Jazz Dwarf: A Vibrant and Low-Maintenance Shrub for Your Garden

Jazz Dwarf

Jazz dwarf is an evergreen shrub with cool purple foliage that has a cranberry undercurrent and hot pink flowers. It’s easy to grow and looks great in beds, borders, or as a ground cover.

Also called Chinese fringe-flower, it bursts with eye-catching white blooms in spring and is a repeat-bloomer. Space it in the landscape with other low-growing shrubs.

Color Choice

The loropetalums in the Jazz Hands series from Proven Winners offer an array of colors and sizes to suit almost any landscape. For example, the evergreen Jazz Hands Mini reaches just 12 inches tall with a 36 inch spread and features deep purple foliage. Jazz Hands Dwarf White is another option. This loropetalum displays beautiful white flowers that look like live gloved jazz hands in spring and bloom off and on throughout the year.

The low mounded shape of this shrub suits residential landscapes and containers in zones 7 through 10. A row of these Jazz Hands varieties looks outstanding as a flowering groundcover or planted along a driveway, sidewalk or patio. For a striking garden display, pair Jazz Hands with dark evergreens or red barberries to make the color contrast even more dramatic. This loropetalum is easy to grow in moist, well-draining soil with a slightly acidic pH and a light application of fertilizer in spring.


Jazz dwarf loropetalums are a great choice for small spaces. The low mounded plants are a beautiful addition to residential landscapes and work well in containers. They also pair nicely with other dark foliage plants like red barberry and hollyhocks.

Chinese fringe flower, or loropetalum, is often called the queen of the garden because of its stunning blooms and ease of maintenance. This Proven Winners variety lives up to its name with a burst of white flowers that look like gloved jazz hands above deep green leaves. It reblooms off and on throughout the summer.

JAZZ HANDS(r) Dwarf White loropetalum has a low, mounded habit that grows 1-3 feet tall and wide in zones 7 through 9. The white flowers are eye catching against the rich purple foliage and they rarely need to be trimmed. It works well in mass plantings, on slopes and cascading over retaining walls. The flowers are also great for cutting and the shrub is a beautiful addition to containers.

Growth Rate

Jazz Hands shrubs grow at a moderate rate, reaching about 3 feet tall and wide in full maturity. This loropetalum prefers rich, moist to dry, slightly acid soils and a sunny location in zones 7 through 9. Trim the plant regularly to keep it mounded, particularly after flowering to remove dead flowers and encourage new blooms.

A low-maintenance groundcover for the landscape, Jazz Hands blooms profusely in spring and sporadically throughout summer. Its attractive burgundy foliage holds its color well throughout the season and combines nicely with showy pink flowers. Its compact size works well in garden beds, walkway edging and container gardens.

This loropetalum is an excellent choice for residential landscapes. Pair it with other dark foliage plants, like a red barberry or Japanese evergreen holly, for a striking garden design. It also looks lovely planted as a foundation planting, a border edger or in mass plantings along slopes and retaining walls. This loropetalum looks particularly beautiful when planted near sidewalks, patios and other high-traffic areas.

Bloom Time

There’s a lot of buzz about “peak bloom” this time of year, but it’s really the blooming period that counts. It’s a span of days or even weeks, starting when 20 percent of the flowers open and ending when the petals have fallen off the plants.

If you’re looking for a mid-season bloomer in the color white, look no further than Jazz Hands Dwarf White (‘Hakuou’ PP#27,751). This beautiful loropetalum produces a burst of eye-catching, frilly, pure white flowers that accentuate a mound of rich green foliage and is a repeat bloomer throughout the summer.

A dark pink variety is also available in the Jazz Hands series with Kurenai Dwarf Fringe Flower. It’s a perfect choice for planting by the front door, in a container garden or growing in the ground. It has cool purple foliage with cranberry undertones and produces clusters of hot pink flowers. This plant is hardy in zones 7-10 and thrives in full sun to part shade, average garden soil and regular watering.

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The Vibrant Gathering Spot and Infiorata of Pjazza San Gorg

Pjazza San Gorg

The iconic cultural icon and gathering spot of St George’s Basilica, Pjazza San Gorg is well-known for the synchronised swaying of its central water fountain to music. This is not the only thing to do here, though!

During the Valletta Green Festival, Pjazza San Gorg will be transformed into an ‘infiorata’, or floral carpet of 80,000 flowers in whites, pinks, purples, yellows and reds.


Built in the 17th century as part of the Knights of St John’s new city design for Victoria, the square was originally used for military purposes. Later, it became a center of shopping and socializing. Today, it’s still a busy gathering spot for locals and visitors alike.

Also known as Palace Square (Misrah il-Palazz), St George’s Square is Malta’s most prominent cultural icon and meeting point. It is bordered by the Grandmaster’s Palace, one of Valletta’s most striking architectural structures.

The 3D Architectural Mapping Projections at Pjazza San Gorg are on until Sunday 31st of December. This year’s installation, which celebrates Valletta’s 450th anniversary, pays tribute to the city’s rich history with key historical characters and events animated across the facade of the Grandmaster’s Palace. The projections are created by MCAST students in collaboration with the Valletta 2018 Foundation. An infiorata, or carpet of flowers, is also being laid on the square following tradition that goes back to the 12th Century.


Pjazza San Gorg is home to a stunning floral installation known as the Infioriata. This display of over 400 square metres of flowers in a wide variety of colours and shapes is sure to delight and inspire visitors.

The square is also bordered by the Grandmaster’s Palace (Il-Palazz tal-Gran Mastru), one of Malta’s most striking architectural landmarks. It’s also home to the Eco Market – where creative entrepreneurs offer handmade, eco-friendly products.

The square is a must-visit for anyone interested in exploring Malta’s rich culture and history. Whether you’re looking for a relaxing place to unwind, or a vibrant gathering point with an electric atmosphere, the square has something to offer everyone. So, don’t miss out on your chance to experience the best of Gozo’s capital city – Pjazza San Gorg. It’s a truly unforgettable destination.


St George’s Square (Misrah il-Palazz) is the most culturally endearing and striking public area of the city of Valletta, and a must-see for all visitors to Malta. The square is bordered by the Grandmaster’s Palace and is one of Malta’s most iconic landmarks and meeting points. Stay in a traditional townhouse or luxury hotel and enjoy a view of the vibrant life of this historic square, or escape its buzz and unwind. Safe and secure online bookings.

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Accessing Websites without Using an Internet Package: The Potential of Zero Rating

Jazz Zero Rated Website

Jazz Zero rated website allows users to access multiple websites without using an Internet package. This is a great service for people who want to stay updated with the latest news and events.

Some musicians pointed out that they would bring forward recording and release plans to fill the void left by the lack of gigging. Others said they would hone their skills in live-streaming and at-home recording.

What is Zero Rating?

When you watch a video, post a photo, or send a message, the bytes that make it up are analyzed and tallied by your internet provider. That’s how you know when you’ve reached your data cap.

Zero rating is a way for providers to exempt some of that data from caps. For instance, some T-Mobile customers get free access to Netflix and music streaming services through a program called Binge On.

Civil society organisations have found that having their digital content zero rated can be a major advantage because it democratises access to online resources. However, this only works if CSOs can meet audiences’ needs and build trust.

In the long run, zero rating may be a tempting business model for providers, but it has the potential to create new harms. It’s best used on a limited basis and only to address pressing access problems, but it should never be abused to undermine competition, consumer protection, innovation or free expression.

Why Companies Zero Rates Any Website or App?

Zero-rating schemes sound great at first glance. They exempt data-heavy apps and services from your cap, which makes them a good deal for consumers. But they also have a number of other problems that make them bad for the Internet as a whole.

The most obvious problem is that they give private interests an outsized role in shaping what is offered. In many cases, zero-rated apps are not truly extending access to news—for example, the Jamaica Information Service (JIS) is accessible through a zero-rating arrangement with the country’s largest mobile networks, but it does not actively promote this access to citizens.

Another problem is that zero-rated apps can skew the market by prioritizing certain types of content over others. This is a particular concern for services like Facebook’s Free Basics, which was initially pitched as a way to expand access to news in developing countries. This is why some commentators have raised concerns that zero rating could lead to forms of censorship.

What is the Purpose of Zero Rating Websites?

Currently, the vast majority of zero rating arrangements are devised and implemented by private entities. This gives them an outsized say in what kinds of applications consumers will get to use on their networks. It also creates barriers for new services looking to break into the market, as a service that eats up a lot of consumers’ data allowances will be unable to compete with existing offerings.

The nature of these arrangements also raises concerns about the potential for them to slide into forms of censorship. For example, Facebook’s Free Basics only offers access to a selection of websites that meet certain technical criteria. This leaves citizens without much avenue for independent or unbiased news sources and may leave them misinformed.

In addition, many of the sites offered through Free Basics are dominated by large technology companies with competing interests and agendas. This kind of arrangement can potentially skew the kinds of information that people receive, and could even lead to disinformation campaigns.

How to Access Zero Rated Websites?

Zero rated websites are online platforms that can be accessed without counting against a user’s data plan. They are usually made possible through agreements between internet service providers and specific websites. This makes it easier for users to stay informed about issues they care about. In addition, it allows for more transparency on how data is consumed.

Despite these advantages, there are some concerns about zero rating. Critics say that it can lead to the creation of walled gardens, which favour established content providers over new ones. It can also be exploited by internet tricksters to bypass data limits.

Nonetheless, it can be a useful tool for civil society organisations (CSOs). This learning brief explores the experience of three CSOs that used zero-rated sites during COVID-19 lockdown in Uganda to democratise access to information and resources online. It also looks at what lessons can be learned from these experiences, and how the use of zero-rated websites has impacted their audiences.

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The Legends of Jazz in the 1920s and Their Impact

Jazz Music From the 1920’s – When Jazz Was King

The 1920’s saw the emergence of jazz music on the world stage. This new music was popular thanks to King Oliver, Jelly Roll Morton, and others.

They paved the way for future musicians, including Louis Armstrong. Armstrong helped to reshape the way that Jazz is played today.

He also worked on advancing the style of jazz in movies. This was accomplished by pre-recording the soundtrack to ensure that it would be synchronized with the film.

Louis Armstrong

By the end of World War II Armstrong had become one of America’s biggest stars, appearing on radio and television and traveling to Europe on State Department-sponsored tours. He played with large bands but also led his own smaller ensembles, whose records showcased his technical proficiency and spirited interpretations.

In 1922, Armstrong followed his mentor Joe “King” Oliver to Chicago, where he joined Oliver’s Creole Jazz Band. He soon earned a reputation as an impressive soloist, and he left Oliver’s band to join Fletcher Henderson’s in New York City.

The legendary recordings of the Hot Five and Hot Seven sides of 1925-28 showcased Armstrong’s evolution into a great jazz soloist. He possessed a supreme level of melodic invention, rhythmic drive and flash that set him apart from other soloists. He was the greatest influence on changing the focus of jazz from collective improvisation to solo performance. Despite his huge success, Armstrong retained his sense of social responsibility.

Fats Waller

Thomas “Fats” Waller was a Harlem-based pianist who made his name with the trashy ragtime tunes that Victor Records had him record with his combo, Fats Waller and His Rhythm. Waller was a larger than life personality who was known for his joking around during his performances.

His musical talent was obvious and he became one of the most popular performers of his time. He also influenced many pre-bebop jazz pianists such as Count Basie and Erroll Garner.

The organ plays a vital role in this recording as the music swings along with great ease. Waller is a master at using the different stops of a theater organ to produce the various colors of tone. The pedal bass provides the dance-like rhythm and the two soloists add sharp off-beat accents. Both takes are highly entertaining and well worth hearing. Waller’s playing was augmented by his humorous personality and he had the audience in the palm of his hand.

Jelly Roll Morton

Jelly Roll Morton was one of the most influential pianists and bandleaders in jazz history. He is credited with creating the first jazz orchestrations. He also introduced the concept of improvisation within rehearsed group arrangements. His piano solos and songs influenced many jazz artists. Morton claimed to be the inventor of both jazz music and the name itself, a claim that some say was an exaggeration. His confidence or cockiness may have contributed to his inflated claims.

Born Ferdinand Joseph La Menthe, Morton was an innovative musician who drew on New Orleans traditions to develop a distinctive ensemble style that incorporated complex arrangements, rhythmic hits punctuated by silences, and individual improvisations. He also adapted Spanish-influenced dance rhythms into jazz, as well as African-American spirituals and folk melodies. Unfortunately, his music was often misinterpreted, and he found himself in the doldrums by the early 1930s. He moved to Washington, D.C., where folklorist Alan Lomax heard him playing at a dive bar.

Paul Whiteman

Whiteman is the best-known name from the 1920’s era and his huge orchestra was one of the dominant American dance bands of that time. He expertly blended occasional jazz pieces with semi-classical works, popular and novelty songs, waltzes, sweet and hot vocals and some of the best trombone soloists from Texas.

He brought in new talent such as saxophonist Red Nichols and singer Mildred Bailey. He even gave a shot at classical music with his 1924 Aeolian Hall concert that was billed as “An Experiment in Modern Music.”

His most significant contribution may have been his exposure to mainstream audiences that had previously resisted what they saw as the music of uncultivated blacks. The concert, which featured the George Gershwin classic Rhapsody in Blue, was a great success and brought Whiteman even more fame. It also paved the way for future generations of jazz musicians such as Miles Davis, Gil Evans and Wynton Marsalis to meld classical and popular musical forms in their concerts.

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