addressing one of their biggest needs, even though Baltimore brings back both of their starters in Marlon Humphrey and Brandon Stephens. Humphrey has been sidelined for 12 games over the past three seasons, and Stephens is entering a contract year. The decision to select Wiggins, who allowed one completion over 20 yards last season, isn't a surprise. As Ravens general manager Eric DeCosta said, the Ravens' depth in the secondary "has always been tested." Biggest question: Lack of size. Wiggins weighed in at 173 pounds at the NFL combine. He joins Emmanuel Forbes as the only defensive backs since 2003 to weigh 175 pounds or less at the combine and get drafted in the first round. Forbes struggled and was benched midway through his first season with Washington. But Wiggins is one of the fastest prospects in this year's draft. He ran the 40-yard dash at the NFL combine in 4.28 seconds, which trailed only wide receiver Xavier Worthy (4.21). -- Jamison Hensley Analysis of every Ravens pick Ravens depth chart 31. San Francisco 49ers -- Ricky Pearsall, WR, Florida Why they picked him: The 49ers have plenty of questions at the receiver position with Brandon Aiyuk and Jauan Jennings entering the final year of their rookie deals and Deebo Samuel's cap number rising over the next two seasons. Pearsall offers the versatility to play all over the formation and gives the Niners a viable plan for the future at a position, whether that's in 2024 or beyond. Biggest question: What does this mean for Aiyuk? The Niners have maintained that they want to re-sign Aiyuk to a contract extension and any trade involving Aiyuk seemed likely to have to include a first-round pick. It seems unlikely the Niners, who are still in a Super Bowl window with quarterback Brock Purdy ineligible for an extension until next offseason, would deal Aiyuk for a Day 2 pick-plus. Receiver was a need as soon as next year regardless, but it's fair to wonder what the Pearsall pick means for Aiyuk. -- Nick Wagoner Analysis of every 49ers pick 49ers depth chart 32. Carolina Panthers (from Buffalo) -- Xavier Legette, WR, South Carolina Why they picked him: The Panthers wanted to get quarterback Bryce Young, the top pick of the 2023 draft, another receiver to go with Diontae Johnson, Adam Thielen and Jonathan Mingo. They could have gambled he would be there at 33, but with six receivers already off the board and the Bills also in need of a receiver, they couldn't take that chance. Legette gives them a big (6-1, 221) playmaker with speed (4.39 40) who can create separation. Biggest question: Not much on Legette, except he needs some polish and has struggled against press coverage. The question is did the Panthers give up a chance to add more second-day picks by trading one of their two second-round picks with the hope Legette made it to 33? -- David Newton Analysis of every Panthers pick
7770	dbpedia	3	3	https://www.nae.edu/83269/Mitchell-E-Daniels-Jr	en	Mitchell E. Daniels Jr.	https://nae.edu/images/logo.png	https://nae.edu/images/logo.png	[ "https://www.nae.edu/common/images/person/empty-person-custom.png", "https://www.nae.edu/images/logo.webp", "https://www.nae.edu/images/nae_footerLogo2.webp", "https://www.nae.edu/images/x-logo-header.png", "https://www.nae.edu/images/logo.webp", "https://www.nae.edu/images/logo.png", "https://www.nae.edu/File.aspx?id=88557", "https://www.nae.edu/images/footer_logo.webp", "https://www.nae.edu/common/images/footerlogo.png", "https://www.nae.edu/images/nae_footerLogo.webp", "https://www.nae.edu/images/x-logo.png" ]	[]	[]	[ "" ]	null	[]	null	Mitchell E. Daniels, Jr. is the 12th president of Purdue University, a post he assumed in January 2013, at the conclusion of his term as Governor of Indiana. H	en	/images/favicon.ico	NAE Website	http://www.nae.edu/19579/19711/37931/172799/80236/81251/83267/83269/Mitchell-E-Daniels-Jr	Mitchell E. Daniels, Jr. is the 12th president of Purdue University, a post he assumed in January 2013, at the conclusion of his term as Governor of Indiana. He was elected governor in 2004, in his first bid for elected office, and reelected in 2008, receiving more votes than any candidate for any public office in the state’s history. As governor he spearheaded a host of reforms aimed at strengthening the Indiana economy and improving the ethical standards, fiscal condition, and performance of state government. In 2011, under his guidance, Indiana passed the most sweeping education reforms in the country. The state is dramatically expanding charter schools, providing parents with more school choice, revising teacher evaluations, and increasing funding for full-day kindergarten. In 2010, he established WGU Indiana, a partnership between the state and Western Governors University aimed at expanding access to higher education for Hoosiers and increasing the percentage of the state’s adult population with education beyond high school. Then Governor Daniels’ conservation efforts set aside record acreages of protected wetlands and wildlife habitats and added more than 3,000 miles of hiking and biking trails. His efforts earned him the nickname “the Teddy Roosevelt of Indiana” by the Nature Conservancy. At Purdue, President Daniels has made student affordability and student success top priorities, and has pledged to keep a Purdue education within reach for students and families. Among other top priorities are research impact and commercialization of Purdue innovations. Mr. Daniels came from a successful career in business and government, holding numerous top management positions in both the private and public sectors. He was CEO of the Hudson Institute and President of Eli Lilly and Company’s North American Pharmaceutical Operations. He also served in senior leadership roles under Presidents Ronald Reagan and George W. Bush. Mr. Daniels earned a bachelor’s degree from the Woodrow Wilson School of Public and International Affairs at Princeton in 1971 and his law degree from Georgetown in 1979. He is the author of three books.
7770	dbpedia	0	23	https://www.wfyi.org/news/articles/mitch-daniels-to-join-carmel-based-liberty-fund-as-scholar-advisor	en	Mitch Daniels to join Carmel-based Liberty Fund as scholar, advisor	https://www.wfyi.org/fil…niels-senate.jpg	https://www.wfyi.org/fil…niels-senate.jpg	[ "https://www.wfyi.org/images/White-Heart_75x63.png", "https://www.wfyi.org/images/hamburger-menu-icon_72x53.png", "https://www.wfyi.org/images/close-button_500x500.png", "https://www.wfyi.org/images/WFYI-npr-pbs-co-branded_750x146.png?v2.1", "https://www.wfyi.org/images/hamburger-menu-icon_72x53.png", "https://www.wfyi.org/images/share-icon-twitter.png", "https://www.wfyi.org/images/share-icon-facebook.png", "https://www.wfyi.org/images/Expand.png", "https://www.wfyi.org/files/wfyi/articles/current/mitch-daniels-senate.jpg", "https://www.wfyi.org/files/wfyi/articles/current/graduation-pixabay.jpeg", "https://www.wfyi.org/images/share-icon-twitter.png", "https://www.wfyi.org/images/share-icon-facebook.png", "https://www.wfyi.org/files/wfyi/articles/current/classroom-pixabay-1920.jpeg", "https://www.wfyi.org/images/share-icon-twitter.png", "https://www.wfyi.org/images/share-icon-facebook.png", "https://www.wfyi.org/files/wfyi/articles/current/school-bus1-lc_6QBVAUZQ.jpg", "https://www.wfyi.org/images/share-icon-twitter.png", "https://www.wfyi.org/images/share-icon-facebook.png", "https://www.wfyi.org/files/image/tag-03.jpg", "https://www.wfyi.org/images/cross-white.png", "https://www.wfyi.org/files/wfyi/programs/medium/indiana-week-in-review-2024-16x9.jpg", "https://www.wfyi.org/images/share-icon-twitter.png", "https://www.wfyi.org/images/share-icon-facebook.png", "https://www.wfyi.org/images/Twitter-X-icon_117x117.png", "https://www.wfyi.org/images/Facebook-icon_117x117.png", "https://www.wfyi.org/images/Instagram-icon_117x117.png", "https://www.wfyi.org/images/YouTube-icon_117x117.png", "https://www.wfyi.org/images/Flickr-icon_117x117.png", "https://www.wfyi.org/images/WFYI-Always-Here-For-You_684x120.png", "https://www.wfyi.org/images/Orange-Heart_75x63.png" ]	[]	[]	[ "" ]	null	[ "WFYI" ]	2023-03-28T10:19:17-04:00	Former Indiana Governor and Purdue University President Mitch Daniels will soon begin a new role at the Liberty Fund, a private education foundation based in Carmel.	en		WFYI Public Media	https://www.wfyi.org/news/articles/mitch-daniels-to-join-carmel-based-liberty-fund-as-scholar-advisor	Casey Smith, Indiana Capital Chronicle Former Indiana Governor and Purdue University President Mitch Daniels will soon begin a new role at the Liberty Fund, a private education foundation based in Carmel. Daniels — who was named a distinguished scholar and senior advisor — will focus on “the creation of educational programs and partnerships that will strengthen Liberty Fund’s existing educational programs,” the foundation announced Tuesday. He begins his new role April 1. “I have watched for decades as the Liberty Fund, with impeccable scholarship and fidelity to principle, has labored to keep lit the lamp of freedom, and spread understanding of its historical and intellectual underpinnings,” Daniels said in a statement. “Now, with individual liberty under relentless threats foreign and domestic, I’m grateful for the Funds’ invitation that I try to assist it in its noble and essential mission.” After serving two terms as governor from 2005 to 2013, Daniels spent the last near-decade as the president of Purdue University, stepping down in December and fueling rumors that he would re-enter politics. After much speculation, however, Daniels announced in January that he would not run for a soon-to-be-open seat in Congress after sitting U.S. Sen. Mike Braun launched his own 2024 bid for governor. The Liberty Fund was founded by Indianapolis businessman and lawyer Pierre F. Carter in 1960. The foundation said it “conducts its own educational programs to encourage research and discussion on the values and institutions of a society of free and responsible individuals.” Socratic seminars and conferences hosted globally by the foundation focus on topics like politics, history and education. Programs especially emphasize individual liberty and “preservation” of a “free society.”
7770	dbpedia	3	21	https://indianapublicmedia.org/stateimpact/topic/mitch-daniels/	en	From Governor To President (Of Purdue, That Is): Mitch Daniels	https://indianapublicmed…eup1-150x150.jpg	https://indianapublicmed…eup1-150x150.jpg	[ "https://indianapublicmedia.org/stateimpact/files/2012/01/DanielsCloseup1-150x150.jpg", "https://indianapublicmedia.org/stateimpact/files/2012/01/DanielsCloseup-300x266.jpg", "https://indianapublicmedia.org/images/common/authors/346.jpg" ]	[]	[]	[ "" ]	null	[]	null	As the 49th governor of Indiana, Mitch Daniels has backed a statewide voucher system, merit pay for teachers and the expansion of charter schools since taking office in 2005. His Commission	en	https://indianapublicmed…/img/favicon.png	StateImpact StateImpact Indiana	https://stateimpact.npr.org/indiana/topic/mitch-daniels/	Background Tweet As the 49th governor of Indiana, Mitch Daniels has backed a statewide voucher system, merit pay for teachers and the expansion of charter schools since taking office in 2005. His Commission on Local Government Reform issued the Kernan-Shepard report, which advocated the streamlining of local government, including school consolidation. The Republican governor has worked closely with former state schools chiefÂ Tony Bennett to implement the educational priorities of the executive office. Now heâs headed to Purdue University, where he took the helm after being term-limited out of office in January 2013. Speculation that Daniels might be the frontrunner to succeed France CÃ³rdova as president of the university began in spring 2012, though the governor remained tight-lipped. Itâs an interesting career move for Daniels, who has said Indiana students need more career and technical training. Heâs advocated for alternatives to four-year universities and appeared in commercials for the online Western Governors University. (Daniels attended Princeton and Georgetown universities.) Heâs also asked the legislature to cut the number of hours it takes to earn some degrees.
7770	dbpedia	1	38	https://www.courierpress.com/story/opinion/2022/06/16/mitch-daniels-leaving-purdue-whats-next/7648389001/	en	Brian Howey column: 'Mitch envy' ... everyone wants to know what Daniels will do next	https://www.gannett-cdn.…=pjpg&width=1200	https://www.gannett-cdn.…=pjpg&width=1200	[ "https://www.gannett-cdn.com/appservices/universal-web/universal/icons/icon-instagram_24.png" ]	[]	[]	[ "" ]	null	[ "Brian Howey, Courier & Press" ]	2022-06-16T00:00:00	Hoosiers are urging Mitch Daniels to run for governor, for president, for mayor of Carmel or Indianapolis.	en	https://www.gannett-cdn.…ages/favicon.png	Evansville Courier & Press	https://www.courierpress.com/story/opinion/2022/06/16/mitch-daniels-leaving-purdue-whats-next/7648389001/	Call it Mitch envy. Shortly after the university announced last Friday he was stepping away from the job he truly loved for the past decade, Purdue President Mitch Daniels’s various text, email and phone inboxes began filling up. Hoosiers were urging Daniels to run for governor, for president, for mayor of Carmel or Indianapolis. When “Based in Lafayette” journalist Dave Bangert asked the former Indiana governor about his prospects, Daniels responded, “I don’t have any right now.” The key phase was “right now.” Howey columns: Indiana GOP's choice for secretary of state slot is crucial Knowing Mitch Daniels, it’s hard not to think that as he told the Purdue trustees earlier this spring that the “Daniels Decade” was coming to an end, he didn’t have a Plan A, a Plan B and a Plan C developing inside the man that Washington Post columnist George Will described at the 2011 CPAC as “never has there been a higher ratio between mind and mass.” Daniels had intricately mapped out two terms as governor before taking the oath, and then created the Purdue landing spot once his term ended in 2013. Informed and reliable sources tell Howey Politics Indiana that the discussion of a Daniels return to the Statehouse Second Floor office has been broached, at least among key allies. Gov. Eric Holcomb is term-limited, creating an open seat in 2024. But one long-time ally told me that he doesn’t expect another Daniels political run ... right now. Indiana has had six two-term governors since 1972 (Doc Bowen, Robert Orr, Evan Bayh, Frank O’Bannon, Daniels and now Holcomb), with Henry Schricker serving as the 36th and 38th governor for one term each during World War II and again in 1949 (Gov. Isaac P. Gray served out the term of Gov. James Williams in 1880 and 1881 and was elected to a full term in 1884). There has never been a three-termer. According to the INGov website updated on Friday, the governor holds the office for four years and can choose to run for reelection. The governor is not eligible to serve more than eight years in any 12-year period. Howey columns: The things every teacher has thought about Daniels was a strong governor between 2005 and 2013, setting in motion the Republican dominance that has resulted in General Assembly super majorities that began in 2014 and continue to this day while labor unions have been weakened. He never ran a negative TV ad during his campaigns, since emulated by Govs. Mike Pence and Holcomb. He was viewed as “transformative” because of his audacious scope (Major Moves, BMV streamlining, and the 2011 educational reforms) and conspicuous use of political capital (like the time he coaxed suburban counties to start a tax that helped build Lucas Oil Stadium in downtown Indianapolis). As he was leaving the Statehouse in December 2012, Daniels cited the “skills gap” – the needs of high tech employers and not enough available workers – as an goal unfulfilled. “Most of the other factors, we’re pretty good at, you know, cost, infrastructure, taxes and regulatory climate. We’re as good as the competition or better on most of those. We clearly aren’t there with match of skills and jobs,” he told HPI as he was packing up his office. A week ago, the Indiana Commission on Higher Education released an “alarming” report that just 53% of the class of 2020 going to college, a decline of 6% since 2019 and 12% over the past five years. In his annual letter to the Purdue community earlier this year, Daniels asked, “Where are all the men?” It was a question raised by the decline in male enrollees. So right there is “unfinished business” that the 73-year-old Purdue president might want to have another crack at. But Daniels’ also told the Lugar Series graduating class a couple of months ago that it was time for a program graduate to become a governor, meaning it’s time for a female governor. Lt. Gov. Suzanne Crouch is a Lugar Series graduate. “As a member of the Indiana House, I had the privilege of working with Gov. Daniels during his eight years in office,” Crouch said. “Mitch is a great leader and a champion for Hoosiers. Together, we tackled some of the biggest challenges facing our state.” Currently only Eric Doden has announced for the 2024 gubernatorial race, though U.S. Rep. Trey Hollingsworth, Lt. Gov. Crouch, and former state senator Jim Merritt are positioning for a run, while U.S. Sen. Mike Braun and U.S. Rep. Jim Banks are mulling their options. Ditto for Indiana Republican Chairman Kyle Hupfer. The most likely Democrat nominee is former senator Joe Donnelly. Daniels supporters were crushed when he decided not to run for the Republican presidential nomination in 2012. The notion of Daniels appearing on a debate stage with Donald Trump or President Biden in 2023 and 2024 would be a fascinating development. But with the MAGA fever still mostly unabated, it is hard to imagine Daniels finding traction in today’s national cult-like GOP. There’s another potential job opening in 2024, that of Major League Baseball commissioner. Current Commissioner Rob Manfred’s term ends in two years. If there were to be a perfect landing spot for the former governor, the 10-year president of Purdue, the former White House budget director, it might be above the diamond, where plenty of challenges await. The columnist is publisher of Howey Politics Indiana at www.howeypolitics.com. Find Howey on Facebook and Twitter @hwypol.
7770	dbpedia	0	8	https://successfulsocieties.princeton.edu/publications/new-approach-managing-center-government-governor-mitch-daniels-and-indiana-2005-2012	en	A New Approach to Managing at the Center of Government: Governor Mitch Daniels and Indiana, 2005-2012	https://successfulsocieties.princeton.edu/core/misc/favicon.ico	https://successfulsocieties.princeton.edu/core/misc/favicon.ico	[ "https://successfulsocieties.princeton.edu/profiles/ps/themes/ps_base/images/pu-logo.svg", "https://successfulsocieties.princeton.edu/sites/g/files/toruqf5601/files/Successful%20SocLOGO-Motto-2023-outlines_KO.svg", "https://successfulsocieties.princeton.edu/profiles/ps/themes/ps_base/images/pu-logo-stacked.svg" ]	[]	[]	[ "" ]	null	[]	null	When Indiana governor Mitch Daniels took office in January 2005, he sought to change the performance and culture of state government. The state’s economy was stagnant, and the accumulated budget deficit was topping $600 million on a total budget of $22.7 billion for 2003–05. (The state legislature passed a new budget every other year.) State agenci	en	/core/misc/favicon.ico	Innovations for Successful Societies	https://successfulsocieties.princeton.edu/publications/new-approach-managing-center-government-governor-mitch-daniels-and-indiana-2005-2012	When Indiana governor Mitch Daniels took office in January 2005, he sought to change the performance and culture of state government. The state’s economy was stagnant, and the accumulated budget deficit was topping $600 million on a total budget of $22.7 billion for 2003–05. (The state legislature passed a new budget every other year.) State agencies received funding without having to show results, and when funds were available, state workers received pay raises in some years regardless of performance. Daniels recognized that the delivery of bold reforms, including the promise to close the deficit and improve economic growth, required changing the way state government worked. A former corporate executive, Daniels had served as director of the Office of Management and Budget, which, among other responsibilities, helps the US government’s executive branch prepare its version of the federal budget, but he had never held elected office. To implement his agenda, Daniels needed new systems and new processes in his office, the center of Indiana state government. He created an Indiana office of management and budget and established a new group within that office to set goals, monitor performance, and link budgets to outcomes. Policy teams in Daniels’s office reported progress on agency-level reforms and helped unclog bottlenecks. And Daniels created a performance-based pay system to encourage state workers to focus on results. Daniels’s reforms were not without controversy. For example, he scrapped state workers’ rights to collective bargaining, and he privatized services previously delivered by government, which led to employee layoffs. By 2012, the final year of his second term, Daniels’s reforms had produced marked changes, including a budget surplus every year from 2006 to 2012, and he won praise from both his own Republican Party and opposition Democrats. Michael Scharff drafted this case study based on interviews conducted in Indianapolis, Indiana in July 2012. Rick Messick—formerly of the World Bank, and chief counsel and research director of the National Republican Senatorial Committee from 1983-84 when Governor Daniels was executive director—provided guidance, editorial suggestions, and interview support. Case originally published November 2012. Case revised to clarify budgetary results and republished in February 2013. Associated Interview(s): Mitch Daniels, Governor, Cristopher Johnston
7770	dbpedia	1	43	https://www.wbur.org/hereandnow/2015/11/11/mitch-daniels-college-affordability	en	The Role Of Public Universities In Making College Affordable	https://wordpress.wbur.o…els-1000x666.jpg	https://wordpress.wbur.o…els-1000x666.jpg	[ "https://wordpress.wbur.org/wp-content/uploads/2015/11/1111_mitch-daniels-1000x666.jpg" ]	[]	[]	[ "" ]	null	[ "WBUR" ]	2015-11-11T00:00:00	Mitch Daniels, who was governor of Indiana from 2005 to 2013 and is now the president of Purdue University, joins us to discuss this.	en	https://static.wbur.org/images/icons/favicon.ico		https://www.wbur.org/hereandnow/2015/11/11/mitch-daniels-college-affordability	Most Americans seeking higher education go to college at a public, four-year university. But as states across the nation cut back on funding for public institutions, tuition and fees are up. Mitch Daniels was governor of Indiana from 2005 to 2013 and is now the president of Purdue University. He joins Here & Now's Jeremy Hobson to talk about the role that public universities play in making college affordable. See more in our series on student loan debt Interview Highlights: Mitch Daniels Why are colleges so expensive? “Colleges have charged more because they could. I mean, if you tried to design a system almost certain to have excessive costs, it would look pretty much like what we have. Colleges have been selling a product that we have all taken as a necessity. There has been no proof of quality until maybe very recently some attempts to do so to measure or determine where true value is being delivered, where student intellectual growth is occurring, where success later in life is happening. And in the absence of any such proof, people have associated a higher sticker price with quality. And on top of all that, there’s been a massive third party subsidy, primarily from government, which has insulated the purchaser against the costs. It’s thoroughly documented by now that for every dollar the government has infused in the system, with all the best intentions of course, colleges have raised prices as much as 70 cents of that dollar and found ways to spend it.” "Purdue’s a land grant school. We were put here to open the gates of higher education 150 years ago beyond the elites and the privileged and the wealthy, and that’s still our objective." Where should cuts be happening at colleges? “It’s also thoroughly documented that there’s been a so-called amenities arms race – things you wouldn’t have seen on a college campus even a decade or two ago: climbing walls, elaborate dorms, remarkable food. And as a newcomer to higher ed, people are always asking me ‘What’s the biggest surprise?’ I always start with the food, because it’s supposed to be bad and standard, and instead it’s spectacular and bountiful. So things not really related to the academic mission of the school have become part of the terms of competition, so that’s part of it. And, you know, also bookshelves full of studies about the growth of administrative staff and bureaucratic overhead – all this is so. Not faulting anybody here. People did what humans do and the money was there, so they spent it. The former president of Princeton, Bill Bowen – it’s now known as the Bowen rule – colleges will raise spending to meet the revenue.” Do you think if you took away all those extras college prices would go down? “I’m not sure you could get all the way back down... but I do think you could moderate that. I mean, not prescribing for anyone else but Purdue, we’re in year three of a tuition freeze and we have pledged ourselves to a fourth year. And we have reduced the cost of room and board. We’ve reduced the costs of textbooks. It’s less expensive to go to Purdue University now than it was three years ago, and yet the quality of our student body is stronger, applications are at record levels. I guarantee you the quality of our faculty is, and the numbers of our faculty, are both increasing. So these things are not impervious to change.” On the accessibility of college to students of all socioeconomic statuses “I think you’re seeing it get away from us in far too many places. Some students obtain access alright, but at a very fearsome cost, namely large amounts of debt. I noticed that the new number’s about $29,000 average for those who have taken on debt, which is a very high percentage of all students these days, and that has serious consequences. We’ve now learned in the post-graduation years – it’s a problem for us all by the way, Jeremy. First of all, of course, for the student involved. Secondly, for society. Young people are postponing home ownership, postponing family formation, postponing children, postponing starting businesses – because, in part at least, of student debt. So we’ve built ourselves a significant set of problems here and it’s really good that there’s now such sensitivity and people are working on it.” Do you worry that by cutting funds you risk hurting the stature of these institutions? "Young people are postponing home ownership, postponing family formation, postponing children, postponing starting businesses – because, in part at least, of student debt." “First of all, we added spending to higher education when the recession hit like every state, I think, in the country. There was a one-time small step-back, but Indiana was third in the nation I saw, next to a couple of oil-rich states, in maintaining its higher ed spending. So that’s not at issue here and I suppose that might be one reason we’ve been able to do a little better here at Purdue in holding costs in line, but yes, it’s a major concern. You know, Purdue’s a land grant school. We were put here to open the gates of higher education 150 years ago beyond the elites and the privileged and the wealthy, and that’s still our objective. We’ve just taken our largest freshmen class in many years. One reason, in fact we’re sure, one reason for the surge in applications, beyond Purdue’s academic reputation, is that people know we’re working on affordability for students and they are less likely to suffer big increases. You know, the class that will graduate next spring will have never seen a tuition increase at Purdue University. That’ll be true of the class that follows them.” What do you think of ideas like Bernie Sander’s that public college should be free? “Well, I don’t think it’s a very credible idea. First of all, all of this would be borrowed money. It’s an extraordinary amount of money. His numbers did not match or even come close to it when he said he thought he had a way to pay for it. And so all you’d be doing – it’s not debt-free education, it’s all-debt education, and just more of it. And the debt, by the way, would be inflicted on the same young people who are already facing enormous debts run up by us, their elders, and spent not for their future, but spent on current consumption over recent years. So no, I don’t think that’s the answer. And of course, it would only exacerbate the problem of easy money for colleges making it all too easy to increase their spending, say yes to everyone, and leave the system even less efficient than it is now.” Guest
7770	dbpedia	1	14	https://www.cnn.com/2013/02/17/us/mitch-daniels-fast-facts/index.html	en	Mitch Daniels Fast Facts	https://media.cnn.com/ap…777,c_crop/w_800	https://media.cnn.com/ap…777,c_crop/w_800	[ "https://media.cnn.com/api/v1/images/stellar/prod/230119190534-mitch-daniels-220913.jpg?c=16x9&q=h_833,w_1480,c_fill" ]	[]	[]	[ "cnn fast facts", "continents and regions", "domestic alerts", "domestic-us politics", "iab-elections", "iab-politics", "indiana", "international alerts", "international-us politics", "midwestern united states", "mitch daniels", "north america", "political figures - us", "the americas", "united states" ]	null	[ "CNN Editorial Research" ]	2013-02-17T00:00:00	Read CNN’s Fast Facts about Mitch Daniels, former governor of Indiana.	en	/media/sites/cnn/apple-touch-icon.png	CNN	https://www.cnn.com/2013/02/17/us/mitch-daniels-fast-facts/index.html	Here’s a look at the life of Mitch Daniels, former governor of Indiana. Personal Birth date: April 7, 1949 Birth place: Monongahela, Pennsylvania Birth name: Mitchell Elias Daniels Jr. Father: Mitchell Daniels Sr., drug company salesman Mother: Dorothy Mae (Wilkes) Daniels Marriage: Cheri (Herman) Daniels (1997-present and May 20, 1978-1994, divorced) Children: Margaret, Meredith, Melissa and Meagan Education: Princeton University, B.A., 1971; Georgetown University, J.D., 1979 Religion: Presbyterian Other Facts Daniels is a motorcycle enthusiast and rides a Harley Davidson. Daniels has worked in the presidential administrations of Ronald Reagan and George W. Bush. He is known for being fiscally responsible, balancing Indiana’s budget in his first term as governor, cutting expenditures wherever possible and having a surplus over multiple years. Timeline 1971-1976 - Serves as aide and later adviser to Indianapolis Mayor Richard Lugar. 1977-1983 - Serves as chief of staff to Senator Lugar (R-Indiana). 1983-1984 - Executive Director of the National Republican Senatorial Committee (NRSC). 1985-1987 - Serves as senior adviser to President Reagan. 1987-1990 - Chief Executive Officer, Hudson Institute. 1990-2001- Executive at Eli Lilly. 2001-2003 - Director of the Office of Management and Budget (OMB). 2004 - Is elected the 49th governor of Indiana. January 10, 2005-January 14, 2013 - Two-term Republican governor of Indiana. May 22, 2011 - Announces he will not be running for president in 2012. June 21, 2012 - Purdue University announces Daniels has been unanimously elected to be the school’s next president. His term begins on January 15, 2013. January 27, 2015 - Daniels writes a Wall Street Journal opinion piece, “How Student Debt Harms the Economy.” He writes that there is “evidence that it’s not just consumer spending that these debts are denting, but also economic dynamism.” November 28, 2016 - Is elected as a member of the Board of Directors for Norfolk Southern Corporation. June 10, 2022 - Purdue announces that Dr. Mung Chiang will replace Daniels as president of Purdue University on January 1, 2023. January 31, 2023 - In a statement, Daniels says he has decided against a 2024 Indiana Senate bid.
7770	dbpedia	2	57	https://www.prnewswire.com/news-releases/mitchell-e-daniels-jr-and-marcela-e-donadio-elected-to-norfolk-southern-board-300369210.html	en	Mitchell E. Daniels Jr. and Marcela E. Donadio elected to Norfolk Southern board	https://www.prnewswire.c…N-Icon-32-32.png	https://www.prnewswire.c…N-Icon-32-32.png	[ "https://www.prnewswire.com/content/dam/prnewswire/homepage/prn_cision_logo_desktop.png", "https://www.prnewswire.com/content/dam/prnewswire/homepage/prn_cision_logo_mobile.png", "https://mma.prnewswire.com/media/2477458/Livingston_Moore_Swindall.jpg?w=300", "https://mma.prnewswire.com/media/1168904/Norfolk_Southern_Corporation_Logo.jpg?w=300", "https://www.prnewswire.com/content/dam/prnewswire/subject-and-industry-code-images/TRN.jpg", "https://www.prnewswire.com/content/dam/prnewswire/subject-and-industry-code-images/RIT.jpg", "https://www.prnewswire.com/content/dam/prnewswire/subject-and-industry-code-images/PER.jpg" ]	[]	[]	[ "Norfolk Southern Corporation" ]	null	[ "Norfolk Southern Corporation" ]	2016-11-28T05:18:00-05:00	/PRNewswire/ -- Mitchell E. Daniels Jr. and Marcela E. Donadio have been elected directors of Norfolk Southern Corporation (NYSE: NSC), effective Nov. 28,...	en	/content/dam/prnewswire/icons/2019-Q4-PRN-Icon-32-32.png		https://www.prnewswire.com/news-releases/mitchell-e-daniels-jr-and-marcela-e-donadio-elected-to-norfolk-southern-board-300369210.html	NORFOLK, Va., Nov. 28, 2016 /PRNewswire/ -- Mitchell E. Daniels Jr. and Marcela E. Donadio have been elected directors of Norfolk Southern Corporation (NYSE: NSC), effective Nov. 28, 2016, Chairman, President, and CEO James A. Squires said today. Daniels, 67, of West Lafayette, Ind., has been president of Purdue University since 2013 and served as governor of Indiana from 2005 to 2013. Donadio, 62, of Houston, is a director and retired partner of Ernst & Young, a multinational professional services firm. "Norfolk Southern's independent directors bring wide-ranging and practical experience to bear in enhancing the corporation's performance and seizing the business opportunities before us," Squires said. "Guidance and insight from Mitch and Marcela will prove invaluable as Norfolk Southern continues to find new operating efficiencies, reduce costs, drive profitability, and reinforce the foundation for long-term growth." Daniels has been appointed to the Compensation Committee and the Governance and Nominating Committee of the Norfolk Southern board. As university president, he launched initiatives addressing higher education challenges in the areas of affordability and accessibility, world-changing research, transformative education, and STEM leadership. As Indiana's 49th governor, he spearheaded reforms to improve the performance of state government, led the state to its first balanced budget in eight years, and supported a record-breaking 10-year transportation and infrastructure program. Governor Daniels held leadership positions in the Reagan and George W. Bush administrations and management positions at the Hudson Institute and Eli Lilly. He serves on the boards of Cerner Corp., the Urban Institute, and the American Academy of Arts & Sciences Commission on Postsecondary Education. Governor Daniels served as co-chair of the National Research Council's Committee on Human Spaceflight, and is co-chair of both the Committee for a Responsible Federal Budget and the Aspen Institute's Future of Work Initiative. Donadio has been appointed to the Finance and Risk Management Committee and the Audit Committee of the Norfolk Southern board. Prior to her retirement, Ms. Donadio served from 2007 as Americas Oil & Gas Sector Leader, with responsibility for one of Ernst & Young's significant industry groups helping set firm strategy for oil and gas industry clients in the U.S. and throughout the Americas. Ms. Donadio joined Ernst & Young LLP in 1976 and from 1989 served as an audit partner for multiple companies in the oil and gas industry. She has audit and public accounting experience with a specialization in domestic and international operations in all segments of the energy industry. Ms. Donadio is a director of Marathon Oil Corp., National Oilwell Varco Inc., and Theatre Under the Stars, a trustee for the Great Commission Foundation of the Episcopal Diocese of Texas, a member of the Corporation Development Committee of the Massachusetts Institute of Technology, and a member of the Dean's Advisory Council for the E.J. Ourso College of Business at Louisiana State University. About Norfolk Southern Norfolk Southern Corporation (NYSE: NSC) is one of the nation's premier transportation companies. Its Norfolk Southern Railway Company subsidiary operates approximately 20,000 route miles in 22 states and the District of Columbia, serves every major container port in the eastern United States, and provides efficient connections to other rail carriers. Norfolk Southern operates the most extensive intermodal network in the East and is a major transporter of coal, automotive, and industrial products. SOURCE Norfolk Southern Corporation Related Links
7770	dbpedia	1	55	https://www.deseret.com/2011/4/26/20187765/daniels-timeline-for-white-house-campaign-ticking/	en	Daniels' timeline for White House campaign ticking	https://www.deseret.com/…=1200&height=630	https://www.deseret.com/…=1200&height=630	[ "https://static.themebuilder.aws.arc.pub/deseretnews/1707933931353.svg", "https://www.deseret.com/resizer/v2/F2Y3XWNN3DQ2V6GMJSSYMHBH24.jpg?auth=669369325d6a5bf79f66c31ab0e520c6e072736bbc1aa474834701971d585f53&focal=0%2C0&width=800&height=600", "https://www.deseret.com/resizer/v2/HW5EYAMGI5ZSP4TFNQFOZJZ34Y.jpg?auth=2ac350f56f43e8a14846e09a69793e0fde3ceb1bdba9139f853a037964d8f3ad&focal=0%2C0&width=800&height=600", "https://www.deseret.com/resizer/v2/ETMIENMEFBGCFPBPGHLZ6J6G2I.JPG?focal=0%2C0&auth=33c8328d5567cf8e227bd3ea486f7faee8e433ece9b67d40ac954da77d2778a8&width=350&height=196", "https://www.deseret.com/resizer/v2/UQQV2HILPJA6DNJZ5S6BXM32JI.jpg?focal=0%2C0&auth=b71c2960f9d275a17cae983760f87def071fafc9975db6ff76971c63e3bc52b5&width=350&height=196", "https://www.deseret.com/resizer/v2/EKECJ4EA75D3VGR4KPGGIS5XWE.jpg?focal=0%2C0&auth=c0cd01f900d8c8d60ef15dc345bb8c8d3e9b96ccee4f67db2ba64f449093df73&width=350&height=196", "https://www.deseret.com/resizer/v2/SNAWEPGH7NBX3L7CNP7FCMWN6E.JPG?focal=0%2C0&auth=c5c16c2a6be76254de22312448a05d246e5580a3f7daabc2499ad2e063dcfd06&width=350&height=196", "https://www.deseret.com/resizer/v2/ME26RYTC7ZH5XHRQO3RJKAQYF4.JPG?focal=0%2C0&auth=8e5c746cf93cd37c426679961d164b9e51e9d5b7041d94dfc42bdc6d1cae1254&width=350&height=196", "https://www.deseret.com/resizer/v2/DH456IYQA5GFRF2ZKIRDCZLWAY.jpg?focal=0%2C0&auth=9525393577caeec834e0cb3d9d414dd5be2d5844c05ff53a24ca4d8e5b5f259d&width=350&height=196", "https://www.deseret.com/resizer/v2/EYXTFQJKUHXMBFTGBF3S2ENIP4.jpg?focal=0%2C0&auth=0f8e166d2f9fbecd979cc1e5d3d5593260527330143d32fcbc613eff8a0ba6d1&width=350&height=196", "https://www.deseret.com/resizer/v2/P6O4DZ3YGFD3HEO4Q6OUORYSZI.JPG?focal=0%2C0&auth=322546be958776b95e8cb40585e92e55a1f037cd95718e4df44687930f8a21d7&width=350&height=196", "https://www.deseret.com/resizer/v2/XHSDKFWANFFERISAJANN5TYVRI.jpg?focal=0%2C0&auth=9cd6805af8a09d04ec9c58138cef4bb7556253fac644579399a47c56a0e04b66&width=350&height=196", "https://www.deseret.com/pf/resources/deseretnews/assets/images/deseret-logo-footer.svg?d=161", "https://www.deseret.com/pf/resources/deseretnews/assets/images/icons/newsletters.svg?d=161", "https://www.deseret.com/pf/resources/deseretnews/assets/images/icons/print.svg?d=161", "https://www.deseret.com/pf/resources/deseretnews/assets/images/icons/ios.svg?d=161", "https://www.deseret.com/pf/resources/deseretnews/assets/images/icons/android.svg?d=161", "https://www.deseret.com/pf/resources/deseretnews/assets/images/icons/marathon.svg?d=161", "https://www.deseret.com/pf/resources/deseretnews/assets/images/icons/twitter.svg?d=161", "https://www.deseret.com/pf/resources/deseretnews/assets/images/icons/facebook.svg?d=161", "https://www.deseret.com/pf/resources/deseretnews/assets/images/icons/instagram.svg?d=161" ]	[]	[]	[ "associated-press" ]	null	[ "Associated Press", "www.deseret.com", "associated-press" ]	2011-04-26T00:00:00	Indiana Gov. Mitch Daniels, nearing an announcement on whether to run for president, is spending the final week of his state's legislative session pushing for the final pieces of a record that would be ready-made for a Republican campaign: a balanced budget, tax refunds and a school voucher program.	en	/pf/resources/deseretnews/favicon.png?d=161	Deseret News	https://www.deseret.com/2011/4/26/20187765/daniels-timeline-for-white-house-campaign-ticking/	INDIANAPOLIS — Indiana Gov. Mitch Daniels, nearing an announcement on whether to run for president, is spending the final week of his state's legislative session pushing for the final pieces of a record that would be ready-made for a Republican campaign: a balanced budget, tax refunds and a school voucher program. This week's unexpected decision by Mississippi Gov. Haley Barbour, a Daniels friend, to forgo a presidential candidacy seemingly makes it more likely the Midwestern governor will seek the GOP nomination. Party insiders close to the two men say Barbour and Daniels, whose early careers intersected as aides to President Ronald Reagan, had indicated privately they would not both seek the 2012 nomination. But Daniels, 62, is not rushing to join the field. The governor, who typically keeps his own counsel, is staying mum about his plans. Even his closest advisers here say they still aren't sure what he will do. He's kept open the possibility of a run for months, if only to make sure his top issue — enormous deficits and the national debt — was a serious part of the debate. And he is keeping his pledge to tend to business in Indiana before making an announcement or taking even the most preliminary steps toward a national run. "He has said he's focused on the legislative session and he would make a decision when that's over," Jane Jankowski, the governor's spokeswoman, said Tuesday. The Legislature is slated to adjourn by the end of this week. Daniels is the first to acknowledge he's done little to lay the groundwork for a campaign, and his lack of planning has been striking to some who would support him if he ran. "I don't know if he's got the fire in the belly, drive and desire to run for president of the United States. I haven't seen it," Iowa Gov. Terry Branstad told The Associated Press. "At this point, I don't think it's likely that he'll run." Branstad, Republican governor of the first state to hold a leadoff nominating contest, got that impression last week when Daniels called to discuss education policy but made no mention of a presidential campaign. No "absolute fire in the belly" was the reason Barbour gave for bowing out of the race. Barbour's announcement surprised many Republicans who had expected the former Republican National Committee chairman to mount a serious campaign based on fiscal issues and the economy. His decision could open the door for Daniels, a hero to the anti-deficit wing of the party, a former pharmaceutical executive, and a George W. Bush budget director. He can check many of the same boxes that many Republicans are seeking: private sector background, executive experience running a state or federal department, balanced state budget. He would enter a race that lacks a clear front runner. Former Massachusetts Gov. Mitt Romney is trying to position himself as the fiscal conservative in the race despite overseeing a health care overhaul in Massachusetts that is strikingly similar to the President Barack Obama's massive health overhaul that many Republicans loathe. Others, including former Minnesota Gov. Tim Pawlenty and former Sen. Rick Santorum of Pennsylvania, are struggling to gain attention. As a candidate, Daniels could trumpet his success in balancing the state budget, weakening teachers' unions and setting in motion a substantial education agenda — all this year. "He's going to have some victories at the Statehouse," said Indiana Democratic Party Chairman Dan Parker. "He's got the majorities." Republicans hold 60 seats of the 100-member state House and 33 of the Senate's 50 seats. "For anyone who underestimates Mitch, they do so at their own risk," Parker said. Daniels, a political strategist who served in the Reagan White House, called many of the shots in his two gubernatorial races. The last made a huge impression in the GOP: He was the rare Republican governor who won re-election in a state that Obama carried in 2008. Since taking office in 2005, Daniels has logged victories central to fiscal conservatives' goals: He scrapped the requirement that state employees belong to unions, privatized the state's toll road, turned budget deficits into surpluses and expanded health care to more than 130,000 residents with tax hikes on cigarettes. As he enters the last two years of his term, he's working to expand his national profile. Daniels plans to address the conservative American Enterprise Institute next week to talk about his education agenda. If lawmakers don't weaken his plan in the final days, it will include the nation's broadest school voucher program allowing middle- and low-income families to use taxpayer funds to send students to private schools. His wife, Cheri, is to headline an Indiana GOP fundraiser later in May, a notable shift for a spouse more likely to show up at county fairs unannounced than to take the podium in front of thousands of political activists. And Daniels is to release a policy book this fall called "Keeping the Republic: Limited Government, Unlimited Citizens." In Iowa, some of the state's most prominent and potent operatives are eagerly awaiting Daniels' decision now that Barbour isn't in the race emphasizing solving the federal government's fiscal problems. "I think there's an opening to take up that message," Branstad said. Des Moines Republican Doug Gross, long involved in party politics in the state, has spoken highly of Daniels, too, and says there's a place in the field for a budget hawk. Even so, Daniels' suggestion that social issues take a backseat to economic and fiscal concerns would cause him headaches in Iowa. Branstad said evangelical conservatives — who account for roughly half of Iowa Republicans — would hold Daniels to account even though he has a record as a loyal social conservative. Still, with Barbour out of the race, Daniels could benefit from donors and operatives who no longer have a candidate to back. His advisers privately acknowledge that he hasn't done the legwork other Republicans weighing bids have done, and that could put him at a disadvantage. Most GOP presidential prospects have reached out to Iowans — and other voters in early primary states — over the past year to gauge interest. But Daniels has avoided it and declined several invitations to speak in the states. He also spent his political capital last year working to bolster the GOP ranks in his state Legislature, rather than aiding Iowa, New Hampshire or South Carolina Republicans, as some 2012 prospects did with their political action committees. This week as the Barbour decision roiled political circles, Daniels' advisers emphasized that the governor wanted to keep focused on the Statehouse before looking seriously at his own future. They said he worried that even a momentary break could spell havoc for his agenda as governor — and, perhaps, his platform should he run for president. Thomas Beaumont reported from Des Moines, Iowa.
7770	dbpedia	0	19	https://tfas.org/news/liberty-leadership-podcast-mitch-daniels-on-campus-free-speech-and-leadership-at-purdue/	en	Liberty + Leadership Podcast	https://tfas.org/wp-cont…ogo-Web-Card.png	https://tfas.org/wp-cont…ogo-Web-Card.png	[ "https://tfas.org/wp-content/themes/generic/images/tfas-logo.png", "https://tfas.org/wp-content/themes/generic/images/tfas-logo-footer.png", "https://tfas.org/wp-content/uploads/2023/02/Ep33-TFAS-Pre-Release-16x9-2.png", "https://tfas.org/wp-content/themes/generic/images/tfas-logo.png", "https://tfas.org/wp-content/themes/generic/images/tfas-logo-footer.png", "https://tfas.org/wp-content/themes/generic/images/footer-dci.png", "https://tfas.org/wp-content/themes/generic/images/footer-dci-color.png", "https://tfas.org/wp-content/themes/generic/images/footer-tfasi.png", "https://tfas.org/wp-content/themes/generic/images/footer-tfasi-color.png", "https://tfas.org/wp-content/themes/generic/images/footer-fte.png", "https://tfas.org/wp-content/themes/generic/images/footer-fte-color.png" ]	[ "https://www.youtube.com/embed/fPXsEwAepu4?rel=0", "https://www.youtube.com/embed/fPXsEwAepu4?rel=0" ]	[]	[ "" ]	null	[ "Marissa Starkel" ]	2023-02-15T19:18:03+00:00	This week, another exceptional guest joins us on the Liberty + Leadership Podcast: Mitch Daniels, TFAS Trustee Emeritus.	en	/apple-touch-icon-180x180.png	The Fund for American Studies	https://tfas.org/news/liberty-leadership-podcast-mitch-daniels-on-campus-free-speech-and-leadership-at-purdue/	Mitch Daniels is a former governor of Indiana who led the Hoosier state from 2005 to 2013. He then served as the president of Purdue University from 2013 to 2022. Mitch has served in the public sector across a number of roles, including as director of the Office of Management and Budget under President George W. Bush, chief of staff to Senator Richard Lugar of Indiana, and senior advisor to President Ronald Reagan. He also served as executive director of the National Republican Senatorial Committee, Hudson Institute and Eli Lilly and Company. Mitch is a former member of the TFAS Board of Trustees, where he now serves as trustee emeritus. He earned his bachelor’s degree from Princeton University and his law degree from Georgetown University. In this week’s episode of the Liberty + Leadership Podcast, TFAS President Roger Ream ’76 and Mitch take a deep dive into the issues addressed and the lessons learned during his landmark 12 years as president of Purdue University. Mitch talks about how Purdue was able to increase enrollment by 30 percent while tuition remained flat, how student loan forgiveness will end up being disastrous, how the adoption of the Chicago Principle allowed Purdue to promote free speech on campus, the balance of educating Purdue students in both STEM and citizenship, and how students should remain flexible as they’ll never know what opportunities life may present. He also reminds listeners that both the first and last man to walk on the moon were Purdue graduates and that 30 percent of all astronauts are Boilermakers. Episode Transcript The transcript below is lightly edited for clarity. Roger Ream [00:00:00] Hello and welcome. I’m Roger Ream and this is the Liberty and Leadership Podcast, a conversation with TFAS alumni, supporters, faculty and friends who are making a real impact in public policy, business, philanthropy, law and journalism. Today I’m recording from the TFAS Annual Conference in Amelia Island, Florida. My guest is Mitch Daniels, trustee emeritus at The Fund for American Studies and the former governor of Indiana. He also just retired earlier this year as president of Purdue University. Mitch is a role model in politics and higher education. We’re going to hear from him about his political career and his service as Purdue’s president for ten years. Mitch, congratulations on your retirement and thanks for taking time to join us at this conference and to chat with me today. Mitch Daniels [00:00:57] I’m resisting using the term. I’m saying I stepped down from the job. Not sure what’s next, but I may not be what people think of as retirement. We’ll see. Roger Ream [00:01:09] Yeah, I hope not. I hope it isn’t. And I know you’ve got some plans already at Purdue. I’d like to start. I know tonight you’ll be talking at this conference about higher education, about some of what you’ve learned as president of Purdue. I’d love to take a few minutes to have you share that experience with us and particularly how you first approached the job when you were hired ten years ago and how you determined the priorities of your focus. Mitch Daniels [00:01:34] The answer to that, how I approached it, is cautiously. It’s not something I’m disclosing for the first time. I said ‘no’ to the search committee and the trustees three or four times. I just didn’t think it was necessarily a good fit for them or for me. But I warmed up to the idea. I’m so glad I did. It was a tremendous experience in the end. In terms of early priorities, I had some ideas, some of which I proved, I think, are valid, and we pursued them to fruition. Some of them weren’t so wise. And I learned that, and we discarded those. But in general, these have been years of growth and action at Purdue University, the university is 30% larger than when we arrived. It is and this was certainly one of my correct early judgments. It is much more STEM-centric, as we say, even than it was before. We were about 41% of our undergrads, higher percentage of our graduate students were in one of the scientific or technological disciplines or engineering when I arrived, and it’s approaching 70% now. And that was something that was one reason I finally wound up drawn to the job. This is such an urgent national need to have more technological talent at the highest level. And nobody’s producing more such young talent than Purdue. Roger Ream [00:03:18] Well, just pursuing that for a minute, I know that a lot of international students come to the U.S. to study, and many of them in the STEM area. And our visa program, from what I know, doesn’t seem to be structured in a way that we keep all that talent here. Many of it goes back to wherever they came from. What is the mix? Do you have a lot of international students at Purdue and as well as U.S.? Mitch Daniels [00:03:43] We do, but there’s a story there. First of all, international students at Purdue is not a new thing as it is not a relatively recent thing as it is at some places. Students have been coming there for a century. Typically, young people who want to do a study, engineering, or some related discipline and particularly in Asia. If you go to Taiwan, if you go, for instance, or Japan, you’ll find a boilermaker every 50 feet. But in more recent times that number and its percentage of the student body had grown substantially. And I decided early on that it was too much of a good thing. And we’ve very consciously dialed back the percentage, which was well up into the class when I arrived, was almost 20% international and half of them from one country. And you can guess which one. And that was simply, I thought, going two or three steps too far. For one thing, you don’t get the alleged virtues of variety diversification. If too many from one place, they tend to self-segregate and they don’t interact with the American students, for instance, as you might hope. So, the last several classes at Purdue have been more like 7% or 8% international. And India now actually is the number one country. Fewer than 2% are from China. There obviously had become other issues with regard to China. So, there are other reasons I thought that was prudent. But, you know, basically we’re there to try to educate the next generation of top talent, particularly technological talent, for the U.S. And you’re right, many of these young people, for the best reasons, want to go home and build their countries, become more like America. Roger Ream [00:05:56] Well, you’ve accomplished a lot as president of Purdue. But perhaps the most astonishing thing is over the last ten years, you haven’t raised tuition. How in the world did you do that? Mitch Daniels [00:06:08] Well, I’d love to tell you it was some brilliant managerial, you know, insight really wasn’t, I would say. You ask about priorities earlier and I would just say this became a top priority for us. I’ve told the story many times that when I first got there – and I remember I was fresh from almost a decade moving around a pretty diverse state that Indiana is learning firsthand how difficult it was becoming for particularly middle-income families, moderate income families to afford college. And so, I never imagined we’d pull off what we did. I just wanted to have a one-year time out. Hit the pause button for one year. Had been 36 straight years of increases, which is true at almost every other school that you can name. Roger Ream [00:07:01] Right. Mitch Daniels [00:07:03] But it turned out it wasn’t that difficult to do. Not surprisingly, it was well received. And the next year, we had operated the university at a better than breakeven level. And I just kept posing the question year on year and I want to give you some qualifiers here, because people imagine things that weren’t a factor. We didn’t shrink or short the teaching mission. We’ve grown the faculty dramatically in keeping with a higher student population. Our pay raises for faculty and staff have been above the peer group average every single year. We didn’t get any more state money, surprisingly, it has been sort of flat all the way through. So, there was no windfall of any kind there. We, as I told you, we reduced the percentage of international students. We tried to practice real economy. We tried to prioritize affordability and accessibility, and it did just develop some momentum. A huge factor, honestly, was that in one of those virtuous cycles, people talk about a reputation for affordability, we know was one factor, not the only one in attracting more students. And as I mentioned earlier, we have something like 30% more students than we did. That’s one way you keep the price down for everybody. Roger Ream [00:08:33] And I imagine, I’ll use the word selectivity of the students, the quality. I don’t know how you measure that exactly. Average SATs, whatever, is probably going up. Mitch Daniels [00:08:43] Yeah, it’s going up. And, you know, we’re a land grant school and we are deeply imbued with the mission of democratizing education. So, we’re not necessarily happy when really talented young people, when we can’t squeeze them in. And it’s been the strategic decision or topic for some time at the board. How much bigger can we get without in any way compromising the academic quality or just the student experience? But even with the rather explosive growth, somewhat contrary to our early expectations, the academic readiness or quality keeps going up every year. You know, Purdue is the hot ticket right now. Roger Ream [00:09:34] Yeah, there seems to be a little bit of a push here and there in this country now to suggest that too many young people are going to college, or at least not everyone has to go to college, and that employers should consider hiring people who don’t have a B.A. Obviously, if you’re going to hire an engineer, you want people in the STEM fields, You want them well-educated and probably with a graduate degree. But what do you think about, I mean, this leads into talking about student loan programs as well. Mitch Daniels [00:10:06] I think those people have a point. And I’ve thought this for quite some time. There’s no question that a number of students felt the pressure of being compelled to go to college, who might have found a very worthwhile career through a different path. And those are beginning to open up. Alternative modes of learning some skill past high school other than a four year and possibly very expensive baccalaureate degree. I think it’s a very positive thing that a lot of employers have had second thoughts about this. I mean, it was very clear to me, even when I first took up my duties, that a lot of employers were using the four-year degree as a proxy for the smarts to get into somebody’s college and maybe some persistence that they actually finished. But they already knew then it’s become more and more clear that at least many schools, the quality, the rigor has been totally diluted, average GPAs skyrocketing, you know, closer to four than three. And, you know, you ask yourself how bad does somebody have to be to get a B in a place like that? We’ve leaned hard against that at Purdue University, by the way, that we’ve been trying to be very, very vigilant about so-called grade inflation. But for employers who are looking at it that way, it makes all the sense in the world to consider other means of identifying top talent. I mean, we already have a number of professional exams. If you can pass the CPA exam, you probably know accounting. Roger Ream [00:11:49] Yes. Mitch Daniels [00:11:49] If you pass the Bar exam, you’re probably fit to be a lawyer. And that can be done. And that’s starting to be done in other contexts, a lot of the high-tech companies don’t care. Can you code or not? Yeah, and it’s not hard to find out. Roger Ream [00:12:04] You reminded me of a story from our experience at TFAS about ten years ago. We hired a business professor from, I won’t say what school, but a very prominent private university to teach for us. And one of the first things he asked me when we hired him was, “What’s your grading policy?” And I said, “Well, what do you mean?” And he said, “Well, I got let go from a major university once because I gave students grades below a B.” Mitch Daniels [00:12:34] I wish I thought that was an isolated case but you and I both know it’s all too common. Roger Ream [00:12:38] Well, speaking of tuition, you write a column in The Washington Post. Are you going to keep that column going? Mitch Daniels [00:12:44] Haven’t decided. Roger Ream [00:12:45] Okay. Mitch Daniels [00:12:45] I don’t know. You know, I thought it was a natural time to at least have a pause on that while I was considering resuming political activity. But now if that’s behind me, I’ll think about it. Roger Ream [00:13:04] I ask because I think it was in one of your columns, I read some criticism of the idea that we should forgive student loans or partially forgive student loans. What are your thoughts about that? Mitch Daniels [00:13:17] Some criticism that sort of a mild characterization of my views on that. I do believe it is one of the worst policy suggestions in memory for a variety of reasons. And I tried to spell them out there. Roger Ream [00:13:37] One being the Constitution, I think. Mitch Daniels [00:13:38] Well, you know, that little matter of the Constitution, and who’s supposed to have the power of the purse, that’s absolutely a big one, but I think some of the others are equally obvious. First of all, it’s inequitable. There’s no way they can do this that won’t advantage wealthier students and students who are destined to be much wealthier. To young lawyers, let’s say, who are about to go earn huge six figure incomes, as a couple getting forgiven their loan it’s inequitable in that way. It’s grossly unfair to those who worked hard and lived up to their obligations and paid it back. 99+ percent of Purdue graduates who took out a student loan pay it back. Roger Ream [00:14:35] Wow. Mitch Daniels [00:14:35] I’m not sure how we’re supposed to tell them, you know, too bad suckers, you know, your timing was off. No, just the moral lesson that it would teach about living up to one’s obligations. The fiscal impact of another several hundred billion dollars. Note the irony that some of these young people are clamoring, you know, to be excused from an obligation they took on knowingly and willingly. If they’re lucky enough that that happens, those same young people are going to get the bill eventually because government doesn’t have this money. It will borrow more and hand them the charges. So, for all those reasons, any one of those reasons, I think would be sufficient to say it’s a bad idea. He put them all together. And as I say, hard put to name an idea that I’ve thought less of. Roger Ream [00:15:37] Yeah. And in your service in Washington, in the administration as the budget director, you came face to face with the serious financial issues that we face in this country, not only annual deficits, which have ballooned tremendously since that time, but with the continuing accumulation of national debt that exceeds 31 trillion now and the unfunded liabilities. And this just adds to it. It’s not like we have a lot of money sitting around from surpluses we built up that we can do this, but what do you think it is? How are we ever going to get a handle on federal spending and borrowing and this debt? Or will we? Mitch Daniels [00:16:16] Apparently the machine will have to go tilt, one could have hoped. I hoped for a very long time that we would pass this test of democracy. As people we would be willing to and a majority of Americans could be successfully appealed to think more about the future than the present, think about their children, and the intergenerational unfairness of what we’re doing. It’s not as though we’re borrowing this money and investing it in something that will pay off down the line. We’re borrowing all this money and spending it on ourselves today. And so, I’m afraid we’ll have to have a reality check. The cold smack of reality when it’s finally not just a projection, but that the day in which we cannot meet our safety net obligations arise. You know Roger, that’s all incredibly worrisome as a matter of the federal finances, as a matter of the economy, what all that borrowing will do when it goes for that purpose as opposed to economic growth and building opportunity. But I worry at least as much about the sense of betrayal that’s going to happen when people are suddenly told that these benefits can’t be delivered at the level they were promised and or that somebody’s taxes are going to have to go up massively to try to keep up with those promises. You know, if you think we have problems of social division today, imagine that scenario. And so, I continue to harbor the hope that since there’s no really no debate about any of this, there’s no computers, not a matter of computer models or competing philosophical views. It’s arithmetic. Roger Ream [00:18:20] Yeah. Mitch Daniels [00:18:21] And so I see stirrings of interest in Washington, and I hope they become something much bigger. Roger Ream [00:18:30] Yeah, I saw the graph just the other day of what interest on the debt is doing as a percentage of the budget. Mitch Daniels [00:18:38] Yeah, well, as Professor Friedman and others said and taught us a long time ago, governments that do what too many governments do. Debt, by the way, is what brought down empires of the past. Usually before some military conqueror did. And there are three things that governments do. As they become more and more desperate, they can inflate their way out. They can default. Or they can repress their way out. And that’s what we’ve been doing most recently. You just shaft the savers with absurdly low below inflation interest rates and hope they don’t notice. And so the federal government’s been getting by with low interest payments even as it keeps stacking up principal. But that’s starting to end because you were getting the inflation that is so destructive of free institutions. So, there’s a little more I think, reality beginning to intrude, but none too soon. Roger Ream [00:19:51] You know, I carry in my briefcase a 10 trillion note from Zimbabwe. Mitch Daniels [00:19:57] Yes? Roger Ream [00:19:58] That was worthless. I mean, I think a friend of mine bought it for about $25. And, you know, the stories of pre-war Germany and between the wars leading up to the rise of Hitler was this massive inflation. And so, it can happen here because it’s happened to many other empires throughout history. If we don’t get a handle on it. Returning to a brighter subject, back to Purdue for a minute. It’s been an amazing school. It’s produced great STEM majors, people for the space program. Talk a little bit about that, your connection to the space exploration, what has happened at Purdue. Mitch Daniels [00:20:37] That’s one of the fun things about working there. Our 26th NASA astronaut was just qualified, a young woman. One third of all the manned space flights up until at least a year or so ago. Last I caught sight of this had at least one boilermaker on board. Roger Ream [00:21:00] Wow. Remarkable. Mitch Daniels [00:21:02] And as we sometimes say, first and most recent men on the moon, Neil Armstrong and Gene Cernan. It’s obviously something we’re very proud of. We had a couple during my years there, we had a couple of reunions every so many years we invite them back. Most of the ones who are living make it back. It’s like I moderated a conversation among about 12 or 13 of them a few years ago. I didn’t have to do much, just get the ball rolling. They told stories. Audience of 6,000 people jammed into our biggest concert hall. They put us down in the orchestra pit and it was like a rock concert. They raised us up. Smoke’s going everywhere. The audience went crazy. Believe me, the Stones didn’t get any bigger ovation than those people did. Roger Ream [00:21:54] Well, I think the plan for NASA is to send people to the moon again and they want to send a woman there. So, you have a chance of this woman being one of them. Mitch Daniels [00:22:03] It could well be. Absolutely could. Roger Ream [00:22:05] Also dealing with higher education. People all hear a lot today about, I think it started with the idea of safe spaces and then threats to free speech. And now it’s the woke university. How have you responded to that? I think you were one of the first to sign on to the Chicago Principles and for free speech. Mitch Daniels [00:22:27] You know, I’m reticent about bringing this up, but I claim paternity over that term, Chicago Principles. Because University of Chicago had written some. This was an early action that we took. I was aware, as any reader of the news is, of some of these really unacceptable transgressions of people’s rights and of free inquiry on campuses. And so I wanted us to take a clear stance about it. University of Chicago, after a very careful process led by a 1960s avowed liberal. This is an interesting angle here. Geoffrey Stone, a constitutional scholar, led the group. They produced a statement of principle. I read it. I thought, shucks, I mean, we could have our own group go off for three years and whatever they came back with wouldn’t be any better than this. So, I called up President Zimmer in Chicago and said, “Would you mind if another school Xerox?” He said, “No, we’d be flattered, and we’d be pleased.” And so, I just took it to our board. We just did it. The board of trustees have full authority to make policy for their schools. I’ve never seen a bylaw of public, private or otherwise school that didn’t give them that authority. And so, we just did it, and that was that. But I say, I thought we should call it the Chicago Principles. I thought it would have more power if more and more schools signed the same statement. You remember the Sullivan principles? Roger Ream [00:24:10] Right. Mitch Daniels [00:24:13] I remembered that as the analog, that I thought it had more impact because all those corporations said exactly the same thing. So, it’s been slower than I had hoped. But there are – I think there’s some reasonable double-digit numbers who have signed the same thing. When I said a minute ago, I thought, an interesting angle. And we have had on campus two or three people, including Professor Stone, who grew up in an era when free speech was the cause of the left, that what they saw as these autocratic institutions. Roger Ream [00:24:52] It was true at Berkeley. Free speech movement in the sixties. Mitch Daniels [00:24:56] The Vietnam protests and so forth. Free speech was there to defend the dissidents of the time. And now they find themselves, I’ve met several such people who were civil rights leaders. They still have strong views that you would consider, you know, leaning left. But they can’t go along with this idea of censorship and the stifling of dissent that they grew up understanding how important that is to a free society. So it’s been fun to get to know people like that and to have this in common. Roger Ream [00:25:35] Yeah. Congratulations on that success. Talk for a minute about what you’re doing at Purdue when it comes to civic literacy and civic education. That’s a concern of a lot of people in this country. And it’s, you know, K-12 as well as at higher education that we are teaching future citizens the importance of our principles. Mitch Daniels [00:25:58] Yes, you’ve read, most of the listeners will have seen surveys not just of young people, but by now of the adult population, and they’re almost comical, except that they’re sad. Yeah. You know, they think Judge Judy’s on the Supreme Court and things like that. And so, we thought that in at least some modest way, we wanted a Purdue graduate to not only be exceptionally skilled at something that they learn and knowledgeable, but ready for citizenship. We’re supposed to be producing more than just great engineers; we’re supposed to be producing citizens. So, we want them to be civics-certified as we say. It’s a pretty simple process, but starting with the current freshman class, every Purdue student will have to pass a civics test. There are three pathways that they’re supposed to have undertaken before they do that. One of them is attend a minimum of six speeches, lectures or programs that will be certified, as, you know, close enough to the subject. There’s also – it so happens that one of our alums invented C-SPAN – Roger Ream [00:27:25] Is that Brian Lamb? Mitch Daniels [00:27:26] Yes, and we have all those archives. And so those folks have done a series of podcasts on major questions in civics. You know, why do we have separation of powers? What claims are made for the federal system, things like that. Watching that series is another thing that a student can do prior to go take the test. They can take the test more than once if they need to. But that, we think, is a small step, but a step in the right direction. So far, so good. Roger Ream [00:28:09] Well, that I will call the Purdue approach and hopefully other schools will sign on to the Purdue approach. Mitch Daniels [00:28:15] We’ve had a lot of folks come look at Purdue. I do hope that idea spreads. Certainly, the concern about civic illiteracy goes across almost the entire spectrum. I mean, we all know, there’s a segment of people who would be happy to mis-educate young people, not just leave them uneducated or poorly educated, but mis-taught. But leaving them aside, most people, I think, find that the current state of understanding of our free institutions inadequate. Roger Ream [00:28:53] Yeah, I think that’s right. I think it does cut across the spectrum. We’ve had some outstanding students in our programs from Purdue and you’ve been kind enough to bring them over to meet with you either for coffee in your office. You took some to a basketball game this fall, which has been wonderful. We get outstanding students in our program. Since many of our young alumni listen to this, I wanted to ask you something that stemmed from hearing you at a program at the American Enterprise Institute a few months ago when you responded to a question by saying you never really had a plan for where you wanted to go next in life. You kind of took opportunities as they came along and of course, performed superbly and more opportunities came. But what advice do you give to students at Purdue who are trying to figure out what to do in their lives? Mitch Daniels [00:29:47] I encourage them to have a clearer idea than I did. I think it’s great that they are as purposeful as they are and as forward looking as they are. They’ve all chosen coming in the door. I’m not sure this is a good idea, but we still do this at Purdue. You do have to choose a major as you come in, not midway through, so they have some idea and obviously we encourage that and try to prepare them as well as we can for whatever that field might be. But I do tell them all the time, you know, stay light on your feet, stay open to possibilities with your talent and the kind of education that you have a chance to obtain here, the world will present you with options that you haven’t thought about yet. And I never encourage people to be impulsive about that, but just to recognize that they’re going to come and be ready to examine them openly when they do. And I can testify that things you never expected, like the chance to work at Purdue University, were the most fulfilling roles that ever came my way. Roger Ream [00:31:12] When we were talking before about the financial situation of our federal government and of our country, it’s easy to conclude that things look grim on that front. But I suspect you aren’t a pessimist about the future. How would you tag yourself in terms of whether you’re an optimist or a pessimist? Mitch Daniels [00:31:31] I sometimes say I’m obstinately optimistic. I can give you all the reasons not to be. And we shouldn’t be blind to this. Great nations, no great nation has lasted forever (ours is still very young), and particularly those that try to operate under conditions of freedom. We will have to demonstrate some maturity as a democracy, as we talked about earlier. So, we don’t spend ourselves broken and wind up hopelessly beholden to others. But no, I mean, we still have an asset that at least the visible would be competitors don’t. And that is the spontaneity that open institutions afford the people economically in terms of innovation and for the political systems which go through cycles of difficulty and paralysis and acrimony. And we’re in one, but we’ve been there before, and our system has the chance to adapt. And America has produced people in the past who have led us out of difficulties like that. And so, I’m optimistic that’s going to happen again. Roger Ream [00:32:59] The theme of our conference this weekend is Keeping the American Dream Alive. Do you think the American dream is still alive? Mitch Daniels [00:33:05] Sure it is. Just go look at the people who are leading some of our most spectacularly successful businesses and other enterprises. Some of them weren’t born here. Many of them weren’t. There are what we used to call Horatio Alger stories everywhere. Roger Ream [00:33:25] There still are. Mitch Daniels [00:33:26] And so there’s no question that it’s still alive now. We lost some of the cultural capital that made that sort of life experience more accessible to people in the past. We worry, and we should, about the quality of our education and so forth. That’s not all. That’s not the only problem. Might not even be the biggest problem. We have to renew a spirit of hard work, personal responsibility. These things which were once stronger norms in society than they have been recently. People who have that approach to life, to work and society can succeed today. There’s no question they can succeed, even if they weren’t fortunate enough to have a great education or some material head start. So, sure, we have those challenges, but it isn’t hard to find people who surmount them. And so, you know, people who claim that somehow the dream is not still a reality may be making excuses for their own failure to take advantage of it. Roger Ream [00:35:00] Well, last question. You’ve decided just this past week that elective office is not in the plan, at least for this year. You’re going to be affiliated, I think, in the business school at Purdue going forward? Mitch Daniels [00:35:15] Yeah. Purdue has asked me to maintain a relationship. I’m going to chair their research foundation, which has a variety of activities, including all our tech transfer and commercialization of Purdue’s inventions. We’re routinely now in the top handful in the world in new patents and so forth. And the question is how can you best move those into the marketplace where they can be of some use to somebody? So, I’ll be doing that and a few other chores for them. Roger Ream [00:35:47] I want to ask about something we talked about a little informally before we started the podcast, and that’s just attitudes of students toward business. We see surveys that show support for capitalism is about 30%, and 30% of students say socialism and 30% don’t know. If you ask them about free enterprise, that scores higher, entrepreneurship scores higher. But what do you find the attitudes of young people about, you know, careers in business or about the economic system in this country? Mitch Daniels [00:36:21] I know Purdue’s not completely typical, but it’s what most of them are interested in doing. Our business school has been growing and we think is on track to grow by another little amount, another third. And, you know, I think what those surveys tell me is that there is another gap in young people’s education. They don’t know what socialism is. They think it means being nice to people. They’ve heard a lot of criticisms that are completely invalid about capitalism as some people describe it. But if you ask them what they hope to do in life, it’s make a good living and work at something that they find fulfilling and that creates value for other people. Yeah, well, that’s business. Roger Ream [00:37:21] Well, thank you. I appreciate you being with us. I appreciate your service on our Board of Trustees for many years, and I’m proud to call you a TFAS emeritus trustee. Mitch Daniels [00:37:32] I’m proud to be, Roger. If you hadn’t kicked me off, I might still be there. When you go into public life, you have to divorce yourself from all such involvements. But as you know, I’ve never lost sight of what you do. And it’s one of the great missions out there, one of the great programs that are very fortunate that they’ve kept you at the helm these years. So, I’m always grateful for the chance to be associated. Roger Ream [00:37:57] Well, thank you. You may get an invitation to rejoin the Board then. Thank you very much, Mitch. Roger Ream [00:38:04] Thank you for listening to the Liberty and Leadership Podcast. Please don’t forget to subscribe, download, like or share the show on Apple, Spotify, or YouTube or wherever you listen to your podcasts. If you like this episode, I ask you to rate and review it and if you have a comment or question for the show, please drop us an email at podcast@TFAS.org. The Liberty and Leadership Podcast is produced at kglobal Studios in Washington, D.C. I’m your host Roger Ream and until next time, show courage in things large and small. About the Podcast TFAS has reached more than 46,000 students and professionals through academic programs, fellowships and seminars. Representing more than 140 countries, TFAS alumni are courageous leaders throughout the world forging careers in politics, government, public policy, business, philanthropy, law and the media. Join TFAS President Roger Ream ’76 as he reconnects with these outstanding alumni to share experiences, swap career stories, and find out what makes their leadership journey unique. With prominent congressmen, judges and journalists among the mix, each episode is sure to excite your interest in what makes TFAS special. If you have a comment or question for the show, please email podcast@TFAS.org.
7770	dbpedia	0	81	https://localnews8.com/politics/cnn-us-politics/2024/03/27/mitch-daniels-fast-facts-3/	en	Mitch Daniels Fast Facts	https://localnews8.com/w…avicon-96x96.png	https://localnews8.com/w…avicon-96x96.png	[ "https://localnews8.b-cdn.net/2023/12/xp8qEVwY-WEB-LOGO.png", "https://localnews8.b-cdn.net/2021/06/kifi.jpg", "https://localnews8.b-cdn.net/2024/08/0zDBUc6H-slot1-375x225.jpg", "https://localnews8.b-cdn.net/2024/07/JJ-VALLOW-TYLEE-RYAN.jpg", "https://localnews8.b-cdn.net/2024/08/thumbnail_IMG_0842-375x225.jpg", "https://localnews8.b-cdn.net/2024/08/thumbnail_image_123650291-375x225.jpg", "https://localnews8.b-cdn.net/2024/03/Scam-calls-logo__Scaml-logo__phone-scam-logo__Pexels--375x225.jpg", "https://localnews8.b-cdn.net/2024/02/The-USS-IDAHO-crew-and-Electric-Boat-employees-in-front-of-the-future-USS-IDAHO-SSN-799-in-October-2023.-Photo-courtesy-General-Dynamics-Electric-Boat-via-the-USS-IDAHO-Commissioning-Committee-375x225.png", "https://localnews8.b-cdn.net/2023/05/idaho-power-logo__Idaho-Power-logo__Idaho-Power-375x225.jpg", "https://ktvz.b-cdn.net/2022/06/comment_icon.png", "https://localnews8.b-cdn.net/2024/07/CNN-LOGO__MGN_CNN-96x96.jpg", "https://localnews8.b-cdn.net/2023/12/Footer-new_200-by-200.jpg", "https://localnews8.b-cdn.net/2024/01/512x512_news_.jpg", "https://localnews8.b-cdn.net/2024/01/Iconx512.jpg" ]	[]	[]	[ "" ]	null	[ "CNN Newsource" ]	2024-03-27T00:00:00	CNN Editorial Research Here’s a look at the life of Mitch Daniels, former governor of Indiana. Personal Birth date: April 7, 1949 Birth place: Monongahela, Pennsylvania Birth name: Mitchell Elias Daniels Jr. Father: Mitchell Daniels Sr., drug company salesman Mother: Dorothy Mae (Wilkes) Daniels Marriage: Cheri (Herman) Daniels (1997-present and May 20, 1978-1994, divorced) Children:	en	https://localnews8.com/w…avicon-96x96.png	Local News 8	https://localnews8.com/politics/cnn-us-politics/2024/03/27/mitch-daniels-fast-facts-3/	CNN Editorial Research Here’s a look at the life of Mitch Daniels, former governor of Indiana. Personal Birth date: April 7, 1949 Birth place: Monongahela, Pennsylvania Birth name: Mitchell Elias Daniels Jr. Father: Mitchell Daniels Sr., drug company salesman Mother: Dorothy Mae (Wilkes) Daniels Marriage: Cheri (Herman) Daniels (1997-present and May 20, 1978-1994, divorced) Children: Margaret, Meredith, Melissa and Meagan Education: Princeton University, B.A., 1971; Georgetown University, J.D., 1979 Religion: Presbyterian Other Facts Daniels is a motorcycle enthusiast and rides a Harley Davidson. Daniels has worked in the presidential administrations of Ronald Reagan and George W. Bush. He is known for being fiscally responsible, balancing Indiana’s budget in his first term as governor, cutting expenditures wherever possible and having a surplus over multiple years. Timeline 1971-1976 – Serves as aide and later adviser to Indianapolis Mayor Richard Lugar. 1977-1983 – Serves as chief of staff to Senator Lugar (R-Indiana). 1983-1984 – Executive Director of the National Republican Senatorial Committee (NRSC). 1985-1987 – Serves as senior adviser to President Reagan. 1987-1990 – Chief Executive Officer, Hudson Institute. 1990-2001– Executive at Eli Lilly. 2001-2003 – Director of the Office of Management and Budget (OMB). 2004 – Is elected the 49th governor of Indiana. January 10, 2005-January 14, 2013 – Two-term Republican governor of Indiana. May 22, 2011 – Announces he will not be running for president in 2012. June 21, 2012 – Purdue University announces Daniels has been unanimously elected to be the school’s next president. His term begins on January 15, 2013. January 27, 2015 – Daniels writes a Wall Street Journal opinion piece, “How Student Debt Harms the Economy.” He writes that there is “evidence that it’s not just consumer spending that these debts are denting, but also economic dynamism.” November 28, 2016 – Is elected as a member of the Board of Directors for Norfolk Southern Corporation. June 10, 2022 – Purdue announces that Dr. Mung Chiang will replace Daniels as president of Purdue University on January 1, 2023. January 31, 2023 – In a statement, Daniels says he has decided against a 2024 Indiana Senate bid. March 28, 2023 – The Liberty Fund announces that Daniels will join the private educational foundation as a distinguished scholar and senior adviser, beginning on April 1.
7770	dbpedia	1	22	https://successfulsocieties.princeton.edu/interviews/mitch-daniels-governor	en	Innovations for Successful Societies	https://successfulsociet…pg?itok=pZwfX5if	https://successfulsociet…pg?itok=pZwfX5if	[ "https://successfulsocieties.princeton.edu/profiles/ps/themes/ps_base/images/pu-logo.svg", "https://successfulsocieties.princeton.edu/sites/g/files/toruqf5601/files/Successful%20SocLOGO-Motto-2023-outlines_KO.svg", "https://successfulsocieties.princeton.edu/sites/g/files/toruqf5601/files/styles/3x4_750w_1000h/public/interview/headshot/3530/mitch_daniels.jpg?itok=-wl3dz6s", "https://successfulsocieties.princeton.edu/profiles/ps/themes/ps_base/images/pu-logo-stacked.svg" ]	[]	[]	[ "" ]	null	[]	null	Mitch Daniels discusses the changes he implemented in his office, the center of Indiana state government, during his two terms as governor of Indiana. He begins by explaining the importance of enacting reforms quickly once in office. On his first day in office, he issued an executive order creating an Office of Management and Budget, which oriented	en	/core/misc/favicon.ico	Innovations for Successful Societies	https://successfulsocieties.princeton.edu/interviews/mitch-daniels-governor	Governor, State of Indiana Focus Area(s) Centers of Government Critical Tasks Aligning policy and budget Improving cabinet efficiency Strategic planning Interviewers Michael Scharff and Richard Messick Country of Reform United States Town/City Indianapolis, Indiana Place (Building/Street) Office of the Governor Country United States Abstract Mitch Daniels discusses the changes he implemented in his office, the center of Indiana state government, during his two terms as governor of Indiana. He begins by explaining the importance of enacting reforms quickly once in office. On his first day in office, he issued an executive order creating an Office of Management and Budget, which oriented the various state agencies that dealt with fiscal issues around a common set of goals. And he created an efficiency unit in the Office of Management and Budget that identified cost saving opportunities and measured and tracked agency performance. Also on his first day in office, despite concerns that the political fall-out would distract from other reforms, he scrapped public employees’ rights to collective bargaining with the unions, thus paving the way for sweeping organizational changes. He implemented a new performance management program and tied employees’ pay to their performance. Governor Daniels discusses how he built his reform team by recruiting talented people who were excited about the transitions he sought. He describes the process for conducting fair employee evaluations to monitor performance. He notes the advantages and difficulties of applying business skills to public sector work. Finally, he considers the durability of his reforms. Case Study: A New Approach to Managing at the Center of Government: Governor Mitch Daniels and Indiana, 2005-2012 In 2012, Mitch Daniels spoke at Princeton University about his reform efforts while governor of Indiana. Video of his speech is posted online. Transcript Full Interview Download MP3 61 MB Mitch Daniels Interview Profile Mitch Daniels is the 49th Governor of the State of Indiana and the author of the best-selling book, “Keeping the Republic: Saving America by Trusting Americans.” Although he had served as Chief of Staff to Senator Richard Lugar, Senior Advisor to President Ronald Reagan and Director of the Office of Management and Budget under President George W. Bush, his approach was molded in the private sector. Before his service to Indiana, he had a successful career in business, holding numerous top management positions. And his work as CEO of the Hudson Institute and President of Eli Lilly and Company's North American Pharmaceutical Operations taught him the business skills he brought to state government. And with those skills he led Indiana to its first balanced budget in eight years and, without a tax increase, transformed a $700 million deficit into an annual surplus of $370 million. He also repaid millions of dollars the state had borrowed from its public schools, universities and local units of government in previous administrations, while presiding over record-breaking investment and job growth. Today, Indiana has a AAA credit rating (the first in state history) and ranks near the top of every national ranking of business attractiveness. His other groundbreaking accomplishments include the 2006 lease of the Indiana Toll Road, the largest privatization of public infrastructure in the United States to date, generating nearly $4 billion for reinvestment in the state’s record breaking 10-year transportation and infrastructure program; the creation of the Healthy Indiana Plan to provide healthcare coverage for uninsured Hoosier adults; a sweeping property tax reform in 2008 resulted in the biggest tax cut in Indiana history; and an emphasis on government efficiency that has led to many state agencies, including the Bureau of Motor Vehicles, Department of Child Services, and Department of Correction winning national performance awards. Indiana now has the fewest state employees per capita in the nation, and the fewest the state has had since 1975. He was re-elected in 2008 to a second and final term, receiving more votes than any candidate for public office in the state’s history. Unsurprisingly, his second term has been as innovative as his first. In fact, earlier this year, under his guidance Indiana passed the most expansive education reforms in the country. In 2012 Indiana became the first industrial northern state to adopt a Right to Work law. His tenure as Indiana's governor comes to an end in January 2013, when he begins the next chapter in his career as the 12th president of Purdue University. Keywords Purdue Indiana governor Mitch Daniels center of government deficit public employee unions building a reform team state government personnel management payroll reform balancing the budget right to work collective bargaining Language Not specified
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Mitch Daniels says great things lie ahead for the Region	https://bloximages.chica…er=crop%2Cresize	https://bloximages.chica…er=crop%2Cresize	[ "https://bloximages.chicago2.vip.townnews.com/nwitimes.com/content/tncms/custom/image/295e891a-7a4e-11ec-896b-afd10bcf2b4e.png", "https://bloximages.chicago2.vip.townnews.com/nwitimes.com/content/tncms/custom/image/295e891a-7a4e-11ec-896b-afd10bcf2b4e.png", "https://bloximages.chicago2.vip.townnews.com/nwitimes.com/content/tncms/custom/image/295e891a-7a4e-11ec-896b-afd10bcf2b4e.png", "https://bloximages.chicago2.vip.townnews.com/nwitimes.com/shared-content/art/tncms/templates/libraries/flex/components/themes/resources/images/user_no_avatar.82c8fc38eb25dca10493a994ca1bfb90.png", "https://bloximages.chicago2.vip.townnews.com/nwitimes.com/content/tncms/custom/image/295e891a-7a4e-11ec-896b-afd10bcf2b4e.png", 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"https://www.nwitimes.com/news/local/government-politics/local-news-laporte-purdue-university-northwest-indiana-sinai-forum-speaker-series-westville-governor-mitch-daniels-ronald-reagan/{{image}}" ]	[]	[]	[ "government-politics", "michigan-city", "government-politics" ]	null	[ "caitlyn rosen" ]	2023-09-18T08:00:00-05:00	The two-term governor and former Purdue president spoke to a crowd of just under 300 people at Purdue Northwest University’s Westville campus as part of the school's Sinai Forum.	en	https://www.nwitimes.com/content/tncms/site/icon.ico	nwitimes.com	https://www.nwitimes.com/news/local/government-politics/local-news-laporte-purdue-university-northwest-indiana-sinai-forum-speaker-series-westville-governor-mitch-daniels-ronald-reagan/article_8140a116-55c3-11ee-9f73-9fa2753e4bde.html	WESTVILLE — Former Indiana Governor Mitch Daniels described his approach to challenges on Sunday with a critique from his high school baseball coach: “play the ball, don’t let the ball play you." The two-term governor and former Purdue University president spoke to a crowd of nearly 500 people at Purdue University Northwest’s Westville campus as part of the school's Sinai Forum. The forum, which was created in 1953, celebrates its 70th anniversary this year. Upcoming speakers for the 70th season include Chicago Cubs manager David Ross, author Anthony Ray Hinton and journalists Jennifer Griffin and Benjamin Hall. Daniels’s Sunday afternoon speech titled “Never Park the Car: Making Change When Change Says No” focused on making difficult changes and taking action not for ego’s sake, but for the sake of the community. He said the first order of taking action or making changes must be the “why question.” Daniels said he always tells young people who aim for high responsibility positions that they “have to be able to answer that question.” “And I should not be in the answer,” Daniels continued. “I don't mean to disparage people… I have a passion for x and y or I've always wanted to serve…Those are noble motivations, but they're not a reason that qualifies a person to take the steering wheel,” he said. Daniels referenced a quote from former President Ronald Reagan, who he worked under early in his career, when he spoke of leadership’s role in enacting change: “The greatest leader is not necessarily the one who does the greatest things. He is the one that gets the people to do the greatest things." The former lawmaker talked in great detail about the importance of knowing one's community. “I always say — don't take the elevator, take the stairs,” Daniels said. “You’ve got to at least stop for a while and visit the ground floor.” He said by ground floor he meant the people who are out in the field, doing the work. Or in the case of his last 10 years in higher education, the students and faculty attending any of Purdue’s campuses. Daniels also told Sinai attendees that an important facet of creating positive change is not wasting time on insignificant things. “There’s an old saying — never mistake the edge of the rut for the horizon,” Daniels told the room of nearly 500 people. He also spoke of the importance of acting fast to make important change happen. Daniels recalled his gubernatorial inauguration in 2005. He noted how after he gave his speech he “theatrically said, now if you’ll excuse me, I got to get back to work.” He described jaunting back to the statehouse to a high-stacked pile of bills on his desk, ready to present to the General Assembly. During the 30-minute question and answer portion following Daniels’s address, an online viewer asked the former legislator “can you run for president?” Daniels said he seriously considered it in 2011, but it made little sense then and makes even less sense now. In December 2022, he told MSNBC’s Chuck Todd that he hasn’t really given his political future much thought. When a PNW Sinai attendee asked Daniels about the upcoming gubernatorial race and eliminating the state income tax, Daniels opened his response describing how he enjoyed being apolitical when he was Purdue’s president. “It’s been a great time to be a political eunuch,” he said to a crowd of chuckles. Daniels added that his administration looked at Indiana’s income tax when they were constructing their tax reform plan. He said he supports lowering income taxes in the Hoosier state, but getting them down to zero is not realistic. He did not indicate whom he would support in the upcoming Indiana gubernatorial election. Daniels’s 2007 tax reform plan created three restrictions on property taxes: a 1% cap on the assessed property for homeowners, a 2% cap on rental properties and a 3% cap on business properties. In his October 2007 announcement of the plan, Daniels wrote “The status quo is not tolerable and we must act to fix it.” That message from nearly a decade ago encapsulated his approach to problem-solving and change-making, as continuously expressed throughout his speech on Sunday. Daniels said philosophers and academics have been predicting some sort of catastrophic breakdown of America's social systems. "It won't happen if enough people in great civic organizations like this one, resolve that we will find ways to work together and address our problems and make the necessary changes that preserve the system that's done so much for all of us," he continued. He added he thinks great things ought to lie ahead for Northwest Indiana. The former university president said when people critique him, he recalls something he learned from a farmer while he was on the campaign trail. “She said, ‘Look, you got to remember, dogs don't bark at parked cars,’’ Daniels said. “The dogs are going to bark -- it's the way of the world. Our job is to try to pick the right targets… And if we don't get it right the first time, come back and try again,” he added. “But keep moving ahead, keep playing the ball, and not letting the ball play us.” Love 0 Funny 0 Wow 0 Sad 0 Angry 0 Get Government & Politics updates in your inbox! 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Bush", "President Donald Trump", "executive branch", "modern president", "new president", "11th president", "Vice President Richard", "President George H.", "President Dan Quayle", "president’s plea", "President Obama", "overextended president", "President’s Daily", "Lyndon Johnson", "administrative vice president", "President Herbert Hoover", "current president", "office", "above-it-all president", "American president", "Republican president", "Chinese president", "President Eisenhower", "presidents", "overloaded president", "George H. W.", "H. W. Bush", "people", "Oval Office" ]	null	[ "John Dickerson" ]	2018-04-22T12:00:00+00:00	What if the problem isn’t the president—it’s the presidency?	en	https://cdn.theatlantic.com/_next/static/images/favicon-3888b0e329526a975703e3059a02b92d.ico	The Atlantic	https://www.theatlantic.com/magazine/archive/2018/05/a-broken-office/556883/	I. A Broken Office Donald Trump often appears to be a president in rebellion against his office. A president, we have come to expect, hastens to the scene of a natural disaster to comfort the afflicted. After Hurricane Maria devastated Puerto Rico, President Trump arrived tardily and behaved unseriously, tossing rolls of paper towels at storm-battered residents as if he were trying to drain three-point shots. We have come to expect that when the national fabric rends, the president will administer needle and thread, or at least reach for the sewing box of unity. After white supremacists marched through Charlottesville, Virginia, shouting “Jews will not replace us,” President Trump’s instinct was to emphasize that there were good people among the neo-Nazis. We expect presidents to be deal makers. Even when the opposition has calcified, they are supposed to drink and dine with the other side and find a bipartisan solution. Trump promised that his decades in the real-estate business would make him an especially able negotiator, but on health care, taxes, and immigration, he hasn’t much bothered to trade horses with Democratic lawmakers. Not even Senator Joe Manchin of West Virginia—up for reelection in a state Trump won easily—was seriously approached as a negotiating partner. To his critics, Trump’s detours from the expectations of his office prove he is unfit to inhabit it. Or they demonstrate his hypocrisy: The man who now ignores the traditional responsibilities of the job was once perhaps the nation’s foremost presidential scold, regularly criticizing his predecessors when they responded to a disaster inadequately or played too much golf or couldn’t make a deal. Trump even suggested that Barack Obama’s manner of descending the stairs of Air Force One was unpresidential. Members of maga nation scoff at the president’s detractors, and bask in the glow of the burning norms. Why should Trump throw all his energy and political capital into producing quick results in Puerto Rico when the island’s poor planning and weak infrastructure have made success impossible? Why should he bow before Democrats who will never work with him anyway? Trump’s backers see him as a new kind of president, unburdened by political correctness and unconstrained by the old rules of Beltway deal making. He doesn’t let niceties get in the way of taking care of business. The intensity of public feelings about President Trump makes it hard to measure him against the presidency. His breaks with tradition are so jarring, and the murmuration of tweets so thick, that debate about his behavior tends to be conducted on the plane of propriety and the president’s seeming disregard for it. If Trump were a less divisive figure, we might view these lapses differently. We might consider that what looks like incompetence or impertinence on the part of the officeholder could also be evidence that the office itself is broken. Many of the responsibilities that vex Trump are ones that were not part of the job’s original design. They have accrued to the presidency over time, most in the recent past. The Framers, fresh from a successful rebellion against a tyrannical king, envisioned an executive who was limited in power and even stature. For a good long while, the design held. James K. Polk’s wife, Sarah, was so concerned that the 11th president might enter a room unnoticed, she asked the Marine Band to play “Hail to the Chief” to get people to turn their head when he arrived. Today we notice when the president doesn’t show up. We are a president-obsessed nation, so much so that we undermine the very idea of our constitutional democracy. No one man—or woman—can possibly represent the varied, competing interests of 327 million citizens. And it may be that no man—or woman—can perform the ever-expanding duties of office while managing an executive branch of 2 million employees (not including the armed forces) charged with everything from regulating air pollution to x-raying passengers before they board an airplane. Even the role of commander in chief, already one of the weightiest presidential responsibilities, has grown rapidly in its demands. National security is today threatened less by slow-moving armies than by stateless terror groups who might weaponize a rented truck and by rogue states who might weaponize an email. Rare is the day when one or more of these enemies don’t present an imminent danger requiring the president’s attention. “The modern presidency has gotten out of control,” Leon Panetta, who has served past presidents as the White House chief of staff, the secretary of defense, and the director of the CIA, told me recently. “Presidents are caught in a crisis-by-crisis response operation that undermines the ability of any modern president to get a handle” on the office. The growth of presidential power is not new. When Arthur Schlesinger Jr. published The Imperial Presidency, in 1973, the term was already at least 10 years in use. But the office hasn’t just grown in power; it’s grown in scope, complexity, degree of difficulty. Each time a president has added to the job description, a new expectation has conveyed, like the Oval Office furniture, to the next man in line. A president must now be able to jolt the economy like Franklin Roosevelt, tame Congress like Lyndon Johnson, comfort the nation like Ronald Reagan. Video: The Broken Presidency The emotional burden of these responsibilities is almost unfathomable. The president must endure the relentless scrutiny of the digital age. He must console the widow of a soldier he sent into combat one moment, and welcome a championship-winning NCAA volleyball team to the White House the next. He must set a legislative agenda for an often feckless Congress, navigating a partisan divide as wide as any in modern American history. He must live with the paradox that he is the most powerful man in the world, yet is powerless to achieve many of his goals—thwarted by Congress, the courts, or the enormous bureaucracy he sometimes only nominally controls. “In the presidency there is the illusion of being in charge,” George W. Bush’s former chief of staff Joshua Bolten told me, “but all presidents must accept that in many realms they are not.” Even Trump, not one to readily admit a mistake, has acknowledged that he underestimated the difficulty of the job. “I thought it would be easier,” he told Reuters 100 days into his term. A blunt admission—and one much mocked by his critics—but one every president eventually makes. Lyndon Johnson made the point in his earthy way: “The office is kinda like the little country boy found the hoochie-koochie show at the carnival,” he said. “Once he’d paid his dime and got inside the tent: It ain’t exactly as it was advertised.” President Trump is tackling some of the challenges of the office. He has tallied up partisan victories: cutting taxes, appointing conservative jurists, and slashing regulations. He has also shed responsibilities in a job that traditionally only accumulates them, neglecting allies, his own employees, and even the oldest presidential aspiration, telling the truth. Whatever you think of him, Trump is rewiring the presidency—or perhaps more accurately, dismantling the machine and flinging the parts onto the White House lawn. Given Trump’s priorities and attention span, it may fall to his successor to put it back together. But you might be grateful to him for demonstrating, in his inimitable way, the extent to which the machine has become a wheezing and jerry-rigged contraption badly in need of repair. Or, if you can’t bring yourself to be grateful, you might consider this: The flaws in the presidency also made a President Donald Trump possible—he was an emergency solution to the problems that had tripped up his more conventional predecessors. Either way, until we fix the office, presidents will continue to be frustrated by its demands, and Americans will continue to be disappointed in their leader. We will enter another presidential-campaign season desperate for a good outcome, but unprepared to choose someone who can reset the terms of success. Over the past year, I’ve conducted interviews with political scientists, historians, dozens of men and women who have worked in the West Wing under presidents of both parties, and some of the men who had the often unenviable job of sitting behind the Resolute Desk. What they described is an office in dire condition: overburdened, unrelenting in its demands, and unlike anything the Founders intended when they designed the role 230 years ago. Before his inauguration, Barack Obama discussed the office he was about to assume with his predecessor, George W. Bush. “Ultimately, regardless of the day-to-day news cycles and the noise, the American people need their president to succeed,” Bush told him. Americans still need their president to succeed. But the presidency has set him up for failure. II. An Ever-Expanding Job Description On April 8, 1938, more than 100 demonstrators dressed as Paul Revere marched along Pennsylvania Avenue. Some carried signs that read we don’t want a dictator. They were protesting the Reorganization Act, the first major modification of the executive branch since the presidency was created, in 1787. The legislation was an outgrowth of the Brownlow Committee, which Franklin Roosevelt had commissioned to study the presidency and update it for modern times. The conclusion from the final report: “The president needs help.” Roosevelt responded by requesting a handful of personal aides and a reorganization of his Cabinet departments. “The president’s task has become impossible for me or any other man,” he said. Roosevelt’s predecessor and archrival, Herbert Hoover, supported him in the request. Congress and the public, however, objected. In an April 1938 Gallup poll, only 18 percent of the country thought the president should have more power. Three hundred thirty thousand Americans sent telegrams to members of Congress denouncing “one-man rule.” The Democratic majorities in Congress denied the Democratic president’s plea for help—a rebuke nearly impossible to imagine today. In a fireside chat, Roosevelt promised to work to defeat in the 1938 election any Democrat who had blocked him. He failed badly; all but one candidate he backed lost. After a year of fighting, Congress finally granted the president some additional manpower. To dispatch the duties of his office, he would now be allowed six assistants and given the power to reorganize the executive branch within certain limits. Congress reserved the right to veto any of the president’s plans for further modifications. The emergencies of the Great Depression and, later, World War II gave Roosevelt more leverage with Congress, and the gains he made for the executive branch not only increased its power but provided a blueprint for his successors to do so further. In the 80 years since Roosevelt got his six additional men, the executive branch has steadily increased in size and power; Congress and the public have grumbled plenty about power grabs by presidents from the other party, but offered little resistance of the type witnessed on Pennsylvania Avenue in 1938. “Congress chose to abdicate by choosing not to govern,” the NYU public-service professor Paul Light says. “It has totally acquiesced to the White House,” enabling its own diminishment. The Congress-centered government of the Framers’ conception has thus shifted to one dominated by the executive. Today, about 400 people work inside the White House, in jobs from national-security adviser to public liaison to special assistant for financial policy. Two thousand more work in the Executive Office of the President. In 1940, the civilian agencies of the federal government employed 443,000 people. They now employ three times that number. Roosevelt’s vice president and Cabinet of 10 could join him for a group picture behind his Oval Office desk. The 24 members of the Trump administration with Cabinet rank have to be photographed from across the room to fit in the camera frame. A White House once quaintly understaffed is now overstaffed, which leads to laborious decision making and palace intrigue. Even in administrations less chaotic than Trump’s, traffic jams at the Oval Office door are routine. “The guys around the president want to show their stuff. They want him to look at my program, look at my issue,” says Joseph Califano Jr., who served as the chief domestic-policy adviser under Johnson and also as Jimmy Carter’s secretary of health, education, and welfare. “So many issues get to the president’s throat that shouldn’t really get there”—issues “better left down in the bureaucracy to resolve.” Aides who don’t get the attention they want gripe, then leak. The insatiable, never-resting media take those leaks and turn them into new headaches for the West Wing team. Even so, you might think that extra manpower would be a boon to an overextended president. But unlike a chief executive in the corporate world, a president can’t delegate. Some, such as Carter, have tried. It didn’t end well. In July 1979, he held a Cabinet meeting that was more like the Red Wedding. He had come to believe that the people he’d appointed were being disloyal and “not working for [him], but for themselves.” Some pushed back, saying they were simply advocating for their policy positions. But the press has a way of describing debate as discord. Carter concluded that because a president is on the hook for every decision his administration makes, decisions of any import must be made not by the Cabinet secretaries but in the White House, where the president’s political team can vet them. So he brought more decision making into the West Wing—lengthening the line at the Oval Office door, and shortening everyone’s temper. “You’re lucky you were fired,” a friend told Califano, a victim of the bloodletting. “You’d have never been able to stand being strangled by the White House staff.” Dwight Eisenhower was a life-hacker. During his military career, he devised systems that made him more efficient. After he became president, he applied his methods to the already vast management challenge. When Ike first entered the executive mansion, the story goes, an usher handed the new president a letter. “Never bring me a sealed envelope!” he said. Nothing, he explained, should come to him without first being screened to see whether it really merited his attention. Eisenhower sorted priorities through a four-quadrant decision matrix that is still a staple of time-management books. It was based on his maxim “What is important is seldom urgent, and what is urgent is seldom important.” Sage advice, but antique for any president trying to manage the office after the attacks of September 11, 2001. The Cold War presidents monitored slow-moving events that had flashes of urgency. Now the stakes are just as high, but the threats are more numerous and fast-moving. From North Korea alone, the president faces both Cold War–style nuclear devastation and cyberwar mayhem. Michael Morell, a former deputy director and acting director of the CIA who briefed the previous four presidents, told me: “There have never been more threats than there are today.” Presidents now start their day with the President’s Daily Brief, an intelligence assessment of the threats facing America. How the PDB is delivered changes with each president. Early in his term, Trump reportedly requested a verbal digest of the brief. During the Obama years, the PDB was wrapped in a stiff leather binder and looked like the guest book at a country club. Inside was a grim iPad containing all the possible ways the president could fail at his most essential role. Satellite photos tracked terrorists’ movements, and pictures of failed laptop bombs demonstrated the pace of awful innovation. At the end of the briefing with intelligence officials, a president might be asked whether a specific person should be killed, or whether some mother’s son should be sent on a secret raid from which he might not return. John F. Kennedy requested that his intelligence briefing be small enough to fit in his pocket. Since 2005, the PDB has been produced by an entirely new entity in the executive branch, the Office of the Director of National Intelligence, which itself includes several intelligence agencies founded since Kennedy’s era, among them the vast Department of Homeland Security. Monitoring even small threats can take up an entire day. “My definition of a good day was when more than half of the things on my schedule were things I planned versus things that were forced on me,” says Jeh Johnson, who served Obama as homeland-security secretary. An acute example: In June 2016, Johnson planned to travel to China to discuss the long-term threat from cyberattacks. Hours before takeoff, he was forced to cancel the trip so he could monitor developments after the shooting at the Pulse nightclub in Orlando. “The urgent should not crowd out the important,” says Lisa Monaco, Obama’s chief counterterrorism adviser. “But sometimes you don’t get to the important. Your day is spent just trying to prioritize the urgent. Which urgent first?” One of George W. Bush’s staffers remembers the president’s basic conclusion about the attacks of 9/11: “ ‘My fundamental job was to protect the American people, and I didn’t do it.’ ” After the attacks, then–CIA Director George Tenet added a threat matrix to the president’s morning briefing that delineated all possible threats of terrorist activity. Bush wanted to go through every one. “After 9/11, we woke up every day behind,” says Bush’s communications director Dan Bartlett. “Every day was catch-up day.” Each administration worries that it might somehow slip and let an attack through. This leads to a lot of make-work and ass-covering, impediments to managing any organization. In his book The Test of Our Times, Tom Ridge, the first homeland-security director, recalled such an episode. Prior to the 2004 U.S. elections, Osama bin Laden released a taunting videotape. Ridge said some Cabinet officials wanted to raise the nation’s threat level to show that the administration was being vigilant, even though they had no new evidence of a specific threat. “Is this about security or politics?” he asked himself. After weighing matters of life and death at the appointed hour, the president can expect to be interrupted later in the day by unanticipated chaos. When Lisa Monaco was new on the job, she got a taste of the pace of things: One Monday in April 2013, the Boston Marathon was interrupted by horrific bombings, setting off a manhunt that paralyzed the entire metropolitan area. The next day, an envelope addressed to a member of Congress containing the toxin ricin was discovered. On Wednesday, an explosion destroyed a fertilizer plant in West, Texas. One national-security official, describing the pace of events during the Obama years, said it was a relief when healthcare.gov crashed, in 2013. It meant that a different kind of crisis had interrupted the permanent cycle of security management in the age of terror. The threat of attack still loomed, but with attention elsewhere the requirement to participate in homeland-security theater for a nervous public was, momentarily, diminished. When disaster does strike—whether the work of an enemy or an act of God—the theatrical role presidents play is amplified. It’s not enough to monitor or even manage the federal government’s response. He has to dash to the scene. We now expect the president to be a first responder, too. So ingrained is this expectation that we forget how recently it took hold. In 1955, a number of strong storms battered the United States, but Eisenhower was barely mentioned in the newspaper stories about Hurricanes Connie, Diane, or Ione. That hurricane season was then the costliest on record, but there are no pictures of the former Allied Commander pointing at maps or receiving furrowed-brow briefings from meteorologists. When some of the storms hit, Ike was on vacation. His absence was not the subject of endless concerned punditry, as it would be today. “We get a little more sleep around Washington,” Vice President Richard Nixon told a reporter writing a whimsical piece about the president’s time off during one of the storms. “He has the ungodly habit of getting up early.” Eisenhower wasn’t callous. Local governments, civil-defense forces, and the Red Cross were supposed to stack the sandbags and distribute relief when a storm hit. Upsetting that division of duties, the president believed, would jeopardize core American values. “I regard this as one of the great real disasters that threatens to engulf us, when we are unready as a nation, as a people, to meet personal disaster by our own cheerful giving,” Ike said in 1957. “Part of the reason is this misunderstanding that government is taking the place even of rescuing the person, the individual, and the family from his natural disasters.” Lyndon Johnson believed in a stronger connection between the people and their president—a belief that would expand the role for all the presidents that have come since. In September 1965, after Hurricane Betsy hit New Orleans, Johnson visited the masses huddled in the city’s George Washington Elementary School. “This is your president,” he declared. “I am here to help you.” Johnson spoke of the duties of the national family. “In times of distress,” he told disaster officials, “it’s necessary that all the members of the family get together and lay aside any individual problems they have or any personal grievances and try to take care of the sick mother, and we’ve got a sick mother on our hands.” After visiting victims of the storm, Johnson leaped into action, coordinating local forces and pushing Congress to fund relief. The Washington Post rewarded Johnson with the headline “LBJ Sees Betsy Toll in Hundreds: Assumes Charge of Day and Night Relief Operations.” A president lives for that kind of press. Rushing to the people’s aid suited Johnson’s politics. The trip to New Orleans was a Great Society house call, a dose of attention that mirrored the president’s legislative agenda aimed at helping the needy. It was also a bit of self-promotion well suited to the times. Families across the country were watching the drama of the storm unfold on the news during the dinner hour. Networks binged on images of Americans waist-deep in water, fishing their heirlooms from ruined living rooms. Television, according to Gareth Davies, an American-history professor at Oxford University who has studied the evolution of the president as first responder, greatly accelerated the demand for the president to appear front and center. When Johnson visited Indiana to tour tornado damage, a skeptical columnist writing for the South Bend Tribune wondered why a president should interrupt people trying to put their lives back together. The author then had a revelation, praising Johnson for “a demonstration of personal Presidential concern.” He continued: “The Presidential visit briefly transforms the institution into a symbol, a person to be seen and spoken to,” providing evidence to victims that “somebody cares,” thereby raising their “distressed spirits.” Popular expectations of the presidency were changing, and not just when a storm hit. The bigger the federal government became, the more a president had to act as a warming face of that distant behemoth—and its avatar on TV. “In the ’60s, expectations exploded,” says Sidney Milkis, a political scientist and Miller Center fellow at the University of Virginia. “We’ve become a presidency-obsessed democracy.” A key question, Milkis says, is “whether 300 million people can expect so much from one individual and still consider themselves involved in something that can be described as self-government.” Disaster response is by now such a prerequisite that if a president doesn’t act—and isn’t seen acting—it can wreck his presidency. “It used to be that presidents were advised to let the fema director and governor handle disaster response,” says Andy Card, who managed the Hurricane Andrew response for George H. W. Bush, in August 1992, and served as George W. Bush’s chief of staff during Hurricane Katrina, in 2005. “Now the expectation is that if a president is not talking about it all the time, he is asleep at the switch, or Marie Antoinette.” George W. Bush’s presidency never really recovered from the photograph of him looking down from Air Force One on the vast area harmed by Hurricane Katrina. In 2010, when an explosion at the Deepwater Horizon offshore-drilling platform led to 87 days of oil belching into the Gulf of Mexico, critics labeled it “Obama’s Katrina.” The typical critique was summed up by the headline on a Peggy Noonan column in The Wall Street Journal: “He Was Supposed to Be Competent.” Eisenhower-esque detachment was no longer viable. Amid crashing favorability ratings, Obama interrupted his own vacation to tour abandoned, oil-slicked beaches. “I ultimately take responsibility for solving this crisis,” he said. “I am the president, and the buck stops with me.” That phrase—a succinct expression of presidential obligations—is like the presidency itself: It has spilled out of its original container. When Harry Truman placed a sign on his desk reading the buck stops here, it meant that some decisions, only the president can make. It did not mean that the president is responsible—and therefore to blame—for everything that happens in the executive branch, much less the nation. Lyndon Johnson made the most of the new, televised presidency, but the co-dependency with the cameras started with his predecessor, John F. Kennedy. In 1960, Kennedy, a young senator and candidate for president, filmed television ads that showed him shaking hands with miners in West Virginia before they dropped down 500 feet to start their eight-hour shift. Kennedy wasn’t just cutting a dashing figure to be beamed into living rooms; he was making an argument about presidential campaigns. “I believe that any Democratic aspirant to this important nomination should be willing to submit to the voters his views, record, and competence in a series of primary contests,” Kennedy had said when he’d announced his campaign. Only after such a primary contest, he’d argued, could the candidate understand the concerns of the people, and prove his readiness to act on them. An ad the campaign took out in a West Virginia newspaper made Kennedy’s proposition clear: Votes for his opponent, Hubert Humphrey, were shown landing in a garbage can. Votes for Kennedy were shown dropping from the ballot box through the roof of the White House. Kennedy’s view that candidates should make their case directly to the people may hardly seem controversial by contemporary standards, but it was part of a radical change in the path to the presidency. In designing the office, the Founders worried that the executive would be whipsawed by the passions of the people rather than driven by reason and good character. Because of this fear, the Founders did not want candidates to campaign for the office, believing that stumping for votes would warp their priorities. The electoral process might elevate men who had simply played to the crowd; once in office, such a president might pander to the people rather than instituting sound policy. Without a constant need to court voters, the Founders reasoned, presidents could calmly pursue the best interests of the country. For a century, the system worked as intended. Candidates “stood” for election, but did not deign to stump for votes at rallies. Men such as Andrew Jackson argued for a closer connection between the people and the president, but the taboo against campaigning was durable. The parties still picked their presidential candidate in the smoke-filled rooms of legend. In the early 20th century, reformers such as Woodrow Wilson asserted that the modern age required presidents to be more responsive to the voters. A president shaped by an election system with voters at the center would not abandon them once in office and would know how to summon what Wilson called “the common meaning of the common voice.” Kennedy’s successful use of the previously obscure primary system helped to make state-by-state barnstorming the established road to a party nomination and eventually the White House. And just as the Founders had surmised, prolonged exposure to the people had a powerful effect. Kennedy’s first executive order increased the amount of food distributed to needy Americans in economically distressed areas, a direct result of his time spent in West Virginia. The votes had gone right to the White House. Looking out for the interests of the poor may sound like an unalloyed good. But party reforms in the last quarter of the 20th century pushed the nominating process further toward the direct election of delegates. This encouraged candidates to make ever more lavish promises and to tout their singular power to deliver on them. “Longer and longer campaigns have contributed to a prolonged bidding war of candidates making more and more promises as to what government will do if they are elected,” says Roger Porter, who served in the Reagan and Ford administrations and now teaches at Harvard’s Kennedy School. Primaries encourage candidates to do whatever keeps the crowd in a roar, as Howard Dean explained when looking back on his infamous “scream” after the 2004 Iowa caucuses. “I’d get out there and I would talk about policy and there was no adrenaline rush,” he told FiveThirtyEight. “People kind of went ‘uh-huh, uh-huh,’ and I really wanted that huge charge of being able to crank them all up and to believe in themselves again and get enthusiastic, and I would succumb to that.” Trump took this trend to its logical conclusion, promising voters every beneficial outcome and proclaiming at his convention about the problems that America faced: “I alone can fix it.” The present system elevates the crowd-pleasing qualifications above all others, and sets expectations for what a president can do well beyond what is actually possible in office. Media coverage, meanwhile, keeps the show going—and keeps the focus on the show. Cable networks promote debates with zooming lights and “voice of God” announcers, as if the candidates are backstage getting their hands wrapped in tape and loosening up with the medicine ball. Debate coverage is mostly like a theater review, and it starts before the curtain has come down. As Peter Hamby, a former CNN reporter and the current head of news at Snapchat, demonstrated in a 2013 paper for Harvard’s Shorenstein Center, in the age of social media, voter impressions during debates are formed in the first minutes. Candidates play to the snap judgments, practicing set-piece outbursts. In 2012, when Obama was perceived to have lost the first debate, his team emphasized that he needed to be a better performer. He was to be “fast and hammy.” When he would give a long and dry answer in practice sessions, he would be reminded: Fast and hammy! As campaigning has become more about performance, the skills required to be president have become more defined by talent on the stump, an almost perfect reversal of what the Founders intended. The current system is so focused on persuasion over policy, argues Jeffrey K. Tulis, the author of The Rhetorical Presidency, that he sees the country as governed by a second Constitution, one that is in tension with the original. The second Constitution puts a premium on active and continuous presidential courtship of popular opinion, on hot action over cool deliberation. “How could a president not be an actor?,” Ronald Reagan asked. Or, failing that, a reality-TV star? Wilson wanted candidates to be in touch with the public, but he viewed campaigning as “a great interruption to the rational consideration of public questions.” We are now in an age of permanent campaigning, in which rhetorical talent is seen as a proxy for governing ability. In 1992, after Bill Clinton beat George H. W. Bush, Vice President Dan Quayle said, “If he governs as well as he campaigned, the country will be all right.” Republicans had argued that Clinton’s character faults disqualified him from office. In defeat, Quayle was articulating the common modern view—ratified by voters—that being a gifted campaigner was the more important quality. With the line between campaigning and governing blurred, newly elected presidents are overconfident in their ability to tackle the job. Richard Neustadt, the historian of the presidency, described the mind-set of the winning campaign team: Modern presidents who have just come to office on the strength of their rhetoric and showmanship are encouraged to continue relying on those skills. “They have been talking for two years, and that’s nearly all they’ve been doing. When they win, they conclude that they can convince people of anything,” the Texas A&M political scientist George C. Edwards III says. “The feedback is pretty strong.” Governing is about more than talking, though. “The first thing a president needs to understand,” says Max Stier, the CEO of the Partnership for Public Service, “is that in order to run a government, they are going to need capabilities different than the ones needed to win the right to run the government.” Selling the voters on the idea that you are better than your opponent requires a different set of skills than achieving your preferred outcome on health-care legislation, where there is not one alternative but a series of alternatives on a series of aspects of the policy. Campaigning requires attack and comparison. Governing requires deliberation, cooperation, negotiation. A candidate for president has one constituency: the voters. A president has to navigate the interests of many parties: the voters, Congress, foreign leaders. The attributes that got him into office—Kennedy’s youthful vigor, Reagan’s nostalgic vision, Trump’s bombast—are only somewhat helpful in a job that requires a host of other skills. In an ideal system, incoming presidents would have months of orientation to learn the ropes and break their rhetorical addiction. No such school exists for presidents. There is a transition process, but it doesn’t sufficiently prepare a president or his team. Presidential transitions are a bigger undertaking than any private-sector transfer of power. In business, large mergers and acquisitions typically take a year or more and involve hundreds of staffers. Dow Chemical and DuPont announced their $130 billion merger in December 2015, and it closed in September 2017. A president-elect and his team have two and a half months between victory and inauguration to figure out how to run a $4 trillion government with a civilian workforce of 2 million, to say nothing of the military. The United States federal government is the most complicated conglomerate on the planet. Unlike in a business acquisition, in which a new leader might retain staff from the target company as well as bring in his own trusted people, a president must start almost from scratch. He has as many as 4,000 fresh political appointments to make, including for more than 1,000 top leaders who will require Senate confirmation. Putting a team in place quickly is crucial to making good decisions. Some temporary holdovers can manage in the interim, but they can get you only so far. “You’re not perceived as having authority; you’re like the substitute teacher,” Max Stier says of the holdovers. “And it’s hard to coordinate without having the authority and time to build relations.” With so many jobs to fill, few teams get much of a chance to work together before natural attrition starts. The rush to staff up encourages new presidents to fill the administration with the people who helped them win the office in the first place, further entrenching a campaign mentality within the White House. The presidential scholar Shirley Anne Warshaw, who teaches at Gettysburg College, found that 58 percent of the senior posts in the Obama administration were filled by campaign staff. Some may have been suited to the unique challenges of the executive branch, but the system does not allow enough time to make certain of it. New presidents just have to hope for the best. Presidents thus enter office burdened with campaign instincts, not governing ones; with a team that may lack experience in the tasks at hand; and with a long list of promises to keep to voters. In such a situation, patience would seem to be called for. That was Eisenhower’s advice: “You do not lead by hitting people over the head. Any damn fool can do that, but it’s usually called ‘assault,’ not ‘leadership.’ I’ll tell you what leadership is. It’s persuasion, and conciliation, and education, and patience. It’s long, slow, tough work. That’s the only kind of leadership I know, or believe in, or will practice.” Except, as Lyndon Johnson warned, new presidents only have a year before Congress starts thinking about midterms, which makes bold or bipartisan action difficult. David Broder of The Washington Post characterized Johnson’s first-100-day freneticism as a “half-mad, half-drunk Texas square dance, with Johnson, the fiddler and caller, steadily increasing the tempo, speeding up the beat.” That was before the era of hyperpartisanship, which has made presidential honeymoons short or nonexistent. No president wants to boast at his day-100 interview, “We’ve really made some strides in mastering organizational capacity and creating flow in our lines of authority.” The push to meet expectations set during the campaign encourages frantic behavior. Harried aides cook up executive orders—even if the president campaigned against them and even if they don’t actually do much. Trump’s early days were a flurry of such actions. The cameras were called in and the theme music was cued, but several of his executive actions merely instructed agencies to look at problems and issue reports. I alone can PowerPoint it! Others, such as the travel ban, the exclusion of transgender people from the military, and tariffs on steel and aluminum, were poorly vetted and incited massive backlashes. We all know what this desire to execute looks like in our own lives. The president is the jumpy man who presses the elevator button a second time, then a third time—with his umbrella. It feels good. It looks like action. But the elevator does not move faster. III. An Unfathomable Psychological Squeeze The former White House photographer Pete Souza’s book, a collection of more than 300 photos of Barack Obama’s presidency, is a tour through the psychological landscape of the office. President Obama stands by the bedside of wounded soldiers he sent into battle and in the ruins left by natural disasters. He counsels his daughter from a seat on the backyard swing while on television oil oozes from the Deepwater Horizon spill. He sits, leans, and paces through endless meetings. He plays host—to the Chinese president, the Israeli premier, Bruce Springsteen, Bono, kids in Halloween costumes, African American boys and girls. The presidential brain must handle a wider variety of acute experiences than perhaps any other brain on the planet. Meanwhile, the president lives in a most peculiar unreality. His picture is on almost every wall of his workplace. The other walls contain paintings of the men who achieved greatness in his job, as well as those who muddled through. It’s like taking a test with your competition’s scores posted around you. When a president travels, he has his own doctor, security, exercise equipment, and water. It all gets moved around on his airplanes. If the Secret Service thinks the bathroom in a foreign country might cause the president to slip, agents will lay down protective strips to give him traction when he gets out of the tub. Grover Cleveland used to answer his own front door. Now presidents touch door handles only in their private quarters. Their lives are babyproofed. At the same time, the American president is constantly subjected to the harshest scrutiny from outside his bubble. This is a long-standing tradition. The New York Times devoted 500 words to Calvin Coolidge’s indigestion. (It was the cantaloupe.) The president is the biggest celebrity in the world. Eyes are always watching, ready to imbue a grimace with meaning. Everyone waves—and everyone expects a wave in return. If the president is close enough, people expect a selfie. Photographers can capture a note about needing a bathroom break that he jots in a meeting, and someone is always at a keyboard ready to make a cultural moment out of a thought that escapes his subconscious. Obama told an aide that he had a recurring dream. In it, he was enjoying a peaceful walk. He was alone and undisturbed. Suddenly, he was noticed. The dream became a nightmare, and he awoke. While emoting at all the appropriate times in all the appropriate ways, a president must also wear masks to hide his intentions—from world leaders, political adversaries, and allies alike. This allows him room to negotiate. Senator Huey Long complained about Franklin Roosevelt: “When I talk to him, he says, ‘Fine! Fine! Fine!’ But [Senator] Joe Robinson goes to see him the next day and he says, ‘Fine! Fine! Fine!’ Maybe he says, ‘Fine!’ to everybody.” New York Governor Al Smith was once asked whether he had gotten a commitment from Roosevelt, and responded, “Did you ever nail a custard pie to a wall?” Roosevelt’s flexibility was considered a great and necessary presidential skill. But a man who wears masks must do a lot of work to keep them from slipping. Can one person handle all this? In 1955, former President Herbert Hoover completed a review—his second—of executive-branch efficiency and suggested the addition of an administrative vice president to help the overloaded president. (The existing vice president was apparently already too busy.) Hoover’s report was issued a few months before President Eisenhower had his first heart attack. It was the fifth heart attack or stroke to hit a current or former president since the Wilson administration ended, in 1921. This caused the columnist Walter Lippmann to wonder whether the job was too much for one man to bear. Addressing the “intolerable strain” on the president, Lippmann wrote, “The load has become so enormously greater … because of the wars of this century, because of the huge growth of the American population, of the American economy, and of American responsibilities.” Since then, the weight of the job has grown even heavier. The Souza photograph that marks the day Obama describes as the hardest of his presidency shows him standing with one of the 26 families he comforted after the massacre at Sandy Hook Elementary. That day, when a mother broke down, the president handed her a tissue. Presidents aren’t trained as pastors, but they have been thrust into that role, too. They must comfort the nation in the shadow of tragedy. Woe unto the president who selects the wrong sermon for the occasion. “Now it’s not enough to do it,” Mitch Daniels, the former Indiana governor and top assistant to Reagan, says of performing the pastor role. “You have to do it in the exactly right, sensitive way.” And the better you do it—the more aware you are that a woman beside you needs a Kleenex—the more draining it is on your soul. Then there are the men and women who might die as a result of the president’s orders. He may soon be called on to console their families, too. An aide to George W. Bush says that when the president was deciding whether to send more troops into Iraq in 2007, at a time when the public and members of his own administration wanted the U.S. to withdraw, he began wearing a mouth guard at night, because he was grinding his teeth so much in his sleep. Truman said the decision to go to war in Korea had been the hardest decision of his presidency. A letter sent to him by the father of a soldier who died in that war, returning his son’s Purple Heart, suggests just how hard it was: Truman kept the letter in his desk drawer long after his term ended, a testament to the weight that remained on him even after he left the Oval Office. If a president thinks too much about the widows he’s making or the children who will never know their mother because of his orders, he might not be able to perform the role of commander in chief. Learning to compartmentalize is a necessity for presidents. Some compartments are locked so tight, even the president’s closest advisers never see their contents. During the final phase of planning the operation to kill Osama bin Laden in the spring of 2011, Obama chaired the National Security Council on five occasions. Those five days tell the story of just how quickly a president must switch between his public and private duties. The events that took place immediately before and after those secret bin Laden meetings included: an education-policy speech; meetings with leaders from Denmark, Brazil, and Panama; meetings to avoid a government shutdown; a fund-raising dinner; a budget speech; a prayer breakfast; immigration-reform meetings; the announcement of a new national-security team; planning for his reelection campaign; and a military intervention in Libya. On April 27, the day before Obama chaired his last National Security Council meeting on the bin Laden raid, his White House released his long-form birth certificate to answer persistent questions about his birthplace raised by the man who would be his successor. In the two days before the raid itself, Obama flew to Alabama to visit tornado victims and to Florida to visit with Congresswoman Gabrielle Giffords, who was recuperating from a gunshot wound. On Saturday, April 30, with the operation under way but its outcome uncertain, he attended the White House Correspondents’ dinner, where he had to entertain journalists with a comedy routine. In the joke-writing process, he had removed a quip about bin Laden. His aides were given no hint of why. The high-stakes military operation made this stretch particularly fraught psychologically, but it wasn’t entirely out of the ordinary. Denis McDonough, who served Obama as chief of staff, says the pace was usually such that it became “a rare ability to know what day it was. Every night feels like Tuesday night.” The relentlessness of the job depletes a president’s powers of restraint, and yet restraint is crucial for wise decision making. “You have to have a high tolerance for pain,” says Jay Carney, one of Obama’s press secretaries. “Sometimes that means letting yourself be misunderstood,” refusing opportunities to score easy debating points in favor of the long view. At times, an opportunity to get a quick win has to be put off for a later, bigger victory. Focusing on short-term success might please the pundits, but it keeps an administration from doing the hard, obscure, boring work needed to address looming national problems that will be too big to tackle once they become emergencies—the shrinking middle class, the changing climate, the rising health-care costs straining the federal budget. Even the most above-it-all president is continuously tempted to privilege the small over the big and the now over the future. The current president gives in to such temptations. It may be an efficiency—what a relief to give vent to your every moment of pique. But Trump is serving with historically low approval ratings, and even his supporters do not like his constant sniping and complaining about the merest slight. The risk of impulsiveness isn’t just to the president’s own reputation. It also tarnishes the prestige of the office when a president fumes over the latest segment from Fox & Friends. Successful presidents learn to keep their powder dry, even when doing so might make them seem weak. A president has the power to determine who lives and who dies—sometimes by the thousands—yet he is also frequently powerless, which led the political theorist Hannah Arendt to define the president of the United States as at once the strongest and the weakest of all national leaders. A president must be willing to endure that paradox. As Lyndon Johnson put it, sometimes the president is little more than “a jackass in a hailstorm.” IV. A Historic Partisan Gap “Any discussion of how hard it is to manage the presidency has to start with the weakness of Congress,” Denis McDonough says. “You can’t have a president solve problems the legislative branch has not.” On September 30, 1990, President George H. W. Bush stood in the White House Rose Garden before a bank of Brooks Brothers suits containing the leaders of Congress. The government was set to run out of money that day, a familiar story to contemporary ears. But what those men said would seem less familiar. The Republican president praised the Democratic leaders, and they praised him right back. Congressional leaders of both parties praised each other. The president and assembled lawmakers were announcing the Budget Summit Agreement, a mix of spending reductions and tax increases meant to tame deficits. The agreement capped five months of intense wrangling, which had ended in a sprint of negotiations. For 11 days and nights at Andrews Air Force Base, meat-fed men (Monday was prime-rib night) had argued until they’d come to an accommodation. The outcome was one the Framers would have approved of: Lawmakers of strong opinions had compromised rather than resorting to open conflict. The results were imperfect, but preferable to inaction. At least, that was one way to see it. The alternative view was that leaders of both parties had compromised their principles, and no one had done so more than Bush himself, having gone back on the “no new taxes” pledge he’d made during the 1988 campaign. This sentiment played out on the other half of CNN’s split-screen coverage that overcast day. Juxtaposed with Bush was footage of Representative Newt Gingrich leaving the White House. The second-ranking House Republican refused to join the celebration, or to follow his party’s president. “It was a betrayal of his pledge and a betrayal of Reaganism,” Gingrich told the Bush biographer Jon Meacham. Gingrich headed back to the Hill, where conservatives waited to greet him as a rebel hero. Bush’s victory that day sowed the seeds of his defeat in the 1992 election. “It did destroy me,” Bush told Meacham. After this, it was taken as truth that no Republican politician could survive disappointing the conservative core. The split screen that day encapsulated the dilemma for modern presidents: Work with the other side and be called a traitor, or refuse to work with them and get nothing done. Days after the Rose Garden ceremony, the deal announced there collapsed. Liberal Democrats voted against their leaders because they wanted more government spending. Conservative Republicans voted against their leaders because they opposed tax increases and wanted more spending cuts. Republicans running for reelection in 1990 needed the base to win. If they’d rallied behind the budget deal, they’d have risked being voted out of office. “What is good for the president may well be good for the country, but it is not necessarily good for congressional Republicans,” Representative Vin Weber of Minnesota, a Gingrich ally, told The Washington Post. “We need wedge issues to beat incumbent Democrats.” In the 27 years since the announcement of the doomed Budget Summit Agreement, the parties have become only more partisan. Particularly in the Republican Party, primary challenges await lawmakers who dare enter into a bipartisan compromise. The purity ministry is proctored by talk-radio hosts, well-funded outside organizations, and countless social-media warriors. The growth in partisanship means that when it comes to the basic business of government, the president and Congress are in constant turmoil. Shutdowns and federal-budget stalemates are now regular occurrences. Congress has not passed a spending bill on time in 20 years. Congressional oversight, once used to identify future risks and monitor the executive branch, is now robust mainly when it comes to tying the opposition’s shoelaces together. When presidents do work with Congress, the achievements are partisan. Obama signed health-care reform flanked only by Democrats. Trump celebrated his tax-cut bill with only Republicans. Bipartisan ceremonies at the White House have become rarer, low-stakes affairs, or the last of a kind. One of the final times Republicans showed up at the Obama White House was to promote free trade, an issue Trump used to defeat his GOP rivals. Republicans are no longer such boosters of the idea. “The political system acts against success for a president,” says Mitch Daniels, who also served as the director of the Office of Management and Budget under George W. Bush. “The new tribalism is right up there with the national debt as the biggest threat to our nation.” Secretary of Defense James Mattis agrees: The greatest threat America faces, he told me, is “the lack of political unity.” When the relationship between Congress and the White House breaks down, pundits like to invoke Lyndon Johnson. Through sheer force of will, they suggest, a president can get the machine going again, spurring Congress into action. But Johnson is not the model. He had a unique résumé as a former Senate majority and minority leader and could take advantage of a martyred president’s legacy to build support for his policies. His party also had a large majority in both houses. The idea that presidents can break through gridlock if they just try hard enough nevertheless persists. “The president has got to start inviting people over for dinner,” Michael Bloomberg, the former mayor of New York City, advised during Obama’s tenure. “He’s got to play golf with them. He has to pick up the phone and call and say, ‘I know we disagree on this, but I just want to say—I heard it was your wife’s birthday’ or ‘Your kid just got into college.’ He has to go build friendships.” Presidential candidates buy into the Johnson myth because it allows them to pitch themselves as the unique solution to Washington’s problems. “One of the things I’m good at is getting people in a room with a bunch of different ideas, who sometimes violently disagree with each other, and finding common ground and a sense of common direction,” Obama told Steve Kroft on 60 Minutes in 2008. By the end of Obama’s first term, the president and his aides had given up on the idea of deal making entirely. Pundits regularly advised him to just sit down and have a drink with Senate Minority Leader Mitch McConnell, the way Truman shared bourbons with congressional leaders. “You have a drink with Mitch McConnell,” Obama joked in response. Two years into Obama’s tenure, McConnell had said the GOP’s most important job was making sure the president served a single term. Privately, little irked Obama more than the claim that he should be doing more to work with an opposition that didn’t want to work with him. The call for presidents to sit down with the leaders of the opposing party is a vestige of a time when presidents and lawmakers were less connected to their party and when the parties were more ideologically and geographically heterogenous than they are today. They could appeal to ad hoc coalitions in Congress, which formed around beliefs on specific issues. As Senate minority leader, Johnson, a Democrat, helped Eisenhower defeat conservative Republicans who were pushing the Bricker Amendment, which would have limited presidential power in foreign affairs. As president, Johnson relied on the Republican Everett Dirksen to get civil-rights legislation passed over the opposition of conservative Democrats. As late as 1978, Republican Senate Minority Leader Howard Baker was willing to risk his own presidential aspirations to help Democratic President Jimmy Carter get the 67 votes needed to give Panama control of the Panama Canal. The electoral map once encouraged compromise and cross-party coalitions. During Nixon’s and Reagan’s terms, more than half of the senators in the states they carried were Democrats. Those senators had constituents who liked the president, even though he belonged to the other party, which gave those senators room to make deals with him. About 80 percent of the senators from the states Obama won were of his party. The same is true of Trump. These lawmakers have to answer to voters who are as far apart on the political spectrum as they’ve been in generations. The Pew Research Center has been studying partisan positions since 1994, testing views on fundamental political issues—whether regulations do more harm than good, whether black Americans face systemic racism, whether immigrants are a burden, and whether corporations make reasonable profits. In 1994, the members of the two major parties were only 15 percentage points apart, on average. Now they are an average of 36 points apart. That partisan gap is much larger than the differences between the opinions of men and women, of black and white Americans, and of other divisions in society. A president can’t build a coalition to support health-care legislation when the two parties fundamentally disagree whether the government should be involved in health care at all. The partisan gap in how people view presidents is also as wide as it has ever been. On average, during his two terms Eisenhower enjoyed the approval of 49 percent of Democrats. Obama had the support of 14 percent of Republicans over the course of his presidency. Just 8 percent of Democrats approved of Trump last summer. In this environment, no matter how many drinks a president has with the leaders of the opposition, he’s not going to change their minds. “I don’t understand how you manage people in Congress in either party into seeing that some level of accommodation is in their interest,” says Bolten, the former George W. Bush chief of staff. “Presidents can’t negotiate like Lyndon Johnson, because members have no reason to fear the president.” But voters don’t want excuses. They want action. When Congress can’t act, it puts more items on the president’s to-do list, though he frequently lacks the tools and authority to act himself. V. How to Fix It To repair the modern presidency, politicians, the public, and the press need to change their expectations about the office and focus on what is realistic. The president is not a superhero. He is human, fallible, capable of only so much. So what do we want him to do—and how can we help him do it? hit the ground running “The Romney Readiness Project” is the most valuable contribution to the modern presidency from a man who didn’t win the office. It is a 140-page distillation of the work of Mitt Romney’s transition team, a six-month process of preparing for the job in 2012. The volume is filled with organizational charts, prioritization matrices, and tables that match jobs with responsibilities. Six hundred people were involved in planning for a Romney transition by the end of his campaign, participating in exercises in which they practiced moving ideas and legislation through the federal system. When people talk about the benefits of having a businessman in the White House, this example of careful attention is no doubt what they expect. The businessman who succeeded where the former Massachusetts governor failed did not exactly bring the same rigor to the transition process. Donald Trump’s team followed a playbook that seemed at times to have been drawn on a napkin. The transition experienced all the typical flaws—infighting, skepticism toward those with expertise from the previous administration, wasted work—and a few new ones for good measure. Veterans of previous White Houses stressed to Trump’s team the value of building systems to manage information and aid decision making. They report that they were either humored or ignored by frantic staffers trying to keep up with the boss’s demands. Max Stier of the Partnership for Public Service has devoted his career to trying to make the federal government operate more efficiently. He pushed Congress to pass the Pre-Election Presidential Transition Act, which put some structure in place to help a new president prepare. And he suggests that Congress should seek to formalize a transition process like the one Romney intended to follow. Under Stier’s new plan, each party’s nominee would take steps to form a government-in-waiting and learn the folkways of the federal system. “It’s not fair to the American public,” he says, “for a candidate to say, ‘You know what, I’m going to go through that Now what? moment when I get into office, and you’re all just going to suffer along with me on that.’ ” Voters and the media could do their part by dispensing with the idea that any candidate who thinks about the nuts and bolts of the presidency before the first Tuesday in November is prematurely measuring the Oval Office drapes. We should do the opposite: evaluate candidates based on their commitment to the transition, using it as a sign of seriousness. How they think about the transition offers a view into how they would approach the job: Can they focus on an important long-term task while engaged in the day-to-day urgency of the campaign? Can they put the right people in place? Since the 2016 election, public attention has understandably focused on fake news, Russian interference, and how to keep elections from being destabilized again. But susceptibility to foreign manipulation is hardly the only flaw in our electoral system. The American public and press also need to reconcile the gap between the office as it is debated during campaigns and its actual demands. We need to do a better job of using the campaign to test for the qualities that will serve a president in office: management talent, governing effectiveness, and temperament. In a job with such psychological strain, we should pay closer attention to the candidates’ disposition and mettle. “One thing about the presidency is that it doesn’t build character; it reveals it,” says Dan Bartlett, the George W. Bush communications director. Let’s not kid ourselves, though. This kind of shift in public attitude would be miraculous given today’s tribalism, the dominance of hot-take journalism, and the churn of social media. Reporters and pundits gravitate toward easy narratives, and candidates, parties, special-interest groups, and financial kingmakers all benefit from crude, predictable fights over values and identity. When so much advantage can be gained by stoking emotions, why stop and consider a candidate’s reason? Joseph Califano, Lyndon Johnson’s former domestic-policy aide, suggests that one possible way to interrupt the present system is for centrists to storm the primaries. A small percentage of party members currently take part in the presidential nominating process. Most of those who do are ideologically extreme, more interested in litmus tests than testing for experience and character. If people with fewer fixed opinions joined in, they might select candidates who demonstrate the preparedness and open-mindedness to govern. Elevate Experience While we’re in the realm of the unlikely, we should also stop thinking of experience in Washington as a liability. This is not a new tension in American politics. Hoover noted, “When we are sick, we want an uncommon doctor; when we have a construction job to do, we want an uncommon engineer; and when we are at war, we want an uncommon general. It is only when we get into politics that we are satisfied with the common man.” Today, candidates who have no familiarity with Washington enjoy a distinct advantage; those who do are seen as denizens of the swamp. This bias ensures that the president has none of the skills and relationships honed by years of service that might give him a fighting chance of breaking through the partisan gridlock. Voters—particularly Republican ones—have a tendency to romanticize the can-do spirit of the corporate CEO. But we don’t engage in anything like the CEO selection process when we hire our commander in chief. Gautam Mukunda, a Harvard political scientist and professor of organizational behavior, has studied how the electorate might better seek out the qualities of command in presidential candidates. He points out that businesses rely on a filtering system that tries to let through only those leadership candidates who have the basic attributes necessary for the job. “We shouldn’t believe that a good CEO [necessarily] makes a good president,” Mukunda says, “but we should notice that CEOs are selected through a process that is far more careful and deliberate and rationally destined to pick candidates who fit the job.” Americans who pledge a fondness for the effectiveness of the business world could apply some business-world wisdom to their own decision making by picking leaders the way companies do: by favoring, not punishing, candidates with pertinent experience. OnBoard the President A manual for newly elected presidents might include the following tips: Previous success does not predict future success. In fact, previous achievements may impede progress as president. “The natural instinct of a newly elected president is to approach the job like they operated in their previous roles,” says Mike Leavitt, the former Utah governor and chairman of Romney’s transition team. But the presidency is unlike any previous job. The sooner presidents realize that they are going to have to master new skills to run an effective White House, the better. Every president has to learn this, Leavitt says. “They know how to get elected, but they have to learn how to govern.” Actions speak louder than words—or at least they’re more important. Because rhetoric has been the coin of the realm during the campaign, new presidents fall into the trap of thinking they can talk their way around any problem. “The modern presidency is not impossible,” the political scientist Elaine Kamarck writes in her book Why Presidents Fail. “But it does require a reorientation of the presidency itself—toward the complex and boring business of government and away from the preoccupation with communicating.” If you want to move fast, you first need to move slow. This is especially hard medicine to take, because presidents are so flushed with new power. On Christmas morning, no one wants to wait for Mom and Dad to get up to open presents. Most new presidents campaigned on the idea that they would not fall prey to the incumbent’s sluggishness and lack of will. Things will be different when I get to town, they told their adoring crowds. But there are no easy calls as president. The system for presidential decision making has to be methodical, because presidential decisions are uniquely difficult. “Nothing comes to my desk that is perfectly solvable,” Obama told Michael Lewis, writing for Vanity Fair. “Otherwise, someone else would have solved it. So you wind up dealing with probabilities. Any given decision you make you’ll wind up with a 30 to 40 percent chance that it isn’t going to work. You have to own that and feel comfortable with the way you made the decision. You can’t be paralyzed by the fact that it might not work out.” In many instances, a president makes a decision without the certainty that comes from having done all the work leading up to it. “What presidents do every day is make decisions that are mostly thrust upon them, the deadlines all too often outside of their control on options mostly framed by others,” Richard Neustadt, whose memos on the presidency have guided generations in the office, wrote. To make these decisions a president needs to have space for reflection. “We used to put time on his schedule just so that he could think,” Leon Panetta told me, referring to Bill Clinton. Embrace the bubble. Obama eventually came to realize that he had to consider the “Barack Obama” discussed in the press to be an entirely different person from himself to keep from becoming personally invested in criticism. Presidents have to ignore the reviews and the constant chatter; there is too much of it, and too much of it is uninformed. If he can’t ignore the chatter, he needs to find a safe way to vent: When criticism got to him, Harry Truman would write “long hand spasms,” splenetic outbursts that his staff were empowered to dispose of properly. To guard against being out of touch, meanwhile, a president has to designate someone to tell him the truth and then believe that person when he delivers unwelcome news. Candor will be elusive in the Oval Office, where everyone’s instinct is to flatter the boss. “The subordinate needs to be willing to tell the truth to power,” former Defense Secretary Robert Gates told me on Face the Nation last May, “but the boss needs to be big enough to recognize that person is actually trying to help them.” Trust your staff. Given the weight of every decision, and the fact that even good presidents can make bad ones, the system that delivers a set of options to the Resolute Desk has to be as solid as possible. Alternatives have to be presented by staffers who have expertise, understand the president’s mind, and can trust that their work will be put before the president fairly. “The first thing I think the American people should be looking for is somebody that can build a team and create a culture that knows how to organize and move the ball down the field,” Obama told me before the 2016 election. “No matter how good you are as president, you are overseeing … the largest organization on Earth. And you can’t do it all by yourself.” Obama’s prescription is similar to the road map drawn by H. R. Haldeman, Nixon’s chief of staff for much of his administration, who created the template for the modern White House organization. Using his experience as an advertising executive, he drew up a careful system to staff the presidency. “Nothing goes to the president that is not completely staffed out first for accuracy and form, for lateral coordination, checked for related material, reviewed by competent staff concerned with that area, and all that is essential for Presidential attention,” he wrote. What Haldeman knew is that an office this complex can’t have improvisational staffers—or an improvisational president. (An ironic bit of wisdom, given his fate and that of the Nixon administration, but no less valid for that ignominy.) A president can of course overrule his staff, or change his mind. But there needs to be a process, and a baseline of consistency. “Unpredictability can be occasionally helpful,” says Kenneth Duberstein, who served as White House chief of staff for Reagan. “But it can’t be an operating management style.” “It’s like an air-traffic-control tower managing 100 airplanes who think they have an emergency and need to land, now,” says Leavitt, who also served as secretary of health and human services under George W. Bush. “To work well, the presidency has to have order and structure. To someone supremely confident in their ability to instinctively know the answer to every question, this could seem overly bureaucratic. However, when the process is not allowed to operate, the consequence is a lot of crashes.” The crashes may not come immediately, but they are inevitable, and when they happen, a system for effective operation cannot be put in place retroactively. This is perhaps the greatest looming challenge for the Trump administration, which is stress-testing everything we know about the orderly operation of a White House. “Effective government is like an airbag,” says Harvard’s Mukunda. “You don’t notice it most of the time, but when things go wrong, you really want it to be there.” Empower your Cabinet. Even if his White House operation is zooming safely down the interstate, a president can’t make every decision from the Oval Office. There’s just too much to do. Instead, presidents should follow Calvin Coolidge’s model. “Perhaps one of the most important accomplishments of my administration has been minding my own business,” he said. In the modern executive branch, that means giving Cabinet secretaries some leash. George Shultz advised Donald Trump to resist letting the White House dominate everything. “That has become a tendency, to put decision making and even operational things in the White House,” says the former secretary of state under Reagan and Treasury secretary under Nixon. “So I would hope the president might say something like this: ‘I consider my Cabinet and sub-Cabinet people to be my staff. Those are the people I’m going to work with to develop policy. And they are the ones who are going to execute it under my supervision. But they’re going to execute it.’ When you do that, you get good people, you get all people who have been confirmed by the Senate, and you get better policy and you get better execution.” To allow this kind of delegation to take place, though, Americans will have to give up their conception of where the buck stops. If a Cabinet officer makes a bad decision, the president should fix it and the system should adapt. But a president should not be held responsible for every decision made in every corner of his administration, or he’s liable to do as Carter did and try to make every decision himself—an impossible task. The media, for their part, will have to cover Cabinet officials in a substantive way and not just as a source of palace intrigue. There are better uses of shoe leather than sussing out where, exactly, Rex Tillerson was sitting when he learned he’d been fired. Radically Simplify the Office Delegation alone won’t be enough, though. Mitch Daniels argues that the overload of the job can be solved only by radically paring it back. This might require a break between the functional role of the job (defending the nation and building consensus for important legislation, the places where the presidential brain and only the presidential brain can be applied) and the ceremonial part of the job (visiting disaster sites, welcoming NCAA champions). The latter category might be impossible to lose altogether, but could probably be outsourced to the vice president. A future president might also redefine the role of the first spouse, tasking her—or him—with more of the visiting and hosting. In his 2017 book, The Impossible Presidency, the University of Texas historian Jeremi Suri goes so far as to suggest adding a European-style prime minister who could take work off the president’s desk. “The next successful president is likely to be somebody who concentrates relentlessly on a few well-chosen goals,” Daniels says. “Someone who makes it plain that ‘there is only so much of me and there are only so many days. We have big problems. It’s not that I don’t care. I care deeply, but you’re not going to see me doing these things. You hired me to do a different job.’ ” It’s hard to imagine an American president speaking that starkly to the American people. Then again, this may be another way in which Trump, however accidentally, may have given the country an opportunity to address a problem it has long ignored. Some of Trump’s norm-flouting has gotten him in trouble. On other occasions, he’s done the previously unimaginable—and the world has kept spinning. Perhaps this might embolden the next president to give an uncommon inaugural address: Cynics in the media would roll their eyes. The opposing party would accuse the president of shirking her duties. But the American people might appreciate the candor, the humility, and the pledge to focus on the work that matters. wake congress from its slumber Another of the jobs the president could step back from is his hands-on legislative role. It’s not a task the Framers intended, and it makes him a less, not more, effective spur for Congress. “The legislative process sets you up for failure,” Dan Bartlett says. “The playbook is: You start in the House, but that pushes you [away from the center] and then the legislation gets defined that way. If you try to only embrace the ‘process’ and not the actual law, House members get upset. Then it goes to the Senate, and the bill gets more moderate, at which point the president is accused of not having principles.” If the president didn’t have to weigh in at every turn, Congress would be forced to take the legislative lead, relieving pressure on the executive and returning to the model the Founders intended. The president could reserve his political currency until the end of the process, when a lot of the sticky issues have been thought through. He would no longer engage as one of many grubby negotiators, but with a preserved stature as the voice of the nation. Let Them Play Golf However the duties of the presidency are reorganized, the public and even the president’s political opponents should allow him to relax. There is nothing dumber than the national fixation with the president’s vacation schedule. The presidency never leaves the president. Even when he is on the golf course, he has the work coursing through his head. Moments of escape are healthy. Presidents have been denied the right to vacations, often by aspirants for their job. Once again, Eisenhower knew what was right. In a letter to his brother, written before he became president, Eisenhower said he had “thoroughly tested and proved the virtues of a complete and absolute rest,” promising that he would take not fewer than 10 weeks of vacation a year in order to hold off the disease of “overwork.” (He came close to achieving his goal with frequent visits to Gettysburg and Denver.) Nixon, by contrast, quizzed his chief of staff about how little sleep he could get and still function. No one wants to follow the Nixon model on health management. The stress of the job and his demons drove him to drink and wander the White House grounds and the National Mall, dialing friends and adversaries late at night. Haldeman’s diaries are filled with daily temperature readings of the volatile president, a psychological decline that overtook the administration. Reforming the presidency is necessary, and hard, because the Framers were unspecific about how the office would operate. That’s why George Washington was so conscious of the fact that his every act would set a precedent for the office. It is a job of stewardship. Since Washington, presidents have tended to the traditions and obligations set by their predecessors and passed them on to the presidents who came later. This promotes unity, continuity, and stability. It also promotes bloat. Washington would never recognize the office now, though he could commiserate with its modern occupant. “I greatly apprehend that my Countrymen will expect too much from me,” he wrote his friend Edward Rutledge in 1789. The modern president faces the same challenge of fulfilling expectations, but while Washington was conscious of not overstepping the boundaries of his office and making himself too big, the presidents who have come after face the opposite challenge: how not to seem too small for an office that has grown so large.
7770	dbpedia	2	61	https://www.bookey.app/quote-author/mitch-daniels	en	30 Best Mitch Daniels Quotes With Image	https://cdn.bookey.app/w…series/share.png	https://cdn.bookey.app/w…series/share.png	[ "https://cdn.bookey.app/web/deploy/assets/static/logo.c1ef962f.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/logo3.3a93bda5.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/logo3.3a93bda5.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/quoteLogo.52d453ec.png", "https://cdn.bookey.app/web/deploy/assets/static/contetList.55e8a744.png" ]	[]	[]	[ "Mitch DanielsQuotes", "Mitch DanielsQuotes With Image" ]	null	[]	2023-10-24T12:11:12+08:00	1.The purpose of higher education is to develop the skills and intellectual capabilities of our students, not to indoctrinate them with a narrow ideological agenda.2.We need leaders who are more interested in solving pro	en	/favicon.ico		https://www.bookey.app/quote-author/mitch-daniels	Mitch Daniels \| Introduction Mitchell Elias Daniels Jr. (known as Mitch Daniels) is an American politician, businessman, and academic who has had a prominent career in both the public and private sectors. Born on April 7, 1949, in Monongahela, Pennsylvania, Daniels has worked in various executive positions, served as a governor, and currently holds a prestigious role in academia. Daniels earned his bachelor's degree from the Woodrow Wilson School of Public and International Affairs at Princeton University in 1971. He then went on to earn his Juris Doctor degree from Georgetown University Law Center in 1979. This strong educational foundation would prove essential in his subsequent career. Early in his professional life, Daniels worked as an aide to then-Indianapolis Mayor Richard Lugar, who would later become a prominent U.S. senator. This experience helped shape Daniels' political acumen and introduced him to the intricacies of public administration. He later served as a chief of staff to Senator Lugar during his tenure in the U.S. Senate. In the private sector, Daniels forged a successful career in business and finance. He worked for the Hudson Institute, a conservative think tank, and later held executive positions in prominent companies such as Eli Lilly and Company and the pharmaceutical division of the North American Division of Hudson Foods, now known as Tyson Foods. Daniels' entrance into politics came in earnest in 2001 when he was appointed by President George W. Bush as the Director of the Office of Management and Budget (OMB). In this role, he oversaw federal budgeting and management processes, earning a reputation for his fiscal responsibility and efficiency. Daniels was praised for his efforts to control government spending and eliminate waste, winning accolades such as the Government Computer News's A-76 Reinvention Lab Award for his efforts to improve government efficiency. Buoyed by his success as OMB Director, Daniels decided to run for governor of Indiana in 2004. He convincingly won the election and entered office in 2005 as the 49th Governor of Indiana. During his two terms in office, he focused on revitalizing Indiana's economy, attracting new businesses to the state, and improving education. Daniels' initiatives, such as the creation of the Indiana Economic Development Corporation, helped drive economic growth and job creation, establishing Indiana as a business-friendly state. Following his tenure as governor, Daniels transitioned to academia, becoming the president of Purdue University in January 2013. In this role, he has worked to enhance the university's reputation as a leading research institution and has implemented various initiatives to make higher education more affordable and accessible to all students. Outside of his political and academic pursuits, Mitch Daniels is known for his conservative ideology and pragmatic approach to governance. He has been recognized for his leadership and policy achievements, receiving numerous awards and honors throughout his career. In summary, Mitch Daniels has had a diverse and accomplished career, ranging from positions of political power to executive roles in top-tier companies, and currently as an esteemed academic leader. His commitment to fiscal responsibility, economic growth, and education reform has left an enduring impact on the state of Indiana and the broader national discourse. 5 Facts About Mitch Daniels 1. Mitch Daniels has a black belt in taekwondo: Despite his mild-mannered demeanor, Daniels is a highly skilled martial artist. He earned a black belt in taekwondo, showcasing both his physical discipline and dedication to personal development. 2. He considered becoming a professional opera singer: Before embarking on a career in politics, Daniels had a passion for music and honed his skills as a tenor singer. At one point, he even contemplated pursuing a career in opera singing before eventually deciding to focus on public service. 3. Daniels has taken a significant pay cut as a public servant: In order to set an example for fiscal responsibility, Daniels voluntarily reduced his salary when he became the governor of Indiana. He continued this practice throughout his tenure, earning wide acclaim for his commitment to frugality. 4. He served as the Director of the Office of Management and Budget (OMB): From 2001 to 2003, Daniels served as the Director of the OMB under President George W. Bush. During his tenure, he implemented reforms to streamline government operations and successfully eliminated $43 billion in wasteful spending. 5. Daniels was offered the opportunity to run for President: In 2012, there was significant speculation surrounding Mitch Daniels' potential candidacy for the Republican nomination in the presidential election. He was heavily courted by both party members and influential donors but ultimately decided not to run, surprising many political observers.
7770	dbpedia	3	17	https://successfulsocieties.princeton.edu/interviews/mitch-daniels-governor	en	Innovations for Successful Societies	https://successfulsociet…pg?itok=pZwfX5if	https://successfulsociet…pg?itok=pZwfX5if	[ "https://successfulsocieties.princeton.edu/profiles/ps/themes/ps_base/images/pu-logo.svg", "https://successfulsocieties.princeton.edu/sites/g/files/toruqf5601/files/Successful%20SocLOGO-Motto-2023-outlines_KO.svg", "https://successfulsocieties.princeton.edu/sites/g/files/toruqf5601/files/styles/3x4_750w_1000h/public/interview/headshot/3530/mitch_daniels.jpg?itok=-wl3dz6s", "https://successfulsocieties.princeton.edu/profiles/ps/themes/ps_base/images/pu-logo-stacked.svg" ]	[]	[]	[ "" ]	null	[]	null	Mitch Daniels discusses the changes he implemented in his office, the center of Indiana state government, during his two terms as governor of Indiana. He begins by explaining the importance of enacting reforms quickly once in office. On his first day in office, he issued an executive order creating an Office of Management and Budget, which oriented	en	/core/misc/favicon.ico	Innovations for Successful Societies	https://successfulsocieties.princeton.edu/interviews/mitch-daniels-governor	Governor, State of Indiana Focus Area(s) Centers of Government Critical Tasks Aligning policy and budget Improving cabinet efficiency Strategic planning Interviewers Michael Scharff and Richard Messick Country of Reform United States Town/City Indianapolis, Indiana Place (Building/Street) Office of the Governor Country United States Abstract Mitch Daniels discusses the changes he implemented in his office, the center of Indiana state government, during his two terms as governor of Indiana. He begins by explaining the importance of enacting reforms quickly once in office. On his first day in office, he issued an executive order creating an Office of Management and Budget, which oriented the various state agencies that dealt with fiscal issues around a common set of goals. And he created an efficiency unit in the Office of Management and Budget that identified cost saving opportunities and measured and tracked agency performance. Also on his first day in office, despite concerns that the political fall-out would distract from other reforms, he scrapped public employees’ rights to collective bargaining with the unions, thus paving the way for sweeping organizational changes. He implemented a new performance management program and tied employees’ pay to their performance. Governor Daniels discusses how he built his reform team by recruiting talented people who were excited about the transitions he sought. He describes the process for conducting fair employee evaluations to monitor performance. He notes the advantages and difficulties of applying business skills to public sector work. Finally, he considers the durability of his reforms. Case Study: A New Approach to Managing at the Center of Government: Governor Mitch Daniels and Indiana, 2005-2012 In 2012, Mitch Daniels spoke at Princeton University about his reform efforts while governor of Indiana. Video of his speech is posted online. Transcript Full Interview Download MP3 61 MB Mitch Daniels Interview Profile Mitch Daniels is the 49th Governor of the State of Indiana and the author of the best-selling book, “Keeping the Republic: Saving America by Trusting Americans.” Although he had served as Chief of Staff to Senator Richard Lugar, Senior Advisor to President Ronald Reagan and Director of the Office of Management and Budget under President George W. Bush, his approach was molded in the private sector. Before his service to Indiana, he had a successful career in business, holding numerous top management positions. And his work as CEO of the Hudson Institute and President of Eli Lilly and Company's North American Pharmaceutical Operations taught him the business skills he brought to state government. And with those skills he led Indiana to its first balanced budget in eight years and, without a tax increase, transformed a $700 million deficit into an annual surplus of $370 million. He also repaid millions of dollars the state had borrowed from its public schools, universities and local units of government in previous administrations, while presiding over record-breaking investment and job growth. Today, Indiana has a AAA credit rating (the first in state history) and ranks near the top of every national ranking of business attractiveness. His other groundbreaking accomplishments include the 2006 lease of the Indiana Toll Road, the largest privatization of public infrastructure in the United States to date, generating nearly $4 billion for reinvestment in the state’s record breaking 10-year transportation and infrastructure program; the creation of the Healthy Indiana Plan to provide healthcare coverage for uninsured Hoosier adults; a sweeping property tax reform in 2008 resulted in the biggest tax cut in Indiana history; and an emphasis on government efficiency that has led to many state agencies, including the Bureau of Motor Vehicles, Department of Child Services, and Department of Correction winning national performance awards. Indiana now has the fewest state employees per capita in the nation, and the fewest the state has had since 1975. He was re-elected in 2008 to a second and final term, receiving more votes than any candidate for public office in the state’s history. Unsurprisingly, his second term has been as innovative as his first. In fact, earlier this year, under his guidance Indiana passed the most expansive education reforms in the country. In 2012 Indiana became the first industrial northern state to adopt a Right to Work law. His tenure as Indiana's governor comes to an end in January 2013, when he begins the next chapter in his career as the 12th president of Purdue University. Keywords Purdue Indiana governor Mitch Daniels center of government deficit public employee unions building a reform team state government personnel management payroll reform balancing the budget right to work collective bargaining Language Not specified
7770	dbpedia	0	15	https://www.wsb.com/speakers/mitch-daniels/	en	Mitch Daniels	https://www.wsb.com/wp-c…MOPIC-scaled.jpg	https://www.wsb.com/wp-c…MOPIC-scaled.jpg	[ "https://www.wsb.com/wp-content/uploads/2021/06/Daniels_Mitch_PROMOPIC-682x830.jpg?bust=e466602ba66c19ad27503cd2c0db1892", "https://www.wsb.com/wp-content/uploads/2021/06/Daniels_Mitch_PROMOPIC-682x830.jpg?bust=e466602ba66c19ad27503cd2c0db1892", "https://www.wsb.com/wp-content/uploads/2021/06/Daniels_Mitch_PROMOPIC-150x150.jpg?bust=01db56fa91bb09485034200bd6240b8b", "https://www.wsb.com/wp-content/uploads/2021/06/Daniels_Mitch_PROMOPIC-150x150.jpg?bust=01db56fa91bb09485034200bd6240b8b" ]	[]	[]	[ "" ]	null	[]	2021-06-03T20:04:39+00:00	Contact the Washington Speakers Bureau to schedule Mitch Daniels as your keynote speaker. Our service will make your event the event of the year.	en	https://www.wsb.com/wp-c…icon-150x150.png	WSB	https://www.wsb.com/speakers/mitch-daniels/	Mitchell E. Daniels, Jr. served as a two-term governor of the state of Indiana from 2004 to 2012 and as the 12th president of Purdue University from 2013 to 2022. He currently serves a Distinguished Scholar and Senior Advisor at the Liberty Fund. He was elected governor in his first bid for any elected office, and then re-elected with more votes than any candidate in the state’s history. At Purdue, Daniels prioritized student affordability and reinvestment in the university’s strengths. He ended 36 straight years of rising prices by freezing tuition and mandatory fees at 2012 levels for all students. The freeze is still in place today. As a result, the total cost of attendance is lower today than in 2012, even without adjusting for inflation and aggregate student borrowing has declined 37%. Prior to becoming governor, Daniels served as chief of staff to Senator Richard Lugar, senior advisor to President Ronald Reagan and Director of the Office of Management and Budget under President George W. Bush. He also was the CEO of the Hudson Institute and had an 11-year career as an executive at Eli Lilly and Company. Daniels earned a bachelor’s degree from Princeton’s Woodrow Wilson School of Public and International Affairs and a law degree from Georgetown. He is the author of three books and a contributing columnist in the Washington Post.
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"https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2003-12-07T02:01:11+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Mike_Pence	Vice President of the United States from 2017 to 2021 Michael Richard Pence (born June 7, 1959) is an American politician and lawyer who served as the 48th vice president of the United States from 2017 to 2021 under President Donald Trump. A member of the Republican Party, he previously served as the 50th governor of Indiana from 2013 to 2017, and a member of the U.S. House of Representatives from 2001 to 2013. Born and raised in Columbus, Indiana, Pence graduated from Hanover College and then from the Indiana University Robert H. McKinney School of Law before entering private practice. He lost two House bids in 1988 and 1990 and was a conservative radio and television talk show host from 1994 to 1999. After being elected to the House in 2000, Pence represented Indiana's 2nd district from 2001 to 2003 and 6th district from 2003 to 2013. He chaired the Republican Study Committee from 2005 to 2007 and House Republican Conference from 2009 to 2011. He was elected governor of Indiana in 2012. As governor, Pence initiated the largest tax cut in Indiana's history and pushed for more funding for private education initiatives. He signed bills intended to restrict abortions, including one that prohibited abortions if the reason for the procedure was the fetus's race, gender, or disability, and required funerary services for terminated fetuses, including those resulting from miscarriage;[1] this law was ruled unconstitutional by a federal judge and prevented from going into effect.[2][3] After Pence signed the Religious Freedom Restoration Act, he encountered resistance from moderate members of his party, the business community, and LGBT advocates. The backlash against the bill led Pence to approve changes to the law to prohibit discrimination based on sexual orientation, gender identity, and other criteria. He later became the running mate of Republican presidential nominee Donald Trump, who went on to win the 2016 presidential election. As vice president, Pence chaired the National Space Council following its reestablishment in 2017 as well as the White House Coronavirus Task Force, which was established in early 2020 in response to the COVID-19 pandemic. Pence and Trump lost their bid for re-election in the 2020 presidential election to Joe Biden and Kamala Harris, although Trump refused to concede, made false or unproven allegations of election fraud and filed numerous unsuccessful lawsuits in multiple states. Despite Trump's urging to overturn the election results and the attack on the U.S. Capitol on January 6, 2021, Pence oversaw the certification of Biden–Harris as the winner of the election. Pence has since distanced himself from Trump, endorsing candidates in primary elections in opposition to those supported by Trump and criticizing Trump's conduct on the day of the Capitol attack.[4] In June 2023, he launched a bid for the 2024 Republican presidential nomination, but withdrew by the end of October. He chose not to endorse Trump in the general election. Likewise, Trump decided not to have Pence as his vice–presidential candidate again, instead choosing JD Vance. Early life and education Pence was born on June 7, 1959, in Columbus, Indiana, one of six children of Ann Jane "Nancy" Cawley and Edward Joseph Pence Jr.,[5][6] who ran a group of gas stations.[7][8] His father served in the U.S. Army during the Korean War and received the Bronze Star in 1953, which Pence displays in his office along with its commendation letter and a reception photograph.[9] His father was of German and Irish descent and his mother is of Irish ancestry.[10] His paternal grandfather, Edward Joseph Pence Sr., worked in the Chicago stockyards.[11] He was named after his maternal grandfather, Richard Michael Cawley, who emigrated from Dooncastle, County Mayo, Ireland, to the United States through Ellis Island and who became a bus driver in Chicago, Illinois.[12][13][14][15] His maternal grandmother's parents were from Doonbeg, County Clare, Ireland.[16][17] Pence graduated from Columbus North High School in 1977. He earned a Bachelor of Arts in history from Hanover College in 1981, and a Juris Doctor from the Robert H. McKinney School of Law at Indiana University–Purdue University Indianapolis in Indianapolis in 1986.[18] While at Hanover, he joined the Phi Gamma Delta fraternity, where he became the chapter president.[19] After graduating from Hanover, he was an admissions counselor at the college from 1981 to 1983.[20] During his time at Hanover, Pence was a friend of future actor Woody Harrelson, whom he helped prepare to deliver a sermon as part of Harrelson's ministry studies. Harrelson later told late-night talk show host Jimmy Kimmel that he "'quite liked [Pence]' at the time".[21] In his childhood and early adulthood, Pence was a Roman Catholic and a Democrat, as was the rest of his family.[22] He volunteered for the Bartholomew County Democratic Party in 1976 and voted for Jimmy Carter in the 1980 presidential election,[23][14] and has said he was originally inspired to get involved in politics by people such as John F. Kennedy and Martin Luther King Jr.[23] While in college, Pence left the Catholic Church and became an evangelical, born-again Christian, to the disappointment of his mother.[23][14] His political views also started shifting to the right during this time in his life, something which Pence attributes to the "common-sense conservatism of Ronald Reagan" with which he began to identify.[23][24] Early career and congressional campaigns After graduating from law school in 1986, Pence was an attorney in private practice.[25] In 1988, he ran for Congress against Democratic incumbent Philip Sharp, but lost.[26] He ran against Sharp again in 1990, quitting his job in order to work full-time in the campaign, but once again was unsuccessful.[26] During the race, Pence used "political donations to pay the mortgage on his house, his personal credit card bill, groceries, golf tournament fees and car payments for his wife".[27] While the spending was not illegal at the time, it reportedly undermined his campaign.[27] During the 1990 campaign, Pence ran a television advertisement in which an actor, dressed in a robe and headdress and speaking in a thick Middle Eastern accent, thanked his opponent, Sharp, for doing nothing to wean the United States off imported oil as chairman of a House subcommittee on energy and power.[27][28] In response to criticism, Pence's campaign responded that the advertisement was not about Arabs; rather, it concerned Sharp's lack of leadership.[27][28] In 1991, Pence wrote an essay, "Confessions of a Negative Campaigner", published in the Indiana Policy Review, in which he apologized for running negative ads against Sharp. Pence vowed to refrain from using insulting speech or running ads that belittle his adversaries.[29][30][27][31] Also taking place in 1991, he became the president of the Indiana Policy Review Foundation, a self-described free-market think tank and a member of the State Policy Network, a position he held until 1993.[32][33][34] Shortly after his first congressional campaign in 1988, radio station WRCR-FM in Rushville, Indiana, hired Pence to host a weekly half-hour radio show, Washington Update with Mike Pence.[35] In 1992, Pence began hosting a daily talk show on WRCR, The Mike Pence Show, in addition to a Saturday show on WNDE in Indianapolis.[32][35][36][37] Pence called himself "Rush Limbaugh on decaf" since he considered himself politically conservative while not as bombastic as Limbaugh.[30][38] Beginning on April 11, 1994, Network Indiana syndicated The Mike Pence Show statewide.[39] With a 9:00 a.m. to noon (ET) time slot, the program reached as many as 18 radio stations in Indiana, including WIBC in Indianapolis.[32] From 1995, Pence also hosted a weekend public affairs TV show likewise titled The Mike Pence Show on Indianapolis TV station WNDY.[35][40] Pence ended his radio and television shows in 1999 to focus on his 2000 campaign for Congress, which he eventually won.[41] U.S. House of Representatives (2001–2013) Running for the U.S. House of Representatives again in 2000, he won the seat in Indiana's 2nd congressional district after six-year incumbent David M. McIntosh opted to run for governor of Indiana. The 2nd district (renumbered the 6th in 2002) comprised all or portions of 19 counties in eastern Indiana. As a new congressman, Pence adopted the slogan he had used on the radio, describing himself as "a Christian, a conservative and a Republican, in that order".[42] In 2016, House speaker Paul Ryan described Pence as a "principled conservative".[43] While in Congress, Pence belonged to the Tea Party Caucus.[44] In his first year in office, Pence opposed President George W. Bush's No Child Left Behind Act in 2001,[45] as well as President Bush's Medicare prescription drug expansion in 2003.[46] Pence was re-elected four more times by comfortable margins. In the 2006, 2008, and 2010 House elections, he defeated Democrat Barry Welsh.[47][48][49] Pence began to climb the party leadership structure and from 2005 to 2007 was chairman of the Republican Study Committee, a group of conservative House Republicans.[50] In November 2006, Pence announced his candidacy for leader of the Republican Party (minority leader) in the United States House of Representatives.[51] Pence's release announcing his run for minority leader focused on a "return to the values" of the Newt Gingrich-headed 1994 Republican Revolution.[51] However, he lost the bid to Representative John Boehner of Ohio by a vote of 168 for Boehner, 27 for Pence, and one for Representative Joe Barton of Texas.[52] In January 2009, Pence was elected as the Republican Conference chairman, the third-highest-ranking Republican leadership position at the time behind Minority Leader John Boehner and Republican Whip Eric Cantor. He ran unopposed and was elected unanimously. He was the first representative from Indiana to hold a House leadership position since 1981.[53] During Pence's twelve years in the House, he introduced 90 bills and resolutions; none became law.[54] His committee assignments in the House were the following: 107th Congress (2001–2003): Agriculture, Judiciary, Small Business[55] 108th Congress (2003–2005): Agriculture, International Relations, Judiciary[56] 109th Congress (2005–2007): Agriculture, International Relations, Judiciary[57] 110th Congress (2007–2009): Foreign Affairs, Judiciary, Select Committee to Investigate the Voting Irregularities of August 2, 2007 (Ranking Member)[58] 111th Congress (2009–2011): Foreign Affairs[59] 112th Congress (2011–2013): Foreign Affairs, Judiciary[60] In 2008, Esquire magazine listed Pence as one of the ten best members of Congress, writing that Pence's "unalloyed traditional conservatism has repeatedly pitted him against his party elders".[61] Pence was mentioned as a possible Republican candidate for president in 2008[62] and 2012.[63] In September 2010, he was the top choice for president in a straw poll conducted by the Values Voter Summit.[64][65] That same year, he was encouraged to run against incumbent Democratic senator Evan Bayh,[66][67][68] but opted not to enter the race,[69] even after Bayh unexpectedly announced that he would retire.[70] 2012 Indiana gubernatorial election Main article: 2012 Indiana gubernatorial election In May 2011, Pence announced that he would be seeking the Republican nomination for governor of Indiana in 2012.[71] Incumbent Republican Governor Mitch Daniels was term-limited. Pence ran on a platform that touted the successes of his predecessor and promised to continue educational reform and business deregulation of Daniels.[72][73] The Democratic nominee was former Indiana Speaker of the House John R. Gregg. Despite strong name recognition and a popular outgoing governor of the same party, Pence found himself in a heated race, eventually pulling out a close win with just under 50 percent of the vote, and less than 3% ahead of Gregg, with Libertarian nominee Rupert Boneham receiving most of the remaining votes.[74] It was the closest race in 50 years.[75] Governor of Indiana (2013–2017) Pence was sworn in as the 50th governor of Indiana on January 14, 2013.[76] Fiscal and economic policy Pence "inherited a $2 billion budget reserve from his predecessor, Mitch Daniels, and the state ... added to that reserve under his watch, though not before requiring state agencies, including public universities, to reduce funding in years in which revenue fell below projections".[77] The state finished fiscal year 2014 with a reserve of $2 billion; budget cuts ordered by Pence for the $14 billion annual state budget include $24 million cut from colleges and universities; $27 million cut from the Family and Social Services Administration (FSSA);[78] and $12 million cut from the Department of Correction.[79] During Pence's term as governor, the unemployment rate reflected the national average.[80] Indiana's job growth lagged slightly behind the national trend.[81] In 2014, Indiana's economy was among the slowest-growing in the United States, with 0.4 percent GDP growth, compared to the national average of 2.2 percent; this was attributed in part to a sluggish manufacturing sector.[82] Carrier Corp. and United Technologies Electronic Controls (UTEC) announced in 2016 that they would be closing two facilities in Indiana, sending 2,100 jobs to Mexico; the Trump campaign criticized the moves[83] and Pence expressed "deep disappointment".[84][85] Pence was unsuccessful in his efforts to persuade the companies to stay in the state, although the companies agreed to reimburse local and state governments for certain tax incentives they had received.[85][86] The Indiana Economic Development Corporation led by Pence had approved $24 million in incentives to ten companies who sent jobs abroad. $8.7 million had been paid out by August 2016.[83] In 2013, Pence signed a law blocking local governments in Indiana from requiring businesses to offer higher wages or benefits beyond those required by federal law. In 2015, Pence also signed the repeal an Indiana law that required construction companies working on publicly funded projects to pay a prevailing wage.[87][88][89][90] Indiana had enacted right-to-work legislation under Pence's predecessor, Republican governor Mitch Daniels. Under Pence, the state successfully defended this legislation against a labor challenge.[88] In 2013, Pence also announced the formation of the Indiana Biosciences Research Institute, a life sciences research facility supported with $25 million in startup funds from the state.[91] Pence made tax reform, namely a ten percent income-tax rate cut, a priority for 2013.[92][93] While he did not get the ten percent cut he advocated, Pence did accomplish his goal of cutting state taxes.[92] Legislators cut the income tax by five percent and also killed the inheritance tax.[92] Speaker of the House Brian Bosma said the legislative package was the "largest tax cut in our state's history, about $1.1 billion dollars".[94] By signing Senate Bill 1, the state corporate income tax would be dropped from 6.5 percent to 4.9 percent by 2021, which would be the second-lowest corporate income tax in the nation.[95] The law also permitted Indiana counties to eliminate the business personal property tax on new equipment and let them exempt small businesses with less than $20,000 worth of equipment from paying personal property taxes.[95] On June 12, 2013, the Indiana Legislature overrode Pence's veto of a bill to retroactively authorize a local tax. Lawmakers overrode his veto by a 68–23 vote in the House and a 34–12 one in the Senate.[96] Republican legislators overwhelmingly voted against Pence, while most Democrats supported his veto.[97] The Jackson–Pulaski tax fix, one of three bills vetoed by Pence during the session, addressed a 15-year-old county income tax that had been imposed to fund the construction of jail facilities with the stipulation that the tax be lowered by one percent after the first several years. The reduction had not been implemented and thus county residents had been paying an additional one percent tax that they were legally not required to pay. The bill, which was passed by a huge majority of legislators and subsequently vetoed by Pence, allowed money to be kept and not returned to the taxpayers as would have otherwise been necessary.[97][98] As governor, Pence pressed for a balanced budget amendment to the state's constitution. He initially proposed the initiative in his State of the State address in January 2015. The legislation passed the state Senate.[99] Indiana has had AAA credit ratings with the three major credit-rating agencies since 2010, before Pence took office; these ratings were maintained throughout Pence's tenure.[100] In 2014, Pence supported the Indiana Gateway project,[101] a $71.4 million passenger and freight rail improvement initiative paid for by the American Recovery and Reinvestment Act of 2009 (the federal stimulus package), which Pence had voted against while a congressman.[102] In October 2015, Pence "announced plans to pay off a $250 million federal loan" to cover unemployment insurance payments which had spiked during the recession.[77] In March 2016, Pence signed legislation to fund a $230 million two-year road-funding package.[77] Education policy During his tenure as governor, Pence supported significant increases in education funding to pre-schools, voucher programs, and charter schools, but frequently clashed with supporters of traditional public schools.[103][104] In 2014, a little over one year after taking office, Pence helped establish a $10-million state preschool pilot program in Indiana and testified personally before the state Senate Education Committee in favor of the program to convince fellow Republicans (several of whom opposed the proposal) to approve the plan.[103][104] Although the plan was initially defeated, Pence successfully managed to revive it, "getting Indiana off the list of just 10 states that spent no direct funds to help poor children attend preschool".[104] Demand for enrollment in the program "far outstripped" capacity, and Pence at first refused to apply for up to $80 million in federal Health and Human Services Preschool Development Grant program funding,[103] arguing that "Indiana must develop our own pre-K program without federal intrusion".[105] After coming under sustained criticism for this position, Pence reversed course and sought to apply for the funds.[103][106] In 2015, Pence secured significant increases in charter-school funding from the legislation, although he did not get everything he had proposed.[104] Legislation signed into law by Pence in 2013 greatly increased the number of students in Indiana who qualify for school vouchers, making it one of the largest voucher programs in the United States.[107][108][109][110] The annual cost of the program was estimated to be $53 million for the 2015–2016 school year.[109][110] Pence opposed the Common Core State Standards Initiative, calling for the repeal of the standards in his 2014 State of the State address. The Indiana General Assembly then passed a bill to repeal the standards, becoming the first state to do so.[103][104] In a televised interview appearance with Chris Matthews, Pence advocated eroding the teaching of science in public schools by putting religious creationism on a par with established science, accepting "creationist beliefs" as factual, and thus "teaching the controversy" over evolution and natural selection, and regarding the age of the Earth, and letting children decide for themselves what to believe.[111] Despite successful advocacy for more funding for pre-schools, voucher programs, and charter schools, Pence has frequently clashed with teachers unions and supporters of public schooling.[103][104] In one of his first acts as governor, Pence removed control of the Educational Employment Relations Board, which was in charge of handling conflicts between unions and school boards, from Glenda Ritz, a Democrat who was the Indiana superintendent of public instruction (a separately elected position in the state).[112] Pence created a new "Center for Education and Career Innovation" (CECI) to coordinate efforts between schools and the private sector; Ritz opposed the center, viewing it as a "power grab" and encroachment on her own duties. Pence eventually disestablished the center in order to help defuse the conflict.[103][104] In May 2015, Pence signed a bill stripping Ritz of much of her authority over standardized testing and other education issues, and reconstituting the State Board of Education dominated by Pence appointees.[113] The bill also allowed the board to appoint a chairman other than the Superintendent of Public Instruction starting in 2017, and added the State Board of Education (controlled by Pence) as a "state educational authority" along with the Department of Education (controlled by Ritz) for purposes of accessing sensitive student data.[113] Pence and Ritz also clashed over non-binding federal guidelines that advised Indiana public schools must treat transgender students in a way that corresponds to their gender identity, even if their education files indicate a different gender.[114] Energy and environment During Pence's term in office, the Republican-controlled Indiana General Assembly "repeatedly tried to roll back renewable energy standards and successfully ended Indiana's energy efficiency efforts".[115] Pence has been an outspoken supporter of the coal industry, declaring in his 2015 State of the State address that "Indiana is a pro-coal state," expressing support for an "all-of-the-above energy strategy", and stating: "we must continue to oppose the overreaching schemes of the EPA until we bring their war on coal to an end."[115][116] In 2015, Pence sent a letter to President Obama denouncing the EPA's Clean Power Plan (which would regulate carbon emissions from existing power plants) and stating that Indiana would refuse to comply with the plan.[115][117] Indiana joined other states in a lawsuit seeking to invalidate the plan.[115] In 2016, Pence said that even if legal challenges failed, Indiana would continue to defy the rule and would not come up with its own plan to reduce emissions.[118] Gun policy In 2014, over the opposition of Indiana school organizations, Pence signed a bill which allows firearms to be kept in vehicles on school property.[119] In 2015, following a shooting in Chattanooga, Pence recruited the National Rifle Association to train the Indiana National Guard on concealed carry. Some National Guard officials from other states questioned why a civilian organization would be involved in a military issue.[120] In May 2015, Pence signed into law Senate Bill 98, which limited lawsuits against gun and ammunition manufacturers and sellers and retroactively terminated the City of Gary's still-pending 1999 lawsuit against gun manufacturers and retailers that allegedly made illegal sales of handguns.[121][122] The bill was supported by Republicans such as state senator Jim Tomes, who hoped the measure would attract more gun-related businesses to Indiana, but opposed by Gary mayor and former Indiana attorney general Karen Freeman-Wilson, who viewed the measure as "an unprecedented violation of the separation of powers between the legislative and judicial branches of state government".[122] In 2016, Pence signed Senate Bill 109 into law, legalizing the captive hunting of farm-raised deer in Indiana.[123] Public health In 2009, parts of East Chicago were discovered to have toxic lead and arsenic contamination, and were designated a Superfund site. Governor Pence declined to declare the Superfund site a state emergency;[124] his successor Governor Eric Holcomb issued Executive Order 17–13, declaring a disaster emergency in East Chicago.[125][126] The site of several former lead smelting plants was first identified as a health concern by the EPA in 1997.[127] Beginning in December 2014, there was an HIV outbreak in Southern Indiana.[128] In 2011, Planned Parenthood (PP) operated five rural clinics in Indiana. They tested for HIV and offered prevention, intervention and counseling to improve public health outcomes. The PP clinic in Scott County performed no abortions.[129] The Republican-controlled legislature and Pence defunded Planned Parenthood.[130] Scott County has been without an HIV testing center since 2013.[129] Pence had long been a vocal opponent of needle exchange programs, which allow drug users to trade in used syringes for sterile ones in order to stop the spread of diseases, despite solid scientific evidence that such programs prevent the spread of AIDS, Hepatitis B (HBV), and Hepatitis C (HCV), and do not increase drug abuse.[128] In March 2015, well after the outbreak began, Pence finally allowed at least five counties to open needle exchanges, but did not move to lift the state ban on funding for needle exchanges.[128] Critics say Pence's compromise had been ineffective because counties had no way to pay for needle exchanges themselves. Anesthesiologist Jerome Adams, then the Pence-appointed Indiana state health commissioner and later surgeon general of the United States during the Trump administration, defended Pence, arguing that publicly funded needle exchange programs are controversial in many conservative communities. During his time as Indiana State Health Commissioner, Adams—along with Governor Pence—delayed Indiana's efforts to deal with the largest HIV outbreak related to injection drug use in the history of the United States by stalling adoption of a needle exchange program. Adams said, "There are people who have real moral and ethical concerns about passing out needles to people with substance abuse problems. To be honest, I shared that sentiment."[131][132] When President Trump appointed Pence in 2020 to head the country's response to coronavirus, he touted his ostensible experience with quelling an epidemic of HIV in Indiana, in which Pence deliberately delayed his state government's response to the disease despite the recommendations of the Centers for Disease Control that needle exchange was an efficacious approach to reining in the spread of diseases. Pence had told lawmakers he would veto any bill they might pass that provided for such exchanges.[133][134] In 2015, Pence and the Obama administration agreed to expand Medicaid in Indiana, in accordance with the Affordable Care Act.[135][136] As part of the expansion, called the Healthy Indiana Plan 2.0, Pence negotiated modifications to the program for Indiana that included co-payments by participants. The co-payments are linked to healthy behaviors on the part of the participants so that, for example, a participant who quit smoking would receive a lower co-payment. Participants can lose benefits for failing to make the payments.[137] The required contribution would be about 2% of income. Critics say those who already struggle to buy food and housing will have even more difficulty paying their 2%. One critic expressed concern that lower-income people may stay out of the program or avoid pursuing health care. A service provider said the program "wins the award for bureaucratic complexity and red tape".[138] In early 2017, Indiana submitted its application to the Centers for Medicare and Medicaid Services to renew Healthy Indiana, to show that the program was meeting its targets, as required for renewal. National Public Radio/Side Effects Public Media said the application used "misleading and inaccurate information".[139] Religion and LGBT rights On March 26, 2015, Pence signed Indiana Senate Bill 101, also known as the Indiana "religious objections" bill or Religious Freedom Restoration Act (RFRA), into law.[140] The move was praised by religious conservatives,[141] but criticized by people and groups who felt the law was carefully worded in a way that would permit discrimination against LGBT persons.[142][143][144][145] Such organizations as the National Collegiate Athletic Association (NCAA), the gamer convention Gen Con, and the Disciples of Christ spoke out against the law. Apple CEO Tim Cook and Salesforce CEO Marc Benioff condemned the law, with the latter's company saying it would halt its plans to expand in the state.[146][147] Angie's List announced that they would cancel a $40 million expansion of their Indianapolis-based headquarters over concerns with the law. The expansion would have moved 1,000 jobs into the state.[148] Thousands protested against the policy.[142] Five Republican state representatives voted against the bill, and Greg Ballard, the Republican mayor of Indianapolis, criticized it as sending the "wrong signal" about the state.[149] Pence defended the law, saying it was not about discrimination. In an appearance on the ABC News program This Week with George Stephanopoulos,[150] he said, "We are not going to change this law," while refusing to answer whether examples of discrimination against LGBT people given by Eric Miller of anti-LGBT group Advance America would be legal under the law.[151] Pence denied the law permitted discrimination and wrote in a March 31, 2015 Wall Street Journal op-ed, "If I saw a restaurant owner refuse to serve a gay couple, I wouldn't eat there anymore. As governor of Indiana, if I were presented a bill that legalized discrimination against any person or group, I would veto it."[152] In the wake of the backlash against the RFRA, on April 2, 2015, Pence signed legislation revising the law to protect against potential discrimination.[153] Pence received heavy criticism from liberals at the time of signing the religious freedom law, who labeled him as anti-gay. In 2018, emails released to the Associated Press showed that conservatives had similarly opposed his support of the subsequent changes to the law.[154] Abortion In March 2016, as Indiana governor, Pence signed into law H.B. 1337, a bill that both banned certain abortion procedures and placed new restrictions on abortion providers. The bill banned abortion if the reason for the procedure given by the woman was the fetus' race or gender or a fetal abnormality. In addition, the bill required that all fetal remains from abortions or miscarriages at any stage of pregnancy be buried or cremated, which according to the Guttmacher Institute was not required in any other state.[155][156][157] The law was described as "exceptional for its breadth"; if implemented, it would have made Indiana "the first state to have a blanket ban on abortions based solely on race, sex or suspected disabilities, including evidence of Down syndrome".[156] Days after the U.S. Supreme Court issued its decision in Whole Woman's Health v. Hellerstedt, a federal court issued a preliminary injunction blocking the bill from taking effect, with U.S. district judge Tanya Walton Pratt determining that the bill was likely to be unconstitutional and that the State of Indiana would be unlikely to prevail at trial.[156] The abortion bill was subsequently ruled unconstitutional in April 2018 by the United States Court of Appeals for the Seventh Circuit.[158] Media and the press In June 2013, Pence was criticized for deleting comments of others posted on his official government Facebook page; he subsequently apologized.[159] On January 26, 2015, it was widely reported that Pence had planned to launch a state-run, taxpayer-funded news service for Indiana.[160] The service, called "JustIN", was to be overseen by a former reporter for The Indianapolis Star, and would feature breaking news, stories written by press secretaries, and light features.[160] At the time, it was reported that the two employees who would run the news service would be paid a combined $100,000 yearly salary.[160] The target audience was small newspapers which had limited staff, but the site would also serve to communicate directly with the public. The publisher of the Commercial Review of Portland, Indiana, said, "I think it's a ludicrous idea ... the notion of elected officials presenting material that will inevitably have a pro-administration point of view is antithetical to the idea of an independent press."[160] There was speculation that the news service would publish pro-administration stories that would make Pence look good in the event of a presidential run.[161] According to the Associated Press, the idea "of stories prewritten for the media set off a wave of criticism from journalists around the country, who likened the Indiana endeavor to state-run media in Russia and China. Headlines like 'Pravda in the Plains' accompanied calls for Pence to scrap the idea."[162] David A. Graham of The Atlantic regarded the announcement of JustIN as evidence of a disturbing changing trend in how the public gets news.[163] After a week or so of controversy about the idea, Pence scrapped the idea saying, "However well-intentioned, after thorough review of the preliminary planning and careful consideration of the concerns expressed, I am writing you to inform you that I have made a decision to terminate development of the JustIN website immediately."[164] Syrian refugee crisis As governor, Pence attempted unsuccessfully to prevent Syrian refugees from being resettled in Indiana.[165] In February 2016, a federal judge ruled that Pence's order to cut off federal funds for a local non-profit refugee resettlement agency was unconstitutional; Pence has appealed.[165] In December 2015, Pence said that "calls to ban Muslims from entering the U.S. are offensive and unconstitutional".[166] Public-records requests and use of private email Pence "repeatedly stonewalled public records requests as governor, often withholding documents or delaying their release if not denying them outright".[167][168][169] As governor, Pence routinely used a personal AOL email account to conduct official business, according to public records. In 2016, hackers compromised the account and used it to send fraudulent emails in an attempt to obtain money from Pence's contacts.[170] While Pence's use of a private email account for state business is not prohibited by Indiana law, some of the emails discussed sensitive matters and homeland security issues.[171] In March 2017, after Pence had become vice president, the State of Indiana released 29 emails to media outlets that had made public records requests, but withheld an undisclosed number of other emails, saying they were deliberative or advisory and thus exempt from public disclosure.[171] Cybersecurity experts and government transparency advocates were surprised by Pence's use of a personal email account to conduct public business, given Pence's past attacks on Hillary Clinton's use of a private email server while U.S. secretary of state.[171] In 2017, Indiana hired a private law firm for $100,000 to handle a backlog of public-records requests for Pence's personal AOL account email correspondence.[167] Re-election campaign and withdrawal Main article: 2016 Indiana gubernatorial election Pence ran for a second term as governor and was unopposed in the Republican primary on May 3, 2016. He was to face Democrat John R. Gregg in a rematch of the 2012 race. However, Pence filed paperwork ending his campaign on July 15, 2016, as Trump announced his selection of Pence as his vice presidential running mate.[172] Lieutenant Governor Eric Holcomb was nominated in Pence's place, and selected Suzanne Crouch as his running mate.[173][174] Holcomb went on to defeat Gregg in the general election.[175] 2016 vice presidential campaign Shortly before the 2016 Indiana Republican presidential primary, Pence endorsed Texas U.S. Senator Ted Cruz, who would lose the primary to Trump.[62] Pence then endorsed Trump after the latter became the party's presumptive nominee for president of the United States.[176] Donald Trump considered naming Pence as his vice presidential running mate along with other finalists including New Jersey governor Chris Christie and former House speaker Newt Gingrich.[177] Pence had stronger connections at the time to the politically influential big donors, the Kochs, than Trump did.[178][11][179][180][181] It was widely reported on July 14 that Pence planned to end his (Indiana gubernatorial) re-election campaign and accept the Republican vice presidential nomination instead.[182] The following day, Trump officially announced on Twitter that Pence would be his running mate.[183][184][185] Immediately after the announcement, Pence said he was "very supportive of Donald Trump's call to temporarily suspend immigration from countries where terrorist influence and impact represents a threat to the United States".[186] Pence said he was "absolutely" in sync with Trump's Mexican wall proposal, saying Mexico was "absolutely" going to pay for it.[187] According to a FiveThirtyEight rating of candidates' ideology, Pence was the most conservative vice-presidential candidate in the last 40 years.[188] Pence called Dick Cheney his role model for vice president.[189] During Pence's preparations for the vice presidential debate in October 2016, Wisconsin governor Scott Walker played the role of Democratic vice presidential nominee Tim Kaine.[190] In Kaine's own debate prep, lawyer Robert Barnett was selected to play Pence.[191] Following the debate, experts concluded Pence won against Kaine, with a CNN poll showing 48 percent of viewers thought Pence won and 42 percent believing Kaine won.[192] Pence's "cooler" temperament was seen as an advantage compared to Kaine, who was perceived as more hotheaded.[193][194] On October 7, 2016, lewd comments made by Donald Trump in 2005 surfaced and gained heavy media attention.[195] That day, Pence said to reporters, "I do not condone his remarks and cannot defend them," but made clear that he was standing by Trump.[196] In response to the revelation, Paul Ryan "uninvited" Trump from what would have been a joint campaign event. The Trump campaign attempted to substitute Pence for Trump at the event,[197] but according to The New York Times, Pence called Trump on October 8 and told him that he (Pence) would not appear at the event, and that Trump would need to handle the next 48 hours on his own, as Pence did not think he would be an effective surrogate for Trump.[198] According to Bob Woodward's 2018 book Fear: Trump in the White House, in the midst of the scandal, then-Republican National Committee chairman Reince Priebus told Trump he should drop out of the race for the good of the party, and that Pence had agreed to replace Trump on the top of the ticket as the Republican presidential nominee, with former Secretary of State Condoleezza Rice agreeing to be Pence's running mate.[199] On October 10, 2016, Pence appeared on CNN and said, in response to rumors that he was leaving the ticket, that it was "absolutely false to suggest that at any point in time we considered dropping off this ticket" and that it is the "greatest honor of my life" to be nominated as Trump's running mate.[200] On November 8, 2016, Pence was elected vice president of the United States as Trump's running mate.[201] Vice presidency (2017–2021) Soon after the election, he was appointed chairman of President-elect Trump's transition team.[202] During the transition phase of the Trump administration, Pence was reported as holding a large degree of influence in the administration due to his roles as a mediator between Trump and congressional Republicans, for reassuring conservatives about Trump's conservative credentials, and his influence in determining Donald Trump's cabinet.[203][204] Inauguration Further information: Inauguration of Donald Trump On January 20, 2017, at noon, Pence became the 48th vice president of the United States, sworn into the office by justice Clarence Thomas, using Reagan's Bible, opened to 2 Chronicles 7:14, "If my people, which are called by my name, shall humble themselves, and pray, and seek my face, and turn from their wicked ways; then will I hear from heaven, and will forgive their sin, and will heal their land," which is the same verse Reagan used for his swearing-ins as governor and president. Pence also used his personal Bible.[205] Advisors and staff Chief of staff: Marc Short[206] National security advisor: Keith Kellogg[206] Legal counsel: Gregory Jacob[206] Chief of staff to Mrs. Karen Pence: Jana Toner[206] Deputy national security advisor: Stephen Pinkos[206] Director of advance: Aaron Chang[206] Director of policy: John Gray[206] Director of public liaison and intergovernmental affairs: Paul Teller[206] Deputy director of public liaison and intergovernmental affairs: Andeliz Castillo[206] Press secretary: Katie Waldman[206] Director of legislative affairs: Christopher Hodgson[206] Deputy director of legislative affairs: Benjamin Cantrell[206] Director of administration and finance: Katherine Purucker[206] Director of scheduling: Bethany Scully[206] Special assistant: Zach Bauer[206] Tenure See also: Presidency of Donald Trump On the first day in office (January 20), Pence performed various ceremonial duties, including swearing in Jim Mattis as United States secretary of defense and John Kelly as secretary of homeland security.[207] He also administered the oath of office to the White House senior staff on January 22, 2017.[208] Pence also sat in on calls made by President Trump to foreign heads of government and state such as Russian president Vladimir Putin[209] and Australian prime minister Malcolm Turnbull.[210][211] In January, Pence appointed Josh Pitcock as his chief of staff, whom he had known from his gubernatorial and congressional days.[212] The following month, Jarrod Agen was tapped as deputy assistant to the president and director of communications to the vice president; his previous job being chief of staff for governor of Michigan Rick Snyder through the time of the Flint water crisis.[213] In July, Pitcock stepped down as chief of staff, and was succeeded in the position by Nick Ayers, another longtime Pence advisor.[214] On February 5, 2017, Pence warned Iran "not to test the resolve" of the new Trump administration following their ballistic missile tests.[215] On February 7, 2017, Pence, in his dual constitutional role as president of the United States Senate made the first ever tie-breaking vote to confirm a Cabinet member.[216][217] He cast the deciding vote to break a fifty-fifty tie to confirm Betsy DeVos as the secretary of education.[218] Pence cast his second tie-breaking vote on March 30, voting to advance a bill to defund Planned Parenthood.[219] In 2018, Pence broke a tie to confirm Jonathan A. Kobes for the U.S. Court of Appeals for the Eighth Circuit. This was the first ever tie-breaking vote to confirm a judicial nominee in U.S. history. In total, Pence had cast 13 tie-breaking votes, seventh-most in history and more than his previous four predecessors (Joe Biden, Dick Cheney, Al Gore and Dan Quayle) cast combined (Cheney broke eight ties, Gore broke four ties, and Quayle and Biden did not cast a tie-breaking vote). In April, Pence made a tour of the Asia-Pacific region. In South Korea, he met acting president Hwang Kyo-ahn and condemned North Korea's latest missile launch.[220][221][222] In Japan, Pence met Prime Minister Shinzō Abe and pledged to work with Japan, South Korea, and China "to achieve a peaceable resolution and the denuclearization of the Korean peninsula," adding "The era of strategic patience is over and while all options are on the table."[223][224] Pence subsequently traveled to Jakarta, Indonesia, where he met with president Joko Widodo, toured the largest mosque in the region (the Istiqlal Mosque), and praised moderate Islam.[225][226] Pence ended his trip with stops in Sydney, Australia (where, after meeting with Malcolm Turnbull, he said the U.S. "intends to honor" a U.S.–Australia refugee resettlement agreement),[227] and Oahu, Hawaii and American Samoa.[228] On May 21, 2017, Pence delivered the commencement address at the University of Notre Dame. Traditionally, the president delivers the address at Notre Dame in his inaugural year, but in 2017 Pence was invited instead when Trump decided to speak at Liberty University.[229][230][231][232] On June 30, 2017, Pence was appointed chair of the National Space Council after Trump signed an executive order reestablishing the council.[233] As chair, Pence held eight meetings from 2017 to 2020.[234] On October 8, 2017, Pence walked out of a game between the NFL's Indianapolis Colts and San Francisco 49ers after members of the 49ers knelt during the national anthem. Shortly afterwards, Pence commented via Twitter, "President Trump and I will not dignify any event that disrespects our soldiers, our Flag, or our National Anthem," adding, "While everyone is entitled to their own opinion, I don't think it's too much to ask NFL players to respect the flag and our national anthem."[235] Pence was widely criticized by various people for what was considered a publicity stunt. Democratic representative Adam Schiff (CA-28) questioned how much taxpayer's money was used to fund Pence's actions,[236] and CNN later estimated that the total cost of his eight hours of travel on Air Force Two to attend the game was about $242,500, not including ground transportation and security.[237] 49ers safety Eric Reid (the second NFL player after Colin Kaepernick to participate in the protests) told reporters it was predictable that Pence would walk out, knowing that most of the team were protesting.[236] Reid also expressed doubt over the regularity Pence is in terms of attending Colts matches, and referenced a photograph of the vice president and his wife in Colts uniform that had been tweeted before the match,[236] although the official photograph (right) proved otherwise. The photograph in question was first published in 2014.[238] Sportswriter Peter King wrote that the furor surrounding Pence had overshadowed Peyton Manning, who was being honored by the Colts, saying, "Pence trumped a day that belonged to the greatest football hero the state of Indiana has ever seen, and he did it for political purposes ... he stole Manning's last great day as a Colt. [He] will have to live with himself for that."[236] The following year, Pence reacted positively on Twitter, after NFL owners unanimously decided to approve a new policy requiring all players to stand (or, given the option to stay in the locker room) during the national anthem, despite not consulting the NFL Players Association.[239] On February 1, 2018, it was announced that Pence would lead the presidential delegation to the 2018 Winter Olympics, alongside his wife.[240] Much of Pence's time at Pyeongchang was affected by the ongoing North Korean crisis. Prior to the opening ceremony, on February 9, Pence skipped on a dinner held by South Korean president Moon Jae-in, as he would have shared a table with North Korea's ceremonial head of state Kim Yong-nam.[241] Instead, he met with four North Korean defectors in Pyeongtaek, alongside his special guest, Fred Warmbier (the father of Otto Warmbier, who was arrested in North Korea for attempted theft, and sentenced to 15 years' imprisonment, before returning to the U.S. in a comatose state).[242][243][244] At the ceremony, the Pences were seated in front of the North Korean delegates, and when North and South Korean athletes entered during the Parade of Athletes, they chose to stay seated, which prompted critics to accuse Pence of hypocrisy in regards to the NFL protests.[245][246] Pence was supposed to meet with the North Koreans on February 10, but they pulled out at the last day.[247] Over the next few months, the North Koreans started communicating more with their neighbors, as Supreme Leader Kim Jong-un secretly met with Chinese paramount leader Xi Jinping in March and then Moon Jae-in in an historic inter-Korean summit in April,[248][249] and around the same time, a meeting between Trump and Kim was also proposed. On May 10, Pence accompanied Trump to Andrews Air Force Base as three American citizens were released by North Korea, and in an early morning interview with ABC's Jonathan Karl, he said seeing the men back on American soil "was really one of the greatest joys of my life".[250][251] Talks broke down later that month following comments made by Pence and Trump, comparing the situation to events in Libya seven years previous, despite their voluntary disarmament of nuclear weapons in 2003.[252] North Korean vice foreign minister Choe Son-hui called Pence's remarks "ignorant and stupid".[253] On May 24, Trump abruptly called off the summit with Pence in attendance,[252] only for him to change his mind a day later,[254] later announcing that it would still be scheduled to take place on June 12 in Singapore.[255] In September 2019, Pence attended official meetings with Irish prime minister Leo Varadkar in Dublin, Ireland but stayed at President Trump's resort in Doonbeg, 180 miles (290 km) away. Pence's schedule included four hours spent in transit in one day, and two flights on Air Force Two before the end of the next day. Costs for the limousine service alone totaled $599,000 according to State Department receipts, compared to President Obama's three-day trip to Dublin with the same limousine company totaling $114,000.[256][257] In February 2020, Pence defended debt- and deficit-spending as a measure to stimulate economic growth.[258] Political action committee In May 2017, Pence filed Federal Election Commission paperwork to form Great America Committee, a political action committee (PAC) that would be headed by his former campaign staffers Nick Ayers and Marty Obst.[259][260] Pence is the only vice president to have started his own PAC while still in office.[261] Pence denied a New York Times article's allegations that he would run for president in 2020, calling them "laughable and absurd", and said the article was "disgraceful and offensive".[262] Pence and the Trump impeachment inquiry Pence was a key player in the Trump–Ukraine scandal and the Trump impeachment inquiry. Pence had at least two phone conversations and an in-person meeting with Volodymyr Zelensky, President of Ukraine. Pence met with Zelensky in Poland on September 1, 2019, during an unexpected delay in U.S. military aid to Ukraine. Pence later told the press that he did not mention 2020 presidential candidate and former vice president Joe Biden to Zelensky, but raised issues regarding Ukrainian corruption.[263] After the inquiry was opened, Pence publicly stated his support of Trump's call for foreign investigation into Joe Biden and his son Hunter, saying, "I think the American people have a right to know if the vice president of the United States or his family profited from his position."[264] On October 3, Pence stated, "My predecessor had a son who was paid $50,000 a month to be on a Ukrainian board at the time that Vice President Biden was leading the Obama administration's efforts in Ukraine, I think [that] is worth looking into."[265] Death of Soleimani Pence defended Trump's decision in January 2020 to assassinate the Iranian major general in the Islamic Revolutionary Guard Corps (IRGC) Qasem Soleimani, promoting conspiracy theories that supposedly linked the al-Qaeda attacks on the United States to Iran. In a series of tweets, the vice president termed Soleimani "an evil man who was responsible for killing thousands of Americans". Pence insisted Soleimani had "assisted in the clandestine travel to Afghanistan of 10 of the 12 terrorists who carried out the September 11 terrorist attacks", which critics said was his confusing the number of 9/11 hijackers (actually 19) and insinuating (without evidence) that the general was involved. Many experts responded that Pence's claims were unsubstantiated.[266] Pence's spokeswoman Katie Waldman said that the dozen terrorists Pence referred to were those who had traveled through Afghanistan, ten of whom "were assisted by Soleimani".[267] COVID-19 pandemic On February 26, 2020, President Trump named Pence as the leader of the White House Coronavirus Task Force to combat the spread of the COVID-19 pandemic in the U.S.[268] Various public health officials and members of Congress had suggested the selection of a "Coronavirus Czar", though Trump said that would not be the title's name.[269] As the leader of the task force, Pence coordinated efforts with the Centers for Disease Control and Prevention, Department of Health and Human Services, National Institutes of Health, Department of Homeland Security, and White House Office.[270][271] In April 2020, Pence exempted himself from the Mayo Clinic's policy of wearing a face mask in the hospital during a visit. Pence defended his action, saying he needed to look staff "in the eye".[272] The next day, the vice president's opponents criticized him for promoting "completely irresponsible public health messaging".[273] Later, Pence acknowledged he should have worn a mask during the hospital visit, and did so two days later when visiting a ventilator production facility.[274] In late June 2020, as coronavirus cases were spiking, Pence gave an optimistic press briefing where he made several misleading and false claims about the state of the coronavirus pandemic.[275][276] He misleadingly argued that surges in cases were the result of increased testing, telling reporters that increases in new cases were "a reflection of a great success in expanding testing across the country".[276] However, health experts noted that case growth outpaced the number of tests, and that the share of positive tests was increasing.[277] Pence also falsely claimed that coronavirus fatalities were declining all across the country (Statistics here), that the curve had been flattened, and that all 50 states were opening up.[276] In private meetings with Republican senators, Pence urged them to focus on "encouraging signs". Pence told the senators that cases were increasing in only 3% of counties and 12 states; however, data at the time showed that cases were increasing in at least 5% of counties and in at least 20 states.[278] On December 18, the Pences received the Pfizer/BioNTech COVID-19 vaccine for SARS-CoV-2, in front of a live audience at a televised event to show Americans that the vaccine is safe and effective.[279][280][281] 2020 vice presidential election Ahead of his presidential campaign on February 28, 2019, Joe Biden referred to Pence as a "decent guy" in a speech in Omaha, Nebraska, when making an anecdote about an audience falling silent after Pence mentioned Trump's name. Biden later faced criticism for his complimentary remarks due to Pence's alleged anti-LGBT positions, which Biden would later apologize for and clarify by saying, "I was making a point in a foreign policy context, that under normal circumstances a Vice President wouldn't be given a silent reaction on the world stage." Biden had previously referred to Pence as a "decent guy" in 2018, and Pence and Biden exchanged conversations via phone before Pence's 2017 transition into the vice presidency.[282] In June 2019, the Democratic former New York City Council president Andrew Stein opined that Trump could improve his re-election chances by replacing Pence as his running mate with former South Carolina governor and former United States ambassador to the United Nations Nikki Haley.[283] Despite that, Trump said Pence will be his running mate. He declined to endorse Pence should his running mate seek in 2024 to succeed him, but said he would give it "very strong consideration".[284] In remarks about law enforcement during the 2020 Republican convention, Pence said a federal security officer, Dave Underwood, "was shot and killed during the riots in Oakland", implying he was killed by rioters, when instead a man linked to the far-right Boogaloo movement had exploited the unrest as a cover for murder.[285][286][287] On October 7, 2020, Pence participated in a debate with Kamala Harris that was held by USA Today in Salt Lake City, Utah, and moderated by Susan Page, the Washington bureau chief of the newspaper. The debate was held with adaptations designed to avoid contagion of the COVID-19 virus given that the vice president had been in close contact with people who had been infected at a recent event at the White House. Plexiglas partitions separated the candidates and masks were required for all attending except the candidates and moderator.[288][a] By some estimates, Pence interrupted Harris twice as much as she interrupted him.[289] Media outlets noted that near the end of the debate, a fly landed on Pence's head for almost two minutes.[290][291] A CNN poll found that 59% of registered voters felt that Harris had won the debate, while 38% felt that Pence had.[289] On November 7, 2020, after several days of vote counting, Biden and Harris were declared by most major news networks to be the winners of the election.[292] On December 14 the Electoral College confirmed the win, giving the Biden-Harris campaign 306 votes compared to 232 for the Trump–Pence campaign;[293] however, Trump refused to concede and insisted that he had actually won. Throughout November and December Trump and his campaign filed more than 50 lawsuits alleging election fraud and other irregularities; all of them were eventually rejected by judges.[294] Trump also pressured Republican officials, lawmakers and even the Justice Department to take actions to overturn the election.[295] In late December 2020, a federal lawsuit was filed against Pence by Republican congressman Louie Gohmert and 11 Arizona Republicans who would have become presidential electors had Trump actually won Arizona. The plaintiffs sought to give the vice president the power to reject state certified presidential electors in favour of "competing slates of electors" so that Biden's victory over Trump could be overturned.[296][297][298] The United States Department of Justice represented Pence in this case, and argued for its dismissal, stating that the lawsuit was a "walking legal contradiction" because it sought to grant power to the vice president, while suing the vice president.[298] Within a week, the lawsuit was dismissed in the United States District Court for the Eastern District of Texas, and the appeal was rejected by a United States Court of Appeals for the Fifth Circuit panel, both due to the plaintiffs' lack of standing.[299] Gohmert then appealed to the Supreme Court, which on January 7 tersely "denied" his petition.[300] Vote counting and storming of the Capitol In January 2021, Trump began to pressure Pence to take action to overturn the election. As vice president, Pence presided over the January 6, 2021, congressional joint session to count the electoral votes—normally a non-controversial, ceremonial event. For days beforehand, Trump declared both in public and in private that Pence should use that position to overturn the election results in swing states and declare Trump–Pence the winners of the election.[301] Pence demurred that the United States Constitution did not give him that power, but Trump falsely insisted that "The Vice President and I are in total agreement that the Vice President has the power to act."[302] According to The New York Times, multiple sources claim that Trump called Pence before he departed to certify the results urging him again one last time ultimately telling him, "You can either go down in history as a patriot, or you can go down in history as a pussy."[303] Before the start of the Joint Session, Pence stated in a "Dear Colleague" letter that the Constitution prevented him from deciding which electoral votes counted and which did not.[304] On January 6, 2021, the day on which a joint session of Congress met to count and certify the results of the electoral college for the 2020 presidential election, Trump held a rally at which he urged listeners to go to the Capitol and repeatedly expressed the hope that Pence would "do the right thing".[305] Many listeners then marched to the Capitol and stormed it. On January 15, The Washington Post reported that Pence came "dangerously close" to the rioters during their occupation of the Capitol. Pence was not evacuated from the Senate chambers until 14 minutes after the initial breach of the Capitol was reported. He and his family were eventually ushered from the Senate chambers into a second-floor hideaway. One minute later, the mob rushed onto a stair landing only 100 feet away, from which they could have seen him enter the room if they had arrived a minute earlier.[306] After his evacuation from the Senate chambers, his Secret Service detail wanted to move him away from the Capitol building but he refused to get in the car.[307] Pence later approved the deployment of the National Guard, which raised questions as the vice president is not the commander-in-chief.[308][309] After the Capitol was cleared, Congress resumed its joint session, and officially certified the election results with Pence declaring Biden and Harris the winners.[310] During the siege, Trump criticized Pence as lacking "courage".[311] Earlier L. Lin Wood, a lawyer associated with Trump, had called for Pence to be "executed" by "firing squad".[312][313] In spite of the threats against Pence, Trump never reached out to Pence or inquired about his safety during the attack on the Capitol, according to sources close to the vice president.[314][315] Aides believed that Pence was being set up as a scapegoat for Trump's failure to overturn the results of the election.[316] Pence was described as very angry with Trump.[317] The two did not speak for several days, until January 11 when they met at the White House to discuss the prior week's Capitol siege and the final days of their administration.[318] On January 20, Pence attended the inauguration of Joe Biden as president of the United States, unlike Trump. Afterwards, he left the Capitol with his successor, Kamala Harris.[319] Post-vice presidency (2021–present) Pence did not have a permanent place of residence in Indiana when he left the vice presidency. Official records indicated that Pence had not owned a residence in Indiana since 2013, having lived in the governor's mansion and then the vice president's residence in Washington. As a result, for several months after leaving office, he and his wife stayed at residences owned by various Indiana Republican politicians. It is believed that he was at one time staying in a cabin owned by his former lieutenant governor, Indiana Governor Eric Holcomb.[320][321] In May 2021, the Pences bought a home in Carmel, Indiana.[322] In February 2021, it was announced that Pence would join The Heritage Foundation as a distinguished visiting fellow.[323] He also joined the Young America's Foundation conservative youth organization, with plans to launch a new podcast with the group in the coming months.[324] At speaking engagements in the months after the end of the Trump administration, Pence spoke with "an almost reverence" of the former president, according to one journalist.[325] Pence narrated a four-part television series on the career of right-wing radio host Rush Limbaugh titled Age of Rush, which debuted on Fox Nation in March 2021.[326] Pence had previously cited Limbaugh as an inspiration for his career in talk radio and then in politics.[327] In April 2021, it was reported that Pence signed a deal with publisher Simon & Schuster for two books, including an autobiography.[328] The day the Supreme Court overturned Roe in June 2022, Pence told Breitbart News: "Roe v. Wade has been consigned to the ash heap of history...Having been given this second chance for life, we must not rest and must not relent until the sanctity of life is restored to the center of American law in every state in the land."[329] Pence appeared in the July 2022 documentary Unprecedented.[330] In October 2022, Pence condemned "unprincipled populism" and "Putin apologists" in the Republican Party.[331] Since leaving the vice presidency, Pence has distanced himself from Trump's attempts to cast doubt on the 2020 presidential election and made high-profile speeches in early nominating states.[332] Pence has also separated himself from Trump by endorsing candidates in several Republican primary elections in opposition to the candidate endorsed by Trump.[333] In the primary for governor of Georgia, Pence endorsed incumbent governor Brian Kemp over the Trump-backed candidate, former senator David Perdue. This was described as a "proxy battle" between Pence and Trump, with Pence's candidate Kemp winning the nomination easily.[332] In the 2022 Arizona gubernatorial election, Pence endorsed Karrin Taylor Robson while Trump endorsed Kari Lake. In the 2022 Wisconsin gubernatorial election Pence endorsed former Lieutenant Governor Rebecca Kleefisch; Trump supported businessman Tim Michels.[334] On February 9, 2023, it was reported that Pence had been subpoenaed by special counsel Jack Smith regarding the attack on the Capitol, following months of negotiation between Pence's attorneys and the special counsel.[335][336] After several unsuccessful challenges to the subpoena by Pence's lawyers and by Trump himself, Pence testified before the grand jury on April 27, 2023, saying, "We'll obey the law, we'll tell the truth."[337] The same day as the subpoena was reported, Pence released a statement expressing support for "parental rights", especially regarding how teachers treat children who express different gender identities, which he described as left-wing efforts "to indoctrinate our children behind parents' backs". The statement was released through Advancing American Freedom, a communications group he founded in 2021 with political donations.[338] Ahead of the RNC in 2024, Pence released a statement condemning the new GOP stance on abortion, which echoed Trump's position that the issue should be determined by individual states. Pence described this shift as a "profound disappointment", arguing that it strips away "historic pro-life principles that have long been the cornerstone of the platform".[339] Classified documents investigation In January 2023, after classified documents were found at the home of President Joe Biden, Pence asked his lawyer to search his home "out of an abundance of caution". The attorney found around a dozen documents marked as classified in Pence's Indiana home and turned over the documents to the FBI. The discovery came after Pence had repeatedly said that he did not have classified documents.[340] Pence has taken responsibility for the documents and said that he was unaware of his possession of them. The FBI and the Justice Department's National Security Division reviewed the incident. Pence indicated he would "fully cooperate".[341] On February 10, the FBI searched his home.[342] In June, the Department of Justice notified Pence that its investigation had ended and that no charges would be brought forward.[343] 2024 presidential campaign Polls of Republicans in 2021 regarding their preferred presidential candidate in 2024 implied that Pence could begin a campaign as a top-tier candidate if former President Trump were to forgo a run.[344][345] At the same time, said polling also foretold a precipitous decline in Pence's polling numbers if Trump were to seek the presidency again.[346] In light of this, there was a widespread view among both Republican leaders and grassroots Republicans that "Pence is dead in the early waters of 2024."[347] In May 2022, The New York Times reported that Pence was considering a presidential run regardless of whether Trump decided to run for a second term.[332] In 2023, Pence criticized former President Donald Trump, especially regarding the events that took place on January 6, 2021. While speaking at a Gridiron dinner, an event attended by politicians and journalists, Pence said that Trump was wrong to suggest that Pence had a right to overturn the election results. Pence went further, saying that Trump's words not only endangered him, but his family and everyone at the Capitol. Much of the rhetoric was believed to be a lead-up to Pence's potential run for the Republican nomination heading into the 2024 presidential election.[348] On June 5, 2023, Pence filed paperwork and officially launched his bid for the presidency.[349] In July, Pence became the first 2024 Republican presidential candidate to visit Ukraine, where he met President Volodymyr Zelenskyy.[350] On October 28, Pence, who had weak fundraising and poll numbers, withdrew from the race.[351] Much of his campaigning had taken place in Iowa.[352] On March 15, 2024, Pence announced that he would not endorse Trump, nor would he support Biden in the 2024 presidential election.[353][354] Pence did not attend the 2024 Republican National Convention.[355] On August 9, 2024, Pence reiterated that he would not endorse Trump, nor would he support Kamala Harris after Biden withdrew from the race.[356] Personal life Pence and his wife, Karen (née Batten), met while he was in law school at Indiana University.[14] They were married in 1985. Pence's father died in 1988, leaving his mother a widow with four grown children and two teenagers. Mike and Karen Pence have three children: Michael, Charlotte, and Audrey.[357][358] Michael Pence is a pilot in the United States Marine Corps.[359][360][361] During Pence's service in the House, his family lived in Arlington, Virginia when Congress was in session and in Columbus, Indiana, during recesses.[8][18] During an interview in 2002, Pence told a reporter that he would not have dinner alone with a woman other than his wife.[362] On May 1, 2004, Pence's mother remarried – this time to Basil Coolidge Fritsch, a widower since 2001.[363][364] In 2018, Pence's oldest brother, Greg, entered and won the political race to represent Indiana's 6th congressional district in Congress (the seat previously held by Mike).[365][366] Greg and Mike are similar enough in appearance that Greg once successfully acted as a decoy to lure the press away from his brother when Mike Pence was being touted as a potential running mate to Donald Trump.[367][368] In 2016 he was diagnosed with asymptomatic left bundle branch block.[369][370] In April 2021, Pence underwent surgery for a pacemaker implant due to a slow heartbeat.[371][372] The family's pet rabbit, Marlon Bundo, was the subject of a children's book authored by Pence's daughter, Charlotte.[373] Religion Pence was raised in a Catholic family, was an altar server, and attended parochial school.[42][374] He became a born-again Christian in college, while a member of a nondenominational Christian student group, and identified his first year—and specifically "a Christian music festival in Asbury, Kentucky, in the spring of 1978"[375] referring to the Ichthus Music Festival at then Asbury College in Wilmore, Kentucky—as the moment he made a "commitment to Christ".[42][374] After that point, Pence continued to attend Mass (where he met his wife) and was a Catholic youth minister.[374] Pence called himself Catholic in a 1994 news piece, although by 1995, he and his family had joined an evangelical megachurch, the Grace Evangelical Church.[42][374] In 2013, Pence said his family was "kind of looking for a church".[42] In 2016, Pence and his wife regularly worshiped at College Park Church, a nondenominational church in Indianapolis.[14] He has described himself as "a Christian, a conservative and a Republican, in that order", and as "a born-again, Evangelical Catholic".[42][374] As one commentator put it, "Pence doesn't simply wear his faith on his sleeve—he wears the entire Jesus jersey."[14] In a 2002 statement on the floor of the House of Representatives (reported in the Congressional Record), Pence told his colleagues "... I also believe that someday scientists will come to see that only the theory of intelligent design provides even a remotely rational explanation for the known universe."[376][377] When asked by Chris Matthews in 2009 if he believed in evolution, Pence said "I believe with all my heart that God created the heavens and the earth, the seas and all that is in them. How he did that, I'll ask him about some day."[378][379] Publications Pence, Mike (2022). So Help Me God. New York: Simon & Schuster. ISBN 978-1982190330. Pence, Mike; Pence Bond, Charlotte (2023). Go Home for Dinner: Advice on How Faith Makes a Family and Family Makes a Life. New York: Simon & Schuster. ISBN 978-1982190361. See also Notes References Further reading Coppins, McKay (2018). "God's Plan for Mike Pence". The Atlantic. Washington, D.C.: Atlantic Media. LoBianco, Tom (2019). Piety & Power: Mike Pence and the Taking of the White House. New York: Dey Street Books. ISBN 978-0-06-286878-7. Governor Mike Pence official government website Mike Pence at Curlie Appearances on C-SPAN Profile at Ballotpedia Mike Pence's statements at PolitiFact on YouTube, published September 30, 2019 CBS News Articles Collected news and commentary at The Indianapolis Star Congress Biography at the Biographical Directory of the United States Congress Financial information (federal office) at the Federal Election Commission Profile at SourceWatch
7770	dbpedia	1	6	https://www.nga.org/governor/mitch-daniels/	en	National Governors Association	https://www.nga.org/wp-c…hare_.light_.png	https://www.nga.org/wp-c…hare_.light_.png	[ "https://www.nga.org/wp-content/themes/nga/images/branding/logo.svg", "https://www.nga.org/wp-content/themes/nga/images/branding/logo.svg", "https://www.nga.org/wp-content/uploads/2018/10/MDANIELS.jpg", "https://www.nga.org/wp-content/uploads/2018/10/IN-MikePence-1.jpg", "https://www.nga.org/wp-content/uploads/2018/10/MDANIELS.jpg", "https://www.nga.org/wp-content/uploads/2018/10/KERNAN.jpg", "https://www.nga.org/wp-content/uploads/2018/10/FRANKOBANNON.jpg", "https://www.nga.org/wp-content/uploads/2018/10/PGBAYHIN.jpg", "https://www.nga.org/wp-content/uploads/2018/10/PGORRIN.jpg", "https://www.nga.org/wp-content/uploads/2018/10/bowen.jpg", "https://www.nga.org/wp-content/uploads/2018/10/PGWHITCOMBIN.jpg", "https://www.nga.org/wp-content/uploads/2018/10/PGBRANIGININ.jpg", "https://www.nga.org/wp-content/uploads/2018/10/PGWELSHIN.jpg", "https://www.nga.org/wp-content/uploads/2020/12/NGA-Logo-Brandmark-Dark-265x300.png" ]	[]	[]	[ "" ]	null	[ "www.facebook.com" ]	2018-10-31T00:29:16-04:00	Mitchell E. Daniels Jr. became governor of Indiana in January of 2005. Daniels was re-elected in 2008 to a second and final term, receiving more votes than any candidate for any public office in the state’s history. Prior to becoming governor, Daniels held numerous top management positions in both the private and public sectors. His …		https://www.nga.org/wp-c…ding/favicon.png	National Governors Association	https://www.nga.org/governor/mitch-daniels/	About Mitchell E. Daniels Jr. became governor of Indiana in January of 2005. Daniels was re-elected in 2008 to a second and final term, receiving more votes than any candidate for any public office in the state’s history. Prior to becoming governor, Daniels held numerous top management positions in both the private and public sectors. His was CEO of the Hudson Institute and president of Eli Lilly and Company’s North American Pharmaceutical Operations. He also has served as chief of staff to Senator Richard Lugar, senior advisor to President Ronald Reagan and director of the Office of Management and Budget under President George W. Bush. Daniels created the public-private Indiana Economic Development Corporation. He spearheaded a host of reforms aimed at improving the performance of state government. He also enacted the Healthy Indiana Plan to provide health care coverage for uninsured Hoosier adults and a sweeping property tax reform. Additionally, Daniels created Indiana’s Major Moves program, an aggressive 10-year transportation plan, to significantly improve and expand Indiana’s highway infrastructure. A total of $2.6 billion was committed to Major Moves from the long-term lease of the Indiana Toll Road. He earned a bachelor’s degree from the Woodrow Wilson School of Public and International Affairs at Princeton University in 1971 and his law degree from Georgetown University in 1979.
7770	dbpedia	1	13	https://reason.com/video/2015/05/19/mitch-daniels/	en	Mitch Daniels on How to Cut Government & Improve Services	https://d2eehagpk5cl65.c…320480562625.jpg	https://d2eehagpk5cl65.c…320480562625.jpg	[ "https://d2eehagpk5cl65.cloudfront.net/wp-content/themes/reason-dot-com-theme/dist/./logo_2ea65906.svg", "https://d2eehagpk5cl65.cloudfront.net/wp-content/themes/reason-dot-com-theme/dist/./logo_2ea65906.svg", "https://d2eehagpk5cl65.cloudfront.net/wp-content/themes/reason-dot-com-theme/dist/./logo-inverted-without-tag_c6a8c72e.svg", "https://d2eehagpk5cl65.cloudfront.net/wp-content/themes/reason-dot-com-theme/dist/./logo-inverted-without-tag_c6a8c72e.svg", "https://d2eehagpk5cl65.cloudfront.net/wp-content/themes/reason-dot-com-theme/dist/./r-in-g1-01_36e38c66.svg", "https://d2eehagpk5cl65.cloudfront.net/wp-content/themes/reason-dot-com-theme/dist/./r-in-g1-01_36e38c66.svg", "https://d2eehagpk5cl65.cloudfront.net/img/q60/uploads/assets/mc/_external/2015_05/mitch-daniels-purdue-universit.jpg", "https://d2eehagpk5cl65.cloudfront.net/img/q60/uploads/assets/mc/_external/2015_05/mitch-daniels-purdue-universit.jpg", "https://d2eehagpk5cl65.cloudfront.net/wp-content/themes/reason-dot-com-theme/dist/./reason-plus-logo_fa18e919.svg", "https://d2eehagpk5cl65.cloudfront.net/wp-content/themes/reason-dot-com-theme/dist/./reason-plus-logo_fa18e919.svg" ]	[]	[]	[ "" ]	null	[ "Matt Welch", "Joshua Swain", "Jim Epstein", "C. Jarrett Dieterle", "Jacob Sullum", "Joe Lancaster", "Patrick McDonald", "Brian Chau" ]	2015-05-19T00:00:00	The former Indiana governor and current president of Purdue University gets real about making the public sector cheaper - and better.	en	https://d2eehagpk5cl65.c…x57_30d0df5c.png	Reason.com	https://reason.com/video/2015/05/19/mitch-daniels/	When Mitch Daniels served as a hugely popular governor of Indiana between 2005 and 2013, he would apply what he called the "Yellow Pages Test." Which is to say: If a good or service had multiple providers listed in the business section of the telephone directory, the government shouldn't be doing it. Prior to being elected governor, Daniels had served as President George W. Bush's first director of the Office of Management and Budget. A lawyer by training, Daniels has also worked at pharmaceutical giant Eli Lilly and headed up the Hudson Institute, a think tank founded by futurist Herman Kahn. During his eight years in office, Daniels led one of most successful cost-cutting and privatization campaigns in modern political history. He contracted out welfare services, started a school-voucher program, slashed the size of the state work force, and ended collective bargaining for public employees. In one of his most controversial moves, Daniels leased a money-losing 157-mile toll road to a group of private investors in a deal that brought nearly $4 billion to the state. By the end of his second term, Indiana's public-sector employment was 18 percent smaller, its credit rating was upgraded to AAA for the first time in history, and even the state's long-hated Bureau of Motor Vehicles had become known for its excellent customer service. His outstanding record as governor led some Republicans to pine openly for Daniels to run for the 2012 GOP presidential nomination but he declined. Daniels credits the work of Reason Foundation, especially of co-founder Robert W. Poole, Jr. with helping him identify and work through innovative ways to improve public services while controlling costs. He also cites former Reason Editor Virginia Postrel's 1998 book The Future and Its Enemies as one of the most powerful influences on his strategic thinking and planning. Now the president of Purdue University, the 66-year-old Daniels has kept his thrifty habits intact, privatizing some services and applying a tuition freeze to keep higher education affordable for middle class families. This May, Mitch Daniels became the first recipient of the Reason Foundation's annual Savas Award for Public-Private Partnerships, which is awarded to policymakers with outstanding legacies of improving the delivery and effectiveness of services while reducing the cost and scope of government. Reason magazine Editor in Chief Matt Welch interviewed Daniels in New York City shortly before the award was presented. Among the topics covered: How Daniels cut the public-sector work force in Indiana and ended collective bargaining without much controversy; the surprising, bipartisan pushback on leasing the Indiana Toll Road; his challenges and plans for Purdue, including an ongoing tuition freeze; runaway spending by Republicans during the Bush years; the need for old-age entitlement reform and reduction in national debt; and more. About 30 minutes. Scroll below for a rush transcript of the interview and downloadable versions. Subscribe to Reason TV's YouTube channel to receive automatic emails when new material goes live. Produced by Joshua Swain; camera work and introducution by Jim Epstein; additional camera by Anthony L. Fisher. NOTE: This is a rush transcript. All quotes should be checked against the audio for accuracy. REASON: You inherited deficits of $200 million. Why public sector unions? Why was that a focus straight off the bat? What's the importance of that? Mitch Daniels: Well, it wasn't primarily about money. We had to address that the old fashioned way and reconcile spending with revenue and so forth. No, it was much more about call them work rules, but there were something like 160 pages of do's and don't's in these agreements that the state had signed and I used to say you couldn't pick up a coffee cup from one desk and move it to the next without a 30-day, 60-day consultation with somebody. And you certainly couldn't, as we were determined to do, to combine departments, break off departments for more direct supervision. You certainly couldn't outsource anything under those conditions. We'd been paralyzed really from doing those things that would make government work, so it was much more about making a totally dysfunctional government operate effectively within the zone, the more limited zone that we thought it ought to operate at all. REASON: Wisconsin became the site of three years' worth of scuttlebutt over this, even though there was Hurricane Mitch and I'm sure it felt crazy in the eye of the storm. It didn't feel like the same kind of thing. Why didn't that happen in Indiana? Mitch Daniels: Well, we were able to strike quickly and did. Here's a confession: I don't often procrastinate or over-cogitate and so forth, but on that decision, I really spent a long time. I was trying to talk myself into either waiting until after the legislative session or maybe splitting the baby somehow, maybe these important departments and not these. The key distinction was we didn't need legislation as in almost every other venue including the federal government when JFK did it, collective bargaining which FDR and Fiorello LaGuardia and lots of friends of unions always said had no place in the public sector, had gotten there almost always through executive orders later codified in statute. Indiana, the advocates of collective bargaining never got into statute so I had the ability which Walker did not, to take it out by executive order. I tried to persuade myself, though, that maybe we shouldn't do it right away because I could imagine a scene like we saw in Wisconsin and I thought, man, the whole rest of the agenda—we've got this huge agenda of things that we think are really important to do, and I could imagine all being brought to a halt if we had an eruption like they did. Instead, I just finally decided, no, we cannot fix this place under these conditions. We're just going to have to take this action and hope for the best, so I went and told the union leaders myself my first day in office. I thought they deserved to hear it from me. Went back, signed the order, pulled up the covers and held my breath and nothing happened, except that over the first about 11 months, 90+% of the state employees stopped paying their dues. Once it was their choice, they gave themselves a pay raise. I think the swiftness maybe. Maybe they just didn't think we'd do it, but we did it and then their members began to speak, at least tacitly, and it was never an issue. REASON: This led to be able to reduce the state workforce by some 18%. Tell us about the knock-on practical benefits that you've received from doing that? Mitch Daniels: Some of it's had to do simply with being able to organize the government for better effect. A good example: we had the worst child protection system in the country. HHS was fining us and probably deservedly so. The ratios of people who were supposed to be watching over these endangered children were way out of whack. No training and all that, so we had pledged to do something direct about that. Pulled it out of this massive social services bureaucracy and created a unit entirely of its own reporting directly to the governor and five years later, we were winning national awards, but that sort of restructuring or combining units and extracting the synergies that were possible there. In most of life, I've always said I'm pretty much a libertarian, but when it comes to IT I believe in dictatorship. You can't let everybody have their own computers and their own little customized software so that nothing talks to each other, right? And so establishing one unitary and unified IT system across all of government. I still bump into people who said how did you get that done because it's a problem that afflicts lot of large organizations, private and public, and so things like that. We were able to go straight for them. We went right away to a new benefits plan which is HSAs. Indiana rather quickly had almost all state employees on what we now call a consumerist or a high deductible plan. The penetration of such plans in public sector America last I looked was about 1 or 2% and we must've been half of that because we were 90+. Couldn't have done that. Saved buckets of money. Employees wound up with millions of dollars accumulating in their accounts which were theirs. You know how that works. And likewise, Indiana as far as I know is still the only state that has. We reformed the civil service rules such that employees are paid for performance, not in lockstep grids. The best performers got the biggest pay raises by far in state history. Those at the other end got a warning and often second chance, but that's all they got. So, those were the sorts of things. Now, that translated into dollars. Sure, it did. But I did some stressing here that our principal objective was to demonstrate that government actually could deliver. Every state hates its license branches, right? I guarantee you, Indiana probably had a candidate for the worst. I used to say that people went to an Indiana Bureau of Motor Vehicles office with a box lunch and a copy of War & Peace and hoped not to finish both of them before somebody noticed they were there. So, by about three or four years in, they're winning national awards. I'd get a report once a month, the average visit time door to door was down to nine minutes and something. The average customer satisfaction was 97%. REASON: At a DMV? Mitch Daniels: That's right. REASON: That's crazy talk. I live in Brooklyn, and I think the average time is 5½ days or something. Mitch Daniels: Business school cases have been written about it. It's a very interesting story all by itself. A lot of that was accomplished, by the way, by creating all sorts of ways that you didn't have to go to the branch in the first place if you didn't want. Online, in the mail, on the phone, etc. I was really fixed on those things that touched lots of people, so everybody has to deal with the Bureau of Motor Vehicles. Everybody has to deal with the Department of Revenue. We really worked hard on those. REASON: So people could see the practical benefits and understand. Mitch Daniels: Yes. And I saw that also as an important investment of capital in that metaphorical sense, because, first of all, I'm a limited government person of the first order, but I don't think that unadulterated cynicism about government is healthy for our democracy and so, no. 1, I wanted people to develop a sense of confidence that the folks running the people's business really were committed to try to do it well. And the second thing was, I wanted to build momentum for the next reform and literally I think a lot of people concluded, well, they can fix the damn DMV, maybe that new idea they've got is worth a look, too. REASON: Talk a little bit about privatization, both in terms of what you did there, but also where did you get acquainted with and enamored with the idea to begin with? Mitch Daniels: In the early '90s, a lot of people were enamored with it. I was convinced it was such an obvious and smart thing to do so a fellow named Osborne was reputed to be Bill Clinton's favorite thinker at the time and he writes a book Reinventing Government or something was the title. And it's all about this, using the private sector where appropriate to deliver services more effectively and efficiently. A friend and a really good public official named Steve Goldsmith got elected mayor in my hometown and when he was running, I said to him you're going to want a signature thing. Your predecessors have had some big ones and you should want one. I said this business of privatizing services for the benefit of service recipients and taxpayers is a good one. I said, why don't you have a citizens' commission to go look through state government and see where the opportunities are and aren't. Big mistake because he makes me the chairman of the commission. We got some great people, some good businesspeople and they divided local government into functional areas and people went in and came out with a host of ideas, so that's where I got— And most of them got acted on, so that's where I guess got the notion but I got a lot of it from reading Reason Magazine, not to kiss up here, but it's true, all this at a time when I had no intention, no premonition that I'd ever hold elected office myself. I just never expected that to be the case, but when it came along, I had the benefit of the reading I'd done and that one experience. REASON: The most notorious or infamous or something, at least controversial, privatization was I guess one of your first which is the toll road. Why was that controversial? Of all things in the world to be controversial. Mitch Daniels: It's an interesting thing, because it is beyond any question was a slam dunk grand slam spectacular success. We were very self-critical in our administration. Most things, you know, give yourself a B or a B+, but not this one. We had valued the road in public hands around $1.3 billion, $1.4 billion, and you had to make some rosy assumptions to get it up to that and I had told myself if the bids come in— If the bids aren't well over $2, we probably won't— It won't be worth going for it, but if they get up there closer to what we're aiming at, we well, so the bid comes in $3.9 billion. Unbelievable. And when I announced on a Monday morning into a jam-packed room, there were gasps and cheers and clapping and everybody in that room at that moment believed this thing would fly because holy cow, well, you saw what happened? Xenophobia happened. The notion that— Well, first of all, there was just some vague sense which our partisan opposition pounced on, that maybe we were giving something up. People didn't understand necessarily the transaction at the beginning and then the fact that the financing was organized by a foreign entity, Australian bank— REASON: You know how those Australians can be, come on. Mitch Daniels: Yeah. A friend of mine said he went in a barber shop when the thing was really white hot and people were in there arguing about it and he finally said you're right, it's even worse than I thought. I'd just been out there. They've changed all the signs to Australian. So it became what could have been and should have been— A bipartisan celebration became a very partisan thing, but we got it through and the results speak for themselves. We're in the tenth of 10 consecutive years of record infrastructure investment in Indiana and there were more than 200 projects that wouldn't have happened that did, including some big ones that people had waited for literally for decades and a big fraction of all the bridges in the state were rebuilt, so there's still more to do. Always will be, but it was a tremendous piece of luck for the state. Here's the thing that haunts me. On that day when I made that announcement, I pointed out that as of the closing that we were headed for, this would be the largest such transaction in American history by a factor of 2. It was about twice as big as the Chicago Skyway which was the biggest one at the time. I said, but what won't last. That won't last a year because this is such an obvious partial answer to the national problem we have of infrastructure that other places— It's being done all over the world already anyway. It's just a little late getting here to America. Look for this to happen in a lot of other places. Astonishingly to me, we sit here a decade later and it's still the record and that's a darn shame. REASON: Your record has governor of Indiana at time when we went through the financial crisis when we started seeing trillion dollar annual federal deficits got you very much in the conversation in the 2012 presidential race like he's the coming wonk that we need and somewhere in 2010, I guess you made a statement that had libertarians just high-fiving and conservatives not quite so high-fiving about how Republicans are conservatives and need to start thinking in terms of a truce on social issues. Looking back on that and transposing it to today, do you still feel that and what's your assessment of the way the Republicans are going after issues like gay marriage or pot legalization or even immigration if you see that as a social issue? Mitch Daniels: It's still my view. By the way, the comment wasn't directed just at so-called conservatives. It was directed at their opponents on the other side, too. It was a general appeal based on my belief which is stronger now several trillion dollars of debt later than it was then that we have urgent problems. We've got to get this country on a pro-growth footing. We need years of consistent high growth if we're going to remain a country of upward mobility and opportunity and we've got to begin the process of flattening this debt burden we're about to dump on future generations and I thought that it would be wise to try to rally the nation and focus the nation on these problems which we all share and I chose the word truce advisedly to distinguish it from surrender or retreat. Just stand down, agree to disagree. Let's try to see if we can't work on those things that genuinely threaten us all. That was the idea and I think it's absolutely true today. We've just come through a little storm in my home state where I think there were some misunderstandings and some unfairness and all that, but still, I think it illustrates the fact that these kind of issues can get in the way of truly serious business. I think that this idea has a lot more agreement than many people think it does. Even in 2012— 2011, actually. After I had retained my senses, not run for national office, a Wall Street Journal reporter who had trailed me around a little bit and I'd gotten to know, called and said they had put a question on that subject on their poll and Republican primary voters agreed with the idea of the truce by something like 7 to 1, so there're people who're very passionate about those issues. They have a right to be and they will be heard but I think in growing numbers, Americans are more concerned about other things and many more are inclined to a live and let live attitude. REASON: How terrified are you of an $18 trillion debt and the entitlements coming and washing down when there doesn't seem to be a lot of discussion even on the Republican side anymore about doing much about that? What is your articulated dread when you wake up in the night sweating and thinking about the future of our accounts? Mitch Daniels: It's going to be a huge drag on growth. It already is. Just wait until interest rates return to anything like normal from these artificial levels and there are certainly situations in which it could threaten the country's future more seriously than that and there's a moral aspect to it. By the way, I don't blame the American people. They've been misled about how all these things work—it's just my money, you know, they stuck it in a drawer for me. I'm just taking it out. People have been actively misled about it and I don't think too many of our fellow Americans knowingly would plunder their children, would borrow tons of money and spend it on themselves, on consumption for themselves today. That's exactly what we're doing, so I think there's a moral dimension, an economic dimension. I even worry about national security implications of a country that will soon be spending upwards of two-thirds of all its money on transfer payments and interests. REASON: You were director of the Office of Management and Budget at the kind of the dawn of the Bush era. Bush, looking in hindsight, was no great fiscal steward of these United States even if you isolate military post-9/11 spending. What went wrong with Bush conservativism and fiscal conservativism? Mitch Daniels: Those numbers I think have been largely misrepresented. I'm not defending every decision that was made at that time. I would've strongly preferred less spending than happened, but the first thing that went wrong was a bubble burst, so everybody— I was one of the guilty parties, although so was Alan Greenspan, so was the Congressional Budget Office, so was everybody, the Federal Reserve and everybody else around, misunderstood that the revenue that was coming in temporarily in the late '90s was a base from which you could project some sort of growth. It wasn't. And when the stock market bubble burst, those revenues, a lot of them evaporated, so the apparent fiscal strength of the country was somewhat illusory. Then there was a recession that followed the bubble. Then comes the war, the decision right or wrong to build a homeland security capability and all these things piled up on top, so I think after you've factored all those things, yeah, there was some spending, sometimes to accommodate a Congress that was reluctant necessarily to fund the war on terror spending. REASON: It's a unified Republican Congress for a large part of that. Mitch Daniels: A big part of that time, and so, again, I think it's really ahistorical to suggest that somehow he just spent a flush Treasury bare. That's just not what happened. REASON: I think it's more than total federal spending non-defense grew by 50% in eight years, which is not fiscally conservative by any stretch of the imagination. Mitch Daniels: Yeah. As I sometimes said, I never had a disagreement with anybody during the 2½ years I was there where I was for more spending than they were. When we got a chance in Indiana to deal with a fewer zeroes but a very serious fiscal problem, we found a way to do so. REASON: You were referencing Reinventing Government in the 1990s and intellectual stuff and even our recent former editor, a beloved figure, Virginia Postrel wrote a book called The Future and Its Enemies and I understand that that had some influence on you. Talk about that. Mitch Daniels: I thought it was a wonderful insight. And it certainly informed or colored my thinking when I got to office. The dichotomy she illustrated between stasis and dynamism and those who are comfortable with change recognize that it's largely inevitable and therefore the goal ought to be to shape it and adapt to it effectively. And as I mentioned already, Indiana historically has been a change adverse state and our whole argument, everything we said and everything we tried to, a speech that I gave for 10 years basically, had as their central theme that won't work anymore, that if you tread water in this world, you will sink and if you stand still, you will be passed by and I wanted Indiana to be an active vanguard state and I think I can document that after eight years, we were. We were looked to in a variety of ways, whether it's infrastructure or fiscal probity or education reform or property tax controls or you name it or government that works. REASON: Talk about your role. Purdue a little bit here in most of the country, including where I'm from—California—the story about universities is all about a higher education bubble. It's about tuitions trending like this. You've actually cut tuitions. Do I have this right? Mitch Daniels: Frozen. REASON: How have you been able to do that? Mitch Daniels: Edict. I mean, I don't consider that we've done anything particularly dramatic yet. I suggested to our board that we do this and I'd only been there two or three months when the decision had to be made so I didn't have nearly the information to be sure but I had a suspicion that we could do it, and limits have a lot of value. That's why balanced budget requirements lead people to make decisions they wouldn't otherwise make, establish priorities that they wouldn't otherwise establish. In business, when times are flush, people are not as attentive to that expense account or the less essential items. Sales go flat, suddenly people sharpen their pencils, so I thought if we established that limit and I said to the campus, we all care about this, don't we? We all would like this to remain a school that students from any income level if they can meet our standards can afford to attend and people at Purdue do agree with that—faculty, staff, everybody, so I said let's all find ways to do this. I said let's try something different. Instead of asking our students' families to adjust their budgets to our preferred spending, let's adjust our spending to their budgets. We did it once and then we were able as it turned out to extend it. This second year it'll be at least one more year. To an extent, it's a statement that we believe that higher education ought to be of the highest possible value and that controlling costs, maintaining access to the extent we can is an important part of that. REASON: How have you done it? What's the blueprint for Purdue? Mitch Daniels: Well, people always want to know some great master stroke. There weren't too many of those. We had a very very expensive health care benefit plan. We modernized it. It's more consumerist and it's over-performing in terms of, as it has all over the country. The minute people get a little bit of skin back in the game, they start to ask common sense questions. They experienced that in Indiana state government in a big way, so that was one. We consolidated information technology there, too, a big big savings. REASON: I think you being involved with two successful large-scale IT projects put you on a very short list of people. Mitch Daniels: Well, I won't claim to have contributed anything except the determination that it had to happen. REASON: For those of us who don't spend a lot of time on college campuses and get our information through oftentimes partisan media, it can seem like it's just a hell broth of micro-triggering and people in free speech cages over in a corner. What's your assessment of the climate of free speech on campus nationwide and at Purdue? Is it as bad as some of us suspect? Mitch Daniels: In places it obviously is. We all read about them and you just shake your head. I can tell you that Purdue's different and I think you don't hear about the places where free speech is respected and protected. Naturally enough you don't. We feel very strongly about it. About to take some future actions to insure that what's been a good record remains that way and we've indentified some small policies that were less than ideal and we're changing those but, no, I think that the spirit of free inquiry is still strong on our campus and I hope on most, but clearly there are places where it's violated in truly unfortunate ways. REASON: Thank you very much. Mitch Daniels: I enjoyed it. Thanks for the good work and the provocative work that Reason's always done. Always been a courageous place and one that held faithful to principle that's why I've been a reader and often agreed. Not always, but was always stimulated. REASON: You mean you're not ready to legalize heroin? I don't understand. … Mitch Daniels: Stop short of that, yeah. Original text had an error here since deleted.
7770	dbpedia	1	44	https://obamawhitehouse.archives.gov/omb/speeches_daniels071202	en	OMB			[ "https://obamawhitehouse.archives.gov/sites/default/files/MS-header-omb_0.jpg" ]	[]	[]	[ "President", "Barack Obama", "White House", "United States of America", "44th President", "White House history", "President Obama", "Barck", "Barek", "Barak", "Barrack", "Barrak", "Obma", "Barack" ]	null	[]	null	See the President's daily schedule, explore behind-the-scenes photos from inside the White House, and find out all the ways you can engage with the most interactive administration in our country's history.	en	/sites/default/themes/whitehouse/favicon.ico	The White House	https://obamawhitehouse.archives.gov/node/17002	PRESS BRIEFING BY OMB DIRECTOR MITCH DANIELS July 12, 2002 Room 450 Dwight D. Eisenhower Executive Office Building 2:33 P.M. EDT DIRECTOR DANIELS: I'll give a quick synopsis of the budget portions of the mid-session review. I hope everyone will pay similar attention on Monday, when the entire report comes out. It will have for the first time a full section on management of the federal government, which has not been a feature of previous reports and we hope you'll be similarly interested in that. But I'll just brief today on the budget sections, and then take any and all questions. The report we're issuing Monday will show, I think, some significant and interesting developments. First, the economy has proven much stronger than we estimated in February. Our projections in February turned out to have been far to pessimistic, about .7 percent growth for this year, low by 2 full percentage points, versus what we now see and what the consensus forecasts see. Nonetheless, revenues, tax payments to the federal government, which generally rise and fall, historically have risen and fallen with the economy and with economic growth, have been weaker than we expected. And this is due, apparently, almost entirely to what I will call stock market related income: capital gains and, to lesser extents, income from mutual fund distributions, options, perhaps bonuses tied to stock performance. And this is a new, I think, important phenomenon we're all going to have to understand much better. No one, as far as I know, really saw this coming. And as I say, it has produced a new paradox in which we were too cautious about recovery from the recession, about economic growth. But, still, receipts to the federal government trailed significantly below what we saw even a few months ago. Wage and payroll taxes are running close to our federal -- our February estimates -- sorry -- and above last year. But overall revenues down very significantly. It's now very clear that the explosion in revenue to the federal government between '95 and 2000, which the federal government tax receipts grew by $600 billion -- more than 40 percent in five years -- it's very clear that was more closely tied to the stock market run-up than perhaps was thought at the time. And now we're seeing the mirror image effect. So, as I say, this is a new phenomenon we all have got to understand better. This chart here gives you a rough sense of the close correlation and the dimension of the change. Now, looking forward, the recession, milder than we had anticipated and the recovery more rapid than we anticipated gives us the prospect of regaining balance in the federal government perhaps by 2005. There's no assurance of this, it's subject to the usual three big "ifs." The first is the economy. We still are operating on conservative assumptions. Our forecast for this year is below the private sector consensus, and we're essentially identical with the blue chip consensus going forward. We believe -- and the revenue estimates we use come from Treasury, but we believe they are also very, very cautious. We are forecasting much lower growth rates in revenue than we've experienced in recent years. The second big "if," the course of the war. The budget base line incorporating the President's policies does include further increases in defense. But one cannot know what the needs may be and what decisions the President may make. And then the final and largest "if" is the course of other spending. The most important chart in the document is the one to my right, and it reflects the fact that following the President's policy we will return, or could return to balance in 2005 and experience surpluses thereafter. This doesn't -- as I said, this does contemplate some increases in spending for defense, also for health care, the beginnings of prescription drug coverage, health care tax credits for the uninsured being some of the bigger features. But it also contemplates real restraint in spending in the rest of the budget, and that's the biggest "if." It is very crucial to get off the current trend line, or the recent trend line. And I've illustrated that here by showing that in contrast to the path of the President's budget, so-called base line path with the policy changes he's already recommended, the difference between that and simply extending the 7 to 8 percent annual increase in discretionary spending that has been the pattern of the last four or five years -- so not an extravagant assumption at all, just simply continuing on a business as usual path. The difference over the next 10 years is $2 trillion. It is the difference between surpluses and large permanent deficits, and that's really the policy question facing the country fiscally in the next few years. So we are pleased to bring this to you, on time delivery this year, in contrast to last year, when the administration got a late beginning. And we appreciate your attendance, and any questions you may have. Q Can we interpret from this that the income taxes paid on capital gains, including the stock market effect, you're anticipating it falling to the neighborhood of $50 billion, from this year's roughly $110 billion, is that -- DIRECTOR DANIELS: Well, we think that may well be the neighborhood. We draw those question marks in the line that we think is most likely, and also the patterns -- it follows the correlation, the rough correlation we've seen historically. We won't know for a while. This data does trail. What we know most about is non-withheld income, that is the part that is not held back from people's payroll checks. That is dominated by capital gains, but there are a number of other -- there are other factors in it, such as proprietorship income. And so actually understanding what capital gains versus, let's say, options income or other specific pieces like that were, data tends to trail by more than a year. Q Can I just follow by asking, how long ago given the volatility of the stock market and what's happened -- how long ago was this projection -- I mean, what sort of S&P level is this predicated on? What's the level for the Dow in these projections? DIRECTOR DANIELS: Well, the -- it's interesting. You know, I have, and the budget always produces a sensitivity table, in which the model projects the effect of various changes, an extra percent of GDP of 1 percent more or less of inflation, unemployment and so forth on the budget. A factor which has never been there, but one day may need to be, is some measurement of stock market movement. We have no model at this time, and it will be very difficult, I know, to produce one, but we need to try to understand this phenomenon earlier. That was my message earlier. We have, as you know now, a tax system in which the incidence of income taxation falls on the upper half. One percent of American taxpayers pay over a third of the income tax, 5 percent pay over half, 50 percent pay almost all, 95 percent. And those taxpayers, in recent years particularly, have come to receive more of their income in what I'll call stock market related forms, as opposed to standard wages. And so we have some change here, and it's particularly in a time when the market went up very fast and came down very fast. We've had a real whipsaw that was hard, I think, for anybody to see in advance. Q Mr. Director, this administration over the course of the last year or certainly this year, since the budget came out, has proposed or has supported any number of different tax cuts that have not been offset. Some would take effect in the long-term, such as tax cut permanency, others in various bills moving through Congress would have a more short-term effect. In light of the fact that the deficit in the first couple of years is larger than you previously projected, and the surpluses would be a little smaller in the middle years, and in light of the fact that revenue is lagging, as you just described, is there any chance that this administration would then back away from its call for non-offset tax cuts in the future, and urge Congress not to do that, for fear of increasing the deficit picture? DIRECTOR DANIELS: Oh, but I don't know which ones you're thinking of, but odds are not. This is a fragile recovery still. It's very important that recovery occur, or growth occur at at least the conservative levels we have projected. And tax increases at a time like this we think would be a bad idea from, first, the jobs and income standpoint, a pocketbook standpoint; and, secondly, from the standpoint of the government's own situation. There is no question our report will list a few of many, many economic testimonies that the tax cut of last year -- in part, by luck -- was very well timed and very well designed. These numbers would be a lot worse, in my opinion, if there had been no tax cut last year. Q Just to clarify, you regard any offset as a tax increase? DIRECTOR DANIELS: Well, I take them up one by one. Q One of the things that these numbers seem to point out is just sort of how little control you have over the fluctuations in the -- so, bearing that in mind, why is the administration, you know, going to the mat on the current negotiations on the supplemental over a billion or two dollars and then over $9 billion for the '03 bill? DIRECTOR DANIELS: Yes, absolutely. This illustrates exactly the answer to your question. At the size of the federal government has now attained, $2 trillion, the compounding effect is very profound. That's exactly the point here. The President's budget contemplates growth on the order of 3 or 4 percent over time. The difference between that and 7.5 percent is $2 trillion. So, also, when we are trying very hard to get back to balance, every dollar counts. And with this President -- this President never intends to spend a single taxpayer dollar unnecessarily. But right now every dollar does count. We're spending more than we really ought to be, and that's because a war forced us to do that. But that ought not be a permanent state of affairs. You know, I'm amused when -- or bemused -- when people on Capitol Hill and elsewhere talk about a mere $4 billion and a supplemental they'd like to add, a mere $11 billion in the '03 appropriations bills. In Indiana, where I come from, people don't use "mere" and "billions" in the same sentence very often. And especially under the circumstances illustrated on this chart, we can't afford to, either. Q Can you talk about the methodology that was used, whether or not you used dynamic scoring and your reasoning behind that? DIRECTOR DANIELS: No dynamic scoring has been used -- again, in this report. There is no agreement to do it. And, admittedly, it would be a very, very difficult thing to know how to do it accurately and fairly. So there is no dynamic scoring here. This refers, of course, to the question of what effect, for instance, lower taxation might have on revenues, if it increased growth it might partially offset its cost. What I always say about this is, we're using the one answer we know is wrong. Economists debate whether you get back a quarter, a third or more of a tax cut because of more people working and paying taxes. But no one that I know of thinks that you get zero. But that's the assumption we use, so it's a very cautious one. Q And what's your reaction that some Democrats -- DIRECTOR DANIELS: The projections are as conservative as they can be. And, you know, the real uncertainty -- the only uncertainty here is the one they have the most to say about: how much will we spend? And we can work on that together. We can produce a future and a fairly near-term future of balance, or we can produce a future of permanent deficits, and we seek their cooperation. Q On the defense number, there's been a fairly public discussion about the possibility of going into Iraq, as many as 250,000 American troops deployed in an operation of unknown duration. Is that factored into your defense number in any way? DIRECTOR DANIELS: Well, no specific operation at all, anywhere, is factored in. However, obviously this President has sought substantial defense increase for this year. He has also sought a $10 billion additional reserve against decisions he might make. And we have built in $10 billion additional growth above base line growth for the next five years. So to some extent, we have provided for what may well be an ongoing hostile environment. But I don't know how to go further until we know what decisions he makes. Q To what degree does the higher government borrowing that goes along with the forecast so far -- deficits over the coming years -- lead to -- what impact is that going to have on interest rates? And do you see any crowding out of private investment as a result of higher government borrowing? DIRECTOR DANIELS: No, I really don't. You know, this has been said for recent years, over and over, that lower deficits or surpluses were essential to keep down interest rates. And the President believes that surpluses are important and we want to regain them as quickly as possible. But in honesty, there's no historical evidence at all of any correlation, or no curve that looks like this for government deficits versus interest rates. And, in fact, even though the recession has changed our fiscal picture, interest rates are at nearly at all-time lows and have remained throughout this administration. So just not an issue for the moment. Q Mr. Daniels, in this dispute over the -- about the supplemental, the appropriators are accusing you of proposing shady accounting. This use of airline loan guarantees as an offset. And that rather than setting an example for Enron and other entities in corporate America, that you're showing them an example of shady accounting. DIRECTOR DANIELS: Well, I'm glad you asked the question. You know, not to be impolite, but this was their idea. We did not submit an offset based on the fact -- and it is a fact -- that we're going to spend, or put at risk of, through the loan guarantee process, several billion fewer -- or billions less in taxpayer dollars. That's a fact. The airline rescue package provided for $10 billion in loan guarantees. The window closed last week. And if every outstanding guarantee were granted, the money at risk would be only $4 billion to $5 billion. So it's a fact that money appropriated will now be recoverable. But please note, we did not propose that offset. The House of Representatives, the same people who said some harsh things today, came up with it. We looked at it and found it legitimate. It's real money. And so we -- frankly, with the thought that we would help them get to a bill they could accept, we said okay. And I found it a little ironic to be attacked about their own idea. Q Mr. Daniels, can you tell me what you're assuming is going to happen with the stock market and with capital gains receipts for next year, to get the revenue projections that you're using for the '03 number? DIRECTOR DANIELS: Jonathan, we have very guarded assumptions about -- we make no specific assumption about the market itself. But non-withheld receipts we expect to grow from this low base they've been driven to, but only modestly. We want to be very cautious about this, because no one really knows the report -- when you read the report, you will see us point out that we don't know the extent of non-realized -- unrealized losses that are out there, and -- or carried over -- or losses that have been realized, but will carry over to future years. So we're -- we've tried to be pretty cautious about expecting any upside. Q To follow that, are you making any assumptions, dramatic assumptions on revenue changes in income tax? I mean, what -- as you've seen, other projections for next -- for the '03 are actually worse than '02, because they're assuming that revenues are going to continue to be pretty bleak in '03. DIRECTOR DANIELS: Yes, we are, too. We're assuming modest growth. Over the whole time period, we assume between 5 and 6 percent annual growth in revenues. And that contrasts with seven and a half in the last decade. But this is a subject we've got to work on very, very carefully. And, again, it points out the need to be very, very careful about the thing we can control, and that's government spending. Q Can I just follow up on that. Are you -- you said you're being cautious in predictions of the market, but are you predicting almost a sustained market, or investor malaise over the accounting scandals? I mean, are you assuming that investors are going to continue to have this lack of confidence? DIRECTOR DANIELS: No, we make no explicit assumption, no budget ever has, about what the market will do, let alone what investors are thinking. All we can attempt to forecast is what the tax consequences ultimately will be. And there we see a recovery from this very low point we've fallen into, but a slow and gradual one. > Q Director Daniels, given that the market has had two lousy years, and nobody in February was looking for a gangbuster year this year, why was this such a surprise? I mean, it seems pretty common sense that capital gains would be going down, and that you wouldn't be getting as much as you did in the go-go years. DIRECTOR DANIELS: I guess I would say that the models that everyone has used historically have fastened, as I understand them, principally on the link between economic growth and tax payments. And that's become somewhat disconnected, because of the new realities I was talking about earlier. So as I said at the very beginning, it's very important to note, we underestimated by a very large margin economic growth. Many budgets have been criticized for rosy scenarios. That always meant they forecast a stronger economy than actually was going -- was likely to happen. We estimated a far weaker economy and a slower recovery, and yet through this disconnect, revenues were even lower than history taught us to expect. Q I'm wondering if you could sort of preview Monday for us? Based on this chart on your right, can we assume that in the management section of your briefing that you're going to target some programs that should be phased out, that are poorly managed? DIRECTOR DANIELS: This is -- this is one of the five principal objectives of the President's management agenda, to begin to measure what works and what doesn't in the federal government, and to move money to what works and away from things that don't. And you will read about that in the report, and you'll read a lot about that in the next budget. It debuted -- that rather common sense concept debuted in this year's budget. Q When you talk about the disconnect and the desire to study that more, what specifically are you doing as Director to leave some kind of -- are you talking about something specific that you want to do internally? DIRECTOR DANIELS: Well, our friends at Treasury are the experts and the custodians of this. And I trust that -- I know that they're working on it very hard. I think that they've made a lot of headway and all I'm saying today is that I think all of us need to come to understand it better. I don't think there's a model out there that has correctly forecast and anticipated it. But it's our folks at Treasury that we work with in the so-called troika process that have the responsibility. Q -- incorporation of the President's next budget, are you expecting Treasury to debut something in terms of modeling, are you expecting anything to be different by December when he signs off on a budget? DIRECTOR DANIELS: All I can say is that this will be one of the questions we look at the very hardest: have we been careful enough -- whatever history says about receipts related to economic growth -- have we been careful enough about this component of receipts? Q As you noted, federal spending has risen by 7 to 8 percent over the last four or five years. It's not a terribly good record. What can you do differently this year to actually rein in federal spending? One obvious solution is for the President to come out and say spending bills that come in over the ceiling will be vetoed. Are you ready to say things like that? DIRECTOR DANIELS: The President has said that the budget resolution passed by the House of Representatives -- which is the only one, unfortunately, that passed this year -- is acceptable to him, and that the levels that add up to that budget will be acceptable to him. And it may be that he has to police that. But the answer to your question is that circumstances compel a significant increase in spending this year. The President asked for a greater increase, it's only fair to point out, than this recent trend rate. Because we've got damage to pay for, a war to fight and a homeland security apparatus to build. That need not be the case, however, year on year in the future. And the answer to your question is those things have to take the paramount importance they deserve. Everything else that we have suggested can grow, but only at 2 percent. Let me point out to you that the 50 states of this country collectively -- and many of them facing difficulty now, too -- collectively are holding total spending growth to 2 percent this year. And that's all we have asked the Congress to do with respect to the other programs of government, not to freeze them, not to slash them -- simply to restrain the growth to 2 percent. That ought not be an unattainable goal. The 50 states just did it. Q Is that 2 percent, though, for the next five -- each of the next five years? DIRECTOR DANIELS: Well, I was referring to this year, but looking forward at the next few years, it would be a number like that. It will depend on inflation assumptions, for example. Q -- policy, or -- revenue, is the administration looking at any way of closing existing tax loopholes for -- what is your view as far as the Ways and Means proposal that came out yesterday, in terms of corporate inversion? And do you see this as any possible source of revenue? DIRECTOR DANIELS: I don't think either the President or the Secretary of the Treasury has spoken on that, we've not had -- so I won't either. But the Secretary of the Treasury is looking, as you know, at a broad simplification agenda. And this could comprise elements that you might find as loophole closers. I don't know what he'll ultimately recommend. Q What average annual increase, percent increase are you assuming over the next decade for overall discretionary spending? DIRECTOR DANIELS: About three to four, Alan, all in. Q (Inaudible.) DIRECTOR DANIELS: Well, let me say, I think it should be. There is a great deal of money that the federal government spends now, which is spends poorly. And we ought to -- if we ever get serious about isolating that and rotating it to things that are more urgent and that work well, we have an awful lot of room. As I pointed out, state governments find a way to do it; there's no reason that this government couldn't, too. And, lastly, I'll just say that I see some other projections around that say that the deficits will be even worse, let's say, next year, than we have. They assume spending we don't assume, and we are not prepared to assume the defeat of the American taxpayer just because there's been a recent pattern of spending a lot of money. Q The President has endorsed the House's $350 billion Medicare drug bill. The first question is, is that assumed in here? And the second question is, if it's not, are we going to see higher deficits or do you want to see discretionary spending reduced -- DIRECTOR DANIELS: First, the President has not endorsed that bill, although he said it had good elements to it, he thought it was a good idea if it moved forward, it would advance the cause and the process of trying to reach Medicare reform including prescription drug coverage. For that reason, it is not here. We continue to assume $190 billion, which is the net cost of the President's proposal, which includes a similar prescription drug coverage, does include some reform features that at present the House bill does not. Q I'm sorry, if I could just follow that up. Are you saying that he would not support spending $350 billion for -- DIRECTOR DANIELS: I think the President wants to see what the process provides. He'll continue, I think, to argue for real reform in Medicare as we add prescription drug coverage. And for the moment, we're assuming -- we're not assuming anything beyond the proposal that he has made. Q Will September 11th related assistance to New York be affected at all by these new figures? DIRECTOR DANIELS: No. The President requested the last installment of the $20 billion -- and, actually, it'll be closer to $21 billion when you add together the things that he has endorsed for New York City in the supplemental. And we look forward to getting that accomplished, if not there, in some fashion. But that absolutely is assumed in. Q Well, what's going to happen with the supplemental? DIRECTOR DANIELS: I continue to hope that -- and urge the Congress to pass this. We're in an unfortunate situation. In an attempt to force on the President and the taxpayer spending we don't need, they are withholding the spending we do need. And we've done everything we could think of to make it possible for that bill to pass and to be signed. But so far, without success. It is a fact that we have about 40 percent of the money appropriated in December still left. It has -- we've been, try to be careful about how it was spent, and we have spent it more slowly than was expected. So we still have something like $15 billion unobligated. In addition, it's been 113 days since the President asked for money to prosecute the war, defend Americans at home and repair New York City. And in that time, we have first of all learned that we don't need every penny of what he asked for, and secondly, there's only 80 days left. And so we could not spend all of it if we got it all today. So we asked the Congress -- or actually I should say, we offered to the conferees, first of all, to take back and rescind some of the money that remains unspent; secondly, to draw down, take out some of the money originally requested by the President. And, frankly, this was to make room for things they wanted, that the President had not found essential. And we're disappointed -- I actually as of late last night thought that this might lead to an agreement today, but sadly it didn't. Q On that subject, Mr. Daniels, the conferees were indicating that they might have actually reached that agreement today, but Democrats, and particularly Senator Byrd, is blaming you for intervening, saying the administration is meddling too much in the process. If you could comment a little bit on that. And he -- Mr. Byrd suggested that it was the veto threat that essentially upset the final conferees meeting today. And, secondarily, if there isn't a resolution soon, we heard from the Pentagon today that certain war-related programs will have to be looked at, and perhaps even not undertaken. Can you talk about a fall-back position in the absence of a supplemental in that regard? DIRECTOR DANIELS: For most departments of government, we could manage, as I said. We have a lot of money left, more than we expected. But for a couple of the most critical functions -- Defense and the Transportation Security Agency, the bringing into being of better protection of Americans in the air -- the money has, from December has about run out. And, unfortunately, the Congress' delay, attempt to hold hostage this bill, so they could compel unnecessary spending, does put at risk certain activities. And we are preparing contingency plans. Certain purchases at TSA might have to be delayed. And in the defense area, some maintenance might have to be proposed, some training exercises. And this is all so unnecessary. So we would hope that, still, that the Congress would trim the fat and send the bill. And failing that, as I said, we offered them billions in offsets if it helped, so that they could have extras that they found important. Q If I could just follow up. Did you indicate again to them today a Presidential veto threat that they say scuttled the meetings this morning? DIRECTOR DANIELS: No, and I don't even know what they're talking about there. The President has made it plain for 113 days that the amount of money he asked for was all he thought was necessary. And we've tried and tried and tried to accommodate their interests inside that number. But nothing new was said, no conversations about vetoes today. Q What elements of your original request were you willing to trim, in order to get it down to an acceptable figure? DIRECTOR DANIELS: Well, we were -- we really asked them to have a look at many elements. For instance, economic grants, national economic grants, which are aimed at unemployment and training and so forth, there's not time left between now and the remaining 80 days to get all those out the door. We could -- they had already sought to trim that, we said that could be trimmed still further. The best example is there's more money, by far, than can be spent on personnel and expense -- and personnel related expenses, because many of the departments that are growing in the homeland security area can't hire people fast enough. And that money should be easy to cancel. Q Mr. Director, when you put out the numbers for the budget in February, if I understand this correctly, the OMB set of numbers assumes the President's policies being enacted, is that correct? DIRECTOR DANIELS: Yes. Q One of the things that you proposed in February with the budget was a total of $591 billion worth of revenue measures. It doesn't appear that Congress is going to enact such measures this year. Do your numbers still assume the President's call in February for those kinds of revenue reductions, or do they not? DIRECTOR DANIELS: They do, Bud. They have very, very little effect any time soon. They are at the end of the time period, but they do. Q Coming back to the supplemental, you mentioned that you may have to scale back some training and maintenance at DOD. And TSA you may have to curb some of the spending there. Could you be a little more specific on what could happen to that agency? DIRECTOR DANIELS: It's in part a matter of some large contracts. They're trying to -- they've done a fabulous job over there, trying to put together a large and complex operation in short time, meet certain deadlines in the law Congress passed. And there are some large contracts that have to be led along the way, for hiring and also for equipment. And some of those may have to be postponed. Q Would you have to go back to Congress then and ask them to extend the deadlines, because they're running up against November and December 31st deadlines to get the equipment in place? DIRECTOR DANIELS: Well, we're not there yet. We don't know. I know they're still working very hard to meet the deadlines. For other reasons, there are things about the original law that probably do need to be adjusted. It was a good -- a great job of legislation under the circumstances, but we know a lot more now than we did just a couple months after September 11th. Q You said that in Defense and TSA were the areas where you were close to running out of money. What are the areas where you actually had more money than you wanted to? DIRECTOR DANIELS: Almost everywhere else. There's money in almost every Department of government. And we have -- let me explain it maybe this way: Defense, at the end of May, had used 76 percent of its supplemental money from December. And so something in excess of that by now. The rest of government had only used 39 percent of the money. And many, many departments had used 10 or 20 percent. So it will not be possible to spend all that money by September 30th. And, again, in an attempt to be helpful and to make room for preferences of the appropriators, we offered to rescind some of that money. It would be real money, real savings to the American taxpayer and I still hope it's something we could agree on. Q Yesterday at the White House briefing, Ari painted very dire consequences if this doesn't happen. He talked about furloughs and even naval deployments that defer -- resulting in some disruption in naval deployments. If this would result in such dire consequences to homeland security, why wouldn't the President do whatever it takes to assure that this isn't jeopardized? DIRECTOR DANIELS: Well, the President and the Secretary of Defense and Secretary of Transportation and all other responsible members of the administration will do what it takes to see that vital security -- national and homeland -- activities move forward. We've done an awful lot already during the 113 days we've waited. But the President, respectfully, does not intend to be held hostage for more spending, particularly when we don't even need all that we originally asked for. Q So he's willing to have, like, the veterans not receive their disability payments and baggage screeners not to be hired and several military personnel possibly not to receive payments, furloughs -- he's willing to have all that happen over $4 billion -- DIRECTOR DANIELS: No, he's not willing to have that happen. He's willing to do it and take other measures and maybe find other ways to see that it -- legislatively to see that it doesn't happen, you know. But this is all, again, so unnecessary; 113 days, $27 billion, lots of money, should not have been necessary to prove some sort of point and try to force the President to take $4 billion or $5 billion extra. Q How are you projecting '03 revenues when compared to '02? DIRECTOR DANIELS: Up between 5 and 6 percent over the whole time period, I believe, Alan. From 2002 to 2003 specifically, up by 8.7%. Q So you're projecting a 5 6 percent decline '01 to '02. What accounts for that turnaround? DIRECTOR DANIELS: Well, it's almost -- it's axiomatic in economic recovery that revenues bounce back, and they usually bounce back much more sharply than that following a recession. But here, too, again we have assumed a relatively modest snap back for the reasons we've been discussing. Q But along those lines and in light of just the events of the last two to three weeks, would you think that a re-examination needs to be taken now, since you made that -- DIRECTOR DANIELS: Well, I think we'll keep examining it all the time, Jonathan, absolutely. Q A clarification on homeland security. This document assumes no additional spending for the Department, even though the administration has talked about transition. DIRECTOR DANIELS: Yes, on a net basis, that's right. Q (Inaudible.) DIRECTOR DANIELS: Yes, with the new Department. I remind you that we've requested an enormous increase for the -- between $10 billion and $15 billion -- for '03. There's just an astonishing amount of new money. And I'll also tell you we're already beginning to find what -- the first of what I know will be a long list of duplications and economies. And within the next day or two, for instance, we will be suspending or freezing temporarily a host of redundant information technology investments all aimed at building communications infrastructure. This new department should have one world-class infrastructure. And on the books right now are plans totalling between $1 billion and $2 billion. And so a review board has been constituted to pick the best of those and to move forward with one plan. This move alone will save hundreds of millions of dollars. We have the same thing coming right behind it in financial systems where, again, we don't need dozens but, rather, one. And so the new Department, when all is said and done, there may be some near-term transition costs offset later, but there are going to be very, very large savings and also an enormous amount of new money requested from which to fund transition. Q Back on the sup -- two Republicans today, Young and Stevens, said the President was being ill-served by you. What's your response? DIRECTOR DANIELS: Oh? (Laughter.) One day soon, Alan, I think I'll bleed to death through the tongue, I've been biting it so much, and I will today. Well, I leave that to their judgment. They're both excellent gentlemen; everybody involved is. I just think it inheres in the job. I've told some friends lately that I think the President chose the wrong nickname in my case, and that he might instead have chosen pinata -- (laughter) -- because I think some folks think if they can knock my head off, all the goodies in town will fall out. (Laughter.) I think it just inheres in the job. And the real dispute here is between folks who I guess sincerely believe much more money should be spent, and the President, who feels there must be a limit, that we must bend this recent trend line, that we must move back towards balanced budgets. That's the dispute. I'm simply his instrument. But he has a 75 percent approval rating, and I don't. And so in their shoes, I think I would aim my criticism at me, too. Q Director, I have a sort of non-budget related question. In last night's Treasury-Postal bill on the Senate side, they included a provision that said you can't put any numbers to the competitive sourcing. Does that thwart your efforts in the management agenda? Would you recommend the President veto that bill? DIRECTOR DANIELS: Oh, I'm sorry, it's the bill that was offered the other day? Yes, we would recommend a veto of any such bill. It's very important that we begin, or begin again, to capture for the taxpayer both the better service and the economy and efficiency that can come through competition for those services that are suited to it. We're still, to too great an extent in the federal government, cutting our own grass, doing our own laundry, our own printing, and things that are available through the private sector. And there ought to be a competition. We don't care who wins. It's fine if the incumbent federal agencies win, as long as we get a better deal for taxpayers. That's an important initiative, and we would oppose any bill that attempts to stop it. Q Do you see any risk in your future that due to the aggravation of fiscal condition, the long-term interest rate goes up and the consequently discourage the capital spending and the rate the economy recovery? DIRECTOR DANIELS: I don't see that. It follows along the line of the question we had earlier. Again, interest rates, mortgage rates all at historic lows right now. And, in fact, the deficits we're looking at, whether you favor our projection or even some of those that have a slightly higher deficit for the next couple three years, are historically pretty low, measured against a $10.4 trillion economy, much lower than those that we've suffered in the past. So even if -- and to date we don't have any evidence of this -- but even if there is some causal relationship, I don't see any great risk. Q Mr. Director, as you know, the Senate has yet to spend an -- set an FY '03 spending cap through a budget resolution or other means. A few weeks ago they came within one vote of committing a vote on a cap that would have been higher than what the administration has proposed. So there is some support for that, apparently, in the Senate. Are there any negotiations underway with Senator Conrad or others in the Senate where the administration might agree to a number that's higher than the 759, but lower than the 768 the Senate seemed about to -- ready to embrace, and which the Appropriations Committee over there has embraced? DIRECTOR DANIELS: I've had many conversations with Senator Conrad about it, and appreciate his continuing interest in finding a new or a renewed control mechanism. The President agrees with that. Once again, the price tag was not acceptable -- the price tag for controls that might have helped. It gave no guarantee of control, but might have helped. The price tag was -- fairly measured, was $20 billion, and that's hundreds of billions over the years. That wasn't something that the President found acceptable. Q Senator Lott had indicated that he might support a 764-65 number. I'm wondering if that's leading the way to the administration? Might you support a number that's midway between the two, in an effort to get a Senate spending cap? DIRECTOR DANIELS: We'd like to see a spending cap at the levels that the House has voted for already. That would also, by the way, ensure a quick agreement between the bodies. Once again, at those levels, we are increasing spending 10 percent this year, due to circumstances. And I would hope that eventually the Congress would agree that that's really all we should be doing, especially in view of the difficulty we're having at the bottom line. Q At those levels, many of the House appropriators, your friends, say that they don't have a schedule to move some of their bills because they don't believe they can pass them, and they are seeing gridlock in September. How do you respond to that? DIRECTOR DANIELS: Well, I never presume to tell them how to do their business. I can just come back to the facts that the President has asked for money, he's asked for healthy increases. He's not asking that they do anything that state governments or U.S. federal governments during wartime before have not routinely done. And so we hope that they will think harder about that. Q Are you concerned at all that they have no plans presently to advance bills like Labor HHS? DIRECTOR DANIELS: The one bill that the President has concerns about is the Defense bill. It ought to be passed, we ought to have certainty. We ought to have the assurance of funding. The House has moved. We thank Chairman Young and the Speaker for that. And we do hope that the Senate will. And there seems to be some intent to do that. That the President has very serious interest in seeing happen quickly. And then we'd like to work out the rest, but all in the proper order. Q Earlier you were talking about postponing some of the infrastructure buys at TSA. Then you mentioned the consolidation of the IT infrastructure buys at the new Department of Homeland Security. One of the big infrastructure buys at TSA is their IT infrastructure. How will, if they have nothing -- how does that fit together? How do you save the millions, if you have this $1 billion buy plan? DIRECTOR DANIELS: Well, they're really independent questions. One is being forced on us by circumstance for the moment. The other makes sense anyway, for the reasons I gave. And it's important that, again, that TSA and the rest of the new Department have the best possible communication. And there needs to be, again, one network. The worker at the airport in LaGuardia ought to be able, if she needs, to immediately contact someone at the Port of Los Angeles or at the border station in Texas or at the agricultural inspection station in Canada, and so on and so forth. And so you're quite right. They had a proposal on the street for a $1.4 billion investment over the next seven years. And, meanwhile, there are high quality infrastructures available. And some of it is Customs and INS and some other places. And this board needs to look and decide on which platform to build, and obviously not continue building on several at the same time. Q Can you talk a little bit about the board that you just mentioned, and any specifics about what infrastructure they're leaning toward in the new Department of Homeland Security? DIRECTOR DANIELS: I can only tell you these are IT professionals from some other departments that are coming together to be teammates in the new department. And I hope it will be the first of many good exercises for creating a new team and a new unified department. But we can get you some more information, it's early day. END 3:23 P.M. EDT
7770	dbpedia	2	85	https://www.14news.com/story/3618761/indiana-governor-mitch-daniels-in-evansville/	en	Indiana Governor Mitch Daniels In Evansville	https://www.14news.com/p…s/wfie.svg?d=427	https://www.14news.com/p…s/wfie.svg?d=427	[ "https://gray-wfie-prod.cdn.arcpublishing.com/resizer/v2/YQ7HIV4LUZFJXNCR6IMJDSHNOI.jpg?auth=287ab134a0dba07295ebcc2bb9935ba3f4d38a3d897387f7cbb81db1ebe49552&width=800&height=450&smart=true", "https://gray-wfie-prod.cdn.arcpublishing.com/resizer/v2/35TBJ23YSBADVBBBAZEJ7IVVGI.png?auth=a9e7210ae2f073b541367acb36d553273fdad356b9407f05613e97172ab1d6bb&width=800&height=450&smart=true", "https://gray-wfie-prod.cdn.arcpublishing.com/resizer/v2/PI4YOMLLHJAPFJP5HQAEXGQBSQ.png?auth=2e9e31a8ecf3120b83ea844bc7b81f81930278049751294b0647c812e3ec56e3&width=800&height=450&smart=true", "https://gray-wfie-prod.cdn.arcpublishing.com/resizer/v2/JUIJHZ2RYBDK7EHLMTS4TVVLCI.jpg?auth=ae48b88d8a4c1716433b23458aaa653bffbbd68a1e862e92105685476a5c5b4e&width=800&height=450&smart=true", "https://gray-wfie-prod.cdn.arcpublishing.com/resizer/v2/XFMUF4WDGNDABCU36XYNQEZL7Q.PNG?auth=e44963f6ad801270b08fa7964350f09ebbf47909728e6141c59a5bb757242fb4&width=800&height=450&smart=true", "https://gray-wfie-prod.cdn.arcpublishing.com/resizer/v2/DNLXBM2KL5B25CDKGA5PN3JVZQ.png?auth=a890d0902b1f25c87b04e7bfca26372995591e4d79666254a198a927cb137eca&width=800&height=450&smart=true", "https://gray-wfie-prod.cdn.arcpublishing.com/resizer/v2/R7JGGVW4XRDZ7I7RBLNK5RMJLM.JPG?auth=c0ebd502c022d3b4d086ab6f0d8927c18159fba4f0ea2788a955fb1373ac470e&width=800&height=450&smart=true", "https://gray-wfie-prod.cdn.arcpublishing.com/resizer/v2/ZZ5IFYMPHJG2XBU7RDOASY6XKY.png?auth=52d144b68746910086d231ea669601b28a2dae51df7f4177fd5064e87eff1ad7&width=800&height=450&smart=true" ]	[]	[]	[ "" ]	null	[ "14 News WFIE Evansville" ]	2005-07-20T22:39:43+00:00	Governor says it's up to Indiana counties to tell Feds if they want to change time zones	en	//webpubcontent.gray.tv/gray/arc-fusion-assets/images/favicons/wfie/favicon.ico?d=427	https://www.14news.com	https://www.14news.com/story/3618761/indiana-governor-mitch-daniels-in-evansville/	Indiana Governor Mitch Daniels was in Evansville Wednesday, the end of the three-day trip to cities and town in the southwestern part of the Hoosier State. This morning, Daniels met with reporters, answering question for more than 30 minutes, about a variety of issues, including President Bush's Supreme Court nomination and the what's next for Daylight Saving Time in Indiana. Daylight Saving Time was turned into a political hot potato for the first-term governor. In April, the Indiana General Assembly made history when, after decades of saying no, finally said yes to statewide observance of the time policy. The vote passed when Vincennes state representative Troy Woodruff (R), literally at the eleventh hour, voted in favor of the measure. However, Dave Crooks (D-Washington), had placed language in the bill that required the governor to ask the U.S. Department of Transportation to hold hearing time zones in Indiana. Crooks, who was removed from the conference committee working out language on the House version of the bill, wants to see all of Indiana observing Central Time. This week, DOT sent Daniels a letter, saying officials from each county who want to change time zones in their areas, would have to notify the federal agency, which would then decide if a hearing should be held. "It's going to be a bottom-up process," Daniels said. "Now is the time for people to speak up and indicate if people would like to move from one time zone to another." When asked if Indiana could end up a crazy quilt of time zones with adjacent counties on different times, Daniels said DOT has requirements for areas in each time zone. "That clearly will not happen," Daniels said. "One of the dictates of the statute that they operate under is that they don't leave islands for the kind of … patchwork arrangement that would otherwise occur. The Central Time zone may well expand from west to east … but it will be in a logical pattern." When asked if kicking the controversial question of time zones back to the county level was a way for Daniels to dodge a political football, the governor said, "I just think it would be absolutely the wrong thing for anybody to sit in Indianapolis or anywhere else and try to dictate this answer. The issue that I addressed as a candidate and then as governor, was the one that was costing us jobs and income. And that was not the location of the time zone line but the half and half system that Indiana, and only Indiana, operated." Daniels said the number one priority was to grow jobs in the state. "Exactly where the time zone line ought to be I think is the quintessential question which ought to start at the local level and let people everywhere speak to it themselves" Daniels was asked if he wanted to keep the decision at a local level, why did he contact the federal government. "I was just trying to help them understand the geography of Indiana, I was just trying to speed the process along. I like the idea, frankly, of them soliciting lots of information before the set that schedule," Daniels said. Daniels was asked about the progress of the I-69 extension that would provide a direct link between Evansville and Indianapolis. "We're out to advance the schedule any way we can," Daniels said. A group from the Indiana Department of Transportation and DOT are in Texas, according to Daniels, are in Texas, looking at private funding options that state has used. "The old way to build a road will be the slow way to build I-69," Daniels said. Daniels, a Republican who worked for the George W. Bush administration, made several points at the beginning of the press conference, including his support for President Bush's nomination for Supreme Court Justice of John Roberts, Jr. Roberts is a Washington D.C. Circuit Court judge, appointed in 2003, a Hoosier native and "someone I know." "This is just a home run appointment," Daniels said. "I cannot conceive of a reason other than blind partisanship that anyone would oppose this nomination."
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Mitch Daniels to be president of Purdue University	en	/apple-touch-icon.png	Los Angeles Times	https://www.latimes.com/archives/la-xpm-2012-jun-19-la-pn-gov-mitch-daniels-to-be-president-of-purdue-university-20120619-story.html	WASHINGTON -- Strike one name off the veepstakes list. Indiana Gov. Mitch Daniels, who briefly flirted with a presidential run last year, is slated to become president of Purdue University, according to Indiana media outlets. The university’s Board of Trustees will meet Thursday on the West Lafayette, Ind., campus to vote on its next president. Indiana TV station WISH first reported that Daniels was up for the job; it was then confirmed by the Indianapolis Star. The odds of Daniels securing the vote look good. Purdue is a public university and its Board of Trustees are appointed by the governor. Daniels has appointed eight of the ten current board members, three of whom were reappointed today. Daniels’ second term as governor will end in January. The governor’s office declined to comment on the reports to the Los Angeles Times/Tribune Washington bureau. Daniels pondered a bid to be president (of the United States, that is) for several months last year, urged by many in the Republican establishment who liked his record of fiscal conservatism. In May 2011, he said he would not enter the race, citing the “interest and wishes” of his family as his primary motivator for the decision. After Romney locked up the Republican nomination, Daniels’ name surfaced again — this time as part of the veepstakes parlor game that is an election year favorite among politics watchers. The Times/Tribune Washington Bureau’s Paul West, describing the various attributes a vice presidential pick can bring, noted Sunday that Daniels could play a “reinforcer” role, augmenting Romney’s problem-solving image. But Daniels played coy about running on the Romney ticket. He told Fox News’ Chris Wallace in April that if he were asked to be the running mate, he’d “demand reconsideration and send Mr. Romney a list of [other] people.” [For the Record, 2:19 p.m. PST June 19: This post has been updated to reflect that Daniels appointed eight of the 10 members of Purdue’s Board of Trustees, in accordance with Indiana law.]
7770	dbpedia	1	87	https://www.indystar.com/story/news/politics/2022/11/21/indiana-governor-race-2024-mike-braun-jennifer-mccormick-todd-rokita-mitch-daniels/69647188007/	en	From Mike Braun to Jennifer McCormick, here's who could run for Indiana governor in 2024	https://www.gannett-cdn.…=pjpg&width=1200	https://www.gannett-cdn.…=pjpg&width=1200	[ "https://www.gannett-cdn.com/appservices/universal-web/universal/icons/icon-instagram_24.png" ]	[]	[]	[ "" ]	null	[ "The Indianapolis Star", "Kaitlin Lange" ]	2022-11-21T00:00:00	Both the governor and one of Indiana's U.S. Senate seats will be on the ballot in 2024.	en	https://www.gannett-cdn.…ages/favicon.png	Indianapolis Star	https://www.indystar.com/story/news/politics/2022/11/21/indiana-governor-race-2024-mike-braun-jennifer-mccormick-todd-rokita-mitch-daniels/69647188007/	With the midterm election in the rearview mirror, Indiana politicians are turning their gaze to 2024, when Republican Gov. Eric Holcomb will be term-limited out of office. Both the governor and one of Indiana's U.S. Senate seats will be on the ballot that year, which means there's plenty of options for officials seeking a higher office, or just a new one. Multiple candidates had signaled they would announce whether or not they'd run after the midterm. For Republicans, the governor's office provides an opportunity to serve in a reliably red state, with a Republican-friendly legislative body. If a Republican can get past the primary, they have a good shot at wining the general election, based on recent election results, and accomplishing most of their agenda. Indiana politics:State senator joins Democrats in allowing vote on gay marriage bill Meanwhile, Democrats likely will have less interest among qualified candidates. No Democrat has been elected to the office since 2000, and in recent years getting elected as a statewide Democrat has proven challenging. In order to get on the ballot, primary candidates need 500 signatures from Hoosiers in each congressional district. Here are some of the major political players who could run for Indiana governor in 2024, based on conversations with Republican and Democratic insiders. The most likely are at the top of the list. Other less likely names have been thrown around as well, such as former U.S. Sen. Joe Donnelly, U.S. Rep. Jim Banks and Republican Party Chairman Kyle Hupfer. Eric Doden Former president of the Indiana Economic Development Corp. Eric Doden announced he was running as a Republican back in the middle of 2021. He's remained the only candidate to officially enter the race so far, though that could soon change. Doden, a Fort Wayne businessman, said he has raised more than $5 million so far, and has already released a digital ad that costed five figures. He also has contributed personal money to his campaign, but he doesn't have as much name recognition as some of the other options on the list. Doden currently serves as president of Pago USA, a company that restores buildings in downtown areas, and is a founding partner of both Domo Development LLC, a development company, and Domo Ventures LLC, a private equity firm. Jennifer McCormick Jennifer McCormick, the former Indiana superintendent of public instruction, hasn't been coy about the fact that she is considering running as a Democrat to be governor in 2024. The last time she ran for office in 2016, it was as a Republican, but she has since participated in numerous Democratic party events and endorsed Democratic candidates. Recently she's been active on Twitter, quote tweeting tweets with "2.0.2.4." She has formed an exploratory committee, and told IndyStar she hasn't made a firm decision but it "very, very interested." "I feel pretty confident that I will run," she said. "It's just a matter of timing." Suzanne Crouch Multiple Republican insiders say Republican Lt. Gov. Suzanne Crouch is running for governor. She's held a lengthy list of public offices, including as a former state representative and state auditor, which means she has the connections to ensure she's a formidable fundraiser. As of the end of June, she had $2.6 million in her campaign finance account. That would be important should she run against someone who can self-fund. "I'm seriously considering that opportunity to run for governor," she told IndyStar last week, "and will have an official announcement later this month or beginning of next month." Mike Braun Republican U.S. Sen. Mike Braun has long been rumored to be eying a gubernatorial campaign. He helped statewide candidates campaign for their own elections this cycle, a telling sign. Braun previously said he wouldn't make an announcement on whether or not he'd run for reelection to the U.S. Senate until after the midterms, so such an announcement about his political future could be coming in a matter of weeks. Braun also supported the losing Sen. Rick Scott against Sen. Mitch McConnell for minority leader, which could be a signal he's a short timer. "I'm going to make the decision based upon where I think I can have the most impact," Braun told reporters in January, "and I'll make that decision sometime post midterm." Braun, who was first elected against Democrat Sen. Joe Donnelly in 2018, will spend the next two years in a Democratic-controlled Senate which may sway his final decision some. His exit would also open up his U.S. Senate seat for potentially its own crowded field of candidates. A spokesman for his campaign told IndyStar he had no updates on if he had decided to run for governor. Thomas McDermott Fresh off a decisive defeat in the U.S. Senate race against Sen. Todd Young, Democratic Hammond Mayor Thomas McDermott said he is considering a gubernatorial run in 2024. He sees the position as a natural fit for his talents and experience as a longtime mayor. He also thinks it would be easier to fundraise enough to be competitive in a state office race, more so than it was in a federal race. "I'll be honest with you, ever since I first got involved in elected office, I've always aspired to be the governor," McDermott told IndyStar last week. "That doesn't mean I'm doing it, but it's something that's always interested me." Local city races are in 2023 though, so he'll have to decide quickly whether or not he wants to instead run for reelection. Trey Hollingsworth Republican U.S. Rep. Trey Hollingsworth, who was first elected to serve Indiana's 9th Congressional District in 2016, declined to seek reelection this year, leaving the question of what he would do next up in the air. "I want to be the change I want to see in this world, so, as I contemplate how I can work for you in new and better ways in the future, I won’t run for reelection this year," Hollingsworth said in an op-ed in January of this year when he announced his decision. "You deserve a member of Congress totally and completely focused on the 9th District, and, though I have remained committed to that promise these three terms, now I will fight for you and us in different ways." He was able to heavily finance his congressional run in 2016 with the help of his father, which means he likely would have the financial means to do so again for another position. He also, of course, could choose to seek Braun's Senate seat. Hollingsworth did not respond to questions through a spokesperson about whether or not he will run, but insiders say he hasn't done much recently to prepare for a campaign. Jim Merritt Former Indianapolis state Sen. Jim Merritt, a Republican, has long been interested in running for governor, though he acknowledged to IndyStar that going up against those who are self-funded or have already raised copious amounts of money would be challenging. "The governor thing has always been in my wheelhouse because of my 30 years (in the Statehouse)," Merritt said. "So yes, I'm giving it a lot of consideration. I'm making phone calls now." Merritt unsuccessfully challenged Indianapolis Democratic Mayor Joe Hogsett in 2019, decisively losing by more than 44 percentage points. Christina Hale Former Democratic Indianapolis state Rep. Christina Hale, who is the associate administrator for the Office of Communications and Public Liaison in the U.S. Small Business Administration, is another potential Democratic candidate for governor. She was competitive in Indiana's 5th Congressional District when she ran in 2020 before redistricting made it a safe Republican district. She lost by just over 4 percentage points, the closest a Democrat has come to winning in that district in recent years. She also was John Gregg's running mate in the 2016 gubernatorial race. Hale didn't rule out the idea of a gubernatorial run. "Democrats in Indiana are having important conversations about future elections and our party," she said in a statement to IndyStar. "I've really enjoyed hearing from a number of people around the state asking about my plans and ideas as well as sharing some of their own, too." Todd Rokita Republican Attorney General Todd Rokita has long been considered a contender for the 2024 gubernatorial bid, or the U.S. Senate should Braun decide not to seek reelection. He's remained involved politically by endorsing other candidates up and down the ballot, and remains outspoken on a range of hot-topic social and national issues. But should he decide to run for governor, he'd likely face some candidates who either can self-fund, such as Braun, or who already have shown they can fundraise, such as Crouch. Republican insiders think it's likely that he just runs for reelection and waits for a better opportunity to run for a different office. He already experienced a Senate loss to a self-funder in 2018 in the Republican primary when Braun took the nomination. A person familiar with his thinking said he should make a decision on what position he's running for within the next few months. Mitch Daniels There are plenty of people who want former Republican Gov. Mitch Daniels to run after he announced in June that he will be stepping down from his post as president of Purdue University, but much of that is likely wishful thinking from those who are loyal to Daniels. Two former Mitch Daniels aides created a Political Action Committee in August calling "Frugal Hoosiers for Mitch 2024," encouraging him to run for governor in 2024. So far, he hasn't said whether or not he will run. He already served as governor from 2005-2013, where he made a host of notable government reforms as the first Republican in the office since the 1980s. Daniels told Fox59 in September that he hadn't given much thought to whether he'd run for governor again, after he leaves Purdue at the close of the year. “I believe in springing through the tape. We’ve got four months of work to do," he said. "So there will be time to think about tomorrow when tomorrow comes.”
7770	dbpedia	3	71	https://thehill.com/homenews/senate/3830790-is-mitch-daniels-a-good-fit-for-the-senate-hes-trying-to-figure-that-out/	en	Is Mitch Daniels a good fit for the Senate? He’s trying to figure that out	https://thehill.com/wp-c…2ap_w.jpg?w=1280	https://thehill.com/wp-c…2ap_w.jpg?w=1280	[ "https://thehill.com/wp-content/themes/the-hill/assets/the-hill-logo-horizontal.svg", "https://i0.wp.com/thehill.com/wp-content/uploads/sites/2/2023/01/danielsmitch_091322ap_w.jpg?w=2000&ssl=1", "https://thehill.com/wp-content/uploads/sites/2/2024/08/Sunday-Shows-Preview-Harris.Trump-08.17.png?w=320&h=180&crop=1", "https://thehill.com/wp-content/uploads/sites/2/2024/08/AP24182804358469-e1723898293814.jpg?w=320&h=180&crop=1", "https://thehill.com/wp-content/uploads/sites/2/2024/08/AP24114744538841-e1723892333464.jpg?w=320&h=180&crop=1", "https://thehill.com/wp-content/uploads/sites/2/2024/07/AP24198650000714-e1721154153650.jpg?w=320&h=180&crop=1", "https://thehill.com/wp-content/uploads/sites/2/2024/08/A-BLOCK-THUMBv2.png?w=640&h=360&crop=1", "https://thehill.com/wp-content/uploads/sites/2/2024/08/FULL-SHOW-BLOCK-THUMB-8.png?w=320&h=180&crop=1", "https://thehill.com/wp-content/uploads/sites/2/2024/08/C-BLOCK-THUMB.png?w=320&h=180&crop=1", "https://thehill.com/wp-content/uploads/sites/2/2024/08/trump.jpg?w=320&h=180&crop=1", "https://thehill.com/wp-content/uploads/sites/2/2024/08/AP24223198716028-e1723300363789.jpg?w=360&h=180&crop=1", "https://thehill.com/wp-content/themes/the-hill/assets/thehill-logo-footer.svg", "https://thehill.com/wp-content/themes/the-hill/assets/mobile_download_badge_android.png", "https://thehill.com/wp-content/themes/the-hill/assets/mobile_download_badge_ios.png" ]	[]	[]	[ "indiana", "Jim Banks", "Mike Braun", "Mike Rounds", "Mitch McConnell", "Mitt Romney" ]	null	[ "Al Weaver" ]	2023-01-25T23:47:58+00:00	Editor’s note: This story has been updated to correct when Sen. Mitt Romney (R-Utah) spoke to Daniels about a possible run. Former Indiana Gov. Mitch Daniels (R) made a pilgrimage to Capitol Hill on Wednesday to meet with senators as he continues to weigh whether to take the plunge into the Indiana Senate race and…	en	https://thehill.com/wp-c…512px-1.png?w=32	The Hill	https://thehill.com/homenews/senate/3830790-is-mitch-daniels-a-good-fit-for-the-senate-hes-trying-to-figure-that-out/	Editor’s note: This story has been updated to correct when Sen. Mitt Romney (R-Utah) spoke to Daniels about a possible run. Former Indiana Gov. Mitch Daniels (R) made a pilgrimage to Capitol Hill on Wednesday to meet with senators as he continues to weigh whether to take the plunge into the Indiana Senate race and resume a role in political life he has largely eschewed in recent years. Daniels, the former two-term governor who recently wrapped up a decade serving as president of Purdue University, met with a number of GOP lawmakers and held a 45-minute sit-down with Senate Minority Leader Mitch McConnell (R-Ky.). In a brief interview with The Hill, Daniels said that he plans to make a decision “shortly” on a bid to succeed Sen. Mike Braun (R-Ind.) but is uncertain on a return to public life. Daniels, 73, said he’s spent “much more time out of public life than in it.” “I’ve always had action jobs, so I’ve always had great admiration and respect for people who follow the legislative path, but it’s not something I’ve done or, frankly, seen myself doing,” he added. “I’m just testing all that now because I’ve been asked to. People I admire have asked me to think about it, so I’m thinking.” If he chooses to run, Daniels would likely have to battle Rep. Jim Banks (R-Ind.) and potentially others in a primary. The GOP has struggled to convince governors to take the plunge; in the last campaign cycle, Senate Republicans failed to recruit to three governors — New Hampshire Gov. Chris Sununu (R), former Arizona Gov. Doug Ducey (R) and former Maryland Gov. Larry Hogan (R). All three indicated that they did not think they could make a difference in Washington compared to their positions as state executives. Sununu went so far as to directly blame the pitch Senate Republicans made to him, which centered on obstructing President Biden’s work until a Republican potentially wins the White House in 2024. Republicans arguably ended up with weaker nominees in New Hampshire and Arizona who lost, helping Democrats retain their majority. “People have been honest and open, and that’s what I was hoping they’d do. They’d tell me about what they enjoy about it, what’s occasionally difficult about it,” Daniels said of his meetings. He told reporters earlier in the day that Wednesday’s discussions were centered around the “life of a senator” and the possibility of winning “and regretting it for 6 years.” Sen. Todd Young (R-Ind.), who Daniels met with earlier in the day, told The Hill that Daniels “seemed uncertain” about a bid. “He’s genuinely and sincerely trying to figure out whether he wants to spend a year and a half auditioning for the job and six years in the job. He’s asking a lot of questions about the job itself,” Young said, adding that he’s “undecided — but very interested.” The winner in 2024 will replace Braun, who, ironically, is running for the governor’s mansion in Indianapolis. Braun said that while he keeps in contact with Daniels, he did not meet with him on Wednesday and questioned whether he would enjoy serving in the Senate at this point in his career. “As an entrepreneur and someone who has a metabolism rate that has to be at least minimally satisfied, this place is probably not the place to do it,” Braun said with a laugh, referring to himself. “The movers and shakers in this country are probably staying in the governor’s mansions and running businesses, and you can see the results here. They speak for themselves.” A number of former governors serving in the upper chamber believe Daniels would be an ideal fit. Sen. Mitt Romney (R-Utah), who served as Massachusetts governor from 2003 until 2007, said he has previously spoken with Daniels about a possible run and that he would make a “terrific candidate.” A Democrat, Sen. John Hickenlooper (Colo.), a two-term governor of his state, also offered a case for any governor, like Daniels, to run for the Senate. He noted that the Senate has had some bipartisan legislative successes that could convince former governors to run, including the infrastructure bill, gun safety reform, a children’s health insurance bill and the codification of same-sex marriage. “Maybe our success here the last couple of years is going to attract more governors. The experience of being a governor is directly applicable,” Hickenlooper said in an interview. “I think he is someone who is driven by a desire — almost a need — to serve,” he said of Daniels. “My guess is that he’ll look at it and think, ‘yeah, I was so cynical and hated it.’ He has great social skills. He’s a talented manager, obviously a very successful governor, but he also is a visionary and is capable of bringing people together and building these constituencies around specific issues, which is what this building is all about.” Hickenlooper was vocal about his lukewarm interest in running during the 2020 cycle given his gubernatorial past. However, he has changed his tune, saying that his time in the Senate has been “tremendously fulfilling.” “In every phase it has exceeded my expectations,” he said. To get to Washington, Daniels would face at least one formidable foe in Banks, who is backed by the Club for Growth — essentially set up a proxy war for the Republican Party between establishment figures and pro-Trump forces that got nasty even before Banks announced his campaign last week. Another Senate Republican said Daniels would fit in well in the upper chamber, but that it wouldn’t be free of consternation. “This is a case of where you have to go into it with your eyes wide open, recognizing you’re going to be frustrated. And that you do this because you’ve had the greatest job in the world, and now it’s payback,” Sen. Mike Rounds (R-S.D.), a former governor, told The Hill with a laugh. “This is what you give back.”
7770	dbpedia	3	4	https://www.wral.com/story/mitch-daniels-fast-facts/21350006/	en	Mitch Daniels Fast Facts	https://images.wral.com/…om_1920x1080.jpg	https://images.wral.com/…om_1920x1080.jpg	[ "https://wwwcache.wralsportsfan.com/asset/football/nfl/panthers/2024/08/17/21582497/66c1572bad0de-media_04a3d3fde0604dd5aba811df2d9e05fc-DMID1-63zpa1xoz-640x360.jpg", "https://wwwcache.wralsportsfan.com/asset/racing/nascar/2024/08/17/21582559/3257411-NASCAR00000000-DMID1-63zpqkdea-640x360.jpg", "https://wwwcache.wralsportsfan.com/asset/colleges/unc/2023/10/16/21099458/UNC-Miami-BAIRD-107-DMID1-60pdd9fo5-640x360.jpg", "https://wwwcache.wralsportsfan.com/asset/colleges/duke/2024/08/16/21580569/Dave_Feeley-DMID1-63z6v45y2-640x360.jpg", "https://wwwcache.wralsportsfan.com/asset/golf/pga/2024/08/17/21582293/66c12110a9a09-media_600a2d5124f84fb893ec8e529b5a1b6c-DMID1-63zmzkrlr-640x360.jpg", "https://images.wral.com/asset/news/2020/08/05/19220959/MicrosoftTeams-image__1_-DMID1-5vlk56yq2-1920x1080.jpg?w=640&height=360", "https://images.wral.com/asset/weather/2024/07/17/21529968/Latest_Forecast_Sponsored_1-DMID1-63nag60wz-3332x2000.jpg?w=640&height=360", "https://images.wral.com/asset/news/2006/11/29/16794176/Pick3-4_night-DMID1-5gkkl627r-1920x1080.jpg?w=640&height=360", "https://images.wral.com/asset/entertainment/lottery/2006/11/29/1075498/POWERBALL_FOR_WEB_4x3_safe-DMID1-5rywj4rlk-1920x1080.jpg?w=640&height=360", "https://wwwcache.highschoolot.com/asset/2024/08/17/21582302/radiance-44949-still-2024-08-17-20-06-53-DMID1-63zr149ms-640x360.jpg" ]	[]	[]	[ "" ]	null	[]	2024-03-27T16:04:14+00:00	Here’s a look at the life of Mitch Daniels, former governor of Indiana.	en	https://wwwcache.wral.co…avicon-48x48.png	WRAL.com	https://www.cnn.com/2013/02/17/us/mitch-daniels-fast-facts/index.html	Here’s a look at the life of Mitch Daniels, former governor of Indiana. Personal Birth date: April 7, 1949 Birth place: Monongahela, Pennsylvania Birth name: Mitchell Elias Daniels Jr. Father: Mitchell Daniels Sr., drug company salesman Mother: Dorothy Mae (Wilkes) Daniels Marriage: Cheri (Herman) Daniels (1997-present and May 20, 1978-1994, divorced) Children: Margaret, Meredith, Melissa and Meagan Education: Princeton University, B.A., 1971; Georgetown University, J.D., 1979 Religion: Presbyterian Other Facts Daniels is a motorcycle enthusiast and rides a Harley Davidson. Daniels has worked in the presidential administrations of Ronald Reagan and George W. Bush. He is known for being fiscally responsible, balancing Indiana’s budget in his first term as governor, cutting expenditures wherever possible and having a surplus over multiple years. Timeline 1971-1976 - Serves as aide and later adviser to Indianapolis Mayor Richard Lugar. 1977-1983 - Serves as chief of staff to Senator Lugar (R-Indiana). 1983-1984 - Executive Director of the National Republican Senatorial Committee (NRSC). 1985-1987 - Serves as senior adviser to President Reagan. 1987-1990 - Chief Executive Officer, Hudson Institute. 1990-2001 - Executive at Eli Lilly. 2001-2003 - Director of the Office of Management and Budget (OMB). 2004 - Is elected the 49th governor of Indiana. January 10, 2005-January 14, 2013 - Two-term Republican governor of Indiana. May 22, 2011 - Announces he will not be running for president in 2012. June 21, 2012 - Purdue University announces Daniels has been unanimously elected to be the school’s next president. His term begins on January 15, 2013. January 27, 2015 - Daniels writes a Wall Street Journal opinion piece, “How Student Debt Harms the Economy.” He writes that there is “evidence that it’s not just consumer spending that these debts are denting, but also economic dynamism.” November 28, 2016 - Is elected as a member of the Board of Directors for Norfolk Southern Corporation. June 10, 2022 - Purdue announces that Dr. Mung Chiang will replace Daniels as president of Purdue University on January 1, 2023. January 31, 2023 - In a statement, Daniels says he has decided against a 2024 Indiana Senate bid. March 28, 2023 - The Liberty Fund announces that Daniels will join the private educational foundation as a distinguished scholar and senior adviser, beginning on April 1. The-CNN-Wire™ & © 2024 Cable News Network, Inc., a Warner Bros. Discovery Company. All rights reserved.
7770	dbpedia	2	93	https://theysaidso.com/quotes/author/mitch-daniels	en	Mitch Daniels Quotes	https://theysaidso.com/b…icon-192x192.png	https://theysaidso.com/b…icon-192x192.png	[ "https://theysaidso.com/branding/theysaidso.50x50.png", "https://theysaidso.com/branding/theysaidso.png" ]	[]	[]	[ "quote", "theysaidso", "authors", "famous-quotes" ]	null	[ "Mitch Daniels" ]	null	Mitch Daniels Quotes	en	/branding/apple-icon-57x57.png	TheySaidSo	null	About They Said So® is a registered trademark of theysaidso.com. We exist to inspire, one mind at a time!
7770	dbpedia	2	1	https://www.nga.org/governor/mitch-daniels/	en	National Governors Association	https://www.nga.org/wp-c…hare_.light_.png	https://www.nga.org/wp-c…hare_.light_.png	[ "https://www.nga.org/wp-content/themes/nga/images/branding/logo.svg", "https://www.nga.org/wp-content/themes/nga/images/branding/logo.svg", "https://www.nga.org/wp-content/uploads/2018/10/MDANIELS.jpg", "https://www.nga.org/wp-content/uploads/2018/10/IN-MikePence-1.jpg", "https://www.nga.org/wp-content/uploads/2018/10/MDANIELS.jpg", "https://www.nga.org/wp-content/uploads/2018/10/KERNAN.jpg", "https://www.nga.org/wp-content/uploads/2018/10/FRANKOBANNON.jpg", "https://www.nga.org/wp-content/uploads/2018/10/PGBAYHIN.jpg", "https://www.nga.org/wp-content/uploads/2018/10/PGORRIN.jpg", "https://www.nga.org/wp-content/uploads/2018/10/bowen.jpg", "https://www.nga.org/wp-content/uploads/2018/10/PGWHITCOMBIN.jpg", "https://www.nga.org/wp-content/uploads/2018/10/PGBRANIGININ.jpg", "https://www.nga.org/wp-content/uploads/2018/10/PGWELSHIN.jpg", "https://www.nga.org/wp-content/uploads/2020/12/NGA-Logo-Brandmark-Dark-265x300.png" ]	[]	[]	[ "" ]	null	[ "www.facebook.com" ]	2018-10-31T00:29:16-04:00	Mitchell E. Daniels Jr. became governor of Indiana in January of 2005. Daniels was re-elected in 2008 to a second and final term, receiving more votes than any candidate for any public office in the state’s history. Prior to becoming governor, Daniels held numerous top management positions in both the private and public sectors. His …		https://www.nga.org/wp-c…ding/favicon.png	National Governors Association	https://www.nga.org/governor/mitch-daniels/	About Mitchell E. Daniels Jr. became governor of Indiana in January of 2005. Daniels was re-elected in 2008 to a second and final term, receiving more votes than any candidate for any public office in the state’s history. Prior to becoming governor, Daniels held numerous top management positions in both the private and public sectors. His was CEO of the Hudson Institute and president of Eli Lilly and Company’s North American Pharmaceutical Operations. He also has served as chief of staff to Senator Richard Lugar, senior advisor to President Ronald Reagan and director of the Office of Management and Budget under President George W. Bush. Daniels created the public-private Indiana Economic Development Corporation. He spearheaded a host of reforms aimed at improving the performance of state government. He also enacted the Healthy Indiana Plan to provide health care coverage for uninsured Hoosier adults and a sweeping property tax reform. Additionally, Daniels created Indiana’s Major Moves program, an aggressive 10-year transportation plan, to significantly improve and expand Indiana’s highway infrastructure. A total of $2.6 billion was committed to Major Moves from the long-term lease of the Indiana Toll Road. He earned a bachelor’s degree from the Woodrow Wilson School of Public and International Affairs at Princeton University in 1971 and his law degree from Georgetown University in 1979.
7770	dbpedia	0	12	https://kids.kiddle.co/Mitch_Daniels	en	Mitch Daniels facts for kids	https://kids.kiddle.co/i…itch_Daniels.jpg	https://kids.kiddle.co/i…itch_Daniels.jpg	[ "https://kids.kiddle.co/images/wk/kids-robot.svg", "https://kids.kiddle.co/images/wk/kids-search-engine.svg", "https://kids.kiddle.co/images/thumb/e/e4/Indiana_Governor_Mitch_Daniels.jpg/300px-Indiana_Governor_Mitch_Daniels.jpg", "https://kids.kiddle.co/images/thumb/f/f1/Mitch_Daniels_Signature.svg/128px-Mitch_Daniels_Signature.svg.png", "https://kids.kiddle.co/images/thumb/2/2c/Reagan_Contact_Sheet_C39260_%28cropped%29.jpg/300px-Reagan_Contact_Sheet_C39260_%28cropped%29.jpg", "https://kids.kiddle.co/images/thumb/a/a0/911-_President_George_W._Bush_with_Insurance_Representatives%2C_09-17-2001_%286124778524%29.jpg/300px-911-_President_George_W._Bush_with_Insurance_Representatives%2C_09-17-2001_%286124778524%29.jpg", "https://kids.kiddle.co/images/9/92/Mitch_Daniels_for_Governor_Logo_2004.gif", "https://kids.kiddle.co/images/thumb/b/ba/Mitch_Daniels_at_Camp_Arifjan%2C_Kuwait%2C_April_16%2C_2006.jpg/230px-Mitch_Daniels_at_Camp_Arifjan%2C_Kuwait%2C_April_16%2C_2006.jpg", "https://kids.kiddle.co/images/thumb/8/8d/Indiana_National_Guard.jpg/300px-Indiana_National_Guard.jpg", "https://kids.kiddle.co/images/thumb/7/7a/MitchDanielsOfficialHeadshot.jpg/230px-MitchDanielsOfficialHeadshot.jpg", "https://kids.kiddle.co/images/thumb/3/38/FEMA_-_35668_-_FEMA_Administrator_Paulison_with_Indiana_Governor_Daniels_at_Press_Conference_in_Indiana.jpg/300px-FEMA_-_35668_-_FEMA_Administrator_Paulison_with_Indiana_Governor_Daniels_at_Press_Conference_in_Indiana.jpg", "https://kids.kiddle.co/images/thumb/b/b3/Purdue_University_President_Mitch_Daniels_talks_with_Agriculture_Secretary_Tom_Vilsack_in_2014.jpg/300px-Purdue_University_President_Mitch_Daniels_talks_with_Agriculture_Secretary_Tom_Vilsack_in_2014.jpg", "https://kids.kiddle.co/images/thumb/5/5f/Kids_robot.svg/60px-Kids_robot.svg.png", "https://kids.kiddle.co/images/wk/kids-search-engine.svg" ]	[]	[]	[ "" ]	null	[]	null	Learn Mitch Daniels facts for kids	en	/images/wk/favicon-16x16.png		https://kids.kiddle.co/Mitch_Daniels	Mitchell Elias Daniels Jr. (born April 7, 1949) is an American academic administrator, businessman, author, and retired politician who served as the 49th governor of Indiana from 2005 to 2013. A Republican, he later served as president of Purdue University from 2013 until the end of 2022. Daniels began his career as an assistant to senator Richard Lugar, working as his chief of staff in the Senate from 1977 to 1982. He was appointed executive director of the National Republican Senatorial Committee when Lugar was chairman from 1983 to 1984. He worked as a chief political advisor and as a liaison to President Ronald Reagan in 1985. He then moved back to Indiana to become president of the Hudson Institute, a conservative think tank. He later joined Eli Lilly and Company where he served as president of North American Pharmaceutical Operations from 1993 to 1997 and as senior vice president of corporate strategy and policy from 1997 to 2001. In January 2001, Daniels was appointed by President George W. Bush as the director of the U.S. Office of Management and Budget, where he served until June 2003. Daniels ran in Indiana's 2004 gubernatorial election after leaving the Bush administration. He won the Republican primary with 67% of the vote and defeated Democratic incumbent Governor Joe Kernan in the general election. In 2008, Daniels was reelected to a second term, defeating Jill Long Thompson. During his tenure, Daniels cut the state government workforce by 18%, cut and capped state property taxes, balanced the state budget through austerity measures and increasing spending by less than the inflation rate. In his second term, Daniels saw protest by labor unions and Democrats in the state legislature over Indiana's school voucher program, privatization of public highways, and the attempt to pass 'right to work' legislation, leading to the 2011 Indiana legislative walkouts. During the legislature's last session under Daniels, he signed a 'right-to-work law', with Indiana becoming the 23rd state in the nation to pass such legislation. It was widely speculated that Daniels would be a candidate in the 2012 presidential election, but he chose not to run. Daniels was selected by the Trustees of the Board of Purdue University, all of whom he appointed or re-appointed while Governor, to become the university president after his term as governor ended on January 14, 2013. He retired as Purdue president on January 1, 2023. Early life Family and education Mitchell Elias Daniels Jr. was born on April 7, 1949, in Monongahela, Pennsylvania, the son of Dorothy Mae (née Wilkes) and Mitchell Elias Daniels. His father's parents were Syrian immigrants from Qalatiyah, Syria, of Antiochian Greek Orthodox descent. Daniels has been honored by the Arab-American Institute with the 2011 Najeeb Halaby Award for Public Service. His mother's ancestry was mostly English (where three of his great-grandparents were born). Daniels spent his early childhood years in Pennsylvania, Tennessee, and Georgia. The Daniels family moved to Indiana from Pennsylvania in 1959 when his father accepted a job at the Indianapolis headquarters of the pharmaceutical company Pitman-Moore. The 10-year-old Daniels was accustomed to the mountains, and he at first disliked the flatland of central Indiana. He was still in grade school at the time of the move and first attended Delaware Trail Elementary, Westlane Junior High School, and North Central High School. In high school he was student body president. After graduation in 1967, Daniels was named one of Indiana's Presidential Scholars—the state's top male high school graduate that year—by President Lyndon B. Johnson. In 1971, Daniels earned a Bachelor's degree from the Woodrow Wilson School of Public and International Affairs at Princeton University after completing a senior thesis titled "The Politics of Metropolitanization: City-County Consolidation in Indianapolis, Indiana". While at Princeton, he was a member of the American Whig–Cliosophic Society, where he overlapped with future Supreme Court Justice Samuel Alito, who was a year below. He initially studied law at the Indiana McKinney School of Law in Indianapolis. After accepting a job with newly elected Senator Richard Lugar, he transferred to the Georgetown University Law Center, from which he earned a Juris Doctor. Early political career Daniels had his first experience in politics while still a teenager when, in 1968, he worked on the unsuccessful campaign of fellow Hoosier and Princeton alumnus William Ruckelshaus, who was running for the U.S. Senate against incumbent Democrat Birch Bayh. After the campaign, Daniels secured an internship in the office of then-Indianapolis mayor Richard Lugar, a Ruckelshaus ally. Daniels worked on Lugar's re-election campaign in 1971, and later, in 1974, he worked on Lugar's first campaign for Senate via L. Keith Bulen's Campaign Communicators, Inc, a political consultancy where Daniels served as vice president. Daniels joined Lugar's mayoral staff in December 1974. Within three years, he became Lugar's principal assistant. After Lugar was elected to the U.S. Senate in 1976, Daniels followed him to Washington, D.C., as his Chief of Staff. Daniels served as Chief of Staff during Lugar's first term (1977–1982), and, during this time, he met Cheri Herman, who was working for the National Park Service. The two married in 1978 and had four daughters. They divorced in 1993 and Cheri married again; Cheri later divorced her second husband and remarried Daniels in 1997. In 1983, when Lugar was elected chairman of the National Republican Senatorial Committee, Daniels was appointed its executive director. Serving in that position (1983–84), he played a major role in keeping the GOP in control of the Senate. Daniels was also manager of three successful re-election campaigns for Lugar. In August 1985, Daniels became chief political advisor and liaison to state and local governments for President Ronald Reagan. In 1987, Daniels returned to Indiana as president and CEO of the Hudson Institute, a conservative think tank. In 1988, Dan Quayle was elected Vice President of the United States, and Indiana governor Robert D. Orr offered to appoint Daniels to Quayle's vacant Senate seat. Daniels declined the offer, saying it would force him to spend too much time away from his family. Daniels led the Reagan administration's response to the Supreme Court's ruling on the Fair Labor Standards Act, and advocated limiting the power of the federal government in defining overtime rules for state and local governments, summing up his position by asking "What business is it of the Federal Government to tell localities how to structure their personnel practices?". While serving as the executive director of the Senate Republican campaign committee, Daniels expressed concern about the honesty of Illinois elections saying in 1984, "ballot integrity will be the single most decisive factor in the Illinois Senate race", a theme Daniels has returned to throughout his career. Eli Lilly In 1990, Daniels left the Hudson Institute to accept a position at Eli Lilly and Company, the largest corporation headquartered in Indiana at that time. He was first promoted to President of North American Operations (1993–97) and then to Senior Vice President for Corporate Strategy and Policy (1997–2001). During his tenure Lilly pleaded guilty to two criminal misdemeanors, paid more than $2.7 billion in fines and damages, settled more than 32,000 personal injury claims—and copped to one of the largest state consumer protection cases involving a drug company in U.S. history. Eli Lilly experienced dramatic growth during Daniels's tenure at the company. Prozac sales made up 30–40% of Lilly's income during the mid-to-late 1990s, and Lilly doubled its assets to $12.8 billion and doubled its revenue to $10 billion during the same period. When Daniels later became governor of Indiana, he drew heavily on his former Lilly colleagues to serve as advisers and agency managers. During the same period, Daniels also served on the board of directors of the Indianapolis Power & Light (IPL). He resigned from the IPL Board in 2001 to join the federal government, and sold his IPL stock along with all other holdings in order to comply with federal ethics requirements. Later that year the value declined when Virginia-based AES Corporation bought IPL. Office of Management and Budget On December 22, 2000, President-elect George W. Bush announced that he would nominate Daniels to serve as the director of the Office of Management and Budget. and was confirmed by the United States Senate by a vote of 100–0 on January 23, 2001. In this role he was also a member of the National Security Council and the Homeland Security Council. During his time as the director of the OMB, Daniels sought to restrict congressional spending, saying Congress's motto apparently is "Don't just stand there, spend something." During his tenure he was criticized by Republicans and Democrats alike. After his first year in office Senator Ted Stevens, then the ranking member of the United States Senate Committee on Appropriations, suggested 'the best thing Daniels could do to repair relations with congress was to go back to Indiana'. Representative Bill Young, then chairman of the United States House Committee on Appropriations complained about Daniels' leadership saying ''I'm convinced the director of O.M.B. is only concerned about numbers ... and he has no concern about what those numbers do or do not do for the country, for our military, for our security." Then HHS Secretary Tommy Thompson complained that Daniels's office would reject a proposal "nine times out of 10, just to show you who the boss is". The $2.13 trillion budget Daniels submitted to Congress in 2001 would have made deep cuts in many agencies to accommodate the tax cuts being made, but few of the spending cuts were actually approved by Congress. Shortly after the invasion of Afghanistan, Daniels gave a speech to the National Press Club in which he challenged the view of those who wanted to continue typical spending while the nation was at war. "The idea of reallocating assets from less important to more important things, especially in a time of genuine emergency, makes common sense and is applied everywhere else in life," he said. Despite such efforts, during Daniels's 29-month tenure in the position, the projected federal budget surplus of $236 billion ballooned to a $400 billion deficit, due to the recession of 2001, tax cuts, the War in Afghanistan (2001–present), and Iraq War. Nobel economics Laureate Paul Krugman noted Daniels is "held up as an icon of fiscal responsibility" without having earned it. Commenting on Daniels leadership he wrote "what I can't forget is his key role in the squandering of the fiscal surplus Bush inherited. It wasn't just that he supported the Bush tax cuts; the excuses he made for that irresponsibility were stunningly fraudulent. So I just can't take his current pose of deficit hawkishness seriously." Following the September 11, 2001 attacks, Congress passed legislation authorizing the creation of the Department of Homeland Security. Just before the legislation was signed by Bush, Republican lawmakers inserted language into the bill that authorized protection from liability corporations that manufactured thimerosal, a controversial vaccine preservative that has been the subject of multiple lawsuits. Eli Lilly was once the largest maker of thimerosal and is a major target of the lawsuits. Daniels was the budget director at the time of the bill's passing and some have raised concerns over potential conflicts of interest. Congress repealed the thimerosal provision following expressions of public displeasure. Conservative columnist Ross Douthat stated in a column about Daniels's time at OMB that Daniels "carried water, as director of the Office of Management and Budget, for some of the Bush administration's more egregious budgets." But Douthat, while calling Daniels "America's Best Governor", defended Daniels against accusations that Daniels inaccurately assessed the costs of the Iraq war. In 2002, Daniels helped discredit a report by Assistant to the President on Economic Policy Lawrence B. Lindsey estimating the cost of the Iraq War at between $100-$200 billion. Daniels called this estimate "very, very high" and stated that the costs would be between $50-$60 billion. At the time Daniels would not provide specific costs for either a long or a short military campaign against Saddam Hussein, saying the administration was budgeting for both. The failure to provide long term cost estimates led opponents to claim that Daniels and the administration had suggested the entire war would cost less than $60 billion. The CBO has estimated the total cost of the war in Iraq to U.S. taxpayers will be around $1.9 trillion if it was carried on until 2017. Three months later, on March 25, 2003, five days after the start of the invasion, President Bush requested $53 billion through an emergency supplemental appropriation to cover operational expenses in Iraq until September 30 of that year. According to the Congressional Budget Office, Military operations in Iraq for 2003 cost $46 billion, less than the amount projected by Daniels and OMB. Douthat and other defenders of Daniels accuse Daniels's critics of mischaracterizing the six-month supplemental appropriation as a request to fund the entire war. The costs of the Iraq war have exceeded $800 billion. Between September 2001 and October 2012, lawmakers appropriated about $1.4 trillion for operations in both the war in Iraq and Afghanistan. On May 7, 2003, Daniels announced that he would resign as OMB director within 30 days in a move that Bush administration officials said was to prepare to run for governor of Indiana. 49th Governor of Indiana Election campaign Main article: 2004 Indiana gubernatorial election Daniels's decision to run for Governor of Indiana led to most of the rest of Republican field of candidates dropping out of the race. The only challenger who did not do so was conservative activist and lobbyist Eric Miller. Miller worked for the Phoenix Group, a Christian rights defense group. Daniels's campaign platform centered on cutting the state budget and privatizing public agencies. He won the primary with 67% of the vote. While campaigning in the general election, Daniels visited all 92 counties at least three times. He traveled in a donated white RV nicknamed "RV-1" and covered with signatures of supporters and his campaign slogan, "My Man Mitch". "My Man Mitch" was a reference to a phrase once used by President George W. Bush to refer to Daniels. Bush campaigned with Daniels on two occasions, as Daniels hoped that Bush's popularity would help him secure a win. In his many public stops, he frequently used the phrase "every garden needs weeding every sixteen years or so"; it had been 16 years since Indiana had had a Republican governor. His opponent in the general election was the incumbent, Joe Kernan, who had succeeded to the office upon the death of Frank O'Bannon. The 2004 election was the costliest in Indiana history, up until that time, with the candidates spending a combined US$23 million. Daniels won the election, garnering about 53% of the vote compared to Kernan's 46%. Kernan was the first incumbent governor to lose an election in Indiana since 1892. First term On his first day in office, Daniels created Indiana's first Office of Management and Budget to look for inefficiencies and cost savings throughout state government. The same day, he decertified all government employee unions by executive order, removing the requirement that state employees pay union dues by rescinding a mandate created by Governor Evan Bayh in a 1989 executive order. Dues-paying union membership subsequently dropped 90% among all state employees. Budgetary measures In his first State of the State address on January 18, 2005, Daniels put forward his agenda to improve the state's fiscal situation. Indiana has a biennial budget, and had a projected two-year deficit of $800 million. Daniels called for strict controls on all spending increases and reducing the annual growth rate of the budget. He also proposed a one-year 1% tax increase on all individuals and entities earning over $100,000. The taxing proposal was controversial and the Republican Speaker of the House, Brian Bosma, criticized Daniels and refused to allow the proposal to be debated. The General Assembly approved $250 million in spending cuts and Daniels renegotiated 30 different state contracts for a savings of $190 million, resulting in a budget of $23 billion. Annual spending growth for future budgets was cut to 2.8% from the 5.9% that had been standard for many years. Increase in revenues, coupled with the spending reductions, led to a $300 million budget surplus. Indiana is not permitted to take loans, as borrowing was prohibited in its constitution following the 1837 state bankruptcy. The state, therefore, had financed its deficit spending by reallocating $760 million in revenue that belonged to local government and school districts over the course of many years. The funds were gradually and fully restored to the municipal governments using the surplus money, and the state reserve fund was grown to $1.3 billion. Two of Daniels's other tax proposals were approved: a tax on liquor and beverages to fund the construction of the Lucas Oil Stadium and a tax on rental cars to expand the Indiana Convention Center. The new source of funding resulted in a state take-over of a project initially started by the city of Indianapolis and led to a bitter feud between Daniels and the city leadership over who should have ownership of the project. The state ultimately won and took ownership of the facilities from the city. In 2006, Daniels continued his effort to reduce state operating costs by signing into law a bill privatizing the enrollment service for the state's welfare programs. Indiana's welfare enrollment facilities were replaced with call centers operated by IBM. In mid-2009, after complaints of poor service, Daniels canceled the contract and returned the enrollment service to the public sector. Daylight Saving Time One of the most controversial measures Daniels successfully pushed through was the state adoption of Daylight Saving Time, which Daniels argued, in a complicated economy, was needed to end constant confusion and bring Indiana into a year-long alignment with the rest of the country. Prior to the change, the counties in the western side of the state did not observe daylight saving time, although the counties in southeastern Indiana near Cincinnati, Ohio, did observe it unofficially due to being in that city's metropolitan area. Interests for both time zones had prevented the official adoption of daylight saving since the 1960s, leading to decades of debate. Daniels pressed for the entire state to switch to Central Time, but the General Assembly could not come to terms. Ultimately after a long debate, the General Assembly adopted Eastern Daylight Saving Time in April 2005. The measure passed by one vote and put most of the state on the Eastern Time Zone, except for counties in the northwest and southwest corners that are in the Central Time Zone. Highways In 2006 the legislature enacted Daniels' controversial plan to remake the state's highways system by leasing the Indiana Toll Road. Called the Major Moves, the road was leased to Statewide Mobility Partners, a joint venture company owned by Spanish firm Cintra and Australia's Macquarie Infrastructure Group for 75 years in exchange for a one time payment of $3.85 billion and the commitment to make $4.4 billion worth of upgrades to the road. Most Democrats opposed the measure by starting an advertising campaign accusing Daniels of selling the road to foreign nations. Other critics characterized the deal for fundamentally changing the relationship between infrastructure and taxpayers" saying "the road intended to serve the people of Indiana now is serving the profit needs of a multinational corporation". Daniels defended the lease, claiming that the road was not earning the state money because of the historical lack of political will to raise tolls. He told a congressional committee, "…instead of making money for the state, the road had operated at a loss for 5 of the previous 7 years…Political timidity had kept tolls locked at the same price since 1985…Even if we raised the tolls, there was little reason to believe that the governors who would come after me would have the inclination or the political ability to do the same. I once asked how much it cost to collect that 15-cent toll on the road and the answer came back at 34 cents. I joked that we would have been better off with the honor system and a fishbowl for occasional donations." Daniels and an independent accounting firm believed the road was worth $2 billion at most and were surprised by the offer of nearly $4 billion in cash, plus that much in contracted improvements. Daniels called it the best deal since "Manhattan was sold for beads—except this time, the natives won." Initially, Daniels's support for the controversial legislation led to a rapid drop in his approval rating; in May 2005, a poll showed an 18-point drop in support and that only 42% of Hoosiers approved of the way he was doing his job. In the following months, many of his reforms appeared to have a positive effect and his approval ratings rebounded. The income from the lease was used to finance a backlog of public transportation projects and create a $500 million trust fund to generate revenue for the maintenance of the highway system. Local governments also received a significant windfall from the deal, including $150 million that went to Indiana's 92 counties for local roads, $240 million to seven counties for infrastructure and economic development projects, and $120 million for the Northwest Regional Development Authority for local economic development. Over the next ten years, Indiana would use the cash and interest from the deal to add or expand several major new roadways such as US 31, the Hoosier Heartland Highway, I-69, and the Ohio River bridges. It also rehabilitated 1,400 bridges and 50% of the state's roads without using tax dollars or taking on new debt. As anticipated, drivers experienced dramatic hikes in tolls after the lease, which increased the cost to travel on the public road from $4.65 to $8.80 for passenger vehicles, and semitrailer trucks from $18 to $35.20. Despite doubling toll prices, the foreign-owned operator of the toll road filed for bankruptcy in 2014, and its $3.85 billion purchase price resulted in $6 billion in debts owed by the company to its financiers. Indiana retained the $3.85 billion lump sum payment and the lease was transferred to another Australian investment company without altering the terms of the lease. An October 2014 ITR report to the Indiana Toll Road Oversight Board cited numerous deficiencies along the highway including: deficient pavements and signage at travel plazas, activities at vehicle maintenance facilities that could allow petroleum products or other chemicals into open storm water drains, and closed sewage dump stations at risk of unmonitored dumping. In response, the new lease owners pledged to invest $260 million in capital improvements. In June 2015, Ken Daley, the new CEO of the Indiana Toll Road Concession Company, announced that all of the original 1955 travel plazas would be demolished and replaced within the next five years. As of October 2015, the Booth Tarkington service area, the easternmost in Indiana, was permanently closed[citation needed] Healthy Indiana Plan In 2007, Daniels signed the Healthy Indiana Plan, which provided 132,000 uninsured Indiana workers with coverage. The program works by helping its beneficiaries purchase a private health insurance policy with a subsidy from the state. The plan promotes health screenings, early prevention services, and smoking cessation. It also provides tax credits for small businesses that create qualified wellness and Section 125 plans. The plan was paid for by an increase in the state's tax on cigarettes and the reallocation of federal Medicaid funds through a special waiver granted by the federal government. In a September 15, 2007, Wall Street Journal column, Daniels was quoted as saying about the Healthy Indiana Plan and cigarette tax increase saying, "A consumption tax on a product you'd just as soon have less of doesn't violate the rules I learned under Ronald Reagan." The plan allows low to moderate income households where the members have no access to employer provided healthcare to apply for coverage. At the time of initial implementation, the fee for coverage was calculated using a formula that resulted in a charge between 2%–5% of a person's income. A $1,100 annual deductible was standard on all policies and allowed applicants to qualify for a health savings account. The plan paid a maximum of $300,000 in annual benefits. Property tax reform See also: Taxation in Indiana In 2008, Daniels proposed a property tax ceiling of one percent on residential properties, two percent for rental properties and three percent for businesses. The plan was approved by the Indiana General Assembly on March 14, 2008, and signed by Daniels on March 19, 2008. In 2008, Indiana homeowners had an average property tax cut of more than 30 percent; a total of $870 million in tax cuts. Most money collected through property taxes funds local schools and county government. To offset the loss in revenues to the municipal bodies, the state raised the sales tax from 6% to 7% effective April 1, 2008. Fearing a future government might overturn the statute enforcing property tax rate caps, Daniels and other state Republican leaders pressed for an amendment to add the new tax limits to the state constitution. The proposed amendment was placed on the 2010 General election ballot and was a major focus of Daniels's reelection campaign. In November 2010, voters elected to adopt the tax caps into the Indiana Constitution. Daniels's successes at balancing the state budget began to be recognized nationally near the end of his first term. Daniels was named on the 2008 "Public Officials of the Year" by the Governing magazine. The same year, he received the 2008 Urban Innovator Award from the Manhattan Institute for his ideas for dealing with the state's fiscal and urban problems. Voter registration Main article: Crawford v. Marion County Election Board In the 2005 session of the General Assembly, Daniels and Republicans, with some Democratic support, successfully enacted a voter registration law that required voters to show a government issued photo ID before they could be permitted to vote. The law was the first of its kind in the United States, and many civil rights organizations, including the ACLU, opposed the bill, saying it would unfairly impact minorities, poor, and elderly voters who might be unable to afford an ID or be physically unable to apply for an ID. To partially address those concerns, the state passed another law authorizing state license branches to offer free state photo ID cards to individuals who did not already possess another type of state ID. A coalition of civil rights groups began a court challenge of the bill in Indiana state courts, and the Daniels administration defended the government in the case. The U.S. District Court granted summary judgment to the state. The petitioners appealed the bill to the United States Court of Appeals for the Seventh Circuit, and that body upheld the U.S. District Court decision in the case of Crawford v. Marion County Election Board. Upon appeal the United States Supreme Court also ruled in favor of the state in April 2008, setting a legal precedent. Several other states subsequently enacted similar laws in the years following. Reelection campaign See also: 2008 Indiana gubernatorial election Daniels entered the 2008 election year with a 51% approval rate, and 28% disapproval rate. Daniels's reelection campaign focused on the state's unemployment rate, which had decreased during his time in office, the proposed property tax reform amendment, and the successful balancing of the state budget during his first term. On November 4, 2008, Daniels defeated Democratic candidate Jill Long Thompson and was elected to a second term as governor with 57.8% of votes, despite Barack Obama carrying the state in the presidential race. He was re-inaugurated on January 12, 2009. Washington Post blogger Chris Cillizza named the Daniels reelection campaign "The Best Gubernatorial Campaign of 2008" and noted that some Republicans were already bandying about his name for the 2012 presidential election. Daniels garnered 20 percent of the African American vote and 37 percent of Latinos in his 2008 re-election campaign. He won with more votes than any candidate in the state's history. On July 14, 2010, at the Indianapolis Museum of Art, Daniels was on hand to help announce the return of IndyCar Series chassis manufacturing to the state of Indiana. Dallara Automobili would build a new technology center in Speedway, Indiana and the state of Indiana would subsidize the sale of the first 28 IndyCar chassis with a $150,000 discount. Daniels has been recognized for his commitment to fiscal discipline. He is a recent recipient of the Herman Kahn Award from the Hudson Institute, of which he is a former president and CEO, and was one of the first to receive the Fiscy award for fiscal discipline. A November 2010 poll gave Daniels a 75% approval rate. Second term Democrats won a majority in the Indiana House of Representatives in the 2006 and 2008 elections, resulting in Indiana having a divided government, with Democrats controlling the Indiana House of Representatives and the Republicans controlling the governor's office and the Indiana Senate. This led to a stalemate in the budget debate, which caused Daniels to call a special session of the General Assembly. Due to the national financial crisis, the state was faced with a $1.4 billion shortfall in revenue for the 2009–2011 budget years. Daniels proposed a range of spending cuts and cost-saving measures in his budget proposal. The General Assembly approved some of his proposals, but relied heavily on the state's reserve funds to pay for the budget shortfall. Daniels signed the $27 billion two-year budget into law. 2011 legislative walkout See also: 2011 Indiana legislative walkouts In the 2010 mid-term elections, Republican super-majorities regained control of the House, and took control of the Senate, giving the party full control of General Assembly for the first time in Daniels's tenure as governor. The 2011 Indiana General Assembly's regular legislative session began in January and the large Republicans majorities attempted to implement a wide-ranging conservative agenda largely backed by Daniels. Most of the agenda had been dormant since Daniels's election due to divided control of the assembly. In February, Republican legislators attempted to pass a right to work bill in the Indiana House of Representatives. The bill would have made it illegal for employees to be required to join a workers' union. Republicans argued that it would help the state attract new employers. Unable to prevent the measure from passing, Democratic legislators fled the state to deny the body a quorum while several hundred protesters staged demonstrations at the capital. Minority walkouts are somewhat common in the state, occurring as recently as 2005. While Daniels supported the legislation, he believed the Republican lawmakers should drop the bill because it was not part of their election platform and deserved a period of public debate. Republicans subsequently dropped the bill, but the Democratic lawmakers still refused to return to the capital, demanding additional bills be tabled, including a bill to create a statewide school voucher program. Their refusal to return left the Indiana General Assembly unable to pass any legislation, until three of the twelve bills they objected to were dropped from the agenda on March 28. The minority subsequently returned to the statehouse to resume their duties. Daniels was interviewed in February 2011 about the similar 2011 Wisconsin budget protests in Madison. While supporting the Wisconsin Republicans, he said that in Indiana "we're not in quite the same position or advocating quite the same things they are up in Madison." Education Following the legislative walkouts, the assembly began passing most of the agenda and Daniels signed the bills into law. Written in collaboration with Indiana Superintendent of Public Instruction Tony Bennett, a series of education reform laws made a variety of major changes to statewide public schools. A statewide school voucher program was enacted. Children in homes with an income under $41,000 could receive vouchers equal to 90% of the cost of their public school tuition and use that money to attend a private school. It provides lesser benefits to households with income over $41,000. The program was gradually phased in over a three-year period and became available to all state residents by 2014. Other funds were redirected to creating and expanding charter schools and expanding college scholarship programs. The law also created a merit pay system to give better performing teachers higher wages, gave broader authority to school superintendents to terminate the employment of teachers, and restricted the collective bargaining rights of teachers. WGU Indiana was established through an executive order on June 14, 2010, by Daniels, as a partnership between the state and Western Governors University in an effort to expand access to higher education for Indiana residents and increase the percentage of the state's adult population with education beyond high school. Economy Raising Hoosier incomes was a key focus of his tenure as governor. Critics argue that during his administration Indiana's per capita income dropped from 33rd to 38th among states, growing slightly slower than the national average, and the percentage of people living in poverty in Indiana rose from 10.2% to 14.9%. Supporters argue that economic progress was delayed by the Great Recession and when adjusted for Indiana's low cost of living, Hoosier incomes actually climbed following Daniels' leadership and Indiana rebounded from the recession faster than the rest of the nation in job growth and consumer spending. Main article: Indiana Economic Development Corporation Immigration On May 10, 2011, Daniels signed into law two immigration bills; one denying in-state tuition prices to illegal immigrants and another one imposing fines for employers that employed illegal immigrants. Several protestors, at least five of whom were illegal immigrants, were arrested while protesting the law at the statehouse when they broke into Daniels's office after being denied a meeting. Student leaders called for their release, while some state legislators called for their deportation. State Democratic Party leaders accused Daniels and the Republicans of passing controversial legislation only to enhance Daniels's image so he could seek the presidency. Daniels, however, denied the charges, saying he would have enacted the same agenda years earlier had the then-Democratic majority permitted him to do so. Budget cuts The state forecast continued revenue declines in 2010 that would result in a $1.7 billion budget shortfall if the state budget grew at its normal rate. Daniels submitted a two-year $27.5 billion spending plan to the General Assembly which would result in a $500 million surplus that would be used to rebuild the state reserve funds to $1 billion. He proposed a wide range of budget austerity measures, including employee furloughing, spending reductions, freezing state hiring, freezing state employee wages, and a host of administrative changes for state agencies. The state had already been gradually reducing its workforce by similar freezes, and by 2011, Indiana had the fewest state employees per capita of any state—a figure Daniels touted to say Indiana had the nation's smallest government. Daniels backed the creation of additional toll roads, expanding on his 2006 overhaul of the Indiana Toll Road system (known as "Major Moves"), in an attempt to secure an additional source of revenue for the state. But opposition from within his own party led to the bill being withdrawn by its Republican sponsor, Sen. Tom Wyss, Daniels's only significant legislative defeat during the 2011 session. The legislative walkouts delayed progress on the budget passage for nearly two months, but the House of Representatives was able to begin working on it in committee in April. The body made several alterations to the bill, including a reapportionment of education funding based more heavily on the number of students at a school, and removing some public school funding to finance the new voucher system and charter schools. Energy Daniels announced in October 2006 that a substitute natural gas company intended to build a facility in southern Indiana that would produce pipeline quality substitute natural gas (SNG). The lead investor was Leucadia National, which proposed a $2.6 billion plant in Rockport, Indiana. Under the terms of the deal endorsed by Daniels, the state would buy almost all the Rockport gas and resell it on the open market throughout the country. If the plant made money from the sale, excess profits would be split between Leucadia National's Indiana subsidiary, Indiana Gassification, and the state. If it lost money from the sale, then 100% of the losses would be passed onto Indiana consumers. Leucadia agreed to reimburse the state for any losses, up to $150 million over 30 years. Gas from the plant would make up about 17 percent of the state's supply. Critics feared that if gas prices fell over the next 30 years, the costs of the lost profits would be passed onto the bills of residents after the $150 million guarantee by Leucadia was exhausted. The deal also received criticism concerning government intrusion in the energy markets. Questions were also raised because Leucadia National hired Mark Lubbers, a former aide and close friend of Daniels, to promote the deal. The Daniels administration maintained that the plant would create jobs in an economically depressed part of the state and offer environmental benefits through an in-state energy source. The project was ultimately rejected by the state legislature in 2013. Right to Work Indiana became the first state in a decade to adopt Right to Work legislation. Indiana is home to many manufacturing jobs. The Indiana Economic Development Corp. has reported that 90 firms said the new law was an important factor in deciding to move to Indiana. Daniels signed the legislation on February 1, 2012, without much fanfare in the hopes of dispersing labor protesters before the Super Bowl in Indianapolis. 2012 presidential speculation Although Daniels had claimed to be reluctant to seek higher office, many media outlets, including Politico, The Weekly Standard, Forbes, The Washington Post, CNN, The Economist, and The Indianapolis Star began to speculate that Daniels intended to seek the Republican nomination for president in 2012 after he joined the national debate on cap and trade legislation by penning a response in The Wall Street Journal to policies espoused by the Democratic-majority Congress and the White House in August 2010. The speculation included Daniels's record of reforming government, reducing taxes, balancing the budget, and connecting with voters in Indiana. His "willingness to consider tax increases to rectify a budget deficit" was another source of contention. In August 2010, The Economist praised Daniels's "reverence for restraint and efficacy" and concluded that "he is, in short, just the kind of man to relish fixing a broken state—or country." Nick Gillespie of Reason called Daniels "a smart and effective leader who is a serious thinker about history, politics, and policy," and wrote that "Daniels, like former New Mexico Gov. Gary Johnson, is a Republican who knows how to govern and can do it well." In February 2011, David Brooks of The New York Times described Daniels as the "Party's strongest [would be] candidate", predicting that he "couldn't match Obama in grace and elegance, but he could on substance." On December 12, 2010, Daniels suggested in a local interview that he would decide on a White House run before May 2011. Various groups and individuals pressured Daniels to run for office. In response to early speculation, Daniels dismissed a presidential run in June 2009, saying "I've only ever run for or held one office. It's the last one I'm going to hold." However, in February 2010 he told a Washington Post reporter that he was open to the idea of running in 2012. On March 6, 2011, Daniels was the winner of an Oregon (Republican Party) straw poll. Daniels drew 29.33% of the vote, besting second place finisher Mitt Romney (22.66%) and third place finisher Sarah Palin (18.22%), and was the winner of a similar straw poll in the state of Washington. On May 5, 2011, Daniels told an interviewer that he would announce "within weeks" his decision of whether or not to run for the Republican presidential nomination. He said he felt he was not prepared to debate on all the national issues, such as foreign policy, and needed time to better understand the issues and put together formal positions. Later in May, as the Republican field began to resolve with announcements and withdrawals of other candidates, Time said, "Even setting aside his somewhat unusual family situation, Daniels would need to hurry to put together an organization" and raise enough money if he intended to run. Daniels announced he would not seek the Republican nomination for the presidency on the night of May 21, 2011, via an email to the press, citing family constraints and the loss of privacy the family would experience should he become a candidate. In 2021 it was alleged by Max Eden, who led the Draft Daniels Student Group which provided much of the pressure for Daniels to run, that potentially damaging information was being held by some members of the Jon Huntsman campaign, chiefly John Weaver, the political advisor of the Huntsman campaign, regarding Daniels's wife. Eden also stated that Weaver had contacted him about a "seat at the table" of the Huntsman campaign, and further went on to state that Huntsman, then a potential top candidate for the Republican nomination, was himself unaware of Weaver's actions. Eden stated that the potential backlash from Weaver's information was a large contributor to Daniels's decision not to seek the Republican nomination, among other privacy concerns. 2016 presidential speculation In January 2014, the Republican National Committee sent an email to subscribers, asking them to pick their top three presidential choices. The poll included 32 potential candidates, including Daniels. In March 2015, Fortune Magazine named Daniels No. 41 on its list of the world's 50 greatest leaders, generating a new round of calls for Daniels to consider his options in 2016. Daniels was the only American university president and one of two national political figures to make the global list. President of Purdue University Student interactions Daniels consistently argued that his top priority as president was students such as in 2020 when he said: "We are only here, all of us, because of students, and to imagine that that is not our driving priority is a serious confusion..." Daniels worked out most days at the student gym and ate frequently with students in dining facilities and Greek houses. In March 2013, he joined forces with a group of engineering students to create a viral music video promoting engineering and Purdue University. Within 24 hours, the video had received over 50,000 views. Purdue home football games featured a segment entitled "Where's Mitch?", in which, the stadium video board showed the camera panning the crowd and eventually finding Daniels sitting among the fans, sometimes in the student section. Former Purdue presidents rarely left their suite in the press-box structure. In April 2019, Daniels received a T-shirt gun for his birthday that he used to shoot t-shirts with his printed picture into the student section during home basketball games. At the Spring 2021 Commencement, Daniels rode into the Purdue Football Stadium on a couch car designed by Purdue students that was often spotted on campus during that academic year. Purdue Polytechnic Indianapolis high school In 2015, Daniels announced plans to open the Purdue Polytechnic Indianapolis high school, designed to be a bridge for inner-city students to Purdue by admitting graduates directly to Purdue. Daniels described the high school as an attempt to increase the number of low-income, first-generation, and minority students who are prepared for Purdue. Purdue now operates three such high schools but as of summer 2021, only one school had existed long enough to graduate a class of seniors. Of that class, forty students were admitted to Purdue for fall 2021, more than double the average of 15 who attend Purdue from Indianapolis Public Schools. Racial equity and handling of racist incidents Daniels has been criticized by student groups and faculty for his unwillingness to take stronger stances on public displays of white supremacy on campus. In November 2016, posters appeared on campus with drawings of white people with sayings such as "We have a right to exist," and "Defending your people is a social duty, not an anti-social crime." Daniels called the posters, left by a racist organization, a "transparent effort to bait people into overreacting, thereby giving a minuscule fringe group attention it does not deserve, and that we decline to do." He also noted that the views of the organization behind the posters "are obviously inconsistent with the values and principles we believe in here at Purdue." In January 2017, students staged a sit-in of Hovde Hall, where Daniels's office is located. The occupation continued for 91 days. During that time, Daniels refused to meet the students. In 2019, Daniels met with Purdue student government leaders to discuss a controversy surrounding a Purdue student who was unable to buy cold medicine when an off-campus CVS clerk did not accept his Puerto Rican driver's license as valid. Following the scheduled meeting, Daniels had an impromptu 30-minute meeting with student activists who had various concerns about diversity at Purdue. At one point in the conversation, Daniels described his ongoing efforts to recruit an African American faculty member by calling the individual "one of the rarest creatures in America—a leading, I mean a really leading, African-American scholar". The University Senate's Equity and Diversity Committee issued a statement calling Daniels's phrasing "problematic" stating, "The idea that there is a scarcity of leading African American scholars is simply not true". In a New York Times op-ed, G. Gabrielle Starr, president of Pomona College, wrote, "In just a few sentences, Mr. Daniels seemed to question the possibility of sustained black excellence:. Following the criticism, Daniels issued an apology. "I retract and apologize for a figure of speech I used in a recent impromptu dialogue with students ... The word in question was ill chosen and imprecise". In June 2020, as the Black Lives Matter movement gained national momentum, Daniels endorsed the creation of a university system-wide task force to examine racial inequality in response to the murder of George Floyd and other incidents of racial injustice. The task force resulted in the inclusion of racial equity as one of five goals in Purdue's $260 million strategic plan update. As of May 2021, Daniels had helped Purdue raise $27 million for minority scholarship and recruitment efforts in that year, an increase of about 15% over the previous year. As president, Daniels has made the defense of free expression a priority by becoming the first public institution to adopt the Chicago principles for free speech and inquiry and one of roughly two dozen universities to receive the highest rating from the Foundation for Individual Rights in Education. Tuition freezes and cost reductions Tuition at Purdue, prior to Daniels' arrival, had increased every year since 1976. Two months after Daniels assumed his role as president, Purdue announced it would freeze tuition for two years, eventually extending the freeze for ten years, through 2023. As a result, multiple graduating classes will leave Purdue having never experienced a tuition increase. Annual student borrowing is down a third and the Purdue loan default rate is 2.2% versus 7.1% for the average borrower from a four-year public university and 5.1% for Purdue borrowers prior to the tuition freeze. The university claims that students and families will have saved over a billion dollars over the course of the ten years. No student fees have been approved since the tuition freeze was enacted, although a mandatory student wellness fee that students lobbied for prior to Daniels' arrival at Purdue was allowed to take effect but was later reduced under Daniels' direction. The total cost of attending Purdue has fallen since Daniels assumed Purdue's presidency. However, revenue per student increased modestly despite the freeze, partially because the number of foreign and out-of-state students increased, most significantly among graduate students. Daniels announced the first tuition freeze before the state had determined Purdue's funding for the next biennium. Amidst questions about the timing, Daniels argued that he didn't need to wait because "it doesn't matter what the General Assembly does. This is the right thing to do and we are going to do it" The first tuition freeze required the university to find $40 million in savings or new revenue. In order to make up for the lost revenue from tuition freezes, Daniels and the Purdue Board of Trustees focused on finding operating efficiencies such as consolidating information technology data centers, investing cash reserves, and switching to a consumer-driven health plan for employees. Daniels also reduced meal plan rates for students by 10 percent, froze housing costs, and cut the university's cooperative education fees which had previously increased every year. Due to the adjustments, the average cost of room and board at Purdue declined from the second most expensive to the most affordable in the Big Ten. In fall 2014, Daniels announced a deal with Amazon to save students on textbooks and provide students, faculty and staff with free one day shipping to locations on campus. The partnership was ended by Amazon in 2018 but the on campus stores remain in place. Purdue Moves initiatives In September 2013, Daniels announced the first major priorities of his administration, known as "Purdue Moves". The plan continued Daniels' focus on affordability but also called for new investments such as the hiring of 165 new faculty in STEM disciplines, expansion of flipped classrooms, growing summer enrollment, investments in plant science and drug discovery research, and the creation of competency-based degree programs and some three-year degree options. The Purdue Moves also emphasized commercialization of research. Under Daniels' leadership, Purdue increased the number of affiliated start-up companies by more than 400 percent and broke the university record for patents. In 2021, Daniels announced an expansion of the original moves called "Next Moves". Acquisition of Kaplan and launch of Purdue Global In 2017, Daniels and the Purdue Board of Trustees announced the intention to acquire Kaplan University for the purpose of transforming it into an online, self-sustaining, public benefit corporation, now rebranded as Purdue University Global. The acquisition has been met with both considerable praise and significant criticism. Among those who expressed favor before the deal closed included Barack Obama's Secretary of Education Arne Duncan and Ted Mitchell who led Obama's crackdown on for-profit universities. Among the critics of the acquisition were Purdue faculty. At the time, the Purdue University Senate called the deal a "violation of common-sense educational practice". During the acquisition Purdue Faculty senate responded by established a Select Committee to provide oversight for the new entity. Shortly after the intended acquisition was announced, 319 signed a petition opposing the deal citing numerous concerns, including, "Purdue University is not creating new access to higher education but merely becoming the owner of a preexisting corporation, with some danger to Purdue's current reputation and operation" and "The business model of Kaplan University rests upon adult learners and is completely dependent on the federal loans that most are required to take to fund their educations." In May 2017, the Purdue University Senate passed a resolution condemning the deal between Kaplan Higher Education and Purdue University. In September 2017, Senators Dick Durbin(D-IL) and Sherrod Brown (D-OH) warned that Purdue's acquisition of Kaplan University posed major risks for Purdue University's students and reputation. They added that Kaplan has a "shameful record" as a "predatory" school. While leaders of the university senate have continued to object to the manner in which Purdue Global was acquired, the current chair of the senate has been quoted saying she is "giving Purdue Global the benefit of the doubt" and sees Global as an extension of Purdue's land grant mission "without spending $50 million building a new building to house students 10 years from now." The co-chair of the Select Committee on Global said in January 2020, "it's more a wait-and-see kind of thing". The American Association of University Professors criticized PG's (now former) arbitration requirement for students calling the policy "the stuff of predatory for-profit colleges, not a leading public research institution". In September 2018, Senators Durbin and Brown called for Purdue to get rid of that policy, which came from the Kaplan rulebook. Robert Shireman, a former deputy undersecretary at the U.S. Department of Education, also criticized the move saying the colleges merely claimed nonprofit status while continuing to enrich Kaplan, Inc., company officials. Purdue University Global In 2019, Purdue Global had lost $61 million dollars from operations. In February 2020, Graham Holdings reported that Purdue University Global owed Kaplan, Inc. $68.4 million for services and deferred fees, and $18.6 million for an advance from the Kaplan University transaction. In the first few years of operation, Purdue Global invested significantly in marketing, leading to signifiant financial losses. The details of the acquisition agreement meant Purdue Global was insulated from the losses, and even profited while the shortfalls were shifted to Kaplan, Inc. Financial results from 2021 show, Purdue Global's operating revenues exceeded operating costs for the first time that year, however, from a cumulative perspective Purdue Global has accumulated $43 million in losses due to past years' performance. Purdue Global enrollment has grown since 2018 while other "Global" style campuses have remained flat or declined. Critics have noted that if, or when, Purdue Global produces an operating profit that any operating gains from Purdue Global will be paid to Kaplan Higher Education until all losses are paid. Compensation When Daniels was hired by Purdue, he requested that his salary be less than his predecessor's, however he's accepted compensation at more than twice the levels of the previous President, including 103% of performance pay in 2019, and his raise increases far exceed those offered to Purdue faculty and staff. In 2013, Daniels' base salary of $420,000 was $135,000 less than the prior president's salary. Under the initial contract, his salary could grow to a maximum of $546,000 based on the results of a performance-bonus system—at the time this was less than his predecessor and the third lowest in the 14-member Big Ten, however since that time his salary has increased more than 200% to $902,207. Between 2014 and 2019, Daniels's total compensation rose sharply, and now ranks fourth among Big Ten presidents. His total compensation was $533,400 In 2015, $721,600 in 2016, $769,500 in 2017, $830,000 in 2018, and $902,207 in 2019 inclusive of 103% of his at-risk pay, and a $250,000 retention bonus. End of Presidency Daniels was replaced by Dr. Mung Chiang as President of Purdue University effective January 1, 2023. As Daniels left Purdue, he openly explored a run for the U.S. Senate but ultimately declined, saying in a statement, "it's just not the job for me, not the town for me, and not the life I want to live at this point ... some people seek public office to be something, others to do something. My one tour of duty in elected office involved, like those in business before and academe after it, an action job, with at least the chance to do useful things every day. I have never imagined that I would be well-suited to legislative office, particularly where seniority remains a significant factor in one's effectiveness, and I saw nothing in my recent explorations that altered that view." One month after Daniels's departure from Purdue, the university's trustees named the business school the Mitchell E. Daniels, Jr. School of Business. The trustees had previously announced that State Street, a major campus corridor Daniels renovated, would be named Mitch Daniels Boulevard. That announcement was made at street festival in which hundreds waited to greet Daniels and bid him farewell. Board service In February 2013, Daniels was asked to co-chair a National Research Council committee to review and make recommendations on the future of the U.S. human spaceflight program. Daniels also co-chairs a Council on Foreign Relations Task Force on NonCommunicable diseases. In March 2013, Daniels was elected to the board of Energy Systems Network (ESN), Indiana's industry-driven clean technology initiative. In June 2015, Daniels was elected to serve on the board of directors for Indiana software company Interactive Intelligence (ININ) until its sale to Genesys . In July 2015, Daniels became a co-chair of the Committee for a Responsible Federal Budget. In November 2016, Daniels was elected to serve on the board of directors for Norfolk Southern Corporation. Electoral history Main articles: 2004 Indiana gubernatorial election and 2008 Indiana gubernatorial election Indiana gubernatorial election, 2004 Party Candidate Votes % ±% Indiana gubernatorial election, 2008 Party Candidate Votes % ±% Honors Woodrow Wilson Award, Princeton University (2013) Order of the Rising Sun, 2nd Class, Gold and Silver Star (2017) See also In Spanish: Mitch Daniels para niños
7770	dbpedia	3	10	https://www.indystar.com/story/sports/college/purdue/2024/04/04/mitch-daniels-was-at-purdues-final-four-in-1980-hell-be-there-again/73180283007/	en	Mitch Daniels was at Purdue's Final Four in 1980. He'll be there again: 'It is our time.'	https://www.gannett-cdn.…=pjpg&width=1200	https://www.gannett-cdn.…=pjpg&width=1200	[ "https://www.gannett-cdn.com/authoring/videos/wochit/thumbnails/73163002007.jpg", "https://www.gannett-cdn.com/appservices/universal-web/universal/icons/icon-play-alt-white.svg", "https://www.gannett-cdn.com/appservices/universal-web/universal/icons/icon-instagram_24.png" ]	[]	[]	[ "" ]	null	[ "The Indianapolis Star", "Dana Hunsinger Benbow" ]	2024-04-04T00:00:00	Life went on for Daniels in 1980 after Purdue lost in the Final Four. This time around, the black and gold has seeped deeply into his soul.	en	https://www.gannett-cdn.…ages/favicon.png	Indianapolis Star	https://www.indystar.com/story/sports/college/purdue/2024/04/04/mitch-daniels-was-at-purdues-final-four-in-1980-hell-be-there-again/73180283007/	WEST LAFAYETTE -- Mitch Daniels was a young, ambitious political up and comer and chief of staff to Sen. Richard Lugar when he and a couple other staff members took a break from the grind of Washington politics to drink a few beers and watch some really good basketball in the land where basketball was king. Inside Market Square Arena 44 years ago, Daniels had no real connection to Purdue University, other than it was an Indiana school -- where he grew up -- who had made it to the Final Four and was fighting to win its first NCAA title. Truth be told, he was more of an IU and Butler fan at the time. Daniels watched as UCLA dashed the Boilermakers dreams with a 67-62 win in March 1980. He was disappointed, but life would go on for the Princeton graduate who seemed to have a golden touch. For the next four decades, Daniels went on to have a polished business career and a stellar political one that included being the White House director of intergovernmental affairs for President Ronald Reagan, director of the office of management and budget for President George W. Bush and two-term governor of Indiana. And when Daniels' much-anticipated decision on whether he would run for president in 2012 ended with him leaving the governor's office not for Washington D.C. but for West Lafayette to become president at Purdue University, his love of sports catapulted to a whole new level. During his 10 years at Purdue, Daniels attended every football game, almost every home basketball game and every other sport at least once a season. Needless to say, the black and gold seeped deeply into his soul. As Daniels sits inside State Farm Stadium in Glendale, Ariz., this weekend to see his beloved Boilers play North Carolina State in their first Final Four in 44 years, he will be among Purdue's most adamant and diehard fans. But he has to be honest. That 44 number? It irks him a bit. "I was so tired of hearing, 'It's been 44 years since we've been to a Final Four,'" Daniels, 74, said as he sat inside the Dauch Alumni Center on Wednesday morning on Purdue's campus. "It makes it sound like Purdue has been sort of in the wilderness. No, the whole story is we've been great." When Daniels started hearing that number, he sent Purdue's athletic director Mike Bobinski a note, telling him that this is the week "people need to find out what they don't know." Purdue is the first Big Ten program to be ranked No. 1 for three consecutive seasons. It has more Big Ten wins in history than any other school and it has more Big Ten titles -- 26. Daniels wants people to hear those numbers. "This is not some school that's been downtrodden and finally got a good team. We're the school that's been right on the edge over and over and something (happens), just bad luck," he said. "Robbie Hummel tears up his knee. The Virginia game was an act of God. I mean, we were in the Final Four. We were there. I'll never get over that." Daniels was at that Elite Eight game between Purdue and eventual champion Virginia in 2019, a game that has been called "one of the greatest games in the history of the NCAA Men's Basketball Tournament" and a "cruel ending" for Purdue. He was there watching Purdue lose, seemingly in slow motion, in the final moments. "If he makes it, we win. He misses. If we just grab the ball, we win," Daniels said, rambling as this game still gets him pretty upset. "Gets knocked down the other end. If, if, if, if, if, if, you know. Like eight things had to go wrong. Ask any Virginia fan, they know it was just the most ridiculous ending ever. "You know, my last day on earth, I'll be thinking about it. Not only would we have gone to the Final Four, I think we would have won." March 1980: Inside Market Square Arena When Daniels learned he'd be talking to IndyStar about the 1980 Final Four he attended, memories came back. On a tiny, torn off piece of lined paper, Daniels had written down a few things he didn't want to forget. "I started thinking about it and then I went back and looked and there's some spooky interesting stuff to me," he said. "There's so many connections and all of that. It's just crazy." One of them was the UCLA coach Purdue lost to in that Final Four. It was Larry Brown, who went on to coach for the Pacers. To get to the Final Four, No. 6 seed Purdue had to beat second-seeded IU in the tournament's Sweet Sixteen. They did 76-69, the only time the teams have played in the NCAA tournament. The victory by Purdue was against virtually the same IU team that won the NCAA tournament in 1981. Daniels was there for that Final Four, too. But that championship game was on March 30, 1981, the same day President Ronald Reagan was shot. There was some talk about not playing the game at all or postponing it. Instead, the tourney went on. More: Loss to Pan American, a presidential assassination attempt, a dominant run: The 1981 IU national title Looking back, Daniels said, 1980 was the turning point where the NCAA tournament really took off. "Market Square Arena could never have it today. It's not big enough. That was a real basketball gym, not a football arena," he said. "For sure it was packed, but it wasn't the ridiculous, you know, kind of Super Bowl-type ticket it is these days." Tickets for the entire session in 1980 cost $30 each or $15 per game. Today, to attend all three games would cost more than $1,000 and that's for mediocre seats. There were 48 teams in 1980. Today there are 68. Daniels, 30 at the time, came to that Final Four with two other Lugar staff members, Lou Gerig and Mark Lubbers, who happened to have been a Purdue student president. They were a tightknit group and one of the youngest staffs in Washington. "My view and recollection as a Purdue fan who had been stuck in D.C. for three years drowning in all that ACC (crap) is that the Final Four was an afterthought," said Lubbers. "Our season could not be improved on after beating IU (Sweet Sixteen) and then beating Duke (Elite Eight). Winning the national championship would have been anticlimactic." 'I feel like it's superstition' As Gerig sat next to Daniels on Wednesday, being the ever-quiet public relations man he has been during his own illustrious political career, he speaks up when asked about Purdue's chances in the Final Four, especially against Connecticut should they make it to the championship game. "Well, I think they're the two best teams," said Gerig, who served as a press assistant to White House Press Secretary Jim Brady during the Reagan administration and is president of Sease, Gerig & Associates. "You know, if anybody can beat them, I think it's Purdue." Daniels agreed and said if Purdue makes it to the final game, he suspects UConn will be favored, but not my much, maybe three, four or five points. "I look forward to finding out." And he looks forward to being in Arizona at the second Purdue Final Four in 44 years. Being there in person is really the only way to go for Daniels. If he's not able to attend a game, he tapes it instead of watching it live on television. "I feel like it's superstition. I feel like when I watch them on television, bad things happen. I'm telling you they do," Daniels said. "I will be watching and we'll be playing poorly. I'll turn it off, you know, and ten minutes later I turn it on and immediately the other team will make a 3 or we will turn the ball over or something." For Purdue's win over Tennessee on Sunday, Daniels checked the score and waited until he was certain the Boilermakers had a victory. He turned the game on with a minute left, watched Edey cut down the net and 44 years flashed before his eyes. "So, I got to see that win," he said, adding he has watched the recording of the game several times since. "It was so overdue. It is our time."
7770	dbpedia	1	48	https://scsu.edu/sc_state_about/history.php	en	The History of South Carolina State University	https://scsu.edu/_resour…ages/favicon.png	https://scsu.edu/_resour…ages/favicon.png	[ "https://scsu.edu/_resources/images/logo-white.png", "https://scsu.edu/_resources/images/sc_state_history_header.jpg", "https://scsu.edu/_resources/images/1temiller.jpg", "https://scsu.edu/_resources/images/arch.jpg", "https://scsu.edu/_resources/images/logo-footer.png" ]	[]	[]	[ "" ]	null	[]	null		en	/_resources/images/favicon.png		https://scsu.edu/sc_state_about/history.php	1896 – 1911 On March 3, 1896, the South Carolina General Assembly enacted legislation establishing the Colored Normal, Industrial, Agricultural and Mechanical College of South Carolina. Thomas E. Miller, a former Congressman from South Carolina, became the first president (1896-1911). During Dr. Miller’s tenure, and that of his initial faculty of thirteen South Carolinians, the College plant consisted of 135 acres, eight small buildings, a minimal dairy herd, and a few other farm animals. Because of the meager facilities, academic instruction was given primarily on logs hewn from the campus forest—logs that were later made into lumber for the first dormitory and classroom buildings 1911 – 1932 Upon President Miller’s retirement, Dr. Robert Shaw Wilkinson, a Charlestonian and Professor of Physics at the College, succeeded to the presidency. His twenty-one year administration witnessed an increase in faculty and student enrollment, an established income from both federal and state sources, an expansion in the building program, a cooperative working relationship with Clemson University and Claflin College, the initiation of a State Teacher Summer School, and the celebration of the College’s twenty-fifth birthday. 1932 – 1949 The death of President Wilkinson on March 13, 1932 catapulted Dr. Miller F. Whittaker to Acting President, subsequently to President in May 1932. Among the milestones under the aegis of President Whittaker (1932-1949), a former Director of the Mechanical Department at the College, were these: the establishment of a Law School, the establishment of a South Carolina State College Extension School with units in fifteen South Carolina communities, the establishment of a Reserve Officers’ Training Corps Infantry Unit, and in 1933, the achievement of the college’s appearance on the approved list of colleges by the Southern Association of Colleges and Secondary Schools. The first formal observance of Founders’ Day was held in March 1938. 1950 – 1967 From 1950 to 1967, Dr. Benner C. Turner, former Dean of the Law School, effected these developments in the College: a rapid growth of both the undergraduate and graduate enrollments, an increase in the number of faculty and staff, an increase in the number of doctoral faculty, the reorganization of the administrative and structural areas, major improvements in the physical plant to include the renovation of buildings and construction of many new buildings such as a new academic building, dormitories for both men and women, and a cafeteria. New walkways, drives, roads and attractive landscaping added to the beauty of the campus and the comfort of its inhabitants. 1968 – 1986 On June 23, 1968, Dr. M. Maceo Nance, Jr., former Vice President for Business and Finance, succeeded to the presidency of the College after a one-year tenure as Acting President. Dr. Nance continued to build upon the foundation laid by his predecessors. The Nance administration embarked upon a meaningful role to be performed by the College in the local community and, by extension, in the world community via the creation of a wholesome, relevant public image, the acquisition of new sources of income, the ensuring of sound curricula, sincere students, dedicated teachers and alumni, and a burgeoning physical expansion. Most outstanding among the large number of additions to the physical plant under the administration of President Nance were the following: Smith-Hammond-Middleton Memorial Center, a Health and Physical Education Building (1968); addition to Hodge Hall Science Building (1968); addition to Kirkland W. Green Student Center (1970); Ko W. G. Donma Administration Building (1970); housing for married students, Queens’ Village, Phase 1, 12 Apartments (1971); 20 Apartments (1975); Sojourner Truth Hall, Women’s Residence Hall (1972); Martin Luther King, Jr. Auditorium (1974); M. Maceo Nance, Jr. Classroom Building (1974); John H. Mitchell Hall, Men’s Residence Hall (1975); I. P. Stanback Museum & Planetarium (1979); the Crawford-Zimmerman Service Complex (1983); and the School of Business Algernon S. Belcher Complex (1986). 1986 - 1992 On July 1, 1986, upon the retirement of President Nance, Dr. Albert E. Smith became the sixth President of South Carolina State College. During President Smith’s tenure, the College established working relationships with several major corporations including Westinghouse, Hughes Aircraft, AT&T and Xerox. The School of Freshman Studies was created, and an Honors Program was established. Fundraising efforts brought nearly $3 million to the College. Ground was broken in late 1991 for a new women’s residence hall. President Smith was instrumental in efforts to gain university status for the College. On January 13, 1992, the Board of Trustees named Dr. Carl A. Carpenter, Interim President of South Carolina State College. During his tenure, the New Master Plan for Facilities was finalized and approval was given for the construction of the Fine Arts Building, improvement of Oliver C. Dawson Stadium, expansion of the 1890 Research Facility and New Conference Center at Camp Harry Daniels. The Intercollegiate Athletics Program was re-organized with the employment of the first full-time Athletics Director. The Master of Arts in Teaching (MAT) was approved by the Commission on Higher Education and accreditation visits for engineering technology and social work were conducted. Also, the Institution was designated South Carolina State University on February 26, 1992. 1993 - 1995 On Sepember 30, 1992, the Board of Trustees elected Dr. Barbara R. Hatton as the first woman to assume the presidency of South Carolina State University, and she began her duties on January 4, 1993. During her tenure she was instrumental in converting Felton Laboratory School into a state-of-the-art professional development school, initiating legislation which was passed by the General Assembly allowing engineering technology graduates to sit for the engineering licensure examination in South Carolina, opening an Office of State and Community Relations in Columbia, and increasing collaborations and projects with colleges, universities and federal and private agencies. Capital improvement projects included the 1890 Extension Office Complex and the completion of the Oliver C. Dawson Bulldog Stadium and Student Center Plaza. 1996 - 2002 On June 13, 1995, the Board of Trustees named Dr. Leroy Davis, Sr., Interim President and on April 10, 1996, Dr. Davis was named the eighth President of South Carolina State University. President Davis established Centers of Excellence in Transportation and Leadership as part of a plan to have a Center of Excellence in each of the five academic schools. Under his leadership, scholarship support increased to recruit more academically talented freshmen; the first University Staff Senate was established; a new tenure and promotion policy was developed; university partnerships were increased, and new community service programs in the areas of health care and economic development were implemented. The Stateite Creed was developed. In December 2000, the university’s accreditation was reaffirmed by the Southern Association of Colleges and Schools (SACS). On July 1, 2002, the Board of Trustees named retired Chief Justice Ernest A. Finney, Jr. Interim President of South Carolina State University. During his tenure, the Nuclear Engineering Degree Program was approved by the S.C. Commission on Higher Education. The program is a joint program in conjunction with the University of Wisconsin, the only undergraduate Nuclear Engineering program at an HBCU and the first of its kind started in the nation within the past twenty-five years. The University received funding in the amount of $9 million to construct a state-of-the-art transportation research facility. The University became the lead institution to provide statewide coordination for the South Carolina Alliance for Minority Participation (SCAMP). SCAMP is a $5 million grant to increase the number of minority students participating in mathematics, science, engineering and technology. 2003 – 2007 On May 16, 2003, the Board of Trustees named Dr. Andrew Hugine, Jr., the ninth President of South Carolina State University. President Hugine developed an Alumni Heritage Endowment fund to allow the University to create a perpetual fund to be used for scholarships, capital improvements, and endowed chairs. It is a fundraising effort specifically for graduates and supporters of South Carolina State University. In addition, Faculty, Staff, and Student Cabinets were established. The front entrance to the campus was renovated and upgraded; a security booth was constructed; and a new, enormous Bulldog mascot was unveiled to adorn the front entrance. Major renovations and improvements were made to selected dormitories, academic buildings, and the Smith-Hammond-Middleton Memorial Center. Under President Hugine’s leadership, an agreement with the University of South Carolina launched a faculty/student exchange program in nuclear engineering; the University Transportation Center was named the James E. Clyburn Transportation Center, and the Walnut Room was named the Robert S. Evans Walnut Room. In addition, the Real Estate Foundation 501(c)3, the Research and Development Foundation and the Advancement Foundation were established. Also, the 1890 Extension Office Complex was completed. The University underwent a major restructuring effort that combined and placed programs within appropriate units and the Student Success and Retention Program was developed. The five undergraduate schools within Academic Affairs were reorganized and elevated into three colleges. Other university accomplishments during Dr. Hugine’s presidency include: the Computer Science program received its initial accrediation by the Computing Accreditation Commission of the Accreditation Board for Engineering and Technology (CAC/ABET). A new Master of Business Administration degree program with concentrations in Agribusiness and Entrepreneurship was added to the curriculum. The University had the largest number of newly enrolled students in the University’s history. The 1890 Research and Extension Division purchased a mobile technology unit. An Alumni Heritage Endowment Fund was launched, and the University Board of Visitors was established. The nursing program received accreditation from the Commission for Collegiate Nursing Education. In 2005, President Hugine continued to make significant accomplishments. The University began work on the largest construction project in the history of the University, a $42 million new apartment-style residence hall. The new 772-bed living facility will provide safe, modern housing for University students. The University completed multi-million dollar renovations to the Pitt and Washington Dining Hall facilities; alumni giving reached a record $1 million; the new Master in Transportation degree program was established; and the Thomas E. Miller Society was established to recognize $100,000 lifetime givers. In 2006, the 755-bed state of the art Residence Hall was opened for student occupancy. Likewise, the 1890 building was dedicated and named in honor of graduate and senior South Carolina Senator John W. Matthews, Jr. In addition, the University was among six colleges to participate in the United States Agency for International Development (USAID) Africa initiative to provide textbooks and other learning materials to the students in Africa. Specifically, South Carolina State University is partnered with the country of Tanzania in USAID initiative. Continuing with its level of excellence, the University was ranked by the national publication, Washington Monthly Magazine, number nine as a national university and number one in the area of social mobility. In 2007, South Carolina hosted the first candidates’ debate of the 2008 Presidential cycle on Thursday, April 26th. The Democratic Presidential candidates’ debate was produced by NBC News and hosted by SC State. MSNBC’s signature political program, “Hardball with Chris Matthews,” aired live from South Carolina State University. The new 755-bed residence hall was dedicated and named in honor of the University’s Ninth president, Dr. Andrew Hugine, Jr. In addition, construction began on Phase I of the James E. Clyburn Transportation Research and Conference Center Complex. The University also realized a record enrollment of 5,000 students. On December 13, 2007, Dr. Leonard A. McIntyre was named Interim President During his tenure, Interim President McIntyre and a delegation from the University delivered the first set of textbooks (165,000) to the students of Zanzibar. In addition, His Excellency Amani Karume, President of Zanzibar served as the Commencement speaker Spring 2008. South Carolina State University and Francis Marion University announced the launch of the new I-95 Corridor Initiative seeking innovative ways to address long-running development challenges in eastern South Carolina. Renovations began on Lowman Hall. 2008 – 2012 On June 6, 2008, the Board of Trustees named Dr. George E. Cooper the 10th President of South Carolina State University. Under his leadership, Orangeburg-Calhoun Technical College and South Carolina State University signed an agreement creating, “The Gateway Program” between the two-year college and the four-year university. The Program is intended for any OCTech student who aspire to continue their studies at SC State. In addition, the Dr. Clemmie Embly Webber Educational Resource Center was named and dedicated at the I.P. Stanback Museum and Planetarium. Construction began on the Hodge Hall Annex. On March 27, 2009, Dr. Cooper was inaugurated as the 10th President of SC State. In addition, the University received $13 million for the Textbook and Learning Materials Program to continue its initiative to provide books to the students of Tanzania. SC State’s Environmental Policy Institute received a $1.7 million grant for Nuclear Research. Also, construction demolition took place on Bethea Hall to make way for the new Science and Engineering Building. Renovations were completed on Lowman Hall. In August 2010, a new program leading to a Bachelor of Arts degree in Communications with concentrations in journalism and broadcasting began and two classes in Mandarin Chinese were offered. The Honors Program received approval by the Board of Trustees to initiate an Honors College beginning the fall semester. Construction began on the James E. Clyburn Transportation, Research and Conference Center. During the Spring 2011 semester, construction was completed on the Hodge Hall Annex which will be named for Dr. Leroy Davis, Sr. the eighth President of SC State. The Transit Research building was completed and the Certificate of Occupancy was issued. The Ribbon Cutting Ceremony was held for the SC State Fitness Center located in Sojourner Truth Hall. The University made history as the host of a statewide science conference, the 2011 South Carolina Academy of Science (SCAS) annual meeting and Junior Academy meeting. Dr. Rita Jackson Teal assumed the responsibilities as Acting President on March 31, 2012. On July 5, 2012, Dr. Cynthia Warrick became Interim President of South Carolina State University. During her tenure, the University formed a partnership with the Environmental Protection Agency to promote environmental sustainability. This partnership, which includes OC Technical College, Aiken Technical College and Claflin University, focuses on collaborations in research, teaching, various projects and student internship opportunities with the EPA. In addition, the dedication and open house of the new state-of-the-art Science and Engineering Complex was held on February 1, 2013. The $24.5 million, 86,500 square foot complex features innovative classrooms, research centers, laboratories, offices and other academic support spaces. The University also launched a new mobile application which allows users to become more engaged with the University through the no-cost interactive tool. 2013 – 2015 Dr. W. Franklin Evans assumed the responsibilities as Acting President on June 1, 2013. On April 18, 2013, the Board of Trustees named Thomas J. Elzey President of South Carolina State University. On June 15th, he assumed the responsibilities as the eleventh president. On March 1, 2014, he was inaugurated as the eleventh President. Under the guidance of President Elzey, two new Master of Science Degree Programs, Energy and Environmental Science and Bio-Engineering, were developed and subsequently approved by the South Carolina Commission on Higher Education (SCCHE). Other accomplishments include: the restoration of the clock tower at Miller F. Whittaker Library; improvement of campus grounds; and increased giving of scholarship funds from the University Foundation, alumni and individual supporters. The University received a $2 million Cybersercurity grant to help address one of the nation’s most critical workforce needs. The grant will support the efforts of a newly formed cybersecurity consortium comprised of 13 Historically Black Colleges and Universities, two national laboratories and a public school district. A preliminary study was conducted examining the institution’s impact on the South Carolina economy by the university’s School of Business, which indicated that SC State has an impact of approximately $187 million on the state’s economy. This is an increase of $37 million over a study conducted in 2005 SC State’s Speech Pathology and Audiology Program had a completion rate of 100% as well as an employment rate for graduates of 100%. On February 23, 2015, the Board of Trustees named Dr. W. Franklin Evans Acting President of South Carolina State University. The governor appointed a seven-member interim Board of Trustees to serve a term through June 30, 2018. On July 16, 2015, the Board of Trustees promoted Dr. Evans from acting president to interim president of South Carolina State University. The Reverend Dr. Solomon Jackson Jr., a philanthropist from Columbia, South Carolina, gifted SC State with a $120,000 contribution to support the purchase of a 54-passenger bus. Congressman James E. Clyburn and his wife, Emily, provided $70,000 in support of their alma mater to benefit the James E. and Emily E. Clyburn endowment and to establish the Emily England Clyburn Honors Scholarship program. In July 2015, the Felton Laboratory School became the Felton Laboratory Charter School sponsored by SC State University. Two University dormitories, Bradham and Manning Halls, were demolished in December 2015. 2016 – 2021 On February 26, Democratic presidential hopeful Hillary Clinton spoke at Dukes Gymnasium to lead her ‘Get Out the Vote’ HBCU Rally. Entertainer, entrepreneur, actress, radio personality, and philanthropist Sheryl Underwood delivered the commencement address to SC State University students during the May 2016 commencement. On May 25, Judge Donald W. Beatty, ’74 was elected to serve as the next chief justice of the SC Supreme Court. He is the second Africa American male to hold the position. On June 6, it was announced that Earvin “Magic” Johnson partnered with the university to establish a $2.5M Endowed Scholarship. The Earvin “Magic” Johnson Endowed Scholarship Fund will support scholars who are working toward earning their degrees from the university’s School of Business. It was announced on June 16 that the university had successfully demonstrated compliance with its accrediting agency’s standards and was removed from probation by the Southern Association of Colleges and Schools Commission on Colleges (SACSCOC). SACSCOC’s decision reaffirmed the university’s accreditation with no sanctions. On June 29, 2016, Dr. W. Franklin Evans resigned as Interim President. On June 29, Mr. James E. Clark was named the 12th president of SC State University following a meeting of the SC State Board of Trustees. The announcement was made by Board Chair Charles S. Way, Jr. Mr. Clark will serve a four-year term. His appointment began July 1, 2016. Under the leadership of President Clark, there was an increase in the Fall 2016 enrollment for the first time in nine years. Nix and Rowe halls were renovated and brought back online, September 2016, to accommodate the increase in enrollment. In September 2016, multiple ABET Accreditations were achieved in Computer Science, Civil Engineering Technology, Electrical Engineering Technology, Industrial Engineering Technology, and Mechanical Engineering Technology, by the Engineering Technology Accreditation Commission of ABET. In addition, Memorandums of Understanding were signed with OC Tech (September 2016); Denmark Tech (November 2016); and Midlands Tech (March 2017) to establish a seamless accelerated pathway from their Associate’s to SC State’s baccalaureate degrees. The School of Business’ MBA is the only Healthcare Management option available at the Lowcountry Graduate Center in North Charleston. The kickoff reception was held January 19, 2017. On March 5, 2017, President Clark was Inaugurated as the 12th President. Also, the I.P. Stanback Museum and Planetarium was re-opened on the same day. As a safety mechanism for students and the community, the Chestnut Street Pedestrian Bridge was officially opened on May 5, 2017. On Friday, May 12, 2017, the Honorary Doctor of Laws degree was conferred upon South Carolina Governor Henry D. McMaster and the Honorary Doctor of Engineering and Technology degree was conferred upon President Clark. Also on May 12, Joe Thomas, who was nationally recognized as the oldest Division I football player, completed his lifelong journey of becoming a college graduate. He received his Bachelor of Science degree in Industrial Engineering Technology. Former Miss SCSU Kára McCullough was crowned Miss USA on May 14, 2017. The 2013 alumna is a Chemical Radiologist at the Nuclear Regulatory Commission. In addition, the University was also among 70 sites across the country participating in a national research initiative for the Solar Eclipse on August 21, 2017. On September 22, 2017, SC State University was awarded a grant in the amount of $6.2 million by the National Cancer Institute, NIH to establish the South Carolina Disparities Research Center. A portion of the total $12.5 million award funds the Medical University of South Carolina’s cancer disparities research. The two universities will collaborate on this project. On February 8, the University commemorated the 50th anniversary of the Orangeburg Massacre. Bakari Sellers, son of Cleveland Sellers who was one of those wounded in the Orangeburg Massacre and the only person convicted of any crime in connection with the Orangeburg protests, served as the keynote speaker. In April, SC State Alumnus Brig. Gen. Milford “Beags” Beagle Jr. was named the new commanding general of Fort Jackson, which is the nation’s largest basic training base. He is the second SC State graduate to assume this role. In May, SC State University and Piedmont Technical College formalized a memorandum of understanding that will give Piedmont Tech students access to programs and services to facilitate their transfer to SC State upon completion of their associate’s degrees. On October 19, 2018, the 93-foot pedestrian bridge over Chestnut Street was renamed the Dr. Emily England Clyburn Pedestrian Bridge. The bridge was officially opened in May 2017. During March 2020 the coronavirus (COVID-19) pandemic became more prevalent at alarming rates as it made a major impact in the United States and many countries. Changes in the educational system in South Carolina was a new experience for everyone. The university was not exempted as several major changes were made, notably: 1) March 11 – spring break was extended and the university moved to remote learning and alternative instruction methods including online classes; 2) March 16 – the university closed per orders by Governor Henry D. McMaster, coursework was held remotely; 3) May 6 – university officials implemented an alternate grading policy for students; 4) May 20 – the Innovation and Entrepreneurship Hub in the College of Business held a virtual Innovative Idea Competition that challenged students to use their creativity to create technology, a service or a product idea to solve a problem created by COVID-19; 5) May 31 – a spring virtual commencement was held; 6) July 16 – the MEAC announced it was suspending all sports competition for 2020; 7) August 10 – fall classes started remotely for all students through November 24, 2020; 8) November 9 – the university and the South Carolina Department of Environmental Control began offering free COVID-19 drive-thru testing on the parking lot of SHM for university faculty, staff, students, and the Orangeburg community; 9) January 19, 2021 – the Marching 101 Band performed during a virtual celebration honoring the historic presidential inauguration of President-elect Joseph R. Biden, Jr. and Vice President-elect Kamala D. Harris; and 10) February 8 – faculty at SC State University physically returned to classrooms. The university engaged in dual delivery of instruction by resuming face-to-face instruction as well as continuing virtual instruction. 2021 – Present On July 13, 2021, the Board of Trustees named Retired U.S. Army Colonel Alexander Conyers acting president. During the month, the university was named one of the most influential HBCU’s over the last two decades by Academic Influence. The Department of Speech Pathology and Audiology’s graduate program was reaccredited, for an eight-year period, on the national level by the Council on Academic Accreditation in Audiology and Speech-Language Pathology. On August 12, Acting President Conyers first student-parent focused initiative was the creation of a Legacy Luncheon to recognize incoming students whose parents and grandparents attended the university. On August 25, he was named interim president. Also, on August 25, Interim President Conyers announced a fundraising campaign to honor the university’s 125 years of education and service through an endowment. He launched a $1.25 million challenge to university supporters named, “Ready All to do and Dare.” The campaign kicked-off with a $25,000 donation from him and First Lady Agatha Conyers. As of December 31, 2021, the goal was exceeded with a total of more than $2.5 million raised. Other accomplishments during his six months presidency, included: 1) the nuclear engineering program, No. 20 on the list, was designated one of the 25 best values in the nation for 2021 by Best Value Schools; 2) the university transitioned its civil engineering technology program to a “full” engineering program; 3) creation of an SCSU Parents and Family Association to build a bridge between the students’ families and the university; 4) work continued on Wilkinson Hall from a U.S. National Park Service $500,000 recurring grant; 5) extensive work began on Sojourner Truth Hall; 6) 1890 Research and Extension received a U.S. Department of Agriculture grant of $750,000 to help cultivate beginning farmers; 7) United States President Joseph “Joe” R. Biden, Jr. was the fall commencement speaker, 8) on December 18, SC State (MEAC) played Jackson State University (SWAC) in the 2021 Cricket Celebration Bowl in Atlanta, Georgia and was named the HBCU national champions with a win of 31 to 10; 9) on December 20, a ribbon cutting was held to announce the Orangeburg Regional Innovation Center, developed by the university in partnership with Claflin University, Orangeburg-Calhoun Technical College, and other community partners resulting from a $225,000 grant from the South Carolina Department of Commerce; and 10) student enrollment and retention, health and safety of the campus, academic programs, and infrastructure were rigorously reviewed with detailed and specific plans for improvement. The 2022 semester began with the Southern Association of Colleges and Schools Commission on Colleges (SACS-COC) notifying the university that it had reaffirmed its ten-year regional accreditation. In addition, 1) the women’s and men’s track team established two school records in the 3,000 meters and four personal records from Carolina Challenge; 2) on February 4, a statue of the late civil rights icon and U.S. Congressman John Lewis, which was part of a traveling exhibition enroute to Washington, DC, was unveiled adjacent to the Orangeburg Massacre Monument; 3) on February 8, a program honoring the 54th Anniversary of the 1968 Orangeburg Massacre was held, and the university dedicated a new monument featuring busts of the three young men killed in the civil rights demonstration in the Smith-Hammond-Middleton Legacy Plaza; 4) on February 15, SGA President, Javonni D. Ayers, and Governor Henry D. McMaster signed a bill creating an HBCU Day in the state of South Carolina to be recognized every third Tuesday in February, and 5) the Wilkinson Hall renovation project was recognized by the International Institute of Building Enclosure Consultants (IIBEC) for the stabilization measures used by the Building Envelope Enclosure (BEE) Group. Additional accomplishments by Interim President Conyers were 1) On April 21, 2022 the university celebrated surpassing the fund-raising goal of $1.78 million, launched by SC State Athletics major fund-raising initiative in 2018, by raising a total of $3 million over the past four years; 2) on April 26, it was announced that SC State University and CREATE (Centers for the Re-education and Advancement of Teachers in Special Education and Related Service Professionals) would offer a Master of Arts degree in speech pathology and audiology; 3) on April 20, U.S. Secretary of Education Miguel A. Cardona named SC State University Interim President Alexander Conyers to the Historically Black Colleges and Universities Capital Financing Advisory Board (HBCUCFAB) to begin immediately until September 30, 2024 or until a successor is appointed.
7770	dbpedia	1	33	https://www.nytimes.com/2011/05/12/us/politics/12daniels.html	en	Mitch Daniels, Weighing Run, Considers Cost to Privacy	https://static01.nyt.com…op.png?year=2011	https://static01.nyt.com…op.png?year=2011	[ "https://static01.nyt.com/images/2011/05/12/us/daniels-2/daniels-2-jumbo.jpg?quality=75&auto=webp&disable=upscale" ]	[]	[]	[ "" ]	null	[ "Jeff Zeleny" ]	2011-05-12T00:00:00	If Mitch Daniels decides to run for the White House, he may have to give up the family privacy.	en	/vi-assets/static-assets/favicon-d2483f10ef688e6f89e23806b9700298.ico		https://www.nytimes.com/2011/05/12/us/politics/12daniels.html	INDIANAPOLIS — Cheri Daniels has made no secret of her distaste for politics. She did not campaign for her husband, Mitch Daniels, during two races for governor. She did not fully move into the governor’s mansion after his election. She has never delivered a political speech. But as leading Republicans step up their efforts to urge Mr. Daniels to run for president, the attention has suddenly turned to Mrs. Daniels, who makes her debut here on Thursday when she delivers a keynote address at the spring dinner of the Indiana Republican Party. Her willingness to take on a public role has increased the speculation about his intentions. But it has also come at the price of increased scrutiny on the couple’s private life, something Mr. Daniels had seemed to have on his mind for months as he made it clear that family considerations would weigh heavily on his decision. While much is known about Mr. Daniels in Republican circles, where he is viewed as a fiscally focused, budget-cutting, pragmatic-thinking conservative, there is one period of his life that has remained almost entirely private — until now. He has been married twice — to the same wife. Should he run, that chapter in his life would no doubt be picked over in public and become a part of the personal narrative that springs up around any serious candidate: in this case a three-year gap in their marriage in the 1990s, when she filed for divorce, moved to California with a new husband and left Mr. Daniels to raise their four daughters, then ages 8 to 14. She later returned and remarried him. He has discussed it only once publicly, telling The Indianapolis Star in 2004: “If you like happy endings, you’ll love our story. Love and the love of children overcame any problems.” Their story is in some ways an antidote to a string of philandering male politicians. But it is a topic that Mr. Daniels does not relish delving into, several friends said. And it has been one of the factors as he weighs whether to run for president, a rare position where scrutiny begins and privacy ends whether or not one gets the job. The marriages of many political figures break up after they leave office — the latest example coming this week with the announcement of Arnold Schwarzenegger and Maria Shriver’s separation — but the Daniels case provides a different look at the intersection of public and private lives. “Cheri hasn’t even attended one of these, let alone appeared at one of them,” he said in a recent interview. He added, “Tea leaves started getting read — and I get it.” Mr. Daniels has declined to say what his wife thinks about the idea of him running for president. “I’m not going to speak either to that or for her, and it’s kind of between us,” he told reporters here the other day. “But I’ll just say, I love her and I love the family we’ve got, and you don’t lightly trifle with that.” A group of top Republican contributors met with Mr. Daniels in Indianapolis this week. Even in a private session, one participant said, he did not disclose whether his family had signed off on the notion of a presidential campaign. He argued that he believes he could beat President Obama, but did not leave them with a strong sense that he is intent on running. But the timing of the speech by Mrs. Daniels, and the fact that she agreed to make her debut before a crowd of more than 1,000 people and a live national cable television audience, has intensified the speculation about a presidential run. A springtime of debate about whether he will jump in has developed into the talk of the town, with the front-page of The Indianapolis Star on Wednesday asking, “Is Cheri Daniels ready to take the plunge?” Indeed, Republicans here do not expect Mrs. Daniels to talk directly about the presidential ambitions of her husband. (Except, one friend said, to poke a bit of fun at him.) She also has never publicly discussed their divorce and is not expected to suddenly do so in the not-so-intimate setting of a hotel ballroom filled with political activists. In conversations here this week, several Republicans who are supportive of a presidential bid by Mr. Daniels said they hoped his wife saw the outpouring of enthusiasm for his candidacy at the dinner and that it became a factor in their decision. Family permission for Mr. Daniels does not pave the way to the White House — or even ensure that he would win the party’s nomination — but it is a first step that Republicans are watching for as a signal of his intentions. As the first lady of Indiana, Mrs. Daniels, 61, has promoted literacy, health and fitness programs. She also won a third-place ribbon in a cow-milking contest last August at the Indiana State Fair and threw out the first pitch at the opening game of the Indianapolis Indians in April. (A longtime baseball fan, she is the granddaughter of Billy Herman, a Hall of Fame second baseman who played for the Chicago Cubs and the Brooklyn Dodgers.) Mr. Daniels said he would decide whether to join the presidential race in the coming weeks. If he does run, Republicans here believe, Mrs. Daniels will not dramatically change the distant role she has played in his previous campaigns or during his time at the White House as political director to President Ronald Reagan and budget director to President George W. Bush. She explained her reasoning in a 2005 interview with Indianapolis Woman magazine, saying, “They did not ask me to sit in on the job interview.” “I saw the campaign the same way,” she said, “as an interview.”
7770	dbpedia	2	89	https://www.inkfreenews.com/2024/08/06/indianas-living-governors-to-headline-fair-event/	en	Indiana’s Living Governors To Headline Fair Event	https://www.inkfreenews.…overnors-def.jpg	https://www.inkfreenews.…overnors-def.jpg	[ "https://www.inkfreenews.com/wp-content/uploads/2015/10/ink-free-news-logo.png", "https://www.inkfreenews.com/wp-content/uploads/2015/10/ink-free-news-logo.png", "https://www.inkfreenews.com/wp-content/uploads/2024/08/livin-governors-def-300x150.jpg", "https://cdn.printfriendly.com/buttons/printfriendly-pdf-email-button-notext.png", "https://www.inkfreenews.com/wp-content/uploads/2017/09/see-it-report-it.jpg" ]	[]	[]	[ "" ]	null	[ "www.inkfreenews.com", "marissa-sweatland" ]	2024-08-06T00:00:00	Indiana’s current and former living governors will unite Aug. 14 for “The Art of Leadership with Four Gubernatorial Hoosiers.”	en	/wp-content/uploads/2014/10/favicon.ico	InkFreeNews.com	https://www.inkfreenews.com/2024/08/06/indianas-living-governors-to-headline-fair-event/	By Niki Kelly Indiana Capital Chronicle INDIANA — Indiana’s current and former living governors will unite Aug. 14 for “The Art of Leadership with Four Gubernatorial Hoosiers.” Gov. Eric Holcomb and former governors Mike Pence, Mitch Daniels and Evan Bayh will keynote the 2024 Harvest Dinner at this year’s Indiana State Fair. The Indiana State Fair Foundation is hosting the evening, which includes a reception and dinner. Each year, the proceeds from the Harvest Dinner support the Youth Development Fund, which benefits Celebration of Champions and 4-H youth participating at the State Fair. The event will take place in the Indiana Farmers Coliseum. “This special event won’t be about politics or the issues of the day, but rather a friendly conversation about their approach to leadership, reflecting on their time as Governor, and their impact on Indiana over the past 35 years,” the event website says. Holcomb’s second term ends this year and he has not made public his plans for the future. Pence served from 2013-2017 before becoming vice president of the United States alongside Donald Trump. He ran for president but dropped out in October 2023. Daniels served from 2005-2013 and briefly considered a presidential run before opting against it. He then became president of Purdue University from 2013 to the end of 2022. Evan Bayh is the only Democrat, and he was in office from 1989 to 1997. He then served more than a decade in the U.S. Senate. One of Bayh’s twin sons, Beau, is said to be preparing for a political run in the future. Two Democrat governors after Bayh, Frank O’Bannon and Joe Kernan, are deceased. The website says traditional harvest dinners bring together family and friends for celebration and fellowship at the end of a long planting season. They are the culmination of months of hard work, commitment and stewardship. They are the very essence of what it means to be a farmer in Indiana. The Harvest Award is also given annually at the Harvest Dinner to an individual, organization or company that has made a significant contribution to the growth of our great Indiana State Fair with a focus on agriculture, youth and education. The cost to buy a table of eight at the event runs from $1,200 to $5,000 with some additional perks included.
7770	dbpedia	1	64	https://kesq.com/news/national-politics/2021/03/23/mitch-daniels-fast-facts/	en	Mitch Daniels Fast Facts	https://kesq.b-cdn.net/2…kesq-860x484.jpg	https://kesq.b-cdn.net/2…kesq-860x484.jpg	[ "https://kesq.b-cdn.net/2020/03/nc3xsm.png", "https://kesq.b-cdn.net/2021/06/kesq.jpg", "https://kesq.com/wp-content/themes/storymate-npg/assets/images/weather-icons/9000_clear_night.png", "https://kesq.b-cdn.net/2024/08/3-2-375x225.png", "https://kesq.b-cdn.net/2023/10/67562-BREAKING-NEWS-FULLCSCREEN-1024X576.png", "https://ktvz.b-cdn.net/2022/06/comment_icon.png", "https://secure.gravatar.com/avatar/?s=96&d=mm&f=y&r=g", "https://kesq.b-cdn.net/2020/08/nc3.png", "https://s3.us-east-1.wasabisys.com/kesq.com/2019/11/kesq-news-app-icon.jpg", "https://s3.us-east-1.wasabisys.com/kesq.com/2019/11/kesq-weather-app-icon.png" ]	[]	[]	[ "" ]	null	[ "CNN Newsource" ]	2021-03-23T00:00:00	Here’s a look at the life of Mitch Daniels, former governor of Indiana. Personal Birth date: April 7, 1949 Birth place: Monongahela, Pennsylvania Birth name: Mitchell Elias Daniels Jr. Father: Mitchell Daniels Sr., a drug company salesman Mother: Dorothy Mae (Wilkes) Daniels Marriage: Cheri (Herman) Daniels (1997-present and May 20, 1978-1994, divorced) Children: Margaret; Meredith;	en	https://kesq.b-cdn.net/2…avicon-32x32.jpg	KESQ	https://kesq.com/news/national-politics/2021/03/23/mitch-daniels-fast-facts/	Here’s a look at the life of Mitch Daniels, former governor of Indiana. Personal Birth date: April 7, 1949 Birth place: Monongahela, Pennsylvania Birth name: Mitchell Elias Daniels Jr. Father: Mitchell Daniels Sr., a drug company salesman Mother: Dorothy Mae (Wilkes) Daniels Marriage: Cheri (Herman) Daniels (1997-present and May 20, 1978-1994, divorced) Children: Margaret; Meredith; Melissa; Meagan Education: Princeton University, B.A., 1971; Georgetown University, J.D., 1979 Religion: Presbyterian Other Facts Daniels is a motorcycle enthusiast and rides a Harley Davidson. Daniels has worked in the presidential administrations of Ronald Reagan and George W. Bush. He is known for being fiscally responsible, balancing Indiana’s budget in his first term as governor, cutting expenditures wherever possible and having a surplus over multiple years. Timeline 1971-1976 – Serves as aide and later adviser to Indianapolis Mayor Richard Lugar. 1977-1983 – Serves as chief of staff to Senator Richard Lugar (R-Indiana). 1983-1984 – Executive Director of the National Republican Senatorial Committee (NRSC). 1985-1987 – Serves as senior adviser to President Reagan. 1987-1990 – Chief Executive Officer, Hudson Institute. 1990-2001– Executive at Eli Lilly. 2001-2003 – Director of the Office of Management and Budget (OMB). 2004 – Is elected the 49th governor of Indiana. January 10, 2005-January 14, 2013 – Two-term Republican governor of Indiana. May 22, 2011 – Announces he will not be running for president in 2012. June 21, 2012 – Purdue University announces Daniels has been unanimously elected to be the school’s next president. January 15, 2013 – Daniels starts his position as president of Purdue University. January 27, 2015 – Daniels writes a Wall Street Journal opinion piece, “How Student Debt Harms the Economy.” He writes that there is “evidence that it’s not just consumer spending that these debts are denting, but also economic dynamism.”
7770	dbpedia	0	28	https://www.insidehighered.com/news/2022/06/13/daniels-retire-purdue-successor-already-named	en	Daniels to Retire at Purdue; Successor Already Named	https://www.insidehigher…pg?itok=4Hf1kOFs	https://www.insidehigher…pg?itok=4Hf1kOFs	[ "https://www.insidehighered.com/themes/custom/ihe/logo.svg", "https://www.insidehighered.com/themes/custom/ihe/assets/images/svg/facebook.svg", "https://www.insidehighered.com/themes/custom/ihe/assets/images/svg/x84.svg", "https://www.insidehighered.com/themes/custom/ihe/assets/images/svg/Linkedin.svg", "https://www.insidehighered.com/themes/custom/ihe/assets/images/svg/email.svg", "https://www.insidehighered.com/themes/custom/ihe/assets/images/svg/print.svg", "https://www.insidehighered.com/sites/default/files/styles/max_650x650/public/media/GettyImages-1235087550.jpg?itok=SlOL-noJ", "https://www.insidehighered.com/themes/custom/ihe/assets/images/svg/envlope.svg", "https://www.insidehighered.com/sites/default/files/styles/image_192_x_128/public/2024-08/KHEAA-13_edit.jpg?itok=LWQ6H9V-", "https://www.insidehighered.com/themes/custom/ihe/assets/images/svg/facebook.svg", "https://www.insidehighered.com/themes/custom/ihe/assets/images/svg/x84.svg", "https://www.insidehighered.com/themes/custom/ihe/assets/images/svg/Linkedin.svg", "https://www.insidehighered.com/themes/custom/ihe/assets/images/svg/email.svg", "https://www.insidehighered.com/sites/default/files/styles/image_192_x_128/public/2024-07/GettyImages-1474097343_edit.jpg?itok=ZP7EXqAV", "https://www.insidehighered.com/sites/default/files/styles/image_192_x_128/public/2024-07/GettyImages-1266808508.jpg?itok=lSKNkivW", "https://www.insidehighered.com/sites/default/files/styles/image_192_x_128/public/2024-03/Berkeley.jpeg?itok=MwpMjnRD", "https://www.insidehighered.com/themes/custom/ihe/assets/images/svg/envlope.svg" ]	[]	[]	[ "Higher", "Education", "News", "Jobs", "Events", "Career" ]	null	[ "Josh Moody" ]	2022-06-13T00:00:00	Mitch Daniels announced his retirement from Purdue on Friday. The Board of Trustees announced on the same day they’d hired an internal candidate. The search did not include public input.	en	/sites/default/files/favicon.ico	Inside Higher Ed \| Higher Education News, Events and Jobs	https://www.insidehighered.com/news/2022/06/13/daniels-retire-purdue-successor-already-named	Mitch Daniels is stepping down after 10 years as president of Purdue University, per an announcement made Friday. And a successor was named on the same day—without public input. Purdue did not respond to a media inquiry about the closed internal search process, which breaks from the norm at public universities when seeking a successor for a departing president. Daniels, a former Indiana governor from 2005 to 2013, joined Purdue in 2013 after his term ended. Daniels will vacate the president’s office at the end of the year and be replaced on Jan. 1 by Mung Chiang, who currently serves as dean of engineering and executive vice president for strategic initiatives. Last year Chiang was considered to be the front-runner for the University of South Carolina presidency before dropping out of consideration, citing responsibilities to his family and Purdue. The Hire Once Daniels made his interest in retiring clear to the board, an internal search for his successor began, according to details shared with local reporters at Friday’s Board of Trustees meeting, where the announcement was made. Other internal candidates were also considered. Chiang said at Friday’s meeting that he was first approached about the presidency in April. Chiang was the unanimous choice to succeed Daniels, according to a Purdue news release in which Board of Trustees chairman Michael Berghoff noted Chiang had turned down other offers. “He has displayed not only academic excellence but also administrative acumen, effective relationship-building with academic, governmental, and business partners, and the skills of public communications,” Berghoff said in the news release announcing the hire. “He brings the entire package of talents and experience necessary to take our university further forward. It is no surprise that Mung has been offered the presidency of several other schools, and the board is grateful that his loyalty to Purdue kept him here and available as this time of transition arrived.” Before Purdue, Chiang spent almost 14 years in various roles at Princeton University. Chiang completed his undergraduate education, master’s degree and Ph.D. at Stanford University. Purdue made the hire after an internal search. “The Board of Trustees is empowered by statute and bylaw to screen and select the president of Purdue University by whichever process they deem appropriate. In this case, it was decided that there were enough qualified internal candidates to fill the position without an external search. Therefore, the board members have been informally gathering feedback and input on the candidates of interest, and announced their selection on Friday, June 10,” Colleen Brady, chair of Purdue’s University Senate said by email. The Reactions Across Indiana, public officials praised the work Daniels has done and celebrated the new hire. “During his 10 years at the helm, Mitch has delivered higher education at the highest proven value, from freezing tuition during his entire tenure, to creating a national online university, establishing a network of Indiana STEM charter schools, and making record investments in world-class research,” Indiana governor Eric Holcomb said in a statement Friday. “He has always kept Purdue’s land-grant mission as its core strategy and spent each day opening the doors of higher education to every Hoosier willing to put in the work to be a Boilermaker.” Holcomb added that he is “eager to work with Dr. Mung Chiang as he takes the reins.” Pamela Whitten, president of Indiana University, also paid respect to Daniels. “Congratulations to Mitch Daniels on his great success in leading Purdue. He is a highly valued colleague; we wish him the best. Congratulations also to Dr. Mung Chiang on being named president of Purdue University,” Whitten tweeted Friday. “I look forward to making progress toward our shared goals of student success, research and strengthening the state.” Some higher education observers found the move puzzling because of how the search was carried out in a secret fashion, with both the retirement of Daniels and his successor named on the same day, noting that the process used at Purdue breaks from the norm at public institutions. “To my knowledge, this is a very unusual arrangement for a public institution,” said Neal Hutchens, a professor at the University of Mississippi who studies legal issues in higher education. While Hutchens said some states have dialed down transparency in searches, limiting the number of candidates revealed as finalists, Purdue’s approach here is atypical of the presidential hiring process. “I don’t understand the advantages of doing it this way. To me, it would seem to shut down transparency and the ability to get feedback from different constituencies across campus,” Hutchens said. David Sanders, a professor at Purdue, told local TV station WLFI that the surprise hire limited the ability of the university to properly vet Chiang as he steps into the role of the president. “We can’t guarantee we had the best outcome without knowing if it was an open process,” Sanders told the TV station Friday. “There had been other examples at other universities where they engaged in this closed process, and it turned out if there had been an open process, information about the appointee would have come out. And they wouldn’t have been considered. They wound up having to fire, or the person has moved on because they weren’t vetted appropriately, which would have happened better if it had been an open process.” Daniels leaves a legacy at Purdue that has seen him both celebrated and castigated. He has earned praise for an 11-year tuition freeze, developing corporate partnerships and growing the student body, among other accomplishments. At the same time, Daniels has been criticized for expanding Purdue’s online offerings by acquiring the troubled for-profit Kaplan University, and foot-in-mouth missteps when commenting on Black scholars and student gender gaps. Daniels told reporters at Friday’s meeting that he is not weighing other job offers and does not have immediate plans following his departure from Purdue at the end of this year.
7770	dbpedia	1	72	https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2882688/	en	The Changing Racial and Ethnic Composition of the US Population: Emerging American Identities	https://www.ncbi.nlm.nih…rd-share.jpg?_=0	https://www.ncbi.nlm.nih…rd-share.jpg?_=0	[ "https://www.ncbi.nlm.nih.gov/coreutils/uswds/img/favicons/favicon-57.png", "https://www.ncbi.nlm.nih.gov/coreutils/uswds/img/icon-dot-gov.svg", "https://www.ncbi.nlm.nih.gov/coreutils/uswds/img/icon-https.svg", "https://www.ncbi.nlm.nih.gov/coreutils/nwds/img/logos/AgencyLogo.svg", "https://www.ncbi.nlm.nih.gov/corehtml/pmc/pmcgifs/logo-nihpa.png", "https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2882688/bin/nihms-102416-f0001.jpg", "https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2882688/bin/nihms-102416-f0002.jpg" ]	[]	[]	[ "" ]	null	[ "Anthony Daniel Perez", "Charles Hirschman" ]	2009-03-18T00:00:00		en	https://www.ncbi.nlm.nih.gov/coreutils/nwds/img/favicons/favicon.ico	PubMed Central (PMC)	https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2882688/	Popul Dev Rev. Author manuscript; available in PMC 2010 Jun 9. Published in final edited form as: PMCID: PMC2882688 NIHMSID: NIHMS102416 PMID: 20539823 The Changing Racial and Ethnic Composition of the US Population: Emerging American Identities The racial and ethnic makeup of the American people is in flux. New immigrants from Asia and Latin America have added a large measure of cultural and phenotypic diversity to the American population in recent decades, just as waves of immigrants from Southern and Eastern Europe did a century ago (Bean and Stevens 2003; Higham 1988; Lieberson and Waters 1988: Ch. 2; Thompson and Whelpton 1933: Ch. 2). Moreover, the boundaries between racial and ethnic groups are becoming blurred by high rates of intermarriage and the growing number of persons with mixed ancestry (Lee and Bean 2004). Descriptions and projections of the racial and ethnic composition of the American people appear kaleidoscopic, with varied accounts and interpretations. Some commentators anticipate a new melting pot, often labeled as the “browning of America,” characterized by continued blurring of once-distinct racial and ethnic divisions (Rodriguez 2003). This interpretation is consistent with the thesis of the declining significance of race and ethnicity in American society. Others see new racial divisions arising as some immigrant groups are allowed to integrate with an expanded and privileged white population, while other groups are “racialized” as disadvantaged brown and black minorities (Bonilla-Silva and Glover 2004; Golash-Boza 2006). These conflicting accounts arise, in part, because of differing ideological presuppositions, but also because racial and ethnic identities are not mutually exclusive or immutable (Barth 1969; Alba 1999). The US Census Bureau recently released population projections showing that non-Hispanic whites will no longer be the majority of the population in 2042 (US Census Bureau 2008b; Roberts 2008). Most media accounts of these forecasts neglect to report that whites (as opposed to non-Hispanic whites) are actually projected to remain the large majority (upwards of 70 percent in 2050) of the US population (for earlier accounts, see Pellegrini 2000; US Census Bureau 2004). Census Bureau projections by race are flawed, however, because they ignore the relatively high levels of intermarriage and the variations in racial and ethnic identities of mixed-ancestry descendants (Hirschman 2002; Perlmann 2002). More nuanced population projections, produced by the 1997 National Research Council Panel on the Demographic and Economic Impacts of Immigration, incorporate alternate assumptions about current and future trends in immigration, intermarriage, and identity choices (Smith and Edmonston 1997: Ch. 3). These projections, subsequently updated by Edmonston, Lee, and Passel (2002), also show a decline in the proportion of non-Hispanic whites, although not as rapid as in Census Bureau projections. Population projections by race are heavily dependent on the identity choices of persons of multiple racial and ethnic origins (ibid.: 249). Assuming current trends continue to 2050, about a quarter of Asian Americans and African Americans will have recent mixed ancestry, as will nearly half of all Hispanic Americans (ibid.: 246−247). These levels of racial and ethnic mixing and an increased awareness of multiracial ancestry are likely to reshape racial and ethnic boundaries in the coming decades. Many Americans have multiple identities that reflect complex ancestral origins, tribal and communal associations, and varied ideological outlooks on race and culture. In general, people do not change their ethnicities as a matter of fashion, but they may emphasize different aspects depending on the circumstances. For instance, a person who identifies as Mexican among relatives might identify as Hispanic at work and as American when overseas. A person of mixed heritage might be Native American in one context, but white in another. These possibilities exist in census data, just as they do in informal conversations and settings, because of the opportunities for varied responses to different census questions about race and ethnicity. In this article, we compare different accounts of the racial and ethnic composition of the American population and measure the degree of overlap of identities for the largest racial and ethnic groups. Our analysis relies on responses to questions about race and ethnicity in the 2000 census, although we argue that these data should not be viewed uncritically. Our interpretation draws upon a historical perspective and emphasizes the inherent subjectivity of census measures of race and ethnicity. Most Americans, except for recent immigrants, are probably descended from multiple geographic, ethnic, and racial origins. Even with strong sanctions against intermarriage, there is considerable historical, literary, and genetic evidence of ethnic and racial mixing among all of the peoples who have settled in the United States (Davis 1991; Hollinger 2003; Gordon-Reed 1998). Yet, many Americans tend to downplay—or are unaware of—this complexity. America was a multiethnic and multicultural society from the outset. The original American colonies were formed during the seventeenth and eighteenth centuries as frontier societies composed of multiple founding populations (Klein 2004: Ch. 2). First among these were the indigenous peoples of North America, who were gradually displaced or absorbed by the more numerous European settlers and indentured servants from various parts of the world. Africans were imported primarily as slave labor from the Caribbean and West Africa, although some arrived as indentured servants on terms similar to whites. In the middle decades of the seventeenth century, some blacks became free settlers, but by the close of the seventeenth century, slavery and African heritage became nearly synonymous (Fredrickson 1981). With unbalanced sex ratios in frontier settings, large populations of mixed ancestry soon emerged, particularly in Southern colonies (Davis 1991). While some unions were the result of intermarriage or consensual liaisons, there was also widespread sexual exploitation of black women by white slave owners (Fredrickson 1981: Ch. 3). The ethnic and racial landscape became even more complex during the nineteenth century. Continental expansion added lands that had been home to Native Americans and peoples of mixed indigenous and Spanish origin, and successive waves of immigration from Europe and Asia fueled the rapid growth of an increasingly diverse population. Tracking the mixed and un-mixed descendants from these many threads is a theoretical possibility, but not one that can be easily accomplished with historical or contemporary data. The problem is that the differential rates of settlement, natural increase, and intermarriage (or sexual unions) that produced progeny of mixed ancestry are largely unknown. Small differences in assumptions about the relative magnitudes of these processes can lead to greatly different estimates of the ancestral origins of the contemporary American population. An even greater obstacle to describing the ethnic makeup of the American people is the assumption that most people are able and willing to accurately report the origins of their parents, grandparents, and more distant ancestors. In many cases, knowledge of ancestral origins is passed along in families or communities, but in some cases these narratives are suppressed or simply lost to history. As a result, the racial and ethnic composition recorded in censuses, surveys, and administrative records reflects a large degree of subjectivity and even speculation, in addition to actual patterns of genealogical descent. Methodological studies of census questions about race and ethnicity, for instance, show that responses are affected, often remarkably so, by the format of questions, the listed choices, and the examples included in questionnaire instructions (Farley 1991; Hirschman, Alba, and Farley 2000). In this article, we argue that responses to census questions about race and ethnicity measure identity, which is theoretically distinct from ancestry, the geographic origins of one's ancestors. While ancestral origins are potentially objective facts, identities are subjective articulations of group membership and affinity. Ancestry influences identities, but its impact is mediated by a number of factors, including ethnic admixture (blending), the awareness and preservation of knowledge about ancestral origins, prevailing ideologies about race and racial divisions, and the number of generations removed from the arrival of immigrant ancestors. With an awareness of these limitations, we offer an in-depth portrait of the racial and ethnic composition of the American population, circa 2000, framed within a historical perspective of how racial and ethnic identities have evolved in the United States. For recent arrivals, especially from Asia and Latin America, we note the impact of immigration and report on the emergence of multiracial and panethnic identities. For populations long resident in the United States, we examine reports of ancestry to assess the residue of historical patterns of ethnic blending and ethno-racial hierarchies. If race and ethnicity were purely cultural phenomena, with little attachment to stratification and political processes, we would expect the long-term outcome to be increasing racial and ethnic entropy—the gradual weakening and eventual disappearance of race and ethnicity as distinct groups with clear boundaries. Our analyses of the 2000 census reveal two patterns through which this increase in entropy can take place: a tendency toward multiple identities and another toward the “Americanization” of identity. By Americanization we refer to the replacement of detailed ethnic origins with simplified panethnic or racial categories, which are shaped and often reinforced by political and socioeconomic divisions. This process is most advanced for blacks and whites, who acknowledge relatively little ethnic complexity or detail and virtually no overlap with one another. Recent immigrants from Asia and Latin America, by contrast, are more likely to claim national-origin identities, although there is evidence of emerging Americanized identities among the native-born, who are more likely to identify themselves simply as “Asian American” or “Hispanic.” Unlike whites and blacks, Asians and Latinos are also more likely to report multiracial ancestry, which reflects both mixed-ancestry diasporas and the rising levels of intermarriage within these communities. A different pattern is evident for descendants of the indigenous peoples of North America and the Pacific Islands, who disproportionately report mixed-race ancestries. Although tribal and regional identities are still prevalent, a substantial minority reports panethnic or Americanized identities by simply identifying themselves as “American Indian” or “Pacific Islander.” These results are discussed only briefly here, but a longer report on the AIAN (American Indian and Alaska Native) and NHOPI (Native Hawaiian and Other Pacific Islander) populations is available from the authors. How race and ethnicity are measured Relative to other topics in the decennial census, race and ethnicity comprise a large portion of the questionnaire. As shown in , the Census 2000 long form, which was sent to 1 in 6 households, includes three subjective measures—race, Hispanic origin, and ancestry—plus related questions on nativity (birthplace) and language (home language and English competence). In recent years, the question on race has grown to include over a dozen categories as well as options for write-in responses (US Census Bureau 2002). For Census 2000, the question was further changed to allow respondents to choose multiple racial identities (Tofoya, Johnson, and Hill 2005). Hispanic/Latino origin was added as a sample item in the 1970 census and then moved to the 100 percent form starting in 1980, where it remains to this day. During that same year, the census introduced an open-ended ancestry question, which asked respondents to write in their “ancestry or ethnic origin” (Farley 1991; Lieberson and Waters 1988). At present, the Census Bureau releases data on more than 200 ancestry groups coded from the open-ended responses.1 To some observers, the preoccupation with increasingly detailed data on race and ethnicity has gotten out of hand (Prewitt 2002; Hochschild and Powell 2008: 89). The addition of questionnaire items, coupled with an ever-increasing number of categories, suggests that identities have grown so complex that the point of diminishing returns to measurement has long passed. Viewed through the lens of American political history, however, the current proliferation of racial and ethnic categories (and combinations) in the census is simply the latest chapter in the saga of a society long stratified by race and preoccupied with racial measurement (Anderson 1988, 2002; Prewitt 2005; Snipp 2003). The idea of classifying and counting individuals by race was developed during the Revolutionary and Antebellum periods (Anderson 2002: 269−271). “Color” was deeply intertwined with legal status and citizenship rights at the time. The classification directed by Article I, Section 2 of the US Constitution distinguished between three groups for purposes of taxation and Congressional apportionment: “free persons” (including indentured servants), “other persons” (a euphemism for black slaves), and “Indians not taxed” (those living beyond areas of white settlement and control). Slaves were counted as only three-fifths of free persons, while “Indians not taxed” were not counted at all (Anderson 1988: 9; Klinker and Smith 1999: 25). While the Constitutional language obscures the color-coded nature of the classification (“Indian” is the only race referred to by name), the census classification was more explicit with respect to race. Between 1790 and 1810, census takers were instructed to report the number of free whites, free nonwhites, and slaves (Anderson 1988: 14; Snipp 2003: 564−565). In the late nineteenth and early twentieth centuries, the classification by race expanded to include the measurement of “mulattos”—persons of mixed black and white ancestry—and the “blood quantum” (percent of white ancestry) of American Indians (Snipp 2003: 565−568). By 1890, the census racial classification scheme reflected a growing preoccupation with identifying persons with even the slightest hint of African ancestry, adding categories for “quadroon” (persons with one-fourth black ancestry) and “octoroon” (persons with one-eighth or less black ancestry). In 1930, Mexicans were added to the growing list of “nonwhites.” Fearing the move as an effort to stigmatize (and possibly deny naturalization to) Mexican Americans by labeling them a nonwhite racial group, the Mexican American population (and the Mexican government) strongly protested the change, and the racial category was soon disavowed by the director of the Census Bureau (Cortes 1980; Schor 2005: 92−93; Hochschild and Powell 2008: 80−81). Despite the ambiguity suggested by the recurrent changes in categorization, the practice of measuring race by observer classification was routine procedure well into the twentieth century, since skin color and other aspects of physical appearance were thought to be obvious to any observer. Although early-twentieth-century Census Bureau reports acknowledge the limits of using enumerators’ perceptions as a basis for racial classification (US Bureau of the Census 1918: Ch. 11; Schor 2005: 91), racial ideology and government policies were constructed on the assumption that outward appearances signified racial origin. The changing racial classifications used by the Census Bureau reflect the deep ideological and political divides in American society, where color and culture were used at various times to justify slavery, exploitation, and official forms of discrimination (Davis 1991; Fredrickson 2005; Hochschild and Powell 2008). The social science of the late nineteenth century was almost completely dominated by Social Darwinist ideology that reinforced the assumptions of white superiority (Gould 1996). Administrative practices, including census classifications, reflected these biases (Perlmann 2001). By the middle of the twentieth century, the conceptualization of race had shifted from a biological to a social trait, but interviewer observation remained the primary means of racial classification in censuses and face-to-face surveys. The most important change in measurement occurred in the 1960 census when a mail-out questionnaire replaced door-to-door enumeration for much of the United States (this procedure was adopted almost everywhere for the 1970 census). Although this change shifted the measurement of race from the perceptions of census enumerators to the subjective self-reports of household respondents, there is little evidence that these changes had a measurable effect on the racial composition of the United States (Campbell 2007: 922; US Bureau of the Census 1963: xi). The results of counts based on subjective perceptions of race, it seemed, were statistically indistinguishable from the perceptions of observers. The only major exception was American Indians, whose numbers increased dramatically following the change in measurement that allowed for self-identification (Eschbach 1993, 1995; Passel 1996). Following the passage of civil rights laws in the 1960s, a new imperative emerged to measure race in census and administrative data (Farley 2004: 126). Federal laws declared discrimination illegal, and racial disparities could, in certain circumstances, be interpreted as evidence of discriminatory behavior. The 1965 Voting Rights Act gave the federal government the right to review electoral boundaries in areas where the potential voting power of racial groups and language minorities might be diluted by local governmental bodies. The Voting Rights Act left the definition of protected groups implicit, but 1975 legislation specified that in addition to blacks, the law was intended to protect the rights of “persons who are American Indian, Asian American, Alaska Native, or of Spanish heritage” (Edmonston and Schultze 1995: 147−148; also see Rumbaut 2006 on the 1976 legislation on gathering economic and social statistics for Americans of Spanish origin or descent). These new federal responsibilities could only be undertaken with detailed census data on racial and ethnic groups, tabulated by geographic area (Edmonston and Schultze 1995: Ch. 7; Edmonston, Goldstein, and Tamayo Lott 1996: 4−15). In response to growing demands from the Latino community, a Hispanic-origin question was first included in the 1970 census (Choldin 1986; Rumbaut 2006). Whereas in 1930 the inclusion of a Mexican category in the census was seen as an effort to stigmatize Mexican Americans, in the post–Civil Rights era the inclusion of a Hispanic-origin question (separate from the race question) was welcomed as a source of data that could be used to protect the rights of Mexican Americans. The addition of the ancestry question in the 1980 census was a result of efforts by the descendants of European immigrants to ensure that their national origins were included as part of the American racial and ethnic tapestry.2 A similar political effort was made in the late 1980s to include additional Asian and Pacific Islander groups in the 1990 census form. Initially, the Census Bureau proposed a generic Asian and Pacific Islander category that could be checked and a blank space so that individuals could write in their exact national origin. Representatives of Asian American communities argued that this format might lead to lower counts, and with the help of their Congressional representatives, they successfully had the list expanded to include eight specific origin groups as well as a residual “other Asian” category in the 1990 census form (US Bureau of the Census 1990). In the midst of these political currents, and with a growing awareness that there was no clear conceptual framework to collect data on race and ethnicity, in 1977 the US Office of Management and Budget (OMB) stepped in by issuing Statistical Directive No. 15, “Race and ethnic Standards for Federal Statistics and Administrative Reporting” (Edmonston, Goldstein, and Tamayo Lott 1996: Appendix B). Statistical Directive 15 specifies five major racial and ethnic categories: American Indian or Alaska Native, Asian or Pacific Islander, Black, Hispanic, and White. The directive posits the basic principle of defining race and ethnicity as descent from peoples originating in distinct geographical parts of the world. For example, an Asian or Pacific Islander is defined as “a person having origins in any of the original peoples of the Far East, Southeast Asia, the Indian subcontinent, or the Pacific Islands” (ibid.: 65−66). For American Indians or Alaska Natives, however, there are two requirements: descent and affiliation: “a person having origins in any of the original peoples of North America, and who maintains cultural identification through tribal affiliation or community recognition” (ibid.: 65, emphasis ours). The most ambiguous definition is of Hispanics, which include any persons of “Spanish culture or origin, regardless of race.” Although the need to standardize racial and ethnic measures was apparent, Statistical Directive 15 was riddled with inconsistencies. The most obvious flaw for purposes of measurement is that the categories specified are not mutually exclusive. Hispanics, for instance, include varied peoples of European, Amerindian, and African descent. OMB attempted to sidestep this problem by treating race and Hispanic origin as separate measures. Under this two-question scheme, Hispanics could be identified by race, and members of each race could be identified by Hispanicity (Hispanic vs. non-Hispanic). If a survey or administrative form had only one combined race and Hispanicity question (i.e., listed “Hispanic” among the standard racial categories), Statistical Directive 15 required that persons with any Hispanic origin be classified as a distinct group, which meant that persons reported as white or black were limited to non-Hispanic whites or non-Hispanic blacks, respectively. The use of geographic boundaries to delineate the ancestral origins of the major OMB categories is also tenuous. Persons with origins in North Africa and the Middle East are classified as white, but those from the Indian subcontinent are classified as Asian. The line dividing these regions is far from clear. Even current census coding schemes are inconsistent. The racial codes used in Census 2000 (as well as current American Community Surveys) include “Afghanistani” under white, while the ancestry codes in the same document list “Afghan” under South Asia.3 Similar examples abound. There is no place in the initial OMB scheme for persons descended from the original peoples of Central or South America. Persons from Brazil, the largest Latin American state, cannot be counted as Latino because the definition of Hispanic/Latino does not include persons of Portuguese language. Spaniards from Europe, however, are classified as Hispanic/Latino, even though they have no ties to Latin America. Increasingly, criticisms were expressed by many groups who were dissatisfied with one aspect or another of the OMB classification. Pacific Islanders, especially Hawaiian natives, felt that their inclusion with Asians obscured the unique challenges faced by their communities (Edmonston, Goldstein, and Tamayo Lott 1996: 31). Other ethnic groups and national-origin populations, such as Arab Americans, believed they should be included among the nonwhite populations designated on the census form. Most vocal was a loose coalition of multiracial advocacy groups, who argued that the mutually exclusive categories on the race question forced mixed-race persons to choose only one racial identity (Farley 2002). The framers of Statistical Directive 15 were undoubtedly aware of these potential problems. Indeed, OMB includes the disclaimer that “these classifications should not be interpreted as being scientific or anthropological in nature.” The guidelines also acknowledge that the classification will not provide an unambiguous identity for persons of mixed ancestry. When in doubt, the OMB suggests that persons should be classified under “the category which most closely reflects the individual's recognition in his community” (Edmonston, Goldstein, and Tamayo Lott 1996: 65−66). In response to the criticisms of the initial Statistical Directive 15, OMB undertook a review of the measurement of race and ethnicity in federal statistics scarcely 15 years after the 1977 directive was issued. During the early 1990s, the review included a National Research Council workshop that brought researchers, administrators, and other interested parties together, a series of Census Bureau studies, interagency committees, and an invitation for public comments (Snipp 2003: 574−581). In 1997, after extensive study, OMB issued revised standards for the measurement and classification of racial and ethnic data (Office of Management and Budget 1997a, 1997b). The overall definition of race and ethnicity in the 1997 revision of Statistical Directive No. 15 did not change, but the list of racial categories was revised and a few group labels were changed as well. The major revision in the classification was the division of the Asian and Pacific Islander category into two groups—Asians and Native Hawaiians and Other Pacific Islanders—in part due to the influence of Senator Daniel Akaka of Hawaii (Farley 2004: 131). The 1997 classification includes: American Indian or Alaska Native; Asian; Black or African American; Native Hawaiian or Other Pacific Islander; and White. As before, Hispanic/Latino Origin remained a separate ethnic category. The most important change, however, was not to the classification itself, but to the way in which individuals were instructed to locate themselves within that classification. In a major departure from the original OMB scheme (and from two centuries of census taking), respondents were now allowed to “mark one or more” races with which they identified. This change was prompted by a greater awareness of persons of mixed racial ancestry as well as political advocacy by intermarried families (Farley 2002, 2004). As with their first effort, the 1997 OMB revision of Statistical Directive 15 generated as many criticisms as it silenced. In addition to the enduring criticism of ad hoc categories, the 2000 census revealed a new, if not entirely unforeseen problem—the profusion of data that resulted from multiple-race reports. Although nearly 98 percent of the population chose only one race, the combinations of the minimum six racial categories (the five OMB parent groups plus a residual “some other race”) created an almost nightmarish problem for census users who were accustomed to mutually exclusive groups. To the six single-race categories were added 15 two-way combinations, 20 three-way combinations, 15 four-way combinations, 6 five-way combinations, and 1 six-way combination, for a total of 63 racial groups, or 126 if cross-classified by Hispanicity (Grieco and Cassiday 2001). Worse yet, these combinations are themselves a simplification of the actual census questions on race and ethnicity, which include several specific origin groups (Mexican or Chinese) under each OMB parent category (Hispanic or Asian, respectively) and allow detailed write-ins (e.g. tribe) in various sections. With this added complexity comes a growing concern about the meaning and utility of contemporary data on race, not to mention practical questions about how to tabulate combinations or compare the revised data with much simpler racial data from earlier censuses (Perlmann and Waters 2002). The quality of census racial and ethnic data is also affected by the problems of under-enumeration, item nonresponse, and unreliability of measurement. The census undercount, and differential undercount by race and ethnicity, has received considerable attention (Anderson and Fienberg 2001), but the implications for social science research remain inadequately studied. Less visible, and largely absent from most discussion of census measurement, is item nonresponse. Missing data are imputed by the Census Bureau, and our preliminary analysis of the IPUMS .01 file4 showed that 3 percent of the Census 2000 population did not fill in the question on race. Our earlier work showed that nonresponse to the census question on race could be reduced considerably by using a combined question on race and Hispanic origin (Hirschman, Alba, and Farley 2000). Drawing up matched records from Census 2000 and the Census Quality Survey (a follow-up survey that replicated census questions), Jorge del Pinal (2004: Ch. 4) evaluated the reliability of racial measurement. In the follow-up survey 97−98 percent of whites, blacks, and Asians reported the same race (or had the same race reported by the household respondent) as in the census (ibid.: 27−28). There were, however, much lower rates of consistent reporting for American Indians and Alaska Natives (AIAN) and for Native Hawaiians and Other Pacific Islanders (NHOPI). The lowest rate of reliability is for the multiracial population: only 40 percent of persons reporting more than one race in the 2000 census were also reported to be multiracial in the follow-up survey (ibid.: 27). Similar studies by Harris and Sim (2002) and Perez (2008) reveal poor levels of reliability for self-identified multiracial and Hispanic youth, respectively. Theoretical perspectives on ancestry and identity That race and ethnicity are socially constructed is one of the axioms of contemporary social science (Omi 2001; Omi and Winant 1994). But how, exactly, are they constructed and by whom? At the individual level, intergenerational socialization is the primary mechanism for communicating group identities. Children and adolescents develop ethnic consciousness through interaction with parents, siblings, and other family members (Perry 2002). Nonverbal forms of socialization also take place through observation of family behavior, as well as informal interactions with friends and neighbors and in formal settings like schools, businesses, and institutions. These experiences foster a sense of the “ethnic self” through which children learn who they are and, just as important, who they are not. While childhood socialization is the crucible of racial and ethnic identity formation, the boundaries of racial and ethnic categories and the history underlying their creation are much less straightforward. One view is that racial and ethnic identities are imposed from above. Terms like “Hispanic” and “Asian American” are unique to the United States and were created for data gathering and statistical tabulations by governmental agencies. But these categories also reflect the aims of panethnic coalitions and political advocacy groups, who played a direct role in the construction of racial and ethnic classifications adopted by government statistical authorities (Choldin 1986; Espiritu 1992: 99−103; Farley 2002). More importantly, individuals are free to report their racial and ethnic identity in the census, social surveys, and the vast majority of administrative forms that include a space for racial and ethnic identification. Respondents are instructed to mark the race or races they “consider themselves to be” (see ), and those who refuse to identify with the listed categories can write in one of their own. The assumption is of widely shared understandings (folk meanings) of racial and ethnic categories and their boundaries. As noted above, the administrative expectation, given the wording of the category definitions, is that folk understandings of race and ethnicity will be consistent with ancestry—the geographic origins of one's ancestors. For a number of reasons, however, responses to questions about race and ethnicity only partially reflect ancestral origins. Ancestry is a potentially objective characteristic—the countries or regions of birth of a respondent's parents, grandparents, great grandparents, and so on. Identities, by contrast, are subjective claims of affiliation with groups that are recognized in society. Identities overlap with ancestries, but they are also shaped by knowledge, socialization, physical appearance, and culture, among other factors. Birthplace does not vary by social context, whereas identities are contextual by definition. The birthplaces of recent ancestors are often passed down in family conversations (unless there are conscious reasons to suppress them), but for individuals whose Old World roots are distant or complex, there may be only a dim awareness of, and minimal interest in, ancestral origins. Some people with the same ancestry will respond differently to census questions about racial and ethnic identity. The idea that humankind shares common ancestry through evolution and prehistoric migrations “out of Africa” is widely recognized (Diamond 1993; Oppenheimer 2003). Less well known is that all human beings alive today are likely to share at least one common ancestor born a few thousand years ago, and that everyone alive today is likely to be descended from the same mother and father who lived a few thousand years earlier (Rhode et al. 2004). These conclusions are derived from simulations that consider a range of probabilistic assumptions about the likelihood of mating between adjacent and isolated populations throughout history. In fact, if human mating were fully random, everyone alive today would share a common ancestor just 20 generations back, around 1500 ce assuming 25 years per generation. Common ancestry does not mean that populations share the same genotype, however. Most genes have only a 50 percent chance of being passed on to the next generation,5 so sporadic contact between isolated populations would not result in a large amount of genetic admixture. More importantly, even tiny differences in the genome, if differentially selected between populations, can account for variation in inherited physical features such as eye, skin, and hair color. These superficial differences, which arose in prehistory, probably resulted from natural selection in different climatic zones and can persist for many generations (Cavalli-Sforza and Cavalli-Sforza 1995). Despite long stretches of relative isolation, there is evidence that geographically distant populations maintained some reproductive contact throughout history (Rhode et al. 2004), and the pace of contact and exchange has increased dramatically in the last one thousand years, and especially since 1500 (Davis 1974; Diamond 1997; Hoerder 2002; McNeill 1984). In addition to trade and warfare, long-distance contacts invariably led to intermarriage and other sexual relationships that produced offspring of mixed ancestry. Intermarriage and ethnic blending, in turn, diminished physical and cultural differentiation, a process nowhere more evident than in the New World where migrants from Europe, Africa, and Asia intermixed with indigenous peoples, creating entire continents of ethnically and racially mixed populations over the last few centuries (Harris 1964). underscores the high probability of shared descent for most Americans: it plots the expected number of ancestors over the last 225 years for a person born in 2000 (time is shown along the horizontal axis). Because the number of ancestors doubles in each prior generation (2 parents, 4 grandparents, 8 great grandparents, etc.), the number of ancestors from any previous generation is equal to 2x, where x is the number of prior generations. If the length of each generation is about 25 years, then a person born in 2000 would have had 512 ancestors in 1800 and 1,024 around the time of the American Revolution. Continued exponential extrapolation will of course predict an impossible number of ancestors—more persons than were alive—by the close of the first millennium, a fallacy that results from double-counting persons who occupy multiple slots on a family tree. Most of our distant ancestors were related to one another, just as we are distantly related to most people alive today (Ohno 1996). Assuming that the number of duplicate entries (related ancestors) is negligible in the short term, many, if not most, Americans probably have hundreds, even thousands, of New World ancestors. Even assuming low levels of intermarriage, most persons with deep roots in the United States are likely to have genealogical descent from at least one ancestor from a different part of the world. Yet in response to census inquiries on ancestry and race, most Americans tend to simplify their origins and report a single identity, even if they are aware of others (Waters 1990; Lieberson and Waters 1993). In addition to a tendency to simplify, a reporting bias stems from the belief that not all identities are equally desirable. Historical discrimination and prejudice created strong incentives to repress or selectively ignore certain ancestries. On the other hand, identities that are associated with physical appearance, skin color in particular, are often more difficult to “forget” than those associated with language or culture (Fredrickson 2002). One distinctly American form of racial essentialism is the one-drop rule (Davis 1991), which holds that persons with any African ancestry, visible or otherwise, must be classified as black. In the period when discrimination against Southern and Eastern European groups was common, the children and grandchildren of immigrants could “escape” their disadvantaged heritage by changing surnames and cultural practices such as speech, dress, religion, and cuisine (Baltzell 1964). These options were rarely available to persons of partial African descent, regardless of socioeconomic status and other circumstances. In spite of this dominant pattern, large numbers of light-skinned persons of partial African and Native American ancestry are believed to have “passed” into the white community throughout the years (Burma 1946; Broyard 2007), despite considerable obstacles and the loss of family and community ties (Piper 1992). The contemporary descendants of persons who passed from one community to the other may not even be aware of their ancestry. Prior to Census 2000, race was measured by mutually exclusive and exhaustive racial categories.6 This framework ignored the long history of racial and ethnic admixture in the New World. Populations of mixed European, African, and American Indian ancestry date back to the early years of settlement in North America (Davis 1991). The incidence of black/white intermarriage in seventeenth-century Virginia was substantial enough to prompt a ban on interracial unions (Harris 1964). While these bans probably did little to change behavior, they shifted the balance of interracial unions to the illicit type (Davis 1991; Spencer 2006)—obscuring them from public view and ensuring their absence in public records. For example, the significant genealogical overlap of black and white Americans, once a topic of frequent study (Hart 1921; Herskovits 1928; Myrdal 1964 [1944]; Stuckert 1958), received only fleeting attention in the decades that preceded the emergence of “ancestry informative” genetic markers, which can now be used to measure levels of admixture (shared ancestry) among ethnically blended populations (Shriver et al. 2003; Parra et al. 1998). Today, lingering denials of the shared ancestral heritage of black and white Americans have crumbled under the weight of biographical and DNA evidence. The long-hidden lineage of Thomas Jefferson and Sally Hemings, Jefferson's mistress who was a family slave, was not a unique case of “forgotten” racial mixing in American history (Gordon-Reed 1998; Dao 2003). Meanwhile, studies of the high and increasing rates of intermarriage among Asians, Latinos, and other groups suggest that ethnic blending will continue (Sandefur and McKinnel 1986; Qian 1997; Qian and Lichter 2007). Even among nonstigmatized identities, there are many reasons why respondents may simplify complex ancestral origins in censuses and surveys (Lieberson and Waters 1993). Since not all ancestral ties carry equal meaning, many people simply report their primary attachment. With multiple weak ethnic affiliations, different contexts may elicit different primary attachments. There are also strong instrumentation effects on the reporting of identities. Respondents may interpret categories differently when filling out a survey for themselves than when an interviewer administers the questionnaire (Perez 2008). Listed racial and ethnic groups and even examples provided in questionnaire instructions are often interpreted as suggestions, which have been shown to affect the distribution of identities reported in the census and the Current Population Survey (Farley 1991; del Pinal 2004). Simplification is also built into census data collection and coding procedures. As noted earlier, the original OMB Statistical Directive 15 guidelines relied on the traditional assumption that multiracial respondents should choose a single identity. While the 1997 revision (and the 2000 census) allowed multiple-race reporting, the Hispanic-origin question remains mutually exclusive. One can be Hispanic or non-Hispanic, but not both. Moreover, respondents are limited to a single Hispanic origin (Cuban, Mexican, etc.). The census question on ancestry allows respondents to write in as many identities as they want, but only the first two responses are coded. Racist ideology undoubtedly affected popular consciousness about ethnic identities as well. Color barriers—whether formal, as in the South, or informal, as in much of the North—sharply limited opportunities for persons of African ancestry in employment, housing, education, and political participation. A linchpin of these practices was the ideological construct of the aforementioned one-drop rule. In many parts of the world, long-standing designations exist for peoples of mixed heritage (Fredrickson 1987, 2005; Nobles 2000; Telles 2004). In the nineteenth century, Americans of mixed African and European ancestry were even recognized as populations of distinction in Charleston, New Orleans, and other Southern cities. These populations largely “disappeared” in the late nineteenth and early twentieth century with the rise of one-drop ideology. This ideology received national sanction after the US Supreme Court affirmed in 1892 that Homer Plessy, a French Creole of less than one-eighth African ancestry, was legally black and thus confined by law to use segregated public services and facilities. By 1925, nearly every Southern state had a version of the one-drop rule on the books. These laws remained in force well into the latter half of the twentieth century and, until recently, were still being used to mandate black identity for persons of partial African descent. In 1982, Susie Phipps sued the state of Louisiana to change the race recorded in her vital records from black to white. In ruling against her, the court cited a state law that declared anyone with one-thirty-second African ancestry to be black (Omi and Winant 1994). Census enumerations shadowed this construction. As late as 1960, census instructions held that “Negro... [includes] persons of Negro or mixed Negro and white descent...and persons of mixed American Indian and Negro descent unless the American Indian ancestry predominates...” (US Bureau of the Census 1963: x). Evidence suggests the one-drop rule similarly shaped popular consciousness among black and white Americans at the time, for even after the census changed from an enumerator-administered format to a self-reported mail-in questionnaire, there was little change in the proportions who reported themselves as black or white. In summary, the major axioms of our theoretical argument are as follows. First, although ancestry can be defined as an objective attribute based on geographic descent or genetic markers, reported racial and ethnic identities are subjective articulations of group attachment and affinity. Ancestry influences identity, but its impact is mediated by ethnic admixture across generations, knowledge of ancestral origins, and the number of generations removed from the arrival of immigrant ancestors. Second, while family and community socialization are the primary mechanisms through which identities are reinforced, racial and ethnic categories are shaped by institutional and political forces through 1) laws and sanctions that regulate group rights and opportunities; 2) customs that affirm group claims for recognition and entitlements; and 3) systems of measurement and classification used in administrative records of race and ethnicity at the individual level or in aggregate counts of populations by race and ethnicity (censuses). In the remainder of this article, we examine the contours and complexities of racial and ethnic boundaries using data from Census 2000. We show that two of the most prominent anomalies in contemporary census data on race—the large “some other race” category and a moderate fraction of multiracial responses—are largely an artifact of the administrative decision to treat race and Hispanicity as separate concepts and measures. We then show that recent trends in immigration and generational replacement are dramatically changing the racial and ethnic composition of the American population. Finally, we examine the prevalence of multiracial and multiethnic identities among major populations classified by race and ethnicity. Our findings suggest that the Americanization of identities and the intermixture of ethnic groups through assimilation and intermarriage obscure the boundaries between ethnic categories, particularly as racial or panethnic categories arise to take their place. Patterns of racial and ethnic diversity in Census 2000 shows the reported racial composition for the total population and for Hispanics in the 2000 census. In addition to the five standard racial categories specified by OMB (Office of Management and Budget 1997a, 1997b), we include the residual “some other race” (SOR) category used by the Census Bureau, as well as the largest multiple-race combinations. When asked to report their race in the 2000 census, three-fourths of Americans identified themselves as white only. Among the balance of the single-race identifiers, 12.2 percent are African American, 3.6 percent Asian, 0.9 percent AIAN, and 0.1 percent NHOPI. TABLE 1 Racial composition and size ofTotal populationHispanic populationNumber (thousands)PercentNumber (thousands)PercentPercent Hispanic Single race 274,11997.432,97393.612.0White211,26575.116,83147.88.0Black34,40512.26421.81.9AIAN2,4400.93581.014.7Asian10,1503.6990.31.0NHOPI4040.1360.18.8SOR15,4555.515,00842.697.1 Multiple race 7,3032.62,2686.431.1White and Black7890.3800.210.2White and AIAN1,2570.41110.38.8White and Asian8800.3500.15.7White and NHOPI1110.0120.010.9White and SOR2,3390.81,4944.263.9Black and SOR4610.21620.535.1Other multiple race1,4660.53601.024.5 Total 281,422100.035,241100.012.5 As these figures show, the overwhelming majority of the population identified with a single OMB race. Still, over 8 percent of Americans—one in twelve—fell outside the orbit of the traditional list of mutually exclusive racial categories. About 2.6 percent chose more than one race, and more than double that number said “none of the above” by writing in a different racial identity that was coded as “some other race” (SOR). The second set of columns in shows that much of this ambiguity is centered in the Hispanic population. Nearly half of all Hispanics are unwilling to identify with a single standard race—6.4 percent indicate multiple origins and 42.6 percent identify themselves as SOR. Presumably, most of the latter represent persons who used the “other race” write-in section to reiterate their Hispanic origins (Mexican, Puerto Rican, Cuban, etc.). All told, 15.4 million Americans identify themselves solely as some other race, but 15 million (or 97 percent) of these are Hispanic. The SOR category is larger than the Asian, American Indian, and NHOPI populations combined. This quasi-race category is, however, an artifact of a data collection system that does not allow persons of Hispanic origin to be listed as a race (Grieco and Cassidy 2001). Hispanics also constitute 2.3 million of the 7.3 million Americans who reported that they were multiracial—mostly by checking white and writing in their Hispanic identity under “some other race.” As a result, Hispanics augment the multiracial population by 45 percent. Because Hispanics are a large and fast-growing segment of the US population—over 35 million (12.5 percent of the national population) in 2000—their disproportionate refusal to claim standard racial identities clouds any prospect of summarizing the racial composition of the US population without taking Hispanic identity into account (Campbell 2006). The reported non-Hispanic mixed-race population numbers about 5 million—less than 2 percent of the total population. Although nontrivial in absolute terms—0.8 million persons with a bi-racial white/black identity, 1.3 million reporting a joint white/American Indian identity, and around 0.9 million reporting a combined white/Asian ancestry—these numbers are only a tiny fraction of the true level of Americans with mixed-race ancestry. Historical and contemporary estimates of mixed ancestry among whites, blacks, and American Indians (Myrdal 1964 [1944]; Shriver et al. 2003; Stuckert 1958, 1976) suggest much higher levels of racial admixture within the US population. More than two decades ago, Yinger (1985: 156) summarized the prevailing evidence: “80 percent of black Americans have European ancestry; 50 percent or more of Mexican Americans have both [Latin American] Indian and European ancestors; perhaps 20 percent of ‘white’ Americans have African or Native American ancestors.” With rising levels of intermarriage in recent years (Farley 1999; Stevens and Tyler 2002), the fraction of the population with mixed racial ancestry has certainly increased. Because most Americans, including many Hispanics, consider Hispanic ethnicity to be on a par with standard “racial” categories, presents a revised classification of the American racial landscape that combines the four largest Hispanic groups with non-Hispanics classified by the major racial categories. This combined racial and Hispanic-origin classification reduces the share of multiracial persons and avoids the awkward (and artificial) inflation of the SOR category that occurs only because the Census Bureau does not accept “Hispanic” as a valid response to the question on race. One debatable element of the combined classification is that black Hispanics are counted as Hispanic and not as African American. This assumption, however, is of only minor demographic consequence since the number of black Hispanics (0.64 million) is less than 2 percent of either population. TABLE 2 All ages65 +45−6430−4415−290−14 Number of persons (in thousands) Non-Hispanic 246,18033,24256,98057,82848,29049,841 White194,43329,22747,31045,30336,13136,463 Black33,7632,7936,2668,0627,7908,853 AIAN2,083126397501500558 Asian10,0517742,1112,7322,4352,000 NHOPI36919619210294 SOR4472164102108152 Multiple race5,0352837711,0351,2251,721 Hispanic 35,2411,7014,8158,3979,85110,477 Mexican20,9537982,4904,8216,1646,679 Puerto Rican3,389184560806867973 Cuban1,254238306314212184 Other Hispanic9,6454801,4592,4572,6072,642 Total 281,42234,94361,79566,22558,14160,318 Percent of population Non-Hispanic 87.595.192.287.383.182.6 White69.183.676.668.462.160.5 Black12.08.010.112.213.414.7 AIAN0.70.40.60.80.90.9 Asian3.62.23.44.14.23.3 NHOPI0.10.10.10.10.20.2 SOR0.20.10.10.20.20.3 Multiple race1.80.81.21.62.12.9 Hispanic 12.54.97.812.716.917.4 Mexican7.42.34.07.310.611.1 Puerto Rican1.20.50.91.21.51.6 Cuban0.40.70.50.50.40.3 Other Hispanic3.41.42.43.74.54.4 Total 100.0100.0100.0100.0100.0100.0 , in our judgment, offers a clearer picture of American racial and ethnic diversity than the Census Bureau tabulations and reports that do not combine racial and Hispanic origin (e.g., Grieco and Cassidy 2001; Jones and Smith 2001). Even if Hispanic origin is ignored, the shift from mutually exclusive to “check one or more” racial categories created major analytical and interpretative problems for census users, especially among those who relied on census data for evaluation of civil rights compliance. The racial classification used in various Census 2000 reports and files ranges from 31 to 63 categories and combinations of categories. These classifications are incommensurate with earlier censuses, vital statistics, most survey data, and administrative records. By incorporating Hispanicity as part of a combined race/ethnicity classification, our revised format minimizes the problems of comparability by virtually eliminating the SOR category and substantially reducing the multiracial population. With an awareness that comparability and interpretability were likely to be lost, the initial administrative response was to avoid the complexity of multiple-race reporting in the 2000 census by creating a statistical “bridge” to single-race categories (Office of Management and Budget 2000). The first generation of racial bridging methods relied on questionable assumptions about allocation procedures and the fractional assignment of persons (Goldstein and Morning 2002). The second generation of bridging methods was developed by the National Center for Health Statistics, which relied on National Health Interview Surveys that asked multiple-race respondents to choose a “primary” race (Ingram et al. 2003). Drawing upon individual characteristics as well as geographic and household features, binary and multinomial discrete-choice models were developed to estimate the likelihood of various single-race responses. The NCHS bridging parameters have recently been extended to public use microdata. The University of Minnesota IPUMS project now includes a “Racesing” (single-race identification) variable that recodes multiple-race respondents in the 2000 census (and American Community Surveys) to the single race with the highest predicted probability (Ruggles et al. 2008). Racial bridging methods are a key contribution, though not without limitations. Many census users may not fully understand the assumptions and methods that underlie the allocation of multiracial persons to various single-race categories. Ingram and colleagues (2003: 12) accurately note, for instance, that “the goal of bridging is to correctly determine the size of single-race groups, not to correctly determine how each individual would have reported his or her race under a single-race system.” In addition, many data sources lack the necessary covariates and rich geographic measures needed to properly specify the bridging model (Liebler and Halpern-Manners 2008). More important than these methodological concerns, the bridging approach is premised on a need to “correct” (i.e., bypass) multiple-race identities. Our revised classification in , as noted above, all but eliminates the problematic “some other race” category and substantially reduces the number of multiracial persons without making assumptions about how census respondents might answer a different question. The first column in shows that under the revised classification, only 69 percent of the US population is non-Hispanic white. Blacks and Hispanics each comprise about 12 percent of the total, and, at nearly 35 million each, either of these minority groups exceeds the total population of Canada by several million persons. The rapidly growing Asian American population numbers 10 million and represents 3.6 percent of the total population. The original peoples of North America—American Indians and Alaska Natives (excluding those who reported multiple races)—today comprise less than 1 percent of the US population (about 2 million total), while the indigenous peoples of Hawaii and related Pacific Islander populations (NHOPI) number less than 400,000 (0.1 percent). With the Hispanic population coded as a quasi-racial category, only half a million persons (0.2 percent) in the combined racial and ethnicity classification in fail to report an OMB race, and about 5 million persons (1.8 percent) report multiple-race identities (white/black, white/AIAN, and white/Asian are the largest groups). The revised racial and ethnic composition shows much greater diversity among children and young adults than among the elderly ( ). Age represents a stage in the life cycle as well as the succession of generations. Although racial and ethnic identities are generally stable across the life course, life cycle changes in identities may occur during the transition from adolescence to young adulthood. For example, part of the high percent multiracial among persons aged 0−14 (twice that of adults) may be explained by the sources of household reporting in the census. Multiracial persons are more likely to be identified as such when they are young, when their interracially married parents fill out the census form. There is some evidence of “simplification” of racial and ethnic identities as adolescents and young adults leave their childhood home and form new social networks, particularly when they marry and set up a new family (Lieberson and Waters 1993). While life cycle changes may play a small role, generational replacement is the primary force behind the pronounced differences in the racial and ethnic composition between younger and older Americans. The trend toward greater racial and ethnic diversity reflects the effects of immigration and differential fertility. The share of non-Hispanic whites drops by more than 20 percentage points—from roughly 84 percent of Americans above age 65 to just 61 percent of Americans below age 30. The declining share of non-Hispanic whites from older to younger generations is primarily due to increases in the number of Hispanics and non-Hispanic blacks among younger cohorts. African Americans comprise only 8 percent of the elderly population, but over 13 percent of young adults and almost 15 percent of children below age 15. The proportion Asian almost doubles from a little over 2 percent of the elderly to over 4 percent of working-age Americans. American Indians have also increased their share from 0.4 percent of older Americans to just shy of 1 percent of young adults and children. The largest generational shifts in can be observed for Hispanics, who make up less than 5 percent of the population above age 65, but rise to the much higher level of 17 percent of young adults and children. The largest component of the Hispanic shift is Mexican Americans, who have risen from less than 50 percent to nearly 64 percent of all Hispanics. The much older Cuban American population has experienced a rapid decline in their share of the Hispanic and total populations across age groups, while Puerto Ricans have grown steadily, though at a slower pace than Mexicans. Another large and growing segment of the population is the “Other Hispanic” category. Nearly 3 in 10 Hispanics fall into this category, which includes descendants of the original Spanish settlers in the American Southwest as well as recent immigrants from Central and South America and the Spanish Caribbean. Among working-age adults, the number of Other Hispanics is roughly comparable to Asians in the United States. Among children below age 15, Other Hispanics greatly outnumber Asian Americans. Immigration is the single most important factor behind the shifts in American diversity across generations (Edmonston and Passel 1994). This is illustrated in , which shows the percent foreign-born of each racial and ethnic group by major age groups.7 For nearly every racial and ethnic group, we see a common pattern of the percent foreign-born by age. The majority of immigrants arrive during their working years, so the 0−14 age group has very few foreign-born persons, even among the large immigrant populations. Of course, a significant share of the native-born are second-generation immigrants (the children of immigrants) who live as dependents in households with their immigrant parents. TABLE 3 All ages65 +45−6430−4415−290−14 Population foreign-born (thousands) Non-Hispanic 18,7332,5874,9855,8683,8791,415 White8,1441,7482,3212,2101,286580 Black2,064132474749522188 AIAN37291286 Asian7,0866131,8812,4201,678494 NHOPI119727393512 SOR150728554615 Multiple race1,13279246383305119 Hispanic 15,7781,0143,0955,3824,8531,433 Mexican8,8383531,3853,0543,136910 Puerto Rican1,360160438377260125 Cuban8812302852429429 Other Hispanic4,6992729871,7081,363369 Total foreign-born 34,5113,6018,08111,2498,7322,847 Percent foreign-born of the population in each cell Non-Hispanic 7.67.88.710.18.02.8 White4.26.04.94.93.61.6 Black6.14.77.69.36.72.1 AIAN1.8 – – 2.5 – – Asian70.579.389.188.668.924.7 NHOPI32.4 – 43.842.233.913.0 SOR33.7 – 43.953.842.210.0 Multiple race22.527.932.037.024.96.9 Hispanic 44.859.664.364.149.313.7 Mexican42.244.255.663.450.913.6 Puerto Rican40.186.878.346.830.012.9 Cuban70.296.593.277.144.315.8 Other Hispanic48.756.667.769.552.314.0 Percent foreign-born of total population 12.310.313.117.015.04.7 For the three populations with the oldest historical roots in the United States—non-Hispanic whites, non-Hispanic blacks, and American Indians/Alaska Natives—immigration is relatively unimportant: less than 10 percent of these populations, in every age group, is foreign-born. The highest foreign-born figure is 9.3 percent for middle-age (30−44) blacks. On average, only 4 percent of non-Hispanic whites and 6 percent of non-Hispanic blacks are foreign-born. For Hispanics, Asians, NHOPIs, and individuals who identify themselves as SOR or multiracial, immigrants are a substantial minority if not the majority. A little less than half (45 percent) of all Hispanics and over 70 percent of Asians are foreign-born. These figures are even higher for those in the working ages. About 3 out of 5 Hispanic Americans ages 30−65 are foreign-born, as are 8 of 10 working-age Asians. The histories of the different Hispanic populations are reflected in the percent foreign-born by age group. For Mexicans, there is a majority native-born among the elderly, who comprise both the old stock of Mexican immigrants and portions of the long-resident Spanish-origin population in the American Southwest, whose presence predates the conquest and annexation of the region. By contrast, 63 percent of the prime working-age (30−44) Mexican population are foreign-born, reflecting the recent surge in immigration. Cubans exhibit a different pattern, with the percent foreign-born rising with age. Among older Cubans, age 45 and above, over 95 percent are foreign-born. This pattern is consistent with the flight of Cuban refugees during the 1960s and 1970s, followed by a much more modest immigration stream since then. A substantial minority (about one-quarter) of Cuban Americans ages 30−44 are native-born, as are the majority of Cubans below age 30. Assuming the absence of a major new influx of Cuban immigrants, generational replacement will soon transform the largely foreign-born Cuban American community into a majority native-born population whose lives are less centered on the exodus from Cuba. Similarly, the demographic center of gravity among Stateside Puerto Rican Americans has shifted from the island to the mainland. About 8 in 10 older Puerto Ricans (ages 45 and over) are island-born, compared to just 3 in 10 young adults (15−29). The remaining non-Hispanic populations (NHOPI, SOR, and multiple race) are mostly native-born, although immigration accounts for a significant share (20−35 percent) of these populations as well. The color line: America in black and white Even against the backdrop of an increasingly broad spectrum of racial and ethnic diversity, American race relations continue to pivot on the historical divide between white and black America. It was not just the twentieth century for which W.E.B. Du Bois famously noted that the color line would play a defining role (Du Bois 1999 [1903]: 5). The conflicts between blacks and whites have been a central issue throughout American history: the seventeenth-century project to equate African heritage with the mark of slavery, the eighteenth-century Declaration of Independence that left slavery intact, the nineteenth-century struggle to abolish slavery that led to the Civil War, and the twentieth-century Civil Rights Movement that demanded America live up to its ideals. Never has there been a point in three and a half centuries of American history in which the tensions and conflicts between blacks and whites have not been at or near center stage. African Americans have always had a significant demographic presence in the United States. Shortly after the founding of the nation, one-fifth of the nearly 4 million persons enumerated in the first census were of African origin (Gibson and Jung 2005). More than two centuries later, there is remarkable demographic continuity. Of the 281 million Americans counted in 2000, over three-fourths identify themselves as white (including Hispanics) and about one-eighth identify themselves as black. In , we compare the relative magnitude and characteristics of black and white Americans in two ways: those who report a single racial identity (labeled “white alone” or “black alone” in census terminology) and those who report a multiple-race identity (labeled “white in combination with other races” or “black in combination...” in census terminology). The sum of both groups is labeled here as “total whites” or “total blacks,” categories that include persons with any white or any black identity. Note that the sum of the total white and total black populations is a tally of responses that exceeds the number of persons because persons claiming both white and black identities are double counted. TABLE 4 Percent of totalUS populationaWhites, BlacksbPercent HispaniccPercent foreign-borncWhite and/or Black identityWhiteBlackWhitesBlacksWhitesBlacksWhitesBlacksNot White or Not Black22.987.1Total White or Total Black77.112.9100.0100.08.62.67.77.4 White alone or Black alone75.112.297.394.98.01.97.36.7 White or Black in combination2.10.72.75.131.917.223.320.5 White/Black0.30.42.210.27.0 AIAN0.40.10.60.68.86.42.44.3 Black, White, and AIAN0.00.10.315.94.7 Asian0.30.00.40.35.76.325.932.2 NHOPI0.00.00.10.110.96.913.348.5 SOR0.80.21.11.363.935.142.050.4 Other combinations0.10.00.20.428.025.613.219.3 The first two columns show the numbers of total whites and total blacks as percentages of the total US population. Some 77.1 percent of the American population claim to be white alone or in combination, and another 12.9 percent are black by the same inclusive definition. These figures include everyone who reports being only or partially white and only or partially black. Subsequent rows decompose the “total white” and “total black” populations by identity sub-type: those who report single versus those who report multiracial identities. Row three contains whites and blacks who report a single identity—labeled “white alone” and “black alone”—while row four includes whites and blacks who identify in combination with other groups (including one another). Subsequent rows break down specific mixed-race combinations. What proportion of the total population is black or white? Counting only those with single-race identities, blacks and whites together account for more than 87 percent of the total American population. The number of responses by persons with any black or any white identity sums to about 90 percent, but this figure double counts persons with both black and white identities. One of the common features of whites and blacks is their preference for a single-race identity. About 77 percent of Americans identify themselves as white, while 75 percent identify themselves as only white. Likewise, the percentage of Americans who report any black identity (12.9 percent) is just 0.7 percentage points larger than the percentage who report an exclusive black identity (12.2 percent). As shown in the subsequent panel (based on the universe of persons who report any white or black identity), blacks and whites are generally unwilling to acknowledge multiracial ancestry. More than 97 percent of those who claim any white ancestry claim only white ancestry, while the comparable figure for blacks is 95 percent. In other words, just a handful of whites and blacks report a multiracial identity. The largest group of mixed-race whites, and the only combination that amounts to even 1 percent of the white total, is the White/SOR group. This largely Hispanic combination is 1.1 percent of all whites, followed by White/AIAN (0.6 percent), White/Asian (0.4 percent), and White/Black (0.4 percent). Among multiracial blacks, 2 percent report a shared white identity, with smaller shares reporting a part SOR, part American Indian, part Asian, or a combined white and American Indian identity. The relative paucity of mixed-race reporting by whites and blacks is consistent with low levels of other forms of diversity—shown in the subsequent columns of . The shares of whites and blacks who identify themselves as Hispanic (3−9 percent) or foreign-born (7−8 percent) are fairly small, and are even smaller among the subsets who identify themselves as white or black alone. Among the whites and blacks who report multiple racial identities, however, we find much higher rates of Hispanicity and foreign birth. The peripheries of the white and black populations are quite small but very diverse. The low levels of racial admixture reported by whites and blacks in the 2000 census represent an astounding loss of memory or at least a reluctance to acknowledge such memory in census responses. As noted earlier, researchers have estimated that about three-quarters of African Americans have some white ancestry, and a smaller but significant share of whites have some African ancestry (Hart 1921; Myrdal 1964 [1944]; Shriver et al. 2003; Stuckert 1958, 1976). Persons of mixed black/white ancestry were considered to be an intermediate racial population in Charleston, New Orleans, and other Southern cities in the late nineteenth century (Davis 1991). The legacy of African ancestry among whites even entered into popular culture. The central theme of the very popular Jerome Kern and Oscar Hammerstein musical, Show Boat, is the stigmatization experienced by a woman of partial African ancestry who had passed as white (Breon 1995). In early-twentieth-century censuses, the percentage of the population reported to be black and white (mulatto) declined (Frazier 1957: 185−187). In 1930, the Census Bureau dropped the mulatto category altogether. These patterns are consistent with the ideological triumph of the one-drop rule among most Americans—white and black. The division between blacks and whites was not merely ideological. For the first half of the twentieth century, discrimination was enforced by law and by extralegal violence in the South whenever racial hierarchies were challenged (Tolnay and Beck 1995). Intermarriage was illegal in many states. Black ghettoes were constructed in every large American city during the first half of the century (Massey and Denton 1993). In spite of the decline of de jure discrimination following the Civil Rights reforms of the 1960s, African Americans remain more highly segregated than any other minority in American society. Given the depth of the racial divide between whites and blacks, when multiracial ancestry returned to the census in 2000 (via the “check one or more” instruction on the race question), perhaps it is not surprising only 2 percent of blacks (and 0.4 percent of whites) reported overlapping ancestry. Does the pattern of reporting Americanized racial identities extend to identities based on national or regional places of origin? Have whites and blacks lost the ties to their distinct geographic roots as they have adopted single-race Americanized identities? This question is addressed in with responses to the Census 2000 ancestry question. TABLE 5 WhitesaBlacksaFirstSecondFirstSecond(1000s)%(1000s)%(1000s)%(1000s)% New World 42,72620.24,1482.0 New World 25,26773.43431.0White/Caucasian3,3301.600.0African American21,74963.2880.3Anglo etc.b4380.200.0Black1,6184.700.0“American”19,2859.100.0Negro etc.c6371.990.0U.S. etc.d3750.200.0“American”6281.800.0Canadian2,2781.16060.3U.S. etc.d241.800.0Hispanic origin14,6606.91,0410.5Hispanic origin4420.1860.0AIAN origin2,3601.12,5001.2AIAN origin1691.31600.3 Europe 119,65456.653,35125.3 West Indies and Africa 2,8558.31070.3German/Austrian30,46714.412,6096.0Jamaican5611.6330.1Irish18,9469.010,9335.2Haitian4391.3100.0English/British17,2688.27,9263.8Other West Indies3791.1320.1Italian12,5976.02,6621.3Nigerian1530.420.0Polish6,2653.02,6231.2Other African2700.840.0French4,7082.23,2901.6“African”e1,0523.1260.1Scottish6,4493.12,7001.3Norwegian3,1491.51,1960.6 Residual 6,28318.333,95598.7Dutch2,5061.21,9460.9Other ancestries3240.91740.5Swedish2,4241.11,5470.7Not codedf5,95917.333,78198.2Russian1,8770.97220.3 Total 34,40510034,405100Greek9130.41910.1Portuguese8480.42210.1Welsh8960.48520.4Hungarian8820.44770.2Danish8420.45740.3Ukrainian6430.32270.1Swiss5250.23700.2Slovak5020.22750.1Czech8060.44290.2Finnish4270.21890.1Lithuanian4260.22280.1Lebanese3130.1860.0Armenian2870.1460.0Other European2,2981.19900.5“European”e2,3901.1410.0 Residual 48,88423.1153,76672.8Other ancestries1,7300.83730.2Not codedf47,15422.3153,39272.6 Total 211,265100211,265100 The census ancestry question, added to the long form in 1980, is open ended: individuals may report any ancestry or combination of ancestries they choose. The Census Bureau codes the exact responses for first and second write-in ancestries and publishes (or releases) tables with hundreds of detailed codes. Except for religious responses, no effort is made to mask (or correct) the reported ancestries of census respondents, and missing values are not imputed. Originally hailed as a radical departure from traditional measures of nativity and lineage,8 the ancestry question was intended to provide richer and more comprehensive accounts of Americans’ diverse ethnic origins, particularly for the descendants of older immigrant waves whose descent was not captured in questions concerning nativity and parental nativity. As noted earlier, ancestry should, in theory, represent objective historical facts. Every American has ancestors who arrived from somewhere within the past several centuries, and with the exception of indigenous peoples and their descendants, all Americans have fairly recent lineage outside of North America. In practice, however, the complexity of mixed ancestry, lost memories, and the subjective attractiveness or unattractiveness of different origins have yielded ancestry data of often dubious quality (Lieberson and Santi 1985; Alba 1990; Waters 1990, 1999; Nagel 1994). Some Americans see no need to report an ancestry, while others write in terms that are impossible to code. Farley (1991) finds that the population with English ancestry “grew” from 40 million to 50 million during the five-month window between the 1979 Current Population Survey and the 1980 census, only to plummet to 37 million by 1986. These fluctuations have led some analysts to question whether reported ancestral identities are of any value (Farley 1991).9 Ancestral reports of white and black Americans, however, provide revealing information about how these populations have come to see their identities in Americanized terms. summarizes the first and second ancestry responses of whites and blacks in Census 2000,10 with detailed subgroups pooled within logical parent categories. Although the Bureau presents more than 200 ancestry categories (all those with 10,000 or more responses), we focus primarily on the distinction between Americanized or New World responses and geographic names of Old World countries or regions. The most striking observation in is that many whites and blacks no longer identify with a European or African country or specific region of origin. While a majority of whites do report a European ancestry of some kind, almost half report no ethnicity or give only a New World ancestry, including 9 percent who simply say “American.” To avoid stacking the deck in favor of our Americanization hypothesis, “European” or “Western European” responses are coded with specific European ancestries rather than Americanized racial identities such as “White” or “Caucasian.” Many of the large European-origin groups reported, such as German, Irish, and Italian, reflect populations that are likely to have fairly recent ancestors—perhaps parents or grandparents—for whom the immigrant story has been heard first-hand. For many white Americans, however, ethnic identities have become primarily symbolic attachments to cuisine or expressions of the distinctive contributions of one's ancestral community (Gans 1979). Variations in European ancestry, which were strongly tied to socioeconomic status during the first half of the twentieth century, are no longer associated with educational or employment opportunities, residential patterns, or even marital choices (Duncan and Duncan 1968; Lieberson 1980; Alba and Nee 2003). Based upon in-depth interviews, Waters (1990) concludes that the contemporary ethnic claims of most whites are largely optional—symbolic, costless, or even trendy. Although research based on the General Social Survey reports that 90 percent of whites claim ancestral origins from at least one European country (Hout and Goldstein 1994), the Census 2000 data suggest a more tenuous grip on European origins for most white Americans. Respondents interviewed in person may feel an obligation to name a specific ancestral country in response to a direct question. The much higher proportion who do not write in a response to the mail-back census questionnaire reveals a lack of deep ancestral attachments. Moreover, there appear to be strong secular declines in reports of some ancestries: the proportion of the total American population reporting English ancestry declined from 22 percent in 1980 to 13 percent in 1990 and to only 9 percent in 2000 (Brittingham and de la Cruz 2004: 4; Lieberson and Waters 1988: 34). Perhaps the lingering expressions of white ethnicity so attentively researched in the 1970s and 1980s represented the twilight, not the resurgence, of ethnicity (Alba 1990). Although more than half of white Americans still report a specific national origin, the journey from a deep remembrance of foreign roots to a generalized identity as white American is well underway (Jacobson 1998). For black Americans, that journey may be nearing completion. Almost all African Americans have American roots that extend back to the seventeenth and eighteenth centuries. Except for a small minority of recent immigrants, ties to the African homeland have been lost to time. While the recent development of biogeographic markers has provided some African Americans with glimpses of their ancestral past, nearly 70 percent of blacks identified themselves simply as black or African American in the 2000 census. Under the weight of one of the most rigid systems of racial hierarchy in modern times, a system born in slavery, sustained by the legacy of the one-drop rule, and cemented with the passage of time, African Americans rarely acknowledge claims of ethnic heritage beyond race. Although counts of persons reporting West Indian and African ancestries are nontrivial in absolute terms, the vast majority of the black population—nearly 90 percent—either report an African American or related ancestry (70 percent) or skip the ancestry question altogether (17 percent). Only about 8.3 percent of the black population report a West Indian or detailed African identity (even writing in “African” counts as an “ethnic” response under our coding scheme). More than one million blacks report various Caribbean ancestries in addition to 1.5 million who identify themselves with a continental African region (East African) or a specific country (Nigeria, Kenya, etc.). These reports probably reflect the recent waves of immigration to the United States, as well as the small number of African Americans who may have traced their ancestral lineage using genetic markers. The dominance of Americanized identities is even more evident in the exact wording of the write-in responses. Almost two-thirds of blacks wrote in the specific term “African American,” a recently coined term that parallels other hyphenated American ethnic groups. First used in the 1980s and popularized by Jesse Jackson, the term “African American” symbolizes ancestral origins and also parity with white Americans (Baugh 1991; Fischer and Hout 2006: 34). Other terms were much less frequently mentioned. Less than 5 percent identify themselves as black, less than 2 percent as Afro-American, and fewer still as Negro or other terms that once commanded respect among black Americans but no longer do. It is also of interest that almost no black Americans report any European ancestry. Just as very few white Americans acknowledge any African heritage, most black Americans do not consider their European ancestry to be noteworthy. In short, the results in and show that blacks and whites share a limited and potentially diminishing interest in claiming identities beyond their race. These trends are suggestive of an underlying process of increasing ethnic entropy—a generalized American identity with diminishing acknowledgment of ancestral complexity. Only about one-quarter of whites reported a second ancestry in 2000 and less than 2 percent of blacks. These figures are lower than in 1980 when the ancestry question was first asked in the census (Farley 1991). Having largely suppressed or lost the memories of their shared ancestry, blacks and whites are also well along the path of forgetting their ancestral places of origin in Africa and Europe. Skin color does matter, but beyond that, ancestral origins are no longer important for those whites and blacks who are far removed from the immigration experience. Asians and Hispanics: The new immigrant populations The history of Asian settlement in the United States dates back to the mid-nineteenth century (Barringer, Gardner, and Levin 1993; Xie and Goyette 2005). Chinese immigrants first arrived in North America in substantial numbers in the 1850s. Nativist sentiment gradually arrested this process, however, and the influx of Chinese immigrants was essentially halted with the passage of the Chinese Exclusion Act of 1882 (Saxton 1971). Japanese began to arrive in the late nineteenth and early twentieth centuries following the bar to Chinese immigration. As with the Chinese, Japanese immigrants encountered discrimination and prejudice from white Americans, many of whom were immigrants themselves (Daniels 1977). In time, immigration from Asia was barred by federal policies, including international agreements, court orders, and restrictive legislation. With the passage of immigration laws during the 1920s, the national-origins quotas for Asians were set to zero. While the descendants of these early Asian immigrants remain an important part of Asian America, their numbers have been swamped by the much larger influx of Chinese, Filipinos, Asian Indians, Koreans, Vietnamese, and other national-origin groups following the liberalization of immigration in the 1960s (Min 2006). As observed earlier, the major contemporary shift in racial and ethnic diversity in America is caused by increasing immigration from Asia and Latin America. presents the ethnic composition and the prevalence of multiethnic and multiracial identities for the major Asian-origin groups in 2000. presents comparable figures for Hispanic-origin populations. TABLE 6 Column percent of Asian-origin groupsRow percent of Asian-origin groupsPercentbAsian-origin groupNumbera (thousands)Single Asian originMulti- ethnic AsianMulti- racial AsianTotal AsianSingle Asian originMulti- ethnic AsianMulti- racial AsianTotal AsianForeign- bornHispanicChinese (includes Taiwanese)2,88024.331.916.823.584.55.010.5100.071.50.6Filipino2,36518.512.725.319.378.22.419.3100.070.61.9Asian Indian1,90016.88.810.015.588.42.19.5100.075.80.8Korean1,22810.75.07.210.087.71.810.5100.078.40.6Vietnamese1,22411.210.43.010.091.73.94.4100.077.20.3Japanese1,1498.012.216.59.469.34.825.8100.041.91.3Cambodian2061.72.61.21.783.45.710.8100.064.20.1Pakistani2041.52.42.21.775.15.419.4100.074.80.4Laotian1981.72.31.11.685.15.29.6100.067.00.1Hmong1861.71.20.61.590.92.86.2100.057.40.6Thai1501.11.71.61.275.25.319.5100.079.50.7Indonesian630.41.01.00.563.07.029.9100.083.71.1Bangladeshi570.41.20.60.571.99.818.3100.082.70.0Sri Lankan250.20.30.20.281.95.013.1100.080.00.6Malaysian190.11.00.20.257.623.419.1100.091.30.5All others530.31.11.20.450.09.640.3100.079.50.0No nationality reportedc3691.54.311.33.039.85.354.9100.045.45.0Total Asian (percent)100.0100.0100.0100.081.63.714.7100.070.60.9Number (thousands)10,0194551,80212,276 TABLE 7 Column percent ofRow percentHispanic groupNumber (thousands)Total US populationTotal Hispanic populationForeign-born Hispanic populationNative-born Hispanic populationForeign- bornReported SORMexican20,9537.459.556.062.242.250.0Puerto Rican3,3891.29.68.610.440.144.5Cuban1,2540.43.65.61.970.210.6Central American1,7760.65.08.72.177.454.8 Salvadoran7050.32.03.40.976.361.0 Guatemalan3900.11.12.00.479.556.9 Honduran2210.10.61.10.279.353.1 Nicaraguan2040.10.61.00.278.341.6 Panamanian970.00.30.40.172.841.5 Central Americana960.00.30.50.177.059.2 Costa Rican620.00.20.30.174.634.4South American1,4000.54.06.91.678.137.9 Colombian4910.21.42.40.677.535.4 Ecuadorian2540.10.71.30.378.549.5 Peruvian2430.10.71.20.377.949.5 Argentinean1140.00.30.60.179.118.4 Venezuelan950.00.30.50.183.025.0 Chilean710.00.20.40.178.429.8 Bolivian550.00.20.30.174.135.8 South Americanb480.00.10.20.174.638.5 Uruguayan230.00.10.10.078.418.9 Paraguayan70.00.00.00.077.644.8Other Hispanic6,4692.318.414.121.834.551.3 Dominican8150.32.33.61.270.565.9 Spaniard1140.00.30.30.343.516.6 Other Hispanic/Latinoc5,5402.015.710.220.229.049.9All Hispanic groups35,24112.5100.0100.0100.044.848.1Number (thousands)281,42235,24115,77819,464 OMB defines Asian peoples as those having origins in “the Far East, Southeast Asia, or the Indian subcontinent.” Although Asia encompasses dozens of countries and territories, and hundreds of ethnic groups, only six major Asian “races” or national-origin groups are listed as checkboxes on the census form: Asian Indian, Chinese, Filipino, Japanese, Korean, and Vietnamese (see ). There is also a checkbox for “Other Asian” where census respondents can write in a specific national origin. In , we include the six listed Asian categories plus the nine largest groups written in under “Other Asian.” We also include residual categories for respondents with different write-in responses (smaller Asian groups) and for those who did not write in a specific response. The first panel in shows the national-origin composition for several definitions of persons who identify themselves as Asian. The final column in the first panel, labeled “Total (any) Asian,” includes all 12.3 million persons who checked any Asian category. This total is composed of 10 million persons who reported a single Asian identity, 0.5 million who checked two or more Asian identities, and 1.8 million persons who reported both an Asian and a non-Asian identity. We refer to the first group as “Single Asian Alone” (only one Asian group identity), the second as “Multiethnic Asian” (e.g., Vietnamese and Chinese), and the third as “Multiracial Asian” (e.g., Korean and white). The second and third groups include persons who could be counted twice under different headings. For example, the sum of the tallies for different Asian groups in the second column exceeds the total number of multiethnic Asian persons. The six largest Asian national-origin groups (those listed on the census form) account for 87 percent of the 12.3 million Total (any) Asians enumerated in 2000. One in four Asian Americans is Chinese (including Taiwanese). Filipinos and Asian Indians comprise another 19 percent and 16 percent, respectively. The other three major Asian populations—Koreans, Vietnamese, and Japanese—comprise about 10 percent each of the Total Asian population. A diverse range of other Asian populations is represented among the write-in responses: Cambodian, Hmong, Laotian, Pakistani, Thai, Bangladeshi, Indonesian, Sri Lankan, Malaysian, and a catch-all category for smaller Asian groups. None of these groups comprises more than 2 percent of the Total Asian population, and most are much smaller. The vast majority of Asians checked a listed category or wrote in a specific Asian-origin population, but 3 percent simply claimed a panethnic Asian American identity and chose not to identify a specific Asian country or region of origin. Among the some 450,000 multiethnic Asians, one in three is part-Chinese. The Chinese diaspora in many Asian countries has intermarried with other national-origin populations and is well represented in several immigrant streams from Southeast Asia, especially from the Philippines and Vietnam. We suspect that the Chinese/Japanese multiethnic population is a product of intermarriage among long-resident Asian populations in the United States. A significant share of Asian Americans (about 1.8 million, or 15 percent of Total Asians) reports that they are multiracial, primarily white and Asian. The panels of show the specific characteristics of each national-origin Asian population. The middle panel shows the prevalence of multiethnic and multiracial identities for each group (with percentages summed across rows). The last panel shows two additional characteristics of each national-origin group: the percent foreign-born and the percent Hispanic. The rates of mixed ancestry among Asian Americans are higher than those reported by whites and blacks. Only 82 percent of Asians report themselves to be of a single national origin. More than 90 percent of all Vietnamese are only Vietnamese. This figure drops to the mid-80 percent range for most large Asian groups and even lower for Filipinos and Japanese. Reports of multiple Asian nationalities (i.e., Multiethnic Asian) are relatively low, only about 5 percent of most groups. The much higher report of 23 percent multiethnic composition among the small Malaysian American population undoubtedly reflects the tendency of many Malaysian Chinese to report their ethnicity (Chinese) and their country of origin (Malaysia). Many more Asians report multiple races (more than one OMB race category). Most multiracial Asians report having an Asian and a white identity. Roughly 25 percent of Japanese Americans report multiracial ancestry. This high level of racial blending is due, at least in part, to the fact that most Japanese Americans are descendants of immigrants who arrived in the early twentieth century. Japanese Americans encountered widespread discrimination for much of the century, including internment in detention camps during the US participation in World War II. But in recent decades, Japanese Americans have become economically and spatially integrated with whites, including high rates of intermarriage (Espirtu 1992; Fu 2001; Xie and Goyette 2005). Some 70 percent of Asian Americans in 2000 are foreign-born. The exception to this pattern is Japanese Americans—some 58 percent of Japanese Americans are native-born, mostly the grandchildren and great grandchildren of the immigrant wave of the early twentieth century. When the door to renewed immigration was opened in the late 1960s, Japan was a highly developed country with few factors encouraging emigration. The modest migration stream from Japan at present is more akin to the circulation of highly skilled professionals and business managers among industrial countries than the immigration influx from other Asian countries. A small minority of Asians, about 370,000, checked the Asian American category but did not report a specific national origin. This Americanized panethnic population is largely native-born (55 percent) and has an unusually high proportion (55 percent) reporting multiracial ancestry. This group also has higher overlap with Hispanics (5 percent) than do other Asians (0.9 percent). Assuming continued high levels of intermarriage, the patterns observed for the Japanese and the emerging “Asian American” population might be a harbinger for other Asian groups. Filipinos, who account for 1 of every 5 Asians in the United States, are only slightly less multiracial (19 percent) than the Japanese (26 percent). Among the six major Asian populations, only the Vietnamese are less than 10 percent multiracial. Hispanics share many parallels with Asian Americans. Immigration for both groups is the main force behind their rapid population growth in recent decades. In addition, national origins, rather than American racial categories, are the primary source of ethnic identity for Hispanics. As shown in , the census question on Hispanic origin lists Mexican, Puerto Rican, and Cuban as separate checkboxes. There is also a space for respondents to check “Other Spanish/Hispanic/Latino” and to write in their specific Hispanic identity. includes the three listed Hispanic groups and the 20 largest write-in groups, organized in terms of region: Central America, South America, and Other Hispanic. The total number for each Hispanic population is reported in the first column in . The second and third columns show each Hispanic group as a percentage of the national US population and of the Total (any) Hispanic population. The census Hispanic-origin question does not allow multiple responses, so respondents are forced to select only one of the mutually exclusive categories. Because nativity is a defining characteristic of the Hispanic population, the next two columns show the national-origin composition of foreign-born and native-born Hispanics. The last two columns show two additional characteristics of each Hispanic-origin population: the percent foreign-born and the percent reporting “Some Other Race” in response to the census race question. These attributes are row percentages. In 2000, nearly 13 percent of Americans (35.2 million) claimed Hispanic ancestry.11 With more than 20 million persons (7.4 percent of the US total), the Mexican-origin population outnumbers the sum of all nonblack minority groups (Asian, AIAN, and NHOPI) combined. The Mexican-origin population also outnumbers every white ancestry group except for German Americans (see ). Nearly three-fourths of all Hispanics identify themselves with the three major Hispanic communities: 60 percent as Mexican, 10 percent as Puerto Rican, and 4 percent as Cuban. The balance (27 percent of all Hispanics) represents a diverse group of national- and regional-origin populations. Some 5 percent have origins in various Central American countries, and another 4 percent have South American origins. The largest groups are Salvadorans (705,000) and Colombians (491,000). The largest group among other Hispanics are Dominicans (815,000). The only non–Latin American population listed under Hispanics is Spaniards, who number just 114,000. Each of these Central and South American origin groups, however, is dwarfed by the 5.5 million Hispanics who claim what might be considered a new “Americanized” identity. Some 16 percent of Hispanics identify themselves simply as “Hispanic/Latino” and do not write in a specific national origin (listed in as “Other Hispanic/Latino”). Second only to Mexicans in size, this large, panethnic group outnumbers Latinos from every South and Central American nation combined, and unlike most Latino-origin groups, panethnic Hispanics are predominantly (70 percent) native-born. While just 1 in 10 foreign-born Hispanics fails to list a specific Hispanic nationality, one-fifth of native-born Hispanics identify themselves simply as “Hispanic/Latino.” This group surely encompasses a diverse range of peoples. Indeed, the term “Hispanic” applies to both the descendants of older immigrant flows and persons of Spanish origin whose ancestors lived in the Southwest (and parts of Mexico) long before they were annexed by the United States in the mid-nineteenth century, as well as the largest group of new immigrants (Bean and Tienda 1987; Tienda and Mitchell 2006). Although a majority of Hispanics, 55 percent, are native-born, this average masks the wide variation among the peoples of Hispanic origin. Regardless of birthplace, all Puerto Ricans are US citizens; moreover, about 3 in 5 are mainland-born. Even though the majority of Mexican Americans are native-born, the Mexican-born population is the largest component of foreign-born Hispanics (56 percent). On the other hand, Cubans, Dominicans, and those who report specific Central and South American national origins are predominantly—upwards of 70 percent—foreign-born. As noted earlier, the 5.5 million panethnic “Other Hispanics” are overwhelmingly native-born. As evidenced by their responses to the race question, many Hispanics do not identify themselves with the standard categories of American racial statistics and see little need to report an identity beyond their Hispanic/Latino origin. Despite being given explicit instructions to answer both questions, many Hispanics either leave the race question blank or reiterate their Hispanic identity by writing in Mexican or some other Latin American country on the “Some Other Race” line (Logan 2004; Perez 2008; Rodriguez 2000). In 2000, nearly half of all Hispanics (48 percent) supplied an SOR response (alone or in combination) to the race question. Of the three major groups, only Cubans show a small minority (1 in 10) selecting SOR (the majority chose white). Of the Central and South American groups, the latter are generally less likely to identify as SOR (38 percent on average). Statistics not shown in indicate that most South American groups opt for white identity about 60 percent of the time, particularly Argentineans (81 percent), Chileans (70 percent), Uruguayans (81 percent), and Venezuelans (71 percent). Only trivial numbers of Hispanics select any racial identity other than SOR or white. Less than 2 percent of Hispanics claim a black racial identity, and with the exception of Panamanians (26 percent black), no group has a double-digit percentage of blacks. If one considers the large proportion of “Other Hispanic/Latino/Spanish” responses to be an emerging New World identity, this could indicate signs of the Americanization of ethnicity among Hispanics (Itzigsohn 2004). Further, a significant number of persons with partial Hispanic ancestry may no longer claim Hispanic identity (Duncan and Trejo 2007, 2008). Among those who do identify themselves as Hispanic, their rejection of American racial categories in nearly half the cases poses a major challenge to the present system of classification. One interpretation is that Hispanic immigrants are simply unfami
7770	dbpedia	3	84	https://apnews.com/article/politics-united-states-government-2022-midterm-elections-donald-trump-jim-banks-e9edabe93b309bf54e76a3ea322382d8	en	Ex-Indiana Gov. 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Mitch Daniels says he won't seek his state’s open U.S. Senate seat next year, ending weeks of speculation about whether he would enter a vicious GOP primary fight against a combative defender of former President Donald Trump.	en	/apple-touch-icon.png	AP News	https://apnews.com/article/politics-united-states-government-2022-midterm-elections-donald-trump-jim-banks-e9edabe93b309bf54e76a3ea322382d8	INDIANAPOLIS (AP) — Former Indiana Gov. Mitch Daniels announced Tuesday that he wouldn’t seek his state’s open U.S. Senate seat next year, ending weeks of speculation about whether he would enter a vicious Republican primary fight against a combative defender of former President Donald Trump. The decision by the 73-year-old Daniels comes two weeks after U.S. Rep. Jim Banks announced he was running for the seat being vacated by GOP Sen. Mike Braun as he makes a 2024 run for governor. “With full credit and respect for the institution and those serving in it, I conclude that it’s just not the job for me, not the town for me, and not the life I want to live at this point,” Daniels said in a statement released by a longtime adviser. The Washington-based anti-tax Club for Growth had already endorsed Banks and criticized Daniels as an insufficiently conservative “old guard Republican,” signaling a line of attack for a nasty intraparty race in the GOP-dominated state. Daniels, who was considered a 2012 presidential contender with a conservative fiscal reputation, ended eight years as governor in early 2013 with high approval ratings. He stayed in the public eye for the past decade as the high-profile president of Purdue University before stepping down at the end of December. His decision leaves Banks as the only declared candidate some 15 months ahead of Indiana’s 2024 primary. Banks, 43, was first elected to Congress from a heavily Republican district in northeastern Indiana in 2016, the year after he returned from an eight-month military deployment to Afghanistan with the Navy Reserve. He has since become a frequent Fox News Channel guest and Trump ally who voted against certifying Joe Biden’s presidential election victory after a mob of Trump supporters stormed the U.S. Capitol on Jan. 6, 2021. Nancy Pelosi, D-Calif, then the House speaker, months later rejected Republican leader Kevin McCarthy’s pick of Banks as the top GOP member on the committee investigating the deadly Capitol insurrection, citing the need to protect the review’s “integrity.” Rep. Victoria Spartz, in her second term from a central Indiana district, is another Republican who has stated interest in the Senate race. The Ukrainian-born Spartz has been critical at times of Ukrainian President Volodymyr Zelenskyy’s government since the Russian invasion of Ukraine began last February. Banks has been eager to pull at political divides. His campaign video announcement invoked disputes over transgender girls’ sports, blamed China for COVID-19 and claimed that “anti-Americanism” is being pushed in schools and the military, criticizing both “the radical Democrats and the spineless Republicans.” Daniels, who was President George W. Bush’s budget director and a senior executive at Indianapolis-based Eli Lilly & Co. before becoming governor, caused a stir among cultural conservatives while considering a 2012 White House run by saying the next president facing economic crisis “would have to call a truce on the so-called social issues.” Daniels said Tuesday that he didn’t believe he “would be well-suited to legislative office, particularly where seniority remains a significant factor in one’s effectiveness.” Daniels said the country faces critical problems with its national debt, the stability of safety-net programs, aggression from China and the need “to secure our borders without depriving the nation of the talent and energy that grateful immigrants can bring.” “I would have tried to work on these matters in a way that might soften the harshness and personal vitriol that has infected our public square, rendering it not only repulsive to millions of Americans, but also less capable of effective action to meet our threats and seize our opportunities,” Daniels said. Not waiting for Daniels’ decision, Donald Trump Jr. had likened Daniels to Utah Sen. Mitt Romney as a “weak RINO,” or Republican in name only. The deep-pocketed Club for Growth recently released an ad reaching back to Daniels’ time as President George W. Bush’s budget director to criticize him for increasing the federal debt and calling him an “old guard Republican clinging to the old ways of the bad old days.” A longtime Daniels adviser knocked the Club for Growth for helping to push failed Republican candidates as the party fell short of recapturing the Senate in last year’s election.